No. 5: Gil Brenton
[This Scottish ballad died out of tradition in the 1800s. Bronson prints 3 melodies with music. The Brown version (Child A) was written down by a novice musician, Mrs. Brown's nephew Bob Scott and is therefore unreliable. As Brown's text appears below, the two line stanzas are wanting a refrain, tho none was originally given. A second music version of "Lord Bengwill" was given by William Motherwell and it appeared in his Minstrelsy (Appendix, p. xvi) with one stanza of text. "Lord Bengwill" was transcribed for Motherwell by Andrew Blaikie from Mary Macqueen also known as Mrs. William Storie of Lochwinnoch. Mary Macqueen was Crawfurd's principle informant and also was paid by Motherwell along with her brother Thomas to collect ballads.
The ballad has not been collected in tradition in North America although The Ballad Index notes that Randolph 13. The Little Page Boy, is a possible fragment or at least has lines from Child B. The fragment has only two stanzas- one incomplete and in my opinion has nothing to do with Child No. 5. Randolph says, "This is the Child Waters ballad." Mary MacQueen, the singer of "Lord Bengwill" (Motherwell, Crawfurd) moved with her husband to Ontario in 1828 and my earlier research placed her briefly in Utah. Even tho it was never recovered from her in Canada or Utah, it can be said conclusively that the ballad was known by an informant in North America.
For more information see British Versions.
R. Matteson 2014, 2018]
CONTENTS:
1. Child's Narrative
2. Footnotes (Added at the end of Child's Narrative)
3. Brief by Kittredge
4. Child's Ballad Text Versions A-H (Changes for A b and F b found in End-Notes)
5. End Notes
6. Additions and Corrections
ATTACHED PAGES (see left hand column):
1. Recordings & Info: Gil Brenton
A. Roud Number 22; Gil Brenton (27 Listings)
2. Sheet Music: 'Gil Brenton' (Including Bronson's music examples and texts)
3. English and Other Versions (Including Child versions A-H. with additional notes)]
Child's Narrative
A. a. 'Gil Brenton,' Jamieson Brown Manuscript, fol. 34.
b. 'Chil Brenton,' William Tytler Brown Manuscript, No 3.
B. 'Cospatrick,' Scott's Minstrelsy, ii, 117 (1802).
C. 'We were sisters, we were seven,' Cromek's Remains of Nithsdale and Galloway Song, p. 207.
D. 'Lord Dingwall,' Buchan's Ballads of the North of Scotland, I, 204.
E. Elizabeth Cochrane's song-book, No 112.
F. a. 'Lord Brangwill,' Motherwell's Manuscripts, p. 219.
b. 'Lord Bengwill,' Motherwell's Minstrelsy, Appendix, p. xvi.
G. 'Bothwell,' Herd's Ancient and Modern Scots Songs, p. 244.
H. Kinloch Manuscripts, v, 335.
Eight copies of this ballad are extant, four of them hitherto unpublished. Aa, No 16 in the Jamieson-Brown Manuscript, is one of twenty ballads written down from 'the recitation of Mrs. Brown of Falkland, by her nephew, Robert Scott, in 1783, or shortly before.' From these twenty thirteen were selected, and, having first been revised by Mrs. Brown, were sent, with two others, to William Tytler in the year just mentioned. William Tytler's manuscript has disappeared, but a list of the ballads which it contained, with the first stanza of each, is given by Dr. Anderson, in Nichols's Illustrations of the Literary History of the Eighteenth Century, vii, 176. B is the 'Cospatrick' of the Border Minstrelsy, described by Scott as taken down from the recitation of a lady (known to be Miss Christian Rutherford, his mother's sister) "with some stanzas transferred from Herd's copy, and some readings adopted from a copy in Mrs. Brown's manuscript under the title of Child Brenton," that is, from Ab. C purports to be one of a considerable number of pieces, "copied from the recital of a peasant-woman of Galloway, upwards of ninety years of age." Though overlaid with verses of Cunningham's making (of which forty or fifty may be excided in one mass) and though retouched almost everywhere, both the ground work of the story and some genuine lines remain unimpaired. The omission of most of the passage referred to, and the restoration of the stanza form, will give us, perhaps, a thing of shreds and patches, but still a ballad as near to genuine as some in Percy's Reliques or even Scott's Minstrelsy. D and F are (the former presumably, the second certainly) from recitation of the first quarter of this century. E is one of the few ballads in Elizabeth Cochrane's song-book, and probably of the first half of the last century. G, the earliest printed form of the ballad, appeared in Herd's first collection, in the year 1769. H was taken down from recitation by the late Dr. Hill Burton in his youth.
A, B and C agree in these points: A bride, not being a maid, looks forward with alarm to her wedding night, and induces her bower-woman to take her place for the nonce. The imposture is detected by the bridegroom, through the agency of magical blankets, sheets, and pillows, A; or of blankets, bed, sheet, and sword, B; or simply of the Billie Blin, C. (The sword is probably an editorial insertion; and Jamieson, Illustrations of Northern Antiquities, p. 343, doubts, but without sufficient reason, the Billie Blin.) The bridegroom has recourse to his mother, who demands an explanation of the bride, and elicits a confession that she had once upon a time encountered a young man in a wood, who subjected her to violence. Before they parted, he gave her certain tokens, which he enjoined her to be very careful of, a lock of his hair, a string of beads, a gold ring, and a knife. B omits the knife, and C the beads. The mother goes back to her son, and asks what he had done with the tokens she had charged him never to part with. He owns that he had presented them to a lady, one whom he would now give all his possessions to have for his wife. The lady of the greenwood is identified by the tokens.
A, C, and D make the mother set a golden chair for the bride, in which none but a maid can sit, D [no leal maid will sit till bidden, C]. In D the chair is declined; in C, taken without bidding; in A the significance of the chair has been lost. E, F, G employ no kind of test of maidenhood, the bride frankly avows that she is with child to another man; and D, as well as E, F, G, omits the substitution of the chambermaid. The tokens in D are a chain, a ring, and three locks of hair; in E, gloves and a ring; in F, G, green gloves, a ring, and three locks [plaits] of hair. Only the ring reinains in H.
"This "ballad," says Motherwell (1827), "is very popular, and is known to reciters under a variety of names. I have heard it called Lord Bangwell, Bengwill, Dingwall, Brengwill, etc., and The Seven Sisters, or the Leaves of Lind." He adds: "There is an unedited ballad in Scotland, which is a nearer approximation to the Danish song, inasmuch as the substitution of the maiden sister for the real bride constitutes a prominent feature of the tale."[1] (Minstrelsy, Introduction, lxix 21 and xc.)
Scott remarks that Cospatrick[2] "was the designation of the Earl of Dunbar, in the days of Wallace and Bruce." Mr. Macmath informs me that it 'is in use at the present day in the families of the Earl of Home and of Dunbar of Mochrum, Bart, who, among others, claim descent from the ancient earls of Dunbar and March. The story of the ballad might, of course, attach itself to any person prominent in the region where the ballad was known.
Swedish. Three Swedish versions of this ballad were given by Afzelius: A, 'Riddar Olle' in 50 two-line stanzas, II, 217; B, 19 two-line stanzas, II, 59; C, 19 two-line stanzas, II, 56: No 33, I, 175-182 of Bergström's edition. Besides these, there are two fragments in Cavallius and Stephens's unprinted collection: D, 6 stanzas; E, 7 stanzas, the latter printed in Grundtvig, V, 307. [3] All these were obtained from recitation in the present century. A comes nearest to our A, B. Like Scottish B, it seems to have been compounded from several copies. Sir Olof betrothed Ingalilla, and carried her home for the spousal, wearing a red gold crown and a wan cheek. Ingalilla gave birth to twin-boys. Olof had a maid who resembled Ingalilla completely, and who, upon Ingalilla's entreaty, consented to play the part of bride on the morrow. Dressed in Ingalilla's clothes, blue kirtle, green jacket, etc., and wearing five gold rings and a gold crown, the maid rode to church, with Ingalilla at her back, and her beauty was admired by all as she came and went. But outside of the church were a good many musicians; and one of these piped out, "God-a-mercy, Ingalilla, no maid art thou!" Ingalilla threw into the piper's hand some thing which made him change his tune. He was an old drunken fellow, and no one need mind what he sang. After five days of drinking, they took the bride to her chamber, not without force. Ingalilla bore the light before her, and helped put her to bed; then lay down herself. Olof had over him a fur rug, which could talk as well as he, and it called out,
'Hear me, Sir Olof, hear what I say;
Thou hast taken a strumpet, and missed a may.'
And Olof, 'Hear, little Inga, sweetheart,' he said;
'What didst thou get for thy maidenhead?' [4]
Inga explained. Her father was a strange sort of man, and built her bower by the sea-strand, where all the king's courtiers took ship. Nine had broken in, and one had robbed her of her honor. He had given her an embroidered sark, a blue kirtle, green jacket, black mantle, gloves, five gold rings, a red gold crown, a golden harp, and a silver-mounted knife, which she now wishes in the youngster's body. The conclusion is abruptly told in two stanzas. Olof bids Inga not to talk so, for he is father of her children. He embraces her and gives her a queen's crown and name. B has the same story, omitting the incident of the musician. C has preserved this circumstance, but has lost both the substitution of the waiting-woman for the bride and the magical coverlet. D has also lost these important features of the original story; B has retained them.
Danish.
'Brud ikke Mø,' Grundtvig, No 274, v, 304. There are two old versions (more properly only one, so close is the agreement), and a third from recent tradition. This last, Grundtvig's C, from Jutland, 1856, seems to be of Swedish origin, and, like Swedish C, D, wants the talking coverlet, though it has kept the other material feature, that of the substitution. A is found in two manuscripts, one of the sixteenth and the other of the seventeenth century. B is the well-known 'Ingefred og Gudrune,' or 'Herr Samsings Nattergale,' Syv, iv, No 62, Danske Viser, No 194, translated in Jamieson's Illustrations, p. 340, and by Prior, in, 347. A later form of B, from recent recitation, 1868, is given in Kristensen's Jydske Folkeviser, I, No 53.
The story in A runs thus: Sølverlad and Vendelrod [Ingefred and Gudrune] were sitting together, and Vendelrod wept sorely. Sølverlad asked her sister the reason, and was told there was cause. Would she be bride one night? Vendelrod would give her wedding clothes and all her outfit. But Sølverlad asked for bridegroom too, and Vendelrod would not give up her bridegroom, happen what might. She went to church and was married to Samsing. On the way from church they met a spaeman [B, shepherd], who warned Vendelrod that Samsing had some nightin gales that could tell him. whether he had married a maid or no. The sisters turned aside and changed clothes, but could not change cheeks! Sølverlad was conducted to Samsing's house and placed on the bride bench. An unlucky jester called out, "Methinks this is not Vendelrod!" but a gold ring adroitly thrown into his bosom opened his eyes still wider, and made him pretend he had meant nothing. The supposed bride is put to bed. Samsing invokes his nightingales: "Have I a maid or no?" They reply, it is a maid that lies in the bed, but Vendelrod stands on the floor. Samsing asks Vendelrod why she avoided her bed, and she answers: her father lived on the strand; her bower was broken into by a large company of men, and one of them robbed her of her honor. In this case there are no tokens for evidence. Samsing owns immediately that he and his men had broken into the bower, and Vendelrod's agony is over.
Some of the usual tokens, gold harp, sark, shoes, and silver-mounted knife, are found in the later C. Danish D is but a single initial stanza.
Besides Sølverlad and Vendelrod, there is a considerable number of Danish ballads characterized by the feature that a bride is not a maid, and most or all of these have similarities to 'Gil Brenton.' 'Hr. Find og Vendelrod,' Grundtvig, No 275, has even the talking blanket (sometimes misunderstood to be a bed-board). In this piece there is no substitution. Vendelrod gives birth to children, and the news makes Find jump over the table. Still he puts the question mildly, who is the father, and recognizes that he is the man, upon hearing the story of the bower on the strand, and seeing half a gold ring which Vendelrod had received "for her honor."
In 'Ingelilles Bryllup,' Grundtvig, No 276, Blidelild is induced to take Ingelild's place by the promise that she shall marry Ingelild's brother. Hr. Magnus asks her why she is so sad, and says he knows she is not a maid. Blidelild says, "Since you know so much, I will tell you more," and relates Ingelild's adventure, how she had gone out to the river, and nine knights came riding by, etc. [so A; in B and C we have the bower on the strand, as before]. Hr. Magnus avows that he was the ninth, who stayed when eight rode away. Blidelild begs that he will allow her to go and look for some lost rings, and uses the opportunity to send back Ingelild in her stead.
Various other Scandinavian ballads have more or less of the story of those which have been mentioned. In the Danish 'Brud i Vaande,' Grundtvig, No 277, a bride is taken with untimely pains while being "brought home." The question asked in several of the Scottish ballads, whether the saddle is uncomfortable, occurs in A, B; the bower that was forced by eight swains and a knight in A, C, D, F; the gifts in A, B, F; and an express acknowledgment of the act of violence by the bridegroom in A, B, D. We find all of these traits except the first in the corresponding Swedish ballad 'Herr Äster och Fröken Sissa,' Afzelius, No 38, new ed., No 32, 1; the saddle and broken bower in Swedish D, Grundtvig, No 277, Bilag 1; only the saddle in Swedish F, Grundtvig, No. 277, Bilag 3, and C, Arwidsson, No 132; the saddle and gifts in Ice landic A, B, C, D, E, Grundtvig, No 277, Bilag 5, 6, 7, 8.
'Peder og Malfred,' Grundtvig, No 278, in four versions, the oldest from a manuscript of 1630, represents Sir Peter as riding away from home about a month after his marriage, and meeting a woman who informs him that there is a birth in his house. He returns, and asks who is the father. Sir Peter satisfies himself that he is the man by identifying the gifts, in A, B, C, D; and in A, B we have also the bower by the strand.
In 'Oluf og Ellinsborg,' Grundtvig, No 279, A, B, C, one of the queen's ladies is habitually sad, and is pressed by her lover to account for this. She endeavors to put him off with fictitious reasons, but finally nerves her self to tell the truth: she was walking by her self in her orchard, when five knights came riding by, and one was the cause of her grief. Oluf owns it was all his doing. A Swedish ballad, remarkably close to the Danish, from a manuscript of the date 1572 (the oldest Danish version is also from a manuscript of the 16th century), is 'Riddar Lage och Stolts Elensborg,' Arwidsson, No 56.
'Iver Hr. Jonsøn,' Grundtvig, No 280, in five versions, the oldest of the 16th century, exhibits a lady as fearing the arrival of her lover's ship, and sending her mother to meet him, while she takes to her bed. Immediately upon her betrothed's entering her chamber, she abruptly discloses the cause of her trouble. Eight men had broken into her bower on the strand, and the ninth deprived her of her honor. Iver Hr. Jonson, with as little delay, confesses that he was the culprit, and makes prompt arrangements for the wedding.
There is another series of ballads, represented by 'Leesome Brand' in English, and by 'Redselille og Medelvold' in Danish, which describe a young woman, who is on the point of becoming a mother, as compelled to go off on horseback with her lover, and suffering from the ride. We find the question, whether the saddle is too narrow or the way too long, in the Danish 'Bolde Hr. Nilaus' Løn,' Grundtvig, 270, Redselille og Medelvold,' Grundt vig, 271 C, D, B, I, K, L, M, P, Q, V, Y, and the Norwegian versions, A, D, B, F, of 'Sønnens Sorg,' Grundtvig, 272, Bilag 1, 4, 5, 6.[5] The gifts also occur in Grundtvig's 271 A, Z, and Norwegian D, Bilag 9.
Perhaps no set of incidents is repeated so often in northern ballads as the forcing of the bower on the strand, the giving of keepsakes, the self-identification of the ravisher through these, and his full and hearty reparation. All or some of these traits are found in many ballads besides those belonging to the groups here spoken of: as 'Hildebrand og Hilde,' E, I, Grundtvig, No 83, and Norwegian A, III, 857; 4 Guldsmedens Datter,' Grundtvig, 245, and its Swedish counterpart at p. 481 of the preface to the same, and in Eva Wigström's Folkdiktning, p. 37, No 18; 'Liden Kirstins Dans,' Grundtvig, 263 (translated by Prior, 112), and Norwegian B, C, Bilag 2, 3; 'Jomfruens Harpeslaet,' Grundtvig, 265 (translated by Jamieson, ' Illustrations,' p. 382, Prior, 123, Buchanan, p. 6), and Swedish D, Bilag 2, Swedish A, Afzelius, 81. So Landstad, 42, 45; Arwidsson, 141; Grundtvig, 37 G; 38 A, D; Kristensen, I, No 95, II, No 28 A, C.
A very pretty Norwegian tale has for the talisman a stepping-stone at the side of the bed: Asbjørnsen og Moe, No 29, 'Vesle Aase Gaasepige,' Dasent, 2d ed., p. 478. An English prince had pictures taken of all the handsomest princesses, to pick his bride by. When the chosen one arrived, Aase the goose-girl informed her that the stone at the bedside knew everything and told the prince; so if she felt uneasy on any account, she must not step on it. The princess begged Aase to take her place till the prince was fast asleep, and then they would change. When Aase came and put her foot on the stone, the prince asked, "Who is it that is stepping into my bed?" "A maid clean and pure," answered the stone. By and by the princess came and took Aase's place. When they were getting up in the morning, the prince asked again, "Who is it stepping out of my bed?" "One that has had three children," said the stone. The prince sent his first choice away, and tried a second. Aase faithfully warned her, and she had cause for heeding the advice. When Aase stepped in, the stone said it was a maid clean and pure; when the princess stepped out, the stone said it was one that had had six children. The prince was longer in hitting on a third choice. Aase took the bride's place once more, but this time the prince put a ring on her finger, which was so tight that she could not get it off, for he saw that all was not right. In the morning, when he asked, "Who is stepping out of my bed?" the stone answered, "One that has had nine children." Then the prince asked the stone to clear up the mystery, and it revealed how the princesses had put little Aase in their place. The prince went straight to Aase to see if she had the ring. She had tied a rag over her finger, pretending she had cut it; but the prince soon had the rag off, recognized his ring, and Aase got the prince, for the good reason that so it was to be.
The artifice of substituting waiting-woman for bride has been thought to be derived from the romance of Tristan, in which Brangwain [Brengain, Brangaene] sacrifices herself for Isold: Scott's 'Sir Tristrem,' ii, 54; Gottfried v. Strassburg, xviii, ed. Bechstein. Grundtvig truly remarks that a borrowing by the romance from the popular ballad is as probable a supposition as the converse; and that, even should we grant the name of the hero of the ballad to be a reminiscence of that of Isold's attendant (e. g. Brangwill of Brangwain), nothing follows as to the priority of the romance in respect to this passage. A similar artifice is employed in the ballad of 'Torkild Trundeson,' Danske Viser, 200 (translated by Prior, 100); Afzelius, II, 86, from the Danish; Arwidsson, 36. The resemblance is close to 'Ingelilles Bryllup,' C, Grundtvig, 276. See also, further on, 'The Twa Knights.'
The Billie Blin presents himself in at least four Scottish ballads: 'Gil Brenton,' C; 'Willie's Lady;' one version of 'Young Beichan;' two of 'The Knight and Shepherd's Daughter;' and also in the English ballad of 'King Arthur and the King of Cornwall,' here under the slightly disfigured name of Burlow Beanie.[6] In all he is a serviceable household demon; of a decidedly benignant disposition in the first four, and, though a loathly fiend with seven heads in the last, very obedient and useful when once thoroughly subdued. He is clearly of the same nature as the Dutch belewitte and German bilwiz, characterized by Grimm as a friendly domestic genius, penas, guote holde; and the names are actually associated in a passage cited by Grimm from Voet: "De illis quos nostrates appellant beeldwit et blinde belien, a quibus nocturna visa videri atque ex iis arcana revelari putant."[7] Though the etymology of these words is not unencumbered with difficulty, bit seems to point to a just and kindly-tempered being. Bilvis, in the seventh book of Saxo Grammaticus, is an aged counsellor whose bent is to make peace, while his brother Bölvís, a blind man, is a strife-breeder and mischief-maker.[8] The same opposition of Bil and Böl apparently occurs in the Edda, Grímnismál, 474, where Bil-eygr and Böl-eygr (Bal-eygr) are appellatives of Odin, which may signify mild-eyed and evil-eyed. Bölvís is found again in the Hrômund's saga, under the description of 'Blind the Bad,' and 'the Carl Blind whose name was Bavís.' But much of this saga is taken from the story of Helgi Hundingslayer; and Blind the Bad in the saga is only Sæmund's Blindr inn bölvísi, the blind man whose baleful wit sees through the disguise of Helgi, and all but betrays the rash hero to his enemies; that is, Odin in his malicious mood (Bölverkr), who will presently be seen in the ballad of 'Earl Brand' masking as Old Carl Hood, "aye for ill and never for good." Originally and properly, perhaps, only tne bad member of this" mythical pair is blind; but it would not be at all strange that later tradition, which confuses and degrades so much in the old mythology, should transfer blindness to the good-natured one, and give rise to the anomalous Billie Blind. See Grimm, Deutsche Mythologie, 1879, I, 391 ff; Uhlaud, Zur Geschichte der Dichtung u. Sage, in, 132 ff, VII, 229; Schmeller, Bayerisches Worterbuch, II, 1037 ff, ed. 1877; Van den Bergh, Woordenboek der nederlandsche Mythologie, 12.
It has been suggested to me that "the Haleigh throw" in E 6 is a corruption of the High Leith Row, a street in Edinburgh. I have not as yet been able to obtain information of such a street.
D is translated by Grundtvig, Engelske og skotske Folkeviser, No 40, p. 262
Footnotes:
1. In his note-book, p. 117, Motherwell writes, with less than his usual discretion: "The ballad of Bothwell, Cospatric, or Gil Brenton, appears to be copied from an account of the birth of Makbeth given by Wintown." The substance of this account is, that Macbeth' s mother had a habit of repairing to the woods for wholesome air, and that, during one of her rambles, she fell in with a fair man, really the Devil, who passed the day with her, and got on her a son.
"And of that dede in taknyng
He gave his lemman thare a ryng,
And bad hyr that scho suld kepe that wele,
And hald for hys luve that jwele."
Cronykil, Book VI, ch. xviii, 57-90.
2. Scott says: "Cospatrick, Comes Patricius;" but Cos- (Gos-)patrick is apparently Servant of Patrick, like Gil-pat-rick (Kil-patrick). Mr. Macmath suggests to me that Gil Brenton may have originally been Gil-brandon, which seems very likely. See Notes and Queries, 5th S., x, 443.
3. A fragment in Rancken's 'Några Prof af Folksång,' p. 14 f, belongs not to 'Riddar Olle' as there said, but to 'Herr Aster och Froken Sissa,' though the burden is 'Riddar Olof.' Other verses, at p. 16, might belong to either. 'Riddar Ola,' E. Wigström's Folkdiktning, p. 37, No 18, belongs with the Danish 'Guldsmedens Datter,' Grundtvig, No 245.
4. The inquiry seems to refer to the morning gift. "Die Morgengabe ist ein Geschenk des Mannes als Zeichen der Liebe (in signura amoris), für die Uebergabe der vollen Schonheit (in honore pulchritudinis) und der Jungfräulichkeit (pretium virginitatis)." Weiuhold, Die deutschen Frauen in dem Mittelalter, S. 270.
5. And again, "Is it the saddle, your horse, or your true-love? " almost exactly as in our B, E, F, Grundtvig, 40 C, E, F, Afzelius, 91, Landstad, 45, 52. So the Scottish ballad, 'The Cruel Brother,' B 15 f.
6. The auld belly-blind man in 'Earl Richard,' 443, 451, Kinloch's A. S. Ballads, p. 15, retains the bare name; and Belly Blind, or Billie Blin, is the Scotch name for the game of Blindman's-buff.
7. Gisbertus Voetius, De Miraculis, Disput., II, 1018. Cited also by Schmeller, Bayerisches Worterbuch, from J. Prætorius's Alectryomantia, p. 3.
8. Merlin, in Layamon, v. 17130 ff (as pointed out by Grundtvig, i, 274), says that his mind is balewise, "mi gæst is bæliwis," and that he is not disposed to gladness, mirth, or good words.
Brief by Kittredge
'Gil Brenton' was taken down from recitation in Scotland about 1783. It has many Scandinavian relatives. In some of these the father of the heroine had built her bower by the sea-strand, and it was broken open by a company of men, one of whom had robbed her of her honor. This knight proves to be the hero of the ballad. (So, for example, in Grundtvig, No. 274.)
Child's Ballad Text Versions A-H
'Gil Brenton'- Version A a; Child 5, Gil Brenton
a. Jamieson-Brown Manuscript, No. 16 fol. 34.
b. William Tytler's Brown Manuscript, No. 3. From the recitation of Mrs. Brown of Falkland, 1783, Aberdeenshire.
1 Gil Brenton has sent oer the fame,
He's woo'd a wife an brought her hame.
2 Full sevenscore o ships came her wi,
The lady by the greenwood tree.
3 There was twal an twal wi beer an wine,
An twal an twal wi muskadine:
4 An twall an twall wi bouted flowr,
An twall an twall wi paramour:
5 An twall an twall wi baken bread,
An twall an twall wi the goud sae red.
6 Sweet Willy was a widow's son,
An at her stirrup-foot he did run.
7 An she was dressd i the finest pa,
But ay she loot the tears down fa.
8 An she was dickd wi the fairest flowrs,
But ay she loot the tears down pour.
9 'O is there water i your shee?
Or does the win blaw i your glee?
10 'Or are you mourning i your meed
That eer you left your mither gueede?
11 'Or are ye mourning i your tide
That ever ye was Gil Brenton's bride?'
12 [re] is nae water i my shee,
Nor does the win blaw i my glee:
13 'Nor am I mourning i my tide
That eer I was Gil Brenton's bride:
14 'But I am mourning i my meed
That ever I left my mither gueede.
15 'But, bonny boy, tell to me
What is the customs o your country.'
16 'The customs o't, my dame,' he says,
'Will ill a gentle lady please.
17 'Seven king's daughters has our king wedded,
An seven king's daughters has our king bedded.
18 'But he's cutted the paps frae their breast-bane,
An sent them mourning hame again.
19 'But whan you come to the palace yate,
His mither a golden chair will set.
20 'An be you maid or be you nane,
O sit you there till the day be dane.
21 'An gin you're sure that you are a maid,
Ye may gang safely to his bed.
22 'But gin o that you be na sure,
Then hire some woman o youre bowr.'
23 O whan she came to the palace yate,
His mither a golden chair did set.
24 An was she maid or was she nane,
She sat in it till the day was dane.
25 An she's calld on her bowr woman,
That waiting was her bowr within.
26 'Five hundred pound, maid, I'll gi to the,
An sleep this night wi the king for me.'
27 Whan bells was rung, an mass was sung,
An a' man unto bed was gone,
28 Gil Brenton an the bonny maid
Intill ae chamber they were laid.
29 'O speak to me, blankets, an speak to me, sheets,
An speak to me, cods, that under me sleeps;
30 'Is this a maid that I ha wedded?
Is this a maid that I ha bedded?'
31 'It's nae a maid that you ha wedded,
But it's a maid that you ha bedded.
32 'Your lady's in her bigly bowr,
An for you she drees mony sharp showr.'
33 O he has taen him thro the ha,
And on his mither he did ca.
34 'I am the most unhappy man
That ever was in christend lan.
35 'I woo'd a maiden meek an mild,
An I've marryed a woman great wi child.'
36 'O stay, my son, intill this ha,
An sport you wi your merry men a'.
37 'An I'll gang to yon painted bowr,
An see how't fares wi yon base whore.'
38 The auld queen she was stark an strang;
She gard the door flee aff the ban.
39 The auld queen she was stark an steer;
She gard the door lye i the fleer.
40 'O is your bairn to laird or loon?
Or is it to your father's groom?'
41 'My bairn's na to laird or loon,
Nor is it to my father's groom.
42 'But hear me, mither, on my knee,
An my hard wierd I'll tell to thee.
43 'O we were sisters, sisters seven,
We was the fairest under heaven.
44 'We had nae mair for our seven years wark
But to shape an sue the king's son a sark.
45 'O it fell on a Saturday's afternoon,
Whan a' our langsome wark was dane,
46 'We keist the cavils us amang,
To see which shoud to the greenwood gang.
47 'Ohone, alas! for I was youngest,
An ay my wierd it was the hardest.
48 'The cavil it did on me fa,
Which was the cause of a' my wae.
49 'For to the greenwood I must gae,
To pu the nut but an the slae;
50 'To pu the red rose an the thyme,
To strew my mother's bowr and mine.
51 'I had na pu'd a flowr but ane,
Till by there came a jelly hind greeme,
52 'Wi high-colld hose an laigh-colld shoone,
An he 'peard to be some kingis son.
53 'An be I maid or be I nane,
He kept me there till the day was dane.
54 'An be I maid or be I nae,
He kept me there till the close of day.
55 'He gae me a lock of yallow hair,
An bade me keep it for ever mair.
56 'He gae me a carket o gude black beads,
An bade me keep them against my needs.
57 'He gae to me a gay gold ring,
An bade me ke[e]p it aboon a' thing.
58 'He gae to me a little pen-kniffe,
An bade me keep it as my life.'
59 'What did you wi these tokens rare
That ye got frae that young man there?'
60 'O bring that coffer hear to me,
And a' the tokens ye sal see.'
61 An ay she ranked, an ay she flang,
Till a' the tokens came till her han.
62 'O stay here, daughter, your bowr within,
Till I gae parley wi my son.'
63 O she has taen her thro the ha,
An on her son began to ca.
64 'What did you wi that gay gold ring
I bade you keep aboon a' thing?
65 'What did you wi that little pen-kniffe
I bade you keep while you had life?
66 'What did you wi that yallow hair
I bade you keep for ever mair?
67 'What did you wi that good black beeds
I bade you keep against your needs?'
68 'I gae them to a lady gay
I met i the greenwood on a day.
69 'An I would gi a' my father's lan,
I had that lady my yates within.
70 'I would gi a' my ha's an towrs,
I had that bright burd i my bowrs.'
71 'O son, keep still your father's lan;
You hae that lady your yates within.
72 'An keep you still your ha's an towrs;
You hae that bright burd i your bowrs.'
73 Now or a month was come an gone,
This lady bare a bonny young son.
74 An it was well written on his breast-bane
'Gil brenton is my father's name.'
-------------------
'Cospatrick'- Version B; Child 5, Gil Brenton
Scott's Minstrelsy, II, 117, ed. 1802. Ed. 1830, III, 263. Partly from the recitation of Miss Christian Rutherford.
1 Cospatrick has sent oer the faem,
Cospatrick brought his ladye hame.
2 And fourscore ships have come her wi,
The ladye by the grenewood tree.
3 There were twal and twal wi baken bread,
And twal and twal wi gowd sae reid:
4 And twal and twal wi bouted flour,
And twal and twal wi the paramour.
5 Sweet Willy was a widow's son,
And at her stirrup he did run.
6 And she was clad in the finest pall,
But aye she let the tears down fall.
7 'O is your saddle set awrye?
Or rides your steed for you owre high?
8 'Or are you mourning in your tide
That you suld be Cospatrick's bride?'
9 'I am not mourning at this tide
That I suld be Cospatrick's bride;
10 'But I am sorrowing in my mood
That I suld leave my mother good.
11 'But, gentle boy, come tell to me,
What is the custom of thy countrye?'
12 'The custom thereof, my dame,' he says,
'Will ill a gentle laydye please.
13 'Seven king's daughters has our lord wedded,
And seven king's daughters has our lord bedded;
14 'But he's cutted their breasts frae their breast bane,
And sent them mourning hame again.
15 'Yet, gin you're sure that you're a maid,
Ye may gae safely to his bed;
16 'But gif o that ye be na sure,
Then hire some damsell o your bour.'
17 The ladye's calld her bour-maiden,
That waiting was into her train;
18 'Five thousand merks I will gie thee,
To sleep this night with my lord for me.'
19 When bells were rung, and mass was sayne,
And a' men unto bed were gane,
20 Cospatrick and the bonny maid,
Into ae chamber they were laid.
21 'Now, speak to me, blankets, and speak to me, bed,
And speak, thou sheet, inchanted web;
22 'And speak up, my bonny brown sword, that winna lie,
Is this a true maiden that lies by me?'
23 'It is not a maid that you hae wedded,
But it is a maid that you hae bedded.
24 'It is a liel maiden that lies by thee,
But not the maiden that it should be.'
25 O wrathfully he left the bed,
And wrathfully his claiths on did.
26 And he has taen him thro the ha,
And on his mother he did ca.
27 'I am the most unhappy man
That ever was in christen land!
28 'I courted a maiden meik and mild,
And I hae gotten naething but a woman wi child.'
29 'O stay, my son, into this ha,
And sport ye wi your merrymen a';
30 'And I will to the secret bour,
To see how it fares wi your paramour.'
31 The carline she was stark and sture;
She aff the hinges dang the dure.
32 'O is your bairn to laird or loun?
Or is it to your father's groom?'
33 'O hear me, mother, on my knee,
Till my sad story I tell to thee.
34 'O we were sisters, sisters seven,
We were the fairest under heaven.
35 'It fell on a summer's afternoon,
When a' our toilsome task was done,
36 'We cast the kavils us amang,
To see which suld to the grene-wood gang.
37 'O hon, alas! for I was youngest,
And aye my wierd it was the hardest.
38 'The kavil it on me did fa,
Whilk was the cause of a' my woe.
39 'For to the grene-wood I maun gae,
To pu the red rose and the slae;
40 'To pu the red rose and the thyme,
To deck my mother's bour and mine.
41 'I hadna pu'd a flower but ane,
When by there came a gallant hende,
42 'Wi high-colld hose and laigh-colld shoon,
And he seemd to be sum king's son.
43 'And be I maid or be I nae,
He kept me there till the close o day.
44 'And be I maid or be I nane,
He kept me there till the day was done.
45 'He gae me a lock o his yellow hair,
And bade me keep it ever mair.
46 'He gae me a carknet o bonny beads,
And bade me keep it against my needs.
47 'He gae to me a gay gold ring,
And bade me keep it abune a' thing.'
48 'What did ye wi the tokens rare
That ye gat frae theat gallant there?'
49 'O bring that coffer unto me,
And a' the tokens ye sall see.'
50 'Now stay, daughter, your bour within,
While I gae parley wi my son.'
51 O she has taen her thro the ha,
And on her son began to ca.
52 'What did you wi the bonny beads
I bade ye keep against your needs?
53 'What did you wi the gay gowd ring
I bade ye keep abune a' thing?'
54 'I gae them a' to a ladye gay
I met in grene-wood on a day.
55 'But I wad gie a' my halls and tours,
I had that ladye within my bours.
56 'But I wad gie my very life,
I had that ladye to my wife.'
57 'Now keep, my son, your ha's and tours;
Ye have that bright burd in your bours.
58 'And keep, my son, your very life;
Ye have that ladye to your wife.'
59 Now or a month was cum and gane,
The ladye bore a bonny son.
60 And 'twas weel written on his breast-bane,
'Cospatrick is my father's name.'
61 'O rowe my ladye in satin and silk,
And wash my son in the morning milk.'
--------------------
'We were sisters, we were seven'- Version C; Child 5, Gil Brenton
Cromek's Remains of Nithsdale and Galloway Song, p. 207. "From the recital of a peasant-woman of Galloway, upwards of ninety years of age."
1 We were sisters, we were seven,
We were the fairest under heaven.
2 And it was a' our seven years wark
To sew our father's seven sarks.
3 And whan our seven years wark was done,
We laid it out upo the green.
4 We coost the lotties us amang,
Wha wad to the greenwood gang.
5 To pu the lily but and the rose,
To strew witha' our sisters' bowers.
6 . . . . . I was youngest,
. . . . . my weer was hardest.
7 And to the greenwood I bud gae,
. . . . .
8 There I met a handsome childe,
. . . . .
9 High-coled stockings and laigh-coled shoon,
He bore him like a king's son.
10 An was I weel, or was I wae,
He keepit me a' the simmer day.
11 An though I for my hame-gaun sich[t],
He keepit me a' the simmer night.
12 He gae to me a gay gold ring,
And bade me keep it aboon a' thing.
13 He gae to me a cuttie knife,
And bade me keep it as my life:
14 Three lauchters o his yellow hair,
For fear we wad neer meet mair.
* * * * *
15 Next there came shippes three,
To carry a' my bridal fee.
16 Gowd were the beaks, the sails were silk,
Wrought wi maids' hands like milk.
17 They came toom and light to me,
But heavie went they waie frae me.
18 y were fu o baken bread,
They were fu of wine sae red.
19 My dowry went a' by the sea,
But I gaed by the grenewode tree.
20 An I sighed and made great mane,
As thro the grenewode we rade our lane.
21 An I ay siched an wiped my ee,
That eer the grenewode I did see.
22 'Is there water in your glove,
Or win into your shoe?
O[r] am I oer low a foot-page
To rin by you, ladie?'
23 'O there's nae water in my glove,
Nor win into my shoe;
But I am maning for my mither
Wha's far awa frae me.'
* * * * *
24 'Gin ye be a maiden fair,
Meikle gude ye will get there.
25 'If ye be a maiden but,
Meikle sorrow will ye get.
26 'For seven king's daughters he hath wedded,
But never wi ane o them has bedded.
27 'He cuts the breasts frae their breast-bane,
An sends them back unto their dame.
28 'He sets their backs unto the saddle,
An sends them back unto their father.
29 'But be ye maiden or be ye nane,
To the gowden chair ye draw right soon.
30 'But be ye leman or be ye maiden,
Sit nae down till ye be bidden.'
31 Was she maiden or was she nane,
To the gowden chair she drew right soon.
32 she leman or was she maiden,
She sat down ere she was bidden.
33 Out then spake the lord's mother;
Says, 'This is not a maiden fair.
34 'In that chair nae leal maiden
Eer sits down till they be bidden.'
35 The Billie Blin then outspake he,
As he stood by the fair ladie.
36 'The bonnie may is tired wi riding,
Gaurd her sit down ere she was bidden.'
* * * * *
37 But on her waiting-maid she ca'd:
'Fair ladie, what's your will wi me?'
'O ye maun gie yere maidenheid
This night to an unco lord for me.'
38 'I hae been east, I hae been west,
I hae been far beyond the sea,
But ay, by grenewode or by bower,
I hae keepit my virginitie.
39 'But will it for my ladie plead,
I'll gie't this night to an unco lord.'
* * * * *
40 When bells were rung an vespers sung,
An men in sleep were locked soun,
41 Childe Branton and the waiting-maid
Into the bridal bed were laid.
42 'O lie thee down, my fair ladie,
Here are a' things meet for thee;
43 'Here's a bolster for yere head,
Here is sheets an comelie weids.'
* * * * *
44 'Now tell to me, ye Billie Blin,
If this fair dame be a leal maiden.'
45 'I wat she is as leal a wight
As the moon shines on in a simmer night.
46 'I wat she is as leal a may
As the sun shines on in a simmer day.
47 'But your bonnie bride's in her bower,
Dreeing the mither's trying hour.'
48 Then out o his bridal bed he sprang,
An into his mither's bower he ran.
49 'O mither kind, O mither dear,
This is nae a maiden fair.
50 'The maiden I took to my bride
Has a bairn atween her sides.
51 'The maiden I took to my bower
Is dreeing the mither's trying hour.'
52 Then to the chamber his mother flew,
And to the wa the door she threw.
53 She stapt at neither bolt nor ban,
Till to that ladie's bed she wan.
54 Says, 'Ladie fair, sae meek an mild,
Wha is the father o yere child?'
55 'O mither dear,' said that ladie,
'I canna tell gif I sud die.
56 'We were sisters, we were seven,
We were the fairest under heaven.
57 'And it was a' our seven years wark
To sew our father's seven sarks.
58 'And whan our seven years wark was done,
We laid it out upon the green.
59 'We coost the lotties us amang,
Wha wad to the greenwode gang;
60 'To pu the lily but an the rose,
To strew witha' our sisters' bowers.
61 . . . . . 'I was youngest,
. . . . . my weer was hardest.
62 'And to the greenwode I bu[d] gae.
. . . .
63 'There I met a handsome childe,
. . . .
64 'Wi laigh-coled stockings and high-coled shoon,
He seemed to be some king's son.
65 'And was I weel or was I wae,
He keepit me a' the simmer day.
66 'Though for my hame-gaun I oft sicht,
He keepit me a' the simmer night.
67 'He gae to me a gay gold ring,
An bade me keep it aboon a' thing;
68 'Three lauchters o he yellow hair,
For fear that we suld neer meet mair.
69 'O mither, if ye'll believe nae me,
Break up the coffer, an there ye'll see.'
70 An ay she coost, an ay she flang,
Till her ain gowd ring came in her hand.
71 And scarce aught i the coffer she left,
Till she gat the knife wi the siller heft,
72 Three lauchters o his yellow hair,
Knotted wi ribbons dink and rare.
73 She cried to her son, 'Where is the ring
Your father gave me at our wooing,
An I gae you at your hunting?
74 'What did ye wi the cuttie knife,
I bade ye keep it as yere life?'
75 'O haud yere tongue, my mither dear;
I gae them to a lady fair.
76 'I wad gie a' my lands and rents,
I had that ladie within my brents.
77 'I wad gie a' my lands an towers,
I had that ladie within my bowers.'
78 'Keep still yere lands, keep still yere rents;
Ye hae that ladie within yere brents.
79 'Keep still yere lands, keep still yere towers;
Ye hae that lady within your bowers.'
80 Then to his ladie fast ran he,
An low he kneeled on his knee.
81 'O tauk ye up my son,' said he,
'An, mither, tent my fair ladie.
82 'O wash him purely i the milk,
And lay him saftly in the silk.
83 'An ye maun bed her very soft,
For I maun kiss her wondrous oft.'
84 It was weel written on his breast-bane
Childe Branton was the father's name.
85 It was weel written on his right hand
He was the heir o his daddie's land.
--------------------
'Lord Dingwall'- Version D; Child 5, Gil Brenton
Buchan's Ancient Ballads and Songs of the North of Scotland, I, 204.
1 We were sisters, sisters seven,
Bowing down, bowing down
The fairest women under heaven.
And aye the birks a-bowing
2 They kiest kevels them amang,
Bowing down, bowing down
Wha woud to the grenewood gang.
And aye the birks a-bowing
3 The kevels they gied thro the ha,
Bowing down, bowing down
And on the youngest it did fa.
And aye the birks a-bowing
4 Now she must to the grenewood gang,
Bowing down, bowing down
To pu the nuts in grenewood hang.
And aye the birks a-bowing
5 She hadna tarried an hour but ane
Bowing down, bowing down
Till she met wi a highlan groom.
And aye the birks a-bowing
6 He keeped her sae late and lang
Bowing down, bowing down
Till the evening set and birds they sang.
And aye the birks a-bowing
7 He gae to her at their parting
Bowing down, bowing down
A chain o gold and gay gold ring;
And aye the birks a-bowing
8 And three locks o his yellow hair;
Bowing down, bowing down
Bade her keep them for evermair.
And aye the birks a-bowing
9 When six lang months were come and gane.
Bowing down, bowing down
A courtier to this lady came.
And aye the birks a-bowing
10 Lord Dingwall courted this lady gay,
Bowing down, bowing down
And so he set their wedding-day.
And aye the birks a-bowing
11 A little boy to the ha was sent,
Bowing down, bowing down
To bring her horse was his intent.
And aye the birks a-bowing
12 As she was riding the way along,
Bowing down, bowing down
She began to make a heavy moan.
And aye the birks a-bowing
13 'What ails you, lady,' the boy said,
Bowing down, bowing down
'That ye seem sae dissatisfied?
And aye the birks a-bowing
14 'Are the bridle reins for you too strong?
Bowing down, bowing down
Or the stirrups for you too long?'
And aye the birks a-bowing
15 'But, little boy, will ye tell me
Bowing down, bowing down
The fashions that are in your countrie?'
And aye the birks a-bowing
16 'The fashions in our ha I'll tell,
Bowing down, bowing down
And o them a' I'll warn you well.
And aye the birks a-bowing
17 'When ye come in upon the floor,
Bowing down, bowing down
His mither will meet you wi a golden chair.
And aye the birks a-bowing
18 'But be ye maid or be ye nane,
Bowing down, bowing down
Unto the high seat make ye boun.
And aye the birks a-bowing
19 'Lord Dingwall aft has been beguild
Bowing down, bowing down
By girls whom young men hae defiled.
And aye the birks a-bowing
20 'He's cutted the paps frae their breast-bane,
Bowing down, bowing down
And sent them back to their ain hame.'
And aye the birks a-bowing
21 When she came in upon the floor,
Bowing down, bowing down
His mother met her wi a golden chair.
And aye the birks a-bowing
22 But to the high seat she made her boun:
Bowing down, bowing down
She knew that maiden she was nane.
And aye the birks a-bowing
23 When night was come, they went to bed,
Bowing down, bowing down
And ower her breast his arm he laid.
And aye the birks a-bowing
24 He quickly jumped upon the floor,
Bowing down, bowing down
And said, 'I've got a vile rank whore.'
And aye the birks a-bowing
25 Unto his mother he made his moan,
Bowing down, bowing down
Says, 'Mother dear, I am undone.
And aye the birks a-bowing
26 'Ye've aft tald, when I brought them hame,
Bowing down, bowing down
Whether they were maid or nane.
And aye the birks a-bowing
27 'I thought I'd gotten a maiden bright;
Bowing down, bowing down
I've gotten but a waefu wight.
And aye the birks a-bowing
28 'I thought I'd gotten a maiden clear,
Bowing down, bowing down
But gotten but a vile rank whore.'
And aye the birks a-bowing
29 'When she came in upon the floor,
Bowing down, bowing down
I met her wi a golden chair.
And aye the birks a-bowing
30 'But to the high seat she made her boun,
Bowing down, bowing down
Because a maiden she was nane.'
And aye the birks a-bowing
31 'I wonder wha's tauld that gay ladie
Bowing down, bowing down
The fashion into our countrie.'
And aye the birks a-bowing
32 'It is your little boy I blame,
Bowing down, bowing down
Whom ye did send to bring her hame.'
And aye the birks a-bowing
33 Then to the lady she did go,
Bowing down, bowing down
And said, 'O Lady, let me know
And aye the birks a-bowing
34 'Who has defiled your fair bodie:
Bowing down, bowing down
Ye're the first that has beguiled me.'
And aye the birks a-bowing
35 'O we were sisters, sisters seven,
Bowing down, bowing down
The fairest women under heaven.
And aye the birks a-bowing
36 'And we kiest kevels us amang,
Bowing down, bowing down
Wha woud to the grenewood gang;
And aye the birks a-bowing
37 'For to pu the finest flowers,
Bowing down, bowing down
To put around our summer bowers.
And aye the birks a-bowing
38 'I was the youngest o them a';
Bowing down, bowing down
The hardest fortune did me befa.
And aye the birks a-bowing
39 'Unto the grenewood I did gang,
Bowing down, bowing down
And pu'd the nuts as they down hang.
And aye the birks a-bowing
40 'I hadna stayd an hour but ane
Bowing down, bowing down
Till I met wi a highlan groom.
And aye the birks a-bowing
41 'He keeped me sae late and lang
Bowing down, bowing down
Till the evening set and birds they sang.
And aye the birks a-bowing
42 'He gae to me at our parting
Bowing down, bowing down
A chain of gold and gay gold ring;
And aye the birks a-bowing
43 'And three locks o his yellow hair;
Bowing down, bowing down
Bade me keep them for evermair.
And aye the birks a-bowing
44 'Then for to show I make nae lie,
Bowing down, bowing down
Look ye my trunk, and ye will see.'
And aye the birks a-bowing
45 Unto the trunk then she did go,
Bowing down, bowing down
To see if that were true or no.
And aye the birks a-bowing
46 And aye she sought, and aye she flang,
Bowing down, bowing down
Till these four things came to her hand.
And aye the birks a-bowing
47 Then she did to her ain son go,
Bowing down, bowing down
And said, 'My son, ye'll let me know,
And aye the birks a-bowing
48 'Ye will tell to me this thing:
Bowing down, bowing down
What did you wi my wedding-ring?'
And aye the birks a-bowing
49 'Mother dear, I'll tell nae lie:
Bowing down, bowing down
I gave it to a gay ladie.
And aye the birks a-bowing
50 'I would gie a' my ha's and towers,
Bowing down, bowing down
I had this bird within my bowers.'
And aye the birks a-bowing
51 'Keep well, keep well your lands and strands;
Bowing down, bowing down
Ye hae that bird within your hands.
And aye the birks a-bowing
52 'Now, my son, to your bower ye'll go:
Bowing down, bowing down
Comfort your ladie, she's full o woe.'
And aye the birks a-bowing
53 Now when nine months were come and gane,
Bowing down, bowing down
The lady she brought hame a son.
And aye the birks a-bowing
54 It was written on his breast-bane
Bowing down, bowing down
Lord Dingwall was his father's name.
And aye the birks a-bowing
55 He's taen his young son in his arms,
Bowing down, bowing down
And aye he praisd his lovely charms.
And aye the birks a-bowing
56 And he has gien him kisses three,
Bowing down, bowing down
And doubled them ower to his ladie.
And aye the birks a-bowing
'Lord Benwall'- Version E; Child 5, Gil Brenton
Elizabeth Cochrane's Song-Book, p. 146, No. 112.
1 Lord Benwall he's a hunting gone;
Hey down, etc.
He's taken with him all his merry men.
Hey, etc.
2 As he was walking late alone,
Hey down, etc.
He spyed a lady both brisk and young.
Hey, etc.
3 He keeped her so long and long,
Hey down, etc.
From the evening late till the morning came.
Hey, etc.
4 All that he gave her at their parting
Hey down, etc.
Was a pair of gloves and a gay gold ring.
Hey, etc.
5 Lord Benwall he's a wooing gone,
Hey down, etc.
And he's taken with him all his merry men.
Hey, etc.
6 As he was walking the Haleigh throw,
Hey down, etc.
He spy'd seven ladyes all in a row.
Hey, etc.
7 He cast a lot among them all;
Hey down, etc.
Upon the youngest the lot did fall.
Hey, etc.
8 He wedded her and brought her home,
Hey down, etc.
And by the way she made great moan.
Hey, etc.
9 'What aileth my dearest and dayly flower?
Hey down, etc.
What ails my dear, to make such moan?
Hey, etc.
10 'Does the steed carry you too high?
Hey down, etc.
Or does thy pillow sit awry?
Hey, etc.
11 'Or does the wind blow in thy glove?
Hey down, etc.
Or is thy heart after another love?'
Hey, etc.
12 'The steed does not carry me too high,
Hey down, etc.
Nor does my pillow sit awry.
Hey, etc.
13 'Nor does the wind blow in my glove,
Hey down, etc.
Nor is my heart after another love.'
Hey, etc.
14 When they were doun to supper set,
Hey down, etc.
The weary pain took her by the back.
Hey, etc.
15 'What ails my dearest and dayly flower?
Hey down, etc.
What ails my dearest, to make such moan?'
Hey, etc.
16 'I am with child, and it's not to thee,
Hey down, etc.
And oh and alas, what shall I doe!'
Hey, etc.
17 'I thought I had got a maid so mild;
Hey down, etc.
But I have got a woman big with child.
Hey, etc.
18 'I thought I had got a dayly flower;
Hey down, etc.
I have gotten but a common whore.'
Hey, etc.
* * * * *
19 'Rise up, Lord Benwall, go to your hall,
Hey down, etc.
And cherrish up your merry men all.'
Hey, etc.
* * * * *
20 'As I was walking once late alone,
Hey down, etc.
I spy'd a lord, both brisk and young.
Hey, etc.
21 'He keeped me so long and long,
Hey down, etc.
From evening late till the morning came.
Hey, etc.
22 'All that he gave me at our parting
Hey down, etc.
Was a pair of gloves and a gay gold ring.
Hey, etc.
23 'If you will not believe what I tell to thee,
Hey down, etc.
There's the key of my coffer, you may go and see.'
Hey, etc.
24 His mother went, and threw and flang,
Hey down, etc.
Till to her hand the ring it came.
Hey, etc.
25 'Lord Benwall, wilt thou tell to me
Hey down, etc.
Where is the ring I gave to thee?'
Hey, etc.
26 'Now I would give all my lands and tower,
Hey down, etc.
To have that lady in my bower.
Hey, etc.
27 'I would give all my lands and rents,
Hey down, etc.
To have that lady in my tents.'
Hey, etc.
28 'You need not give all your lands and tower,
Hey down, etc.
For you have that lady in your power.
Hey, etc.
29 'You need not give all your lands and rents,
Hey down, etc.
For you have that lady in your tents.'
Hey, etc.
30 Now it was written on the child's breast-bone
Hey down, etc.
Lord Benwall's sirname and his name.
Hey, etc.
31 It was written on the child's right hand
Hey down, etc.
That he should be heir of Lord Benwall's land.
Hey, etc.
32 'Canst cloath my lady in the silk,
Hey down, etc.
And feed my young son with the milk.'
Hey, etc.
'Lord Brangwill'- Version F a; Child 5, Gil Brenton
a. Motherwell's Manuscript, p. 219. From the recitation of Mrs. Thomson, February 1825.
b. Motherwell's Minstrelsy, Appendix, p. xvi, the first stanza only.
1 There were three sisters in a bouir,
Eh down and Oh down
And the youngest o them was the fairest flour.
Eh down and O down
2 And we began our seven years wark,
Eh down and Oh down
To sew our brither John a sark.
Eh down and O down
3 When seven years was come and gane,
Eh down and Oh down
There was nae a sleeve in it but ane.
Eh down and O down
4 But we coost kevils us amang
Eh down and Oh down
Wha wud to the green-wood gang.
Eh down and O down
5 But tho we had coosten neer sae lang,
Eh down and Oh down
The lot it fell on me aye to gang.
Eh down and O down
6 I was the youngest, and I was the fairest,
Eh down and Oh down
And alace! my wierd it was aye the sairest.
Eh down and O down
7 . . .
Eh down and Oh down
Till I had to the woods to gae.
Eh down and O down
8 To pull the cherrie and the slae,
Eh down and Oh down
And to seek our ae brither, we had nae mae.
Eh down and O down
9 But as I was walking the leas o Lyne,
Eh down and Oh down
I met a youth gallant and fine;
Eh down and O down
10 Wi milk white stockings and coal black shoon;
Eh down and Oh down
He seemed to be some gay lord's son.
Eh down and O down
11 But he keepit me there sae lang, sae lang,
Eh down and Oh down
Till the maids in the morning were singing their sang.
Eh down and O down
12 Would I wee or would I way,
Eh down and Oh down
He keepit me the lang simmer day.
Eh down and O down
13 Would I way or would I wight,
Eh down and Oh down
He keepit me the simmer night.
Eh down and O down
14 But guess what was at our parting?
Eh down and Oh down
A pair o grass green gloves and a gay gold ring.
Eh down and O down
15 He gave me three plaits o his yellow hair,
Eh down and Oh down
In token that we might meet mair.
Eh down and O down
16 But when nine months were come and gane,
Eh down and Oh down
This gallant lord cam back again.
Eh down and O down
17 He's wed this lady, and taen her wi him;
Eh down and Oh down
But as they were riding the leas o Lyne,
Eh down and O down
18 This lady was not able to ride,
Eh down and Oh down
. . .
Eh down and O down
19 'O does thy saddle set thee aside?
Eh down and Oh down
Or does thy steed ony wrang way ride?
Eh down and O down
20 'Or thinkst thou me too low a groom?
Eh down and Oh down
. . .
Eh down and O down
21 'Or hast thou musing in thy mind
Eh down and Oh down
For the leaving of thy mother kind?'
Eh down and O down
22 'My saddle it sets not me aside,
Eh down and Oh down
Nor does my steed ony wrang way ride.
Eh down and O down
23 'Nor think I thee too low a groom
Eh down and Oh down
. . .
Eh down and O down
24 'But I hae musing in my mind
Eh down and Oh down
For the leaving of my mother kind.'
Eh down and O down
25 'I'll bring thee to a mother of mine,
Eh down and Oh down
As good a mother as eer was thine.'
Eh down and O down
26 'A better mother she may be,
Eh down and Oh down
But an unco woman she'll prove to me.'
Eh down and O down
27 But when lords and ladies at supper sat,
Eh down and Oh down
Her pains they struck her in the back.
Eh down and O down
28 When lords and ladies were laid in bed,
Eh down and Oh down
Her pains they struck her in the side.
Eh down and O down
29 'Rise up, rise up, now, Lord Brangwill,
Eh down and Oh down
For I'm wi child and you do not know't.'
Eh down and O down
30 He took up his foot and gave her sic a bang
Eh down and Oh down
Till owre the bed the red blood sprang.
Eh down and O down
31 He is up to his mother's ha,
Eh down and Oh down
Calling her as hard as he could ca.
Eh down and O down
32 'I went through moss and I went through mure,
Eh down and Oh down
Thinking to get some lily flouir.
Eh down and O down
33 . . .
Eh down and Oh down
'But to my house I have brocht a hure.
Eh down and O down
34 'I thocht to have got a lady baith meek and mild,
Eh down and Oh down
But I've got a woman that's big wi child.'
Eh down and O down
35 'O rest you here, Lord Brangwill,' she said,
Eh down and Oh down
'Till I relieve your lady that lyes so low.'
Eh down and O down
36 'O daughter dear, will you tell to me
Eh down and Oh down
Who is the father of your babie?'
Eh down and O down
37 'Yes, mother dear, I will tell thee
Eh down and Oh down
Who is the father of my babie.
Eh down and O down
38 'As I was walking the leas o Lyne,
Eh down and Oh down
I met a youth gallant and fine;
Eh down and O down
39 Wi' milk-white stockings and coal-black shoon;
Eh down and Oh down
He seemed to be sum gay lord's son.
Eh down and O down
40 'He keepit me sae lang, sae lang,
Eh down and Oh down
Till the maids in the morning were singing their sang.
Eh down and O down
41 'Would I wee or would I way,
Eh down and Oh down
He keepit me the lang simmer day.
Eh down and O down
42 'Would I way or would I wight,
Eh down and Oh down
He keepit me the simmer night.
Eh down and O down
43 'But guess ye what was at our parting?
Eh down and Oh down
A pair of grass green gloves and a gay gold ring.
Eh down and O down
44 'He gave me three plaits o his yellow hair,
Eh down and Oh down
In token that we might meet mair.'
Eh down and O down
45 'O dochter dear, will ye show me
Eh down and Oh down
These tokens that he gave to thee?'
Eh down and O down
46 'Altho my back should break in three,
Eh down and Oh down
Unto my coffer I must be.'
Eh down and O down
47 'Thy back it shall not break in three,
Eh down and Oh down
For I'll bring thy coffer to thy knee.'
Eh down and O down
48 Aye she coost, and aye she flang,
Eh down and Oh down
Till these three tokens came to her hand.
Eh down and O down
49 Then she is up to her sons's ha,
Eh down and Oh down
Calling him hard as she could ca.
Eh down and O down
50 'O son, O son, will you tell me
Eh down and Oh down
. . .
Eh down and O down
51 'What ye did wi the grass green gloves and gay gold ring
Eh down and Oh down
That ye gat at your own birth-een?'
Eh down and O down
52 'I gave them to as pretty a may
Eh down and Oh down
As ever I saw in a simmer day.
Eh down and O down
53 'I wud rather than a' my lands sae broad
Eh down and Oh down
That I had her as sure as eer I had.
Eh down and O down
54 'I would rather than a' my lands sae free
Eh down and Oh down
I had her here this night wi me.'
Eh down and O down
55 'I wish you good o your lands sae broad,
Eh down and Oh down
For ye have her as sure as eer ye had.
Eh down and O down
56 'I wish ye good o your lands sae free,
Eh down and Oh down
For ye have her here this night wi thee.'
Eh down and O down
57 'Gar wash my auld son in the milk,
Eh down and Oh down
Gar deck my lady's bed wi silk.'
Eh down and O down
58 He gave his auld son kisses three,
Eh down and Oh down
But he doubled them a' to his gay ladye.
Eh down and O down
'Bothwell'- Version G; Child 5, Gil Brenton
Herd's Ancient and Modern Scots Songs, p. 244; ed. 1776, I, 83.
1 As Bothwell was walking in the lowlands alane,
Hey down and a down
He met six ladies sae gallant and fine.
Hey down and a down
2 He cast his lot among them a',
Hey down and a down
And on the youngest his lot did fa.
Hey down and a down
3 He's brought her frae her mother's bower,
Hey down and a down
Unto his strongest castle and tower.
Hey down and a down
4 But ay she cried and made great moan,
Hey down and a down
And ay the tear came trickling down.
Hey down and a down
5 'Come up, come up,' said the foremost man,
Hey down and a down
'I think our bride comes slowly on.'
Hey down and a down
6 'O lady, sits your saddle awry,
Hey down and a down
Or is your steed for you owre high?'
Hey down and a down
7 'My saddle is not set awry,
Hey down and a down
Nor carries me my steed owre high;
Hey down and a down
8 'But I am weary of my life,
Hey down and a down
Since I maun be Lord Bothwell's wife.'
Hey down and a down
9 He's blawn his horn sae sharp and shrill,
Hey down and a down
Up start the deer on evry hill.
Hey down and a down
10 He's blawn his horn sae lang and loud,
Hey down and a down
Up start the deer in gude green-wood.
Hey down and a down
11 His lady mother lookit owre the castle wa,
Hey down and a down
And she saw them riding ane and a'.
Hey down and a down
12 She's calld upon her maids by seven,
Hey down and a down
To mak his bed baith saft and even.
Hey down and a down
13 She's calld upon her cooks by nine,
Hey down and a down
To make their dinner fair and fine.
Hey down and a down
14 When day was gane, and night was come,
Hey down and a down
'What ails my love on me to frown?
Hey down and a down
15 'Or does the wind blow in your glove?
Hey down and a down
Or runs your mind on another love?'
Hey down and a down
16 'Nor blows the wind within my glove,
Hey down and a down
Nor runs my mind on another love;
Hey down and a down
17 'But I nor maid nor maiden am,
Hey down and a down
For I'm wi bairn to another man.'
Hey down and a down
18 'I thought I'd a maiden sae meek and sae mild,
Hey down and a down
But I've nought but a woman wi child.'
Hey down and a down
19 His mother's taen her up to a tower,
Hey down and a down
And lockit her in her secret bower.
Hey down and a down
20 'Now, doughter mine, come tell to me,
Hey down and a down
Wha's bairn this is that you are wi.'
Hey down and a down
21 'O mother dear, I canna learn
Hey down and a down
Wha is the faither of my bairn.
Hey down and a down
22 'But as I walkd in the lowlands my lane,
Hey down and a down
I met a gentleman gallant and fine.
Hey down and a down
23 'He keepit me there sae late and sae lang,
Hey down and a down
Frae the evning late till the morning dawn.
Hey down and a down
24 'And a' that he gied me to my propine
Hey down and a down
Was a pair of green gloves and a gay gold ring;
Hey down and a down
25 'Three lauchters of his yellow hair,
Hey down and a down
In case that we shoud meet nae mair.'
Hey down and a down
26 His lady mother went down the stair:
Hey down and a down
. . .
Hey down and a down
27 'Now son, now son, come tell to me,
Hey down and a down
Where's the green gloves I gave to thee?'
Hey down and a down
28 'I gied to a lady sae fair and so fine
Hey down and a down
The green gloves and a gay gold ring.
Hey down and a down
29 'But I wad gie my castles and towers,
Hey down and a down
I had that lady within my bowers.
Hey down and a down
30 'But I wad gie my very life,
Hey down and a down
I had that lady to be my wife.'
Hey down and a down
31 'Now keep, now keep your castles and towers,
Hey down and a down
You have that lady within your bowers.
Hey down and a down
32 'Now keep, now keep your very life,
Hey down and a down
You have that lady to be your wife.'
Hey down and a down
33 'O row my lady in sattin and silk,
Hey down and a down
And wash my son in the morning milk.'
Hey down and a down
'We were seven sisters in a bower'- Version H; Child 5, Gil Brenton
Kinloch Manuscripts, V, 335, in the handwriting of Dr. John Hill Burton.
1 We were seven sisters in a bower,
Adown adown, and adown and adown
The flower of a' fair Scotland ower.
Adown adown, and adown and adown
2 We were sisters, sisters seven,
Adown adown, and adown and adown
The fairest women under heaven.
Adown adown, and adown and adown
3 There fell a dispute us amang,
Adown adown, and adown and adown
Wha would to the greenwood gang.
Adown adown, and adown and adown
4 They kiest the kevels them amang,
Adown adown, and adown and adown
O wha would to the greenwood gang.
Adown adown, and adown and adown
5 The kevels they gied thro the ha,
Adown adown, and adown and adown
And on the youngest it did fa.
Adown adown, and adown and adown
6 The kevel fell into her hand,
Adown adown, and adown and adown
To greenwood she was forced to gang.
Adown adown, and adown and adown
7 She hedna pued a flower but ane,
Adown adown, and adown and adown
When by there came an earl's son.
Adown adown, and adown and adown
8 'And was he well or was he wae,
Adown adown, and adown and adown
He keepet me that summer's day.'
Adown adown, and adown and adown
9 And was he weel or was he weight,
Adown adown, and adown and adown
He keepet her that summer's night.
Adown adown, and adown and adown
10 And he gave her a gay goud ring
Adown adown, and adown and adown
His mother got at her wedding.
Adown adown, and adown and adown
* * * * *
11 'Oh is yer stirrup set too high?
Adown adown, and adown and adown
Or is your saddle set awry?
Adown adown, and adown and adown
12 'Oh is yer stirrup set too side?
Adown adown, and adown and adown
Or what's the reason ye canna ride?'
Adown adown, and adown and adown
* * * * *
13 When all were at the table set,
Adown adown, and adown and adown
Then not a bit could this lady eat.
Adown adown, and adown and adown
14 When all made merry at the feast,
Adown adown, and adown and adown
This lady wished she were at her rest.
Adown adown, and adown and adown
* * * * *
End-Notes
A. a. In the manuscript two lines are written continuously, and two of these double lines numbered as one stanza.
191, 231, 692, 712, perhaps gate, gates in manuscript.
541, manuscript be a nae.
561, casket in manuscript?
b. 1. Chil Brenton has sent oer the faem,
Chil Brenton 's brought his lady hame.
B. Printed by Scott in four-line stanzas.
7, 55, 56, 58, 61, seem to be the stanzas transferred from Herd, but only the last without change.
C. The stanzas are not divided in Cromek. Between 14 and 15 the following nineteen couplets have been omitted.
First blew the sweet, the simmer wind,
Then autumn wi her breath sae kind,
Before that eer the guid knight came
The tokens of his luve to claim.
Then fell the brown an yellow leaf
Afore the knight o luve shawed prief;
Three morns the winter's rime did fa,
When loud at our yett my luve did ca.
'Ye hae daughters, ye hae seven,
Ye hae the fairest under heaven.
I am the lord o lands wide,
Ane o them maun be my bride.
I am lord of a baronie,
Ane o them maun lie wi me.
O cherry lips are sweet to pree,
A rosie cheek 's meet for the ee;
Lang brown locks a heart can bind,
Bonny black een in luve are kind;
Sma white arms for clasping 's meet,
Whan laid atween the bridal-sheets;
A kindlie heart is best of a',
An debonnairest in the ha.
Ane by ane thae things are sweet,
Ane by ane in luve they 're meet;
But when they a' in ae maid bide,
She is fittest for a bride.
Sae be it weel or be it wae,
The youngest maun be my ladie;
Sae be it gude, sae be it meet,
She maun warm my bridal-sheet.
Little kend he, whan aff he rode,
I was his tokend luve in the wood;
Or when he gied me the wedding-token,
He was sealing the vows he thought were broken.
First came a page on a milk-white steed,
Wi golden trappings on his head:
A' gowden was the saddle lap,
And gowden was the page's cap.
15-21 have been allowed to stand principally on account of 18.
There is small risk in pronouncing 24. 25, 42, 43, 80, 81 spurious, and Cunningham surpasses his usual mawkishness in 83.
E. is written in four-line stanzas.
19. mother, in the margin,
20. lady, in the margin.
F. a. 72. manuscript Till [Still?].
72 and 8, 17 and 181, 201 and 21, 231 and 24, 32 and 332, 501 and 51, are respectively written as a stanza in the manuscript.
121 , 411. Motherwell conjectures Would I wait, or would I away.
13[1, 421. Motherwell conjectures Would I away, or would I wait.
142, 432. manuscript green sleeves: but see 511, and also E 221, G 242, 282.
292, above you do not know 't is written know not who till, apparently a conjecture of Motherwell's.
302, sometimes recited
Till owre the bed this lady he Hang.
531. manuscript abroad.
b. 1. Seven ladies livd in a bower,
Hey down and ho down
And aye the youngest was the flower.
Hey down and ho down
G. The stanzas are not divided in Herd.
H. 4 is crossed through in the manuscript, but no reason given.
Additions and Corrections:
P. 62 a, last three lines. Read: said by Lockhart to be Miss Christian Rutherford, his mother's half-sister.
66 b, lines 2, 3. Read: 37 G, 38 A, D, and other versions of both.
66 b, line 4. 'Bitte Mette,' Kristensen, Jyske Folkeminder, V, 57, No 7, affords another version.
66 b, last line. For other cases of this substitution see Legrand, Recueil de Contes populaires grecs, p. 257, 'La Princesse et sa Nourrice;' Köhler, Romania, XI, 581-84, 'Le conte de la reine qui tua son sénéchal;' Neh-Manzer, ou Les Neuf Loges, conte, traduit du persan par M. Lescallier, Gènes, 1808, p. 55, 'Histoire du devin Afezzell.' (Köhler.) The last I have not seen.
67 a, note *, line 37. Read: a Scotch name.
67 a, line 14. Add the Icelandic versions of 'Torkild Trundesøn' recently printed: Íslenzk fornkvæði, II, 281, No 62, A 42 f, B 42, C 29.
65 b. A ballad from Normandy, published by Legrand, Romania, X, 867, III, which I am surprised to find that I have not mentioned, is a very interesting variety of 'Gil Brenton,' more particularly of the Danish 'Peder og Malfred.' It has the attempt at substitution (a sister); the wife acknowledges that she had been forced (par ses laquais les bras il me bandit); the husband reveals, and proves, that he was the ravisher. The beginning of the Norman ballad, which is lost, would probably have had the feature of the information given the husband by the shepherdess. Another French ballad, corrupted (environs de Redon, Ille-et-Vilaine), has this and the attempt to pass off the sister; the husband kills his wife. Music is ordered in the last stanza. Rolland, IV, 70. An Italian and a Breton ballad which begin like the Danish, but proceed differently, are spoken of under 'Fair Janet,' No 64, II, 102 f., See now Nigra's 'Fidanzata infedele' in his collection, No 34, p. 197.
To be Corrected in the Print.
71 a, 332. tell thee, ed. 1802; tell to thee, ed. 1833.
The following are mostly trivial variations from the spelling of the text.
71 b, 511. Oh, ed. 1802; O, ed. 1833.
80 b, 141. Read f[e]ast.
P. 63 b. Swedish. 'Riddar Olof,' Lagus, Nylandska Folkvisor, I, 63, No 16, a, b, imperfect copies.
64 b. Danish. 'Den rette Brudgom' (Samson and Vendelru), Kristensen, Jyske Folkeminder, X, 363, No 97.
65 b. 'Herr Peders Hustru,' the same, p. 365, = Grundtvig, No 278.
70. B. The three stanzas which follow were communicated to Scott by Major Henry Hutton, Royal Artillery, 24th December, 1802 (Letters, I, No 77), as recollected by his father and the family. "Scotch Ballads, Materials for Border Minstrelsy," No 18. Instead of 3,4:
There's five o them with meal and malt,
And other five wi beef and salt;
There's five o them wi well-bak'd bread,
And other five wi goud so red.
There's five o them wi the ladies bright,
There's other five o belted knights;
There's five o them wi a good black neat,
And other five wi bleating sheep.
"And before the two last stanzas, introduce"
O there was seald on his breast-bane,
'Cospatric is his father's name;'
O there was seald on his right hand
He should inherit his father's land.
so is written over the second and in 18.
P. 62. In Traditionary Stories of Old Families, by Andrew Picken, 1833, I, 289, 'The Three Maids of Loudon,' occur the following stanzas:
Seven pretty sisters dwelt in a bower,
With a hey-down, and a ho-down
And they twined the silk, and they workd the flower.
Sing a hey-down and a ho-down
And they began for seven years' wark,
With a hey-down and a ho-down
All for to make their dear loves a sark.
With a hey down and a ho-down
O three long years were passd and gone,
With a hey-down and a ho-down
And they had not finishd a sleeve but one.
With a hey down and a ho-down
'O we'll to the woods, and we'll pull a rose,'
With a hey-down and a ho-down
And up they sprang all at this propose.
With a hey down and a ho-down
(W. Macmath.)
--------------------------------------------------------------------------------
P. 6 7. What is said of the bilwiz must be understood of the original conception. Grimm notes that this sprite, and others, lose their friendly character in later days and come to be regarded as purely malicious. See also E. Mogk in Paul's Grundriss der germ. Philologie, I, 1019.
72. Splendid ships. See also Richard Coer de Lion, 60-72, Weber's Metrical Romances, II, 5 f.; Mélusine, II, 438 f.
Some of the French ships prepared for the invasion of England in 1386 had the masts from foot to cap covered with leaves of fine gold: Froissart, ed. Buchon, X, 169. King Henry the Eighth in 1544 passed the seas in a ship with sails of cloth of gold: Lord Herbert of Cherbury, Life and Raigne of King Henry the Eighth, 1649, p. 513. When Thomas Cavendish went up the Thames in 1589, his seamen and soldiers were clothed in silk, his sails were of damask, "his top-masts cloth of gold." Birch, Memoirs of the Reign of Q. Elizabeth, 1754, I, 57.
To be Corrected in the Print. [This correction should be under- Get Up and Bar the Door]
62, 68. A. The Jamieson-Brown Manuscript should be cited by pages, not by folios. This correction applies also to Nos 6 b, 10 B, a, 32 a, 34 B, a, 35, 53, A, C, a, 62 E, 63 B, a, 65 A, 76 D, 82, 96 A, 97 A, a, 98 A, 99 A, 101 A, 103 A.
69 b, 611. Read rauked.
To be Corrected in the Print.
447 b, note to 5, after st. 17. Read in a.
----------------------------