The Tea-Table Miscellany 9781474499248

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THE EDINBURGH EDITION OF THE COLLECTED WORKS OF ALLAN RAMSAY THE TEA-TABLE MISCELLANY

The Edinburgh Edition of the Collected Works of Allan Ramsay

General Editor Murray Pittock Available The Gentle Shepherd (Vol. I) Steve Newman and David McGuinness (eds.) The Poems of Allan Ramsay (Vols. II and III) Rhona Brown (ed.) The Tea-Table Miscellany (Vol. IV) Murray Pittock and Brianna E. Robertson-Kirkland (eds.) Forthcoming The Prose of Allan Ramsay Rhona Brown and Craig Lamont (eds.) The Ever Green Murray Pittock and James J. Caudle (eds.)

THE EDINBURGH EDITION of

THE COLLECTED WORKS of ALLAN RAMSAY General Editor Murray Pittock

THE TEA-TABLE MISCELLANY Edited by Murray Pittock & Brianna E. Robertson-Kirkland

Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress. com © editorial matter and organisation Murray Pittock and Brianna E. RobertsonKirkland, 2023 © Ramsay biography Rhona Brown, 2023 © the text in this edition Edinburgh University Press, 2023 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Constantia by Craig Lamont, and Brianna E. Robertson-Kirkland printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 9923 1 (hardback) ISBN 978 1 4744 9924 8 (webready PDF) ISBN 978 1 4744 9925 5 (epub) The right of Murray Pittock and Brianna E. Robertson-Kirkland to be identified as the editors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498).

CONTENTS

Acknowledgements i Abbreviations iii General Editor’s Preface v Biography of Allan Ramsay xvii TEXT Introduction 1 Tea-Table Miscellany I (1723) 33 Tea-Table Miscellany II (1726) 115 Tea-Table Miscellany III (1727) 193 Tea-Table Miscellany IV (1737) 285 NOTES Preliminary Matter 409 Sources for the Music 413 Tea-Table Miscellany I (1723) 497 Tea-Table Miscellany II (1726) 619 Tea-Table Miscellany III (1727) 679 Tea-Table Miscellany IV (1737) 715 Appendix 1: Preface to 1729 edition Appendix 2: Descriptive Bibliography Appendix 3: List of Persons Appendix 4: Alexander Law’s list of variants between the 1723 and 1724 editions

765 769 785 789

Glossary 791 Bibliography 807 Index of First Lines 831

ACKNOWLEDGEMENTS

The Collected Works of Allan Ramsay and its linked project, Allan Ramsay and Edinburgh in the Age of Enlightenment, have been funded by a Network grant from the Royal Society of Edinburgh (2015–17) and a major grant (£1M FEC) from the Arts and Humanities Research Council (2018–23), without whose support the project could not have been advanced at any speed. We are deeply grateful to our funders: while digital resources have changed the pace and opportunities of scholarly textual editing very considerably since the General Editor worked as a research assistant on the Edinburgh Edition of the Waverley Novels, the key transformation has been in major funding opportunities, which have served to contract what would once have been lifetime projects into a manageable length. Over the years The Collected Works of Allan Ramsay has unfolded we have been extremely fortunate in the large group of people and institutions who have helped us. Our first thanks must go to the research team: Craig Lamont, who initially came to Glasgow to work with Murray on an AHRC Collaborative Doctoral Award with Glasgow Museums on Georgian Glasgow, linked to the How Glasgow Flourished exhibition of 2014; Brianna Robertson-Kirkland, who holds a substantive Lectureship in Historical Musicology at the Royal Conservatoire of Scotland and is co-editor of this volume; and more recently James Caudle, whose outstanding textual editing experience includes fifteen years as Associate Editor of the Yale Boswell. The completion of so much of the edition so rapidly is a tribute to this outstanding postdoctoral team, who have been tireless in identifying and locating sources, preparing transcriptions, and often travelling to photograph the originals themselves. Their organisation of what became a vast store of data, and their eagerness to find answers to difficult questions at high speed, made the editorial part of the process very much simpler than it could otherwise have become. Our thanks must also go to the staff of the research libraries who engaged with this project, and to the staff at the National Records of Scotland. Thanks are also due to Ralph McLean at the National Library of Scotland, who facilitated access and organised the 2020 Treasures exhibition on Allan Ramsay at the NLS, and to Robert Betteridge, who alerted us to the Mellerstain copy of the third volume of the Miscellany. We are grateful to William Zachs for his help in organising our visit to Mellerstain, and to George Baillie-Hamitlon, 14th i

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Earl of Haddington and Lesley Abernethy for hosting us. We are also grateful to Martin Holmes at the Bodleian and to Robert McLean at University of Glasgow Archives & Special Collections. In terms of the performance of Ramsay’s songs, our thanks also go to Concerto Caledonia, and to Aaron MacGregor, Iona Fyfe, Mhairi Lawson and Scott Gardiner who reconstructed an early eighteenthcentury ceilidh and performed scenes from The Gentle Shepherd at the 2018 Ramsay Festival; Concerto Caledonia also put on a concert at Sloans Ballroom, Glasgow in 2022. Our advisory board (Professors Gerard Carruthers FRSE (Glasgow), Ian Duncan FRSE (UC Berkeley), Tom Keymer FRSC (Toronto), Sally Mapstone FRSE (St Andrews), Patrick Scott (South Carolina), Jeremy Smith FRSE (Glasgow), Fiona Stafford FBA FRSE (Oxford) and Marcus Walsh (Liverpool)) provided invaluable support as the project developed. Part of this project has been linked to the securing of a wider profile for Allan Ramsay’s unique achievement in Scottish society at large, and here our thanks go to those who have made this possible: to Rosemary Brown at the Allan Ramsay Hotel, who began the first Ramsay Festival there in 2016, to Dean Woodhouse, who photographed Ramsay Country and to Pub is the Hub, Cockburn’s and Stewart’s Brewery who supported the initial Festival, and to John Kennedy, Billy Kay, Dean Woodhouse and Sir Robert Clerk of Penicuik who supported it subsequently. Thanks too to Historic Environment Scotland for authorising the commemorative Ramsay plaque for the Ramsay Hotel and to Christine Graham MSP for unveiling it. Thanks are due too to to the staff at the National Gallery of Scotland, especially to Patricia Allerston, Helen Smailes and Lucinda Lax, for their work in supporting the Festival and Ramsay-related planning for the new Scottish Gallery in Edinburgh and to Jennifer Melville, who explored Ramsay-related knowledge exchange on behalf of the National Trust for Scotland. Along the way to this edition, we were fortunate to find venues to present our initial findings. As part of this project, Gerard Carruthers as editor of Scottish Literary Review (2018) and Tony Jarrells and Patrick Scott as editors of Studies in Scottish Literature (2020), both agreed to Ramsay-themed special issues. Among colleagues, we are also indebted to the friendship, insight and positivity of our coeditors Rhona Brown and Steve Newman, and to Gerard Carruthers and Nigel Leask. Thanks too to Michelle Houston at Edinburgh University Press, for her help in shepherding this edition through the editorial process. Murray Pittock University of Glasgow ii

ABBREVIATIONS BL

DNB

British Library

DSL

Dictionaries of the Scots Language

EUL GS

Edinburgh University Library

Jamieson

Jamieson's Dictionary of Scots

JR

The Jacobite Relics of Scotland

MS

manuscript

SFMI

National Library of Scotland

The Scottish Fiddle Music Index

SMM

The Scots Musical Museum

STS

Scottish Text Society

NLS

TTM

Dictionary of National Biography

The Gentle Shepherd

The Tea-Table Miscellany

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GENERAL EDITOR’S PREFACE

The Collected Works of Allan Ramsay is an international project which brings the works of this foundationally important poet, dramatist, song collector, theatre owner, cultural leader in art and music, and innovative cultural entrepreneur in many spheres from language to libraries, into print as a whole for the first time. There has only ever been one previous edition of Ramsay’s work, produced for the STS in six volumes. Volumes I (1944) and II (1953) were edited by Burns Martin and John Walter Oliver; Volume III (1961), IV (1970), V (1972) and VI (1974) were all edited by Alexander Kinghorn and Alexander Law. The STS edition thus lacked a consistent editorial team; it also lacks consistency in editorial policy and teamwork: for example, Martin and Oliver ‘never met’ and both died in the 1950s (STS VI:vii). As has long been recognised, the STS edition lacks the fidelity and scrutiny appropriate to a textual edition. The Index for English Literary Manuscripts entry on Ramsay, published in 1992, notes the serious limitations and inadequacy of STS as a scholarly text in uncompromising terms: ‘...deeply flawed as a scholarly edition. It is badly organised; its transcription of MSS...is unacceptably inaccurate; its contents pages, titling, indexes and apparatus are variously inadequate, inconsistent and error-ridden’ (IELM II:3, 172). Moreover, the STS edition is extremely rare (even the BL lacks two volumes) and large areas of Ramsay’s oeuvre (including the critically important Ever Green and Tea-Table Miscellany) were simply not included in it at all, despite its claim to incorporate his ‘entire writings’ (STS VI:vii). On the other hand, some work transparently not by Ramsay, such as The Journal of the Easy Club, was included, despite the original MS of the Journal not being available. Other than this edition, the only Ramsay in print was a 1985 anthology based on what the STS had done for Scottish Academic Press, which has been unavailable for many years. Ramsay has undoubtedly been short-changed by British literary history, suffering from the triple disadvantage of being a patriotically Scottish literary figure, a perceived avatar of Burns and – perhaps most seriously – a fox rather than a hedgehog: someone good at many things, not known above all for one, and thus a source of the mixture of egalitarianism and jealousy which leads human beings to be reluctant to countenance giving anyone credit in multiple spheres. v

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Yet this is undoubtedly what Ramsay deserves. I have long been interested in his multiple talents: initially appointed as the Research Associate on Ramsay by the Index of English Literary Manuscripts in 1988, I subsequently wrote on him at length in various publications, including The Invention of Scotland (1991, 2014, 2016); Poetry and Jacobite Politics in Eighteenth-Century Britain and Ireland (1994, 2006); Scottish and Irish Romanticism (2008, 2011) and Enlightenment in a Smart City (2019) as well as contributing his biography to the Oxford DNB. In 2015, the Royal Society of Edinburgh awarded me a two year grant on Allan Ramsay and the Enlightenment in Edinburgh, which gave rise to initial website resources including an interactive map of central Edinburgh, a tourist trail and the development of the annual Allan Ramsay Festival in Ramsay Country in the Scottish Borders.1 In 2017, the Arts and Humanities Research Council made a £1M award to support a collected Ramsay edition in five volumes, under contract with Edinburgh University Press. The team include myself as general editor and co-editor of The Tea-Table Miscellany and The Ever Green; Rhona Brown (Glasgow) as editor of Poems and co-editor of Prose; David McGuinness (Glasgow) as co-editor of The Gentle Shepherd; Steve Newman (Temple) as co-editor of The Gentle Shepherd; Craig Lamont (Glasgow) as Research Associate and co-editor of Prose; Brianna Robertson-Kirkland (Glasgow/Royal Conservatoire of Scotland) as Research Associate in Music and co-editor of The Tea-Table Miscellany; and more recently James Caudle (Glasgow), Research Associate and co-editor of The Ever Green. Daniel Szechi (University of Manchester) is also part of the core edition team, and there is also a Knowledge Exchange team, consisting of Lucinda Lax and Helen Smailes (National Gallery of Scotland (NGS)), Jennifer Melville (National Trust for Scotland (NTS)) and Ralph McLean (NLS). The NGS have incorporated images of Ramsay’s work as well as paintings by his son (Allan Ramsay (1713–84)) into the layout of the new Scottish Gallery and associated collections, while the NLS held an exhibition on Ramsay in 2020.2 In addition, Rosemary Brown, former landlady of the Allan Ramsay Hotel in Carlops, has hosted the Allan Ramsay Festival, supported by Pub is the Hub UK, Stewart’s Brewery, Cockburn’s of Leith, John Kennedy ‘Edinburgh’s Enlightenment 1680-1750’ website at the University of Glasgow: https://www.gla.ac.uk/schools/critical/research/ researchcentresandnetworks/robertburnsstudies/edinburghenlightenment/ introductionguide. 2 National Library of Scotland: NLS website: https://www.nls.uk/exhibitions/ treasures/allan-ramsay. 1

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of Newhall, who has embedded a ‘Gentle Shepherd’ theme in his Newhall wedding venue, and Sir Robert and Lady Clerk of Penicuik. The Ramsay Edition also supported the installation of a Historic Environment Scotland plaque, unveiled in 2016 by Christine Graham MSP, to mark the Hotel’s central position role in Ramsay Country. The legend – supplied by the General Editor – reads ‘Allan Ramsay | 1684–1758 | Founding Father of Scottish Romanticism | & Modern Scottish Poetry | Author of the Pastoral Drama | The Gentle Shepherd | Set Near This Place’. A short biography of Ramsay by Dr Rhona Brown precedes each volume of this edition. Within the life outlined there, Ramsay’s achievements were such as to rehabilitate Scots as a poetic language and to make the tradition which succeeded him possible. What was the nature of that achievement? First, his range as a poet is remarkable. His conception of Scots as ‘Doric’ and his championing – particularly in The Gentle Shepherd – of Scotland as a real location for pastoral, a pastoral nation which was substantive and not imaginary, derived from a powerful reinterpretation of the ‘Doric lay’ of Lycidas and its ‘Sicilian Muse’ (Theocritus) as not an imaginary zone for classical rhetoric but one reflective of the language and society of a modern country, Scotland, and one whose pastoral operetta is specifically located within a relatively small area of rural Lothian farmland. In 1713, Basil Kennet had compared Scots song to Theocritus in his Idylls of Theocritus and this was a connexion which Ramsay pursued. In this context, Ramsay pioneered the use of the term ‘Doric’ to describe Scots, in so doing claiming the relation of Scots to English as that of two variants, rather than presenting Scots as a variation from the standard. ‘Doric’ pastoral and ‘Attic’ urbanity were two linguistic approaches to reality, and both deserved their place. In The Ever Green (1724), Ramsay appealed for a return to Scottish tradition which he exemplified in the collecting, editing and composing of work in Middle Scots that followed, and which served to curate if not create a tradition of poetry in Scots reaching back centuries. Like the Attic, the Doric too was not merely a mode of expression, but was art and part of a literary tradition. Ramsay’s friend Sir John Clerk of Penicuik had claimed that ‘Middle Scots was “genuine Saxon” in its purest form’ and The Ever Green was Ramsay’s exemplification of that position through the demonstration and creation of a literary tradition. Just as Scots had – as Ramsay had argued in the Preface to his 1721 Poems – a greater range in vocabulary than English, it was also possessed of a discrete history and grammatical integrity as a language expressive of a national culture, vii

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one he pronounced defiantly to be still ‘Ever Green’. Ramsay followed Thomas Ruddiman (1674–1757), the protégé of his friend Archibald Pitcairne, in producing a glossary for his Scots, one which on occasion bowdlerised the meaning of the earthier Doric for a polite audience. 3 Ramsay thus reached a wider audience in Scots, something that had barely been done before. Building on the controversy between Pope and Ambrose Philips as to the extent that pastoral should represent what Wordsworth was to call ‘the real language of men’, in the 1800 Preface to Lyrical Ballads, Ramsay found a route to ground this language in the vernacular (using for example some 1500 Scots words) and simultaneously render it polite by the use of conventional high cultural genres, English-Scots rhyme words to guide the reader and a glossary of Scots, presented on occasion in bowdlerised form. In so doing he blended Addison’s aesthetic commitment to ‘a taste for polite writing’ (Spectator, 7 May 1711) with the English author’s ‘delight in hearing the songs and fables that...are most in vogue among the common people’ (Spectator, 21 May 1711). In promoting Poems (published in two volumes in quarto in 1721 and 1728), Ramsay acquired a stupendous and (until now) unexamined list of subscribers for work in Scots to a British audience. The current author and Daniel Szechi are currently working on an article on the prosopography of the subscription list. The Preface to Ramsay’s 1721 Poems explicitly states the naturalness of Scots to both Ramsay as an individual and to the wider community (‘That I haver exprest my Thought in my native Dialect, was not only my Inclination, but the Desire of my best and wisest Friends’) and the supremacy of Scots over English, ‘our Tongue by far the completest’). The social status of Ramsay’s subscription list no doubt helped to bolster the appeal to ‘Friends’ to imply that this was a judgement of no cosy coterie, but of the best judges. Yet while some of the poems are fully Scots, others are hardly so and yet others are barely Scots at all in their language. The duodecimo Tea-Table Miscellany which followed from 1723 might hint in its format at the air of the autochthonous and informal, but this was misleading: for the ‘Scots Sangs’ of its tradition were extensively culled from the London prints and stage, and very few of them were Scots in the later volumes in particular. Yet at the same time, Ramsay presented Scots song for the first time as having a history, a suitable subject for future Museums and 3 David Duncan, Thomas Ruddiman, (Edinburgh: Edinburgh University Press, 1965), pp.170-71; Murray Pittock, Enlightenment in a Smart City, (Edinburgh: Edinburgh University Press, 2019), p.167.

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Relics, and the expression of a genuine tradition. Ever since Ramsay wrote, it has been assumed that Scottish song is possessed of such a tradition. Originally apprenticed as a wigmaker (and a speedily successful one, judging by the 1711-12 stent roll assessments), Ramsay went on to be a dealer and auctioneer in coins, books, pictures, medals, watches, clocks, rugs, jewels, silver plate and arms.4 A member of the Music Club by 1720, Ramsay supplied it with sheet music, thus expanding his commercial base. Through his contacts there and its successor Musical Society, Ramsay found a way to situate his ‘native’ song collection within the increasingly mixed and hybridised repertoire of Scots song. The later Musical Society (1728) included several subscribers to Ramsay’s Poems, and ordered music from Ramsay’s shop. Within the new European market for music, Ramsay was collecting and republishing the acceptably cosmopolitan under the guise of its being an access point to the native and autochthonous, and Scottish literature has benefited from his intervention here ever since, even though a chimera called ‘the folk tradition’ has long stood in for the realities of early modern print transmission from multiple sources. In 1725, Ramsay created the first effective subscription library in the British Isles, probably based on an innovative reinterpretation of the booksellers’ practice of renting out expensive and slow moving stock: one of the few surviving bookseller’s day books from the era shows Ramsay renting out such stock in 1715. When his library opened, for the price of 10s a year Ramsay also opened reading to whole new markets, not least women, and this drew the wrath of some, such as Robert Wodrow (1679–1734), the Covenanter apologist whose phrase ‘the Killing Times’ became widely accepted as a description of the conflict between religious zealots and the state under the later Stuarts. In 1729 Ramsay co-founded the Academy of St Luke, the first art school in Scotland, with the goal of furthering his son’s career and perhaps also that of arresting the declining number of painters in Scotland since the Union. In 1736–7, he attempted to found a permanent theatre for Edinburgh at Carrubber’s Close, building on his work leading the City’s ‘Company of Comedians’ in 1732. It was a location for what may have been another Ramsay innovation in the shape of the development The Caledonian Mercury, 25 November 1736 announcing the 20 January 1737 Auction of valuable Books and other articles as well as Ramsay’s Scots Proverbs, ‘just published’ (the normal date of publication for these is given as 1737, which may suggest that their release was held back until the date of the auction).

4

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of season tickets and ‘early bird’ booking discounts. These sought to mitigate the risk that audiences would stay away from a play on its first night(s) to see what the reaction of others was, and thus inadvertently collapse the production. The city authorities – in general more the friends of Wodrow’s religious outlook than Ramsay’s moderate and Enlightened Presbyterianism – suppressed the theatre through a more zealous application of the 1737 Licensing Act than that practised in some English cities. Finally closed in 1739, Ramsay’s theatre was subsequently converted into a chapel. Ramsay was concerned by the cost of his failed theatrical experiment, as well he might be, having spent a considerable amount of money in the 1730s to build the Guse Pye, his house on Castlehill which now forms the core of Ramsay Garden. His house and shop in the Lawnmarket, bought for £570 in 1725, was for a number of years ‘the rendezvous for the wits of the city’, forming one of the early core locales of the Enlightenment, together with taverns like Don’s and Balfour’s.5 Ramsay’s achievements were commemorated in his own lifetime. In 1741, the Allan Ramsay Library in Leadhills was founded by the local miners and senior staff in the lead mine and from the town including James Stirling FRS, the formidable mathematician who since 1734 had managed the Scots Mining Company, his Jacobitism disqualifying him from more elite pursuits. There were at least two plans to commemorate Ramsay in Edinburgh with a monument in Canongate Kirkyard or via a statue ‘for the roof of the Ragged School in Ramsay Lane’, but these came to nothing.6 The poet was however commemorated on the Scott Monument and the Usher Hall, and most prominently by Sir John Steell’s 1855 statue on Princes Street, Edinburgh, itself based on the 1729 sketch of the poet by his son (Scotsman, 24 November 1855). The statue itself stands directly in front of Ramsay Garden, the development designed by Sir Patrick Geddes (1854–1932) round Ramsay’s house at Ramsay Lodge during 1890–93 in tribute to his predecessor as Enlightenment polymath. Used as a residence of the University of Edinburgh, in the Ramsay Lodge area the house rules were to be drawn up by the students themselves. The painter John Duncan (1866–1945) provided murals for the interior and Nelson Bushnell, William Hamilton of Bangour, (Aberdeen: Aberdeen University Press, 1957), pp. 16, 40; Pittock (2019), p.187. 6 Patricia Andrew, ‘Four Statues and a Landslip: Allan Ramsay, John Wilson, Thomas Guthrie and Charity’ Book of the Old Edinburgh Club ns12 (2016), p.65 5

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later became the main illustrator for Geddes’ journal The Evergreen (1895–97), which was itself a tribute to Allan Ramsay’s volume of the same name, which had helped to create a national tradition for form and vocabulary in Scots writing. The new edition sets out to foreground the work of the poet as never before, while its accompanying monograph, Enlightenment in a Smart City (2019), explores Ramsay’s work as a cultural entrepreneur and its effect on the Scottish Enlightenment. But there has of course also been a considerable scholarly response to Ramsay since his death in 1758, some of which is captured in the Bibliography and Reception sections of the project website; Rhona Brown’s ‘Allan Ramsay and Robert Fergusson’ (Oxford Bibliographies Online, 2012) is currently the best available general bibliography, though a good deal of new research on Ramsay has come into print in recent years, including special editions of the Scottish Literary Review (10:1, 2018) and Studies in Scottish Literature (46:2, 2020). Ramsay’s writing went through numerous editions, not least the Tea-Table Miscellany and The Gentle Shepherd, which appeared with illustrations by David Allan in 1796. In 1799, Joseph Ritson proposed an edition of Ramsay’s works as ‘the untutored child of nature & of genius’, an interesting persistence of the Miltonic characterization of Shakespeare from L’Allegro, which Henry Mackenzie had recently applied to Burns (Bronson (1938) I:232). In the late 1840s the prolific Victorian editor, Alexander Grosart, considered producing an edition of Ramsay, which was never completed. A Selected Ramsay was produced by J. Logie Robertson in 1887, and a short and inaccurate biography by Oliphant Smeaton in 1896 in the Famous Scots series. Ramsay was frequently aligned with Burns as a founding father of Scottish poetry: at the Newcastle Burns Centenary celebrations in 1859 for example, a whole exhibition room was given over to Fergusson, Ramsay and Burns. The full Textual Policy of the edition is available on our website.7 With regard to the Poems (1721 and 1728, incorporating earlier collections), Ever Green (1724) and the Tea-table Miscellany (TTM, 1723, 1726, 1727, 1737), each major collection of Ramsay’s will appear separately as first issued, with miscellaneous printed poems or songs not included in collections of poems or those which appeared in print separately appearing in the edition following on from the University of Glasgow: https://www.gla.ac.uk/schools/critical/research/ researchcentresandnetworks/robertburnsstudies/edinburghenlightenment/ theeditorialteam. 7

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main print collections. This Uncollected section will be listed by the date of appearance where possible, and miscellaneous MS poems which did not appear in print in Ramsay’s lifetime under his name and are not in his hand will normally appear in Dubia. Where – as in the case of Poems and the Miscellany – there are multiple volumes to accommodate, chronological and volume integrity will be preserved where these were present in the original publication of history. The recreation of the experience of the volume as it initially appeared will be paramount, which will involve the reproduction of the 1725 Gentle Shepherd text in the Poems of 1728, although major textual issues and annotation and above all its musical notes will in large part be reserved to the Gentle Shepherd volume (which will include both the 1725 and 1729 texts) to reduce duplication. Notes on Ramsay’s poems and songs follow a first collection basis: the Note will normally be most detailed in the volume in which the text first appeared. In the case of material in the edition which did not appear under Ramsay’s name in print in Ramsay’s lifetime (for example letters or newly identified contributions to periodicals), the original MS or periodical publication text will be the copy text. In all these cases the text will be edited completely afresh, and there will be no dependence on previous printings. If there is more than one surviving MS, then the chronologically prior MS will be used with collated variants from the other MS recorded in the Notes. Collations note redactions and cancellations as well as substantive and accidental changes. In cases where two or more MSS exist and neither/none can be shown to be chronologically prior, both or all will normally be printed. Obituaries, Elegies and Poems on Ramsay may appear in the Reception area of the website, except where Ramsay answers or initiates an exchange himself or where such poems are included in his texts, in which case they may be incorporated into the edition. In terms of collation, the following will be collated and will appear as a unified entry in the Notes, where textual variants (including accidentals) will precede Notes on the text or issues to be glossed or interpreted: All MS variants in Ramsay’s hand including accidentals Published variants prior to the first collected edition authorised by Ramsay or likely to have been so authorised as above • In the case of Christ’s Kirk and other poetry where Ramsay used e.g. the Bannatyne MS but which were not in the first • •

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instance by Ramsay, a summary of major textual changes undertaken by Ramsay. The ‘1720’ Poems, which exists in several inconsistent copies, some of which include material dated later than 1720, will be discarded. The evidence that these were pirated gatherings of previously (and sometimes subsequently!) printed material is too strong, both in terms of the inconsistency of surviving copies with each other, and the sheer unlikelihood that Ramsay would have authorised an edition of his poems without subscription months before he unveiled one with a pan British subscription list drawn from the highest ranks of society. When there is more than one impression of the first edition, where possible the text printed for Ramsay to sell in his shop should have precedence: in determining this case, his relationship with both the engraver Richard Cooper (1701–64) and the printer and grammarian Thomas Ruddiman (1674–1757) is understood as central. Substantive changes in subsequent published editions which Ramsay was clearly engaged in in his lifetime will be recorded in the Notes as will marginalia by his son and Shenstone (this only applies in the case of the Gentle Shepherd) and himself, together with variant MS readings if applicable. A modern print glossary will also be provided in each volume, based on Ramsay’s Glossary where possible, with definitions from Jamieson’s Dictionary or (in the event of no Jamieson’s entry) the Scottish National Dictionary for comparison. Where there are extensive musicological notes there will be a separate Music bibliography which utilises musicological bibliographical conventions. With regard to music, detailed consideration will be given to sources of tunes from before the first appearance of the copytext; other sources no later than 1758 may appear in the Notes by way of providing supporting context when they shed light on the earlier history of the tune, or when no sources prior to the publication of the copytext are extant. Small variances between readings will be described in the critical commentary, and significantly diverse readings, whether in musical style or content, will be presented in full. What follows will do for Allan Ramsay what has never been done, which is to take him seriously as an editor and literary innovator as well as an author: and it will help him reclaim the central place in the development of the literature of Scotland which is his due. This edition will provide both a comprehensive and a new Ramsay: innovative, experimental, dynamic and central to the intellectual life of Edinburgh and Scotland. It will also offer a comprehensive xiii

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archaeology of the origins of his music and verse which will render his Scottishness a visibly relational artifact, strongly embedded in English and metropolitan song and the language of politeness, while in return exposing that very audience to hundreds of Scots words and many double entendres of language and reference with their roots in Scots. Ramsay will be displayed as the man who brought a new dimension of cosmopolitan engagement to Scottish writing and song under the guise of defending its native traditions, and in doing so, strengthened them and gave them a place in the British imaginary. The Collected Edition of the Works of Allan Ramsay will present the artfulness of the collector, editor, author and cultural entrepreneur as never before. Murray Pittock University of Glasgow General Editor, The Collected Works of Allan Ramsay

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Allan Ramsay, 1684–1758. Poet (1729) by Allan Ramsay the younger (1713–84) National Galleries of Scotland

ALLAN RAMSAY (c. 1684–1758)

Poet, playwright, song-collector, antiquarian, editor, bookseller and early Enlightenment entrepreneur Allan Ramsay was born on 15 October, probably in 1684, at Leadhills, Lanarkshire, to John Ramsay (c.1660–1685) and Alice Bower (d.1700). When his father, a superintendent of the lead mines on the Hope family estate, died in Ramsay’s infancy, his mother married local bonnet laird Andrew Crichton. Ramsay was probably educated at the parish school of Crawfordmuir until the time of his mother’s death, when he was in his mid-teens. In early 1701, Ramsay moved to Edinburgh to undertake an apprenticeship in wig-making. He received back his indentures from his employer around 1709, opened his own periwig business, and was appointed a burgess of the city on 19 July 1710. Ramsay’s move to Edinburgh developed his intense interest in the literature of Scotland, both past and present, and Jacobite satirist, Latinist and physician Archibald Pitcairne (1652–1713) was a significant early influence. The style of The Assembly and Babel, Pitcairne’s satires on the Presbyterian church, would help Ramsay hone his own poetic voice even if he did not share Pitcairne’s anti-Presbyterian sentiment. Furthermore, Pitcairne’s protégé, the printer and classical scholar Thomas Ruddiman (1674–1757), would become Ramsay’s chief publisher. James Watson’s Choice Collection of Comic and Serious Scots Poems, both Ancient and Modern (1706, 1709, 1711) was an influential favourite, which introduced Ramsay to enduring Scottish literary forms, metres and styles, as well as the ways in which the Scottish canon could be anthologised. Contained within Watson’s Collection is William Hamilton of Gilbertfield’s (1665?–1751) ‘The Dying Words of Bonny Heck, A Famous Grey-Hound in the Shire of Fife’. This text, with its mock-tragic comedy and Standard Habbie verse form – named after Robert Sempill of Beltrees’s (1595?–1663?) poem ‘The Life and Death of Habbie Simson, the Piper of Kilbarchan’ – helped Ramsay to crystallise his own literary style and Scots vernacular poetic mode. His early publication, the ‘Elegy on Maggy Johnston’, which borrows tone and form from Sempill and Hamilton, was probably written in 1711. Around this time too, Ramsay plunged himself into the cultural and literary life of Edinburgh. He was a founding member of xvii

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the city’s Easy Club, which was established in May 1712 and modelled on the London Spectator Club formed by contemporary poets Joseph Addison (1672–1719) and Richard Steele (1672–1729). Early eighteenth-century Edinburgh was awash with gentleman’s clubs, and the Easy Club was part of the city’s convivial scene. Its members were principally young men keen to develop their credentials as ‘gentlemen’, and the Club provided an ‘easy’ and sympathetic space in which to share and discuss literary compositions. One of Ramsay’s earliest published works, ‘A Poem to the Memory of the Famous Archibald Pitcairn’, was printed by the Club probably in late 1713, following Pitcairne’s death on 20 October and around the time when Ramsay was elected as the Club’s Praeses, or President. Pitcairne’s death may also have prompted an Easy Club decision to adjust their convention of referring to themselves and each other by pseudonyms when in attendance at the Club. Following Pitcairne’s death, and at the time when Ramsay was about to take the chair, members ‘unanimously resolv’d in warm expressions by each that none of this club shall have English but Scots patrons’. Ramsay’s club pseudonym therefore changed from Isaac Bickerstaff – after Steele’s fictitious editor of The Tatler – to Gavin Douglas (c.1474–1522), Bishop of Dunkeld, poet and translator, known for his Eneados, a Scots translation of Virgil’s Aeneid, which had been republished in an influential edition by Thomas Ruddiman in 1710. Ramsay was appointed Easy Club Poet Laureate in early 1715, and the society was dissolved in the same year. The Easy Club has been associated with Jacobitism and anti-Unionism, both of which are seen clearly in Ramsay’s ‘Poem to Pitcairne’, which portrays ‘those who their Country Sold’ in 1707 floating in ‘a Pool of Boyling Gold’ in the afterlife. Perhaps due to the increasing danger associated with professing Jacobite convictions, Ramsay never republished the poem in his lifetime, and it was not rediscovered until 1979. In the same year as the Easy Club’s foundation, in December 1712, Ramsay married Christian Ross (d.1743), the daughter of writer (solicitor) Robert Ross and Elizabeth Archibald. Ramsay and Ross had many children, but only four survived into adulthood: three daughters, Janet, Catherine and Anne, who were bequeathed their father’s shop, and eldest son Allan Ramsay junior (1713–84), a prominent portrait painter who became official painter to George III in 1760. Throughout the 1710s, Ramsay continued to establish his literary reputation by releasing individual poems in broadside and chapxviii

Biography of Allan Ramsay

book formats. He published his Christ’s Kirk on the Green, which features an edited transcription of the original text in the Bannatyne Manuscript as well as stanzas of his own composition, for the first time in 1718. In the same year, he issued a collection of Scots Songs. By the end of the decade, Ramsay had abandoned wig-making and entered business as a bookseller and dealer in prints at Edinburgh. A ‘gather-up’ edition of Ramsay’s work to date was published in Edinburgh in 1720. However, recent research has cast doubt on whether Ramsay authorised this publication: in 1719, he made a complaint to the Edinburgh Town Council that his works were being pirated and, at the time of the ‘gather-up’s’ publication, he was preparing a subscribers’ edition of his Poems, which would be released in 1721. Given Ramsay’s entrepreneurial instincts, it is unlikely that he would have authorised the release of a poor-quality volume which had the potential to hurt the sales of his subscribers’ edition, about to be published in prestigious format by the influential Ruddiman. The subscribers’ edition of Ramsay’s Poems was a success, earning its author 400 guineas. In the early 1720s, Ramsay published a collection of Fables and Tales (1722), which features Scots translations of the fables of La Motte and La Fontaine and, in the same year, an anonymous dramatic poem entitled A Tale of Three Bonnets, which satirises those Scots who had taken Scotland into Union with England in 1707. His The Fair Assembly (1723) defends a local dancing assembly which had been targeted and denounced by Presbyterian commentators as profane and licentious. In 1723, Ramsay published the first volume of his The Tea-Table Miscellany: A Collection of Scots Songs (1723, 1726, 1727, 1737), an anthology of both contemporary and older songs in Scots and traditional ballads in which Ramsay worked as collector, editor and lyricist. An edition of his poem Health was published in 1724, alongside poems in tribute to the Royal Company of Archers, of which he had become a member that summer. In the same year, Ramsay enlarged on the success of his Christ’s Kirk on the Green, which had gone through at least five editions – some of which were authorised and some unauthorised – by publishing The Ever Green: being a Collection of Scots Poems, Wrote by the Ingenious before 1600. Ramsay treats the Bannatyne texts in the same way as he had approached the songs for The Tea-Table Miscellany: he regularly adapted the older texts he collected, adjusting them for his early-Enlightenment audience, and added work of his own: in The Ever Green, ‘The Vision’, which was probably written xix

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by Ramsay, is presented in a faux-medieval style. Ramsay’s interest in drama was evident from an early stage, in his composition of masques, dramatic dialogues and, later, prologues and epilogues for the theatre. In 1725, he published an early version of his pastoral play, The Gentle Shepherd, which took his fame to new heights with its instant popularity. Based on earlier pastoral poems Patie and Roger (1720) and Jenny and Meggy (1723), The Gentle Shepherd sets the pastoral drama in the countryside outside Edinburgh, puts Scots vernacular in the characters’ mouths, and explores Jacobite themes of exile and return through the character of Sir William Worthy. Throughout the 1720s, Ramsay developed The Gentle Shepherd by incorporating songs into the drama, first by referring readers to specific songs in The Tea-Table Miscellany, and finally printing the songs alongside the play’s dialogue in the edition of 1734. By this time, The Gentle Shepherd was a fully-developed ballad opera in the style of John Gay’s The Beggar’s Opera (1728). It enjoyed enormous success, being performed hundreds of times throughout Britain in the eighteenth and nineteenth centuries. In 1728, Ramsay released a second subscription volume of Poems which reveals the extent and prestige of his patronage networks at this time. As with Poems (1721), Ramsay’s subscribers included numerous prominent aristocrats, merchants and literary figures, such as Alexander Pope (1688–1744) and William Somerville (1675–1742). It is likely that Ramsay formed a friendship with poet and playwright John Gay (1685–1732) through their shared patronage by the Duke and Duchess of Queensberry: Ramsay was introduced to Gay’s work by the Duchess, and the two poets almost certainly met and conducted an epistolary relationship. Ramsay cemented his position as editor and gatekeeper of Scottish culture in the ensuing decade, issuing an additional anthology of fables in 1730, and A Collection of Scots Proverbs in 1737. At this point, and with his literary fame assured, Ramsay developed significant cultural initiatives alongside his editing, writing and bookselling. In around 1725, Ramsay moved his shop to the Luckenbooths, a prime position in central Edinburgh, where he opened the first circulating library in Britain. In the late 1720s, he published the anonymous Defence of Dramatic Entertainments, a prose piece which defends the theatre and actors in the context of virulent Presbyterian hostility to drama, before establishing his own theatre in Edinburgh’s xx

Biography of Allan Ramsay

Carrubber’s Close, which opened in November 1736. Ramsay staged numerous plays and pioneered the use of the season ticket, before a government statute was passed in 1737 which banned the staging of plays outside London except when the king was in residence. Ramsay battled to preserve his theatre, but was forced to close its doors in 1739. A decade earlier, Ramsay was one of the founders, perhaps with the assistance of his artist friend John Smibert (1688–1751), of the Academy of St Luke, an art academy for local painters including his own son, Allan, which was functional until the mid-1730s. By now, Ramsay had reduced his bookselling duties and turned his attention to the construction of a villa on Edinburgh’s Castle Hill, known colloquially as the ‘Goose Pie’ due to its octagonal shape, thereafter sharing the house with his wife Christian and son Allan. At the Jacobite Uprising of 1745, Ramsay, now widowed, left the city and stayed away for the duration of the action, probably lodging with his friend and patron Sir John Clerk of Penicuik; his house was nevertheless used as a base by the Jacobite army in his absence. Indeed, a portrait of Charles Edward Stuart, painted in Edinburgh by Ramsay’s son Allan Ramsay junior in late 1745, has recently been rediscovered and acquired by the Scottish National Portrait Gallery. Ramsay finally retired in 1755 at around the age of seventy-one, when his health had begun to decline. He died on 7 January 1758, and is buried in Edinburgh’s Greyfriars Kirkyard. In 1759, Ramsay’s name was inscribed on the obelisk built by Sir James Clerk on the Penicuik estate around 1756. In 1846, Ramsay’s image was included in the Scott Monument on Edinburgh’s Princes Street, and his own statue, on the corner of Princes Street Gardens and The Mound, was unveiled in 1865.

Rhona Brown University of Glasgow

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INTRODUCTION

1. History The Tea-Table Miscellany (TTM) was an enormously successful collection of traditional song, assembled by Allan Ramsay in four volumes between 1723 and 1737, more than twenty-five years before Dr John Gregory’s 1763 paper to the Edinburgh Philosophical Society which – perhaps for the first time – ‘distinguished between classical and folk music’. In some ways a product at the upper end of the chapbook and broadside market, in others an artfully confected means of creating a hybrid and genteel basis for selling apparently ‘indigenous’ song to a middle-class audience, the TTM was a raging success. The first volume initially appeared in 1723, with an impression also issued on 1 January 1724;1 the second in 1726, the third in 1727 (as did A New Miscellany of Scots Sangs) and the fourth and last ten years later. The collection went through some fifteen editions (the numbering of editions is inexact as we shall see) in Ramsay’s lifetime and was reprinted thirty-five times by 1800, while other collections used many of its songs. Almost a century later, The Times described Ramsay as ‘entitled to the credit of having inaugurated cheap literature’, a more than backhanded compliment signifying Ramsay’s role as a canonical midwife to the fugitive literature of the streets. In reality, while The Lass of Peatie’s Mill circulated separately in broadside format in 1718, and other songs such as Bonny Boatman and Lochaber No More continued to circulate in broadside form – quite possibly not approved by Ramsay – into the mid 1720s, Ramsay’s sources were more genteel. He wrote almost half (36) of the first volume’s 88 songs himself, excluding those he edited and Dubia, while in the later volumes (especially III and IV) he used London songs from ballad opera and Vauxhall Gardens performance extensively, with a strong leavening (especially in Volume III, which seems to have been hastily arranged, lacking titles or tunes) of English Restoration poetry and song. In all Ramsay authored some 17 songs in A possibility exists that the ‘1723’ edition is in fact ‘1724’, being dated as 1 January at a time when the year started on 25 March (old style) in England; however, Scotland had switched to a 1 January start to the year at the beginning of the seventeenth century. 1

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TTM II, one in the third volume and up to 15-16 in the final volume of 1737: these attributions have never before been established. As ‘literature of the streets’ goes, this was the acme of respectability. In fairness, however, there has long been a general tendency to exaggerate orality and the oral origins of ‘folk song’, despite the fact that ‘cheap popular literature’ was ‘feeding into the oral tradition in bulk, at least from the 1620s onwards, when the cheap print trade seems to have been sharply expanded’. In this context, David Johnson’s accusation that Ramsay ‘obliterated’ the folk tradition in favour of a ‘a complete new Scottish song repertory’ is an example of the romanticisation of the notion of an entity termed the ‘folk tradition’, evidence for the existence of which is seldom forthcoming. In reality, Ramsay was an early Romantic collector of a type increasingly familiar after his lifetime, whose assemblage of autochthonous tradition was nearly always a fusion of varied print sources. The bulk of the songs he did not author or edit had been in print before and derived from English sources.2 In TTM then, Ramsay both partly invented and inaugurated a tradition. The TTM was a foundational text of the Scottish song collections of the eighteenth century and the Romantic period, ‘a hugely influential publication in terms of canonising a repertoire of song’. It has even been called ‘synonymous with the very idea of “Scots song”’, while as Joanna Clements puts it, ‘Ramsay’s focus on domestic music-making was followed by many later collections’. Building on seventeenth-century associations of Scotland with pastoral in English broadsides and portrayals of Scots in performance and on stage, Ramsay took decisive steps to associate Scottish song with pastoral, and the Scots language with Doric, the variant of Greek used by Theocritus (fl.300-260BC), pre-eminent pastoral writer of the ancient world, and court poet to the Ptolemies of Egypt, legendary land of origin of the Scots. Doric was also the language of Rhodes, Ruth Perry, ‘”The Finest Ballads: Women’s Oral Traditions in EighteenthCentury Scotland’, Eighteenth-Century Life 32:2 (2008), pp.81-97 (81, 85); The Times, 15 October 1886; Margaret Spufford, Figures in the Landscape, (Aldershot: Ashgate, 2000), p.216; Adam Fox, ‘”Little Story Books” and “Small Pamphlets” in Edinburgh, 1680-1760: The Making of the Scottish Chapbook’, Scottish Historical Review XCII:2 (2013), pp.207-30 (227); see also R.S. Thomson, ‘The Development of the Broadside Ballad Trade and its Influence on the Transmission of English Folk-songs’ (unpublished Ph.D, Cambridge, 1974); Johnson, quoted in Karen McAulay, Our National Airs: Scottish Song Collecting from the Enlightenment to the Romantic Era, (Farnham: Ashgate, 2013), pp.25-26. 2

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Introduction

Sparta and other leading centres of the Greek world. Ramsay’s use of the term thus associated Scotland’s song (especially when written in Scots/Doric) with the country’s reputedly simple and ancient origins as eastern and pastoral. This somewhat dubious association went on to be popular later in the century: James Beattie (1735–1803) even believed that ‘real shepherds’ had written the songs of Scotland. In Ramsay’s hands, it provided an infrastructure to Scotland’s claim to a separate literary tradition, and the claim of Scots to be an alternative Anglophone language to English, not merely a dialect: the Doric of Sparta and Syracuse was not subordinate to the Attic of Athens. It received traction because – unlike the case in regional England to the same degree – elite Scots often spoke in Scots and were positive about Scottish music and culture.3 In his Scots Songs of 1718, Ramsay had begun a publication history which was already dedicated in large part to the canonisation of an apparently native tradition, a method also employed in the praise of Scotland’s native garb in Tartana: Or, the Plaid in the same year. In The Ever Green (1724), he developed this by making a clear argument for the autochthonous qualities of Scots poetry and song, presented under the metaphorical terminology of national dress in a part edited and part created national tradition. This represented a movement away from his predecessor James Watson’s ‘integration of old and new poems’ towards the segregation of historic tradition from before the Union of the Crowns in 1603 from the post 1603 verse of the 1723 Miscellany.4 TTM’s conception of the native and authentic from the later period was from the beginning blended – even in its title – with the apparently more cosmopolitan realms of emergent British middle-class culture and civility. The first volume of TTM was listed in Burns Martin’s 1931 bibliography as appearing in 1724, but subsequently an edition dated 1723 was identified at Yale, which differs slightly in textual terms, but is Joanna Clements, ‘The Creation of “Ancient” Scottish Music, 1720-1838’, unpublished Ph.D, (Glasgow, 2013), pp.14-15, 32, 42, 47, 57, 87, 101; Matthew Gelbart, The Invention of ‘Folk Music and ‘Art Music’, (Cambridge: Cambridge University Press, 2007), pp.97-98; Claire Nelson, ‘Tea-table miscellanies: The development of Scotland’s song culture, 1720-1800’, Early Music (November 2000), pp.597-618 (599-600). 4 Leith Davis, ‘Imagining the Miscellaneous Nation: James Watson’s Choice Collection of Comic and Serious Poems’, Eighteenth-Century Life 35:3 (2011), pp.60-80 (75-76). 3

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also printed by Ruddiman for Ramsay at the Mercury, though placed in Niddrie’s Wynd rather than Cross-Well.5 Volume II of TTM followed in 1726, being published in both Edinburgh and London, a move which was (as was the appearance of a second volume) indicative of the success of the concept. Indeed, Volume II is already advertising a fourth edition in its endpapers, and fresh editions began to appear long before the four volume collection was complete. A third volume was published in 1727, and in 1730 a collected edition was produced, followed by the final Volume IV in 1737, advertised as ‘just published’ (once again by Ruddiman) in the Caledonian Mercury of 15 December 1737. By 1740, the ‘twelfth Edition in about twelve Years’ was published in Dublin, but since this was followed by ‘This eleventh edition in a few years’ at London in 1750 and the ‘twelfth edition’ at Glasgow in 1753, the exact textual history of the TTM remains vexed: we have developed our own numbering scheme to identify editions as accurately as is at present possible in the accompanying Bibliography. What can be said without doubt is that Ramsay’s collection was exceptionally popular.6 The first volume of TTM was dedicated to ‘ilka lovely British Lass’, a dedication that encapsulated both the autochthonous Scottish tradition Ramsay claimed to be collecting and the role he was assigning it in polite British society. As an opening, it neatly captures his aim of expressing a native tradition for a wider audience. As the dedication progresses, other implications are revealed. To ilka Lovely British Lass, Frae Ladys Charlote, Anne, and Jean, Down to ilk bony singing Bess, Wha dances barefoot on the Green.

These names may well be more than coincidental references. Caroline of Ansbach (1683–1737), the future George II’s Queen, was the ward of Sophia Charlotte, Queen of Prussia, and ‘Charlotte’ became a Hanoverian family name; Anne (1709–59) was George II’s eldest daughter, the Princess Royal. ‘Jean’ had been a royal and noble girl’s See Alexander Law, ‘The First Edition of “The tea-table miscellany”’, The Bibliothek (1969), pp.198-203 for textual variations between these editions; his list is reproduced in Appendix 4. 6 Douglas Duncan, Thomas Ruddiman, (Edinburgh: Edinburgh University Press, 1965), p.80n. 5

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Introduction

name in Scotland for centuries: among contemporary Jeans were Lady Jean Campbell, wife of the Marquess of Lothian; Lady Jean Maxwell, Lady Jean Gordon, the Duke of Gordon’s daughter, and many others. But Jean was also a socially liminal name – Jean Armour is one actual example, Jeanie Deans (Heart of Midlothian) a fictional one – that traversed the spectrum of Scottish society: it was classless. The use of such a name may allow Ramsay to suggest both the qualities of the Scottish nobility that justify their being taken seriously as partners in Great Britain, and the more porous class boundaries of Scottish society, which are reinforced in the last two lines. The poem that follows is addressed to these ‘Dear Lasses’, and further explicitly links the collection to the domestic realm and to female society:

While Kettles dringe on Ingles dure, Or Clashes stay the lazy Lass; Thir Sangs may ward you frae the sowr, And gayly vacant Minutes pass. E’en while the Tea’s filled reeking round, Rather than plot a tender Tongue, Treat a’ the circling Lugs wi’ Sound, Syne safely sip when ye have sung. May Happiness had up your Hearts, And warm you lang with loving Fires: May Pow’rs propitious play their Parts, In matching you to your Desires.

These concluding stanzas grow more English in their language and rhetoric as they draw to a close. The implication is that singing the songs of the TTM will not be simply a virtuous diversion from gossip, but will open the door to love for the ‘Wanton wee Thing’ (a phrase Burns appropriated) on whose ‘lovely Knee’ sits ‘The Spinnet tinkling with her Voice’. The image is one of female skill and control which the poem suggests will extend from tea and music to love and happiness. Yet even as we verge on the language of the London drawing-room, Ramsay draws us back in the collection that follows into musical traditions that are very remote from the polite Britishness with which he is flirting. Leaving aside the insistent and determined support of Scots, which Ramsay had already defended in the Preface to his 1721 Poems, 5

one Gaelic song appears in TTM volume I, ‘A SONG to the Tune of, – Chami ma chattle, ne duce skar mi…’, a bastardisation of the Scottish Gaelic ‘Tha mi ’nam chadal; na du` isgibh mi’ (I am sleeping; don’t wake me up). Elsewhere there is a significant Scots language presence in the songs, light but insistent, as a mood-enhancing background to the subject matter of love, and a guarantee moreover of its integrity and authenticity: To win your Love, Maid, I’m come here, I’m young, and hae enough o’ Gear, And for my sell you need na fear, Troth try me whan ye like. He took aff his Bonnet, and spat in his Chew, He dighted his Gab and he pri’d her Mou… …The Maiden blusht and bing’d fu’ law, She had na Will to fay him na, But to her Dady she left it a’…7

The integrity and practicality of the lover and the filial duty and sexual willingness of his beloved are conveyed through Scots, where no screen of heightened register and polite emotion separates sentiment from its frank expression. This voicing of Scottish culture as distinctive and persistent in the context of post-Union Great Britain was of a piece with Ramsay had previously written and done with regard to Scottish letters and music. In 1720, he became a member of the Music Club of Edinburgh, selling its music in his shop and playing a central role in the creation of the modern Scottish song tradition’s fusion of classical and native features. The Club’s members at one time or another included the prominent Jacobites William Boyd, Earl of Kilmarnock (1705–46), Archibald Pitcairne (1652–1713) and Patrick Abercrombie (1656–c.1716), sometime physician to James VII, who lost his post at the Revolution, as well as James Christie of Newhall (1675–1749), Sir John Clerk of Penicuik (1676–1755), Colin McLaurin (1698–1746, also of the Rankenian and Philosophical Society), Sir Gilbert Elliott of Minto (1693–1766) and William Seton of Pitmedden (1673–1744). Christie and Matthew Gelbart, ‘Allan Ramsay, the Idea of “Scottish Music” and the beginnings of “National Music” in Europe’, Eighteenth-Century Music 9:1 (2012), pp.91-108 (96); R7, ‘Muirland Willie’ (dight=to make ready; prie=to try, make an attempt at; bing=to go) 7

Introduction

Clerk were both to be of substantial benefit to Ramsay in his future career, and as far as Ramsay’s enthusiastic – if sometimes clearly strategic – adoption of Scots was concerned, it is worth noting that Clerk thought that ‘Middle Scots was “genuine Saxon” in its purest form’.8 In the Preface to his 1721 Poems Ramsay had argued for the special qualities of Scots, a ‘Tongue by far the completest’, but justified that case by the use of hybrid expressions in Scots and English: ‘an empty House, a toom Barrel, a boss Head’. The point he was making was that Scots (equated by Ramsay with Doric Greek, the language of Sicily, Rhodes and Sparta) amplified English as much as it provided an alternative to it, as Attic had to Doric Greek: it was a response to the English perception of Scots song as possessed of merely a ‘barbaric beauty’. In ‘To the Musick Club’ (1721), published in his Poems of 1721 Ramsay had gone on to espouse the idea of a hybrid or blended fusion music comprehending both Scots (including Gaelic) and Italian forms: ‘And with Correlli’s soft Italian Song,/ Mix Cowdon Knows…Nor should the Martial Pibrough be despis’d’. The reference to the pibroch was an important one, because the bagpipe and violin were being seen in the eighteenth century as instruments typical of the Union, representing a marriage between ‘ancient traditions and natural simplicity on the one hand, and sensibility and refinement on the other’. The conversion of a significant amount of Scottish music from pipe to fiddle was thus a process of ordering a native tradition in terms of perceived English norms. There were also international influences. The presence of the Stuart Court in France then Italy served to introduce country – not least Scottish country – dances into the European repertoire, albeit in a form often ‘modified by the French dancing masters’. The ‘social, formal and interactive’ nature of the country dance was itself wellmatched to Ramsay’s aims in the TTM. Shrewdly, Ramsay and some of his collaborators may also have been taking advantage of the fashionably Arcadian (and therefore pastoral) features of contemporary cantata, to bolster this element in Scots song and identity: as we shall see, London ballads about Scotland also reinforced pastoral as the national Roger L. Emerson and Jenny MacLeod with Allen Simpson, ‘The Musick Club and the Edinburgh Musical Society’, Book of the Old Edinburgh Club ns 10 (2014), pp.45-105 (46); Jennifer Macleod, ‘The Edinburgh Musical Society: Its Membership and Repertoire 1728-1797’, unpublished PhD, (University of Edinburgh, 2001), pp. 12-13; Murray Pittock, Poetry and Jacobite Politics in. Eighteenth-Century Britain and Ireland, (Cambridge: Cambridge University Press, 2006 [1994]), p.150. 8

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genre. Domenico Scarlatti (1685–1757), at this time the Stuart Court’s candidate to replace Handel in the event of a restoration, was prolific in this area, while closer to home, Scots song was amplified within Italianate composition by figures such as Lorenzo Bocchi (see below) and Francesco Geminiani (1687–1762).9 The musical world of Edinburgh and other cities recognised the process of hybridisation charted by Ramsay. The poet’s friend Lorenzo Bocchi, who arrived in Edinburgh with the tenor Alexander Gordon (c.1692–1754/5) in 1720 set at least one piece in the TTM (R22, ‘A Scots Cantata’), and possibly wrote the music for the Recitative at the beginning of Ramsay’s Ode on the marriage of the Earl of Wemyss and Mrs Janet Charteris in 1720. Bocchi may also have had a hand in GS, whose model seems to have been proposed by Gordon in 1722, and may also ‘have collaborated with… Ramsay… in several dramatic projects’. Ramsay was deeply embedded in these networks: he seems to have met Alexander Stuart and Richard Cooper (1701–64) in the Music Club in the early 1720s, and from these relationships came not only support of publication engravings and theatre scenery (Cooper), but also music for Ramsay’s songs (Stuart). Cooper, whose grandfather may have been the first book auctioneer in England (William Cooper, 1639–89) became a prominent publishing and theatrical entrepreneur, engraved and published Stuart’s Musick for Allan Ramsay’s Collection of Scots Songs (1725/26).10 The keyboard instrument on show in the 9 Gelbart (2012), pp.91, 94; Pierre Dubois, Music in the Georgian Novel, (Cambridge: Cambridge University Press, 2015), p. 75; Jane Clark, ‘The Stuart presence at the opera in Rome’, in Edward Corp (ed.), The Stuart Court in Rome: The Legacy of Exile, (Aldershot: Ashgate, 2003), pp. 85-93 (92); Allan Ramsay, ‘Preface’ to the Poems of 1721; David Johnson, Scottish Fiddle Music in the Eighteenth Century: A Music Collection and Historical Study, 3rd ed., (Edinburgh: Mercat Press, 2005 [1984]), pp.2, 119; Stephen Rose, ‘The musical map of Europe in 1700’, in Simon P. Keefe (ed.), The Cambridge History of Eighteenth-Century Music, (Cambridge: Cambridge University Press, 2014 [2009]), pp.3-26 (22); Berta Joncus, ‘Private music in public sphere: chamber cantata and song’, idem, pp.513-40 (519); Richard Leppert, Music and Image, (Cambridge: Cambridge University Press, 1988), p. 94. See Katherine Lowerre, Music and Musicians on the London Stage, 1695-1705, (Farnham: Ashgate, 2009), p.381 for definition of the so-called ‘Scotch snap’, seen as a native characteristic of fiddle music from the late eighteenth century: see Brian Boydell, A Dublin Musical Calendar 1700-1760, (Dublin: Irish Academic Press, 1988), p.272. 10 Joe Rock, ‘The Edinburgh Academy of St Luke at Work, c1737-47’, Book of the Old Edinburgh Club ns16 (2020), pp.47-62 (48).

8

Introduction

titlepiece engraving for that collection ‘is inscribed “Fenton” and thus is possibly an advertisement for the instrument maker Thomas Fenton who was paid for tuning instruments by the Edinburgh Musical Society in 1730–1’. Stuart offered a simple bass line but no song lyrics or instrumentation, and both harmonisation and production values were inconsistent at best. However, this edition was important and became central owing not only to Ramsay’s but also to Stuart’s position as cultural players and entrepreneurs in the Edinburgh of the 1720s. Stuart also had very strong musical connexions being an instrumentalist for the Musical Society from its foundation in 1728 (in succession to the earlier Music Club) through to 1736, becoming its librarian in 1731, and working closely with Adam Craig (c.1667–1741) – who brought out his own collection in 1730 – and William McGibbon (1690–1756). As late as 1759, Stuart was appealing to the Society for support. The Musical Society included several subscribers to Ramsay’s Poems, and ordered music from Ramsay’s shop. The new market for ‘concerts, music theatre, sheet music and tuition’ spreading throughout Europe in the eighteenth century was one with which Ramsay, ever alert to making money, was fully engaged.11 Ramsay’s awareness and support for hybrid repertoires could be paralleled in the Irish case. Turlough Carolan’s (1670–1738) dance tunes and song airs ‘in the style of contemporary Italian composers, Geminiani and Corelli’,12 was only one element reflective of the strong tradition of Italian musical performers in Ireland by the early-mid eighteenth century (which indeed included Bocchi, as well as other Italian/Italian-Scots musicians including Francesco Barsanti and Niccolo Pasquali). Carolan also engaged with Scots tunes.13 The extensive cross-fertilisation between Scottish and Italian music which Gelbart (2012), pp.91, 94; Peter Holmes, ‘A Little light on Lorenzo Bocchi: An Italian in Edinburgh and Dublin’, in Rachel Cowgill and Peter Holmes (eds), Music in the British Provinces, 1690-1914, (Aldershot: Ashgate, 2007), pp.61-86 (61, 62, 64-6, 72); Stephen Rose, ‘The musical map of Europe, c1700’, in Keefe (2014), pp.3-26 (7); Joe Rock, ‘Richard Cooper Sr and Scottish Book Illustration’, in Stephen W. Brown and Warren McDougall (eds), The History of the Book in Scotland Volume 2, (Edinburgh: Edinburgh University Press, 2012), pp.81-90 (83, 85); Kirsteen McCue, email to the editor, 15 November 2012. 12 Helen O’Shea, The Making of Irish Traditional Music, (Cork: Cork University Press, 2008), p.9. 13 Holmes (2007), pp.71-72; Boydell, Dublin Musical Calendar (1988), pp.255, 270, 272, 302 11

9

The Tea-Table Miscellany

emerged in the era of the TTM in the 1720s was frequently disowned by Scottish writers (for example, Robert Fergusson’s (1750–74) apparent scorn of ‘vile Italian tricks’) but in reality the autochthonous nature of the ‘bardic’ Scotland they claimed to champion was riddled with these Continental musical changes and expectations that fructified in the cosmopolitan world of Enlightenment Edinburgh, as Fergusson himself knew through his relationship with Giusto Tenducci (c.1736–90), who sang three songs of Fergusson’s and was mentioned in the poet’s ‘The Canongate Playhouse in Ruins’. Tenducci ‘specialized in Scottish songs, singing some arranged for him by J.C. Bach’ and largely focusing on performing Scottish songs in Edinburgh and Dublin (where he – unusually for a castrat0 – married) after Artaxerxes (1762).14 Bocchi was in Dublin by 1724, where he seems to have contributed to John and William Neal’s Irish Tunes collection, and he may have made a lasting impact there, if he is the ‘Bocchi’ mentioned in Poems on Several Occasions (1731).15 He is likely to have been back in Edinburgh between 27 July 1725 and 22 February 1726, when the Caledonian Mercury noted that he had published: 12 Sonata’s, or Solo’s, for…Violin,Flute, Violoncello, Viola da Gamba, and Scots Cantati with Instrumental Parts after the Italian manner, the words by Mr Ramsay [‘A Musicall Entertainment’]; with a Thorow-bass for Harpsichord. Subscribers may have their Copies at Mr John Steill’s…16

The possibility exists that Bocchi arranged orchestral ‘preludes and postludes’ as a contribution to The Gentle Shepherd (GS) in its ballad opera version, and that as an initial development towards this there was a performance of four TTM songs together with the pastoral in Edinburgh in 1725: Ramsay had already experimented with the masque format. It was the songs of the TTM which were incorporated into GS, though in the first ballad opera edition of the latter Ramsay directed 14 See for example James Boswell’s comments in The General Correspondence of James Boswell, 1757-1763, eds. David Hankins and James J. Caudle, (New Haven: Yale and Edinburgh University Presses, 2006), pp.78, 137; Roger Fiske, English Theatre Music in the Eighteenth Century, (London: Oxford University Press, 1973), p.111. 15 Matthew Pilkington and Jonathan Swift, Poems on Severral Occasions (London, 1731), p.16 16 Holmes (2007), 73-74; Nicholas Carolan (ed.), John and William Neal, A Collection of the Most Celebrated Irish Tunes Proper for the Violin, German Flute or Hautboys, (Dublin: Folk Music Society of Ireland, 2010), p.28.

10

Introduction

the reader to the TTM rather than printing the songs, in an effort to encourage the purchaser to buy both titles.17 As the TTM continued to develop as a project, Ramsay – as was not untypical of him – continued to project the cultural territory he wished this landmark collection to occupy. In the Preface to the edition of the TTM printed at Dublin in 1729 (Appendix 1), Ramsay argued for the ‘agreeable Gaiety and natural Sweetness’ of Scots tunes, ‘that make them acceptable whenever they are known’. He also outlined what he saw as the unique value of Scottish song, which he strongly linked to native antiquity, to dance measures and to accessibility: ‘an harmonious speaking of merry, witty or soft Thoughts… these must relish best with People, who have not bestowed much of their Time in acquiring a Taste for that downright perfect Musick, which requires none, or very little of the Poet’s Assistance’. Here as elsewhere it is easy to underestimate just how innovative Ramsay is: fifty years before Herder’s Volkslieder, Ramsay argues for simplicity and communal authenticity, slyly noting too that the very ‘low’ status of folksong gives the poet greater and less-examined scope. In stressing the cheerfulness of Scotland’s domestic song culture, Ramsay also says that ‘on hearing them well play’d or sung, we find a Difficulty to keep ourselves from dancing’, possibly a sly reference to the fact that quite a number of songs in TTM originated or were best known as dance tunes: indeed, Ramsay frequently used well-established tunes as a platform for his own words in the TTM, to increase the chance of their general adoption. (Scottish) Country dances formed the second half of the programme at the dancing assemblies in Edinburgh, founded in 1723, and dancing too was a fusion form with its development in reel and strathspey tinged with French influence, as the use of country dances in the Stuart court in Italy hybridised them with dancing there.18 Ramsay invokes Italy as the home of ‘new Musick’ in contrast to the familiar and communal world of Scotland where even those who have no musical education will ‘listen with Pleasure to the Tunes that they know, and can join with in the Chorus’. In this misleading Holmes (2007), p.77; Roger Fiske, English Theatre Music in the Eighteenth Century, (London: Oxford University Press, 1973), p. 111; Edinburgh University Library Laing MSS II. 212 f.20. 18 Allan Ramsay, ‘Preface’, The Tea-Table Miscellany: or, a Complete Collection of Scots Sangs, (Dublin, 1729); Rosalind K. Marshall, Women in Scotland, 1660-1780, (Edinburgh: National Library of Scotland, 1979), p. 69. 17

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The Tea-Table Miscellany

privileging of autochthonous Scottish music over innovatory Italian styles (which somewhat contradicts his earlier writing on the subject), Ramsay begins the process of successfully occluding the mutually reinforcing relationship between the two on which he to an extent depended and also seems to have done a good deal to promote. In so doing, he begins to underpin the duplicitous attitude to Italian music and musicians among later writers, while simultaneously slyly suggesting that Scots song is almost in the blood, an ethno-cultural response that is innocent of the complexities of Italianate novelty. At the end of his Preface, Ramsay alludes to how his songs have both been usurped by William Thomson’s Orpheus Caledonius (1725; revised and expanded edition, 1733) and how they have gained profile thereby, while also suggesting that his work is displacing English song with its implicit pretentiousness and classical reference by the homespun authenticity native to the American as to the Scottish spirit. Ramsay uses his Preface to celebrate the global triumph of Scots song, as he had used his prefatory poem to the first volume to signal the collection’s engagement with a polite female audience. From the collector and creator of emotion and sentiment, he was now become the voice of the people. Quoting a ‘Dr Bannerman…from America’, Ramsay writes:

Nor only do your Lay’s o’er Britain flow, Round all the Globe your happy Sonnets go; Here thy soft Verse, made to a Scottish Air, Are often sung by our Virginia Fair. Camilla’s warbling Notes are heard no more, But yield to Last Time I came o’er the Moore; Hydaspes and Rinaldo both give way To Mary Scot, Tweed-side and Mary Gray.

Handel’s Rinaldo (1711) was the first opera in Italian composed specifically for the London stage, building on Francesco Mancini’s Hydaspes, produced at the King’s Theatre in the Haymarket in March 1710. Ramsay targets Italian opera (already being attacked in England for its allegedly emasculatory effects) as the overdeveloped and artificial sibling of traditional song, which is so far removed from its audience that it is even in a foreign language. Although he had argued robustly for a fusion of Scottish and Italian traditions (and his work with the cellist Lorenzo Bocchi bears that out), part of Ramsay’s claim for Scots is that it was both comprehensive in expression and natively autochthonous, rather than alien and artificial. These claims were in part disingenuous; but they served to make Ramsay’s confections both reassuringly 12

Introduction

familiar and daringly exotic in pursuit of sales.19 Ramsay presents himself as both the guardian and midwife of a native tradition, and also uniquely placed both to adapt ‘old Verses as have been done Time out of Mind’ for export and to compose ‘soft Verse’ himself. As such, his claim for the Scottish tradition’s democratic and cultural purity is compromised and he accepts that mediation is alteration. This inevitable paradox in the Romantic collector’s claims to authentic preservation thus may begin with Ramsay, and since generations of writers, collectors and critics who have coined and believed in the term ‘folk song’ in the print-ridden West have not seen the paradox implicit in that position, we must give Ramsay some credit for that too. He closes by a great claim both for the tradition he is exemplifying and himself: ‘Happy Volumes ! you are to live as long as the Song of Homer in Greek and English, and mix your Ashes only with the Odes of Horace.’20 Matthew Gelbart has argued that Allan Ramsay can be said to have had the central role both in ‘creating the idea of “Scottish song: in the first place’ – and ‘the idea of “Scottish music” in a broader sense’. Gelbart’s argument – that Ramsay ‘helped transform Scotland’s musical culture from a manuscript-based milieu organised around specific musical functions and occasions to one in which national origins helped validate music, and printed collections enshrined such groupings’ – is unquestionably ambitious in the claims it makes. However, the origins of ‘national’ musical traditions – so central to the Romantic period and the assumptions of Romantic public memory – have themselves received relatively little attention (as Gelbart also observes), so it is a claim at least worth entertaining.21 Where did Ramsay’s songs come from, when he did not write them himself? Scottish songs and entr’actes were becoming popular ‘on the London stage’ by the late 1690s, with Scotland increasingly portrayed as a pastoral and rustic environment where it was not a barbarous one. Indeed, a brief exploration of the seventeenth-century ballad market shows whence a significant part of the Miscellany’s light pastoral love songs emerged: Laurence Price’s Flora’s Farewell (1656), The Lamentation of Clovis, for the Unkindness of her SHEPHERD (1680), Phillis Forsaken and The Unconstant Shepherd (1685) are all Holmes (2007), pp.72-4. Allan Ramsay, ‘Preface’, The Tea-Table Miscellany: or, a Complete Collection of Scots Sangs, (Dublin, 1729). 21 Gelbart (2012), p.91. 19

20

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The Tea-Table Miscellany

examples of marketplace pastoral, the production of which seems to have intensified in the era of the Exclusion crisis, James’s accession in 1685 and the constitutional fracas that followed. Young Jemmy, OR, The Princely Shepherd is a not untypical product of this era, which itself voices a Jacobite pastoral theme replayed both in canonical literature in John Dryden’s ‘Song betwixt a Shepherd and a Shepherdess’ (1683) and his directly Jacobite ‘Lady’s Song’, as well as in Ramsay’s own GS. The political crises of the 1680s saw a breakdown of the boundaries between literary genres and registers: to take one example the name ‘Jenny Gin’ from Aphra Behn’s The City Heiress (1682) was utilised by ‘some 36 broadside ballads over the following decade’. Pastoral and sexual innuendo were combined in ballads such as Amintas and Claudia just as they were in the Miscellany itself, while other subjects favoured in Scottish verse from James Watson (1664–1722) to Robert Burns (1759–96) also make an appearance, such as The countrymans lamentation for the death of his cow among other mock-elegies. These kinds of sources become dominant in the later volumes of TTM. As a consequence of the success of the TTM, Ramsay became ‘synonymous with the very idea of “Scots song”’, and collections such as The Nightingale took pains to announce that it contained songs, ‘none of which are in Ramsay’ as a selling point. As late as 1787, almost a quarter of the songs in James Johnson’s first volume of the Scots Musical Museum were lifted directly from Ramsay.22 Ramsay and his successors, including Burns, adopted pastoral – often the pastoral attributed to Scotland in seventeenth-century English publication – as a signature of the new vernacular native tradition, the linguistic counterpart to the adoption of new eighteenth-century fusion music for dance and song as traditionally and essentially Scottish. Ramsay collected many songs which fitted this particular image, and others were supplied and/or written by other writers, including figures such as Robert Crawford of Achnames (c.1690–1733/5) and William Hamilton of Bangour (1704–54). Crawford contributed up to eight songs to the TTM, Hamilton four. Both paled into insignificance The Euing Collection of English Broadside Ballads in the Library of the University of Glasgow, intr. John Holloway, (University of Glasgow, 1971), nos. 2, 31, 32, 120, 121, 193, 268, 365; Clements, ‘The Creation of “Ancient” Scottish Music’ (Glasgow, 2013), p.42; Murray Pittock (ed.), The Scots Musical Museum, Volumes II and III of the Collected Works of Robert Burns, (Oxford: Oxford University Press, 2018); Adam Fox, The Press and the People: Cheap Print and Society in Scotland, 1500-1785, (Oxford: Oxford University Press, 2020), p.336. 22

14

Introduction

besides Thomas D’Urfey’s contribution, and in all Ramsay included songs from about seventy authors in his collection. Together with John and Henry Playford, D’Urfey had already had a major role in publishing and distributing ‘material with a Scottish sheen’.23 Half of Hamilton’s own poems of the 1720s assume a musical setting, and he is closely aligned with Ramsay in other ways too: for example, his ‘The Speech of Randolph’ echoed the patriotism and ‘anti-Union Jacobitism of Ramsay’s Vision’, which nestled as a faux mediaeval poem within The Ever Green. Hamilton, well-born and clubbable as he was (he got drunk with Kames and knew Hume), may also have put Ramsay in contact with other potential contributors to the TTM. While Ramsay’s own shop was rapidly becoming ‘the rendezvous for the wits of the city’, Ramsay also drank with Hamilton at Don’s, a howff ‘distinguished by the quality’, while Hamilton was also to be found among the ‘brilliant talk’ at Balfour’s Coffee House. He was also a member of Rankin’s (not the Rankenian, which was a different organisation) Club of ‘keen Jacobites’, which met in Thomas Rankin’s house in Kennedy’s Close, and which was run by Ruddiman, who printed Ramsay’s work, as well as that of the Jacobite intellectuals Pitcairne and Abercrombie.24 The spread of print materials in Ramsay’s lifetime was intense, and is often now underestimated, because so much has proved fugitive. Tens of thousands of copies of ballad sheets and similar pieces were in printers’ stock, with Edinburgh (where in mid-century one printer alone had 87,000 sheets in stock) being the ‘second-largest publishing centre in Britain’ after London for the whole range of printed outputs. Scottish chapmen were becoming emplaced to the point of industrial organisation, with the Chapman Court of Fife and the Fife Chapman Society both being formed in 1706, and the Fraternity of Chapmen in Stirlingshire following twenty years later, while chapmen were shopkeepers in central Edinburgh, with some keeping ‘crames’, the small booths which clustered round St Giles.25 Only a fraction of Fox (2020), p.335. Murray Pittock, ‘William Hamilton of Bangour’, Oxford DNB; Nelson S. Bushnell, William Hamilton of Bangour: Poet and Jacobite, (Aberdeen: Aberdeen University Press, 1957), pp. 16, 17, 40, 41; F. Peter Lole, Digest of the Jacobite Clubs, Royal Stuart Society Paper LV, (London: Royal Stuart Society, 1999), p.58; Duncan (1965), pp.43, 75. 25 Roger Fiske, Scotland in Music: A European Enthusiasm, (Cambridge: Cambridge University Press, 1983), p.11; Matthew Gelbart, The Invention of ‘Folk Music and ‘Art Music, (Cambridge: Cambridge University Press, 2007), pp. 23

24

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The Tea-Table Miscellany

the vast amount of printed material in circulation at this time survives, but even that fraction demonstrates the overwhelming influence of print on the popular song. Scholars ‘estimate that there were 600,000 to several million ballads circulating’ as early as 1550–1600, with up to 100 million printed between 1640 and 1690. Edinburgh alone had an estimated 13,000 imprints between 1679 and 1749, with active ballad and chapbook printers like John Reid of Bell’s Wynd, and his daughter Margaret, who printed ‘at the foot of Horse Wynd in the Cowgate’. In ‘The Address of Allan Ramsay’ to the Town Council, Ramsay complained that ‘Lucky Reid’ is among those who have ‘spoil’d my sense, and staw my cash’ with her pirated versions of his work. Elsewhere one publisher alone had ’90,000 octavo and quarto chapbooks’ in stock in 1664. Some 25% of nursery rhymes derive from seventeenth-century texts,26 while Robert Thomson’s research suggests that 80% of folk songs in major collections ‘were derived from printed broadsides’, and that mapping shows a strong overlap between the locales of folk-song collecting and ‘the routes taken by the chapmen working for the ballad and chapbook printers in the eighteenth and nineteenth centuries’.27 There were perhaps typically 3000 chapmen in Scotland in the eighteenth century, and as Adam Fox points out, ‘almost sixty per cent of the 173 surviving songs on a single sheet printed in Edinburgh between 1679 and 1749 specify their accompaniment to a named air’. Ramsay’s practice in the TTM was already established on the streets, and interestingly his publisher Ruddiman was himself a purchaser of ballad paper.28 28-9; John Morris, ‘The Scottish Chapman’, in Robin Myers, Michael Harris and Giles Mandelbrote (eds), Fairs, Markets and the Itinerant Book Trade, (Delaware: Oak Knoll Press/The British Library, 2007), pp.159-86 (159, 163); Fox (2020), pp.9, 11, 323. 26 Julia Crawford, ‘Oral Culture and Popular Print’, in Joad Raymond (ed.), The Oxford History of Popular Print Culture, (Oxford: Oxford University Press, 2011), pp. 114-29 (114-15); Adam Fox, Oral and Literate Culture in England, 15001700, (Oxford: Clarendon Press, 2000), p. 411; Fox, ‘The Emergence of the Scottish Broadside Ballad’ (2012), pp.170, 173-74. 27 John Morris, ‘A Bothy Ballad and its Chapbook Sources’, in Peter Isaac and Barry McKay (eds), The Record of Print: Making, Selling and Using Books, (Winchester: St Paul’s; Delaware: Oak Knoll Press, 1998), pp. 85-102 (88, 101n); Thomson (1974). 28 Vivienne Dunstan, ‘Chapmen in Eighteenth-Century Scotland’, Scottish Literary Review 9:1 (2017), pp. 41-58 (50); Fox (2012), p.175; Fox (2020), p. 325. 16

Introduction

Ramsay both took advantage of this popular market, with his earliest work printed in broadside form, and also sought to control it. His work circulated in Edinburgh, increasingly it appears without his authority, although his own little books of single or few poems (for example the Elegies on Maggy Johnston, John Cowper and Lucky Wood or indeed Scots Songs, which along with some of the content of his 1721 Poems, provided a dry run for the TTM) continued to be printed for him to sell at his own shop, The Mercury, into 1719. As Ramsay moved towards the development of larger scale print editions of his poems and songs, those he had written and perhaps also those he had gathered, he took the step of addressing the Town Council of Edinburgh with a request to suppress alternative texts of his works. The Council decided in his favour in the summer of 1719: Act of Councill In favors of Allan Ramsay Poet The same day The Councill Upon ane Address from Allan Ramsay Represting That he was prejudged in his Interest and Reputation and that the Leidges are abused by some Printers Ballad Cryers and others by Printing & Causeing to be Printed Poem’s of his Composure without his Notice or allowance upon False and Uncorrect Coppies, As also that the Ballad Cryers refuse to Vend and Publish his papers Unless he Give them at Rates below what really they can be printed for They Doe Therefore Discharge all Printers or Papers Cryers within this Citie or Suburbs to Print or Vend any Poems or Papers of his Composure without his Licence. And Ordains the said Paper Cryers To publish and vend the said Allan Ramsay’s papers he allowing them one third of the Settling Price as their Profite Under the penaltie of Twenty pounds Scots money and Confiscation of the Papers so vended and Printed, Besides forfeiture of the Paper Cryers their Priviledge of Publishing or Vending papers Anent all which shall be a Warrand Ex. Wm Nelson Provt.29

Notably, Ramsay was not simply looking to control his right over the text here, but also was seeking control over pricing: this was to be a particularly key issue for him as his career progressed. He was, however, no particular friend to copyright to which he had no claim, and seems to have had no qualms in raiding the broadsides of the balladeers for his TTM, where ‘Love is the cause of my mourning’ is only one of the earlier ballad texts collected, as (probably) is ‘Returne the, 29 Town Council Records SL1/1/47 pp 43-4 26 August 1719, Edinburgh City Archives.

17

The Tea-Table Miscellany

hairt’. The TTM is otherwise full of songs from English collections such as those of Playford and D’Urfey as well as London broadsides on Scottish subjects, creating a bridge between Scottish song from within Scotland and the vision of Scotland from the imperial metropolis. In addition, the fact that Ramsay wrote many of the songs himself or collected them from a narrow circle of trusty friends, enabled him to control the complexity and balance of the Anglo-Scottish tone he was pursuing.30 Ramsay’s language was regarded as an important part of his collection’s claim to authenticity. John Aikin argued in his Essays on song-writing that Ramsay ‘gained great advantages among us by writing in the Scotch dialect’.31 On the other hand, Ramsay was seen by J.B. Duncan in 1908 – anticipating Johnson’s view, cited earlier – as the originator of the ‘literary song’ in opposition to ‘the old folk-songs’: this provided ideological underpinning for the Greig-Duncan folksong collection, but both these categories begged their own questions, and such diametrically opposed judgements themselves reflected the hybrid nature of the literary goals Ramsay was pursuing.32 As I mentioned at the beginning of this Introduction, at the time when Ramsay was writing, the term ‘folksong’ did not exist. Dr John Gregory, who founded the Aberdeen Musical Society, being apparently the first to distinguish ‘between classical and folk music in a paper he read to the Edinburgh Philosophical Society in 1763’. On which occasion-no doubt responding to the growing status and identification with nationality manifested in the performance of Scots songs – Gregory gave ‘the preference to indigenous folk music’. In 1769, Robert Wood developed the idea of the orality of Homer in Essay on the Original Genius of Homer, while Robert Blair associated orality with ‘the infancy of societies’, hence a time of their original authenticity, before they were influenced or deformed by any external environment. In 1773, Johann Gottfried von Herder published his collection of German folksongs as signs of German nationality in Stimmen der Theo van Heijnsbergen, ‘Amphibious Lyric: Literature, Music and Dry Land in Early-Modern Verse’, in Notys musicall: Essays in Honour of Kenneth Elliott, pp.165-81 (171). 31 John Aikin, Essays on song-writing: with a Collection of such English songs as are most eminent for poetical merit, 3rd ed., (Dublin: Thomas Armitage, 1787 [1774]), p.34. 32 David Buchan, Scottish Tradition, (London: Routledge and Kegan Paul, 1984), p.89. 30

18

Introduction

Völker in ihren Liedern (Voices of the People in their Songs) and developed the concept of ballads as Naturpoesie. The territory already mapped out for Scots song by Ramsay and others fitted this concept like a glove. The notion of orality had begun to shape the assumptions governing the study of the popular song, as it continued to do in the work of the twentieth century’s song collectors: it is a myth of origins born in the age of print, but one that remains very dear because it promises to reveal something to us about who we really are from the depths of an ‘authentic’ past in which we no longer participate, but whose last surviving practitioners can still be identified. In 1779, William Tytler’s A Dissertation on the Scottish Music argued for unique and autochthonous features in Scottish music, including ‘that wild pathetic sweetness which distinguishes them [Scots songs] from the musick of every other country’, and their ‘artless sweetness…derived from a very remote antiquity’. Tytler even claimed that ‘A Scots song can only be sung by a Scots voice’, and identified the music which accompanied such songs as deriving from a simple, pastoral tradition, being originally played on a ‘simple instrument’ like a ‘shepherd’s pipe’. The similarities with the claims of Ramsay’s 1729 Preface are obvious. Features of Scottish folk music, such as the ‘Scotch snap’ – often linked to the new yet purportedly ‘traditional’ dance of the strathspey – similarly do not seem to have been characterised in these terms until the ‘second half of the eighteenth century’.33 At least in part under Ramsay’s influence, by the middle of the eighteenth century, Scots songs had become a marker of patriotic national belonging both at home and abroad, and one which stretched across all ranks in society, especially among those inclined towards Jacobitism. David Wemyss, Lord Elcho (1721–87) played Scots airs in exile in Italy, while Charles Bruce, 5th Earl of Elgin (1732–71) sang them in Rome to mark St Andrew’s Day 1756. Having had his songs early 33 Ruth Perry, ‘“The Finest Ballads” (2008), pp.82-83; Paula McDowal, ‘“The Art of Printing was Fatal”: Print Commerce and the Idea of Oral Tradition in Long Eighteenth-Century Ballad Discourse’, in Paicia Fumerton, Anita Guerrini and Kim McAbee (eds), Ballads and Broadsides in Britain, 15001800, (Aldershot: Ashgate, 2010), pp.35-56 (38, 44, 56); Anon [Tytler], ‘A Dissertation on the Scottish Musick’, in James Arnot, History of Edinburgh (Edinburgh, 1779), pp.372-83 (372); Fiske (1983), p. 15; Emily Lyle, Fairies and Folk: Approaches to the Scottish Ballad Tradition, (Trier:VerlagTrier, 2007), v; Roderick D. Cannon, The Highland Bagpipe and its Music, 2nd ed., (Edinburgh: John Donald, 2002 [1988]), p. 111.

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The Tea-Table Miscellany

adopted by his friend John Gay, Ramsay continued to receive his reward by having his songs incorporated into many subsequent Scottish song collections, not least the Scots Musical Museum. David Allan’s portrait of James Erskine, Lord Alva and his family from 1780 shows the Scots song ’Where Helen lies’ lying open with the title visible while a harpsichordist and cellist are depicted playing. The hybrid and cosmopolitan influences of the musical practices of Ramsay’s era had created a classless national tradition, one which was in important respects not quite what it seemed.34 The musical editing of TTM provides a challenge. William Thomson’s Orpheus Caledonius volumes utilised TTM extensively ‘without acknowledgment, but now printing and harmonizing the tunes that Ramsay had only named in his collection’.35 Thomson’s unauthorised 1725 publication had as its counterpart an authorised collection by Alexander Stuart, Stuart presents the songs as ‘national’: there is no mention of the TTM, and the book (published in relatively low prestige 16mo) first appears as Musick for Allan Ramsay’s Collection of Scots Songs, though tellingly the frontispiece ‘depicts as well-dressed young lady sitting at a harpsichord accompanied by a similarly well-dressed young man with viola da gamba’ (probably in fact a viola or large violin), evocative of Ramsay’s own aspirations to politeness as well as authenticity, both reflecting and stimulating the 172os practice of tea-table music reflected on in later years by Henry Mackenzie (1745–1831).36 The influence of Ramsay’s song selection soon spread. Aria di Camera, printed in London in 1727, contained many Ramsay songs. Playable collections (on keyboard, violin or transverse flute) from Adam Craig, James Oswald, Francesco Barsanti and William McGibbon (principal violinist for the Edinburgh Music Society) followed, expanding exponentially by mid-century, being accompanied by dance collections, for example that done by David Young for the Duke of Perth (subsequently Charles Edward’s lieutenant-general) in 1734. The TTM itself was sold in its 1730 edition together with the Scotch Orpheus (effectively a copy of Thomson’s Orpheus Caledonius). As will be seen from the Notes to this edition however, in many cases Ingamells (1997), pp.333-34; Nelson (2000), pp.599-600. There is a version of ‘Where Helen Lyes’ at R87 in TTM I which lacks the high seriousness of the version usually sung. 35 Gelbart (2012), p.97. 36 Clements (2013), p.40; Nelson (2000), pp.598-99. 34

20

Introduction

playable tunes for the songs in the collection survived from the seventeenth century and sometimes even earlier.37 2. The Title Ramsay’s title has often been accepted as a ‘given’, but it was not arbitrarily chosen in the context of the complex allusions it was making. The tea trade had first been explored by the Dutch East India Company (Vereenigde Nederlandsche Oost Indische Compagnie, VOC) at the beginning of the seventeenth century, with the first small shipments reaching Amsterdam in 1610. Edmund Waller (1606–87), who learnt about the qualities of tea while in exile on the Continent, wrote the first English poem on the beverage in 1663 after ‘two cases of tea’ arrived as part of Catherine of Braganza’s dowry for her husband Charles II: Ramsay quotes Waller on the title page of TTM I. Throughout the following fifty years, tea reached the British Isles largely via the Dutch market, and the longstanding association of Scotland – particularly the capital Edinburgh – with the Netherlands may have played a role in Ramsay’s reference: many Scots had VOC careers. In addition, James VII and Mary of Modena set a fashion for tea at their court in Holyrood in 1679–82, and by 1705 at the latest tea was being sold in the Luckenbooths by St Giles (by the goldsmith George Smith, emphasising its status as a luxury good). South of the border, the first tea shop was established in London (before 1717 and possibly as early as 1706) and the English East India Company (EIC) gained access to the tea market in Canton in 1720, by which time 120,000kg of tea were being consumed annually in Great Britain, a huge rise from the 9000kg of 1704, and itself to be dwarfed by the 1.7 million kilos imported by the EIC by the 1750s. An Act of 1722 made tea liable to a duty of 4 shillings per pound, and from 24 June 1724 (shortly after the first volume of the TTM appeared) inland duty officers were permitted to levy duty on tea in warehouses, and fresh imports were liable to customs duties. The tea-table was thus a symbol of the first age of major global markets, for the importation of tea from India and China symbolised England’s (now Great Britain’s) cultural, commercial and early military penetration into the East: Joseph Addison had Gelbart (2012), pp.97-102; Nelson (2000), p.597; Holmes (2007), p.72; MacLeod (2001), pp.60, 255; David McGuinness and Aaron MacGregor, workshop for Ramsay Edition, University of Glasgow 9 December 2016. 37

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The Tea-Table Miscellany

already noted the relationship between global produce and empire in Spectator 69 (19 May 1710). The mixing of tea with (largely Caribbean) sugar (and also milk (milk jugs appear in Edinburgh from 1713, if not earlier), which helped to lead to the domination of black tea from the 1720s) underlined its status as a high cost and high status drink, a global brand and blend and a symbol of trading and colonial power. It could also be associated with Britishness and the Union: in 1729, the Jacobite commander William Mackintosh of Borlum lamented the intrusion of tea into the traditional Scottish breakfast of ‘the big quaich with strong ale and toast’, while one of the Penicuik drawings of Prince Charles’s time in Edinburgh in 1745 depicts an overturned tea table as a symbol of strife between the Jacobite and British causes. Tea lay both at the heart of rank, status and appearance and at the heart of anxieties about those things, as was the case with those blaming ‘a misuse of new luxury items such as tea for removing a woman’s bloom’; though there were others, such as Thomas Short from Moffat, who proposed that tea promoted ‘the circulation of the blood’, prevented nightmares and that ‘green tea is an antidote’ to ‘fear of grief’. Whether healthy or risky, tea remained a luxury item: silver teapots appear from the 1680s and by 1785, William Tuke of York (1732–1822) sold Bohea (a black Indian tea, by then more popular than the green Chinese variety) at £1 11s the pound, while his coffee started at 2s 2d and chocolate at 2s 3d.38 The dedicated tea-table – typically delicate, rather like a tray on ornate legs – was also a new and voguish concept. The earliest mention of the object is in an inventory of the Duchess of Lauderdale’s at Ham House in 1679, and there were several thousand tables by the 1690s: in 1700, The Macclesfield, returning from Canton, brought 300 nests of six tables. The incidence of the term rises further from Emily Cockayne, Hubbub: Filth, Noise & Stench in England, (New Haven and London: Yale University Press, 2007), p. 53; Ian Mitchell, Tradition and Innovation in English Retailers, 1700 to 1850-Narratives of Consumption, (Farnham: Ashgate, 2014), p.99; Ileana Baird, ‘Introduction’, in Baird and Christina Ionescu (eds), Eighteenth-Century Thing Theory in a Global Context, (London: Routledge, 2018), 1-16 (1-2); Peter Brown, In Praise of Hot Liquors: The Study of Chocolate, Coffee and Tea-Drinking 1600-1850, (York: Fairfax House/York Civic Trust, 1995), pp. 20, 37, 49-51, 63, 71, 74); Les Wilson, Putting the Tea in Britain: The Scots Who Made our National Drink, (Edinburgh: Birlinn, 2021),pp. 11-15; Iain Gordon Brown and Hugh Cheape, Witness to Rebellion: John Maclean’s Journal of the ‘Forty-Five and the Penicuik Drawings, (East Linton: Tuckwell Press/National Library of Scotland, 1996), pp.47-48. 38

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Introduction

1710, when an engraving The Tea-Table, appeared. It was strongly associated with domestic life as in paintings by Joseph van Aken (An English Family at Tea (1720)) and Richard Collins, (A Family of Three at Tea (1727)) and with women. Eliza Haywood’s The Tea-Table: Or, A Conversation between some Polite Persons of both Sexes at a Lady’s Visiting Day (1725), identified the title as a location of gossip and scandal, asking ‘is there any Irregularity of Conduct… which is not here fully expatiated on?’ (p.2). The term was certainly in use in this kind of context before Ramsay: A Circular Letter of Christian Friendship to the Honourable the Late Lady Mayoress (1722) refers on its title page to ‘some free familiar Tea-Table Talk on the 23d of last April, 1722’. The Tea-Table was also the title of a satiric print of 1716, which depicted ‘Thick scandal’ circulating ‘with right Bohea’ (the black Indian tea) (BM II: 1555). Ramsay’s chosen term was fashionable, domestic, feminine and associated with shallow and malicious gossip as well as the pride and success of British commerce; yet it was also a symbol of high Stuart fashion. It was a modish title to choose but also – like so much of Ramsay’s oeuvre – creatively ambiguous.39 The domestic sensitivity of Scottish opinion to duties and taxes on produce and the high end status of tea proclaimed by its liability to high tax in the 1720s, Ramsay’s choice of title is intriguing on a fiscal level also. The tea-table – on one level a potent symbol of feminine and domestic civility as well as British commerce – was also strongly associated with English metropolitan culture and domination, including the perceived fiscal oppressions arising from the Union: ‘O Thou, great Anna, whom three realms obey/ Dost sometimes counsel take, and sometimes Tea’, as Pope wrote in The Rape of the Lock (1712). Ramsay was thus carefully balancing the civil, domestic and Scottish both with British status and English domination, all under the guise of an elite domestic practice strongly associated with women: and Scotland was of course portrayed as a feminised nation, Caledonia or Fergusia, in contemporary literature, not least political literature. Tea carried overtones of the metropolis and empire and the feminine and domestic, as well as politeness involving both sexes, ‘since afternoon tea often Spectator I:39; Catalogue of Prints and Drawings in the British Museum: Political and Personal Satires, (London: British Museum, 1873), II:1555; Brown (1995), 57, 59, 76-80, 83, Later, Francis Hayman was to depict Jonathan Tyers and his family taking tea- Tyers was the owner of Vauxhall Gardens, whose songs were a major source for Ramsay’s collection (National Portrait Gallery no 5588). 39

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included men’. The drinking of tea also ‘signaled civilization and refinement’ through the domination of mixed company by women, on strictly limited domestic terms of course, although female merchants were known on both sides of the Border.40 The exact title of Ramsay’s inordinately successful collection may derive from an article in The Spectator on 5 March 1711, where Addison and Steele wrote of The Spectator that it should ‘furnish TeaTable Talk’ for ‘reasonable women’, and indeed implied that it would do so because ‘I shall treat on Matters which relate to Females’: the tea-table is clearly a gendered space.41 On 12 March, Addison identified The Spectator itself as ‘part of the Tea Equipage’, in a gendering linked strongly not only to domesticity, but also civil and open exchange, claiming to ‘have brought Philosophy out of Closets and Libraries, Schools and Colleges, to dwell in Clubs and Assemblies, at Tea-Tables and in Coffee-Houses’. Tea is seen (Steele, 9 June 1711) as being a key area where women have control and sovereignty over men (‘I saw a Gentleman turn as pale as Ashes, because an Idol turned the Sugar in a Tea-Dish for his Rival’), while less than a week later Addison is asserting (in a letter from ‘Leonora’) that The Spectator is ‘a Part of my Tea-Equipage’ and scheduled to arrive with the boiling of ‘the TeaKettle’. The implications are clear: tea is associated with femininity and domesticity, but also with female power (albeit in a limited sphere) and the values of civility represented by The Spectator. Party quarrels subside at the tea-table presided over by a woman whose lack of engagement in political discussion is also a guarantee of the tea-table as a safe space under her control, a meeting ground for a more general civility, separated from the rage of party, but cognisant of the value of tea both as a sign of wealth and a token of British power and the global role of Great Britain. What Pope genders as the refreshment of a Queen becomes for Ramsay – elaborating on Addison and Steele – a location of a new gendered civility. The Spectator also notes the role of women in country dancing and the value of ballads, both subjects close to Ramsay’s interests and aims with the TTM. Interestingly, Addison and The Spectator were also associated with criticism of Italianate music or even the Italianate style, as found for example in Handel’s Rinaldo, while in ‘The Ballad’ of 21 May 1711, Addison notes Lynn Hunt, Writing History, pp.136-37. The Spectator, ed. G. Gregory Smith, 8 vols., (London: Everyman/Dent, 1911 (1907)), I:19.

40 41

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Introduction

his ‘particular delight in hearing the songs and fables that are come from father to son, and are most in vogue among the common people’. The building blocks of Ramsay’s powerful union of ‘a taste for polite writing’ (Spectator 7 May 1711) and tradition have at least some of their roots in Addison’s imaginary.42 3. The Text In a pattern imitated by Burns in the Scots Musical Museum, Ramsay marked his songs in the TTM as deriving from different sources. ‘AR’ was a song he claimed as his own; ‘Z’ an untouched old song, ‘X’ one from an unknown source, ‘Q’ an old song with additions and ‘C’ and other categories represented new words by different hands to an older tune. In Volume I of the TTM, 38 of the songs were originally identified as Ramsay’s, 8 as ‘X’, 6 as ‘Z’, 4 as ‘Q’, 27 in other letter categories and 5 in no category at all. The lettering used by Ramsay is unsurprisingly not completely accurate, although in many cases not enough evidence exists to contradict it, and it appears to be more accurate than that used by Burns in SMM. In the Notes that follow, TTM’s songs will be numbered in a continuous sequence throughout all four volumes for ease of reference, and will be classified as follows: Category I: A song completely by Ramsay Category II: Heavily edited by Ramsay Category III: Lightly edited by Ramsay Category IV: Dubia Category V: Not by Ramsay Variants from MS or from the text’s earlier appearance in a collection authorised by Ramsay will be recorded. Songs published by Ramsay in full before their appearance in TTM will receive the most substantial annotation in the Edinburgh Ramsay edition of Poems or GS. With regard to music, detailed consideration will be given to sources of tunes from before the first appearance of the copytext; some slightly later collections will be referenced also as providing either musical context or tunes explicitly linked to TTM – as with the Stuart and Thomson collections. In the case of songs appearing in GS, the principal musical 42

Dubois (2015), p.19; Spectator I: 36, 39; 253, 255, 263-64; II:1, 25, 42. 25

The Tea-Table Miscellany

note will appear there; otherwise here, but it will only be applied to songs written or very largely written by Ramsay. In the later volumes – TTM III and IV – this edition will demonstrate that Ramsay’s authorship is largely (in the case of III, almost entirely) absent. Physically speaking, the TTM was first produced in 6mo, with a physical size of 11.94x6.86 cm, printed – as Ramsay’s 1721 Poems had been – by Thomas Ruddiman for Allan Ramsay ‘at the Mercury, opposite to the Cross-Well’. Ruddiman’s characteristic decorations are found throughout, and (together with the title pages and a number of other features), the key forms of Ruddiman’s designs will be reproduced in this edition, as will Ramsay’s title pages. We have used the 1723 dated edition (the Yale copy, ESTC N63220) as first edition copy text for Volume I; as Alexander Law pointed out many years ago, there are just over 70 variants between the 1723 and 1724 (ESTC N45927) editions. Our collations of the first edition are against the 1723 text, and in establishing variants we have collated TTM against both pre-1723 Ramsay printings in Poems (1721) and surviving MSS (of which there are very few, and those chiefly to be found in BL Egerton). However, we must continue to be aware that the possibility exists that both the 1723 and 1724 copies are variants of a single edition, and that the ‘1723’ date is an old style date for 1724. While it is true that the year had begun on 1 January in Scotland since the beginning of the seventeenth century, the wider English usage cannot altogether be ruled out. For that reason, Law’s list of variants is reproduced in the Appendices to this volume.43 A much more substantial task has been the comprehensive archaeology of earlier texts and still more of earlier music for the collection. Despite its manifest inadequacies in terms of being accessible to vocal rather than instrumental performance, the frequently unsingable Stuart collection of 1725/6 has been at the heart of our musicological interpretation, as it was the only collection of tunes with which Ramsay engaged directly. Thomson’s Orpheus Caledonius collections were by contrast unauthorised, while although Lorenzo Bocchi had a hand in the Dublin Musical Miscellany of 1724, the Scottish version has very little overlap: this is the only other likely point of contact with Ramsay. It must be noted, however, that Ramsay himself almost certainly had very little musical knowledge, despite his central role as a supportive cultural entrepreneur in the redevelopment of Scotland’s 43

Law (1969), pp.198-203; Duncan (1965), p.75. 26

Introduction

musical tradition in hybrid form in the Edinburgh of 1710–40. A second volume of the TTM, with the subtitle ‘or, a Collection of Scots Sangs’ appeared in 1726 in Edinburgh, again published by Ruddiman, and sold by Ramsay at his new shop in the Luckenbooths, MacEuen in London and Carmichael in Glasgow. Its headline verse (‘She sung-the Youth Attention gave,/ And Charms on Charms espies:/ Then all in Raptures, falls a Slave,/ Both to her Voice and Eyes’) underlined the series’ commitment to the domestic and feminine realm of the tea-table and drawing-room song performance. It is now very rare and there is neither ESTC number nor dedication: Burns Martin noted it as ‘unique’ in 1953.44 Not robust at the best of times, repeated use in musical company and the removal of individual songs for performance means that often very few song collections of this kind survive. A third volume, subtitled ‘or, a Collection of Celebrated Songs’ (Ramsay’s typical cocktail of nationality and universality was clearly at work) was printed for Ramsay himself at Edinburgh in 1727 (ESTC N63219), and this was rather puzzlingly followed by the ‘Fifth Edition’ of The TeaTable Miscellany: or, a Complete Collection of Scots Sangs in three volumes at Dublin, published by E. Smith in 1729 (ESTC T62905), the first to carry the self-congratulatory Preface by Ramsay discussed above; a ‘third edition’, advertised to appear in 1726, appears to have been a combination of the first two volumes only. This was followed by another Dublin edition from a different publisher and a 1730 Edinburgh collected version, also with Preface (ESTC N13433). Ramsay’s degree of involvement in these ‘Fifth’ and ‘Collected’ editions is by no means clear. A ‘Fifth Edition’ of Ramsay’s second volume was published at Edinburgh in 1729 and Volume I was reprinted by a selection of booksellers in Scotland and England in 1732, followed by the ‘Ninth edition’ and ‘Tenth Edition’ of the three volumes at London and Dublin in 1733 and 1734 (ESTC T62726, T179623). A ‘Sixth’ edition of Volume II was produced by a cross-border selection of booksellers in 1734. Volume IV was published by Ramsay himself at the end of 1737 with the subtitle ‘Or, A Collection of Choice Songs, Scots and English’ (ESTC N46034). Further collected editions followed. In 1740 the ‘Tenth Edition’ ‘Being the Compleatest and most Correct’ in four volumes was printed at London with as new preface by Ramsay and was followed by a ‘twelfth Edition’ at Dublin in 1740, ‘With large Additions, not printed in any former Impression’ (ESTC T147978). This in turn 44

Burns Martin to John Oliver, 25 April 1953 (Law Archives). 27

The Tea-Table Miscellany

was succeeded by the ‘Eleventh’ edition of 1750 (ESTC N13434), and the ‘Twelfth’ Glasgow edition of 1753 (ESTC N13434), mentioned earlier in this chapter. There are in addition a number of pirated editions, but even adding these in (such as the Duncomb editions of 1750 or the Knox one of 1752) does not help make sense of the wayward sequencing of the ‘editions’, which cannot even by explained by the presence of lost texts, since the eleventh edition succeeds the twelfth. Beyond initial publication, the authorising and sequencing of TTM texts remains a bibliographical problem, which we address in the Bibliography at the end of this volume. But this does not affect our copy text, as not withstanding publishers’ puffery, there is little or no evidence that Ramsay seriously revised or revisited TTM at any point once his initial volumes had appeared, published either by himself or his close friend Thomas Ruddiman. The TTM has never previously been edited in any fashion, scholarly or otherwise. In 1799, Joseph Ritson proposed to edit Allan Ramsay, ‘the untutored child of nature & of genius’, but the proposal came to nothing, as did a similar project begun by Alexander B. Grosart in the 1840s. While John Goodridge’s adverse reflections on the Martin, Oliver, Kinghorn and Law edition of Ramsay’s works in the Ramsay section of Margaret Smith’s Index of English Literary Manuscripts are entirely justified, the STS editorial team did not even attempt the editing of the TTM.45 Burns Martin noted that the authorship of the songs was ‘extremely involved’ and repeatedly noted that TTM should be edited separately, if at all.46 The present edition has been prepared in accordance with the textual policy of the Ramsay edition, which is available on our website at https://bit.ly/3fXxpJ1. Special attention is paid to the archaeology Goodridge describes the edition as ‘inconsistent and unreliable’, notes that ‘words are sometimes omitted’ and the ‘absence of specific publication information’, before concluding that the Scottish Text Society Ramsay is ‘deeply flawed as a scholarly edition…badly organised…unacceptably inaccurate, its contents pages, titling, indexes, and apparatus are variously inadequate, inconsistent and error-ridden’ (John Goodridge, ‘Allan Ramsay’, in Margaret M. Smith and Alexander Lindsay (eds), The Index of English Literary Manuscripts III:3 (London: Mansell, 1992), pp.169-261 (171-72, 174). 46 Bertrand Bronson, Joseph Ritson: Scholar-at-Arms, 2 vols, (University of California Press: Berkeley, 1938), I:232; National Records of Scotland GD/331/5/34; email from Steven Newman to Craig Lamont, 3 April 2018; Burns Martin to John Oliver, 23 October 1953, 2 June 1954 (Law Archives). 45

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Introduction

of the musical settings of the songs in TTM as well as to the development of the text, which is reproduced in as close to facsimile form as possible, including title pages, stanza layout, and the preservation of the initial capitalisation of the first word of the first line, where this occurs. Some of Ruddiman’s distinctive decorative detailing can also be found below. Major collections are abbreviated and these abbreviations are listed in the Musical Source list at the end of the Notes. The unique standing of Scots as a meeting point of the diatopic, diastratic, diamesic and diaphasic elements of situational language is fully taken account of: Scots defines meeting points of space, class, medium, style and rhetoric separately or conjointly in language and thus has a major additional flexibility which Ramsay appreciated better than many of his critics. The definitions in the Glossary to these volumes will be drawn from Jamieson’s 1808 Dictionary, supplemented by Dictionaries of the Scots Language and Older Scottish Tongue (DSL and DOST). Ramsay’s own glossaries leant heavily on Ruddiman’s Douglas glossary of 1710, while Ramsay may have taken his Easy Club name ‘Douglas’ from this very volume. The aim throughout is to honour Ramsay’s original text, language and musical connexions as closely as possible, and not to arrogate to the editor the role of ‘building texts that never existed and hence altering the evidence from the past’ by hybridising Ramsay in the interests of a ‘better’ text. The numbering of the songs is sequential across all four volumes: Ramsay’s practice was inconsistent in this regard.47

4. Ruddiman ornaments Thomas Ruddiman’s name appears on the title-page of the first edition of TTM (1723) only. Volumes II (1726), III (1727) and IV (1737) carry the name of Allan Ramsay alone. The same designs are used as ornaments, headpieces, and tailpieces throughout all four volumes, and can be found in other collaborative publications between Ruddiman and Ramsay. Of the four volumes, IV is the most spare in terms of ornamentation, with stanzas numbered in roman throughout. On the title-page of TTM I the following ornament appears: Dictionary of the Scots Language; Dictionary of the Older Scots Tongue; see Elene Pierazzo, Digital Scholarly Editing, (Farnham: Ashgate, 2015), pp.68, 78; Duncan (1965), pp.49, 57, 166-7.

47

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It is reworked and recycled throughout the text. TTM II bears the following, smaller ornament on the title-page:

Again, this appears throughout the remaining text and in other volumes. The title-pages of III and IV carry no ornaments, just text and rules. The following ornaments are used most often throughout, deployed alone as breaks between stanzas (except in TTM IV) or in rows between songs which share a page: ‘Star’ ‘Crown’ ‘Sun’ ‘Heart’ ‘Glyph’ There are other, lesser-used ornaments, which appear either in pairs or in threes, two of which are reproduced below. The Thistle is sometimes used as part of a headpiece, often positioned beneath the Crown:

As the reader progresses through the four volumes, it becomes clear that the printer, whether Ruddiman or, later, Ramsay – using Ruddiman’s ornaments – was making use of as many combinations of the above ornaments with others to ensure each page had a unique 30

Introduction

and discernible aesthetic. The headpiece above ‘Bonny Jean.’ (I:83) is a good example of several ornaments combined to create a unique design. It even includes several punctuation marks which could be easily overlooked (two colons in the top row; upside down exclamation and question mark in the middle row; question mark in the bottom row):

Songs with long titles often appear with no ornaments, so as to allow more emphasis to the information in the title itself, as in I: 45, ‘A Scots Cantata. | The Tune after an Italian Manner. | Compos’d by | Signior Lorenzo Bocchi.’ Many of these ornaments can be found on Compositor, a database of eighteenth-century printers’ ornaments (University of Birmingham). Formerly known as Flueron, the database can be found at https://compositor.bham.ac.uk.

Murray Pittock University of Glasgow

31

Title-page of The Tea-Table Miscellany (1723) Copy held at Yale, Beinecke, shelfmark IK R148723

Dedication

TO

Ilka lovely British Lass, ____ Frae Ladys Charlote, Anne, and Jean, Down to ilk bony singing Bess, Wha dances barefoot on the Green.

DEAR LASSES,

Your most humble Slave, Wha ne’er to serve ye shall decline; Kneeling wad your Acceptance crave, When he presents this sma’ Propine. THEN take it kindly to your Care, Revive it with your tunefu’ Notes; Its Beauties will look sweet and fair, Arising saftly through your Throats.

THE Wanton wee Thing will rejoyce, When tented by a sparking Eye, The Spinnet tinkling with her Voice, It lying on her lovely Knee. WHILE Kettles dringe on Ingles dure, Or Clashes stays the lazy Lass, Thir Sangs may ward you frae the sowr, And gayly vacant Minutes pass. E’EN while the Tea’s fill’d reeking round, Rather than plot a tender Tongue, Treat a’ the circling Lugs wi’ Sound, Syne safely sip when ye have sung. MAY Happiness had up your Hearts, And warm ye lang with loving Fires, May Powers propitious play their Parts In matching you to your Desires. Edinr. January i. 1723. A. RAMSAY

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The Tea-Table Miscellany R1

Bony Christy.

How sweetly smells the Simmer green? Sweet taste the Peach and Cherry; Painting and Order please our Een, And Claret makes us merry: But finest Colours, Fruits and Flowers, 5 And Wine, tho’ I be thristy, Lose a’ their Charms and weaker Powers, Compar’d with those of Christy. * When wandring o’er the flow’ry Park, No nat’ral Beauty wanting; 10 How lightsome is’t to hear the Lark, And Birds in Consort chanting: But if my Christy tunes her Voice, I’m rap’t in Admiration, My Thoughts with Extasies rejoice, 15 And drap the hale Creation. * When e’er she smiles a kindly Glance, I take the happy Omen, And aften mint to make Advance, Hoping she’ll prove a Woman: 20 But dubious of my ain Desert, My Sentiments I smother, With secret Sighs I vex my Heart, For fear she love another. * Thus sang blate Edie by a Burn, 25 His Christy did o’erhear him, She doughtna let her Lover mourn, But e’er he wist drew near him. She spake her Favour with a Look, Which left nae Room to doubt her, 30 He wisely this white Minute took, And flang his Arms about her. * My Christy! ---- witness, bony Stream, Sic Joys frae Tears arising, I wish this may na be a Dream: ---- O Love the maist surprising! Time was too precious now for Tauk, 34

35

Text: TTM I (1723) This Point of a’ his Wishes, He wadna with set Speeches bauk, But wair’d it a’ on Kisses. ***

40

R2 The Bush aboon Traquair. Hear me, ye Nymphs, and every Swain I’ll tell how Peggy grieves me, Tho’ thus I languish, thus complain, Alas, she ne’er believes me. My Vows and Sighs, like silent Air, Unheeded never move her; At the bony Bush aboon Traquair, ’Twas there I first did love her. * That Day she smil’d, and made me glad, No Maid seem’d ever kinder, I thought myself the luckiest Lad, So sweetly there to find her. I try’d to sooth my am’rous Flame, In Words that I thought tender, If more there pass’d, I’m not to blame, I meant not to offend her. * Yet now she scornful flies the Plain, The Fields we then frequented, If e’er we meet, she shews Disdain, She looks as ne’er acquainted. The bony Bush bloom’d fair in May, Its Sweets I’ll ay remember; But now her Frowns make it decay, It fades, as in December. * Ye Rural Powers, who hear my Strains, Why thus should Peggy grieve me? Oh! make her Partner in my Pains, Then let her Smiles relieve me. If not, my Love will turn Despair, My Passion no more tender; I’ll leave the Bush aboon Traquair, To lonely Wilds I’ll wander. C. 35

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An O D E.

To the Tune of Polwarth on the Green. Tho Beauty, like the Rose That smiles on Polwarth Green, In various Colours shows, As ’tis by Fancy seen: Yet all its different Glories ly United in thy Face, And Vertue, like the Sun on high, Gives Rays to ev’ry Grace.

5

* So charming is her Air, So smooth, so calm her Mind, 10 That to some Angel’s Care Each Motion seems assign’d: But yet so cheerful, sprightly, gay, The joyful Moments fly, As if for Wings they stole the Ray 15 She darteth from the Eye. * Kind am’rous Cupids, while With tuneful Voice she sings, Perfume her Breath and smile, And wave their balmy Wings: 20 But as the tender Blushes rise, Soft Innocence doth warm, The Soul in blissful Extasies Dissolveth in the Charm. D *** R4 Tweed-Side. What Beauties does Flora disclose? How sweet are her Smiles upon Tweed? Yet Mary’s still sweeter than those, Both Nature and Fancy exceed. Not Daisie, nor sweet blushing Rose, 5 Not all the gay Flowers of the Field, Not Tweed gliding gently thro’ those, Such Beauty and Pleasure does yield. 36

Text: TTM I (1723) * The Warblers are heard in the Grove, The Linnet, the Lark and the Thrush, 10 The Black-bird, and sweet cooing Dove, With Musick enchant ev’ry Bush. Come let us go forth to the Mead, Let us see how the Primroses spring, We’ll lodge in some Village on Tweed, 15 And love while the feather’d Folks sing. * How does my Love pass the long Day? Does Mary not ’tend a few Sheep? Do they never carelessly stray, While happily she lyes asleep? Tweed’s Murmurs should lull her to Rest, Kind Nature indulging my Bliss, To relieve the soft Pains of my Breast, I’d steal an ambrosial Kiss.

20

* ’Tis she does the Virgins excell, 25 No Beauty with her may compare, Love’s Graces all round her do dwell, She’s fairest, where Thousands are fair. Say, Charmer, where do thy Flocks stray? Oh! tell me at Noon where they feed; 30 Shall I seek them on sweet winding Tay, Or the pleasanter Banks of the Tweed? C. *** R5 S O N G. To the Tune of, Wo’s my Heart that we should sunder. Is Hamilla then my own, O the dear, the charming Treasure! Fortune now in vain shall frown, All my future Life is Pleasure. * See how rich with youthful Grace, 5 Beauty warms her ev’ry Feature; Smiling Heaven is in her Face, All is gay, and all is Nature. 37

The Tea-Table Miscellany * See what mingling Charms arise, Rosy Smiles and kindling Blushes; 10 Love sits laughing in her Eyes, And betrays her secret Wishes. * Haste then from th’ Idalian Grove, Infant Smiles, and Sports, and Graces, Spread the Downy Couch for Love, And lull us in your sweet Embraces. * Softest Raptures, pure from Noise, This fair happy Night surround us, While a Thousand spritly Joys Silent flutter all around us.

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* Thus unsowr’d with Care or Strife, Heaven still guard this dearest Blessing, While we tread the Path of Life, Loving still, and still possessing. S. *** R6 A S O N G. Let’s be jovial, fill our Glasses, Madness ’tis for us to think, How the World is rul’d by Asses, And the Wise are sway’d by Chink. Fal la ra, &c. * Then never let vain Cares oppress us, Riches are to them a Snare, We’re ev’ry one as rich as Crœsus, While our Bottle drowns our Care. Fa la ra, &c. * Wine will make us red as Roses, And our Sorrows quite forget, Come let us fuddle all our Noses, Drink ourselves quite out of debt. Fa la ra, &c. 38

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Text: TTM I (1723) * When grim Death is looking for us, We are topping at our Bowls, Bachus [Sic] joining in the Chorus; 15 Death, begone, here’s none but Souls. Fa la ra, &c. * Godlike Bachus thus commanding, Trembling Death away shall fly, Ever after understanding Drinking Souls can never dy. Fa la ra, &c. X. R7

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*** Muirland Willie.

Harken and I will tell you how Young Muirland Willie came to woo, Though he cou’d neither say nor do, The truth I tell to you. But ay he cries, What e’er betide, 5 Maggy I’se ha’e her to be my Bride, With a fal dal, &c. On his Gray Yad as he did ride, With Durk and Pistol by his Side, He prick’d her on wi’ meikle Pride, Wi’ mikle Mirth and Glee. Out o’er yon Moss, out o’er yon Muir, Till he came to her Dady’s Door. With a fal dal, &c. Goodman, quoth he, be ye within, I’m come your Doghter’s Love to win, I care no for making meikle Din, What Answer gi’e ye me? Now Wooer, quoth he, wou’d ye light down, I’se gi’e ye my Doghter’s Love to win, With a fal dal, &c. Now Woo’er sin ye are lighted down, Where do ye win, or in what Town, I think my Doghter winna gloom On sick a Lad as ye. The Wooer he step’d up the House, 39

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The Tea-Table Miscellany And wow but he was wond’rows crouse, With a fal, &c. I have three Owsen in a Plough, Twa good ga’n Yads and Gear enough, The Place they ca’ it Cadeneugh, I scorn to tell a Lie. Besides I had frae the great Laird, A Peat Pat and a Lang-kail Yard, With a fal, &c. The Maid pat on her Kirtle brown, She was the brawest in a’ the Town, I wat on him she did na gloom, But blinkit bonnilie. The Lover he stended up in Haste, And gript her hard about the Waist, With a fal, &c. To win your Love, Maid, I’m come here, I’m young, and hae enough o’ Gear, And for my sell you need na fear, Troth try me whan ye like. He took aff his Bonnet, and fpat in his Chew, He dighted his Gab and he pri’d her Mou, With a fal, &c. The Maiden blusht and bing’d fu’ law, She had na Will to say him na, But to her Dady she left it a’, As they twa cou’d agree. The Lover he ga’e her the tither Kiss, Syne ran to her Dady and tell’d him this, With a fal, &c. Your Doghter wad na say me na, But to your sell she has left it a’, As we cou’d gree between us twa, Say what’ll ye gi’ me wi’ her. Now Woer, quo’ he, I ha’e nae Meikle, But sik’s I ha’e ye’s get a Pickle. With a fal, &c. A Kilnfu’ of Corn I’ll gi’e to thee, Three Soums of Sheep, twa good Milk Ky, Ye’s ha’e the Wadding Dinner free, Troth I dow do na mair. Content, quo’ he, a Bargain be’t, 40

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Text: TTM I (1723) I’m far frae hame, make haste let’s do’t, With a fal, &c. The Bridal Day it came to pass, Wi’ mony a blythsome Lad and Lass, But sicken a Day there never was, Sic Mirth was never seen. This winsome Couple straked Hands, Mess John ty’d up the Marriage Bands. With a fal, &c. And our Bride’s Maidens were na few, Wi’ Tap-knots, Lug-knots, a’ in blew, Frae Tap to Tae they were braw new, And blinked bonnilie. Their Toys and Mutches were sae clean, They glanced in our Ladses Een. With a fal, &c. Sic Hirdum, Dirdum, and sic Din, Wi’ he o’er her and she o’er him, The Minstrels they did never blin, Wi’ meikle Mirth and Glee. And ay they bobit and ay they beckt, And ay their Wames together met, With a fal, &c. Z. R8

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*** The promis’d Joy.

To the Tune of Carle and the King come. When we meet again, Phely, When we meet again Phely, Raptures will reward our Pain, And Loss result in gain, Phely. Long the sport of Fortune driv’n, To Despair our Thoughts were giv’n, But when Hell is turn’d to Heav’n, Our odds will all be ev’n, Phely. When we meet again Phely, &c.

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Now in dreary distant Groves, Tho we moan like Turtle Doves, 10 Suffering best our Virtue proves, And will enhance our loves, Phely, When we meet again, Phely, &c. 41

The Tea-Table Miscellany Joy will come in a Surprise, ’Till its happy Hour arise, Temper well your love-sick Sighs, 15 For Hope becomes the wise, Phely. When we meet again Phely, When we meet again Phely, Raptures will reward our Pain, And Loss result in Gain, Phely. 20 M. *** R9 To Delia on her drawing him to her Valantine. To the Tune of Black Ey’d Susan. Ye powers! was Damon then so blest To fall to charming Delia’s Share, Delia, the beauteous Maid, possest Of all that’s soft and all that’s fair? Here cease thy Bounty, O indulgent Heav’n, I ask no more, for all my Wish is giv’n. I came, and Delia smiling show’d, She smil’d and show’d the happy Name; With rising Joy my Heart o’erflow’d, I felt, and blest the new born Flame. May softest Pleasures ceaseless round her move, May all her Nights be Joy, and Days be Love. * She drew the Treasure from her Breast, That Breast where Love and Graces play, O Name beyond Expression blest! Thus lodg’d with all that’s fair and gay. To be so lodg’d! the Thought is Extasy, Who would not wish in Paradise to ly? R. *** R10 The faithful Shepherd. To the Tune of Auld lang syne. When Flow’ry Meadows deck the Year, And sporting Lambkins play, When spangl’d Fields renew’d appear, And Musick wak’d the Day; 42

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Text: TTM I (1723) Then did my Chloe leave her Bower, To hear my am’rous Lay, Warm’d by my Love, she vow’d no Power Shou’d lead her Heart astray.

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* The warbling Quires from ev’ry Bough, Surround our Couch in Throngs, 10 And all their tuneful Art bestow, To give us Change of Songs; Scenes of Delight my Soul possess’d, I bless’d, then hug’d my Maid; I rob’d the Kisses from her Breast, 15 Sweet as a Noon-day’s Shade. Joy so transporting never fails To fly away as Air, Another Swain with her prevails, To be as false as fair. 20 What can my fatal Passion cure? I’ll never woo again, All her Disdain I must endure, Adoring her in vain. O. ________________________________ What Pity ’tis to hear the Boy Thus sighing with his Pain; But time and Scorn may give him Joy To hear her sigh again. Ah! fickle Cloe be advis’d, Do not thy self beguile, A faithful Lover should be priz’d, Then cure him with a Smile.

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*** R11 To Mrs. S. H. on her taking something ill I said. To the Tune of Hallow E’en. Why hangs that Cloud upon thy Brow? That beauteous Heav’n e’re while serene: Whence do these Storms and Tempests flow Or what this Gust of Passion mean? And must then Mankind lose that Light, 43

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The Tea-Table Miscellany Which in thine Eyes was wont to shine, And ly obscur’d in endless Night, For each poor silly Speech of mine? * Dear Child! How can I wrong thy Name, Since ’tis acknowledg’d at all Hands, 10 That could ill Tongues abuse thy Fame, Thy Beauty can make large Amends. Or if I durst profanely try, Thy Beauty’s pow’rful charms t’upbraid, Thy Virtue well might give the Lie, 15 Nor call thy Beauty to its Aid. * For Venus every Heart t’ensnare, With all her Charms has deckt thy Face, And Pallas with unusual Care, Bids Wisdom heighten every Grace. 20 Who can the double Pain endure? Or who must not resign the Field, To thee, Celestial Maid, secure With Cupid’s bow and Pallas’ Sheild? * If then to thee such Power is giv’n, Let not a Wretch in Torment live, But smile and learn to copy Heav’n, Since we must sin ere it forgive. Yet pitying Heav’n not only does Forgive the Offender and th’ Offence, But even itself appeas’d bestows, As the Reward of Penitence. H.

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*** R12

The Broom of Cowdenknows.

How blyth ilk Morn was I to see The Swain come o’er the Hill? He skipt the Burn, and flew to me, I met him with good Will. O the Broom, the bonny, bonny Broom, 5 The Broom of Cowdenknows; I wish I were with my dear Swain, With his Pipe and my Ews. 44

Text: TTM I (1723) I neither wanted Ew nor Lamb, While his Flock near me lay; He gather’d in my Sheep at Night, And chear’d me a’ the Day. O the Broom, &c.

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He tun’d his Pipe and Reed sae sweet, The Burds stood listning by; Even the dull Cattle stood and gaz’d, 15 Charm’d with his Melody. O the Broom, &c. While thus we spent our Time by Turns, Betwixt our Flocks and Play; I envy’d not the fairest Dame, Tho’ ne’er sae rich and gay. 20 O the Broom, &c. Hard Fate that I shou’d banish’d be, Gang heavily and mourn, Because I lov’d the kindest Swain That ever yet was born. O the Broom, &c. He did oblige me ev’ry Hour, 25 Cou’d I but faithfu’ be? He staw my Heart, cou’d I refuse What e’er he ask’d of me? O the Broom, &c. My Doggie and my little Kit That held my wee Soup Whey, My Plaidy, Broach, and crooked Stick, May now ly useless by. O the Broom, &c.

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Adieu, ye Cowdenknows, adieu, Farewel a’ Pleasures there, Ye Gods restore to me my Swain, 35 Is a’ I crave or care. O the Broom, the bonny, bonny Broom, The Broom of Cowdenknows; I wish I were with my dear Swain, With his Pipe and my Ews. S. R.

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The Tea-Table Miscellany R13 To CHLOE. To the Tune of, I wish my Love were in a Mire. O Lovely Maid! How dear’s thy Pow’r? At once I love, at once adore; With Wonder are my Thoughts possest, While softest Love inspires my Breast. This tender Look, these eyes of mine, 5 Confess their am’rous Master thine; These Eyes with Strephon’s Passion play, First make me love, and then betray. * Yes, charming Victor, I am thine, Poor as it is, this Heart of mine, Was never in another’s Pow’r, Was never pierc’d by Love before. In thee I’ve treasur’d up my Joy, Thou can’st give Bliss, or Bliss destroy; And thus I’ve bound myself to love While Bliss or Misery can move. * O should I ne’er possess thy Charms, Ne’er meet my Comfort in thy Arms, Were Hopes of dear Enjoyment gone, Still would I love, love thee alone. But like some discontented Shade, That wanders where its Body’s laid, Mournful I’d roam with hollow Glare, For ever exil’d from my Fair. L. *** R14

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Upon hearing his picture was in Chloe’s Breast.

To the Tune of The Fourteen of October. Ye Gods! was Strephon’s Picture blest With the fair Heaven of Chloe’s Breast; Move softer, thou fond flutring Heart, Oh gently throb, ---- too fierce thou art. Tell me, thou brightest of thy kind, 46

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Text: TTM I (1723) For Strephon was the Bliss design’d? For Strephon’s Sake, dear charming Maid, Didst thou prefer his wond’ring Shade? * And thou blest Shade that sweetly art Lodg’d so near my Chloe’s Heart, 10 For me the tender Hour improve, And softly tell how dear I love. Ungrateful Thing! it scorns to hear Its wretched Master’s ardent Pray’r, Engrossing all that beauteous Heaven, 15 That Chloe, lavish Maid, has given. * I cannot blame thee; were I Lord Of all the Wealth those Breasts afford, I’d be a Miser too, nor give An Alms to keep a God alive. 20 Oh smile not thus, my lovely Fair, On these cold Looks, that lifelefs Air, Prize him whose Bosom glows with Fire, With eager love and soft Desire. * ’Tis true thy Charms, O powerful Maid, To life can bring the silent Shade; Thou can’st surpass the Painter’s Art, And real Warmth and Flames impart. But oh! it ne’er can love like me, I’ve ever lov’d, and lov’d but thee: Then, Charmer, grant my fond Request, Say thou canst love and make me blest. L. *** R15

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Song for a Serenade.

To the Tune of The Broom of Cowdenknows. Teach me, Chloe, how to prove My boasted Flame sincere; ’Tis hard to tell how dear I love, And hard to hide my Care. 47

The Tea-Table Miscellany Sleep in vain displays her Charms, To bribe my Soul to Rest, Vainly spreads her Silken Arms, And courts me to her Breast.

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Where can Strephon find Repose, If Chloe is not there? 10 For ah! no Peace his Bosom knows When absent from the Fair. What tho’ Phœbus from on high Witholds his chearful Ray, Thine Eyes can well his Light supply, 15 And give me more than Day. L. *** R16 Love is the Cause of my Mourning. By a murmuring Stream a fair Shepherdess lay, Be so kind, O ye Nymphs, I oftimes heard her say, Tell Strephon I dy, if he passes this Way, And that Love is the Cause of my mourning. False Shepherds that tell me of Beauty and Charms, You deceive me, for Strephon’s cold Heart never warms; Yet bring me this Strephon, let me dy in his arms, Oh Strephon the Cause of my mourning. But first, said she, let me go Down to the Shades below, E’er ye let Strephon know That I have lov’d him so; Then on my pale Cheek no Blushes will show That Love was the Cause of my mourning. Her Eyes were scarce closed when Strephon came by, He thought she’d been sleeping, and softly drew nigh; But finding her breathless, Oh Heavens, did he cry, Ah Chloris the Cause of my mourning. Restore me my Chloris, ye Nymphs use your Art; They sighing reply’d, ’Twas yourself shot the Dart, That wounded the tender young Shepherdess Heart, And kill’d the poor Chloris with mourning. Ah then is Chloris dead, Wounded by me? He said, I’ll follow thee, chaste Maid, Down to the silent Shade: Then on her cold Snowy Breast leaning his Head, Expir’d the poor Strephon with mourning. X. 48

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Text: TTM I (1723) R17 To Mrs. A. H. on seeing her at a Consort. To the Tune of The bonniest Lass in a’ the Warld. Look where my dear Hamilla smiles? Hamilla! heavenly Charmer, See how with all their Arts and Wiles The Loves and Graces arm her. A Blush dwells glowing on her Cheeks, Fair Seats of youthful Pleasures, There Love in smiling Language speaks, There spreads his Rosy Treasures.

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* O fairest Maid I own thy Pow’r, I gaze, I sigh and languish, 10 Yet ever, ever will adore, And triumph in my Anguish. But ease, O Charmer, ease my Care, And let my Torments move thee; As thou art fairest of the Fair, 15 So I the dearest love thee. C. *** R18 The bonny SCOT. To the Tune of The Boat-man. Ye Gales that gently wave the Sea, And please the canny Boat-man, Bear me frae hence, or bring to me My brave, my bonny Scot----Man. In haly Bands 5 We join’d our Hands, Yet may not this discover, While Parents rate A large Estate, Before a faithfu’ Lover. 10 * But I loor chuse in Highland Glens To herd the Kid and Goat----Man, E’er I cou’d for sic little Ends 49

The Tea-Table Miscellany Refuse my bonny Scot----Man. Wae worth the man 15 Wha first began The base ungenerous Fashion, Frae greedy Views Love’s Art to use, While Strangers to its Passion. 20 * Frae foreign Fields my lovely Youth, Haste to thy longing Lassie, Wha pants to press thy bawmy Mouth, And in her Bosom hawse thee. Love gi’es the Word 25 Then haste on Board, Fair winds and tenty Boat-man, Waft o’er, waft o’er Frae yonder Shore My blyth, my bonny Scot----Man. 30 R19

*** Scornfu’ Nansy. To it’s own Tune.

Nansy’s to the Green Wood gane, To hear the Gowdspink chatring, And Willie he has followed her, To gain her Love by flat’ring: But a’ that he cou’d say or do, She geck’d and scorned at him, And ay when he began to woo, She bad him mind wha gat him. * What ails ye at my Dad, quoth he, My Minny or my Aunty, With Crowdy Mowdy they fed me, Lang-Kail and Ranty Taunty: With Bannocks of good Barly Meal, Of thae there was right Plenty, With chapped Stocks fou butter’d well, And was not that right dainty. * Altho my Father was nae Laird, ’Tis Dafine to be vaunty, 50

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Text: TTM I (1723) He keepit ay a good Kail-Yard, A Ha’ House and a Pantrie: A good blew Bonnet on his Head, An Owrlay ’bout his Cragy, And ay until the Day he died, He rade on good Shanks Nagy.

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* Now Wae and Wander on your Snout, 25 Wad ye ha’e bony Nansy, Wad ye compare ye’r sell to me, A Docken till a Tansie? I have a Woer of my ain, They ca’ him souple Sandy, 30 And well I wat his bonny Mou Is sweet like Sugar-Candy. * Wow Nansy what needs a’ this Din, Do I not ken this Sandy? I’m sure the Chief of a’ his Kin 35 Was Rab the Beggar Randy: His Minny Meg upo’ her Back Bare baith him and his Billy; Will ye compare a nasty Pack To me your winsome Willy? 40 * My Gutcher left a good braid Sword, Thou it be auld and rusty, Yet ye may tak it on my Word, It is baith stout and trusty; And if I can but get it drawn, Which will be right uneasy, I shall lay baith my Lugs in Pawn, That he shall get a Heezy.

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* Then Nansy turn’d her round about, And said, did Sandy hear ye, 50 Ye wadna miss to get a Clout, I ken he disna fear ye: Sae had ye’re Tonge and say nae mair, Set somewhere else your Fancy; For as lang’s Sandy’s to the fore 55 Ye never shall get Nansy. Z. 51

The Tea-Table Miscellany R20

Slighted Nansy.

To the Tune of, The Kirk wad let me be. ’Tis I have seven braw new Gowns, And ither seven better to mak, And yet for a’ my new Gowns My Woer has turn’d his Back. Besides I have seven Milk Ky, And Sandy he has but three; And yet for a’ my good Ky, The Laddie winna ha’e me. * My Dady’s a Delver of Dikes, My Mither can card and spin, And I am a fine fodgel Lass, And the Siller comes linkin in: The Siller comes linkin in, And it is fou fair to see, And fifty Times wow! O wow! What ails the Lads at me. * When ever our Bauty does bark, Then fast to the Door I rin, To see gin ony young Spark Will light and venture but in: But never a ane will come in, Tho mony a ane gaes by, Syne far Ben the House I rin, And a weary Wight am I. * When I was at my first Pray’rs, I pray’d but anes i’the Year, I wish’d for a handsome young Lad, And a Lad with muckle Gear. When I was at my neist Prayers, I pray’d but now and than, I fash’d na my Head about Gear, If I get a handsome young Man. * Now when I’m at my last Prayers, I pray on baith Night and Day, And O! if a Beggar wad come, 52

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Text: TTM I (1723) With that same Beggar I’d gae. And O and what’ll come o’ me, And O what’ll I do, That sic a braw Lassie as I Shou’d die for a Woer I trow!

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*** R21 Lucky Nansy. To the Tune of, Dainty Davy. While Fops in saft Italian Verse, Ilk fair ane’s Een and Breast rehearse, While Sangs abound and Sence is scarce, These Lines I have indited: But neither Darts nor Arrows here, 5 Venus nor Cupid shall appear, And yet with these fine Sounds I swear, The Maidens are delited. I was ay telling you, Lucky Nansy, Lucky Nansy, 10 Auld Springs wad ding the New, But ye wad never trow me. * Nor Snaw with Crimson will I mix, To spread upon my Lassie’s Cheeks, And syne th’ unmeaning Name prefix, 15 Miranda, Chloe, or Phillis: I’ll fetch nae Simile frae Jove, My Height of Extasy to prove, Nor sighing, ----thus----present my Love, With Roses eek and Lillies. 20 I was ay telling, &c. * But stay, ---- I had amaist forgot, My Mistress and my Sang to Boot, And that’s an unko Faut I wate But Nansy ’tis nae Matter. Ye see I clink my Verse wi’ Rhime, 25 And ken ye, that atones the Crime, Forby, how sweet my Numbers chime, And slide awa like Water. I was ay telling you, &c. * 53

The Tea-Table Miscellany Now ken, my reverend sonsy Fair, Thy runkled Cheeks and lyart Hair, Thy haff shut Een and hod’ling Air, Are a’ my Passions Fewel. Nae sky’ring Gowk, my Dear, can see, Or Love or Grace or Heaven in thee; Yet thou hast Charms enew for me, Then smile and be na cruel. Leeze me on thy Snawy Pow, Lucky Nansy, Lucky Nansy, Dryest Wood will eithest low, And Nansy sae will ye now. * Troth I have sung the Sang to you, Which ne’er anither Bard wad do, Hear then my charitable Vow, Dear venerable Nansy. But if the World my Passion wrang, And say ye only live in Sang, Ken I despise a slandring Tongue, And sing to please my Fancy. Leeze me on thy, &c. R22

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*** A Scots Cantata.

The Tune after an Italian Manner. Compos’d by Signior Lorenzo Bocchi. Recitative. Blate Jonny faintly tell’d fair Jean his Mind, Jeany took pleasure to deny him lang: He thought her Scorn came frae a Heart unkind, Which gart him in Despair tune up this Sang. Air. O bonny Lassie, since ’tis sae, That I’m despis’d by thee, I hate to live; but O I’m wae, And unko sweer to die. Dear Jeany, think what dowy Hours I thole by your Disdain; Ah! should a Breast sae saft as yours Contain a heart of Stane. 54

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Text: TTM I (1723) Recitative. These tender Notes did a’ her Pity move, With melting Heart she listned to the Boy; O’ercome she smil’d, and promis’d him her Love: He in Return thus sang his rising Joy. Air. Hence frae my Breast contentious Care Ye’ve tint the Power to pine, My Jeany’s good, my Jeany’s fair, And a’ her Sweets are mine. O spread thine Arms and gi’e me Fowth Of dear enchanting Bless, A thousand Joys around thy Mouth, Gie Heaven with ilka Kiss.

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*** R23 The TOAST. To the Tune of, Saw ye my Peggy. Come let’s ha’e mair Wine in, Bacchus hates Repining, Venus loos na Dwining, Let’s be blith and free. Away with dull here t’ye, Sir, 5 Ye’r Mistress ------- gi’es her, We’ll drink her Health wi’ Pleasure, Wha’s belov’d by thee. * Then let -------- warm ye, That’s a Lass can charm ye, 10 And to Joys alarm ye, Sweet is she to me. Some Angel ye wad ca’ her, And never wish ane brawer, If ye bare Headed saw her, 15 Kiltet to the Knee. * ------ a dainty Lass is, Come let’s join our Glasses, And refresh our Hawses, With a Health to thee. 20 Let Coofs their Cash be clinking, Be Statesmen tint in Thinking, 55

The Tea-Table Miscellany While we with Love and Drinking, Give our Cares the Lie. N.B. The first Blank to be supply’d with the Toster’s Name, the two last with the Name of the Toast.

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*** Maggie’s Tocher. To its ain Tune.

The meal was dear short syne, We buckl’d us a’ the gither; And Maggie was in her Prime, When Willie made Courtship till her. Twa Pistals charg’d beguess, 5 To gie the courting Shot; And syne came ben the Lass, Wi Swats drawn frae the Butt. He first speer’d at the Guidman, And syne at Giles the Mither, 10 An ye wad gi’s a bit Land, We’d buckle us een the gither. My Daughter ye shall hae, I’ll g’you her by the Hand; But I’ll part wi’ my Wife by my Fae, 15 Or I part wi’ my Land. Your Tocher it sall be good, There’s nane sall ha’e its Maik, The Lass bound in her Snood, And Crummie who kens her Stake: 20 With an auld Bedden o’ Claiths, Was left me by my Mither, They’re jet black o’er wi’ Fleas, Ye may cudle in them the gather. Ye speak right well, Guidman, 25 But ye maun mend your Hand, And think o’ Modesty, Gin ye’ll not quat your Land: We are but young, ye ken, And now we’re gawn the gither. 30 A House is butt and benn, And Crummie will want her Fother. The Bairns are coming on, 56

Text: TTM I (1723) And they’ll cry, O their Mither! We hae nowther Pot nor Pan, 35 But four bare Legs the gither. Your Tocher’s be good enough, For that ye need na fear, Twa good Stilts to the Pleugh, And ye your sell maun steer: 40 Ye shall ha’e twa good Pocks, That anes were o’ the Tweel, The t’ane to had the Grots, The ither to had the Meal. With an auld Kist made o’ Wands, 45 And that sall be your Coffer, W’aiken woody Bands, And that may had your Tocher. Consider well, Guidman, We ha’e but borrow’d Gear, 50 The Horse that I ride on, Is Sandy Wilson’s Mare: The Sadle’s nane o’ my ain, An thae’s but borrow’d Boots, An whan that I gae hame 55 I maun tak to my Coots. The cloak is Geordy Watt’s, That gars me look sae crouse; Come fill us a Cogue of Swats, We’ll make na mair toom Ruse. 60 I like you well, young Lad, For telling me sae plain, I married when little I had O’ Gear that was my ain. But sin that Things are sae, 65 The Bride she maun come furth, Tho a the Gear she’ll ha’e, It’ll be but little worth. A Bargain it maun be, Fy cry on Giles the Mither: 70 Content am I, quo’ she, E’en gar the Hissie come hither. The Bride she gade till her Bed, The Bridegroom he came till her, The Fidler crap in at the Fit, 75 An they cudl’d it a the gither. Z. 57

The Tea-Table Miscellany R25

A SONG.

To the Tune of Blink over the Burn, sweet Bettie. Leave kindred and Friends, sweet Betty, Leave Kindred and Friends, for me; Assur’d, thy Servant is steddy To Love, to Honour, and Thee. The Gifts of Nature and Fortune, 5 May fly, by Chance, as they came. They’re Grounds the Destines sport on, But Virtue is ever the same. * Altho my Fancy were roving, Thy Charms so heavenly appear, That other Beauties disproving, I’d worship thine only, my Dear. And shou’d Life’s Sorrows embitter The Pleasure we promis’d our Loves, To share them, together, is fitter, Than moan, assunder, like Doves. * Oh! were I but once so blessed, To grasp my Love in my Arms! By thee to be grasp’d! and kissed! And live on thy Heaven of Charms! I’d laugh at Fortune’s Caprices, Shou’d Fortune capricious prove; Tho Death shou’d tear me to Pieces, I’d die a Martyr to love. M. R26

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*** A SONG.

To the Tune of The bonny Gray-ey’d Morning. Celestial Muses, tune your Lyres, Grace all my Raptures with your Lays, Charming, enchanting Kate inspires, In lofty Sounds her Beauties praise, How undesigning she displays, 5 58

Text: TTM I (1723) Such Scenes as ravish with Delight; Tho brighter than Meridian Rays, They dazle not, but please the Sight. * Blind God give this, this only Dart, I neither will, nor can her harm, 10 I would but gently touch her Heart; And try for once if that cou’d charm. Go, Venus, use your fav’rite Wile, As she is beauteous, make her kind, Let all your Graces round her smile, 15 And sooth her, till I Comfort find. * When thus, by yielding, I’m o’repaid, And all my anxious Cares remov’d, In moving Notes, I’ll tell the Maid, With what pure lasting Flames I lov’d. Then shall alternate Life and Death, My ravish’d flutt’ring Soul possess, The softest tend’rest Things I’ll breath, Betwixt each am’rous fond Caress. O. R27

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*** S O N G.

To the Tune of the Broom of Cowden Knows. Subjected to the Pow’r of Love, By Nell’s resistless Charms, The fancy fix’d no more can rove, Or fly Love’s soft Alarms. Gay Damon had the Skill to shun, 5 All Traps by Cupid laid, Until his freedom was undone By Nell, the conquering Maid. But who can stand the Force of Love, When she resolves to kill? 10 Her sparkling Eyes Love’s Arrows prove, And wound us with our Will. O happy Damon, happy Fair, What Cupid has begun, May Faithful Hymen take a Care 15 To see it fairly done. G. 59

The Tea-Table Miscellany R28

S O N G.

Tune of Logan Water. Vitas hinnuleo me similis, Chloe. Tell me, Hamilla, tell me why Thou dost from him that loves thee run? Why from his soft Embraces fly, And all his kind Endearments shun? So flies the Fawn, with Fear oppress’d 5 Seeking its Mother ev’ry where, It starts at ev’ry empty Blast, And trembles when no Danger’s near. And yet I keep thee but in View, To gaze the Glories of thy Face, 10 Not with a hateful Step pursue, As Age to rifle ev’ry Grace. Cease then, dear Wildness, cease to toy, But haste all Rivals to outshine, And grown mature and ripe for Joy, 15 Leave Mama’s Arms and come to mine. W. R29

*** A South Sea Sang.

Tune of, ---- For our lang biding here. When we came to London Town, We dream’d of Gowd in Gowpings here, And rantinly ran up and down, In rising Stocks to buy a Skair: We daftly thought to row in Rowth, 5 But for our Daffine pay’d right dear; The lave will fare the war in Trouth, For our lang biding here. * But when we find our Purses toom, And dainty Stocks began to fa’, 10 We hang our Lugs and wi’ a Gloom, Girn’d at Stockjobbing ane and a’. If ye gang near the South Sea House, 60

Text: TTM I (1723) The Whillywha’s will grip ye’r Gear, Syne a’ the Lave will fare the war, 15 For our lang biding here. *** R30 Hap me with thy Petticoat. O bell, thy Looks have kill’d my Heart, I pass the Day in Pain, When Night returns I feel the Smart, And wish for thee in vain. I’m starving cold, while thou art warm, Have Pity and incline, And grant me for a Hap that Charming Pettycoat of thine. * My ravish’d Fancy in Amaze, Still wanders o’er thy Charms, Delusive Dreams ten thousand Ways Present thee to my Arms. But waking think what I endure, While cruel you decline, Those Pleasures which can only cure This panting Breast of mine. * I faint, I fail and wildly rove, Because you still deny The just Reward that’s due to Love, And let true Passion die. Oh! turn and let Compassion seise That lovely Breast of thine; Thy Pettycoat could give me Ease, If thou and it were mine. * Sure Heaven has fitted for Delight That beauteous Form of thine, And thour’t too good its Laws to slight, By hindring the Design. May all the Powrs of Love agree, At length to make thee mine, Or loose my Chains and set me Free From ev’ry Charm of thine. 61

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The Tea-Table Miscellany R31

Love Inviting Reason.

A SONG to the Tune of, --- Chami ma chatle, ne duce skar mi. When innocent Pastime our Pleasure did crown, Upon a green Meadow, or under a Tree, E’er Annie became a fine Lady in Town, How lovely and loving and bony was she? Rouze up thy Reason, my beautifu’ Annie, 5 Let ne’er a new Whim ding thy Fancy ajee, O! as thou art bonny be faithfu’ and canny, And favour thy Jamie wha doats upon thee. * Does the Death of a Lintwhite give Annie the Spleen? Can tyning of Trifles be uneasy to thee? Can Lap-dogs and Monkies draw Tears frae these Een, That look with Indifference on poor dying me? Rouse up thy Reason, my beautifu’ Annie, And dinna prefer a Paroquet to me, O! as thou art bony, be prudent and canny, And think on thy Jamie, wha doats upon thee. * Ah! shou’d a new Manto or Flanders Lace Head, Or yet a wee Cottie, tho never sae fine, Gar thee grow forgetfu’ and let his Heart bleed, That anes had some Hope of purchasing thine. Rouse up thy Reason, my beautifu’ Annie, And dinna prefer ye’r Fleegeries to me; O! as thou art bonny be solid and canny, And tent a true Lover that dotes upon thee.

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* Shall a Paris Edition of newfangle Sany, 25 Tho gilt o’er wi’ Laces and Fringes he be, By adoring himself be admir’d by fair Annie, And aim at these Bennisons promis’d to me. Rouse up thy Reason, my beautifu’ Annie, And never prefer a light Dancer to me; 30 O! as thou art bonny be constant and canny, Love only thy Jamie wha doats upon thee. * O! think, my dear Charmer, on ilka sweet Hour, That slade away saftly between thee and me, 62

Text: TTM I (1723) E’er Squirrels or Beaus or Fopery had Power To rival my Love and impose upon thee. Rouse up thy Reason, my beautifu’ Annie, And let thy Desires be a’ center’d in me, O! as thou art bonny be faithfu’ and canny, And love him wha’s langing to center in thee.

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*** R32 The Bob of Dunblane. Lassie, lend me your braw Hemp Heckle, And I’ll lend you my Thripling Kame; For Fainness, Dearie, I’ll gar ye keckle, If ye’ll go dance the Bob of Dunblane. Haste ye, gang to the Ground of ye’r Trunkies, Busk ye braw and dinna think Shame; Consider in Time, if leading of Monkies Be better than dancing the Bob of Dunblane. * Be frank, my Lassie, lest I grow fickle, And take my Word and Offer again. Syne ye may chance to repent it mickle, Ye did na accept the Bob of Dunblane. The Dinner, the Piper and Priest shall be ready, And I’m grown dowie with lying my lane; Away then leave baith Minny and Dady, And try with me the Bob of Dunblane.

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*** R33 S O N G complaining of Absence. To the Tune of ---- My Apron Deary. Ah Chloe! thou Treasure, thou Joy of my Breast, Since I parted from thee I’m a Stranger to Rest, I fly to the Grove, there to languish and mourn, There sigh for my Charmer, and long to return. The Fields all around me are smiling and gay, But they smile all in vain,--my Chloe’s away; The Field and the Grove can afford me no Ease,--But bring me my Chloe, a Desart will please. No Virgin I see that my Bosom alarms, I’m cold to the fairest, tho glowing with Charms, In vain they attacque me, & sparkle the Eye; 63

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The Tea-Table Miscellany These are not the Looks of my Chloe, I cry. These Looks where bright Love like the Sun sits enthron’d, And smiling diffuses his Influence round; ’Twas thus I first view’d thee, my Charmer, amaz’d; Thus gaz’d thee with Wonder and lov’d while I gaz’d. Then, then the dear fair one was still in my Sight, It was Pleasure all Day, it was Rapture all Night; But now, by hard Fortune remov’d from my fair, In secret I languish, a Prey to Despair. But Absence and Torment abate not my Flame, My Chloe’s still charming, my Passion the fame; Oh! would she preserve me a place in her Breast, Then Absence would please me, for I would be blest. R34

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S O N G.

To the Tune of, I fixed my Fancy on her. Bright Cynthia’s Power divinely great What Heart is not obeying? A thousand Cupids on her wait, And in her Eyes are playing. She seems the Queen of Love to reign; 5 For she alone dispenses, Such Sweets as best can entertain The Gust of all the Senses. * Her Face a charming Prospect brings, Her Braith gives balmy Blisses; 10 I hear an Angel when she sings, And taste of Heaven in Kisses. Four Senses thus she feasts with Joy, From Nature’s richest Treasure: Let me the other Sense employ, 15 And I shall dye with Pleasure. X. *** R35 A SONG. To the Tune of, I lo’d a bonny Lady. Tell me, tell me, charming Creature, Will you never ease my Pain? Must I die for every Feature? 64

Text: TTM I (1723) Must I always love in vain? The Desire of Admiration, 5 Is the Pleasure you pursue; Pray thee try a lasting Passion, Such a Love as mine for you. * Tears and sighing could not move you; For a Lover ought to dare: 10 When I plainly told I lov’d you, Then you said I went too far. Are such giddy Ways beseeming, Will my Dear be fickle still: Conquest is the Joy of Women, 15 Let their Slaves be what they will. [*] Your Neglect with Torment fills me, And my desperate Thoughts encrease; Pray confider, if you kill me, You will have a Lover less. If your wand’ring Heart is beating For new Lovers, let it be: But when you have done coquetting, Name a Day and fix on me.

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*** R36 The REPLY. In vain, fond Youth, thy Tears give o’er; What more, alas! can Flavia do; Thy Truth I own, thy Fate deplore: All are not happy that are true. Suppress those Sighs, and weep no more; 5 Should Heaven and Earth with thee combine, Twere all in vain, since any Power, To crown thy Love must alter mine. But if Revenge can ease thy Pain, I’ll sooth the Ills I cannot cure, Tell that I drag a hopeless Chain, And all that I inflict endure. X.

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The Tea-Table Miscellany R37

The Rose in Yarrow. To the Tune of Mary Scot.

’Twas Summer and the Day was fair, Resolv’d a while to fly from care, Beguiling Thought, forgetting Sorrow, I wander’d o’er the Braes of Yarrow; Till then despising Beauty’s Power, I kept my heart, my own secure: But Cupid’s Art did there deceive me, And Mary’s Charms do now enslave me.

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* Will cruel Love no Bribe receive? No Ransom take for Mary’s Slave? 10 Her Frowns of Rest and Hope deprive me, Her lovely Smiles like Light revive me. No Bondage may with mine compare, Since first I saw this charming Fair, This beauteous Flower, this Rose of Yarrow, 15 In Nature’s Gardens has no Marrow. * Had I of Heaven but one Request, I’d ask to ly in Mary’s Breast; There would I live or dye with Pleasure, Nor spare this World one Moment’s Leisure, Despising Kings, and all that’s great, I’d smile at Courts and Courtier’s Fate; My Joy complete on such a Marrow, I’d dwell with her and live on Yarrow. * But tho’ such Bless I ne’re should gain, Contented still I’ll wear my Chain, In hopes my faithful Heart may move her; For leaving Life I’ll always love her. What Doubts distract a Lover’s Mind? That Breast all Softness must prove kind; And she shall yet become my Marrow, The lovely Beauteous Rose of Yarrow. C

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Text: TTM I (1723) R38

The Fair Penitent. A SONG, ---- To its own Tune.

A Lovely Lass to a Friar came, To confess in a Morning early, In what my Dear are you to blame? Come own it all sincerely. I’ve done, Sir, what I dare not name, With a Lad, that loves me dearly.

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The greatest Fault in myself I know, Is what I now discover, Then you to Rome for that must go, There Discipline to suffer. 10 Lake a Day Sir! if it must be so, Pray with me send my Lover. No, no, my Dear, you do but dream, We’ll have no double Dealing; But if with me you’ll repete the same, 15 I’ll pardon your past Failing. I must own, Sir, tho’ I blush for Shame, That your Penance is prevailing. X. *** R39 The last Time I came o’er the Moor. The last Time I came o’er the Moor, I left my Love behind me; Ye Pow’rs! What Pain do I endure When soft Ideas mind me? Soon as the ruddy morn didplay’d 5 The beaming Day ensuing, I met betimes my lovely Maid, In fit Retreats for wooing. * Beneath the cooling Shade we lay Gazing, and chastly sporting; We kiss’d and promis’d Time away, ’Till Night spread her black Curtain. I pitied all beneath the skies, Ev’n Kings, when she was nigh me; In Raptures I beheld her Eyes, Which could but Ill deny me. * 67

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The Tea-Table Miscellany Shou’d I be call’d where Cannons rore, Where mortal Steel may wound me, Or cast upon some foreign Shore, Where Dangers may surround me: Yet Hopes again to see my Love, To feast on glowing Kisses, Shall make my Cares at Distance move, In Prospect of such Blesses.

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* In all my Soul, there’s not one Place 25 To let a Rival enter; Since she excells in every Grace, In her my Love shall center. Sooner the Seas shall cease to flow, Their Waves the Alps shall cover, 30 On Greenland Ice shall Roses grow, Before I cease to love her. * The next time I go o’er the Moor, She shall a Lover find me; And that my Faith is firm and pure, Tho’ I left her behind me: Then Hymen’s sacred Bonds shall chain My Heart to her fair Bosom, There, while my Being does remain, My Love more fresh shall blossom.

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*** R40 The Lass of Peatie’s Mill. The Lass of Peatie’s Mill, So bonny, blyth and gay, In spite of all my Skill, Hath stole my Heart away. When tedding of the Hay 5 Bare-headed on the Green, Love ’midst her Locks did play, And wanton’d in her Een. * Her Arms white, round and smooth, Breasts rising in their Dawn, 10 To Age it wou’d give Youth, To press ’em with his Hand. Thro’ all my Spirits ran 68

Text: TTM I (1723) An Extasy of Bliss, When I such Sweetness fand 15 Wrapt in a balmy Kiss. * Without the Help of Art, Like Flowers which grace the Wild, She did her Sweets impart, When e’er she spoke or smil’d. 20 Her Looks they were so mild, Free from affected Pride, She me to Love beguil’d, I wish’d her for my Bride. * O had I all that Wealth 25 Hoptoun’s high Mountains fill, Insur’d long Life and Health, And Pleasures at my Will; I’d promise and fulfill, That none but bony she, 30 The Lass of Peattie’s Mill Shou’d share the same wi’ me. R41

*** GREEN SLEEVES.

Ye watchful Guardians of the Fair, Who skiff on Wings of ambient Air, Of my dear Delia take a Care, And represent her Lover With all the Gayety of Youth, 5 With Honour, Justice, Love, and Truth, Till I return her Passions sooth, For me, in Whispers move her. * Be careful no base sordid Slave, With Soul sunk in a golden Grave, Who knows no Virtue but to save, With glaring Gold bewitch her. Tell her for me she was design’d, For me who know how to be kind, And have more plenty in my Mind, Than one who’s ten Times richer. * 69

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The Tea-Table Miscellany Let all the World turn upside down, And fools run an eternal Round, In Quest of what can ne’er be found, To please their vain Ambition. 20 Let little Minds great Charms espy In Shadows which at Distance ly, Whose hop’d for Pleasures, when come nigh, Prove nothing in Fruition. * But cast into a Mold Divine, 25 Fair Delia does with Lustre shine, Her virtuous Soul’s an ample Mine, Which yields a constant Treasure. Let Poets in sublimest Lays, Imploy their Skill her Fame to raise; 30 Let Sons of Musick pass whole Days, With well tun’d Reeds to please her. R42

*** The Yellow-hair’d Laddie.

In April when Primroses paint the sweet Plain, And Summer approaching rejoiceth the Swain; The Yellow-hair’d Laddie would often-times go To Wilds and deep Glens, where the Hawthorn-trees grow. * There under the Shade of an old sacred Thorn, With Freedom he sung his Loves Ev’ning and Morn; He sang with so saft and inchanting a Sound, That Silvans and Fairies unseen danc’d around. * The Shepherd thus sung, Tho young Maya be fair, Her Beauty is dash’d with a scornfu’ proud Air; But Susie was handsome and sweetly could sing, Her breath like the Breezes perfum’d in the Spring. * That Madie in all the gay Bloom of her Youth, Like the Moon was unconstant and never spoke Truth; But Susie was faithful, good humour’d and free, And fair as the Goddess who sprung from the Sea. * That Mamma’s fine Daughter, with all her great Dowr, Was aukwardly airy, and frequently sowr: 70

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Text: TTM I (1723) Then, sighing, he wished, would Parents agree, The witty sweet Susie his Mistress might be. R43

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*** N A N N Y O.

While some for Pleasure pawn their Health, ’Twixt Lais and the Bagnio, I’ll save my self, and without Stealth Kiss and caress my Nanny---O. She bids more fair t’engage a Jove 5 Than Leda did or Danae--O, Were I to paint the Queen of Love, None else shou’d sit but Nanny---O. * How joyfully my Spirits rise, When dancing she moves finely---O, 10 I guess what Heav’n is by her Eyes, Which sparkle so divinely---O. Attend my Vow, ye Gods, while I Breath in the blest Britannia, None’s Happiness I shall envy, 15 As long’s ye grant me Nanny---O. Chorus My bonny, bonny Nanny---O, My lovely charming Nanny---O, I care not tho the world know How dearly I love Nanny---O. 20 *** R44

Bonny JEAN.

Love’s Goddess in a Myrtle Grove Said, Cupid, bend thy Bow with speed, Nor let the Shaft at Random rove, For Jeany’s haughty Heart must bleed. The smiling Boy, with divine Art, 5 From Paphos shot an Arrow keen, Which flew unerring to the Heart. And kill’d the Pride of bonny Jean. * 71

The Tea-Table Miscellany No more the Nymph, with haughty Air, Refuses Willie’s kind Address, 10 Her yielding Blushes shew no Care, But too much Fondness to suppress. No more the Youth is sullen now, But looks the gayest on the Green, While every day he spies some new 15 Surprising Charms in bonny Jean. * A Thousand Transports crowd his Breast, He moves as light as fleeting Wind, His former Sorrows seem a Jest, Now when his Jeanie is turn’d kind: 20 Riches he looks on with Disdain, The glorious Fields of War look mean; The chearful Hound and Horn give Pain, If absent from his bonny Jean. * The Day he spends in am’rous Gaze, 25 Which even in Summer shorten’d seems: When sunk in Downs with glad Amaze, He wonders at her in his Dreams. All Charms disclos’d, she looks more bright Than Troy’s fair Prize the Spartan Queen, 30 With breaking Day he lifts his Sight, And pants to be with bonny Jean.

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*** Throw the Wood Laddie.

O Sandy, why leaves thou thy Nelly to mourn? Thy Presence could ease me, When naithing can please me. Now dowie I sigh on the Bank of the Burn, Or throw the Wood, Laddie, until thou return.

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* Tho Woods now are bonny, and Mornings are clear, While Lav’rocks are singing, And Primroses springing; Yet nane of them pleases my Eye or my Ear, When throw the Wood Laddie ye dinna appear.

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Text: TTM I (1723) That I am forsaken, some spare not to tell; I’m fash’d wi’ their Scorning, Baith Ev’ning and Morning; Their Jeering gaes aft to my Heart wi’ a Knell, When throw the Wood, Laddie, I wander my sell.

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* Then stay, my dear Sandy, nae langer away, But quick as an Arrow, Hast here to thy Marrow, Wha’s living in Languor till that happy Day; When throw the Wood, Laddie, we’ll dance, sing, and play.

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*** Down the Burn Davie.

When Trees did bud and Fields were green, And Broom bloom’d fair to see; When Mary was complete fifteen, And Love laugh’d in her Eye; Blyth Davie’s Blinks her Heart did move To speak her Mind thus free, Gang down the Burn Davie, Love, And I shall follow thee.

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* Now Davie did each Lad surpass, That dwelt on this Burnside, 10 And Mary was the bonniest Lass, Just meet to be a Bride; Her cheeks were rosy, red, and white, Her Een were bonny blue; Her Looks were like Aurora bright, 15 Her Lips like dropping Dew. * As down the Burn they took their Way, What tender Tales they said; His Cheek to hers he aft did lay, And with her Bosom play’d, 20 Till baith at length impatient grown, To be mair fully blest, In yonder Vale they lean’d them down: Love only saw the rest. * 73

The Tea-Table Miscellany What pass’d, I guess, was harmless Play, 25 And naething sure unmeet; For, ganging hame, I heard them say, They lik’d a Wa’k sae sweet; And that they aften shou’d return Sic Pleafure to renew. 30 Quoth Mary, Love, I like the Burn, And ay shall follow you. C. R47

*** S O N G.

To the Tune of Gilder Roy. Ah! Cloris, cou’d I now but sit As unconcern’d, as when Your Infant Beauty cou’d beget, No Happiness nor Pain. When I this Dawning did admire, 5 And prais’d the coming Day, I little thought that rising Fire, Wou’d take my Rest away. * Your Charms in harmless Child-hood lay, As Metals in a Mine. Age from no Face takes more away, Than Youth conceal’d in thine: But as your Charms insensibly To their Perfection prest; So Love as unperceiv’d did fly, And center’d in my Breast. * My Passion with your Beauty grew, While Cupid at my Heart, Still as his Mother favour’d you, Threw a new flaming Dart. Each gloried in their wanton Part; To make a Lover, he Employ’d the utmost of his Art----; To make a Beauty, she. X.

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Text: TTM I (1723) R48

A SONG.

To the Tune of, The yellow hair’d Laddie. Ye Shepherds and Nymphs that adorn the gay Plain, Approach from your Sports, and attend to my Strain; Amongst all your Number, a Lover so true, Was ne’er so undone, with such Bless in his View. Was ever a Nymph so hard-hearted as mine? 5 She knows me sincere, and she sees how I pine, She does not disdain me, nor frown in her Wrath, But calmly and mildly resigns me to Death. She calls me her Friend; but her Lover denies. She smiles when I’m chearful, but hears not my Sighs: A Bosom so flinty, so gentle an Air, Inspires me with Hope, and yet bids me despair! I fell at her Feet, and implore her with Tears. Her Answer confounds, while her Manner endears; When softly she tells me to hope no Relief, My trembling Lips bless her, in Spite of my Grief. By Night while I slumber, still haunted with Care, I start up in Anguish, and sigh for the Fair, The Fair sleeps in Peace, may she ever do so! And only when dreaming imagine my Wo.

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Then gaze at a Distance, nor farther aspire, Nor think she should love, whom she cannot admire. Hush all thy Complaining, and dying her Slave, Commend her to Heaven, and thy self to the Grave. X. *** R49 S O N G. To the Tune of, When she came ben she bobbed. Come, fill me a Bumper, my jolly brave Boys, Lets have no more Female Impert’nence and Noise; For I’ve try’d the Endearments and Pleasures of Love, And I find they’re but Nonsense and Whimsies, by Jove. When first of all Betty and I were acquaint, I whin’d like a Fool, and she sigh’d like a Saint: 75

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The Tea-Table Miscellany But I found her Religion, her Face and her Love, Were Hypocrisy, Paint, and Self-interest, by Jove. Sweet Cecil came next, with her languishing Air, Her Outside was orderly, modest, and fair, But her Soul was sophisticate, so was her Love, For I found she was only a Strumpet, by Jove. Little double-gilt Jenny’s Gold charm’d me at last; (You know Marriage and Money together does best) But the Baggage, forgetting her Vows and her Love, Gave her Gold to a sniv’ling dull Coxcomb, by Jove.

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Come fill me a Bumper then, jolly brave Boys: Here’s a Farewell to Female Impert’nence and Noise; I know few of the Sex that are worthy my Love; And for Strumpets and Jilts, I abhor them, by Jove. 20 L. *** R50 Dumbarton’s Drums. Dumbarton’s Drums beat bonny O. When they mind me of my dear Jonny---O, How happy am I, When my Soldier is by, While he kisses and blesses his Annie---O. ’Tis a Soldier alone can delight me---O; For his graceful Looks do invite me---O: While guarded in his Arms, I’ll fear no War’s Alarms, Neither Danger nor Death shall e’re fright me----O. * My Love is a handsome Laddie---O; Gentile, but ne’re foppish nor gaudy---O; Tho’ Commissions are dear, Yet I’ll buy him one this Year; For he shall serve no longer a Cadie---O. A Soldier has Honour and Bravery---O, Unacquainted with Rogues and their Knav’ry---O; He minds no other Thing, But the Ladies or the King; For every other Care is but Slavery---O. * Then I’ll be the Captain’s Lady---O, Farewell all my Friends, and my Daddy---O, 76

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Text: TTM I (1723) I’ll wait no more at home, But I’ll follow with the Drum, And when e’re that beats, I’ll be ready---O. 25 Dumbarton’s Drums found bonny---O, They are sprightly like my dear Jonny---O, How happy shall I be, When on my Soldier’s Knee, And he kisses and blesses his Annie--O! 30 C. *** R51 Auld lang syne. Should auld Acquaintance be forgot, Tho they return with Scars? These are the noble Heroe’s Lot, Obtain’d in glorious Wars: Welcome, my Varo, to my Breast, Thy arms about me twine, And make me once again as blest, As I was lang syne.

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* Methinks around us on each Bough, A Thousand Cupids play, 10 Whilst thro’ the Groves I walk with you, Each Object makes me gay: Since your Return the Sun and Moon With brighter Beams do shine, Streams murmure soft Notes while they run, 15 As they did lang syne. * Despise the Court and Din of State; Let that to their Share fall, Who can esteem such Slav’ry great, While bounded like a Ball: 20 But sunk in Love, upon my Arms Let your brave Head recline, We’ll please ourselves with mutual Charms, As we did lang syne. * O’er Moor and Dale, with your gay Friend, 25 You may pursue the Chase, And, after a blyth Bottle, end All Cares in my Embrace: 77

The Tea-Table Miscellany And in a vacant rainy Day You shall be wholly mine; We’ll make the Hours run smooth away, And laugh at lang syne.

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* The Heroe, pleas’d with the sweet Air, And Signs of gen’rous Love, Which had been utter’d by the Fair, 35 Bow’d to the Pow’rs above; Next day with Consent and glad Haste Th’ approach’d the sacred Shrine; Where the good Priest the Couple blest, And put them out of Pine. 40 R52

*** The Lass of Livingston.

Pain’d with her slighting Jamie’s Love, Bell dropt a Tear,----Bell dropt a Tear, The Gods descended from above, Well pleas’d to hear---Well pleas’d to hear. They heard the Praises of the Youth 5 From her own Tongue,-----From her own Tongue, Who now converted was to Truth, And thus she sung,----And thus she sung. * Blest Days when our ingen’ous Sex, More frank and kind,---- More frank and kind, Did not their lov’d Adorers vex, But spoke their Mind, ----- But spoke their Mind. Repenting now she promis’d fair, Wou’d he return, ---- Wou’d he return, She ne’er again wou’d give him Care, Or cause him mourn, ---- Or cause him mourn. * Why lov’d I the deserving Swain, Yet still thought Shame, ------ Yet still thought Shame, When he my yielding Heart did gain, To own my Flame,---- To own my Flame? Why took I Pleasure to torment, And seem too coy,----And seem too coy? Which makes me now alas lament My slighted Joy, ---- My slighted Joy. * 78

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Text: TTM I (1723) Ye fair, while Beauty’s in its Spring, Own your Desire,---- Own your Desire; While Love’s young Power with his soft Wing Fa’ns up the Fire,---- Fa’ns up the Fire. O do not with a silly Pride, Or low Design, ----- Or low Design, Refuse to be a happy Bride, But answer plain, ----- But answer plain.

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* Thus the fair Mourner wail’d her Crime, With flowing Eyes, ---- With flowing Eyes, Glad Jamie heard her all the Time, 35 With sweet Surprise, ------ With sweet Surprise. Some God had led him to the Grove, His Mind unchang’d, ---- His Mind unchang’d; Flew to her Arms, and cry’d, My Love, I am reveng’d! --- I am reveng’d! 40 *** R53 Peggy, I must love thee As from a Rock past all Relief, The shipwrackt Colin spying His native Soil, o’ercome with Grief, Half sunk in Waves and dying; With the next Morning Sun he spies 5 A Ship, which gives unhop’d Surprise, New Life springs up, he lifts his Eyes With Joy, and waits her Motion. * So when by her whom long I lov’d, I scorn’d was, and deserted, 10 Low with Despair my Spirits mov’d, To be for ever parted: Thus droopt I, till diviner Grace I found in Peggy’s Mind and Face, Ingratitude appear’d then base, 15 But Virtue more engaging. * Then now since happily I’ve hit, I’ll have no more delaying, Let Beauty yield to manly Wit, We lose our selves in staying; I’ll haste dull Courtship to a Close, 79

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The Tea-Table Miscellany Since Marriage can my Fears oppose, Why should we happy Minutes lose, Since, Peggy, I must love thee? * Men may be foolish if they please, 25 And deem’t a Lover’s Duty, To sigh, and sacrifice their Ease, Doating on a proud Beauty: Such was my Case for many a Year, Still Hope succeeding to my Fear, 30 False Betty’s Charms now disappear, Since Peggy’s far outshine them. *** R54 Bessy Bell and Mary Gray. O Bessy Bell and Mary Gray, They are twa bonny Lasses, They bigg’d a Bower on yon Burn-brae, And theek’d it o’er wi’ Rashes. Fair Bessy Bell I loo’d Yestreen, 5 And thought I ne’er cou’d alter; But Mary Gray’s twa pawky Een, They gar my Fancy falter. * Now Bessy’s Hair’s like a Lint Tap, She smiles like a May Morning, 10 When Phœbus starts frae Thetis’ Lap, The Hills with Rays adorning: White is her Neck, saft is her Hand, Her Waste and Feet’s fow genty, With ilka Grace she can command, 15 Her Lips, O wow! They’re dainty. * And Mary’s Locks are like a Craw, Her Eye like Diamonds glances, She’s ay sa clean, redd-up, and braw, She kills when e’er she dances: 20 Blyth as a kid, with Wit at Will, She blooming tight and tall is; And guides her Airs sae gracefu’ still, O Jove! she’s like thy Pallas. * 80

Text: TTM I (1723) Dear Bessy Bell and Mary Gray, 25 Ye unco’ sair oppress us: Our Fancies jee between you twa, Ye are sic bonny Lasses: Wae’s me! for baith I canna get, To ane by Law we’re stented; 30 Then I’ll draw Cuts, and take my Fate, And be with ane contented.

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*** I’ll never leave thee.

Jonny. Tho’ for seven Years and mair Honour shou’d reave me, To Fields where Cannons rair, thou need na grieve thee, For deep in my Spirit thy Sweets are indented, And Love shall preserve ay what Love has imprinted. Leave thee, leave thee, I’ll never leave thee, 5 Gang the Warld as it will, Dearest, believe me. Nelly. O Jonny, I’m jealous when e’er ye discover My Sentiments yielding, ye’ll turn a loose Rover; And nought i’ the Warld wa’d vex my Heart sairer, If you prove unconstant, and fancy an fairer: Grieve me, grieve me, Oh it wad grieve me! A’ the lang Night and Day, if you deceive me. Jonny. My Nelly, let never sic Fancies oppress ye, For while my Blood’s warm I’ll kindly caress ye: Your blooming fast Beauties first beeted Love’s Fire, Your Virtue and Wit make it ay flame the higher. Leave thee, leave thee, I’ll never leave thee, Gang the Warld as it will, Dearest, believe me.

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Nelly. Then, Jonny, I frankly this Minute allow ye To think me your Mistress, for Love gars me trew ye, 20 And gin you prove fa’se, to ye’r sell be it said then, Ye’ll win but sma’ Honour to wrong a kind Maiden: Reave me, reave me, Heav’ns! It wad reave me Of my Rest Night and Day, if ye deceive me.

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The Tea-Table Miscellany Jonny. Bid Iceshogles hammer red Gauds on the Studdy, And fair Simmer Mornings nae mair appear ruddy, Bid Britons think ae Gate, and when they obey ye, But never till that time, believe I’ll betray ye: Leave thee, leave thee, I’ll never leave thee; The Starns shall gang withershins e’er I deceive thee. R56

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*** My Deary, if thou die.

Love never more shall give me Pain, My Fancy’s fix’d on thee; Nor ever Maid my Heart shall gain, My Peggy, if thou die. Thy Beauties did such Pleasure give, Thy Love’s so true to me: Without thee I shall never live, My Deary, if thou die.

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If Fate shall tear thee from my Breast, How shall I lonely stray? 10 In dreary Dreams the Night I’ll waste, In Sighs the silent Day. I ne’er can so much Virtue find, Nor such Perfection see; Then I’ll renounce all Womankind, 15 My Peggy, after thee. No new blown Beauty fires my Heart, With Cupid’s raving Rage, But thine which can such Sweets impart, Must all the World engage. 20 ’Twas this that like the Morning-Sun Gave Joy and Life to me, And when its destin’d Day is done, With Peggy let me die. Ye Powers that smile on virtuous Love, 25 And in such Pleasure share; You who its faithful Flames approve, With Pity view the Fair. Restore my Peggy’s wonted Charms, Those charms so dear to me: 30 Oh! never rob them from those Arms; I’m lost, if Peggy die. C. 82

Text: TTM I (1723) R57

My Jo Janet.

Sweet Sir, for your Courtesie, When ye come by the Bass then, For the Love you bear to me, Buy me a Keeking-glass then. Keek into the Draw-well 5 Janet, Janet, And there ye’ll see ye’r bonny sell, My Jo Janet. * Keeking in the Draw-well clear What if I shou’d fa’ in, 10 Syn a’ my Kin will say and swear I drown’d my sell for Sin. Ha’d the better be the Brae, Janet, Janet; Ha’d the better be the Brae, 15 My Jo Janet. * Good Sir, for your Courtesie, Coming through Aberdeen then, For the Love ye bear to me Buy me a Pair of Shoon then. 20 Clout the auld the new are dear, Janet, Janet; Ae pair may gane ye haff a Year, My Jo Janet. * But what if dancing on the Green, 25 And skipping like a Mawking, If they shou’d see my clouted Shoon, Of me they will be tauking. Dance ay laigh and late at E’en, Janet, Janet; 30 Syne a’ their Fauts will no be seen, My Jo Janet. * Kind Sir, for your Courtesie, When ye gae to the Cross then, For the Love ye bear to me, Buy me a pacing Horse then. Pace upo’ your Spinning-wheel, 83

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The Tea-Table Miscellany Janet, Janet; Pace upo’ your Spinning-wheel, My Jo Janet. 40 * My Spinning-wheel is auld and stiff, The Rock o’t winna stand, Sir; To keep the Temper-pin in tiff, Employs aft my Hand, Sir. Make the best o’t that ye can, 45 Janet, Janet; But like it never wale a Man, My Jo Janet. Q. *** R58 S O N G. To the Tune of John Anderson my Jo. What means this Niceness now of late, Since Time that Truth does prove; Such Distance may consist with State, But never will with Love. ’Tis either Cunning or Disdain 5 That does such Ways allow; The first is base, the last is vain: May neither happen you. * For if it be to draw me on, You over-act your Part; 10 And if it be to have me gone, You need not haff that Art: For if you chance a Look to cast, That seems to be a Frown, I’ll give you all the love that’s past, 15 The rest shall be my own. R59

Auld Rob Moris.

MITHER. Auld Rob Moris that wins in yon Glen, He’s the King of good Fellows, and Wale of auld Men, Has fourscore of black Sheep, and fourscore too; Auld Rob Moris is the Man ye maun loo. 84

Text: TTM I (1723) DOUGHTER. Ha’d your Tongue Mither, and let that abee, For his Eild and my Eild can never agree: They’ll never agree, and that will be seen; For he is Fourscore, and I’m but Fifteen. MITHER. Ha’d your tongue Doughter, and lay by your Pride, For he’s be the Bridegroom, and ye’s be the Bride; He shall ly by your Side, and kiss ye too, Auld Rob Moris is the Man ye maun loo. DOUGHTER. Auld Rob Moris I ken him fou weel, His A---- it sticks out like ony Peat-Creel, He’s our-shin’d, in-kneed and ringle-eyd too; Auld Rob Moris is the Man I’ll ne’er loo. MITHER. Tho’ auld Rob Moris be an elderly man, Yet his auld Brass it will buy a new Pan; Then, Doughter, ye should na be sae ill to shoo, For auld Rob Moris is the Man ye maun loo.

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DOUGHTER. But auld Rob Moris I never will hae, His Back is sae stiff and his Beard is grown Gray: I had titter die than live wi’ him a Year; Sae mair of Rob Moris I never will hear. Q. *** R60 S O N G. To the Tune of Come kiss with me, come clap with me, &c. PEGGY. My Jocky blyth for what thou hast done, There is nae help nor mending; For thou hast jog’d me out of Tune, For a’ thy fair pretending. My Mither sees a Change on me, For my Complexion dashes, And this, alas! has been with thee Sae late amang the Rashes. 85

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The Tea-Table Miscellany JOCKY. My Peggy what I’ve said I’ll do, To free thee frae her scouling; 10 Come then and let us buckle to, Nae langer let’s be fooling: For her Content I’ll instant wed, Since thy Complexion dashes; And then we’ll try a Feather-bed, 15 ’Tis safter than the Rashes. PEGGY. Then Jocky since thy Love’s sae true, Let Mither scoul, I’m easy: Sae langs I live I ne’r shall rue For what I’ve done to please thee, And there’s my Hand I’s ne’er complain. O! wells me on the Rashes; When e’er thou likes I’ll do’t again, And a Feg for a’ their Clashes. Z. *** R61 S O N G.

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To the Tune of Rothes’s Lament; or, Pinky-House As Silvia in a Forrest lay To vent her Woe alone; Her Swain Sylvander came that Way, And heard her dying Moan. Ah! is my Love (she said) to you So worthless and so vain: Why is your wonted Fondness now Converted to Disdain? You vow’d the Light should Darkness turn, E’er you’d exchange your Love; In Shades now may Creation mourn, Since you unfaithful prove. Was it for this I Credit gave To ev’ry Oath you swore? But ah! it seems they most deceive, Who most our Charms adore. ’Tis plain your Drift was all Deceit, The Practice of Mankind: Alas! I see it but too late, 86

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Text: TTM I (1723) My Love had made me blind. For you, delighted I could die: But Oh! with Grief I’m fill’d To think that credulous constant I Should by your self be kill’d.

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This said,---- all breathless, sick and pale, 25 Her Head upon her Hand, She found her vital Spirits fail, And Senses at a Stand. Sylvander then began to melt: But e’re the Word was given 30 The heavy Hand of Death she felt, And sigh’d her Soul to Heaven. M. *** R62 The Young Laird and Edinburgh Katy. Now wat ye wha I met Yestreen, Coming down the Street, my Jo, My Mistress in her Tartan Screen, Fow bonny, braw and sweet, my Jo. My dear, quoth I, Thanks to the Night That never wisht a Lover ill, Since ye’re out of your Mither’s Sight, Let’s take a Wauk up to the Hill. * O Katy, wiltu gang wi’ me, And leave the dinsome Town a while, The Blossom’s sprouting frae the Tree, And a’ the Summer’s gawn to smile; The Mavis, Nightingale and Lark, The bleeting Lambs and whistling Hynd, In ilka Dale, Green, Shaw and Park, Will nourish Health and glad ye’r Mind. * Soon as the clear Goodman of Day Bends his Morning Draught of Dew, We’ll gae to some Burnside and play, And gather Flowers to busk ye’r Brow. We’ll pou the Daisies on the Green, The lucken Gowans frae the Bog; Between Hands now and then we’ll lean, And sport upo’ the Velvet Fog. * 87

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The Tea-Table Miscellany There’s up into a pleasant Glen, 25 A wee Piece frae my Father’s Tower, A canny, saft and flowry Den, Which circling Birks has form’d a Bower: When e’er the Sun grows high and warm, We’ll to the cauller Shade remove, 30 There will I lock thee in mine Arm, And love and kiss, and kiss and love. R63

*** Katy’s Answer.

My Mither’s ay glowran o’er me, Tho she did the same before me, I canna get Leave To look to my Loove, Or else she’ll be like to devour me. 5 Right fain wad I take ye’r Offer, Sweet Sir, but I’ll tine my Tocher, Then, Sandy, ye’ll fret, And wyte ye’r poor Kate, When e’er ye keek in your toom Coffer. 10 For tho my Father has Plenty Of Siller and Plenishing dainty, Yet he’s unco sweer To twin wi’ his Gear, And sae we had need to be tenty. 15 Tutor my Parents wi’ Caution, Be wylie in ilka Motion, Brag well o’ ye’r Land, And there’s my leal Hand, Win them, I’ll be at your Devotion. 20 *** R64 MARY SCOT. Happy’s the Love which meets Return, When in soft Flames Souls equal burn; But Words are wanting to discover The Tormens [sic] of a hopeless Lover. Ye Registers of Heav’n, relate, 5 If looking o’er the Rolls of Fate, Did you there see mark’d to marrow Mary Scot, the Flower of Yarrow. * 88

Text: TTM I (1723) Ah no! her Form’s too heavenly fair, Her Love the Gods above must share, 10 While Mortals with Despair explore her, And at Distance due adore her. O lovely Maid, my Doubts beguile! Revive and bless me with a Smile, Alace if not, you’ll soon debar a 15 Sighing Swain the Banks of Yarrow, * Be hush, ye Fears. I’ll not despair, My Mary’s tender as she’s fair; Then I’ll go tell her all mine Anguish, She is too good to let me languish; 20 With Success crown’d, I’ll not envy The Folks who dwell above the Sky, Whe Mary Scot’s become my Marrow, We’ll make a Paradice [sic] on Yarrow. *** R65 O’er B O G I E. I Will awa’ wi’ my Love, I will awa’ wi’ her, Tho a’ my Kin had sworn and said, I’ll o’er Bogie wi’ her. If I can get but her Consent, 5 I dinna care a Strae, Tho ilka ane be discontent, Awa’ wi’ her I’ll gae. I will awa’, &c. For now she’s Mistress of my Heart, And wordy of my Hand, And well I wat we shanna’ part For Siller or for Land. Let Rakes delyte to swear and drink, And Beaus admire fine Lace, But my chief Pleasure is to blink On Betty’s bonny Face. I will awa’, &c. There a’ the Beauties do combine Of Colour, Treats and Air, The Saul that sparkles in her Een Makes her a Jewel rare; Her flowing Wit gives shining Life 89

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The Tea-Table Miscellany To a’ her other Charms, How blest I’ll be when she’s my Wife, And lockt up in my Arms. I will awa’, &c. There blythly will I rant and sing, 25 While o’er her Sweets I range, I’ll cry, Your humble Servant, King, Shamefa’ them that wa’d change: A Kiss of Betty and a Smile, Abeet ye wad lay down 30 The Right ye ha’e to Britain’s Isle, And offer me ye’r Crown. I will awa’, &c. *** R66 O’er the Moor to Maggy. And I’ll o’er the Moor to Maggy, Her Wit and Sweetness call me, Then to my Fair I’ll show my Mind, Whatever may befal me. If she love Mirth, I’ll learn to sing, Or likes the Nine to follow, I’ll lay my Lugs in Pindus Spring, And invocate Apollo. * If she admire a martial Mind, I’ll sheath my Limbs in Armour; If to the softer Dance inclin’d, With gayest Airs I’ll charm her; If she love Grandeur, Day and Night I’ll plot my Nations Glory, Find Favour in my Prince’s Sight, And shine in future Story. * Beauty can Wonders work with Ease, Where Wit is corresponding, And bravest Men know best to please, With Complaisance abounding. My bonny Maggy’s Love can turn Me to what Shape she pleases, If in her Breast that Flame shall burn, Which in my Bosom blazes. 90

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Text: TTM I (1723) R67 Polwart on the GREEN. At Polwart on the Green If you’ll meet me the Morn, Where Lasses do conveen To dance about the Thorn; A kindly Welcome you shall meet 5 Frae her wha likes to view A Lover and a Lad complete, The Lad and Lover you. * Let dorty Dames say Na, As lang as e’er they please, 10 Seem caulder than the Sna’, While inwardly they bleez, But I will frankly shaw my Mind, And yield my Heart to thee; Be ever to the Captive kind, 15 That langs na to be free. * At Polwart on the Green, Among the new mawn Hay, With Sangs and dancing keen We’ll pass the heartsome Day, 20 At Night if Beds be o’er thrang laid, And thou be twin’d of thine, Thou shalt be welcome, my dear Lad, To take a Part of mine. *** R68 John Hay’s bonny Lassie. By smooth winding Tay a Swain was reclining, Aft cry’d he, Oh hey! Maun I still live pining My sell thus away, and darna discover To my bonny Hay that I am her Lover? * Nae mair it will hide, the Flame waxes stranger, If she’s not my Bride, my Days are nae langer; Then I’ll take a Heart, and try at a Venture, May be, e’er we part, my Vows may content her. * 91

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The Tea-Table Miscellany She’s fresh as the Spring, and sweet as Aurora, When Birds mount and sing bidding Day a Good-morrow. 10 The Sward of the Mead, enamel’d with Daisies, Look wither’d and dead, when twin’d of her Graces. * But if she appear, where Verdures invite her, The Fountains run clear, and Flowers smell the Sweeter, ’Tis Heav’n to be by, when her Wit is a flowing, 15 Her Smiles and bright Eye set my Spirits a glowing. * The mair that I gaze, the deeper I’m wounded, Struck dumb with Amaze, my Mind is confounded: I’m all in a Fire, dear Maid, to caress ye, For a’ my Desire is Hay’s bonny Lassie. 20 *** R69

Katharine Ogie.

As walking forth to view the Plain; Upon a Morning early, While May’s sweet Scent did chear my Brain, From Flowers which grow so rarely, I chanc’d to meet a pretty Maid; 5 She shin’d though it was fogie: I ask’d her Name; sweet Sir, she said, My name is Katharine Ogie. * I stood a while, and did admire, To see a Nymph so stately; 10 So brisk an Air there did appear In a Country Maid so neatly; Such natural Sweetness she display’d, Like a Lilly in a Bogie; Diana’s self was ne’er array’d 15 Like this same Katharine Ogie. * Thou Flower of Femals, Beauty’s Queen, Who sees thee sure must prize thee; Tho’ thou art drest in Robes but mean, Yet these cannot disguise thee; 20 Thy handsome Air, and graceful Look Far excells any clownish Rogie; 92

Text: TTM I (1723) Thou’rt Match, for Laird, or Lord, or Duke, My charming Katharine Ogie. * O were I but some Shepherd-swain 25 To feed my Flock beside thee, At Bughting-time to leave the Plain, In milking to abide thee, I’d think myself a hapier man, With Kate, my Club, and Dogie, 30 Than he that hugs his thousands ten, Had I but Katharine Ogie. * Then I’d dispise the Imperial Throne, And Statesmen’s dangerous Stations; 35 I’d be no King, I’d wear no Crown, I’d smile at conquering Nations; Might I caress, and still possess, This Lass of whom I’m vogie; For these are Toys, and still look less, Compar’d with Katharine Ogie. 40 * But I fear the Gods have not decree’d For me so fine a Creature, Whose Beauty rare makes her exceed All other Works in Nature. Clouds of Despair surround my Love, 45 That are both dark and fogie. Pity my Case, ye Powers above, Else I die for Katharine Ogie. X. *** R70 Ann thou were my ain thing. Of Race divine thou needs must be, Since nothing earthly equals thee; For Heaven’s Sake, oh! favour me, Who only lives to love thee. Ann thou were my ain Thing, 5 I would love thee, I would love thee, An thou were my ain Thing, How dearly would I love thee? The Gods one thing peculiar have, To ruine none whom they can save; 10 93

The Tea-Table Miscellany O! for their Sake support a Slave, Who only lives to love thee. Ann thou were, &c. To Merit I no Claim can make, But that I love, and for your Sake, What Man can name, I’ll undertake, 15 So dearly do I love thee. Ann thou were, &c. My Passion, constant as the Sun, Flames stronger still, will ne’er have done Till Fates my Threed of Life have spun, Which breathing out, I’ll love thee. Ann thou were, &c. X. ____________________________________

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Like Bees that suck the Morning Dew, Frae Flowers of sweetest Scent and Hew, Sae wad I dwell upo’ thy Mou, And gar the Gods envy me. Ann thou were, &c. Sae langs I had the Use of Light, I’d on thy Beauties feast my Sight, Syn in saft Whispers through the Night, I’d tell how much I lo’d thee. Ann thou were, &c. How fair and ruddy is my Jean, She moves a Goddess o’er the Green: Were I a King, thou shou’d be Queen, Nane but my sell aboon thee. Ann thou were, &c.

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I’d grasp thee to this Breast of mine, Whilst thou, like Ivy or the Vine, Arround my stronger Limbs shou’d twine 35 Form’d hardy to defend thee. Ann thou were, &c. Time’s on the Wing, and will not stay, In shining, Youth, let’s make our Hay, Since Love admits of nae Delay, O let nae Scorn undo thee. Ann thou were, &c. 94

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Text: TTM I (1723) While Love does at his Altar stand, Hae there’s my Heart, gi’e me thy Hand, And, with ilk Smile, thou shalt command The Will of him wha loes thee. Ann thou were, &c. *** R71

There’s my Thumb I’ll ne’er beguile thee.

My sweetest May, let Love incline thee T’ accept a Heart which he designs thee; And, as your constant Slave, regard it, Syne for its Faithfulness reward it; ’Tis Proof-a-shot to Birth or Money, 5 But yields to what is sweet and bonny; Receive it then with a Kiss and a Smily, There’s my Thumb it will ne’er beguile ye. * How tempting sweet these Lips of thine are, Thy Bosom white, and legs sa fine are, That when in Pools I see thee clean ’em, They carry away my Heart between ’em; I wish, and I wish, while it gaes duntin, O gin I had thee on a Mountain, Tho’ Kith and Kin and a, shou’d revile thee, There’s my Thumb I’ll ne’er beguile thee. * Alane through flow’ry Hows I dander, Tenting my Flocks, lest they shou’d wander, Gin thou’ll gae alang, I’ll dawt thee gaylie, And gi’e my thumb I’ll ne’er beguile thee. O my dear Lassie, it is but Daffin To had thy Woer up ay niff naffin. That Na, na, na, I hate it most vilely, O say, Yes, and I'll ne’er beguile thee. R72

*** For the Love of JEAN.

Jocky said to Jeany, Jeany, wilt thou do’t; Ne’er a fit, quo’ Jeany for my Tochergood, For my Tochergood I winna marry thee. 95

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The Tea-Table Miscellany Eens ye like, quo’ Jonny, ye may let it be, * I ha’ Gowd and Gear, I ha’ Land enough, I ha’ seven good Owsen ganging in a Pleugh, Ganging in a Pleugh, and linking o’er the Lee; And gin ye winna tak me, I can let ye be. * I ha’ a good ha’ House, a Barn and a Byer, A Stack afore the Door, I’ll make a rantin Fire; I’ll make a rantin Fire, and merry shall we be; And gin ye winna tak me, I can let ye be. * Jeany said to Jocky, gin ye winna tell, Ye shall be the Lad, I’ll be the Lass my sell; Ye’re a bonny Lad, and I’m a Lassie free, Ye’re welcomer to tak me, than to let me be. Z. *** R73 S O N G.

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To the Tune of, Peggy, I must love thee. Beneath a Beech’s grateful Shade, Young Colin lay complaining; He sigh’d, and seem’d to love a Maid, Without Hopes of obtaining; For thus the Swain indulg’d his Grief, Tho’ Pity cannot move thee, Tho’ thy hard Heart gives no Relief, Yet, Peggy, I must love thee. * SAY, Peggy, what has Colin done, That thus you cruely use him? If Love’s a Fault, ’tis that alone, For which you should excuse him: ’Twas thy dear self first rais’d this Flame, This Fire by which I languish; ’Tis thou alone can quench the same, And cool its scorching Anguish. * For thee I leave the sportive Plain, Where every Maid invites me; 96

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Text: TTM I (1723) For thee, sole Cause of all my Pain, For thee that only slights me; This Love that fires my faithful Heart By all but thee’s commended. Oh! wouldst thou act so good a Part, My Grief might soon be ended.

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* That beauteous Breast, so soft to feel, 25 Seem’d Tenderness all over, Yet it defends thy Heart like Steel, ’Gainst thy dispairing Lover. Alas! tho’ it should ne’er relent, Nor Colin’s Care e’re move thee, 30 Yet till Life’s latest Breath is spent, My Peggy, I must love thee. C. *** R74 Genty Tibby, and sonsy Nelly. To the Tune of Tibby Fowler in the Glen. TIBBY has a Store of Charms, Her genty Shape our Fancy warms, How strangely can her sma white Arms Fetter the Lad, wha looks but at her? Frae ’er Ancle to her slender Waste, These Sweets conceal’d invite to dawt her, Her rosie Cheek and rising Breast, Gar ane’s Mouth gush bowt fou’ o’ Water.

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* Nelly’s gawsy, saft and gay, Fresh as the lucken Flowers in May, 10 Ilk ane that sees her cries Ah hey! She’s bonny, O I wonder at her! The Dimples of her Chin and Cheek, And Limbs sae plump invite to dawt her, Her Lips sae sweet, and Skin sae sleek, 15 Gar mony Mouths beside mine water. * Now strike my Finger in a Bore, My Wyson with the Maiden shore, Gin I can tell whilk I am for, When these twa Stars appear thegether. 97

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The Tea-Table Miscellany O Love! why dost thou gi’e thy Fires Sae large, while we’re oblig’d to neither? Our spacious Sauls immense desires, And ay be in a hankerin Swither. * Tibby’s Shape and Airs are fine, 25 And Nelly’s Beauties are divine; But since they canna baith be mine, Ye Gods give Ear to my Petition, Provide a good Lad for the tane, But let it be with this Provision, 30 I get the other to my lane, In Prospect plano and Fruition. R75

*** Up in the AIR.

Now the Sun’s gane out o’ Sight, Beet the Ingle, and snuff the Light: In Glens the Fairies skip and dance, And Witches wallop o’er to France, Up in the Air 5 On my bonny grey Mare, And I see her yet, and I see her yet, Up in, &c. * The Wind’s drifting Hail and Sna’ O’er frozen Hags like a Foot Ba’, 10 Nae Starns keek throw the Azure Slit, ’Tis cauld and mirk as ony Pit, The Man i’ the Moon Is carowsing aboon, D’ye see, d’ye see, d’ye see him yet. 15 The Man, &c. * Take your Glass to clear your Een, ’Tis the Elixir heals the Spleen, Baith Wit and Mirth it will inspire, And gently puffs the Lover’s Fire, Up in the Air, It drives away Care, Ha’e wi’ye, ha’e wi’ye, and ha’e wi’ye Lads yet, Up in, &c. * 98

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Text: TTM I (1723) Steek the Doors, keep out the Frost, 25 Come, Willie, gi’es about ye’r Tost, Til’t Lads, and lilt it out, And let us hae a blythsome Bout. Up wi’t there, there, Dinna cheat, but drink fair, 30 Huzza, Huzza, and Huzza Lads yet, Up wi’t, &c. *** R76 Fy gar rub her o’er wi’ Strae. Gin ye meet a bonny Lassie, Gie ‘er a Kiss and let her gae, But if ye meet a dirty Hussy, Fy gar rub her o’er wi’ Strae. Be sure ye dinna quat the Grip 5 Of ilka Joy, when ye are young, Before auld Age your Vitals nip, And lay ye twafald o’er a Rung. Sweet Youth’s a blyth and heartsome Time, Then, Lads and Lasses, while ’tis May, 10 Gae pu’ the Gowan in its Prime, Before it wither and decay. Watch the saft Minutes of Delyte, When Jenny speaks beneath her Breath, And kisses, laying a’ the Wyte 15 On you, if she kepp ony Skaith. Haith ye’re ill bred, she’ll smiling say, Ye’ll worry me, ye greedy Rook; Syne frae your Arms she’ll rin away, And hide her self in some dark Nook.

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Her Laugh will lead you to the Place, Where lies the Happiness ye want, And plainly tell you to your Face, Nineteen Nay-says are haff a Grant. Now to her heaving Bosom cling, 25 And sweetly toolie for a Kiss, Frae her fair Finger whoop a Ring, As Taiken of a future Bless. 99

The Tea-Table Miscellany These Bennisons, I’m very sure, Are of the Gods indulgent Grant; 30 Then, surly Carles, whisht, forbear To plague us with your whinning Cant. R77

*** PATIE and PEGGIE.

Patie. By the delicious Warmness of thy Mouth, And rowing Eye, which smiling tells the Truth, I guess, my Lassie, that, as well as I, You’re made for Love, and why should ye deny. Peggie. But ken ye Lad, gin we confess o’er soon, Ye think us cheap, and syne the Wooing’s done: The Maiden that o’er quickly tines her Pow’r, Like unripe Fruit, will taste but hard and sowr. Patie. But when they hing o’er lang upon the Tree, Their Sweetness they may tine, and sae may ye: Red cheek’d you completely ripe appear, And I have thol’d, and woo’d a lang haff Year. Peggie. Then dinna pu’ me; gently thus I fa’ Into my Patie’s Arms for good and a’: But stint your Wishes to this frank Embrace, And mint nae farrer till we’ve got the Grace. Patie. O charming Armsfou! Hence ye Cares away, I’ll kiss my Treasure a’ the live lang Day; A’ Night I’ll dream my Kisses o’er again, Till that Day come that ye’ll be a’ my ain.

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Chorus. Sun, gallop down the westlin Skyes, Gang soon to bed and quickly rise, O lash ye’r Steeds, pass Time away, And haste about our Bridel Day; And if ye’er weary’d, honest Light, 25 Sleep gin ye like a Week that Night.

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Text: TTM I (1723) R78

The Mill, Mill, —— O,

Beneath a green Shade I fand a fair Maid Was sleeping sound and still ----- O, A’ lowan wi’ Love my Fancy did rove, Around her with good Will ---- O, Her Bosom I press’d, but sunk in her Rest, She stir’dna my Joy to spill ---- O: While kindly she slept, close to her I crept, And kiss’d, and kiss’d her my fill ---- O. * Oblig’d by Command in Flanders to land, T’employ my Courage and Skill ---- O; Frae’er quietly I staw, hoist Sails and awa’, For Wind blew fair on the Bill --- O. Twa Years brought me hame, where loud fraising Fame Tald me with a Voice right shill ---- O, My Lass like a Fool had mounted the Stool, Nor kend wha’d done ’er the Ill --- O.

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* Mair fond of her Charms, with my Son in her Arms, I ferlying speer’d how she fell ---- O; Wi’ the Tear in her Eye, quoth she, Let me die, Sweet Sir, gin I can tell ---- O. 20 Love gave the Comand, I took her by th’ Hand, And bade her a’ Fears expel ---- O, And nae mair look wan, for I was the Man Wha had done her the Deed my sell ---- O. * My bonny sweet Lass on the gowany Grass, 25 Beneath the Shilling-hill ---- O, If I did Offence, I’se make ye Amends Before I leave Peggy’s-Mill ---- O. O the Mill, Mill ---- O, and the Kill, Kill ---- O, And the cogging of the Wheel ---- O; 30 The Sack and the Sieve, a’ thae ye maun leave, And round with a Soger reel ---- O.

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The Tea-Table Miscellany R79

Colin and Grisy parting.

To the Tune of Woe’s my Heart that we should sunder. With broken Words and down-cast Eyes, Poor Colin spoke his Passion tender; And parting with his Grisy, cries, Ah! woe’s my Heart that we should sunder. To others I am cold as Snow, 5 But kindle with thine Eyes like Tinder; From thee with Pain I’m forc’d to go, It breaks my Heart that we should sunder. Chain’d to thy Charms I cannot range, No Beauty new my Love shall hinder, 10 Nor Time nor Place shall ever change My Vows, tho we’re oblig’d to sunder. The Image of thy graceful Air, And Beauties which invite our Wonder, Thy lively Wit and Prudence rare 15 Shall still be present, tho we sunder. Dear Nymph, believe thy Swain in this, You’ll ne’er engage a Heart that’s kinder: Then seal a Promise with a Kiss, Always to love me, tho we sunder. 20 Ye Gods, take Care of my dear Lass, That as I leave her I may find her: When that blest Time shall come to pass We’ll meet again and never sunder. R80

*** The Gaberlunzie-Man.

The pauky auld Carle came o’er the Lee Wi’ many Good-e’ens and Days to me, Saying, Goodwife, for your Courtesie, Will you lodge a silly poor Man. The Night was cauld, the Carle was wat, 5 And down ayont the Ingle he sat; My Daughter’s Shoulders he ’gan to clap, And cadgily ranted and sang; 102

Text: TTM I (1723) * O wow, quo’ he, were I as free, As first when I saw this Country, 10 How blyth and merry wad I be? And I wad never think lang. He grew canty, and she grew fain; But little did her auld Minny ken What thir slee twa togither were say’n, 15 When wooing they were sa thrang. * And O, quo’ he, ann ye were as black, As e’er the Crown of my Dady’s Hat, ’Tis I wad lay thee by my Back, And awa’ wi’ me thou shou’d gang. 20 And O, quoth she, ann I were as white, As e’er the Snaw lay on the Dike, I’d clead me braw, and Lady-like, And awa with thee I’d gang. * Between the twa was made a Plot; They raise a wee before the Cock, And wyliely they shot the Lock, And fast to the Bent are gane. Up in the morn the auld Wife raise, And at her Leasure put on her Claiths, Syne to the Servants Bed she gaes To speer for the silly poor Man. * She gaed to the Bed, where the Beggar lay, The Strae was cauld, he was away, She clapt her Hands, cry’d, Waladay, For some of our Gear will be gane. Some ran to Coffers, and some to Kists But nought was stown that cou’d be mist, She danc’d her lane, cry’d, Praise be blest, I have lodg’d a leal poor Man. * Since naithing’s awa, as we can learn, The Kirn’s to kirn, and Milk to earn, Gae butt the House, Lass, & waken my Bairn, And bid her come quickly ben. The Servant gade where the Daughter lay, The Sheets were cauld, she was away, And fast to her Goodwife did say, She’s aff with the Gaberlunzie-Man. 103

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The Tea-Table Miscellany * O fy gar ride, and fy gar rin, And haft ye find these Traitors again; For she’s be burnt, and he’s be slain, The wearyfou Gaberlunzie-Man. Some rade upo’ Horse, some ran a fit, The Wife was wood, and out o’er wit: She cou’d na gang, nor yet cou’d she sit, But ay she curs’d and she ban’d.

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* Mean Time far hind out o’er the Lee, Fou snug in a Glen where nane cou’d see, The twa with kindly Sport and Glee, Cut frae a new Cheese a Whang. 60 The Priving was good, it pleas’d them baith, To lo’e her for ay, he gae her his Aith, Quo’ she, to leave thee, I will be laith, My winsome Gaberlunzie-Man. * O kend my Minny I were wi’ you, 65 Illfardly wad she crook her Mou, Sic a poor Man she’d never trow, After the Gaberlunzie-Man. My dear, quo’ he, ye’r yet o’er young, And ha’ na learn’d the Beggar’s Tongue, 70 To follow me frae Town to Town, And carry the Gaberlunzie on. * Wi’ Kauk and Keel, I’ll win your Bread, And Spindles & whorles for them wha need, Whilk is a gentle Trade indeed, 75 To carry the Gaberlunzie----o. [*] I’LL bow my Leg and crook my Knee, And draw a black Clout o er my Eye, A Criple or Blind they will ca’ me, While we shall be merry and sing. I.

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Text: TTM I (1723) R81

The C O R D I A L.

To the Tune of, Where shall our Goodman ly. He. Where wad bonny Ann ly, Alane nae mair ye maun ly; Wad ye a Good-man try? Is that the Thing ye’r laking? She. Can a Lass sae young as I, 5 Venture on the Bridal Tye, Syne down with a Good-man ly? I’m fleed he keep me waking. He. Never judge until ye try, Mak me your Goodman, I 10 Shanna hinder you to ly, And sleep till you be weary. She. What if I shou’d waking ly When the Hoboys are gawn by, Will ye tent me when I cry, 15 My Dear, I’m faint and iry? He. In my Bosom thou shall ly, When thou wakrife art or dry, Healthy Cordial standing by, Shall presently revive thee. 20 She. To your Will I then comply, Join us, Priest, and let me try How I’ll a Goodman ly, Wha can a Cordial give me.

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The Tea-Table Miscellany R82

Ew Boughts Marion.

Will ye go to the Ew Boughts, Marion, And wear in the Sheep wi’ me; The Sun shines sweet, my Marion; But no haf saw sweet as thee. O Marion’s a bony Lass, 5 And the Blyth blinks in her Eye, And fain wad I marry Marion, Gin Marion wad marry me. * There’s Gowd in your Garters, Marion, And Silk on your white Hause-bane: 10 Fou fain I wad kiss my Marion At E’en when I come hame. There’s braw Lads in Earnslaw, Marion, Wha gape, and glowr with their Eye At Kirk when they see my Marion; 15 But nane of them loes like me. * I’ve nine Milk Ews, my Marion, A Cow, and a brawny Quey, I’ll gi’ them a’ to my Marion, Just on her Bridal Day; And ye’s get a Green-sey Apron, And Wastcoat o’ the London Brown, And wow but ye will be vap’ring, When e’er ye gang to the Town.

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* I’m young and stout, my Marion, 25 Nane dances like me on the Green, And gin ye forsake me, Mairon, I’ll e’en gae draw up wi’ Jean; Sae put on your Pearlins, Marion, And Kyrtle o’ the Cramasie. 30 And soon as my Chin has nae Hair on, I shall come west and see ye. Q.

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Text: TTM I (1723) R83 The blythsom Bridal. Fy let us a’ to the Bridal, For there will be Lilting there; For Jocky’s to be married to Maggie, The Lass wi’ the Gowden Hair. And there will be Lang-kail and Pottage, And Bannocks of Barley-meal; And there will be good sawt Herring, To relish a Cog of good Ale. Fy let us a’ to the Bridal, &c.

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* And there will be Sandy the Sutor, And Will wi’ the meikle Mou; 10 And there will be Tam the Blutter, With Andrew the Tinkler, I trow; And there will be bow’d legged Robie, With thumbless Katie’s Goodman; And there will be blew cheeked Dowbie, 15 And Lawrie the Laird of the Land. Fy let us, &c. * And there will be Sow-libber Patie And plucky-fac’t Wat i’ the Mill, Capper nos’d Francie, and Gibbie, That wins in the How of the Hill; And there will be Alaster Sibby, Wha in with black Bessy did mool, With snivelling Lilly and Tibby, The Lass that stands aft on the Stool. Fy let us, &c.

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* And Madge that was buckled to Steenie, 25 And cost him gray Breeks to his Arse, Wha after was hangit for stealing, Great Mercy it hap’ned nae warse; And there will be gleed Geordy Janners And Kinsh with the Lilly white Leg, 30 Wha gade to the South for Manners And bang’d up her Wame in Mons-meg. Fy let us, &c. * And there will be Juden M‘lowrie, And blinkin daft Barbara M‘cleg, 107

The Tea-Table Miscellany Wi’ Flea-lugged, sharny fac’d Laurie, 35 And shangy mou’d halucket Meg; And there will be Happer-ars’d Nansie, And fairy-fac’d Flowrie by Name, Muck Madie, and fat hippit Grisy, The Lass wi’ the Gowden Wame. 40 Fy let us, &c. * And there will be Girn-again-Gibby, With his glakit Wife Jeany Bell, And Misle-shin’d Mungo M‘capie, The Lad that was Skipper himsel. There Lads and Lasses in Pearlings Will feast in the Heart of the Ha’ Of Sybows, and Rifarts, and Carlings, That are baith sodden and Raw. Fy let us, &c.

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* And there will be Fadges and Brachen, With Fouth of good Gabbock’s of Skate, 50 Powsowdie, and Drammock and Crowdie, And caller Nowt-seet in a Plate; And there will be Partans and Buckies, And Whytens and Speldings enew, With singed Sheep-heads, and a Haggies, 55 And Scadlips to sup till ye spew. Fy let us, &c. * And there will be lapper’d Milk Kebbucks, And Sowens, aud Farles, and Baps, With Swats, and well scraped Paunches, And Brandy in Stoups and in Caps; And there will be Meal-kail and Castocks With Skink to sup till ye rive, And Roasts to roast on a Brander, Of Flowks that were taken alive. Fy let us, &c. * Scrapt Haddocks, Wilks, Dulse and Tangle, And a Mill of good Snishing to prie; When weary with eating and drinking, Well rise up and dance till we die. Then fy let us a’ to the Bridal, For there will be lilting there, 108

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Text: TTM I (1723) For Jocky’s to be married to Maggie, The Lass wi’ the gowden Hair. Z. *** R84 The Highland Laddie. The Lawland Lads think they are fine, But O they’r vain and idly gaudy! How much unlike that gracefu’ Mein, And manly Looks of my Highland Laddie? O my bony bony Highland Laddie, 5 My handsome charming Highland Laddie: May Heaven still guard, and Love reward Our Lawland Lass and her Highland Laddie. * If I were free at Will to chuse To be the wealthiest Lawland Lady, I’d take young Donald without Trews, With Bonnet blew and belted Plaidy. O my bonny, &c. * The brawest Beau in Borrows-Town, In a’ his Airs, with Art made ready, Compar’d to him, he’s but a Clown; He’s finer far in’s Tartan Plaidy. O my bonny, &c. * O’er benty Hills with him I’ll run, And leave my Lawland Kin and Dady. Frae Winter’s Cauld and Summer’s Sun, He’ll screen me with his Highland Plaidy. O my bonny, &c.

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* A painted Room, and Silken Bed, May please a Lawland Laird and Lady; But I can kiss, and be as glad Behind a Bush in’s Highland Plaidy. O my bonny, &c. * Few Compliments between us pass, 25 I ca’ him my dear Highland Laddie, And he ca’s me his Lawland Lass; 109

The Tea-Table Miscellany Syne rows me in beneath his Plaidy. O my bonny, &c. * Nae greater Joy I’ll e’er pretend, Than that his Love prove true and steady Like mine to him, which ne’er shall end, While Heaven preserves my Highland Laddie. O my bonny, &c.

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*** R85 ALLAN-WATER Or, My Love Annie’s very bony. What Numbers shall the Muse repete? What Verse be found to praise my Annie? On her ten thousand Graces wait, Each Swain admires, and owns she’s bonny. Since first she trode the happy Plain, She’s set each youthful Heart on Fire, Each Nymph does to her Swain complain, That Annie kindles new Desire.

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* This lovely Darling, dearest Care; This new Delight, this charming Annie, 10 Like Sumer’s Dawn, she’s fresh and fair. When Flora’s fragrant Breezes fan ye. All Day the am’rous Youths convene, Joyous they sport and play before her; All Night, when she no more is seen 15 In blessful Dreams they still adore her. * Among the Crowd Amyntor came, He look’d, he lov’d, he bow’d to Annie; His rising Sighs express his Flame, His Words were few, his Wishes many. With Smiles the lovely Maid repelled, Kind Shepherd, why should I deceive ye? Alas! your Love must be deny’d, This destin’d Breast can ne’er relieve ye.

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* Young Damon came, with Cupid’s Art, 25 His Wiles, his Smiles, his Charms beguiling, 110

Text: TTM I (1723) He stole away my Virgin-Heart, Cease, poor Amytor, cease bewailing. Some brighter Beauty you may find, On yonder Plain the Nymphs are many, Then chuse some Heart that’s unconfin’d, And leave to Damon his own Annie. C.

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*** R86 The Collier’s bony Lassie. The Collier has a Daughter, And O she’s wonder bonny, A Laird he was that sought her, Rich baith in Land and Money; The Tutor’s watch’d the Motion 5 Of this young honest Lover, But Love is like the Ocean: Wha can its Depth discover? * He had the Art to please ye, And was by a’ respected; 10 His Airs sat round him easy, Genteel, but unaffected. The Collier’s bonny Lassie Fair as the new blown Lillie, Ay sweet, and never saucy, 15 Secur’d the Heart of Willy * He lov’d beyond Expression, The Charms that were about her, And panted for Possession, His Life was dull without her. After mature resolving, Closs to his Breast he held her, In saftest Flames dissolving, He tenderly thus tell’d her.

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* My bonny Collier’s Daughter, 25 Let naething discompose ye, ’Tis no your scanty Tocher Shall ever gar me lose ye; For I have Gear in Plenty, And Love says, ’tis my Duty 30 111

The Tea-Table Miscellany To ware what Heaven has lent me, Upon your Wit and Beauty. *** R87 Where HELEN lies. TO –—–— in Mourning. Ah why those Tears in Nelly’s Eyes, To hear thy tender Sighs and Cries, The Gods stand list’ning from the Skies. Pleas’d with thy Piety. To mourn the Dead, dear Nymph, forbear, 5 And of one dying take a Care, Who views thee as an Angel fair, Or some Divinity. * O be less graceful or more kind, And cool this Fever of my Mind, 10 Caused by the Boy severe and Blind, Wounded I sigh for thee While hardly dare I hope to rise To such a Height by Hymen’s Tyes, To lay me down where Helen lyes 15 And with thy Charms be free. * Then must I hide my Love and die, When such a sovereign Cure is by? No, she can love, and I’ll go try, Whate’er my Fate may be, Which soon I’ll read in her bright Eyes, With those dear Agents I’ll advise, They tell the Truth, when Tongues tell Lies, The least believ’d by me.

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*** S O N G.

To the Tune of Gallowshiels. Ah the Shepherd’s mournful Fate, When doom’d to love, and doom’d to languish, To bear the scornful fair one’s Hate, 112

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Text: TTM I (1723) Nor dare disclose his Anguish. Yet eager Looks, and dying Sighs, 5 My secret Soul discover, While Rapture trembling thro’ my Eyes, Reveals how much I love her. The tender Glance, the redning Cheek, O’erspread with rising Blushes, 10 A thousand various Ways they speak A thousand various Wishes. * For Oh! that Form so heavenly fair, Those languid Eyes so sweetly smiling, That artless Blush and modest Air, 15 So fatally beguiling. Thy every Look, and every Grace, So charms when e’er I view thee, Till Death o’ertake me in the Chace, Still will my Hopes pursue thee; 20 Then when my tedious Hours are past, Be this last Blessing given, Low at thy Feet to breath my last, And die in Sight of Heaven. ***

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The Tea-Table Miscellany

Title-page of The Tea-Table Miscellany, second volume (1726) Copy held at Mellerstain House, reproduced with permission of the 14th Earl of Haddington

Text: TTM II (1726) R89

TO CLARINDA A SONG,

To the Tune of, I wish my Love were in a Mire. * BLEST as the immortal Gods in he, The Youth who fondly sits by thee, And hears and sees thee all the while Softly speak and sweetly smile, &c. So spoke and smil’d the eastern Maid; 5 Like thine, Seraphick were her Charms, That in Circassia’s Vineyards stray’d, And blest the wisest Monarch’s Arms. [*] A thousand Fair of high Desert, Strave to enchant the amorous King; 10 But the Circassian gain’d his Heart, And taught the Royal Bard to sing. Clarinda thus our Sang inspires, And claims the smooth and highest Lays But while each Charm our Bosom fires, 15 Words seem too few to sound her Praise. * Her Mind in ev’ry Grace complete, To paint surpasses humane Skill: Her Majesty, mixt with the Sweet, Let Seraphs sing her if they will. 20 Whilst wondring, with a ravish’d Eye, We all that’s perfect in her View, Viewing a Sister of the Sky, To whom an Adoration’s due. *** R90 A S O N G. Tune of Lochaber no more. * Farewell to Lochaber, and farewell my Jean, Where heartsome with thee I’ve mony Day been; For Lochaber no more, Lochaber no more, 115

We’ll maybe return to Lochaber no more. These Tears that I shed, they are a’ for my Dear, 5 And no for the Dangers attending on Weir, Tho’ bore on rough Seas to a far bloody Shore, Maybe to return to Lochaber no more. [*] Tho’ Harrycanes rise, and rise ev’ry Wind, They’ll ne’er make a Tempest like that in my Mind. Tho’ loudest of Thunder on louder Waves roar, That’s naithing like leaving my Love on the Shore. To leave thee behind me, my Heart is sair pain’d. By Ease that’s inglorious, no Fame can be gain’d? And Beauty and Love’s the Reward of the Brave, And I must deserve it before I can crave. * Then Glory my Jeany maun plead my Excuse, Since Honour commands me, how can I refuse? Without it I ne’er can have Merit for thee, And without thy Favour I’d better not be? I gae then, my Lass, to win Honour and Fame, And if I should luck to come gloriously Hame, I’ll bring a Heart to thee with Love running o’er, And then I’ll leave thee and Lochaber no more.

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*** R91 The auld Goodman. Late in an Evening forth I went, A little before the Sun gade down, And there I chanc’d by Accident, To light on a Battle new begun. A Man and his Wife was fawn in a Strife, I canna well tell ye how it began; But ay she wail’d her wretched Life, And cry’d ever, alake my auld Goodman.

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He. Thy auld Goodman that thou tells of, The Country kens where he was born, 10 Was but a silly poor Vagabond, And ilka ane leugh him to Scorn; For he did spend, and make an End Of Gear that his Fore-fathers wan, He gart the Poor stand frae the Door, 15 Sae tell nae mair of thy auld Goodman. 116

Text: TTM II (1726) She. My Heart alake, is liken to break, When I think on my winsome John, His blinkan Eye and Gate sae free, Was naithing like thee, thou dosend Drone. His rosie Face and flaxen Hair, And a Skin as white as ony Swan, Was large and tall, and comely with all, And thou’lt never be like my auld Goodman.

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He. Why dost thou pleen? I thee maintain, 25 For Meal and Mawt thou disna want; But thy wild Bees I canna please, Now when out Gear gins to grow scant. Of Houshold-Stuff thou hast enough, Thou wants for neither Pot nor Pan; 30 Of sicklike Ware he left thee bare, Sae tell nae mair of thy auld Goodman. She. Yes I may tell, and fret my sell, To think on these blyth Days I had, When he and I together lay 35 In Arms into a well made Bed. But now I sigh, and may be sad, Thy Courage is cauld, thy Colour wan, Thou falds thy Feet, and fa’s asleep, And thou’lt ne’er be like my auld Goodman. 40 Then coming was the Night sae dark, And gane was a’ the Light of Day; The Carle was fear’d to miss his Mark, And therefore wad nae langer stay, Then up he gat, and he ran his Way, 45 I trow the Wife the Day she wan, And ay the O’erword of the Fray Was ever, Alake my auld Good-man. Z.

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The Tea-Table Miscellany R92 SONG, To the Tune of Valiant Jocky. On a beautiful, but very young Lady. Beauty from Fancy takes its Arms, And ev’ry common Face some Breast may move, Some in a Look, a Shape, or Air find Charms, To justify their Choice, or boast their Love. But had the great Appelles seen that Face, 5 When he the Cyprian Goddess drew, He had neglected all the Female Race, Thrown his first Venus by, and copied you. In that Design, Great Nature would combine 10 To fix the Standart of her sacred Coin; The charming Figure had enhanc’d his Fame, And Shrines been rais’d to Seraphina’s Name. II. But since no Painter e’er could take That Face, which baffles all his curious Art; And he that strives the bold Attempt to make, As well might paint the Secrets of the Heart. O happy Glass, I’ll thee prefer, Content to be like thee inanimate, Since only to be gaz’d on thus by her, A better Life and Motion would create. Her Eyes would inspire, And like Prometheus Fire, At once inform the Piece and give Desire, The charming Phantom I would grasp and flie O’er all the Orb, though in that Moment die.

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III. Let meaner Beauties fear the Day, Whose Charms are fading, and submit to Time; The Graces which from them it steals away, It with a lavish Hand still adds to thine. 30 The God of Love in ambush lyes, And with his Arms surrounds the Fair, He points his conquering Arrows in these Eyes, Then hangs a sharpned Dart at every Hair. As with fatal Skill, 35 Turn which Way you will, Like Eden’s flaming Sword each Way you kill; So ripening Years improve rich Nature’s Store, And give Perfection to the Golden Ore. 118

Text: TTM II (1726) R93

Lass with a Lump o’ Land.

Gi’e me a Lass with a Lump of Land, And we for Life shall gang thegither, Tho’ daft or wise, I’ll never demand, Or black or fair it maksna whether. I’m aff with Wit, and Beauty will fade, 5 And Blood alane is no worth a Shilling, But she that’s rich, her Market’s made, For ilka Charm about her is killing. * Gi’e me a Lass with a Lump of Land, And in my Bosom I’ll hug my Treasure; Gin I had anes her Gear in my Hand, Shou’d Love turn dowf, it will find Pleasure. Laugh on wha likes, but there’s my Hand, I hate with Poortith, tho’ bonny, to meddle, Unless they bring Cash, or a Lump of Land, They’se never get me to dance to their Fiddle. * There’s meikle good Love in Bands and Bags. And Siller and Gowd’s a sweet Complexion; But Beauty and Wit, and Virtue in Rags, Have tint the Art of gaining Affection: Love tips his Arrows with Woods & Parks, And Castles, and Riggs, and Moors, and Meadows, And naithing can catch our modern Sparks, But well tocher’d Lasses or joynter’d Widows.

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*** R94 THE Shepherd Adonis. I. The Shepherd Adonis Being weary’d with Sport, He for a Retirement To the Woods did resort. He threw by his Club, 5 And he laid himself down; He envy’d no Monarch, Nor wish’d for a Crown. 119

The Tea-Table Miscellany II. He drank of the Burn, And he ate frae the Tree, 10 Himself he enjoy’d, And frae Trouble was free. He wish’d for no Nymph, Tho’ never sae fair, Had nae Love or Ambition, 15 And therefore no Care. III. But as he lay thus In an Ev’ning sae clear, A heavenly sweet Voice Sounded saft in his Ear; Which came frae a shady Green neighbouring Grove, Where bony Amynta Sat singing of Love.

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IV. He wander’d that Way, 25 And found wha was there, He was quite confounded To see her sae fair: He stood like a Statue, Not a Foot cou’d he move, 30 Nor knew he what griev’d him; But he fear’d it was Love. V. The Nymph she beheld him With a Kind modest Grace, Seeing something that pleased her 35 Appear in his Face. With blushing a little She to him did say, Oh Shepherd! what want ye, How came you this Way. 40 VI. His Spirits reviving, He to her reply’d, I was ne’er sae surpris’d At the Sight of a Maid, Until I beheld thee 45 From Love I was free But now I’m tane Captive, My fairest, by thee. Z. 120

Text: TTM II (1726) R95

The Complaint. To. B.I.G.

To the Tune of, When absent, &c. * When absent from the Nymph I love, I’d fain shake off the Chains I wear; But whilst I strive these to remove, More Fetters I’m oblig’d to bear. My captiv’d Fancy Day and Night 5 Fairer and fairer represents Bellinda form’d for dear Delight, But cruel Cause of my Complaints. * All Day I wander through the Groves, And sighing hear from ev’ry Tree The happy Birds chirping their Loves, Happy compar’d with lonely me. When gentle sheep with balmy Wings To Rest fan’s ev’ry weary’d Wight, A thousand Fears my Fancy brings, That keep me watching all the Night. * Sleep flies, while like the Goddess fair, And all the Graces in her Train, With melting Smiles and killing Air Appears the Cause of all my Pain. A while my Mind delighted flies, O’er all her Sweets with thirling Joy, Whilst Want of Worth makes Doubts arise, That all my trembling Hopes destroy. * Thus while my Thoughts are fix’d on her, I’m all o’er Transport and Desire: My Pulse beats high, my Cheeks appear All Roses, and mine Eyes all Fire. When to my self I turn my View, My Veins grow chill, my Cheek looks wan: Thus whilst my Fears my Pains renew, I scarcely look or move a Man.

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The Tea-Table Miscellany R96

The young Lass contra auld Man.

The Carle he came o’er the Croft, And his Beard new shaven, He look’d at me, as he’d been daft, The Carle trows that I wad hae him. Howt awa I winna hae him! Na forsooth I winna hae him! For a his Beard new shaven, Ne’er a Bit will I hae him.

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* A siller Broach he gae me niest, To fasten on my Curtchea nooked, 10 I wor’d a wi upon my Breast; But soon alake! the Tongue o’t crooked; And sae may his, I winna hae him, Na forsooth, I winna hae him! An twice a Bairn’s, a Lass’s Jest; 15 Sae ony Fool for me may hae him. * The Carle has nae Fault but ane; For he has Land and Dollars Plenty; But waes me for him! Skin and Bane Is no for a plump Lass of Twenty. Howt awa, I winna hae him, Na forsooth, I winna hae him, what signifies his dirty Riggs, And Cash without a Man with them.

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* But shou’d my canker’d Dady gar 25 Me take him ’gainst my Inclination, I warn the Fumbler to beware, That Antlers dinna claim their Station. Howt awa, I winna hae him! Na forsooth, I winna hae him! 30 I’m slee’d to crack the haly Band, Sae Lawry says, I shou’d na hae him.

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Text: TTM II (1726) R97

Vertue and Wit,

The Preservatives of Love and Beauty. To the Tune of Gillikranky. He. Confess thy Love, fair blushing Maid, For since thine Eye’s consenting, Thy safter Thoughts are a’ betray’d, And Nasays no worth tenting. Why aims thou to oppose thy Mind, With Words thy Wish denying; Since Nature made thee to be kind, Reason allows complying.

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* Nature and Reason’s joint Consent Make Love a sacred Blessing, 10 Then happily that Time is spent, That’s war’d on kind caressing? Come then my Katie to my Arms, I’ll be nae mair a Rover; But find out Heaven in a’ thy Charms, 15 And prove a faithful Lover. SHE. What you design by Nature’s Law, Is fleeting Inclination, That Willy----Wisp bewilds us a’ By its Infatuation. 20 When that goes out, Caresses tire, And Love’s nae mair in Season, Syne weakly we blaw up the Fire, With all our boasted Reason. HE. The Beauties of inferior Cast 25 May start this just Reflection; But Charms like thine maun always last, Where Wit has the Protection. Virtue and Wit, like April Rays, Make Beauty rise the sweeter; 30 The langer then on thee I gaze, My Love with grow completer. 123

The Tea-Table Miscellany R98

S O N G.

To the Tune of The happy Clown. It was the charming Month of May When all the Flow’rs were fresh and gay, One Morning by the Break of Day, Sweet Chloe, chaste and Fair. From peaceful Slumber she arose, 5 Girt on her Mantle and her Hose, And o’er the flowry Mead she goes, To breath a purer Air. Her Looks so sweet, so gay her Mein, Her handsome Shape and Dress so clean, 10 She lookt all o’er like Beauties Queen, Drest in her best Aray. THE gentle Winds and purling Stream Essay’d to whisper Chloe’s Name, The savage Beasts till then ne’er tame, 15 Wild Adoration pay. The feather’d People one might see, Parch’d all around her on a Tree, With Notes of sweetest Melody They act a cheerful Part. 20 The dull Slaves on the toilsome Plow, Their wearied Necks and Knees do bow, A glad Subjection there they vow, To pay with all their Heart. The bleating Flocks that then came by, Soon as the charming Nymph they spy, They leave their hoarse and ruful Cry, And dance around the Brooks. The Woods are glad, the Meadows smile, And Forth that foam’d, and roar’d ere while, Glides calmly down as smooth as Oil, Thro’ all its charming Crooks.

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The finny Squadrons are content, To leave their wat’ry Element, In glazie Numbers down they bent, 35 124

Text: TTM II (1726) They flutter all along. The Insects, and each creeping Thing, Join’d to make up the rural Ring, All frisk and dance, if she but sing, And make a jovial Throng. 40 Kind Phœbus now began to rise, And paint with red the Eastern Skies, Struck with the Glory of her Eyes, He shrinks behind a Cloud. Her Mantle on a Bough she lays, 45 And all her Glory she displays, She left all Nature in Amaze, And skip’d into the Wood. X. *** R99 Lady Anne Bothwel’s La ment. Balow, my Boy, ly still and sleep, It grieves me sore to hear thee weep; If thou’lt be silent, I’ll be glad, Thy Mourning makes my Heart full sad. Balow, my Boy, thy Mother’s Joy, 5 Thy Father bred me great Annoy. Balow, my Boy, ly still and sleep, It gieves [sic] me sore to hear thee weep. * Balow, my Darling, sleep a while, And when thou wak’st then sweetly smile; 10 But smile not as thy Father did, To cozen Maids, nay God forbid; For in thine Eye, his Look I see, The tempting Look that ruin’d me. Balow, my Boy, &c. * When he began to court my Love, 15 And with his sugar’d Words to move, His tempting Face and flatt’ring Chear, In Time to me did not appear; But now I see that cruel he, Cares neither for his Babe nor me. 20 Balow, my Boy, &c. * 125

The Tea-Table Miscellany Farewell, farewell, thou falsest Youth, That ever kist a Woman’s Mouth, Let never any after me, Submit unto thy Courtesy: For, if they do, O! cruel thou 25 With her abuse, and care now how. Balow, my Boy, &c. * I was too cred’lous at the first, To yield thee all a Maiden durst, Thou swore for ever true to prove, Thy Faith unchang’d, unchang’d thy Love; 30 But quick as thought the change is wrought, Thy Love’s no more, thy Promise nought. Balow, my Boy, &c. * I wish I were a Maid again, From young Mens Flattery I’d refrain, For now unto my Grief I find, 35 They all are perjur’d and unkind: Bewitching Charms bred all my Harms, Witness my Babe lies in my Arms. Balow, my Boy, &c. * I take my Fate from bad to worse, That I must needs be now a Nurse, 40 And lull my young Son on my Lap, From me sweet Orphan take the Pap. Balow, my Child, thy Mother mild Shall wail as from all Bliss exil’d. Balow, my Boy, &c. * Balow, my Boy, weep not for me, 45 Whose greatest Grief’s for wronging thee, Nor pity her deserved Smart, Who can blame none but her fond Heart; For, too soon trusting latest finds, With fairest Tongues are falsest Minds. 50 Balow, my Boy, &c. * Balow, my Boy, thy Father’s fled, When he the thriftless Son has play’d, Of Vows and Oaths, forgetful he 126

Text: TTM II (1726) Prefer’d the Wars to thee and me. But now perhaps thy Curse and mine Make him eat Acorns with the Swine. Balow, my Boy, &c. * BUT curse not him, perhaps he, Stung with Remorse, is blessing thee: Perhaps at Death; for who can tell Whether the Judge of Heaven and Hell, By some proud Foe has struck the Blow, And laid the dear Deceiver low. Balow, my Boy, &c.

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* I wish I were into the Bounds, Where he lies smother’d in his Wounds, Repeating as he pants for Air, 65 My Name, whom once he call’d his fair. No Woman’s yet so fiercely set, But she’ll forgive, tho’ not forget. Balow, my Boy, &c. * If Linen lacks, for my Love’s Sake, Then quickly to him would I make My Smock once for his Body meet, 70 And wrap him in that Winding-sheet. Ah me! how happy had I been, If he had ne’er been wrapt therein. Balow, my Boy, &c. * Balow, my Boy, I’ll weep for thee; Too soon, alake, thou’lt weep for me: 75 Thy Griefs are growing to a Sum, God grant thee Patience when they come; Born to sustain thy Mother’s Shame, A hapless Fate, a Bastard’s Name. Balow, my Boy, ly still and sleep, 80 It grieves me sore to hear thee weep. X.

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The Tea-Table Miscellany R100

S O N G.

She raise and loot me in. The Night her silent Sable wore, And gloomy were the Skies: Of glitt’ring Stars appear’d no more Than those in Nelly’s Eyes. When at her Father’s Yate I knock’d, Where I had often been, She shrowded only, with her Smock Arose and loot me in.

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* Fast lock’d within her close Embrace, She trembling stood asham’d: 10 Her swelling Breast and glowing Face, And ev’ry Touch enflam’d. My eager Passion I obey’d, Resolv’d the Fort to win; And her fond Heart was soon betray’d 15 To yield and let me in. * Then then, beyond expressing, Transporting was the Joy; I knew no greater Blessing, So blest a Man was I. 20 And she, all ravisht with Delight, Bid me oft come again; And kindly vow’d, That ev’ry Night She’d rise and let me in. * But ah! at last she prov’d with Bairn, And sighing sat and dull, And I that was as much concern’d, Look’d e’en just like a Fool. Her lovely Eyes with Tears ran o’er, Repenting her rash Sin: She sigh’d, and curs’d the fatal Hour, That e’er she loot me in. * But who cou’d cruelly deceive, Or from such Beauty part: I lov’d her so, I could not leave 128

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Text: TTM II (1726) The Charmer of my Heart; But wedded, and conceal’d our Crime: Thus all was well again, And now she thanks the happy Time That e’er she loot me in. 40 Z. *** R101 S O N G. If Love’s a sweet Passion. If Love’s a sweet Passion, why does it torment? If a bitter, O tell me whence comes my Complaint? Since I suffer with Pleasure, why should I complain, Or grieve at my Fate, since I know ’tis in vain. Yet so pleasing the Pain is, so soft is the Dart, That at once it both wounds me, and tickles my Heart. I grasp her Hands gently, look languishing down, And by passionate Silence I make my Love known. But Oh! how I’m bless’d when so kind she does prove, By some willing Mistake to discover her Love. When in striving to hide, she reveals all her Flame, And our Eyes tell each other what neither dare name. How pleasing is Beauty? how sweet are the Charms? How delightful Embraces? how peaceful her Arms? Sure there’s nothing so easy as learning to love; ’Tis taught us on Earth, and by all Things above: And to Beauty’s bright Standart all Heroes must yield, For ’tis Beauty that conquers, and keeps the fair Field.

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*** R102 John Ochiltree. Honest Man John Ochiltree; Mine ain auld John Ochiltree, Wilt thou come o’er the Moor to me, And dance as thou was wont to do. Alake, alake! I wont to do! 5 Ohon, ohon! I want to do! Now wont to do’s away frae me, Frae silly auld John Ochiltree. Honest Man John Ochiltree, 129

The Tea-Table Miscellany Mine ain auld John Ochiltree; 10 Come anes out o’er the Moor to me, And do but what thou dow to do. Alake, alake! I dow to do! Walaways! I dow to do! To whost and hirple o’er my Tree, 15 My bony Moor-powt is a’ I may do. Walaways John Ochiltree, For mony a Time I tell’d to thee, Thou rade sae fast by Sea and Land, And wadna keep a Bridle hand; 20 Thou’d tine the Beast, thy sell wad die, My silly auld John Ochiltree. Come to my Arms, my bony Thing, And chear me up to hear thee sing; And tell me o’er a’ we hae done, 25 For Thoughts maun now my Life sustain. Gae thy Ways John Ochiltree: Hae done! it has nae Sa’r wi’ me. I’ll set the Beast in throw the Land, She’ll may be fa’ in a better Hand. 30 Even sit thou there, and think thy fill, For I’ll do as I wont to do still. Z. *** R103 S O N G. To the Tune of, Jenny beguil’d the Webster. The auld Chorus. Up Stairs, down Stairs, Timber Stairs fear me. I’m laith to ly a’ Night my lane, And Johny’s Bed sae near me. * O Mither dear, I’m ’gin to fear, Tho’ I’m baith good and bony, I winna keep; for in my Sleep I start and dream of Johny. When Johny then comes down the Glen, 5 To woo me, dinna hinder; But with Content gi’ your Consent; For we twa ne’er can sinder. * 130

Text: TTM II (1726) Better to marry, than miscarry; For Shame and Skaith’s the Clink o’t, To thole the Dool, to mount the Stool, I downa ’bide to think o’t; Sae while ’tis Time, I’ll shun the Crime That gars poor Epps gae whinging, With Hainches fow, and Een sae blew, To a’ the Bedrals bindging.

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* Had Eppy’s Apron bidden down, The Kirk had ne’er a kend it; But when the Word’s gane thro’ the Town Alake! how can she mend it. 20 Now Tam maun face the Minister, And she maun mount the Pillar; And that’s the Way that they maun gae For poor Folk has nae Siller. * Now ha’d ye’r Tongue, my Daughter young, 25 Replied the kindly Mither, Get Johny’s Hand in haly Band, Syne wap ye’r Wealth together. I’m o’ the Mind, if he be kind, Ye’ll do your Part discreetly; 30 And prove a Wife, will gar his Life, And Barrel run right sweetly. *** R104 S O N G. To the Tune of, Wat ye wha I met Yestreen, &c. * Of all the Birds, whose tuneful Throats Do welcome in the verdant Spring, I far prefer the Stirling’s Notes, And think she does most sweetly sing. Nor Thrush, nor Linnet, not the Bird, 5 Brought from the far Canary Coast, Nor can the Nightingale afford Such Melody as she can boast. * When Phœbus southward darts his Fires, And on our Plains he looks ascance, 10 The Nightingale with him retires, 131

The Tea-Table Miscellany My Stirling makes my Blood to dance. In Spite of Hymen’s nipping Frost, Whether the Day be dark or clear, Shall I not to her Health entoast, 15 Who makes it Summer all the Year. * Then by thy self, my lovely Bird, I’ll stroke thy Back, and kiss thy Breast And if you’ll take my honest Word, As sacred as before the Priest, 20 I’ll bring thee where I will devise Such various Ways to pleasure thee, The Velvet-fog thou will despise, When on the Downy-hills with me. T. R. *** R105 A S O N G. To its own Tune. * In January last, On Munanday at Morn, As through the Fields I past, To view the Winter Corn, I looked me behind, 5 And sae come o’er the Know, Ane glancing in her Apron, With a bony brent Brow. * I said, Good Morrow, fair Maid; And she right courteously 10 Return’d a Beck, and kindly said, Good Day sweet Sir, to you. I spear’d, my Dear, how far awa Do ye intend to gae. Quoth she, I mean a Mile or twa, 15 Out o’er yon broomy Brae. He. Fair Maid, I’m thankfu’ to my Fate, To have sic Company; For I am ganging straight that Gate, Where ye intend to be. 20 When we had gane a Mile or twain, I said, to her my Dow, 132

Text: TTM II (1726) May we not lean us on this Plain, And kiss your bony Mou. She. Kind Sir, ye are a wi mistane; 25 For I am nane of these, I hope ye some mair Breeding ken, Than to ruffle Women’s Claise: For may be I have chosen ane, And plighted him my Vow, 30 Wha may do wi me what he likes, And kiss my bony Mou. He. Na, if ye are contracted, I hae nae mair to say: Rather than be rejected, 35 I will gie o’er the Play; And chuse anither will respect My Love, and on me rew; And let me clasp her round the Neck, And kiss her bony Mou. 40 She. O Sir, ye are proud-hearted, And laith to be said Nay, Else ye wad ne’er a started For ought that I did say: For Women in their Modesty 45 At first they winna bow; But if we like your Company, We’ll prove as kind as you. Z. *** R106 S O N G. To the Tune of, I’ll never leave thee. * One Day I heard Mary say, How shall I leave thee? Stay, dearest Adonis, stay, Why wilt thou grieve me. Alas! my fond Heart will break, If thou should leave me. I’ll live and die for thy Sake; Yet never leave thee. 133

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The Tea-Table Miscellany * Say, lovely Adonis, say, Has Mary deceived thee? 10 Did e’er her young Heart betray New Love, that has griev’d thee; My constant Mind ne’er shall stray, Thou may believe me. I’ll love the Lad Night and Day, 15 And never leave thee. * Adonis, my charming Youth, What can relieve thee? Can Mary thy Anguish sooth? This Breast shall receive thee. 20 My Passion can ne’er decay, Never deceive thee: Delight shall drive Pain away, Pleasure revive thee. * But leave thee, leave thee, Lad, 25 How shall I leave thee? O! that Thought makes me sad, I’ll never leave thee. Where would my Adonis fly? Why does he grieve me? 30 Alas! my poor Heart will die, If I should leave thee. C. *** R107 Sleepy Body, drowsy Body. * Somnolente, Quaeso repente, Vigila, vive, me tange. Somnolente, quaeso, &c. * Cum me ambiebas, Videri volebas Amoris negotiis aptus; Sed factus Maritus, Es semisopitus, Et semper a somnio captus. * 134

Text: TTM II (1726) O sleepy Body, And drowsy Body, O wiltuna waken and turn thee: To drivel and drant, While I sigh and gaunt, 5 Gives me good Reason to scorn thee. * When thou shouldst be kind, Thou turns sleepy and blind, And snoters and snores far frae me. Wae light on thy Face, 10 Thy drowsy Embrace Is enough to gar me betray thee. Q. *** R108

General Lesly’s March to Long-maston Moor.

MArch, march, Why the D---- do ye na march! Stand to your Arms, my Lads, Fight in good Order. Front about ye Musketeers all, 5 Till ye come to the English Border. Stand till’t, and fight like Men, True Gospel to maintain. The Parliament blyth to see us a coming, When to the Kirk we come, 10 We’ll purge it ilka Room, Frae Popish Relicts and a’ sic Innovations, That a’ the Warld may see, There’s nane i’ the Right but we, Of the auld Scottish Nation. 15 Jenny shall wear the Hood, Jocky the Sark of God; And the Kist fou of Whistles, That make sic a Cleiro, Our Pipers braw, 20 Shall hae them a’, What e’er come on it. Busk up your Plaids, my Lads, Cock up your Bonnets. March, march, &c. 25 Z. 135

The Tea-Table Miscellany R109

S O N G.

To the Tune of, I’ll gar ye be fain to follow me. HE. ADieu for a while my native green Plains, My nearest Relations, and neighbouring Swains, Dear Nelly frae these I’d start easily free, Were Minutes not Ages, while absent frae thee. SHE. Then tell me the Reason thou does not obey The Pleadings of Love, but thus hurrys away: Alake, thou Deceiver, o’er plainly I see, A Lover sae roving will never mind me.

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HE. The Reason unhappy, is owing to Fate That gave me a Being without an Estate, 10 Which lays a Necessity now upon me, To purchase a Fortune for Pleasure to thee. SHE. Small Fortune may serve where Love has the Sway, Then Johny be counsel’d na langer to stray For while thou proves constant in Kindness to me, Contented I’ll ay find a Treasure in thee. HE. O cease, my dear Charmer, else soon I’ll betray A Weakness unmanly, and quickly give way To Fondness which may prove a Ruin to thee, A Pain to us baith, and Dishonour to me.

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Bear Witness, ye Streams, and witness, ye Flowers; Bear Witness, ye watchful invisible Powers, If ever my Heart be unfaithful to thee, May naithing propitious e’er smile upon me.

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Text: TTM II (1726) R110

S O N G. To the Tune of

Busk ye, busk ye, my bony Bride; Busk ye, busk ye, my bony Marrow; Busk ye, busk ye, my bony Bride, Busk and go to the Braes of Yarrow; There will we sport and gather Dew, Dancing while Lavrock sing the Morning; There learn frae Turtles to prove true; O Bell ne’er vex me with thy Scorning.

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* To Westlin Breezes Flora yields, And when the Beams are kindly warming, 10 Blythness appears o’er all the Fields, And Nature looks mair fresh and charming. Learn frae the Burns that trace the Mead Tho’ on their Banks the Roses blossom Yet hastylie they flow to Tweed, 15 And pour their Sweetness in his Bosom. * Hast ye, hast ye, my bony Bell, Hast to my Arms, and there I’ll guard thee, With free Consent my Fears repel, I’ll with my Love and Care reward thee Thus sang I saftly to my Fair, Wha rais’d my Hopes with kind relenting. O Queen of Smiles, I ask nae mair, Since now my bony Bell’s consenting.

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*** R111 Corn Riggs are bony. * My Patie is a Lover gay, His Mind is never muddy, His Breath is sweeter than new Hay, His Face is fair and ruddy. His Shape is handsom, middle Size; He’s stately in his Wawking; The Shining of his Een surprise; ’Tis Heaven to hear him tawking. 137

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The Tea-Table Miscellany * Last Night I met him on a Bawk, Where yellow Corn was growing, 10 There mony a kindly Word he spake, That set my Heart a glowing. He kiss’d, and vow’d he wad be mine, And loo’d me best of ony; That gars me like to sing sinsyne, 15 O Corn Riggs are bony. * Let Lasses of a silly Mind Refuse what maist they’re wanting, Since we for yielding were design’d, We chastly should be granting; 20 Then I’ll comply, and marry Pate, And syne my Cockernony He’s free to touzle air or late, Where Corn Riggs are bony. *** R112 Cromlet’s Lilt. SInce all thy Vows, false Maid, Are blown to Air, And my poor Heart betray’d To sad Despair, Into some Wilderness, 5 My Grief I will express, And thy hard Heartedness, O cruel Fair. * Have I not graven our Loves On every Tree: 10 In yonder spreading Groves, Tho’ false thou be: Was not a solemn Oath Plighted betwixt us both, Thou thy Faith, I my Troth, 15 Constant to be. * Some gloomy Place I’ll find, Some doleful Shade, Where neither Sun nor Wind E’er Entrance had: 20 138

Text: TTM II (1726) Into that hollow Cave, There will I sigh and rave, Because thou do’st behave So faithlesly [sic]. * Wild Fruit shall be my Meat, 25 I’ll drink the Spring, Cold Earth shall be my Seat For Covering: I’ll have the starry Sky My Head to Canopy, 30 Until my Soul on hy Shall spread its Wing. * I’ll have no Funeral Fire, Nor Tears for me: No Grave do I desire, 35 Nor Obsequies: The courteous Red-Breast he With Leaves will cover me, And sing my Elegy, With doleful Voice. 40 * And when a Ghost I am, I’ll visit thee: O thou deceitful Dame, Whose Cruelty Has kill’d the kindest Heart 45 That e’er felt Cupid’s Dart, And never can desert From loving thee. X. *** R113 S O N G. We’ll a’ to Kelso go. An I’ll awa to bony Tweed­side, And see my Deary come throw, And he sall be mine Gif sae he incline, For I hate to lead Apes below. 5 * 139

The Tea-Table Miscellany While Young and Fair, I’ll make it my Care, To secure my sell in a Jo; I’m no sic a Fool To let my Blood cool, 10 And syne gae lead Apes below. * Few Words, bony Lad, Will eithly perswade, Tho’ blushing, I daftly say no, Gae on with your Strain, 15 And doubt not to gain, For I hate to lead Apes below. * Unty’d to a Man, Do what e’er we can, We never can thrive or dow: 20 Then I will do well, Do better wha will, And let them lead Apes below. * Our Time is precious, And Gods are gracious 25 That Beauties upon us bestow; ’Tis not to be thought We got them for nought, Or to be set up for Show. * ’Tis carry’d by Votes, 30 Come kilt up ye’r Coats, And let us to Edinburgh go, Where she that’s bony May catch a Johny, And never lead Apes below. 35 *** R114 William and Margaret. An old BALLAD. ’Twas at the fearful Midnight Hour, When all were fast asleep, In-gilded Margaret’s grimly Ghost, And stood at William’s Feet. 140

Text: TTM II (1726) * Her Face was pale, like April Morn, 5 Clad in a wintry Cloud; And Clay-cold was her Lilly Hand That held her sable Shroud. * So shall the fairest Face appear, When Youth and Years are flown: Such is the Robe that Kings must wear, When Death has reft their Crown. * Her Bloom was like the springing Flower That sips the Silver Dew; The Rose was budded in her Cheek, Just opening to the View. * But Love had, like the canker Worm, Consum’d her early Prime: The Rose grew pale, and left her Cheek She dy’d before her Time.

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* Awake! ---- she cry’d, Thy true Love calls, Come from her Midnight Grave: Now let thy Pity hear the Maid, Thy Love refus’d to save. * This is the dumb and dreary Hour, When injur’d Ghosts complain, And aid the secret Fears of Night, To fright the faithless Man. * Bethink thee, William, of thy Fault, Thy Pledge and broken Oath, And give me back my Maiden-Vow, And give me back my Troth. * How could you say, my Face was fair, And yet that Face forsake? How could you win my Virgin-Heart, Yet leave that Heart to break? 141

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The Tea-Table Miscellany * Why did you promise Love to me, And not that Promise keep? Why said you, that my Eyes were bright, Yet left these Eyes to weep?

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* How could you swear, my Lip was sweet, And made the Scarlet pale? And why did I, young witless Maid, Believe the flatt’ring Tale? * That Face, alas! no more is fair; These Lips no longer red: Dark are my Eyes, now clos’d in Death, And every Charm is fled.

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* The hungry Worm my Sister is; This Winding-sheet I wear: 50 And cold and weary lasts our Night, Till that last Morn appear. * But hark! ---- the Cock has warn’d me hence ---A long and late Adieu! Come see, false Man! how low she lies, 55 That dy’d for Love of you. * The Lark sung out, the Morning smil’d, And rais’d her glist’ring Head: Pale William quak’d in every Limb; Then, raving, left his Bed.

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* He hy’d him to the fatal Place Where Margaret’s Body lay, And stretch’d him o’er the green Grass Turf That wrapt her breathless Clay. * And thrice he call’d on Margaret’s Name, 65 And thrice he wept full sore: Then laid his Cheek on her cold Grave, And Word spoke never more. D. M. 142

Text: TTM II (1726) R115 O D E. To Mris. A. R. To the Tune of, Love’s Goddess in a Myrtle Grove. I. Now Spring begins her smiling Round, And lavish paints the enamel’d Ground; The Birds now lift their chearful Voice, And gay on every Bough rejoice: The lovely Graces hand in hand 5 Knit fast in Love’s eternal Band, With early Step, at Morning Dawn, Tread lightly o’er the Dewy Lawn. II. Where’er the youthful Sisters move, They fire the Soul to genial Love: 10 Now, by the River’s painted Side, The Swain delights the Country Bride; While pleas’d, she hears his artless Vows, Each Bird his feather’d Consort woos: Soon will the rip’ned Summer yield 15 Her various Gifts to every Field. III. The fertile Trees, a lovely Show! With Ruby-tinctur’d Births shall glow; Sweet Smells from Beds of Lillies born Perfume the Breezes of the Morn: 20 The smiling Day and dewy Night To rural Scenes my Fair invite; With Summer Sweets to feast her Eye, Yet soon, soon, will the Summer fly. IV. Attend, my lovely Maid, and know 25 To profit by the instructive Show, Now young and blooming thou appears All in the Flourish of thy Years: The lovely Bud shall soon disclose To every Eye the blushing Rose; 30 Now, now the tender Stalk is seen With Beauty fresh, and ever green. V. But when the Sunny Hours are past, Think not the coz’ning Scene will last, 143

The Tea-Table Miscellany Let not the Flatterer Hope perswade, Ah! must I say, that it will fade? For see the Summer flies away, Sad Emblem of our own Decay! Now Winter, from the frozen North, Drives swift his Iron Chariot forth.

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VI. His grisly Hand in Icy Chains Fair Tweda’s Silver Stream constrains. Cast up thy Eyes, how bleak and bare He wanders on the Tops of Yare; Behold his Footsteps dire, are seen 45 Confest o’er every with’ring Green, Griev’d at the Sight, when thou shalt see A Snowy Wreath to cloath each Tree: VII. Frequenting now the Stream no more, Thou flyes displeas’d the frozen Shore, When thou shall miss the Flowers that grew But late, to charm thy ravish’d View; Then shall a Sigh thy Soul invade, And o’er thy Pleasures cast a Shade: Shall I, ah! horrid! wilt thou say, Be like to this some other Day?

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VIII. Yet when in Snow and dreery Frost The Pleasure of the Fields is lost, To blazing Hearths at home we run, And Fires supply the distant Sun; 60 In gay Delights our Hours employ, And do not lose, but change our Joy. Happy! abandon every Care, To lead the Dance, to court the Fair, IX. To turn the Page of sacred Bards, 65 To drain the Bowl, and deal the Cards. In Cities thus with witty Friends, In Smiles the hoary Season ends. But when the lovely white and red From the pale ashy Cheek is fled, 70 Then Wrinkles dire, and Age severe Makes Beauty fly, we know not where; 144

Text: TTM II (1726) X. The Fair, whom Fates unkind disarm, Ah! must they ever cease to charm? Or is there left some pleasing Art 75 To keep secure a captive Heart? Unhappy Love! may Lovers say, Beauty thy Food does swift decay; When once that short-liv’d Stock is spent, What is’t thy Famine can prevent? 80 XI. Lay in good Sense with timeous Care, That Love may live on Wisdom’s Fare: Tho Extasy with Beauty flies, Esteem is born when Beauty dies. Happy the Man whom Fates decree 85 Their richest Gift in giving thee; Thy Beauty shall his Youth engage, Thy Wisdom shall delight his Age. H *** R116 Horace, Book I. Ode ii. To W. D. Tune of, Willy was a wanton Wag. Willy ne’er enquire what End The Gods for thee or me intend; How vain the Search, that but bestows The Knowledge of our future Woes: Happier the Man that ne’er repines, 5 Whatever Lot his Fate assigns, Than they that idly vex their Lives With Wizards and incanting Wives. * Thy present Years in Mirth employ, And consecrate the Youth to Joy; 10 Whether the Fates to thy old Score Shall bounteous add a Winter more, Or this shall lay thee cold in Earth That rages o’er the Pentland Firth, No more with Home the Dance to lead, 15 Take my Advice, ne’er vex thy Head. * With blyth Intent the Goblet pour, That’s sacred to the genial Hour, 145

The Tea-Table Miscellany In flowing Wine still warm thy Soul, And have no Thoughts beyond the Bowl, Behold the flying Hour is lost, For Time rides ever on the Post, Even while we speak, even while you think And waits not for the standing Drink.

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* Collect thy Joys each present Day 25 And live in Youth, while best you may; Have all your Pleasures at Command, Nor trust one Day in Fortune’s Hand. Then Willy be a wanton Wag, If ye wad please the Lasses braw, 30 At Bridals then ye’ll bear the Brag, And carry ay the Gree awa. *** R117 The Widow. * The Widow can bake, and the Widow can brew, The Widow can shape, and the Widow can sew, And mony braw Things the Widow can do, Then have at the Widow, my Ladie. With Courage attack her baith early and late, 5 To kiss her and clap her ye mauna be blate, Speak well and do better, for that’s the best Gate To win a young Widow, my Ladie. [*] The Widow she’s youthfu’, & never ae Hair The war of the Wearing, and has a good Skair Of every Thing lovely; she’s witty and fair, And has a rich Joynter, my Ladie. What cou’d ye wish better your Pleasure to crown, Than a Widow, the bonyest Toast in the Town, With naithing, but draw in your Stool and sit down, And sport with the Widow, my Ladie? * Then till ’er and kill ’er with Courtesie dead, Tho’ stark Love and Kindness be all ye can plead; Be heartsome and airy, and hope to succeed, With a bonny gay Widow, my Ladie. Strike Iron while ’tis het, if ye’d have it to wald, For Fortune ay favours the active and bauld, 146

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Text: TTM II (1726) But ruins the Woer that’s thowless and cauld, Unfit for the Widow, my Ladie. *** R118 The Highland Lassie. The Lawland Maids gang trig and fine, But aft they’re sour and unco sawsy, Sae proud they never can be kind, Like my good humour’d Highland Lassie. O, my bony, bony Highland Lassie, 5 My hearty smiling Highland Lassie, May never Care make thee less fair, But Bloom of Youth still bless my Lassie. Than ony Lass in Borrowstoun, Wha mak their Cheeks with Patches motie, I’d tak my Katie but a Gown, Bare footed in her little Cotie. O my bony, &c. Beneath the Brier of Brecken Bush, When e’er I kiss and court my Dautie, Happy and blyth as ane wad wish, My Flighteren Heart gangs pittie-pattie. O my bony, &c. O’er highest heathery Hills I’ll stenn, With cockit Gun and Ratches tenty, To drive the Deer out of their Den, To feast my Lass on Dishes dainty. O my bony, &c.

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There’s nane shall dare by Deed or Word, ’Gainst her to wag a Tongue or Finger, While I can weild my trusty Sword, Or frae my Side whisk out a Whinger. O my bony, &c. The Mountains clad with purple Bloom, 25 And Berries ripe invite my Treasure, To range with me, let great Fowk gloom, While Wealth and Pride confound their Pleasure. O, my bony, bony Highland Lassie, My lovely smiling Highland Lassie, 30 May never Care make thee less fair, But Bloom of Youth still bless my Lassie. 147

The Tea-Table Miscellany R119 Jocky blyth and gay. Blyth Jocky young and gay, Is all my Heart’s Delight, He’s all my Talk by Day, And all my Dreams by Night. If from the Lad I be, 5 ’Tis Winter then with me; But when he tarries here, ’Tis Summer all the Year. * When I and Jocky met, First on the flowry Dale, 10 Right sweetly he me tret, And Love was all his Tale. You are the Lass, said he, That staw my Heart frae me; O ease me of my pain, 15 And never shaw Disdain. [*] Well can my Jocky kyth His Love and Courtesie, He made my Heart full blyth, When he first spake to me. 20 His Suit I ill deny’d, He kiss’d and I comply’d; Sae Jocky promis’d me, That he was faithful be. * I’m glad when Jocky comes, 25 Sad when he gangs away: ’Tis Night when Jocky glooms, But when he smiles, ’tis Day. When our Eyes meet I pant, I colour, sigh and faint; 30 What Lass that wad be kind, Can better tell her mind?

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Text: TTM II (1726) R120 Had away frae me, Donald. O Come away, come away, Come away wi’ me, Jenny; Sic Frowns I canna bear frae ane Whase Smiles anes ravish’d me, Jenny: If you’ll be kind, you’ll never find 5 That ought sall alter me, Jenny; For you’re the Mistress of my Mind, What e’er you think of me, Jenny. * First when your Sweets enslav’d my Heart, You seem’d to favour me, Jenny; 10 But now, alas! you act a Part That speaks Unconstancy, Jenny. Unconstancy is sic a Vice, ’Tis not befitting thee, Jenny; It suits not with your Virtue nice 15 To carry sae to me, Jenny. *** R121

Her ANSWER.

* O Had away, had away, Had away frae me, Donald; Your Heart is made o’er large for ane, It is not meet for me, Donald: Some fickle Mistress you may find, 5 Will jilt as fast as thee, Donald; To ilka Swain she will prove kind, And nae less kind to thee, Donald. * But I’ve a Heart that’s naething such, ’Tis fill’d with Honesty, Donald; 10 I’ll ne’er love mony, I’ll love much, I hate all Levity, Donald: Therefore nae mair, with Art, pretend Your Heart is chain’d to mine, Donald; For Words of Falshood Ill defend, 15 A roving Love like thine, Donald. * 149

The Tea-Table Miscellany First when you courted, I must own, I frankly favour’d you, Donald; Apparent Worth, and fair Renown, Made me believe you true, Donald. 20 Ilk Virtue then seem’d to adorn The man esteem’d by me, Donald, But now, the Mask fallen aff, I scorn To ware a Thought on thee, Donald. * And now, for ever had away, 25 Had away frae me, Donald; Gae seek a Heart that’s like your ain, And come nae mair to me, Donald: For I’ll reserve my sell for ane, For ane that’s liker me, Donald; 30 If sic a ane I canna find, I’ll ne’er loo Man, nor thee, Donald. Donald. Then I’m thy Man, and false Report Has only tald a Lie, Jenny; To try thy Truth, and make us sport, 35 The Tale was rais’d by me, Jenny. Jenny. When this ye prove, and still can love, Then come away to me, Donald; I’m well content, ne’er to repent That I have smil’d on thee, Donald. 40 Q. *** R122 Todlen Butt, and Todlen Ben. WHen I’ve a Saxpence under my Thumb, Then I’ll get Credit in ilka Town; But ay when I’m poor they bid me gang by; O! Poverty parts good Company. Todlen hame, todlen hame, Coudna my Love come todlen hame. * Fair fa’ the Goodwife, and send her good Sale, She gi’es us white Bannocks to drink her Ale, Syne if that her Tippony chance to be sma’, We’ll tak a good Scour o’t, and ca’t awa’. 150

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Text: TTM II (1726) Todlen hame, todlen hame, As round as a Neep come todlen hame. * My Kimmer and I lay down to sleep, And twa Pint-stoups at our Bed’s Feet; And ay when we waken’d, we drank them dry: What think ye of my wee Kimmer and I? Todlen butt, and todlen ben, Sae round as my Loove [sic] comes todlen hame. * Leez me on Liquor, my todlen Dow, Ye’re ay sae good humour’d when weeting your Mou; When sober sae sour, ye’ll fight with a Flee, That ’tis a blyth Sight to the Bairns and me. When todlen hame, todlen hame, When round as a Neep ye come todlen hame. Z. *** R123 The Auld Man’s Best Argument.

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To the Tune of, Widow are ye wawkin. O Wha’s that at my Chamber Door? “Fair Widow are ye wawking?” Auld Carle, your Sute give o’er, Your Love lyes a’ in tawking. Gi’e me the Lad that’s young and tight, Sweet like an April Meadow; ’Tis sic as he can bless the Sight, And Bosom of a Widow.

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[*] “O Widow, wilt thou let me in, “I’m pawky, wise and thrifty, 10 “And come of a right gentle Kin; “I’m little mair than Fifty.” Daft Carle, dit your Mouth, What signifies how pawky, Or gentle born ye be,--bot Youth, 15 In Love you’re but a Gawky. * “Then, Widow, let these Guineas speak, “That powerfully plead clinkan, 151

The Tea-Table Miscellany “And if they fail, my Mouth I’ll steek, “And nae mair Love will think on.” These court indeed, I maun confess, I think they make you young, Sir, And ten Times better can express Affection, than your Tongue, Sir.

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*** R124 The peremptor Lover, To the Tune of, John Anderson my Jo. ’Tis not your Beauty, nor your Wit, That can my Heart obtain; For they cou’d never conquer yet Either my Breast or Brain: For if you’ll not prove kind to me, And trye as heretofore, Henceforth I’ll scorn your Slave to be Or doat upon you more.

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* Think not my Fancy to o’ercome, By proving thus unkind; 10 No smoothed Sight, nor smiling Frown, Can satisfy my Mind, Pray let Platonicks play such Pranks, Such Follies I deride, For Love, at least, I will have Thanks, 15 And something else beside. [*] Then open hearted be with me, As I shall be with you, And let our Actions be as free As Vertue will allow. 20 If you’ll prove loving, I’ll prove kind, If true, I’ll constant be; If Fortune chance to change your Mind, I’ll turn as soon as you. * Since our Affections well ye know, In equal Terms do stand, ’Tis in your Power to Love or no, Mine’s likewise in my Hand, Dispence with your Austerity, 152

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Text: TTM II (1726) Unconstancy abhor, 30 Or, by great Cupid’s Diety [sic], I’ll never love you more. Q. *** R125 What’s that to you. To the Tune of, The glancing of her Apron. My Jeany and I have toil’d The live lang Simmer Day, ’Till we amaist were spoiled, At making of the Hay: Her Kurchy was of Holland clear, 5 Ty’d on her bony Brow, I whispered something in her Ear; But what’s that to you? * Her Stockings were of Kersy green, As tight as ony Silk: 10 O sic a Leg was never seen, Her Skin was white as Milk; Her Hair was black as ane cou’d wish, And sweet, sweet was her Mou, O! Jeany daintylie can kiss; 15 But what’s that to you? * The Rose and Lilly baith combine, To make my Jeany fair, There is nae Bennison like mine, I have amaist nae Care; 20 Only I fear my Jeany’s Face, May cause mae Men to rew, And that may gar me say, Alas! But what’s that to you? * Conceal thy Beauties, if you can, 25 Hide that sweet Face of thine, That I may only be the Man Enjoys these Looks divine. O do not prostitute, my Dear, Wonders to common View, 30 And I with faithful Heart shall swear, For ever to be true. 153

The Tea-Table Miscellany * King Solomon had Wives anew, And mony a Concubine; But I enjoy a Bless mair true, 35 His Joys were short of mine; And Jeany’s happier than they, She seldom wants her Due, All Debts of Love to her I pay, And what’s that to you? 40 Q. *** R126 S O N G. To the absent Florinda. To the Tune of, Queen of Sheba’s March. Come, Florinda, lovely Charmer, Come and fix this wav’ring Heart; Let those Eyes my Soul rekindle, Ere I feel some foreign Dart. Come and with thy Smiles secure me, 5 If this Heart be worth thy Care, Favoured by my dear Florinda, I’ll be true, as she is fair. Thousand Beauties trip around me, And my yielding Breast assail; 10 Come and take me to thy Bosom, Ere my constant Passion fail. Come and, like the radiant Morning, On my Soul serenely shine, Then those glimmering Stars shall vanish, 15 Lost in Splendor more divine. Long this Heart has been thy Victim, Long has felt the pleasing Pain, Come, and with an equal Passion Make it ever thine remain. 20 Then, my Charmer, I can promise, If our Souls in Love agree, None in all the upper Dwellings Shall be happier than we. 154

Text: TTM II (1726) R127

A Bacchanal SONG.

To the Tune of, Auld Sir Symon the King Come here’s to the Nymph that I love! Away ye vain Sorrows, away: Far, far from my Bosom be gone, All there shall be pleasant and gay. Far hence be the sad and the Pensive Come fill up the Glasses around, We’ll drink till our Faces be ruddy, And all our vain Sorrows are drown’d.

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’Tis done, and my Fancy’s exulting With every gay blooming Desire, 10 My Blood with brisk Ardour is glowing, Soft Pleasures my Bosom inspire. My Soul now to Love is dissolving, Oh Fate! had I here my fair Charmer. I’d clasp her, I’d clasp her so eager, Of all her Disdain, I’d disarm her.

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But hold, what has Love to do here With his Troops of vain cares in Aray, Avaunt idle pensive Intruder, —— He triumphs he will not away. 20 I’ll drown him, come give me a Bumper; Young Cupid, here’s to thy Confusion. —— Now, now, he’s departing, he’s vanquish’d, Adieu to his anxious Delusion. Come, jolly God Bachus, here’s to thee? 25 Huzza Boys, huzza Boys, huzza, Sing Iô, sing Iô to Bacchus —— Hence all ye dull Thinkers withdraw, Come, what shou’d we do but be jovial, Come tune up your Voices and sing; 30 What Soul is so dull to be heavy, When Wine sets our Fances [sic] on Wing. Come, Pegasus lies in this Bottle, He’ll mount us, he’ll mount us on high, Each of us a gallant young Perseus, 35 Sublime we’ll ascend to the Sky. 155

The Tea-Table Miscellany Come mount, or adieu, I arise, In Seas of wide Æther I’m drown’d, The Clouds far beneath me are sailing, I see the Spheres whirling arround [sic]. 40 What Darkness, what Ratling is this, Thro’ Chaos’ dark Regions I’m hurl’d, And now, —— Oh my Head it is knockt Upon some confounded new World. Now now these dark Shades are retiring, See yonder bright blazes a Star, Where am I?—behold the Empyreum, With flaming Light streaming from far.

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I. W. Q. *** R128 To Mris. A. C. A S O N G. To the Tune of, All in the Downs. When Beauty blazes heavenly bright, The Muse can no more cease to sing, Than can the Lark, with rising Light, Her Notes neglect with drooping Wing. The Morning shines, harmonious Birds mount hy; 5 The dawning Beauty smiles, and Poets fly. * Young Annie’s budding Graces claim The inspir’d Thought and softest Lays, And kindle in the Breast a Flame, Which must be vented in her Praise. 10 Tell us, ye gentle Shepherds, have you seen E’er one so like an Angel tread the Green. * Ye Youth be watchful of your Hearts, When she appears, take the Alarm: Love on her Beauty points his Darts, 15 And wings an Arrow from each Charm. Around her Eyes and Smiles the Graces sport, And to her snowy Neck and Breasts resort. * 156

Text: TTM II (1726) But vain must every Caution prove, When such inchanting Sweetness shines, The wounded Swain must yield to Love, And wonder tho he hopeless pines. Such Flames the fopish Butterfly shou’d shun; The Eagle’s only fit to view the Sun.

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* She’s as the opening Lilly fair, 25 Her lovely Features are complete; Whilst Heaven indulgent makes her share With Angels, all that’s wise and sweet. These Virtues which divinely deck her Mind, Exalt each Beauty of th’ inferior Kind. 30 * Whether she love the rural Scenes, Or sparkle in the airy Town, O! happy he her Favour gains, Unhappy! if she on him frown. The Muse unwilling quits the lovely Theme, Adieu she sings, and thrice repeats her Name.

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*** R129 A Pastoral SONG. To the Tune of, My Apron deary. Jamie. WHile our Flocks are a feeding, And we’re void of Care, Come, Sandy, let’s tune To Praise of the Fair: For inspir’d by my Susie, 5 I’ll sing in such Lays, Than Pan were he Judge, Must allow me the Bays. Sandy. While under the Hawthorn We ly at our Ease, 10 By a musical Stream, And refresh’d by the Breeze Of a Zephyre so gentle, Yes, Jamie, I’ll try For to match you and Susie, 15 dare Katie and I. 157

The Tea-Table Miscellany Jamie. Oh! my Susie, so lovely, She’s without Compare, She’s so comely, so good, And so charmingly fair: 20 Sure, the Gods were at Pains, To make so complete A Nymph, that for Love There was ne’er one so meet. Sandy. Oh! my Katie’ so bright, 25 She’s so witty and gay, Love join’d with the Graces, Around her Looks play. In her Mein she’s so gracefull, In her Humour so free: 30 Sure the Gods never fram’d A Maid fairer than she. Jamie. Had my Susie been there, When the Shepherd declar’d For the Lady of Lemnos, 35 She had lost his Regard. And o’ercome by a Presence More beauteously bright, He had own’d her undone, As the Darkness by Light. 40 Sandy. Not fair Helen of Greece, Nor all the whole Train, Either of real Beauties, Or those Poets feign, Cou’d be match’d with my Katie, 45 Whose every sweet Charm, May conquer best Judges, And coldest Hearts warm. Jamie. Neither Riches or Honour, Or any Thing great, 50 Do I ask of the Gods, But that this be my Fate, That my Susie to all My kind Wishes comply; For with her wou’d I live, 55 And with her I wou’d dye. 158

Text: TTM II (1726) Sandy. If the Fates give me Katie, And her I enjoy, I have all my Desires, Nought can me annoy; 60 For my Charmer has every Delight in such Store, She’ll make me more happy, Than Swain e‘er before. *** R130 Love will find out the Way. Over the Mountains, And over the Waves, Over the Fountains, And under the Graves: Over Floods that are deepest, 5 Which do Neptune obey; Over Rocks that are steepest, Love will find out the Way. * Wher there is no Place For the Glow-worm to ly; 10 Wher there is no Space, For Receit of a Fly; Wher the Midge dares no venture, Left her self saft she lay: But if Love come, he will enter, 15 And soon find out his Way. * You may esteem him A Child in his Force; Or you may deem him A Coward, which is worse: But if she, whom Love doth honour, Be conceal’d from the Day, Set a thousand Guards upon her, Love will find out the Way.

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* Some think to lose him, 25 Which is too unkind; And some do suppose him, Poor Thing, to be blind: 159

The Tea-Table Miscellany But if ne’er so closs ye wall him, Do the best that ye may, Blind Love, if so ye call him, He wlll [sic] find out the Way.

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* You may train the Eagle To stoop to your Fist; Or you may inveagle 35 The Phœnix of the East; The Lioness, ye may move her To give over her Prey: But you’ll never stop a Lover, He will find out his Way. 40 *** R131 S O N G.

To the Tune of Throw the Wood Laddie.

AS early I walkt, on the first of sweet May, Beneath a steep Mountain, Beside a clear Fountain, I heard a grave Lute soft Melody play, Whilst the Echo resounded the dolorous Lay. * I listen’d and lookt, and spy’d a young Swain, With Aspect distressed, And Spirits oppressed, Seem’d clearing afresh, like the Sky after Rain, And thus he discover’d how he strave with his Pain. * Tho Eliza be coy, why shou’d I repine, That a Maid much above me, Vouchsafes not to love me? In her high Sphere of worth I never could shine; Then why should I seek to debase her to mine? * No! henceforth Esteem shall govern my Desire, And in due Subjection, Retain warm Affection; To shew that Self-love inflames not my Fire. And that no other Swain can more humbly admire. 160

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Text: TTM II (1726) * When Passion shall cease to rage in my Breast, Then Quiet returning, Shall hush my said Mourning, And Lord of my self, in absolute Rest, I’ll hug the Condition which Heav’n shall think best.

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* Thus Friendship unmix’d, and wholly refin’d, May still be respected, Tho Love is rejected: Eliza shall own, tho to Love not inclin’d, That she ne’er had a Friend like her Lover resign’d.

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* May the fortunate Youth, who hereafter shall woo, With prosp’rous Endeavour, And gain her dear Favour, Know as well as I, what t’ Eliza is due, Be much more deserving, but never less true.

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* Whilst I, disengag’d from all amorous Cares, Sweet Liverty tasting, On calmest Peace feasting; Employing my Reason to dry up my Tears, In Hopes of Heaven’s Blesses I’ll spend my few Years.

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* Ye Powers that preside o’er vertuous Love Come aid me with Patience, To bear my Vexations; With equal Desires my flutring Heart move, With Sentiments purest, my Notions improve.

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* If Love in his Fetters e’er catch me again, May Courage protect me, And Prudence direct me; Prepar’d for all Fates, rememb’ring the Swain, Who grew happily wise, after loving in vain.

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The Tea-Table Miscellany R132

Rob’s Jock. A very auld Ballat.

Rob’s Jock cam to woo our Jenny, On ae Feast Day when we were fou; She brankit fast and made her bony, And said, Jock, come ye here to woo? She burnist her baith Breast and Brou, 5 And made her cleer as ony Clock; Then spak her Dame, and said, I trou Ye come till woo our Jenny, Jock. * Jock said, Forsuith I yern fu’ fain, To luk my Head and sit down by you: 10 Then spak her Minny, and said again, My Bairn has Tocher enough to gie you. Tehie! qo Jenny, kick, kick, I see you: Minny, yon Man maks but a Mock. Deil hae the Liars--- fu leis me o’ you, 15 I come to woo your Jenny, qo Jock. * My Bairn has Tocher of her awin; A Guse, a Gryce, a Cock and Hen, A Stirk, a Staig, an Acre sawin, A Bakbread and a Bannock- stane; A Pig, a Pot, and a Kirn there ben, A Kame but and a Kaming Stock; With Coags and Luggies nine or ten: Cum ye to woo our Jenny, Jock? * A Wecht, a Peet-Creel and a Cradle, A Pair of Clips, a Graip, a Flail, An Ark, an Ambry, and a Ladle, A Milsie, and a sowine Pale, A rousty Whitle to sheer the Kail, And a Timber Mell the Beer to knock, Twa Shelds made of an auld Fir Dale: Come ye to woo our Jenny, Jock?

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* A Furm, a Furlet, and a Peck, A Rock, a Reel, and a Wheel Band, A Tub, a Barrow, and a Seck, 35 A Spurtil braid, and ane Elwand. 162

Text: TTM II (1726) Then Jock took Jenny be the Hand, And cryd, a Feast! and slew a Cock, And made a Brydal upo Land. Now have I got your Jenny, qo Jock. 40 * Now Dame, I have your Doughter marri’d, And tho ye mak it ne’er sae tough, I let you wit she’s nae miscarried, Its weel kend I have Gear enough: Ane auld gawd Gloyd fell owre a Heugh, 45 A Spade, a Speet, a Spur, a Sock; Withouten Owsen I have a Pleugh: May that no ser your Jenny, qo Jock? * A Treen Truncher, a Ram Horn Spoon, Twa Buits of barkit blasint Leather, 50 A’ Graith that ganes to coble Shoon, And a Thrawcruick to twyne a Teather, Twa Corks that moup amang the heather, A Pair of Branks, and a Fetter Lock, A teugh Purse made of a Swine’s Blather, 55 To had your Tocher, Jenny, qo Jock. * Good Elding for our Winter Fire, A Cod of Caff wad fill a Cradle, A Rake of Iron to clat the Bire, A Deuk about the Dubs to padle The Pannel of an auld Led-sadle, And Rob my Eem hecht me a Stock, Twa lusty Lips to lick a Ladle. May thir no gane Jenny, qo Jock?

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* A Pair of Hames and Brechom fine, 65 And without Bitts a Bridle-renzie, A Sark made of the Linksome Twine, A gay green Cloke that will not stenzie; Mair yet in Store--- I needna fenzie, Five hundred Flaes, a fendy Flock, 70 And are not thae a wakrife Menzie, To gae to Bed with Jenny and Jock? * Tak thir for my Part of the Feast, It is weel knawin I am weel bodin: 163

The Tea-Table Miscellany Ye need not say my Part is least, 75 Wer they as meikle as they’r Lodin. The Wife speerd gin the Kail was sodin, When we have done, tak hame the Brok; The Rost was teugh as Raploch Hodin, With which they feasted Jenny and Jock. 80 Z. *** R133

S O N G.

To the Tune of, A Rock and a wee pickle Tow. I Have a green Purse and a wee pickle Gowd, A Bony Piece Land and Planting on’t, It fattens my Flocks, and my Bairns it has stowd; But the best Thing of a’s yet wanting on’t: To grace it, and trace it, 5 And gie me Delight; To bless me, and kiss me, And comfort my Sight, With Beauty by Day, and Kindness by Night. And nae mair my lane gang sauntering on’t. 10 [*] My Christy she’s charming, and good as she’s fair; Her Een and her Mouth are inchanting sweet, She smiles me on Fire, her Frowns gie Dispair: I love while my Heart gaes panting wi’t. Thou fairest, and dearest, 15 Delight of my Mind, Whose gracious Embraces By Heaven were designd: For happiest Transports, and Blesses refind. Nae langer delay thy granting Sweet. 20 * For thee, Bony Christy, my Shepherds and Hynds, Shall carefully make the Years Dainties thine: Thus freed frae laigh Care, while Love fills our Minds, Our Days shall with Pleasure and Plenty shine. Then hear me, and chear me, With smiling Consent, Believe me, and give me No Cause to lament, Since I ne’er can be happy, till thou say, Content, I’m pleas’d with my Jamie, and he shall be mine. 164

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Text: TTM II (1726) R134

S O N G. To its ain Tune.

Altho’ I be but a Country Lass, Yet a lofty Mind I bear--O, And think my sell as good as those That rich Apparel wear--O. Altho’ my Gown be hame-spun Gray, My Skin it is as saft--O, As them that Satin Weeds do wear, And carry their Heads aloft--O.

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* What tho’ I keep my Father’s Sheep, The Thing that must be done--O. 10 With Garlands of the finest Flowers, To shed me frae the Sun--O. When they are feeding pleasantly, Where Grass and Flowers do spring--O, Then on a flowrie Bank at Noon, 15 I set me down and sing--O. * My Paisly Piggy, cork’d with Sage, Contains my Drink but thin--O: No Wines do ere my Brain enrage, Or tempt my Mind to sin--O; My Country Curds and Wooden Spoon, I think them unco fine--O, And on a flowry Bank, at Noon, I set me down and dine -O.

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* Altho’ my Parents cannot raise 25 Great Bags of shining Gold--O. Like them whase Daughters now a Days, Like Swine are bought and fold--O; Yet my fair Body, it shall keep And honest Heart within--O, 30 And for twice Fifty thousand Crowns, I value not a Prin--O. * I use nae Gums upon my Hair, Nor Chains about my Neck-- O, Nor shining Rings upon my Hands, 165

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The Tea-Table Miscellany My Fingers streight to deck--O; But for that Lad to me shall fa’, And I have Grace to wed--O, I’ll keep a Jewel worth them a’, I mean my Maidenhead--O. 40 * If canny Fortune give to me, The Man I dearly Love- O, Tho’ we want Gear, I dinna care, My Hands I can improve--O. Expecting for a Blessing still, 45 Descending from above--O, Then we’ll embrace, and sweetly kiss, Repeating Tales of Love--O. Z. *** R135 Waly, waly, gin Love be bony. * O Waly, waly, up the Bank And waly, waly down the Brae, And waly, waly yon Burn-Side, Where I and my Love wont to gae. I lean’d my Back unto an Aik, I thought it was a trusty Tree, But first it bow’d and syne it brak, Sae my true Love did lightly me. * O waly, waly, but Love be bony, A little Time while it is new, But when ’tis auld it waxeth cauld, And fades away like the Morning Dew. O wherefore shou’d I busk my Head? Or wherefore shou’d I kame my Hair, For my true Love has me forsook, And says he’ll never love me mair. * Now Arthur-Seat shall be my Bed, The Sheets shall ne’er be fyl’d by me, Saint Anton’s Well shall be my Drink, Since my true Love has forsaken me. Martinmas Wind, when wilt thou blaw, And shake the green Leaves off the Tree? O gentle Death, when wilt thou come, For of my Life I am weary. 166

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Text: TTM II (1726) * ’Tis not the Frost that freezes fell, 25 Nor blawing Snaw’s Inclemency; ’Tis not sic Cauld that makes my Cry, But my Love’s Heart grown cauld to me. When we came in by Glasgow Town, We were a comely Sight to see; 30 My Love was cled in the black Velvet. And I my sell in Cramasie. * But had I wist before I kis’d, That Love had been sae ill to win, I’d lock’d my Heart in a Case of Gold, And pin’d it with a Silver Pin. Oh oh! if my young Babe were born, And set upon the Nurse’s Knee, And I my sell were dead and gane, For a Maid again I’ll never be. Z. *** R136 The Loving Lass and Spinning-wheel. As I sat at my Spinning-wheel, A bony Lad was passing by: I view’d him round, and lik’d him weel, For Trouth he had a glancing Eye. My Heart new panting, ’gan to feel, But still I turn’d my Spinning-wheel. * With Looks all kindness he drew near, And still mair lovely did appear; And round about my slender Waste He clasp’d his Arms, and me embrac’d: To kiss my Hand, syne down did kneel, As I sat at my Spinning-wheel.

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* My Milk-white Hands he did extol, And prais’d my Fingers land and small, And said, There was nae Lady fair 15 That ever cou’d with me compare. These Words into my Heart did steel, But still I turn’d my Spinnng-wheel. * 167

The Tea-Table Miscellany Altho’ I seemingly did chide Yet he wad never be deny’d, 20 But still declar’d his Love the mair, Until my Heart was wounded sair. That I my Love cou’d scarce conceal, Yet still I turn’d my Spinning-wheel. * My Hanks of Yarn, my Rock and Reel, My Winnels and my Spinning-wheel; He bid me leave them all with Speed, And gang with him to yonder Mead: My yielding Heart strange Flames did feel, Yet still I turn’d my Spinning-wheel. * About my Neck his Arm he laid, And whisper’d, Rise my bony Maid, And with me to yon Hay Cock go, I’ll teach the better Wark to do. In Trouth I loo’d the Motion wheel, And loot alane my Spinning-wheel.

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* Amang the pleasant Cocks of Hay, Then with my bony Lad I lay; What Lassie, young and saft as I, Cou’d sic a handsome Lad deny? 40 These Pleasures I cannot reveal, That far surpast the Spinning-wheel. *** R137 S O N G, To the Tune of, Woes my Heart that we shou’d sunder. ADieu ye pleasant Sports and Plays, Farewell each Song that was diverting; Love tunes my Pipe to mournful Lays, I sing of Delia and Damon’s parting. * Long had he lov’d, and long conceal’d The dear tormenting pleasant Passion, Till Delia’s Mildness had prevail’d On him to shew his Inclination. 168

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Text: TTM II (1726) * Just as the Fair One seem’d to give A patient Ear to his Love Story, Damon must his Delia leave, To go in Quest of toilsome Glory.

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* Half spoken Words hung on his Tongue, Their Eyes refus’d the usual Meeting; And Sighs supply’d their wonted Song, 15 These charming Sounds were chang’d to Weeping. * Dear Idol of my Soul, adieu: Cease to lament, but ne’er to love me, While Damon lives, he lives for you, No other Charms shall ever move me.

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* Alas! who knows, when parted far From Delia, but you may deceive her. The Thought destroys my Heart with Care, Adieu, my Dear, I fear for ever. * If ever I forget my Vows, 25 May then my Guardian-angel leave me: And more to aggravate my Woes, Be you so good as to forgive me. H. *** R138 O’er the Hills and far away. Jocky met with Jenny fair, Aft be the Dawing of the Day; But Jocky now is fu’ of Care, Since Jenny staw his Heart away: Altho’ she proms’d to be true, 5 She proven has alake! unkind; Which gars poor Jocky aften rue, That he e’er loo’d a fickle Mind. And its o’er the Hills and far away, Its o’er the Hills and far away, 10 Its o’er the Hills and far away, The Wind has blawn my Plaid away. * 169

The Tea-Table Miscellany Now Jocky was a bony Lad, As e’er was born in Scotland fair; But now poor Man he’s e’en gane wood, Since Jenny has gart him despair. Young Jocky was a Piper’s Son, And fell in Love when he was young; But a’ the Springs that he cou’d play, Was o’er the Hills and far away, And its o’er the Hills, &c.

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* He sung—when first my Jenny’s Face I saw, she seem’d sae fu’ of Grace, With meikle Joy my Heart was fill’d, That’s now alas! with Sorrow kill’d. Oh! was she but as true as fair, 25 ’Twad put an End to my Despair. Instead of that she is unkind, And wavers like the Winter-wind. And it’s o’er the Hills, &c. * Ah! cou’d she find the dismal Wae, That for her Sake I undergae, 30 She coudna chuse but grant Relief, And put an End to a’ my Grief: But oh! she is as fause as fair, Which causes a’ my Sighs and Care; But she triumphs in proud Disdain, 35 And takes a Pleasure in my Pain. And its o’er the Hills, &c. * Hard was my Hap to fa’ in Love, With ane that does sae faithless prove. Hard was my Fate to court a Maid, That has my constant Heart betray’d. A thousand Times to me she sware, She wad be true for evermair; But to my Grief alake I say, She staw my Heart, and ran away. And its o’er the Hills, &c.

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* Since that she will nae Pity take, 45 I maun gae wander for her Sake, And, in ilk Wood and gloomy Grove, I’ll sighing sing, Adieu to Love, Since she is fause whom I adore, 170

Text: TTM II (1726) I’ll never trust a Woman more: 50 Frae a’ their Charms I’ll flee away, And on my Pipe I’ll sweetly play, O’er Hills and Dales and far away, Out o’er the Hills and far away, Out o’er the Hills and far away, 55 The Wind has blawn my Plaid away. Z. *** R139 Jenny Nettles. Saw ye Jenny Nettles, Jenny Nettles, Jenny Nettles, Saw ye Jenny Nettles Coming frae the Market; Bag and Baggage on her Back, 5 Her Fee and Bountith in her Lap; Bag and Baggage on her Back, And a Babie in her Oxter. * I met ayont the Kairny, Jenny Nettles, Jenny Nettles, 10 Singing till her Bairny, Robin Rattles’ Bastard; To flee the Dool upo’ the Stool, And ilka ane that mocks her, She round about seeks Robin out. 15 To stap it in his Oxter. * Fy, fy! Robin Rattle, Robin Rattle, Robin Rattle; Fy, fy! Robin Rattle, Use Jenny Nettles kindly: 20 Score out the Blame, and shun the Shame, And without mair Debate o’t, Take hame your Wain, make Jenny fain, The leal and leesome Gate o’t.

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The Tea-Table Miscellany R140 Jocky’s fou and Jenny’s fain. Jocky fou, Jenny fain, Jenny was na ill to gain, She was couthy, he was kind, And thus the Woer tell’d his Mind: * JENNY I’ll nae mair be nice, Gi’e me Love at ony Price; I winna prig for Red or Whyt, Love alane can gi’e Delyt.

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* Others seek they kenna what, In Looks, in Carriage, and a’ that; 10 Give me Love, for her I court: Love in Love makes a’ the Sport. * Colours mingl’d unco fine, Common Motives lang sinsyne, Never can engage my Love, 15 Until my Fancy first approve. * It is na Meat but Appetite That makes our Eating a Delyt; Beauty is at best, Deceit; Fancy only kens nae Cheat. 20 Q. *** R141 Leader Haughs and Yarrow. When Phœbus bright the Azure Skies With golden Rays enlightneth, He makes all Nature’s Beauties rise, Herbs, Trees and Flowers he quickneth: Amongst all those he makes his Choice, 5 And with Delight goes thorow, With radiant Beams and Silver Streams, Are Leader Haughs and Yarrow. * When Aries the Day and Night In equal Length divideth, 10 172

Text: TTM II (1726) Auld frosty Saturn takes his Flight, Nae langer he abideth: Then Flora Queen, with Mantle green, Casts aff her former Sorrow, And vows to dwell with Ceres sell, 15 In Leader Haughs and Yarrow. * PAN playing on his Aiten Reed, And Shepherds him attending, Do here resort their Flocks to feed, The Hills and Haughs commending; 20 With Cur and Kent upon the Bent, Sing to the Sun, Good Morrow, And swear nae Fields mair Pleasures yield, Than Leader Haughs and Yarrow. * An House there stands on Leader Side, 25 Surmounting my descriving, With Rooms sae rare, and Windows fair, Like Dedalus’ contriving: Men passing by, do aften cry, In sooth it hath nae Marrow; 30 It stands as sweet on Leader Side, As New-wark does on Yarrow. * A Mile below wha lifts to ride, They’ll hear the Mavis singing: Into St. Leonard’s Banks she’ll bide, 35 Sweet Birks her Head o’er hinging: The Lintwhite loud, and Progne proud, With tuneful Throats and narrow, Into St. Leonard’s Banks they sing, As sweetly as in Yarrow. 40 * The Lapwing lilteth o’er the Lee, With nimble Wings she sporteth, But vows she’ll flee far frae the Tree Where Philomel resorteth: By Break of Day the Lark can say, 45 I’ll bid you all Good Morrow, I’ll streek my Wing, and mounting sing, O’er Leader Haughs and Yarrow. * 173

The Tea-Table Miscellany PARK, Wantan-waws and Wooden-cleugh, The East and Western Mainses, 50 The Wood of Lauder’s fair enough, The Corns are good in Blainshes, Where Aits are fine, and sald be Kind, That if ye search all thorow Mearns, Buchan, Mar, nane better are 55 Than Leader Haughs and Yarrow. * In Burn, Mill-bog and Whitslade Shaws, The fearful Hare she haunteth, Brig-haugh and Brade-wood-shiel she knaws, And Chapel-wood frequenteth: Yet when she irks, to Kaidsly Birks She rins, she sighs for Sorrow, That she shou’d leave sweet Leader Haughs, And cannot win to Yarrow.

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* What sweeter Musick wad ye hear, 65 Than Hounds and Beigles crying? The started Hare rins hard with Fear, Upon her Speed relying; But yet her Strength it fails at length, Nae Beilding can she borrow 70 In Sorrel’s Field, Cleckman or Hag’s, And sighs to be in Yarrow. * For Rockwood, Ringwood, Spoty, Shag, With Sight and Scent pursue her, Till ah! her Pith begins to flag, 75 Nae Cunning can rescue her: O’er Dub and Dyke, o’er Seugh and Syke She’ll rin the Fields all thorow, Till fail’d she fa’s in Leader Haughs, And bids farewell to Yarrow. 80 * Sing, Easlington and Cowden-knows, Where Homes had anes commanding; And Dry-grange with thy milk-white Ews, ’Twixt Tweed and Leader standing: The Bird that flees throw Reedpath Trees, 85 And Gledswood Banks ilk Morrow, May chant and sing, Sweet Leader Haughs, And bony Howms of Yarrow. 174

Text: TTM II (1726) * But Minstrel Burn cannot asswage His Grief, while Life endureth, 90 To see the Changes of this Age, That fleeting Time procureth; For mony a Place stands in hard Case, Where blyth Fowk kend nae Sorrow, With Homes that dwelt on Leader Side, 95 And Scots that dwelt on Yarrow. Z. *** R142 For the Sake of Some-body. For the Sake of Some-body, For the Sake of Some-body, I cou’d wake a Winter Night, For the Sake of Some-body: I am gawn to seek a Wife, 5 I am gawn to buy a Plaidy; I have three Stane of Woo, Carling, Is thy Daughter ready? For the Sake of Some-body, &c. * BETTY, Lassy, say’t thy sell, Tho’ my Dame be ill to shoo, 10 First we’ll buckle, then we’ll tell, Let her flyte and syne come too: What signifies a Mither’s Gloom, When Love and Kisses come in Play? Shou’d we wither in our Bloom, 15 And in Simmer make nae Hay? For the Sake, &c. She. Bony Lad, I carena by, Tho’ I try my Luck with thee, Since ye are content to tye The Haff-mark Bridal Band wi’ me; I’ll slip hame and wash my Feet, And steal on Linnings fair and clean, Syne at the trysting Place we’ll meet, To do but what my Dame has done. For the Sake, &c. 175

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The Tea-Table Miscellany He. Now my lovely Betty gives 25 Consent in sic a heartsome Gate, It me frae a’ my Care relieves, And Doubts that gart me aft look blate: Then let us gang and get the Grace, For they that have an Apetite [sic] 30 Shou’d eat: — And Lovers shou’d embrace; If these be Faults, ’tis Nature’s Wyte. For the Sake, &c. *** R143 Norland Jocky and Southland Jenny. A Southland Jenny that was right bony, Had for a Suitor a Norland Johny; But he was sican a bashfu’ Wooer, That he cou’d scarcely speak unto her, Till Blinks of her Beauty and Hopes o’er Siller, Forc’d him at last to tell his Mind till her. My Dear, quoth he, we’ll nae langer tarry, Gin ye can loo me, let’s o’er the March, and marry. She. Come, come away then, my Norland Ladie, Tho’ we gang neatly, some are mair gawdy; And abeit I have neither Gowd nor Money, Come, and I’ll ware my Beauty on thee.

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He. Ye Lasses of the South, ye’r a’ for dressing; Lasses of the North mind milking and treshing: My Minny wad be angry, and sae wad my Dady, 15 Shou’d I marry ane as a dink as a Lady. For I maun hae a Wife that will rise in the Morning, Crudle a’ the Milk, and keep the House a scaulding, Toolie with her Nibours, and learn at my Minny, A Norland Jocky maun hae a Norland Jenny. 20 She. My Father’s only Daughter and twenty Thousand Pound, Shall never be bestow’d on sic a silly Clown; For a’ that I said was to try what was in ye, Gae hame ye Norland Jock, and court your Norland Jenny. 176

Text: TTM II (1726) R144 THE Auld Yellow Hair’d Laddie. The Yellow Hair’d Ladie sat down on yon Brae, Crys, milk the Ews Lassy, let nane of them gae; And ay she milked, and ay she sang, The Yellow Hair’d Laddie shall be my Goodman. And ay she milked, &c. * The Weather is cauld, and my Claithing is thin; 5 The Ews are new clipped, they winna bught in; They winna bught in tho’ I shou’d die, O Yellow Hair’d Ladie, be kind to me: They winna bught in, &c. * The Goodwife cries butt the House, Jenny, come ben, The Cheese is to mak, and the Butter’s to kirn. 10 Tho’ Butter, and Cheese, and a’ shou’d sour, I’ll crack and kiss wi’ my Love ae haff Hour; It’s ae haff Hour, and we’s e’en mak it three, For the Yellow Hair’d Ladie my Husband shall be. Z. *** R145

S O N G,

To the Tune of Booth’s Minuet. FAir, Sweet and Young, receive a Prize, Reserv’d for your victorious Eyes: From Crowds whom at your Feet you see, Oh! pity, and distinguish me. * No Graces can your Form improve; 5 But all are lost unless you love: If that dear Passion you disdain, Your Charms and Beauty are in vain. X.

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The Tea-Table Miscellany R146



THE Generous Gentleman.

A SANG to the Tune of, The bony Lass of Brank-som. AS I came in by Tiviot Side, And by the Braes of Branksom, There first I saw my bony Bride, Young, smiling, sweet and handsom: Her Skin was safter than the Down, 5 And white as Alabastar; Her Hair a shining wavy Brown; In Straightness nane surpast her. * Life glow’d upon her Lip and Cheek, Her clear Een were surprising, 10 And beautifully turn’d her Neck, Her little Breasts just rising: Nae Silken Hose, with Gooshets fine, Or Shoon with glancing Laces, On her fair Leg, forbad to shine, 15 Well shapen native Graces. * Ae little Coat, and Bodice white, Was Sum of a’ her Claithing; Even these o’er mickle; --- mair Delyte She’d given cled wi’ naithing: She leand upon a flowry Brae, By which a Burny troted; On her I glowr’d my Saul away, While on her Sweets I doated.

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* A thousand Beauties of Desert, 25 Before had scarce allarm’d me, ’Till this dear Artless struck my Heart, And bot designing, charm’d me. Hurry’d by Love, close to my Breast I grasp’d this Fund of Blisses; 30 Wha smil’d, and said, Without a Priest, Sir, hope for nought but Kisses. * I had nae Heart to do her Harm, And yet I coudna want her; 178

Text: TTM II (1726) What she demanded, ilka Charm 35 Of her’s pled, I should grant her. Since Heaven had dealt to me a Rowth, Straight to the Kirk I led her, There plighted her my Faith and Trowth, And a young Lady made her. 40 *** R147 The Happy Clown. How happy is the rural Clown, Who, far remov’d from Noise of Town, Contemns the Glory of a Crown, And, in his safe Retreat, Is pleased with his low Degree, 5 Is rich in decent Poverty, From Strife, from Care and Bus’ness free, At once baith good and great? * No Drums disturb his Morning Sleep, He fears no Danger of the Deep, 10 Nor noisy Law, nor Courts ne’er heap Vexation on his Mind: No Trumpets rouze him to the War, No Hopes can bribe, no Threats can dare; From State Intrigues he holds afar, 15 And liveth unconfin’d. * Like those in golden Ages born, He labours gently to adorn His small paternal Fields of Corn, And on their Product feeds: 20 Each Season of the wheeling Year, Industrious He improves with Care; And still some ripened Fruits appear, So well his Toil succeeds. * Now by a Silver Stream he lies, And angles with his Baits and Flies, And next the Silvan Scene he tries, His Spirits to regal: Now from the Rock or Height he views His fleecy Flock, or teeming Cows, 179

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The Tea-Table Miscellany Then tunes his Reed, or tries his Muse, That waits his honest Call. * Amidst his harmless easy Joys, No Care his Peace of Mind destroys, Nor does he pass his Time in Toys, Beneath his just Regard: He’s fond to feel the Zephyr’s Breez, To plant and sned his tender Trees; And for attending well his Bees, Enjoys the sweet Reward. * The flowry Meads, and silent Coves, The Scenes of faithful rural Loves, And warbling Birds on blooming Groves, Afford a wish’d Delight: But O! how pleasant is his Life, Blest with a chast and virtuous Wife, And Children pratling, void of Strife, Around his Fire at Night. X.

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*** R148 Willy was a wanton Wag. Willy was a wanton Wag, The blythest Lad that e’er I saw, At Bridals still he bore the Brag, And carried ay the Gree awa: His Doublet was of Zetland Shag, And wow! but Willy he was braw, And at his Shoulder hang a Tag, That pleas’d the Lasses best of a’. * He was a Man without a Clag, His Heart was frank without a Flaw; And ay whatever Willy said, It was still haden as a Law. His Boots they were made of the Jag, When he went to the Weapon-Shaw, Upon the Green nane durst him brag, The Feind a ane amang them a’. 180

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Text: TTM II (1726) [*] And was not Willy well worth Gowd? He wan the Love of Great and Sma’; For after he the Bride had kiss’d, He kiss’d the Lasses hale Sale a’. Sae merrily round the Ring they row’d, When be the Hand he led them a’, And Smack on Smack on them bestow’d, By Virtue of a standing Law.

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* And was na Willy a great Loun, 25 As shyre a Lick as e’er was seen? When he danc’d with the Lasses round, The Bridegroom-speer’d where he had been. Quoth Willy, I’ve been at the Ring, With bobbing, Faith my Shanks are sair; 30 Gae ca’ your Bride and Maidens in, For Willy he dow do nae mair. * Then rest ye, Willy, I’ll gae out, And for a wee fill up the Ring. But, Shame light on his souple Snout, He wanted Willy’s wanton Fling. Then straight he to the Bride did fare, Says, Well’s me on your bony Face, With bobbing Willy’s Shanks are sair, And I am come to fill his Place.

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* Bridegroom, she says, you’ll spoil the Dance, And at the Ring you’ll ay be lag, Unless like Willy ye advance; (O! Willy has a wanton Leg) For wi’t he learns us a’ to steer, 45 And formast ay bears up the Ring; We will find nae sic dancing here, If we want Willy’s wanton Fling. WW.

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The Tea-Table Miscellany R149 Clelia’s Reflections on herself for slighting Philander’s Love. To the Tune of The Gallant Shoe-maker. Young Philander woo’d me lang, But I was peevish, and forbad him, I wadna tent his loving Sang, But now I wish, I wish I had him: Ilk Morning when I view my Glass, Then I perceive my Beauty going; And when the Wrinkles seize the Face, Then we may bid adieu to Wooing. * My Beauty, anes sae much admir’d, I find it fading fast, and flying; My Cheeks, which Coral like appear’d, Grow pale, the broken blood decaying: Ah! we may see our selves to be Like Summer-Fruit that is unshaken, When ripe, they soon fall down and die, And by Corruption quickly taken. * Use then your Time, ye Virgins fair, Employ your Day before ’tis evil; Fifteen is a Season rare, But five and Twenty is the Devil. Just when ripe, consent unto’t, Hug nae mair your lanely Pillow; Women are like other Fruit, They lose their Relish when too mellow.

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* If Opportunity be lost, 25 You’ll find it hard to be regained; Which now I may tell to my Cost, Tho’ but my sell nane can be blamed: If then your Fortune you respect, Take the Occasion when it offers; 30 Nor a true Lover’s Suit neglect, Lest ye be scoff’d for being Scoffers. * I, by his fond Expressions, thought That in his Love he’d ne’er prove changing; 182

Text: TTM II (1726) But now, alas! ’tis turn’d to nought, And, past my Hope, he’s gane a-ranging. Dear Maidens, then take my Advice, And let na Coyness prove your Ruin; For if ye be o’er foolish nice, Your Suiters will give over Wooing.

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* Then Maidens Auld you nam’d will be, And in that fretfu’ Rank be number’d, As lang as Life; and when ye die, With leading Apes be ever cumber’d: A Punishment, and hated Brand, 45 With which nane of us are contented; Then be not wise behind the Hand, That the Mistake may be prevented. *** R150 The Young Ladies Thanks, to the Repenting Virgin, for her seasonable Advice. O Virgin kind! we canna tell How many many Thanks we owe you, For pointing out to us sae well, These very Rocks that did o’erthrow you; And we your Lesson sae shall mind, 5 That e’en tho’ a’ our Kin had swore it, E’er we shall be an Hour behind, We’ll take a Year or twa before it. * We’ll catch all Winds blaw in our Sails, And still keep out our Flag and Pinnet; If young Philander anes assails To storm Love’s Fort, then he shall won it: We may indeed, for Modesty, Present our Forces for Resistance; But we shall quickly lay them by, And contribute to his Assistance.

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The Tea-Table Miscellany R151 The Step Daughter’s Relief. To the Tune of, The Kirk wad let me be. * I was anes a well tocher’d Lass My Mither left Dollars to me; But now I’m brought to a poor Pass, My Step-dame has gart them flee. My Father he’s aften frae hame, 5 And she plays the Deel with his Gear, She neither has Lateth nor Shame, And keeps the hale House in a Steer. * She’s barmy fac’d, thriftless and bauld, And gars me aft fret and repine; 10 While hungry, haff naked and cauld, I see her destroy what’s mine: But soon I might hope a Revenge, And soon of my Sorrows be free, My Poortith to Plenty wad change, 15 If she were hung up on a Tree. * Quoth Ringan, wha lang time had loo’d This bonny Lass tenderly, I’ll tak thee, sweet May, in thy Snood, Gif thou wilt gae Hame with me, 20 ’Tis only your sell that I want; Your Kindness is better to me, Than a’ that your Step-mother, scant Of Grace, now has taken frae thee. * I’m but a young Farmer, its true, 25 And ye are the Sprout of a Laird; But I have Milk-cattle enow, And Rowth of good Rucks in my Yard, Ye sall have naithing to fash ye, Sax Servants sall jouk to thee: 30 Then kilt up thy Coats, my Lassie, And gae thy Ways Hame with me. * The Maiden her Reason imploy’d, Not thinking the Offer amiss, Consented; — While Ringan o’erjoy’d, 35 184

Text: TTM II (1726) Receiv’d her with mony a Kiss. And now she sits blythly singan, And joking her drunken Step-dame, Delighted with her dear Ringan, That makes her Good-wife at Hame.

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*** R152 Jeany, where has thou been. O Jeany, Jeany, where has thou been, Father and Mother are seeking of thee. Ye have been ranting, playing the Wanton, Keeping of Jocky Company. O Betty, I’ve been to hear the Mill clack, Getting Meal ground for the Familie, As fow as its gade I brang Hame the Sack, For the Miller has taken nae Mowter frae me. Ha! Jeany, Jeany, there’s Meal on your Back, The Miller’s a wanton Billy, and slee, Tho’ Victual’s come hame again hale, what reck, I fear he has taken his Mowter off thee. And Betty, ye spread your Linen to bleech, When that was done, where cou’d you be? Ha! Lass, I saw ye slip down the Hedge, And wanton Willy was following thee. Ay Jeany, Jeany, ye gade to the Kirk; But when it skail’d, where coud thou be, Ye came nae hame till it was mirk, They say the kissing Clerk came w’ye. O silly Lassie, what will thou do? If thou grow great, they’ll heez thee hie. Look to your sell, if Jock prove true: The Clerk frae Creepies will keep me free. Q.

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The Tea-Table Miscellany R153

S O N G.

To the Tune, Last Time I came o’er the Moor. Ye blythest Lads and Lasses gay, Hear what my Sang discloses. As I ae a Morning sleeping lay, Upon a Bank of Roses, Young Jamie whisking o’er the Mead, 5 By good Luck chanc’d to spy me; He took his Bonnet aff his Head, And saftly sat down by me. * Jamie tho I right meikle peiz’d, Yet now I wadna ken him; 10 But with a Frown my Face disguise’d, And strave away to send him: But fondly he still nearer prest, And by my Side down lying, His beating Heart thumped sae fast, 15 I thought the Lad was dying. * But still resolving to deny, An angry Passion feigning, I aften roughly shot him by, With Words full of disdaining 20 Poor Jamie bawk’d, nae Favour wins, Went aff much discontented; But I in Truth for a’ my Sins, Ne’er haf sae sair repented. X. *** R154 The Cock Laird. * A Cock Laird fou cadgie, With Jenny did meet, He haws’d her, he kiss’d her, And ca’d her his Sweet. Wilt thou gae alang 5 Wi’ me, Jenny, Jenny? Thou’se be my ain Lemmane, Jo Jenny, quoth he. * 186

Text: TTM II (1726) If I gae alang w’ye, Ye mauna fail, 10 To feast me with Cadells And good Hacket-kail. The Deel’s in your Nicety, Jenny, quoth he, Mayna Bannocks of Bear-meal 15 Be as good for thee. * And I maun hae Pinners, With Pearling set round, A Skirt of Puddy, And a Wastcoat of broun. 20 Awa with sic Vanities, Jenny, quoth he, For Kurchies and Kirtles Are fitter for thee. * My Lairdship can yield me 25 As meikle a Year, As had us in Pottage And good knockit Beer: But having nae Tenants, O Jenny, Jenny, 30 To buy ought I ne’er have A Penny, quoth he. * The Borowstoun Merchants Will sell ye on Tick, For we maun hae braw Things, 35 Abiet they soud break. When broken, frae Care The Fools are set free, When we make them Lairds In the Abbey quoth she. 40 *** R155 The Soger Laddie. My Soger Laddie Is over the Sea, And he will bring Gold and Money to me; And when he comes Hame, 5 187

The Tea-Table Miscellany He’ll make me a Lady, My Blessing gang with My Soger Laddie. * My doughty Laddie Is handsome and brave, 10 And can as a Soger And Lover behave. True to his Country, To Love he is steady, There’s few to compare 15 With my Soger Laddie. * Shield him ye Angels, Frae Death in Alarms, Return him with Lawrels To my langing Arms. 20 Syne frae all my Care Ye’ll pleasantly free me, When back to my Wishes My Soger ye gie me. * O soon may his Honours 25 Bloom fair on his Brow, As quickly they must, If he get his Due: For in noble Actions His Courage is ready, 30 Which makes me delight In my Soger Laddie. *** R156 The Archers March. * Sound, sound, the Musick sound it, Let Hills and Dales rebound it: Let Hills and Dales rebound it, In Praise of Archery: It’s Origin divine is, 5 The Practice brave and fine is, Which generously inclines us To guard our Liberty. * 188

Text: TTM II (1726) Art by the Gods imployed, By which Heroes enjoyed, 10 By which Heroes enjoyed, The Wreaths of Victory. The Deity of Parnassus, The God of soft Caresses Chaste Cynthia and her Lasses, 15 Delight in Archery. * See, see yon Bow extended! ’Tis Jove himself that bends it, ’Tis Jove himself that bends it, O’er Clouds on high it glows. 20 All Nations, Turks and Parthians, The Tartars and the Scythians, The Arabs, Moors and Indians, With Bravery draw their Bows. * Our own true Records tells us, 25 That none cou’d e’er excell us, That none cou’d e’er excel us, In martial Archery: With Shafts our Sires engaging, Oppos’d the Romans raging, 30 Defeat the fierce Norvegian, And spared few Danes to flee.

* Witness Largs and Loncartie,1 Dunkel and Aberlemny, Dunkel and Aberlemny,`` 35 Rosline and Bannockburn,

Largs, Where the Norwegians, headed by their valiant King Havo, were in anno 1263, totally defeat by Alexander III. King of Scots; the heroic Alexander, Great Steward of Scotland, commanded the right Wing. Loncartie, Near Perth, where King Kenneth III. obtained the Victory over the Danes, which was principally owing to the Valour and Resolution of the first brave Hay and his 2 Sons. Dunkel, Here, and in Kyle, and on the Banks of Tay, our great King Corbredus Galdus in three Battles overthrew 30000 Romans, in the Reign of the Emperor Domitian. Aberlemny, Four Miles from Brechin, where K. Malcolm II. obtained a glorious Victory over the united Armies of Danes, Norwegians and Cumbrians, &c. commanded by Sueno King of Denmark, and his warlike Son Prince Canute. Rosline, Within five Miles South of Einburgh [sic], where 10000 Scots, led by Sir John Cumin and Sir Simon Frazer, defeat in three Battles in one Day 30000 of their Enemies, anno 1303. The Battles of Bannockburn and Chiviot, &c. are so well known, that they require no Notes.

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The Tea-Table Miscellany The Chiviots, — all the Border, Where Bowmen in brave Order, Told Enemies, if furder They mov’d, they’d ne’er return. 40 * Sound, sound, the Musick sound it, Let Hills and Dales rebound it: Let Hills and Dales rebound it, In Praise of Archery. Us’d as a Game it pleases, 45 The Mind to Joy it raises, And throws off all Diseases Of lazy Luxury. * Now, now our Care beguiling, When all the Year looks smiling, 50 When all the Year looks smiling, With healthful Harmony. The Sun in Glory glowing, With Morning Dew bestowing, Sweet Fragrance, Life and growing 55 To Flowers and every Tree. * ’Tis now the Archers royal, An hearty Band and loyal, An hearty Band and loyal, That in just Thoughts agree, 60 Appear in antient Bravery, Despising all base Knavery, Which tends to bring in Slavery, Souls worthy to live free. * Sound, sound, the Musick sound it, 65 Fill up the Glass and round wi’t, Fill up the Glass and round wi’t, Health and Prosperity. T’ our great Chief and Officers, T’ our President and Counsellors: 70 To all who like their brave Forbears, Delight in Archery.

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Title-page of The Tea-Table Miscellany, third volume (1727) Copy held at Mellerstain House, reproduced with permission of the 14th Earl of Haddington

Text: TTM III (1727) A Collection of celebrated SONGS. _____ R157

Song I.

A Nymph of the Plain, By a jolly young Swain, By a jolly young Swain, Was address’d to be kind: But relentless I find To his Prayers she appear’d, Tho’ himself he endear’d, In a Manner so soft, so engaging and sweet, As soon might perswade her his Passion to meet.

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* How much he ador’d her, 10 How of the implor’d her, How of the implor’d her, I cannot express; But he lov’d to Excess, And swore he would die, 15 If she would not comply, In a Manner so soft, so engaging and sweet, As soon might perswade her his Passion to meet. * While Blushes like Roses, Which Nature composes, 20 Which Nature composes, Vermilion’d her Face, With an Ardure and Grace, Which her Lover improv’d, When he found he had mov’d, 25 In a Manner so soft, so engaging and sweet, As soon might perswade her his Passion to meet. * When wak’d from the Joy, Which their Souls did imploy, Which their Souls did imploy; From her ruby warm Lips, Thousand Odours he sips, At the Sight of her Eyes 193

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The Tea-Table Miscellany He faints and he dies, In a Manner so soft, so engaging and sweet, As soon might perswade her his Passion to meet.

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* But how they shall part, Now becomes all the Smart, Now becomes all the Smart, ’Till he vow’d to his Fair, 40 That to ease his own Care, He would meet her again, And ’till then be in Pain, In a Manner so soft, so engaging and sweet, As soon might perswade her his Passion to Meet. 45 *** R158

Song II.

SEND home my long stray’d Eyes to me, Which ah! too long have dwelt on thee; But if from thee they’ve learn’d such Ill, To sweetly smile And then beguile, 5 Keep the Deceivers, keep them still. * Send home my harmless Heart again, Which no unworthy Thought cou’d stain; But if it has been taught by thine, To forfeit both 10 Its Word and Oath, Keep it, for then ’tis none of mine. * Yet send me home my Heart and Eyes, That I may see and know thy Lies, And laugh one Day perhaps when thou 15 Shalt grieve for one Thy Love will scorn, And prove as false as thou art now.

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Text: TTM III (1727) R159

Song III.

Whilst I fondly view the Charmer, Thus the God of Love I sue, Gentle Cupid, pray disarm her, Cupid, if you love me, do: Of a thousand Sweets bereave her, 5 Rob [sic] her Neck, her Lips and Eyes, The Remainder still will leave her Power enough to tyranize [sic]. * Shape and Feature, Flame and Passion, Still in every Breast will move, 10 More is Supererrogation, Meer Idolatry of Love: You may dress a World of Chloes In the Beautys she can spare; Hear him, Cupid, who no Foe is 15 To your Altars, or the Fair * Foolish Mortal, pray be easy, Angry Cupid made reply, Do Florella’s Charms displease you, Die then, foolish Mortal, die: 20 Fancy not that I’ll deprive her Of the captivating Store; Shepherd, no, I’ll rather give her Twenty thousand Beautys more. * Were Florella proud and sour, 25 Apt to mock a Lover’s Care; Justly then you’d pray that Power Shou’d be taken from the Fair: But tho’ I spread a Blemish o’er her, No Relief in that you’ll find; 30 Still, fond Shepherd, you’ll adore her, For the Beautys of her Mind.

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The Tea-Table Miscellany R160

Song IV.

Ten Years, like Troy, my stubborn Heart Withstood th’ Assault of fond Desire: But now, alas! I feel a Smart, Poor I, like Troy, am set on Fire. With Care we may a Pile secure, 5 And from all common Sparks defend: But oh! who can a House secure, When the Coelestial Flames descend. Thus was I safe, ’till from your Eyes Destructive Fires are brightly given: 10 Ah! who can shun the warm Surprise, When lo! the Light’ning comes from Heaven. *** R161 Song V. Whilst I gaze on Chloe trembling, Strait her Eyes my Fate declare; When she smiles I fear dissembling, When she frowns I then despair. Jealous of some Rival Lover, 5 If a wandring Look she give; Fain I would resolve to leave her, But can sooner cease to live. * Why should I conceal my Passion, Or the Torments I endure? 10 I will disclose my Inclination: Awful Distance yields no Cure. Sure it is not in her Nature, To be cruel to her Slave; She is too divine a Creature 15 To destroy what she can save. * Happy’s he whose Inclination Warms but with a gentle Heat: Never mounts to raging Passion, Love’s a Torment if too great. 20 196

Text: TTM III (1727) When the Storm is once blown over, Soon the Ocean quiet grows; But a constant faithful Lover Seldom meets with true Repose. *** R162 Song VI. My Days have been so wond’rous free, The little Birds that fly, With careless Ease, from Tree to Tree, Were but as blest as I. Ask gliding Waters, if a Tear 5 Of mine increas’d their Stream; Or ask the flying Gales, if e’er I lent a Sigh to them. But now my former Days retire, And I’m by Beauty caught: 10 The tender Chains of sweet Desire Are fixt upon my Thought. An eager Hope within my Breast Does every Doubt controul; And lovely Nancy stands confest 15 The Favourite of my Soul. Ye Nightingales, ye twisting Pines, Ye Swains that haunt the Grove, Ye gentle Ecchoes, breezy Winds, Ye close Retreats of Love; 20 With all of Nature, all of Art, Assist the dear Design, O teach a young unpractis’d Heart, To make her ever mine. The very Thought of Change I hate, 25 As much as of Despair, And hardly covet to be great, Unless it be for her. ’Tis true, the Passion in my Mind Is mixt with soft Distress; 30 Yet while the Fair I love is kind, I cannot wish it less. 197

The Tea-Table Miscellany R163

Song VII.

All in the Downs the Fleet was moor’d, The Streamers waving in the Wind, When black-eyed Susan came on board; Oh! where shall I my true Love find? Tell me, ye jovial Sailors, tell me true, 5 If my sweet William sails among the Crew. * William, who high upon the Yard, Rock’d with the Billows too and fro; Soon as her well known Voice he heard, He sigh’d and cast his Eyes below: 10 The Cord slides swiftly thro’ his glowing Hands, And quick as Lightning on the Deck he Stands. * So the sweet Lark, high pois’d in Air, Shuts close his Pinions to his Breast, (If chance his Mate’s shrill Voice he hear) 15 And drops at once into her Nest: The noblest Captain in the British Fleet Mighty envy William’s Lips those Kisses sweet. * O Susan, Susan, lovely Dear! My Vows shall ever true remain, 20 Let me kiss off that falling Tear, We only part to meet again: Change as ye lift, ye Winds, my Heart shall be The faithful Compass that still points at thee. * Believe not what the Landmen say, 25 Who tempt with Doubts thy constant Mind; They’ll tell, the Sailors when away, In every Port a Mistress find: Yes, yes, believe them when they tell thee so, For thou art present wheresoe’er I go: 30 198

Text: TTM III (1727) * If to fair India’s Coast we sail, Thy Eyes are seen in Diamonds bright, Thy Breath is Africk’s spicy Gale, Thy Skin is Jvory [sic] so white; Thus every beauteous Object that I view, 35 Makes in my Soul some Charms of lovely Sue. * Tho’ Battles call me from thy Arms, Let not my pretty Susan mourn, Tho’ Cannons roar, yet safe from Harms William shall to his Dear return: 40 Love turns aside the Balls that round me fly, Lest precious Tears should drop from Su san’s Eye. * The Boatswain gave the dreadful Word, The Sails their swelling Bosom spread, No longer must she stay aboard; They kiss’d; she sigh’d; he hung his 45 Head: Her lessening Boat unwilling rows to Land, Adieu, she crys; and wav’d her lilly Hand. *** R164

Song VIII.

Sweet are the Charms of her I love, More fragrant than the damask Rose, Soft as the Down of Turtle Dove, Gentle as Winds when Zypher blows, Refreshing, as descending Rains 5 To sunburnt Climes and thirsty Plains. * True as the Needle to the Pole, Or as the Dial to the Sun, Constant as gliding Waters roll, Whose swelling Tides obey the Moon; 10 From every other Charmer free, My Life and Love shall follow thee. 199

The Tea-Table Miscellany * The Lamb the flow’ry Thyme devours, The Dam the tender Kid pursues, Sweet Philomel, in shady Bowers 15 Of verdent Spring, her Note renews; All follow what they most admire, As I pursue my Soul’s Desire. [*] Nature must change her beauteous Face, And vary as the Seasons rise; 20 As Winter to the Spring gives Place, Summer th’ Approach of Autumn flys: No Change on Love the Seasons bring, Love only knows perpetual Spring. * Devouring Time, with stealing Pace, 25 Makes lofty Oaks and Cedars bow; And Marble-towers and Walls of Brass In his rude March he levells [sic] low: But Time, destroying far and wide, Love from the Soul can ne’er divide. 30 * Death only with his cruel Dart The gentle God head can remove, And drive him from the bleeding Heart To mingle with the blest above, Where known to all his Kindred Train, 35 He finds a lasting Rest from Pain. * Love and his Sister fair the Soul, Twin-born from Heaven together came: Love will the Universe controul, When dying Seasons lose their Name; 40 Divine Abodes shall own his Power, When Time and Death shall be no more.

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Text: TTM III (1727) R165

Song IX.

Fair Iris and her Swain Were in a shady Bower, Where Thirsis long in vain Had sought the happy Hour; At length his Hand advancing 5 Upon her snowy Breast, He said, O! kiss me longer, Longer yet and longer, If you would make me blest. Iris. An easy yielding Maid 10 By trusting is undone, Our Sex is oft betray’d By granting Love too soon; If you desire to gain me, Your Sufferings to redress, 15 Prepare to love me longer, Longer yet and longer, Before you shall possess. Thirsis. The little Care you show Of all my Sorrows past, 20 Makes Death appear too slow, And Life too long to last; Oh Iris! Kiss me kindly, In pity of my Fate, Fair Iris kiss me kindly, 25 Kindly still and kindly, Before it be too late. Iris. You fondly court your Bliss, And no Advances make; ’Tis not for Maids to kiss, 30 But ’tis for Men to take: So you may kiss me kindly, And I will not rebell, Thirsis may kiss me kindly, Kindly still and kindly; 35 But never kiss and tell. Alternative. And may I kiss you kindly? Yes you may kiss me kindly. 201

The Tea-Table Miscellany And kindly still and kindly? And kindly still and kindly. 40 And will you not rebell? And I will not rebell. Then, Love, I’ll kiss the kindly, Kindly still and kindly; But never kiss and tell. 45 *** R166 Song X. Ah! bright Bellinda, hither fly, And such a Light discover, As may the absent Sun supply, And chear the drooping Lover. Arise, my Day, with Speed arise, 5 And all my Sorrows banish: Before the Sun of thy bright Eyes, All gloomy Terrours vanish. No longer let me sigh in vain, And curse the hoarded Treasure: Why should you love to give us Pain, When you were made for Pleasure? The petty Powers of Hell destroy; To save’s the Pride of Heaven: To you the first, if you prove coy; If kind, the last is given.

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The Choice then sure’s not hard to make, Betwixt a Good and Evil: Which Title had you rather take, My Goddess, or, my Devil? 20 *** R167

Song XI.

Fie! Liza, scorn the little Arts, Which meaner Beautys use, Who think they ne’er secure our Hearts, Unless they still refuse; Are coy and shy; will seem to frown, To raise our Passion higher; 202

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Text: TTM III (1727) But when the poor Delight is known, It quickly palls Desire. * Come, let’s not trifle Time away, Or stop you know not why; 10 Your Blushes and your Eyes betray What Death you mean to die! Let all your Maiden Fears be gone, And Love no more be crost: Ah! Liza, when the Joys are known, 15 You’ll curse the Minutes past. *** R168 Song XII. Be wary, my Celia, when Celadon sues, These Wits are the Bane of your Charms: Beauty, play’d against Reason, will certainly lose, Warring naked with Robbers in Arms. Young Damon despis’d for his Plainness of Parts, Has Worth that a Woman should prize; He’ll run the Race out, tho’ he heavily starts, And distance the short winded Wise. Your Fool is a Saint in the Temple of Love, And kneels all his Life there to pray; Your Wit but looks in, and makes Haste to remove, ’Tis a Stage he but takes in his Way.

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*** R169 Song XIII. Stella and Flavia every Hour, Do various Hearts surprise; In Stella’s Soul lyes all her Power, And Flavia’s in her Eyes. More boundless Flavia’s Conquests are, And Stella’s more confin’d: All can discern a Face that’s fair, But few a lovely Mind.

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Stella, like Britain’s Monarch, reigns O’er cultivated Lands; 10 203

The Tea-Table Miscellany Like Eastern Tyrants, Flavia deigns To rule o’er barren Sands. Then boast, fair Flavia, boast thy Face, Thy Beauty’s only Store: Thy Charms will every Day decrease, Each Day gives Stella more.

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Song XIV.

Of all the Girls that are so smart, There’s none like pretty Sally; She is the Darling of my Heart, And she lives in our Alley: There is no Lady in the Land Is half so sweet as Sally; She is the Darling of my Heart, And she lives in our Alley. * Her Father he makes Cabbage Nets, And thro’ the Streets does cry ’em; Her Mother she sells Laces long, To such as please to buy ’em: But sure such Folks cou’d ne’er beget So sweet a Girl as Sally; She is the Darling of my Heart, And she lives in our Alley.

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[*] When she is by, I leave my Work, I love her so sincerely; My Master comes like any Turk, And bangs me most severely: But let him bang his Belly full, I’ll bear it all for Sally; She is the Darling of my Heart, And she lives in our Alley.

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* Of all the Days are in the Week, 25 I dearly love but one Day, And that’s the Day that comes betwixt The Saturday and Monday; 204

Text: TTM III (1727) For then I’m drest all in my best, To walk abroad with Sally; 30 She is the Darling of my Heart, And she lives in our Alley. * My Master carrys me to Church, And often am I blamed, Because I leave him in the Lurch, As soon as Text is named: I leave the Church in Sermon-time, And slink away with Sally; She is the Darling of my Heart, And she lives in our Alley.

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* When Christmas comes about again, O! then I shall have Money; I’ll hoard it up, and box it all, And give it to my Honey: And wou’d it were ten thousand Pound, 45 I’d give it all to Sally; She is the Darling of my Heart, And she lives in our Alley. * My Master and the Neighbours all Make Game of me and Sally, 50 And (but for her) I’d better be A Slave, and row a Galley; But when my seven long Years are out, O! then I’ll marry Sally, O! then we’ll wed, and then we’ll bed, 55 But not in our Alley. *** R171 Song XV. Would you have a young Virgin of fifteen Years? You must tickle her Fancy with Sweets and Dears, Ever toying and playing, and sweetly sweetly Sing a Love-sonnet, and charm her Ears; Wittily prettily talk her down, 5 Chase her, and praise her if fair or brown; Sooth her and smooth her, And teaze her and please her, And touch but her Smicket, and all’s your own. 205

The Tea-Table Miscellany * Do ye fancy a Widow, well known in Men, With the Front of Assurance come boldly on; Be at her each Moment, and briskly briskly Put her in mind, how her Time steals on; Rattle and prattle altho’ she frown, Rouse her and touse her from Morn to Noon, And shew her some Hour You are able to grapple, And get but her Writings, and all’s your own. * Do ye fancy a Punk of Humour free, That’s kept by a Fumbler of Quality, You must rail at her Keeper, and tell her tell her, That Pleasure’s best Charm is Variety; Swear her much fairer than all the Town, Try her and ply her when Cully’s gone, Dog her and jog her, And meet her and treat her, And kiss with a Guinea, and all’s your own.

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*** R172 Song XVI. SHE. Oh Love! if a God thou wilt be, Do Justice in favour of me; For yonder approaching I see, A Man with a Beard, Who, as I have heard, 5 Hath often undone Poor Maids that have none, With sighing and toying, And crying and lying, And such Kind of Foolery. 10 HE. Fair Maid, by your Leave, My Heart does receive Strange Pleasure to meet you here; Pray tremble not so, Nor offer to go, I’ll do you no Harm I swear, I’ll do you no Harm I swear.

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Text: TTM III (1727) SHE. My Mother is spinning at home, My Father works hard at the Loom, And we are a milking come; 20 Their Dinner they want; Then pray ye, Sir, don’t Make more ado on’t, Nor give us Affront; We’re none of the Town 25 Will ly down for a Crown, Then away, Sir, and give us Room. HE. By Phœbus and Jove, By Honour and Love, I’ll do thee dear Sweet no Harm; 30 Ye’r as fresh as a Rose, I want one of those; Ah! how such a Wife wou’d charm, Ah! how such a Wife wou’d charm. SHE. And can you then like the old Rule, 35 Be conjugal, honest and dull, And marry, and look like a Fool; For I must be plain, All Tricks are in vain; There’s nothing can gain 40 What you wou’d obtain, Like moving and proving By wedding, true loving, My Lesson I learnt at School. HE. I’ll do’t by this Hand, 45 I’ve Houses and Land, Estate too in good free hold; My Dear let us joyn, It all shall be thine, Besides a good Purse of Gold, 50 Besides a good Purse of Gold. SHE. You make me to blush now, I vow; Ah me! shall I baulk my Cow? But since the late Oath you have swore, Your Soul shall not be In Danger for me; 207

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The Tea-Table Miscellany I’ll rather agree Of two to make thee: We’ll wed, and we’ll bed, There’s no more to be said, And I’ll ne’er go a milking more. *** R173 Song XVII. Maiden fresh as a Rose, Young, buxom, and full of Jollity, Take no Spouse among Beaux, Fond of their raking Quality; He who wears a long Bush, All powder’d down from his Pericrane, And with Nose full of Snush, Snuffles out Love in a merry Vein:

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* Who, to Dames of high Place, Does prattle like any Parrot too; 10 Yet with Doxies a brace At Night Pigs in a Garret too; Patrimony out-run, To make a fine Show to carry thee: Plainly, Friend, thou’rt undone, 15 If such a Creature marry thee. * Then, for fear of a Bribe, Of flattering Noise and Vanity, Yoak a Lad of our Tribe, He’ll shew the best Humanity: 20 Flashy thou wilt find Love, In civil as well as secular; But when Spirit doth move, We have a Gift particular. * Tho’ our Graveness is Pride, 25 That Boobys the more may venerate, He that gets a good Bride, Can jump when he’s to generate: Off then goes the Disguise, To Bed in his Arms he’ll carry thee; 30 Then, to be happy and wise, Take Yea and Nay to marry thee. 208

Text: TTM III (1727) R174

Song XVIII.

Last Sunday at Saint James’s Pray’rs, The Prince and Princess by, I, dress’d in all my Whale bone Airs, Sat in a Closet nigh. I bow’d my Knees, I held my Book, Read all the Answers o’er; But was perverted by a Look, Which pierc’d me from the Door.

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High Thoughts of Heav’n I came to use, With the devoutest Care; 10 Which gay young Strephon made me lose, And all the Raptures there. He wait to hand me to my Chair, And bow’d with courtly Grace; But whispher’d Love into mine Ear, Too warm for that grave Place. Love, Love, said he, by all ador’d, My tender Heart has won: But I grew peevish at the Word, Desir’d he might be gone.

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He went quite out of Sight, while I A kinder Answer meant; Nor did I for my Sins that Day, By half so much repent. *** R175 Song XIX. Love, thou art the best of humane Joys, Our chiefest Happiness below; All other Pleasures are but Toys, Musick without thee is but Noise, Beauty but an empty Show.

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Heaven, that knew best what Men cou’d move, And raise his Thoughts above the Brute, Said, Let him be, and let him love, That only must his Soul improve, Howe’er Philosophers dispute.

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The Tea-Table Miscellany R176

Song XX.

Despairing beside a clear Stream, A Shepherd forsaken was laid; And while a false Nymph was his Theme, A Willow supported his Head. The Wind that blew over the Plain, 5 To his Sighs with a Sigh did reply; And the Brook in Return to his Pain, Ran mournfully murmuring by. * Alas! silly Swain that I was; (Thus sadly complaining he cry’d) When first I beheld that fair Face, ’Twere better by far I had dy’d: She talk’d, and I blest her dear Tongue, When she smil’d, it was Pleasure too great; I listen’d, and cry’d when she sung, Was Nightingale ever so sweet? [*] How foolish was I to believe, She could doat on so lowly a Clown, Or that her fond Heart would not grieve, To forsake the fine Folk of the Town? To think that a Beauty so gay, So kind and so constant would prove; Or go clad like our Maidens in gray, Or live in a Cottage on Love?

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* What tho’ I have Skill to complain, 25 Tho’ the Muses my Temples have crown’d, What tho’ when they hear my soft Strains, The Virgins sit weeping around? Ah Colin ! thy Hopes are in vain, Thy Pipe and thy Lawrel resign, 30 Thy fair one inclines to a Swain, Whose Musick is sweeter than thine. * All you my Companions so dear, Who sorrow to see me betray’d, Whatever I suffer, forbear, Forbear to accuse the false Maid. 210

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Text: TTM III (1727) Tho’ thro’ the wide World I should range, ’Tis in vain from my Fortune to fly; ’Twas hers to be false and to change, ’Tis mine to be constant and die. * If while my hard Fate I sustain, In her Breast any Pity is found, Let her come with the Nymphs of the Plain, And see me laid low in the Ground: The last humble Boon that I crave, Is to shade me with Cypress and Yew; And when she looks down on my Grave, Let her own that her Shepherd was true.

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* Then to her new Love let her go, And deck her in golden Array; 50 Be finest at every fine Show, And frolick it all the long Day: While Colin forgotten and gone, No more shall be talk’d of or seen, Unless when beneath the pale Moon, 55 His Ghost shall glide over the Green. *** R177

Song XXI.

’Twas when the Seas were roaring, With hollow Blasts of Wind, A Damsel lay deploring, All on a Rock reclin’d. Wide o’er the roaring Billows, 5 She cast a wishful Look; Her Head was crown’d with Willows, That trembled o’er the Brook. * Twelve Months were gone and over, And nine long tedious Days; Why didst thou ventrous Lover, Why didst thou trust the Seas? Cease, cease then, cruel Ocean, And let my Lover rest: Ah! what’s thy troubled Motion, To that within my Breast? 211

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The Tea-Table Miscellany [*] The Merchant robb’d of Treasure, Views Tempests in despair; But what’s the Loss of Treasure, To losing of my Dear! Shou’d you some Coast be laid on, Where Gold and Diamonds grow, You’d find a richer Maiden, But none that loves you so.

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* How can they say that Nature 25 Has nothing made in vain; Why then beneath the Water Do hideous Rocks remain? No Eye these Rocks discover, That lurk beneath the Deep, 30 To wreck the wandring Lover, And leave the Maid to weep. * All melancholly lying, Thus wail’d she for her Dear, Repay’d each Blast with sighing, 35 Each Billow with a Tear: When o’er the white Waves stooping, His floating Corps she spy’d; Then like a Lilly drooping, She bow’d her Head, and dy’d. 40 *** R178 Song XXII. Remember, Damon, you did tell, In Chastity you lov’d me well; But now, alas! I am undone, And here am left to make my Moan. To doleful shades I will remove, 5 Since I’m despis’d by him I love, Where poor forsaken Nymphs are seen, In lonely Walks of Willow green. * Upon my Dear’s deluding Tongue, Such soft perswasive Language hung, 10 212

Text: TTM III (1727) That when his Words had Silence broke, You wou’d have thought an Angel spoke. Too happy Nymph, whoe’er she be, That now enjoys my charming he; For oh! I fear it to my Cost, She’s found the Heart that I have lost. * Beneath the fairest Flower on Earth, A Snake may hide, or take its Birth; So his false Breast, conceal it did His Heart, the Snake that there lay hid. ’Tis false to say, we happy are, Since Men delight thus to ensnare; In Man no Woman can be blest, Their Vows are Wind, their Love a Jest. * Ye Gods, in Pity to my Grief, Send me my Damon, or Relief; Return the wild delicious Boy, Whom once I thought my Spring of Joy: But whilst I’m begging of this Bliss, Methinks I hear you answer thus, When Damon has enjoy’d, he flies, Who sees him, loves; who loves him, dies.

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[*] There’s not a Bird that haunts the Grove, But is a Witness of my Love: Now all the Bleeters on the Plain 35 Seem Sympathizers in my Pain: Eccho’s repeat my plaintive Moans; The Waters imitate my Groans; The Trees their bending Boughs recline, And droop their Heads as I do mine. 40 *** R179 Song XXIII. On a Bank beside a Willow, Heaven her Covering, Earth her Pillow, Sad Amynta sigh’d alone: From the chearless Dawn of Morning, Till the Dews of Night returning, 5 Singing, thus she made her Moan, Hope is banish’d, 213

The Tea-Table Miscellany Joys are vanish’d, Damon my belov’d is gone. * Time, I dare thee to discover 10 Such a Youth and such a Lover: Oh, so true so kind was he! Damon was the Pride of Nature, Charming in his every Feature; Damon liv’d alone for me: 15 Melting Kisses, Murm’ring Blisses, Who so lov’d and lov’d as we? * Never shall we curse the Morning, Never bless the Night returning, 20 Sweet Embraces to restore; Never shall we both ly dying, Nature failing, Love supplying All the Joys he drain’d before: To befriend me, 25 Death, come, end me, Love and Damon are no more. *** R180 Song XXIV. Alexis shunn’d his fellow Swains, Their rural Sports and jocund Strains, (Heaven guard us all from Cupid’s Bow;) He lost his Crook, he left his Flocks, And wand’ring thro’ the lonely Rocks, 5 He nourish’d endless Woe. * The Nymphs and Shepherds round him came, His Grief some pity, others blame; The fatal Cause all kindly seek: He mingled his Concern with theirs, He gave them back their friendly Tears, He sigh’d; but could not speak. * Clorinda came among the Rest, And she too, kind Concern exprest, And ask’d the Reason of his Woe; 214

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Text: TTM III (1727) She ask’d; but with an Air and Mein, As made it easily forseen, She fear’d too much to know. * The Shepherd rais’d his mournful Head, And will you pardon me, he said, 20 While I the cruel Truth reveal; Which nothing from my Breast should tear, Which never should offend your Ear, But that you bid me tell. * ’Tis thus I rove, ’tis thus complain, 25 Since you appear’d upon the Plain; You are the Cause of all my Care: Your Eyes ten thousand Dangers dart; Then thousand Torments vex my Heart; I love, and I despair. 30 * Too much, Alexis, I have heard, ’Tis what I thought, ’tis what I fear’d; And yet I pardon you, she cry’d: But you shall promise, ne’er again To breath your Vows, or speak your Pain. 35 He bow’d, obey’d, and dy’d. *** R181 Song XXV. Why so pale and wan, fond Lover? Prithee, why so pale? Will, when looking well can’t move her, Looking ill prevail? Prithee, why so pale? 5 Why so dull and mute, young Sinner? Prithee, why so mute? Will, when speaking well can’t win her, Saying nothing do’t? Prithee, why so mute? 10 Quit, quit for Shame; this will not move, This cannot take her; If of herself she will not love, Nothing can make her: The Devil take her. 15 215

The Tea-Table Miscellany R182 Song XXVI. My Friend and I, We drank whole Piss-pots, Full of Sack up to the Brim: I drank to my Friend, And he drank his Pot, 5 So we put about the Whim: Three Bottles and a Quart We swallow’d down our Throat, (But hang such puny Sips as these;) We laid us all along, 10 With our Mouths unto the Bung, And tip’d whole Hogsheads off with Ease. * I heard of a Fop That drank whole Tankards, Stil’d himself the Prince of Sots: 15 But I say now, Hang Such silly Drunkards, Melt their Flagons, break their Pots. My Friend and I did join, For a Cellar full of Wine, 20 And we drank the Vintner out of Door; We drank it all up In a Morning, at a Sup, And greedily rov’d about for more. * My Friend to me 25 Did make this Motion, Let us to the Vintage Skip: Then we imbark’d Upon the Ocean, Where we found a Spanish Ship, 30 Deep laden with Wine, Which was superfine, The Sailors swore five hundred Tun; We drank it all at Sea, E’er we came unto the Key, 35 And the Merchant swore he was quite undone. * My Friend, not having Quench’d his Thirst, Said, Let’s to the Vineyards haste: 216

Text: TTM III (1727) Straight then we sail’d 40 To the Canaries, Which afforded just a Taste; From thence unto the Rhine, Where we drank up all the Wine, Till Bachus cry’d, Hold ye Sots, or you die, 45 And swore he never found, In his universal Round. Such thirsty Souls as my Friend and I. * Out fie! crys one, What a Beast he makes him, 50 He can neither stand nor go: Out you Beast, you, You’re much mistaken, When e’er knew you a Beast drink so? ’Tis when we drink the least, 55 That we drink most like a Beast; But when we carrouse it six in Hand; ’Tis then, and only then, That we drink the most like Men, When we drink till we can neither go 60 nor stand. *** R183 Song XXVII. Let Soldiers fight for Prey or Praise, And Money be the Miser’s Wish, Poor Scholars study all their Days, And Gluttons glory in their Dish: ’Tis Wine, pure Wine revives sad Souls; 5 Therefore fill us the chearing Bowls. * Let Minions marshal every Hair, And in a Lover’s Lock delight, And artificial Colours wear; Pure Wine is native red and white: ’Tis Wine, &c. [*] The backward Spirit it makes brave, That lively which before was dull; Opens the Heart that loves to save, 217

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The Tea-Table Miscellany And Kindness flows from Cups Brim-full: ’Tis Wine, &c. * Some Men want Youth, and others Health, Some want a Wife, and some a Punk, Some Men want Wit, and others Wealth; But they want nothing that are drunk: ’Tis Wine, pure Wine revives sad Souls; Therefore give us the chearing Bowls.

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*** R184 Song XXVIII. Farewell, my bonny, bonny, witty, pretty Maggy And a’ the rosie Lasses milking on the Down: Adieu the flowry Meadows, aft sae dear to Jocky, The Sports and merry Glee of Edinborow Town: Since French and Spanish Louns stand at Bay, 5 And valiant Lads of Britain hold ’em Play, My Reap-hook I maun cast quite away, And fight too like a Man, Among ’em, for our Royal Queen Anne. * Each Carle of Irish Mettle battles like a Dragon; 10 The Germans waddle, and straddle to the Drum; The Italian and the Butter Bowzy Hogan Morgan: Good-faith then, Scottish Jocky mauna ly at hame: For since they are ganging to hunt Renown, And swear they’ll quickly ding auld Monsieur down, 15 I’ll follow for a Pluck at his Crown, To shew that Scotland can Excell ’em for our Royal Queen Anne. [*] Then welcome from Vigo And cudgelling Don Diego, 20 With strutting Rascallions, And plundering the Galleons: Each brisk valiant Fellow Fought at Rodondellow, And those who did meet 25 With the Newfound-land Fleet; When, for late Successes, Which Europe confesses, 218

Text: TTM III (1727) At Land by our gallant Commanders; The Dutch in strong Beer, 30 Shou’d be drunk for a Year, With their General’s Health in Flanders. *** R185 Song XXIX. The Ordnance a-board, Such Joys does afford, As no Mortal, no Mortal, no Mortal, No Mortal e’er more can desire: Each Member rapairs [sic], From the Tower to the Stairs, And by Water Whush, and by Water Whush, By Water they all go to the Fire.

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* Of each Piece that’s a-shore, They search from the Bore; 10 And to proving, to proving, to proving, To proving they go in fair Weather: Their Glasses are large, And whene’er they discharge, There’s a Boo huzza, a Boo huzza, a Boo huzza, 15 Guns and Bumpers go off together. * Old Vulcan for Mars Fitted Tools for his Wars, To enable him, enable him, enable him, Enable him to conquer the faster: But Mars, had he been Upon our Wolwich [sic] Green, To have heard Boo huzza, Boo huzza, Boo huzza, He’d have own’d great Marlborough his Master.

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*** R186 Song XXX. Leave off your foolish Pratting, Talk no more of Whig and Tory, But drink your Glass, Round let it pass, The Bottle stands before ye, 5 219

The Tea-Table Miscellany Fill it up to the Top, Let the Night with Mirth be crown’d, Drink about, see it out, Love and Friendship still go round. [*] If Claret be a Blessing, 10 This Night devote to Pleasure; Let worldly Cares, And State Affairs, Be thought on at more Leisure: Fill it up to the Top, 15 Let the Night with Joy be crown’d, Drink about, see it out, Love and Friendship still go round. * If any is so zealous, To be a Party-minion, 20 Let him drink like me, We’ll soon agree, And be of one Opinion: Fill your Glass, name your Lass, See her Health go sweetly round, 25 Drink about, see it out, Let the Night with Joy be crown’d. *** R187 Song XXXI. We’ll drink, and we’ll never have done, Boys, Put the Glass then around with the Sun, Boys, Let Apollo’s Example invite us, For he’s drunk every Night, That makes him so bright, 5 That he’s able next Morning to light us. * Drinking’s a Christian Diversion, Unknown to Turk and the Persian: Let Mahomitan Fools Live by Heathenish Rules, And dream o’er their Tea-pots and Coffee; While the brave Britons sing, Aud [sic] drink Healths to their King, And a Fig for their Sultan and Sophy. 220

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Text: TTM III (1727) R188

Song XXXII.

While the Lover is thinking, With my Friend I’ll be drinking, And with Vigour pursue my Delight, While the Fool is designing His fatal Confining, 5 With Bacchus I’ll spend the whole Night. * With the God I’ll be jolly, Without Madness and Folly, Fickle Woman to marry implore; Leave my Bottle and Friend, For so foolish an End! When I do, may I never drink more.

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*** R189 Song XXXIII. CELIA, let not Pride undo you, Love and Life fly swiftly on; Let not Damon still pursue you, Still in vain, till Love is gone: See how fair the blooming Rose is, See by all how justly priz’d; But when it its Beauty loses, See the wither’d Thing despis’d. * When these Charms that Youth have lent you, Like the Roses are decay’d, Celia you’ll too late repent you, And be forc’d to die a Maid! Die a Maid! die a Maid! die a Maid! Celia you’ll too late repent you, And be forc’d to die a Maid! *** R190 Song XXXIV. I’ll range around the shady Bowers, And gather all the sweetest Flowers; I’ll strip the Garden and the Grove, To make a Garland for my Love. 221

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The Tea-Table Miscellany When in the sultry Heat of Day, 5 My thirsty Nymph does panting ly; I’ll hasten to the Fountains Brink, And drain the Stream that she may drink. At Night, when she shall weary prove, A grassy Bed I’ll make my Love, And with green Boughs I’ll form a Shade, That nothing may her Rest invade.

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And whilst dissolv’d in Sleep she lyes, My self shall never close these Eyes; But gazing still with fond Delight, 15 I’ll watch my Charmer all the Night. And then, as soon as chearfull Day Dispells the gloomy Shades away, Forth to the Forest I’ll repair, And find Provision for my Fair.

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Thus will I spend the Day and Night, Still mixing Pleasure with Delight; Regarding nothing I endure, So I can Ease for her procure. But if the Maid whom thus I love, Shou’d e’er unkind and faithless prove, I’ll seek some dismal distant Shore, And never think of Woman more. *** R191 Song XXXV. Tho’ cruel you seem to my Pain, And hate me because I am true; Yet, Phillis, you love a false Swain, Who has other Nymphs in his View: Enjoyment’s a Trifle to him, To me what a Heaven it would be; To him but a Woman you seem, But ah! you’re an Angel to me:

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* Those Lips which he touches in haste, To them I for ever could grow, 10 Still clinging around that dear Waist, Which he spanns as beside him you go; 222

Text: TTM III (1727) That Arm, like a Lilly so white, Which over his Shoulders you lay, My Bosom could warm it all Night, My Lips they would press it all Day. * Were I like a Monarch to reign, Were Graces my Subjects to be, I’d leave them, and fly to the Plain, To dwell in a Cottage with thee: But if I must feel thy Disdain, If Tears cannot Cruelty drown, O! let me not leave in this Pain, But give my Death in a Frown.

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*** R192 Song XXXVI. From rosy Bowers, where sleeps the God of Love, Hither, ye little waiting Cupids, fly; Teach me, in soft melodious Song, to move With tender Passion my Heart’s darling Joy: Ah! let the Soul of Musick tune my Voice, 5 To win dear Strephon, who my Soul enjoys. * Or if more influencing Is, to be brisk and airy, With a Step and a Bound, And a Frisk from the Ground, I’ll trip like any Fairy: As once on Ida dancing, Were three celestial Bodies, With an Air and a Face, And a Shape and a Grace, Let me charm like Beauty’s Goddess. [*] Ah! ah! ’tis in vain, ’tis all in vain, Death and Despair must end the fatal Pain; Cold Despair, disguis’d like Snow and Rain, Falls on my Breast; black Winds in Tempests blow: My Veins all shiver, and my Fingers glow; My Pulse beats a dead March for lost Repose, And to a solid Lump of Ice my poor fond Heart is froze. *

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The Tea-Table Miscellany Or say, ye Powers, my Peace to crown, Shall I thaw my self, or drown 25 Amongst the foaming Billows, Increasing all with Tears I shed; On Beds of Ooze and christal Pillows Lay down my Love sick Head? * No, no, I’ll straight run mad, That soon my Heart will warm; When once the Sense is fled, Love has no Power to charm: Wild thro’ the Woods I’ll fly, My Robes and Locks shall thus be tore; A thousand thousand Deaths I’ll die, E’er thus in vain! e’er thus in vain adore.

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*** R193 Song XXXVII. Oh! lead me some peaceful Gloom, Where none but sighing Lovers come, Where the shrill Trumpets never sound, But one eternal Hush goes round. There let me sooth my pleasing Pain, And never think of War again; What Glory can a Lover have To conquer, yet be still a Slave?

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*** R194 Song XXXVIII. Oh! lead me to some peaceful Room, Where none but honest Fellows come, Where Wives loud Clappers never sound, But an eternal Laugh goes round. There let me drown in Wine my Pain, And never think of Home again: What Comfort can a Husband have, To rule the House where he’s a Slave?

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Text: TTM III (1727) R195

Song XXXIX.

Pious Selinda goes to Prayers, If I but ask the Favour; And yet the tender Fool’s in Tears, When she believes I’ll leave her. Would I were free from this Restraint, 5 Or else had Hopes to win her; Would she cou’d make of me a Saint, Or I of her a Sinner. *** R196 Song XL. See, see, she wakes, Sabina wakes, And now the Sun begins to rise; Less glorious is the Morn that breaks From his bright Beams, than her fair Eyes. With Light united, Day they give; 5 But different Fates e’er Night fulfil: How many by his Warmth will live! How many will her Coldness kill! *** R197

Song XLI.

Young Corydon and Phillis Sat in a lovely Grove, Contriving Crowns of Lillies, Repeating Tales of Love, And something else; but what, I dare not name.

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But as they were a playing, She ogled so the Swain, It sav’d her plainly saying, Let’s kiss to ease our Pain, &c, A thousand Times he kiss’d her, 10 Upon the flowery Green; But as he further prest her, A pretty Leg was seen, &c. 225

The Tea-Table Miscellany So many Beauties viewing, His Ardour still increas’d; And, greater Joys pursuing, He wander’d o’er her Breast, &c.

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A last Effort she trying, His Passion to withstand, Cry’d, (but ’twas faintly crying) 20 Pray take away your Hand, &c. Young Corydon grown bolder, The Minutes wou’d improve; This is the Time, he told her, To shew how much I love, &c. 25 The Nymph seem’d almost dying, Dissolv’d in am’rous Heat; She kiss’d, and told him sighing, My Dear, your Love is great, &c. But Phillis did recover, 30 Much sooner than the Swain; She blushing, ask’d her Lover, Shall we not kiss again, &c. Thus Love his Revel keeping, Till Nature at a stand, 35 From Talk they fell to sleeping, Holding each others Hand, &c. *** R198

Song XLII.

See, see, my Seraphina comes, Adorn’d with every Grace; Look, Gods, from your celestial Dome, And view her charming Face. Then search, and see if you can find, In all your sacred Groves, A Nymph or Goddess so divine, As she whom Strephon loves. 226

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Text: TTM III (1727) R199

Song XLIII.

SHE. Pray now, John, let Jug prevail, Doff thy Sword, and take a Flail; Wounds and Blows, and scorching Heat, Will abroad be all you’ll get. HE. ’Sounds! you are mad, ye simple Jade, Begon, and don’t prate.

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SHE. How think ye I shall do, With Hob and Sue, And all our Brats when wanting you? HE. When I am rich with Plunder, 10 Thou my Gain shall share. SHE. My Share will be small, I fear, When bold Dragoons have been pickering there, And the Flea-flints the Germans strip ’em bare. HE. Mind your spinning, 15 Mend your Linnen, Look to your Cheese you, Your Pigs and your Geese too. SHE. No, no, I’ll ramble out with you. HE. Blood and Fire, if you tire 20 Thus my Patience, With Vexations and Narrations, Thumping, thumping, thumping Is the fatal Word, Joan. SHE. Do, do, I’m good at thumping too. HE. Morbleau! that Huff shall never do. 227

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The Tea-Table Miscellany SHE. Come, come, John, let’s buss and be Friends, Thus still, thus Love’s Quarrel ends; I my Tongue sometimes let run, But alas! I soon have done.

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HE. ’Tis well you’re quash’d, You’d else been thrash’d, Sure as my Name is John. SHE. Yet fain I’d know for what You’re all so hot, 35 To go to fight where nothing’s got. HE. Fortune will prove kind, And we shall then grow great. SHE. Grow great! And want both Drink and Meat, And Coin, unless the pamper’d French you beat: Ah John! take care John! And learn more Wit.

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HE. Dare you prate still, At this Rate still, 45 And like a Vermin, Grudge my Preferment. SHE. You’ll beg, or get a Wooden Leg. HE. Nay, if bawling, catterwawling, Tittle tattle, prittle prattle, 50 Still must rattle; I’ll be gone, and straight aboard. SHE. Do, do, and so shall Hob and Sue, Jug too, and all the ragged Crew. 228

Text: TTM III (1727) R200

Song XLIV.

HE. Since Times are so bad, I must tell thee, sweet Heart, I’m thinking to leave off my Plough and my Cart, And to the fair City a Journey I’ll go, To better my Fortune as other Folks do: Since some have from Ditches, And coarse Leather Breeches, Been rais’d to be Rulers, And wallow’d in Riches, Pray thee, come, come, come, come from thy Wheel; For if the Gipsies don’t lie I shall be a Governor too e’er I die. SHE. Ah Colin! by all thy late Doings I find, With Sorrow and Trouble, the Pride of thy Mind; Our Sheep now at Random disorderly run, And now Sunday’s Jacket goes every Day on; Ah! what do’st thou, what do’st thou, what do’st thou mean!

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HE. To make my Shoes clean, And foot it to Court to the King and the Queen, Where, shewing my Parts, I Preferment shall win. SHE. Fie! ’tis better for us to plough and to spin; For, as to the Court, when thou happen’st to try, Thou’ll find nothing got there, unless thou can’st buy; For Money, the Devil and all’s to be found, But no good Parts minded without the good Pound. HE. Why, then I’ll take Arms, and follow Alarms, Hunt Honour, that now a-Days plaguely charms.

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SHE. And so lose a Limb by a Shot or a Blow, And curse thy self after for leaving the Plough. HE. Suppose I turn Gamester. SHE. So cheat and be bang’d. 30 229

The Tea-Table Miscellany HE. What think’st of the Road then. SHE. The high Way to be hang’d. HE. Nice pimping howe’er yields Profit for Life; I’ll help some fine Lord to another’s fine Wife. SHE. That’s dangerous too amongst the Town Crew; For some of them will do the same Thing by you; And then I to cuckold ye may be drawn in; Faith Colin, ’tis better I sit here and spin.

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HE. Will nothing prefer me, what think’st of the Law. SHE. Oh! while you live Colin, keep out of that Paw.

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HE. I’ll cant and I’ll pray. SHE. Ah! there’s nought got that Way; There’s no one minds now what these black Cattle say: Let all our whole Care be our farming Affair. HE. To make our Corn grow, and our Apple Trees bear. BOTH. Ambition’s a Trade no Contentment can show. SHE. So I’ll to my Distaff. HE. And I’ll to my Plow. Both Again. Let all our whole Care, &c. 230

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Text: TTM III (1727) R201 Song XLV. HE. Where Oxen do low, And Apple Trees grow; Where Corn is sown, And Grass is mown; Fate give me for Life a Place. 5 SHE. Where Hay’s well cock’d And Udders are stroak’d; Where Duck and Drake Cry, quack, quack, quack; Where Turkeys lay Eggs, And Swine suckle Pigs; Oh! there I would pass my Days.

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HE. On nought we will feed, But what we can breed: SHE. And wear on our Backs 15 The Wool of our Flocks; And tho’ Linnen feel Rough, spun from the Wheel, ’Tis cleanly tho’ coarse it comes. HE. Town Follys and Cullys, 20 And Mollys and Dollys, For ever adieu, and for ever: SHE. And Beaux, that in Boxes Lye smugg’ling their Doxies, With Wigs that hang down to their Bums. 25 HE. Good b’uye to the Mall The Park and Canal, St. James’s Square, And Flaunters there, The gaming House too, 30 Where high Dice and low Are manag’d by all Degrees. 231

The Tea-Table Miscellany SHE. Adieu to the Knight Was bubled last Night, That keeps a Blowze, And beats his Spouse, And then in great Haste, To pay what he’as lost, Sends home to cut down his Trees.

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HE. And well fare the Lad 40 Improves ev’ry Clod, Who ne’er sets his Hand To Bill or to Bond: SHE. Nor barters his Flocks, For Wine or the Pox, 45 To chouse him of half his Days. HE. But fishing and fowling, And hunting and bowling, His Pastime is ever and ever: SHE. Whose Lips, when ye buss ’em, Smell like the Bean Blossom; Oh! he it’s shall have my Praise. HE. To Taverns, where goes Sow’r Apples and Sloes, A long Adieu! And farewell too The House of the Great, Whose Cook has no Meat, And Butler can’t quench my Thirst.

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SHE. Farewell to the Change, 60 Where Rantipoles range; Farewell cold Tea, And Rattafie, Hide-park, where Pride In Coaches ride, 65 Altho’ they be choak’d with Dust. 232

Text: TTM III (1727) HE. Farewell the Law Gown, The Plague of the Town, And Foes of the Crown, That shou’d be run down; 70 SHE. With City Jack-daws, That make staple Laws, To measure by Yards and Ells. HE. Stock-jobbers and Swobbers, And Packers and Tackers, 75 For ever adieu, and for ever: We know what you’re doing; And home we are going; And so you may ring your Bells. *** R202 Song XLVI. HE. Of all Comforts I miscarried, When I play’d the Sot and married; ’Tis a Trap there’s none need doubt on’t Those that are in, would fain get out on’t SHE. Fie! my Dear, pray come to Bed, That Napkin take, and bind your Head, Too much Drink your Brains have dos’d, You’ll be quite alter’d when repos’d. HE. ’Oons! ’tis all one if I’m up or ly down, For as soon as the Cock crows I’ll be gone.

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SHE. ’Tis to grieve me, thus you leave me, Was I, was I made a wife to ly alone? HE. From your Arms my self divorcing, I this Morn must ride a coursing, A Sport that far excells a Madam, 15 Or all the Wives have been since Adam. 233

The Tea-Table Miscellany SHE. I, when thus I’ve lost my due, Must hug my Pillow wanting you; And whilst you top it all the Day, Regale in Cups of harmless Tea. 20 HE. Pox, what care I? drink your Slopes till you die; Yonder’s Brandy will keep me a Month from Home. SHE. If thus parted, I’m broken hearted; When I, when I send for you, my Dear, pray come. HE. E’er I be from rambling hindred, I’ll renounce my Spouse and Kindred; To be sober I’ve no Leisure, What’s a Man without his Pleasure?

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SHE. To my Grief then I must see, Strong Wine and Nantz my Rivals be; 30 Whilst you carrouse it with your Blades, Poor I sit stitching with my Maids. HE. ’Sounds! you may go to your Gossips, you know, And there, if you meet with a Friend, pray do. SHE. Go, ye Joker, go, Provoker, 35 Never, never shall I met a Man like you. *** R203

Song XLVII.

Pretty Parrot, say, when I was away, And in dull Absence past the Day, What at home was doing? With Chat and Play We were gay, Night and Day, Good Chear and Mirth renewing; Singing laughing all, like pretty pretty Poll. 234

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Text: TTM III (1727) * Was no Fop so rude, boldly to intrude, And like a saucy Lover wou’d 10 Court and teaze my Lady? A Thing you know, Made for Show, Call’d a Beau, Near her was always ready, 15 Ever at her Call, like pretty pretty Poll. * Tell me with what Air, he approach’d the Fair, And how she could with Patience bear, All he did and utter’d? He still adress’d, 20 Still carress’d, Kiss’d, and press’d, Sung, prattl’d, laugh’d and flutter’d: Well receiv’d in all, like pretty pretty Poll. * Did he go away, at the Close of Day, 25 Or did he ever use to stay, In a Corner dodging? The Want of Light, When ’twas Night, Spoil’d my Sight; 30 But I believe his Lodging Was within her Call, like pretty pretty Poll. *** R204

Song XLVIII.

Sung by Pinkanello, merry Andrew to Leverigo the Montebank Doctor. Here are People and Sports, Of all Sizes and Sorts, Coach’d Damsel and Squire, And Mob in the Mire, Tarpaulins, Trugmallions, 5 Lords, Ladies, Sows Babies, And Loobies in Scores; Some hawling, some bawling, Some leering, some sleering, Some loving some shoving, 10 235

The Tea-Table Miscellany With Legions of furbelow’d Whores: To the Tavern some go, And some to a Show, See Popets for Mopets, Jack Puddens for Cuddens, 15 Rope dancing, Mares prancing, Boats flying, Quacks lying, Pick Pockets, pick Plaekets, Beasts, Butchers and Beaux; Fops prattling, Dice rattling, 20 Rooks shaming, Putts daming, Whores painted, Masks tainted In Taly-mans furbelow’d Cloaths. The Mob’s Joys wou’d ye know, To yon Musick-House go, 25 See Taylors and Sailors, Whores oily and Doily, Hear Musick makes you sick; Some skipping, some tripping, Some smoaking, some joaking, 30 Like Spiggit and Tap; Short Measure, strange Pleasure, Thus billing and swilling, Some yearly get fairly For Fairings, Pig Pork and a Clap. 35

The Second Part.

See, Sirs, see here! a Doctor rare, Who travels much at home! Here take my Bills, they cure all Ills, Past, present, and to come; The Cramp, the Stitch, the Squirt, the Itch, 40 The Gout, the Stone, the Pox, The Mulligrubs, the wanton Scrubs, And all Pandora’s Box: Thousands I’ve dissected, Thousands new erected, 45 And such Cures affected, As none e’er can tell; Let the Palsie shake ye, Let the Cholick rack ye, Let the Crinkums break ye, 50 Let the Murain take ye, Take this, take this and you are well: Thousands, &c. * 236

Text: TTM III (1727) Come Wits so keen, devour’d with Spleen, And Beaux who’ve sprain’d your Backs, Great-belly’d Maids, old founder’d Jades, 55 And pepper’d Vizard Cracks; I soon remove the Pains of Love, And cure the amorous Maid, The hot, the cold, the young, the old, The Living and the Dead; 60 I clear the Lass with Wainscot-face, And from Pim-ginets free Plump Ladies red like Saracen’s Head With toping Ratafee. This, with a Jirk, will do your Work, 65 And scour ye o’er and o’er; Read, Judge, and try; and if you die, Never believe me more. *** R205 Song XLIX. Oh! the charming Month of May, When the Breezes Fan the Trees, is Full of Blossoms fresh and gay: Oh! the charming Month of May, 5 Charming charming Month of May. Oh! what Joy our Prospects yield, When in new Livery We see every Bush and Meadow, Tree and Field: 10 Oh! what Joy, &c. Charming Joys, &c. Oh! how fresh the Morning Air, When the Zyphers And the Heifers Their odorif’rous Breath compare: 15 Oh! how fresh, &c. Charming fresh, &c. Oh! how sweet at Night to dream, On mossy Pillows, By the Trillows Of a gentle purling Stream, 20 Oh! how sweet, &c. Charming sweet, &c. Oh! how kind the Country Lass, Who, her Cow bilking, 237

The Tea-Table Miscellany Leaves her Milking For a Green-gown on the Grass: 25 Oh! how kind, &c. Charming kind, &c. Oh! how sweet it is to spy, At the Conclusion, Her deep Confusion, Blushing Cheeks and down-cast Eye: 30 Oh! how sweet, &c. Charming sweet, &c. Oh! the charming Curds and Cream, When all is over, She gives her Lover, Who on the skiming Dish carves her Name: 35 Oh! the charming Curds and Cream, Charming charming, &c. *** R206 Song L. Cupid God of pleasing Anguish, Teach th’ enamour’d Swain to languish, Teach him fierce Desires to know. Heroes would be lost in Story, Did not Love inspire their Glory, Love does all that’s great below.

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*** R207

Song LI.

My Cloe, why do ye slight me, Since all you ask you have? No more with Frowns affright me, Nor use me like a Slave: Good Nature to discover, 5 Use well your faithful Lover, I’ll be no more a Rover, But constant to my Grave. * Could we but change Conditions, My Grief would all be flown; Were I the kind Physician, And you the Patient grown: All own you’re wond’rous pretty, 238

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Text: TTM III (1727) Well shap’d, and also witty, Enforc’d with generous Pity, 15 Then make my Case your own. * The Silver Swan, when dying, Has most melodious Lays, Like him, when Life is flying, In Songs I’ll end my Days: But know, thou cruel Creature, My Soul shall mount the fleeter, And I shall sing the sweeter, By warbling forth thy Praise.

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*** R208 Song LII. In this Grove my Strephon walkt, Here he lov’d, and there he talkt; Here he lov’d, &c. In this Place his Loss I prove, A sad Remembrance of our Love. 5 Oh! sad Remembrance of our Love. * In this Grove my Strephon stray’d, Here he smil’d, and there betray’d; Here he smil’d, &c. Every whispering Breeze can tell, 10 How I, poor I believing, fell; Ah! by too soon believing, fell. * By this Stream my Strephon mov’d, Here he sung, and there he lov’d; Here he sung, &c. 15 Every Stream and every Tree Cries out, Perfidious cruel he, And helpless poor forsaken She. * On this Bank my Strephon lean’d, A lovely Foe, but faithless Friend; A lovely Foe, &c. Ye verdant Banks, each Stream and Grove, Once joyous Scenes, now dismal prove, Since Strephon’s false to me and Love. 239

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The Tea-Table Miscellany R209

Song LIII.

Transported with Pleasure, I gaze on my Treasure, And ravish my Sight; While she gayly smiling, My Anguish beguiling, 5 Augments my Delight. * How blest is a Lover, Whose Torments are over, His Fears and his Pain; When Beauty relenting, 10 Repays with consenting, Her Scorn and Disdain. *** R210 Song LIV. A Quire of bright Beauties In Spring did appear, To chuse a May-lady To govern the Year; All the Nymphs were in white, 5 And the Shepherds in green, The Garland was given, And Phillis was Queen. But Phillis refused it, And sighing did say, 10 I’ll not wear a Garland While Pan is away * While Pan and fair Syrinx Are fled from the Shore, The Graces are banish’d, 15 And Love is no more: The soft God of Pleasure That warm’d our Desires, Has broken his Bow, And extinguish’d his Fires; 20 And vows that himself And his Mother will mourn, Till Pan and fair Syrinx In Triumph return. 240

Text: TTM III (1727) * Forbear your Addresses, 25 And court us no more; For we will perform What the Diety [sic] swore: But if you dare think Of deserving our Charms, 30 Away with our Sheep-hooks, And take to your Arms: Then Lawrels and Myrtles Your Brows shall adorn, When Pan and fair Syrinx 35 In Triumph return. *** R211 Song LV. As charming Clara walk’d alone, The feather’d Snow came softly down, Like Jove descending from his Tower, To court her in a silver Shower: The shining Flakes flew to her Breasts, As little Birds into their Nests; But being outdone with Whitness there, For Grief dissolv’d into a Tear; Thence flowing down her Garment’s Hem, To deck her Froze into a Gem.

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*** R212 Song LVI. Ye Beaux of Pleasure, Whose Wit at Leisure, Can count Love’s Treasure, Its Joy and Smart; At my Desire, 5 With me retire, To know what Fire Consumes my Heart. * Three Moons that hasted, Are hardly wasted, 10 Since I was blasted With Beauty’s Ray: Aurora shews ye 241

The Tea-Table Miscellany No Face so rosie, No July Posie 15 So fresh and gay. * Her Skin by Nature, No Ermin better, Tho’ that fine Creature Is white as Snow; 20 With blooming Graces Adorn’d her Face is, Her flowing Traces As black as Sloe. [*] She’s tall and slender, 25 She’s soft and tender; Some God commend her; My Wit’s too low: ’Twere joyful Plunder, To bring her under, 30 She’s all a Wonder From Top to Toe. * Then cease, ye Sages, To quote dull Pages, That in all Ages 35 Our Minds are free: Tho’ great your Skill is, So strong the Will is, My Love for Phillis Must ever be. 40 *** R213 Song LVII. One Evening as I lay, A-musing in a Grove A Nymph exceeding gay, Came there to seek her Love; But finding not her Swain, She sat her down to grieve, And thus she did complain, How Men her Sex deceive. * 242

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Text: TTM III (1727) Believing Maids, take Care Of false deluding Men, 10 Whose Pride is to ensnare, Each Female that they can: My perjur’d Swain he swore A thousand Oaths, to prove (As many have done before) 15 How true he’d be to Love. [*] Then Virgins, for my Sake, Ne’er trust false Man again, The Pleasure we partake, Ne’er answers half the Pain; 20 Uncertain as the Seas, Is their unconstant Mind, As once they burn or freeze, Still changing like the Wind. * When she had told her Tale, 25 Compassion seiz’d my Heart, And Cupid did prevail With me, to take her Part: Then bowing to the Fair, I made my kind Address, 30 And vow’d to bear a Share In her Unhappiness. * Surpris’d at first she rose, And strove from me to fly: I told her I’d disclose 35 For Grief a Remedy. Then, with a smiling Look, Said she, to asswage the Storm, I doubt you’ve undertook A Task you can’t perform. 40 * Since Proof convinces best, Fair Maid, believe it true, That Rage is but a Jest, To what Revenge can do: Then serve him in his Kind, And sit the Fool again; Such Charms were ne’er design’d, For such a faithless Swain. 243

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The Tea-Table Miscellany * I courted her with Care, Till her soft Soul gave Way, 50 And from her Breast so fair, Stole the sweet Heart away: Then she with Smiles confess’d, Her Mind felt no more Pain, While she was thus carress’d, 55 By such a lovely Swain. *** R214 Song LVIII. Do not ask me, charming Phillis, Why I lead you here alone, By this Bank of Pinks and Lillies, And of Roses newly blown. ’Tis not to behold the Beauty, 5 Of these Flowers that crown the Spring, ’Tis to — but I know my Duty, And dare never name the Thing. ’Tis at worst but her denying, Why shou’d I thus fearful be? Every Minute gently flying, Smiles and says, Make use of me. What the Sun does to the Roses, While the Beams play sweetly in, I would, — but my Fear opposes, And I dare not name the Thing.

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Yet I die if I conceal it; Ask my Eyes; or ask your own, And if neither can reveal it, Think what Lovers think alone. 20 On this Bank of Pinks and Lillies, Might I speak what I would do, I wou’d — with my lovely Phillis, I wou’d; I wou’d — Ah! wou’d you.

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Text: TTM III (1727) R215

Song LIX.

Phillis the fairest of Love’s Foes, Tho’ fiercer than a Dragon, Phillis that scorn’d the powder’d Beaux, What has she now to brag on? What has she now to brag on? 5 What has she, &c. So long she kept her Limbs so close, Till they have scarce a Rag on. Compell’d thro’ Want, the wretched Maid Did sad Complaints begin, 10 Which surly Strephon hearing, said, It was both Shame and Sin, It was both Shame and Sin, It was both, &c. To pity such a lazy Jade, 15 Wou’d neither kiss nor spin. *** R216 Song LX. WHen Chloe we ply, We swear we shall die, Her Eyes do our Heart so enthrall; But ’tis for her Pelf, And not for herself; 5 ’Tis all Artifice, artifice all. [*] The Maidens are coy, They’ll pish! and they’ll fie! And swear, if you’re rude, they will call; But whisper so low, 10 By which you may know, ’Tis all Artifice, Artifice all. * My Dear, the Wives cry, If ever you die, To marry again I ne’er shall; 15 But less than a Year, Will make it appear, ’Tis all Artifice, Artifice all. 245

The Tea-Table Miscellany * In Matters of State, And Party Debate, For Church and for Justice we bawl; 20 But if you’ll attend, You’ll find in the End, ’Tis all Artifice, Artifice all. R217

*** Song LXI.

The Parson among the Pease. One long Whitsun Holy day, Holy-day, Holy-day, it was a jolly Day, Young Ralph, buxom Phillida, Phillida, a welladay! Met in the Pease; 5 They long had Community, He lov’d her, she lov’d him, Joyful unity, nought but Opportunity Scanting was wanting, Their Bosoms to ease. 10 But now Fortune’s Cruelty, Cruelty, You will see; for as they ly In close Hug, Sir Domine Gemini Gomini Chanc’d to come by, 15 He read Prayers i’the Family, No Way now to frame a Lie, They scar’d at old Homily, Homily, Homily, Both away fly. 20 * Home, soon as he saw the Sight, Full of Spite, as a Kite runs the Recubite, Like a noisy Hypocrite, Hypocrite, Hypocrite, Mischeif to say; 25 Save he wou’d fair Phillida, Phillida, Phillida drest that Holy-day; But poor Ralph, ah welladay! Welladay! welladay! Turn’d was away. 30 ’Ads Nigs, cries Sir Domine Gemini Gomini, Shall a Rogue stay, 246

Text: TTM III (1727) To baulk me, as commonly, Commonly, commonly, Has been his Way. 35 No, I serve the Family, They know nought to blame me by, I read Prayers and Homily, Homily, Homily, Three Times a Day. 40 *** R218 Song LXII How happy are we, Who from thinking are free, That curbing Disease of the Mind, Can indulge every Taste, Love where we like best, Not by dull Reputation confin’d. * When we are young, fit to toy, Gay Delights we enjoy, And have Crowds of new Lovers still wooing; When we’re old and decay’d, We procure for the Trade, Still in every Age we are doing. [*] If a Cully we meet, We spend what we get Every Day, for the next never think; When we die, where we go We have no Sense to know, For a Bawd always dies in her Drink.

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*** R219 [Song] LXIII. One April morn, when from the Sea Phœbus was just appearing, Damon and Celia young and day, Long settled Love endearing, Met in a Grove, to vent their Spleen On Parents unrelenting; He bred of Tory-race had been, She of the Tribe dissenting. 247

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The Tea-Table Miscellany * CELIA, whose Eyes outshone the God Newly the Hills adorning, Told him, Mamma would be stark mad, She missing Prayers that Morning; Damon, his Arm about her Waist Swore, tho’ nought should them sunder, Shou’d my rough Dad know how I’m blest, ’Twou’d make him roar like Thunder. * Great Ones made by Ambition blind, By Faction still support it, Or where vile Money taints the Mind, They for Convenience court it: But mighty Love, that scorns to shew Party should raise his Glory, Swears he’ll exalt a Vassal true, Let it be Whig or Tory.

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*** R220 Song LXIV. Amongst the Willows on the Grass, Where Nymphs and Shepherds ly, Young Willy courted bony Bess; And Nell stood list’ning by; Says Will, We will not tarry 5 Two Months before we marry. No, no, fie no, never never tell me so, For a Maid I’ll live and die: Says Nell, So shall not I, Says Nell, &c. * Long Time betwixt Hope and Despair, 10 And Kisses mixt between, He with a Song did charm her Ear, Thinking she chang’d had been; Says Will, I want a Blessing, Substantialer than kissing. 15 No, no, fie no, never never tell me so, For I will never change my Mind: Says Nell, She’ll prove more kind, Says Nell, &c. * 248

Text: TTM III (1727) Smarting Pain the Virgin finds, 20 Altho’ by Nature taught, When she first to Man inclines: Quoth Nell, I’ll venture that. Oh! who wou’d lose a Treasure, For such a puney Pleasure! 25 Not I, not I, no, a Maid I’ll live and die, And to my Vow be true. Quoth Nell, The more Fool you, Quoth Nell, &c. * To my Closet I’ll repair, And read on Godly Books, Forget vain Love, and worldly Care. Quoth Nell, That likely looks! You Men are all perfidious, But I will be religious, Try all, fly all, and while I breath defy all, Your Sex I now despise. Says Nell, By Jove, she lies, Says Nell, &c.

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*** R221 Song LXV. Selinda sure’s the brightest Thing, That decks the Earth, or breaths our Air; Mild are her Looks like opening Spring, And like the blooming Summer fair. But then her Wit’s so very small, 5 That all her Charms appear to ly, Like glaring Colours on a Wall, And strike no further than the Eye. Our Eyes luxuriously she treats, Our Ears are absent from the Feast, One Sense is surfeited with Sweets, Starv’d or disgusted are the rest.

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So have I seen with Aspect bright, And taudry Pride, a Tulip swell, Blooming and beauteous to the Sight, 15 Dull and insipid to the Smell.

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The Tea-Table Miscellany R222

Song LXVI.

A trifling Song ye shall hear, Begun with a Trifle and ended; All trifling People draw near, And I shall be nobly attended. Were it not for Trifles a few, That lately came into the Play, The Men would want something to do, The Women want something to say. What makes Men trifle in dressing? Because the Ladies, they know, Admire, by often caressing That eminent Trifle, a Beau. When the Lover his Moments has trifled, The Trifle of Trifles to gain, No sooner the Virgin is rifled, But a Trifle shall part them again. What Mortal wou’d ever be able, At Whyte’s half a Moment to sit? Or who is’t cou’d bear a Tea-table, Without talking Trifles for Wit?

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The Court is from Trifles secure, Gold Keys are no Trifles we see; White Rods are no Trifles I’m sure, Whatever their Bearers may be. But if you will go to the Place, 25 Where Trifles abundantly breed; The Levee will show you, his Grace Makes Promises Trifles indeed! A Coach with six Footmen behind, I count neither Trifle nor Sin; But ye Gods! how oft do we find A scandalous Trifle within? A Flask of Champaign People think it A Trifle, or something as bad; But if you’ll contrive how to drink it, You’ll find it no Trifle by Gad. 250

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Text: TTM III (1727) A Parson’s a Trifle at Sea, A Widow’s a Trifle in Sorrow, A Peace is a Trifle to Day, To break it a Trifle to Morrow.

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A black Coat a Trifle may cloke, Or to hide it in the red may endeavour; But if once the Army is broke, We shall have more Trifles than ever. The Stage is a Trifle they say, 45 The Reason pray carry along; Because that at every new Play, The House they with Trifles so throng. But with People’s Malic to trifle, And to set us all on a Foot; 50 The Author of this is a Trifle, And his Song is a Trifle to boot. *** R223 Song LXVII. From grave Lessons and Restraint, I’m stole out to revel here; Yet I tremble and I faint, In the Middle of the Fair. Oh! would Fortune in my Way Throw a Lover kind and gay; Now’s the Time he soon might move A young Heart unus’d to Love.

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Shall I venture? No, no, no, Shall I from the Danger go? 10 Oh! no, no, no, no, no, I must not try, I cannot fly, I must not, durst not, cannot fly. Help me, Nature; help me, Art; Why should I deny my Part? 15 If a Lover will pursue, Like the wisest let me do; I will fit him if he’s true, If he’s false I’ll fit him too.

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The Tea-Table Miscellany R224

Song LXVIII. Women and Wine.

Some say Women are like Sea, Some the Waves, and some the Rocks, Some the Rose that soon decays, Some the Weather, some the Cocks; But if you’ll give me Leave to tell, 5 There’s nothing can be compar’d so well, As Wine, Wine, Women and Wine, They run in a Parallel. * Women are Witches when they will, So is Wine, so is Wine, 10 They make the Statesman lose his Skill, The Soldier, Lawyer and Divine; They put a Gigg in the gravest Scull, And send their Wits to gather Wool; ’Tis Wine, Wine, Women and Wine, 15 They run in a Parallel. [*] What is’t that makes your Face so pale, What is’t that makes your Looks divine, What makes your Courage rise and fall, Is it not Women, is it not Wine? 20 Whence proceed th’ inflaming Doses, That set Fire to your Noses? From Wine, Wine, Women and Wine, They run in a Parallel. *** R225 Song LXIX. Wou’d you chuse a Wife, For a happy Life, Leave the Court and the Country take, Where Dolly and Sue, Young Molly and Prue, 5 Follow Roger and John, Whilst Harvest goes on, And merrily merrily rake.

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Text: TTM III (1727) [*] Leave the London Dames (Be it spoke to their Shames) 10 To ly in their Beds till Noon, Then get up and stretch, And paint too and patch, Some Widgeon to catch, Then look on their Watch, 15 And wonder they rose up so soon. * Then Coffee and Tea, Both Green and Bohea, Are serv’d to their Tables in Plate, Where Tatles do run, 20 As swift as the Sun, Of what they have won, And who is undone By their gaming and sitting up late. * The Lass give me here, 25 Tho’ brown as my Beer, That knows how to govern her House, That can milk her Cow, Or farrow her Sow, Make Butter and Cheese, 30 Or gather green Pease, And values fine Cloaths not a Souse. * This is the Girl Worth Rubies and Pearl, A Wife that will make a Man rich: 35 We Gentlemen need No Quality Breed, To squander away What Taxes wou’d pay; We care not in faith for such. 40 *** R226 Song LXX. Yes I could love, if I could find A Mistress fitted to my Mind, 253

The Tea-Table Miscellany Whom neither her Gold nor Pride could move, To change her Virtue or her Love: Loves to go neat, not to go fine, Loves for my self, and not for mine; Not City proud, nor nice and coy, But full of Love, and full of Joy:

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Not Childish and young, nor Beldame old, Not fiery hot, nor Icy cold, 10 Not gravely wise to rule the State, Not foolish to be pointed at: Not wordly rich, nor basely poor, Nor chast, nor a reputed Whore: If such an one you can discover, Pray, Sir, intitule me her Lover.

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*** R227 Song LXXI. Blest as th’immortal Gods is he, The Youth who fondly sits by thee, And hears and sees thee all the while, Softly speak and sweetly smile. ’Twas this bereav’d my Soul of Rest, And rais’d such Tumults in my Breast; For while I gaz’d in Transport tost, My Breath was gone, my Voice was lost. My Bosom glow’d; the subtile Flame Ran quick thro’ all my vital Frame; O’er my dim Eyes a Darkness hung, My Ears with hollow Murmures rung.

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In dewy Damps my Limbs were chill’d My Blood with gentle Horrors thrill’d, My feeble Pulse forgot to play, 15 I fainted, sunk, and dy’d away.

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Text: TTM III (1727) R228

Song LXXII.

You may cease to complain, For your Suit is in vain, All Attempts you can make But augments her Disdain; She bids you give over 5 While ’tis in your Power, For except her Esteem She can grant you no more: Her Heart has been long since Assaulted and won, 10 Her Truth is as lasting And firm as the Sun; You’ll find it more easy Your Passion to cure, Than for ever those fruitless 15 Endeavours endure. * You may give this Advice To the Wretched and Wise, But a Lover like me Will those Precepts despise; 20 I scorn to give over Were it in my Power; Tho’ Esteem were deny’d me, Yet her I’ll adore, A Heart that’s been touch’d 25 Will some simpathy bear, ’Twill lessen my Sorrows If she takes a Share; I’ll count it more Honour In dying her Slave, 30 Than did her Affections The Steddiness crave. * You may tell her I’ll be Her true Lover, tho’ she Should Mankind despise 35 Out of Hatred to me; ’Tis mean to give o’er Cause we get no Reward, She lost not her Worth When I lost her Regard; 40 My Love on an Altar 255

The Tea-Table Miscellany More noble shall burn, I still will love on Without Hopes of Return; I’ll tell her some other 45 Has kindled the Flame, And I’ll sigh for herself In another one’s Name. *** R229 Song LXXIII. The tippling Philosophers. Diogenes surly and proud, Who snarl’d at the Macedon Youth, Delighted in Wine that was good, Because in good Wine there was Truth; But growing as poor as a Job, 5 Unable to purchase a Flask, He chose for his Mansion a Tub, And liv’d by the Scent of the Cask. * HERACLITUS ne’er would deny A Bumper, to cherish his Heart; 10 And when he was maudlin would cry, Because he had empty’d his Quart: Tho’ some are so foolish to think, He wept at Men’s Follies and Vice, ’Twas only his Custom to drink, 15 Till the Liquor flow’d out of his Eyes. [*] DEMOCRITUS always was glad To tipple, and cherish his Soul; Would laugh like a Man that was mad, When over a good flowing Bowl; As long as his Cellar was stor’d, The Liquor he’d merrily quaff; And when he was drunk as a Lord, At them that were sober he’d laugh.

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* Wise Solon, who carefully gace 25 Good Laws unto Athens of old, 256

Text: TTM III (1727) And thought the rich Crœsus a Slave (Tho’ a King) to his Coffers of Gold; He delighted in plentiful Bowls; But drinking much Talk would decline, Because ’twas the Custom of Fools, To prattle much over their Wine. * Old Socrates ne’er was content, Till a Bottle had heighten’d his Joys, Who in’s Cups to the Oracle went, Or he ne’er had been counted so wise: Late Hours he most certainly lov’d, Made Wine that Delight of his Life, Or Xantippe would never have prov’d Such a damnable Scold of a Wife. * Grave Seneca, fam’d for his Parts, Who tutor’d the Bully of Rome, Grew wise o’er his Cups and his Quarts, Which he drank like a Miser at Home; And, to shew that he lov’d Wine that was good To the last, (we may truly aver it) He tinctur’d his Bath with his Blood, So fancy’d he died in his Claret. * PYTHAGORAS did Silence enjoin, On his Pupils who Wisdom would seek; Because he tippled good Wine, Till himself was unable to speak; And when he was whimsical grown, With sipping his plentiful Bowls, By the Strength of the Juice in his Crown, He conceiv’d Transmigration of Souls. [*] COPERNICUS too, like the rest, Believ’d there was Wisdom in Wine, And thought that a Cup of the best Made Reason the brighter to shine; With Wine he replinish’d his Veins, And made his Philosophy reel; Then fancy’d the World, like his Brains, Turn’d round like a Chariot Wheel.

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The Tea-Table Miscellany * ARISTOTLE, that Master of Arts, 65 Had been but a Dunce without Wine, And what we ascribe to his Parts, Is due to the Juice of the Vine: His Belly, most writers agree, Was big as a Watering-trough; 70 He therefore leapt into the Sea, Because he’d have Liquor enough. * Old Plato was reckon’d divine, He fondly to Wisdom was prone; But had it not been for good Wine, His Merits had never been known. By Wine we are generous made, It furnishes Fancy with Wings, Without it we ne’er shou’d have had Philosophers, Poets, or Kings.

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*** R230 Song LXXIV. Down among the dead Men. Here’s a Health to the King, and a lasting Peace; May Faction be damn’d, and Discord cease: Come, let us drink it while we’ve Breath, For there’s no drinking after Death; And he that won’t with this comply, Down among the dead Men, Down among the dead Men, Down, down, down, down, Down among the dead Men, let him ly.

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* Now a Health to the Queen, and may she long 10 B’our first fair Toast to grace our Song; Off w’ your Hats, w’ your Knee on the Ground, Take off your Bumpers all around; And he that will not drink his dry, Down among, &c. let him ly. * LET charming Beauty’s Health go round, 15 In whom celestial Joys are found; And may Confusion still pursue 258

Text: TTM III (1727) The senseless Woman-hating Crew; And he that will this Health deny, Down among, &c. let him ly. * Here’s Thriving to Trade, and the Common-weal, And Patriots to their Country leal; But who for Bribes gives Satan his Soul, May he ne’er laugh o’er a flowing Bowl; And all that such Rogues comply, Down among, &c. let them ly.

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* In smiling Bacchus’ Joys I’ll roll, 25 Deny no Pleasure to my Soul; Let Bacchus’ Health round swiftly move, For Bacchus is a Friend to Love; And he that does this Health deny, Down among, &c. let him ly. *** R231 Song LXXV. He that will not merry merry be, With a generous Bowl and a Toast, May he in a Bridwell be shut up, And fast bound to a Post: Let him be merry merry there, And we’ll be merry merry here; For who can know where we shall go, To be merry another Year? [*] He that will not merry merry be, And take his Glass in Course, May he b’oblig’d to drink small Beer, Ne’er a Penny into his Purse: Let him be merry &c.

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* He that will not merry merry be, With a Comp’ny of jolly Boys, May he be plagu’d with a scolding Wife, 15 To confound him with her Noise: Let him be, &c. 259

The Tea-Table Miscellany * He that will not merry merry be, With his Mistress in his Bed, Let him be buried in the Church yard, And me put in his Stead: 20 Let him merry, &c. *** R232 Song LXXVI. Jolly Mortals, fill your Glasses; Noble Deeds are done by Wine; Scorn the Nymph and all her Graces: Who’d for Love or Beauty pine? Look upon this Bowl that’s flowing, And a thousand Charms you’ll find, More than in Chloe when just going, In the Moment to be kind. ALEXANDER hated Thinking; Drank about at Council-board; Made Friends, and gain’d the World by drinking, More than by his conquering Sword.

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*** R233 Song LXXVII. Since we die by the Help of good Wine, I will that a Tun be my Shrine; And engrave it on my Tomb, Here lyes a Body, once so brave, Who with drinking made his Grave, 5 Who with, &c. Since thus to die will purchase Fame, And leave an everlasting Name, Since thus to die, &c. Drink, drink away, drink, drink away, And let us be nobly interr’d, 10 Drink, drink, &c. Let Misers and Slaves Pop into their Graves, And rot in a dirty Church-yard, And rot in a dirty Church-yard, 15 Let Misers, &c. 260

Text: TTM III (1727) R234 Song LXXVIII. BACCHUS is a Power divine; For he no sooner fills my Head With mighty Wine, But all my Cares resign, And droop, and droop, and sink down dead: Then, then the pleasing Thoughts begin, And I in Riches flow, At least I fancy so; And without Thought of Want I sing, Stretch’d on the Earth, my Head all around With Flowers, weav’d into a Garland, crown’d: Then, then I begin to live, And scorn what all the World can show or give. Let the brave Fools that fondly think Of Honour, and delight To make a Noise, a Noise, and fight, Go seek out War whilst I seek Peace, Whilst I seek Peace, seek Peace and Drink, Whilst I seek Peace, seek Peace and Drink. Then fill my Glass, fill fill it high; Some perhaps think it fit to fall and die; But when Bottles are rang’d Make War with me, The fighting Fools shall see, When I am sunk, The Difference to ly dead, And ly dead drunk; The fighting Fool, &c.

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*** R235 Song LXXIX. Ye Virgin Powers, defend my Heart, From amorous Looks and Smiles; From saucy Love, or nicer Art, Which most our Sex beguiles. From Sighs and Vows, and awful Fears, That do to Pity move; From speaking Silence, and from Tears, Those Springs that water Love. But if thro’ Passion I grow blind, Let Honour be my Guide; 261

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The Tea-Table Miscellany And when frail Nature seems inclin’d, There place a Guard of Pride. An Heart, whose Flames are seen, tho’ pure, Needs every Virtue’s Aid; And she who thinks herself secure, 15 The soonest is betray’d. *** R236 Song LXXX. Why shou’d a foolish Marriage Vow, Which long ago was made, Oblige us to each other now, When Passion is decay’d? We lov’d, and we lov’d As long as we cou’d, Till Love was lov’d out of us both: But our Marriage is dead, When the Pleasure is fled; ’Twas Pleasure first made it an Oath. * If I have Pleasures for a Friend, And further Love in Store, What Wrong has he whose Joys did end, And who cou’d give no more? ’Tis a Madness that he Shou’d be jealous of me, Or that I shou’d bar him of another; For all we can gain, Is to give our selves Pain, When neither can hinder the other.

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*** R237 Song LXXXI. My dear Mistress has a Heart, Soft as these kind Looks she gave me, When with Love’s resistless Art, And her Eyes she did enslave me; But her Constancy’s so weak, 5 She’s so wild and apt to wander, That my jealous Heart would break, Shou’d we live one Day asunder. * 262

Text: TTM III (1727) Melting Joys about her move, Killing Pleasures, wounding Blisses; She can dress her Eyes in Love, And her Lips can arm with Kisses: Angels listen when she speaks; She’s my Delight, all Mankind’s Wonder; But my jealous Heart wou’d break, Shou’d we live one Day asunder.

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*** R238 Song LXXXII. I’ll sail upon the Dog-star, And then pursue the Morning; I’ll chase the Moon till it be Noon, I’ll make her leave her Horning. I’ll climb the frosty Mountain, 5 And there I’ll coin the Weather; I’ll tear the Rainbow from the Sky,, [sic] And ty both Ends together: The Stars pluck from their Orbs too, And crowd them in my Budget; And whether I’m a roaring Boy, Let Gresham College judge it: While I mount yon blew Celum, To shun the tempting Gipsies; Play at Foot-ball with Sun and Moon, And fright ye with Eclipses.

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*** R239 Song LXXXIII. James. Prithee, Susan, what dost muse on, By this doleful Spring? You are, I fear, in love, my Dear; Alas poor Thing! Susan. Truly, Jamie, I must blame ye, 5 You look so pale and wan; I fear ’twill prove you are in love; Alas poor Man! 263

The Tea-Table Miscellany James. Nay, my Suey, now I view ye; Well I know your Smart, When you’re alone you sigh and groan; Alas poor Heart! Susan. JAMIE, hold; I dare be bold To say, thy Heart is stole, And know the She as well as thee; Alas poor Soul! James. Then, my Sue, tell me who; I’ll give thee Beads of Pearl, And ease thy Heart of all this Smart; Alas poor Girl!

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Susan. JAMIE, no, if you shou’d know, I fear ’twou’d make you sad, And pine away both Night and Day; Alas poor Lad! James. Why then, my Sue, it is for you, 25 That I burn in these Flames; And then I die, I know you’ll cry, Alas poor James! Susan. Say you so, then, Jamie, know, If you should prove untrue, 30 Then must I likewise cry, Alas poor Sue! Qoth he, then join thy Hand with mine, And we will wed to day: I do agree, here ’tis, quoth she, Come let’s away. *** R240 Song LXXXIV. When, lovely Phillis, thou art kind, Nought but Raptures fill my Mind; ’Tis then I think thee so divine, 264

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Text: TTM III (1727) T’excell the mighty Power of Wine: But when thou insult’st, and laughs at my Pain, I wash thee away with sparkling Champaign; So bravely contemn both the Boy and his Mother, And drive out one God by the Power of another. * When Pity in thy Looks I see, I fraily quit my Friends for thee; Perswasive Love so charms me then, My Freedom I’d not wish again: But when thou art cruel, and heeds not my Care, Then straight with a Bumper I banish Despair; So bravely contemn both the Boy and his Mother, And drive out one God by the Power of another.

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*** R241 Song LXXXV. You that love Mirth, attend to my Song, A Moment you never can better employ; Sawny and Teague were trudging along, A bony Scots Lad and an Irish Dear-joy; They neither before had seen a Wind-mill, 5 Nor had they heard ever of any such Name: As they were a-walking, And merrily talking, As last by meer Chance to a Wind-mill they came. * Haha! crys Sawny, what do ye ca’ that? 10 To tell the right Name o’t I am at a Loss. Teague very readily answer’d the Scot, Indeed I believe it’sh Shaint Patrick’s Cross. Says Sawny, ye’ll find your sell meikle mistaken, For it is Saint Andrew’s Cross I can swear; 15 For there is his Bonnet, And Tartans hang on it, The Plaid and the Trews our Apostle did wear. * Nay, o’ my Shoul Joy, thou tellesht all Lees, For that I will shwear is Shaint Patrick’s Coat; 20 I shee’t him in Irland buying the Freeze, And that I am shure ish the shame that he bought; And he is a Shaint mush better than ever Made either the Covenantsh sholemn or League: 265

The Tea-Table Miscellany For o’ my Shalwashion, 25 He was my Relashion, And had a great Kindnesh for honesht poor Teague. [*] Wherefore says Teague I will by my Shoul, Lay down my Napshack, and take out my Beads, And under this holy Cross’ Fet I will fall, 30 And shay Pater-noshter, and shome of our Creeds: So Teague began with humble Devotion, To kneel down before St. Patrick’s Cross; The Wind fell a-blowing, And set it a-going, 35 And it gave our Dear-joy a terrible Toss. * SAWNY tehee’d, to see how poor Teague Lay scratching his Ears, and roll on the Grass, Swearing, it was surely the De’ils Whirlygig, And none (he roar’d out) of St. Patrick’s Cross: 40 But ish it indeed, crys he in a Passion, The Cross of our Shaint that has crosht me so sore; Opo’ my Salwashion, This shall be a Cawshion, To trust to St. Patrick’s Kindnesh no more. 45 * SAWNY to Teague then merrily cry’d, This Patron of yours is a very sad Loun, To hit you sic a sair Thump on the Hide, For kneeling before him, and seeing a Boon: Let me advise ye to serve our St. Andrew, 50 He, by my Saul, was a special gude Man; For since your St. Patrick Has serv’d ye sic a Trick, I’d see him hung up e’er I serv’d him again. *** R242 Song LXXXVI. May the Ambitious ever find Success in Crowds and Noise, While gentle Love does fill my Mind With silent real Joys. May Knaves and Fools grow rich and great, And all the World think them wise, 266

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Text: TTM III (1727) While I ly at my Nanny’s Feet, And all the World despise Let conquering Kings new Triumphs raise, And melt in Court Delights: Her Eyes can give much brighter Days, Her Arms much softer Nights.

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*** R243 Song LXXXVII. CELIA, too late you wou’d repent: The offering all your Store, Is now but like a Pardon sent, To one that’s dead before. While at the first you cruel prov’d, And grant the Bliss too late, You hindred me of one I lov’d, To give me one I hate. I thought you innocent as fair, When first my Court I made; But when your Falshoods plain appear, My Love no longer stay’d.

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Your Bounty of these Favours shown, Whose Worth your first deface, Is melting valu’d Medals down, 15 And giving us the Brass. O! since the Thing we beg’s a Toy, That’s priz’d by Love alone, Why cannot Women grant the Joy, Before the Love is gone.

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*** R244 Song LXXXVIII. Yes, all the World will sure agree, He who’s secur’d of having thee, Will be entirely blest; But ’were in me too great a Wrong, To make one who has been so long 5 My Queen, my Slave at last. 267

The Tea-Table Miscellany * Nor ought these Things to be confin’d, That were for publick Good design’d: Cou’d we, in foolish Pride, Make the Sun always with us stay, 10 ’Twou’d burn our Corn and Grass away, To starve the World beside. * Let not the Thoughts of parting, fright Two Souls which Passion does unite; For while our Love does last, Neither will strive to go away, And why the Devil should we stay, When once that Love is past.

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*** R245 Song LXXXIX. My Goddess Lydia, heavenly fair, As Lilly sweet, as soft as Air, Let loose thy Tresses, spread thy Charms, And to my Love give fresh Alarms. O! let me gaze on these bright Eyes, Tho’ sacred Lightning from them flyes Shew me that soft that modest Grace, Which paints with charming red thy Face.

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Give me Ambrosia in a Kiss, That I may rival Jove in Bliss, 10 That I may mix my Soul with thine, And make the Pleasure all divine. O hide! thy Bosom’s killing white, (The milky Way is not so bright) Lest you may ravish’d Soul oppress, 15 With Beauty’s Pomp, and sweet Excess. Why draw’st thou from the Purple Flood Of my kind Heart the vital Blood? Thou art all over endless Charms; O! take me dying to thy Arms.

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Text: TTM III (1727) R246

Song XC.

Why we love, and why we hate, Is not granted us to know; Random Chance, or wilful Fate, Guides the Shaft from Cupid’s Bow. If on me Zelinda frown, 5 ’Tis Madness all in me to grieve; Since her Will is not her own, Why should I uneasy live? If I for Zelinda die, Deaf to poor Mizella’s Cries, 10 Ask not me the Reason why, Seek the Riddle in the Skies. *** R247 Song XCI. Hark how the Trumpet sounds to Battle, Hark how the thundring Cannons rattle; Cruel Ambition now calls me away, While I have ten thousand soft Things to say. While Honour alarms me, 5 Young Cupid disarms me, And Celia so charms me, I cannot away. * Hark again, Honour calls me to Arms, Hark how the Trumpet sweetly charms; 10 Celia no more then must be obey’d, Canons are roaring, and Ensigns display’d: The Thoughts of Promotion, Inspire such a Notion, Of Celia’s Devotion, 15 I’m no more afraid. [*] Guard her for me, celestial Powers, Ye Gods, bless the Nymph with happy soft Hours; O may she ever to love me incline, Such lovely Perfections I cannot resign; Firm Constancy grant her, My true Love shall haunt her, 269

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The Tea-Table Miscellany My Soul cannot want her, She’s all so divine. *** R248 Song XCII. Shall I, wasting in Despair, Die because a Woman’s fair? Shall my Cheeks look pale with Care, ’Cause another’s rosie are? Be she fairer than the Day, 5 Or the flow’ry Meads in May; Yet if she think not well of me, What care I how fair she be. [*] Shall a Woman’s Goodness move Me to perish for her Love; 10 Or, her worthy Merits known, Make me quite forget my own? Be she with that Goodness blest, Yet if she be not such to me, What care I how good she be. 15 * Be she good, or kind, or fair, I will never more despair; If she love me this believe, I will die e’er she shall grieve; If she flight me when I woo, I will scorn, and let her go: So if she be not fit for me, What care I for whom she be.

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*** R249 Song XCIII. As the Snow in Vallies lying, Phœbus his warm Beams applying Soon dissolves and runs away; So the Beauties, so the Graces, Of the most bewitching Faces, 5 At approaching Age decay. * 270

Text: TTM III (1727) As a Tyrant, when degraded, Is despis’d, and is upbraided, By the Slaves he once control’d; So the Nymph; if none could move her, 10 Is contemn d by every Lover, When her Charms are growing old. * Melancholick Looks and Whining, Grieving, Quarrelling and Pining, Are th’ Effects your Rigours move; Soft Carresses, am’rous Glances, Melting Sighs, transporting Trances, Are the blest Effects of Love.

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[*] Fair Ones! while your Beauty’s blooming, Imploy Time, lest Age resuming 20 What your Youth profusely lends; You are rob’d of all your Glories, And condemn’d to tell old Stories, To your unbelieving Friends. *** R250 Song XCIV. Fair Amoret is gone astray, Pursue, and seek her, ev’ry Lover; I’ll tell the Signs by which you may The wandring Shepherdess discover. Coquet and coy ay once her Air, Both study’d, tho’ both seem neglected; Careless she is with artful Care, Affecting to seem unaffected. With Skill her Eyes dart ev’ry Glance, Yet change so soon you’d ne’er suspect ’em; For she’d persuade they wound by Chance, Tho’ certain Aim and Art direct them.

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She likes her self, yet others hates, For that which in her self she prizes; And while she laughs at them, forgets 15 She is the Thing that she despises. 271

The Tea-Table Miscellany R251

Song XCV.

DAMON, if you will believe me, ’Tis not sighing round the Plain, Song nor Sonnet can relieve ye; Faint Attempts in Love are vain. URGE but home the fair Occasion, And be Master of the Field; To a powerful kind Invasion, ’Twere a Madness not to yield.

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Tho’ she vows she’ll ne’er permit ye, Crys you’re rude, and much to blame, 10 And with Tears implores your Pity; Be not merciful for Shame. When the fierce Assault is over, Chloris Time enough will find, This her cruel furious Lover, 15 Much more gentle, not so kind. *** R252 Song XCVI. If she be not kind as fair, But peevish and unhandy, Leave her, she’s only worth the Care Of some spruce Jack-a-dandy. I would not have thee such an Ass, 5 Hadst thou ne’er so much Leisure, To sigh and whin for such a Lass, Whose Pride’s above her Pleasure. *** R253

Song XCVII. HE.

Awake, thou fairest Thing in Nature, How can you sleep when Day does break? How can you sleep, my charming Creature, When half a World for you are awake. 272

Text: TTM III (1727) SHE. What Swain is this that sings so early, 5 Under my Window, by the Dawn? HE. ’Tis one, dear Nymph, that loves you dearly, Therefore in Pity ease my Pain. SHE. Softly, else you’ll ’wake my Mother, No Tales of Love she lets me hear; Go tell your Passion to some other, Or whisper’t softly in my Ear. HE. How can you bid me love another, Or rob me of your Beauteous Charms? ’Tis Time you were wean’d from your Mother, You’re fitter for a Lover’s Arms.

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*** R254 Song XCVIII. In spite of Love, at Length I’ve found, A Mistress that can please me, Her Humour free and unconfin’d, Both Night and Day she’ll ease me; No jealous Thoughts disturb my Mind, 5 Tho’ she’s enjoy’d by all Mankind; Then drink and never spare it, ’Tis a Bottle of good Claret. * If you, thro’ all her naked Charms, Her little Mouth discover, 10 Then take her blushing to your Arms, And use her like a Lover; Such Liquor she’ll distill from thence, As will transport your ravisht Sense; Then kiss and never spare it, 15 ’Tis a Bottle of good Claret. * But best of all! she has no Tongue, Submissive she obeys me, She’s fully better old than young, And still to smiling sways me; 20 273

The Tea-Table Miscellany Her Skin is smooth, Complexion black, And has a most delicious Smack; Then kiss and never spare it, ’Tis a Bottle of good Claret. * If you her Excellence would taste, 25 Be sure you use her kind, Sir, Clap your Hand about her Waist, And raise her up behind, Sir; As for her Bottom never doubt, Push but home, and you’ll find it out; 30 Then drink and never spare it, ’Tis a Bottle of good Claret. *** R255 Song XCIX. O Surprising lovely Fair! Who with Chloe can compare? Sure she’s Form for Beauty’s Queen, Her Wit, her Shape, her Grace, her Mein, By far excells all Nymphs I’ve seen; 5 No Mortal Eye Can view her nigh, Too exquisite for Humane Sight to see: Tho’ she ne’er may be kind, Nor for me e’er design’d, 10 Yet I love, I love, I love The charming She. *** R256 Song C. When bright Aurelia tript the Plain, How chearful then were seen, The Looks of every jolly Swain, That strove Aurelia’s Heart to gain, With Gambols on the Green?

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Their Sports were innocent and gay, Mixt with a manly Air; They’d sing and dance, and pipe and play, Each strove to please, some different Way, This dear inchanting Fair.

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Text: TTM III (1727) The ambitious Strife she did admire, And equally approve, ’Till Phaon’s tuneful Voice and Lyre, With softest Musick did inspire Her Soul to generous Love.

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Their wonted Sports the Rest declin’d, Their Arts prov’d all in vain; Aurelia’s constant now they find, The more they languish and repin’d, The more she loves the Swain. 20 *** R257 Song CI. Away you Rover, For Shame give over, You play the Lover So like an Ass; You are for storming, 5 You think you’re charming, Your faint performing, We read in your Face. *** R258 Song CII. He, who for ever, Wou’d hope for Favour, He must endeavour To charm the Fair: He dances, he dances, 5 He da--a--a--a--a--ances, He sighs, and glances, He makes Advances, He sings, and dances, And mends his Air. 10 *** R259

Song CIII.

Go, go, go, go falsest of thy Sex begone, Leave, leave, ah leave, leave me to my self alone! Why would you strive by fond Pretence, 275

The Tea-Table Miscellany Thus to destroy my Innocence? Go, go, &c. — Leave, leave, &c. Young Celia, you too late betray’d, 5 Then thus you did the Nymph upbraid, “Love like a Dream usher’d by Night, “Flyes the Approach of Morning Light. Go, go, &c. — Leave, leave, &c. She that believes Man when he swears Or least regards his Oaths and Prayers, 10 May she, fond she, be most accurst; Nay more, be subject to his Lust. Go, go, &c. — Leave, leave, &c. *** R260 Song CIV. BELINDA, with affected Mein, Trys all the Power of Art; Yet finds her Efforts all in vain, To gain a single Heart: Whilst Chloe in a different Way, Is but her self, to please, And makes new Conquests every Day, Without one borrowed Grace.

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* BELINDA’s haughty Air destorys What native Charms inspire; 10 While Chloe’s artless shining Eyes Set all the World on Fire: Belinda may our Pity move; But Chloe gives us Pain, And while she smiles us into Love, 15 Her Sister frowns in vain. *** R261 Song. CV. On a Bank of Flowers, In a Summer Day, Inviting and undrest, In her Bloom of Youth, Fair Celia lay, 5 With Love and Sleep opprest; 276

Text: TTM III (1727) When a youthful Swain, With admiring Eyes, Wish’d that she durst The sweet Maid surprise; 10 With a fa, la, la, la, &c. But fear’d approaching Spies. * As he gaz’d A gentle Zypher arose, That fann’d her Robes aside; And the sleeping Nymph 15 Did the Charms disclose, Which waking she would hide: Then his Breath grew short, And his Pulse beat high, He long’d to touch 20 What he chanc’d to spy; With a fa, la, la, &c. But durst not still draw nigh. * All amaz’d he stood, With her Beauties fir’d, And blest the courteous Wind; 25 Then in Whispers sigh’d, And the Gods desir’d, That Celia might be kind: When with Hopes grown bold, He advanc’d amain; 30 But she laugh’d loud In a Dream, and again, With a fa, la, la, &c. Repell’d the timerous [sic] Swain. * Yet the amorous Youth, To relieve his soft Pain, 35 The slumbering Maid carress’d; And with trembling Hand (O simple poor Swain!) Her glowing Bosom press’d: When the Virgin awak’d, 40 And affrighted flew, Yet look’d as wishing He would pursue; With a fa, la, la, &c. But Damon miss’d his Cue. 277

The Tea-Table Miscellany * Now, now repenting, 45 That he had let her fly, Himself he thus accus’d, That a dull and a stupid Blockhead was I, That such a Chance abus’d; 50 To my Shame ’twill now On the Plains be said, Damon a Virgin Asleep betray’d, With a fa, la, la, &c. And let her go a Maid. 55 *** R262 Song CVI. While silently I lov’d, nor dar’d, To tell my Crime aloud, The Influence of your Smiles I shar’d, In common with the Crowd. But when I once my Flame exprest, 5 In Hopes to ease my Pain, You singl’d me out from all the rest, The Mark of your Disdain. If thus, Corinna, you shall frown On all that do adore, 10 Then all Mankind must be undone, Or you must smile no more. *** R263 Song CVII. Oh! happy, happy Grove, Witness of our tender Love; Oh! happy, happy Shade, Where first our Vows were made: Blushing, sighing, melting, dying, 5 Looks would charm a Jove; A thousand pretty Things she said, And all — and all was Love: But Corinna perjur’d proves, And forsakes the shady Groves; 10 When I speak of mutual Joys, 278

Text: TTM III (1727) She knows not what I mean; Wanton Glances, fond Caresses, Now no more are seen, Since the false deluding Fair 15 Has left the flow’ry Green: Mourn, ye Nymphs, that sporting play’d, Where poor Strephon was betray’d; There the secret Wound she gave, When I was made her Slave. 20 *** R264 Song CVIII. The Sages of old, In Prophecy told, The Cause of a Nation’s Undoing; But our new English Breed No Prophecies need, 5 For each one her seeks his own Ruin. * With Grumbling and Jars, We promote Civil Wars, And preach up false Tenets to many; We snarl and we bite, 10 We rail and we fight For Religion, yet no Man has any. * Then him let’s commend, That’s true to his Friend, And the Church and the Senate would settle; Who delights not in Blood, But draws when he shou’d, And bravely stands brunt to the Battle.

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[*] Who rails not at Kings, Nor politick Things, 20 Nor Treason will speak when he’s mellow; But takes a full Glass, To his Country’s Success, This, this in an honest brave Fellow. 279

The Tea-Table Miscellany R265

Song CIX.

We all to conquering Beauty bow, Its pleasing Power admire; But I ne’er knew a Face till now, That cou’d like your’s inspire: Now I may say, I met with one, Amazes all Mankind; And, like Men gazing on the Sun, With too much Light am blind.

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* Soft, as the tender moving Sighs, When longing Lovers meet; 10 Like the divining Prophets, wise; Like new blown Roses, sweet: Modest, yet gay; reserv’d, yet free; Each happy Night a Bride; A Mein like awful Majesty, 15 And yet no Spark of Pride. * The Patriarch, to win a Wife, Chast, beautiful and young, Serv’d forteen Years a painful Life, And never thought it long: Ah! were you to reward such Care, And Life so long would stay, Not forteen, but four hundred Years, Would seem but as one Day.

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*** R266

Song CX.

Prithee, Billy, be’nt so silly, Thus to waste thy Days in Grief; You say, Betty will not let ye; But can Sorrow bring Relief? Leave repining, cease your whining; 5 Pox on Torment, Tears and Woe: If she’s tender, she’ll surrender; If she’s tough, --- e’en let her go.

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Text: TTM III (1727) R267

Song CXI.

Kindly, kindly, thus, my Treasure, Ever love me, ever charm; Let the Passion know no Measure, Yet no jealous Fear alarm. Why shou’d we, our Bliss beguiling, 5 By dull doubting fall at odds? Meet my soft Embraces smiling, We’ll be as happy as the Gods. *** R268 Song CXII. A Sour Reformation Crawls out-thro’ the Nation, While dunder-head Sages, Who hope for good Wages, Direct us the Way. 5 Ye Sons of the Muses, Then cloke your Abuses; And, least you shou’d trample On pious Example, Observe and obey. 10 Time-frenzy Curers, And stubborn Nonjurors, For want of Diversion, Now scourge the leud Times: They’ve hinted, they’ve printed, 15 Our Vein it profane is, And worst of all Crimes; The clod pated Railers, Smiths, Coblers and Colliers, Have damn’d all our Rhimes. 20 Under the Notion Of Zeal for Devotion, The Humour has fir’d ’em, And Malice inspir’d ’em, To tutor the Age: 25 But if in Season, You’d know the true Reason; The Hopes of Preferment, Is what makes the Vermin Now rail at the Stage. 30 281

The Tea-Table Miscellany Cuckolds and Canters, With Scruples and Banters, Old Oliver’s Peal, Against Poetry ring: But let State Revolvers, 35 Excuse, if I sing, The Rebel that chuses To cry down the Muses, Wou’d cry down the King.

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Title-page of The Tea-Table Miscellany, fourth volume (1737) Copy held at The Huntington, shelfmark 82250 v.2

Text: TTM IV (1737) R269

Etrick Banks.

I. On Etrick Banks, in a Summer’s Night, At Glowming, when the Sheep drave hame, I met my Lassy braw and tight, Came wading, barefoot, a’ her lane: My Heart grew light, I ran, I flang My Arms about her Lilly Neck, And kiss’d and clap’d her there fou lang; My Words they were na mony feck.

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II. I said, My Lassy, will ye go To the Highland Hills, the Earse to learn? 10 I’ll baith gi’e thee a Cow and Ew, When ye come to the Brigg of Earn. At Leith auld Meal comes in, ne’er fash, And Herrings at the Broomy Law; Chear up your Heart, my bonny Lass, 15 There’s Gear to win we never saw. III. All day when we have wrought enough, When Winter, Frosts and Snaw begin, Soon as the Sun gaes West the Loch, At Night when you sit down to spin, I’ll screw my Pipes and play a Spring: And thus the weary Night we’ll end, Till the tender Kid and Lamb-time bring Our pleasant Summer back again.

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IV. Syne when the Trees are in their Bloom, 25 And Gowans glent o’er ilka Field, I’ll meet my Lass amang the Broom, And lead you to my Summer Shield. Then far frae a’ their scornfu’ Din, That make the kindly Hearts their Sport, 30 We’ll laugh and kiss, and dance and sing, And gar the langest Day seem short.

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The Tea-Table Miscellany R270

The Birks of Invermay.

I. THe smiling Morn, the breathing Spring, Invite the tuneful Birds to sing; And while they warble from the Spray, Love melts the universal Lay. Let us, Amanda, timely wise, 5 Like them, improve the Hour that flies; And in soft Raptures waste the Day Among the Birks of Invermay. II. For soon the Winter of the Year, And Age, Life’s Winter, will appear, 10 At this thy living Bloom will fade, As that will strip the verdant Shade: Our Taste of Pleasure then is o’er, The feather’d Songsters are no more; And when they droop, and we decay, 15 Adieu the Birks of Invermay. III. The Lavrocks now and Lintwhite sing, The Rocks around with Echoes ring; The Mavis and the Black-bird vye, In tuneful Strains, to glad the Day; The Woods now wear their Summer Suits; To Mirth all Nature now invites: Let us be blythsome then and gay Among the Birks of Invermay.

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IV. Behold the Hills and Vales around, 25 With lowing Herds and Flocks abound; The wanton Kids and frisking Lambs Gambol and dance about their Dames; The busy Bees with humming Noise, And all the reptile Kind rejoice: 30 Let us, like them, then sing and play About the Birks of Invermay. V. Hark, how the Waters as they fall, Loudly my Love to Gladness call; The wanton Waves sport in the Beams, 35 And Fishes play throughout the Streams; 286

Text: TTM IV (1737) The circling Sun does now advance, And all the Planets round him dance: Let us as jovial be as they Among the Birks of Invermay. 40 *** R271 Hero and Leander, An old Ballad. I. Leander on the Bay Of Hellespont, all naked stood, Impatient of Delay, He leap’d into the fatal Flood: The raging Seas, 5 Whom none can please, ’Gainst him their Malice show; The Heavens lowr’d, The Rain down pour’d, And loud the Winds did blow. 10 II. Then casting round his Eyes, Thus of his Fate he did complain, Ye cruel Rocks and Skies! Ye stormy Winds and angry Main! What ’tis to miss 15 The Lover’s Bliss, Alas! ye do not know; Make me your Wreck As I come back, But spare me as I go. 20 III. Lo! yonder stands the Tower Where my beloved Hero lyes, And this th’ appointed Hour Which sets to watch her longing Eyes. To his fond Suit 25 The Gods were mute; The Billows answer, No: Up to the Skies The Surges rise, But sunk the Youth as low. 30 287

The Tea-Table Miscellany IV. Mean while the wishing Maid, Divided ’twixt her Care and Love, Now does his Stay upbraid; Now dreads he shou’d the Passage prove: O Fate! said she, 35 Nor Heaven, nor thee, Our Vows shall e’er divide. I’d leap this Wall, Cou’d I but fall By my Leander’s Side. 40 V. At length the rising Sun Did to her Sight reveal, too late, That Hero was undone; Not by Leander’s Fault, but Fate. Said she, I’ll shew, 45 Tho’ we are two, Our Loves were ever one: This Proof I’ll give, I will not live, Nor shall he die alone. 50 VI. Down from the Wall she leapt Into the raging Seas to him, Courting each Wave she met, To teach her weary’d Arms to swim. The Sea-Gods wept, 55 Not longer kept Her from her Lover’s Side. Then join’d at last, She grasp’d him fast, Then sigh’d, embrac’d, and died. 60 *** R272 Rare Willy drown’d in Yarrow. I. Willy’s rare and Willy’s fair, And Willy’s wondrous bonny; And Willy heght to marry me, Gin e’er he married ony.

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Text: TTM IV (1737) II. Yestreen I made my Bed fu’ braid, This Night I’ll make it narrow; For a’ the live lang Winter Night I ly twin’d of my Marrow.

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III. O came you by yon Water-side, Pou’d you the Rose or Lilly? 10 Or came you by yon Meadow green? Or saw ye my sweet Willy? IV. She sought him East, she sought him West, She sought him braid and narrow; Syne in the cleaving of a Craig 15 She found him drown’d in Yarrow. *** R273 The King and the Miller. I. How happy a State does the Miller possess! Who wou’d be no greater, nor fears to be less; On his Mill and himself he depends for Support, Which is better than servilely cringing at Court. What tho’ he all dusty and whit’ned does go, The more he’s bepowder’d, the more like a Beau: A Clown in his Dress may be honester far, Than a Courtier who struts in his Garter and Star, II. Tho’ his Hands are so daub’d, they’re not fit to be seen, The Hands of his Betters are not very clean; A Palm more polite may as dirtily deal, Gold in handling will stick to the Fingers like Meal. What if, when a Pudding for Dinner he lacks, He cribs without Scruple from other Mens Sacks; In this of right noble Example he brags, Who borrow as freely from other Mens Bags. III. Or shou’d he endeavour to heap an Estate, In this too he mimicks the Tools of the State, Whose Aim is alone their Costers to fill, And all his Concern’s to bring Grist to his Mill; He eats when he’s hungry, and drinks when he’s dry, 289

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The Tea-Table Miscellany And down when he’s weary contented does ly, Then rises up chearful to work and to sing: If so happy a Miller, then who’d be a King? *** R274 Tamo tanto. I. So much I love thee, O my Treasure! That my Flame no Bounds does know: Oh! look upon your Swain with Pleasure, For his Pain some Pity show. II. Oh, my Charmer! tho’ I leave you, Yet my Heart with you remains; Let not then my Absence grieve you, Since with Pride I wear your Chains.

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*** R275 The beautiful Singer. I. Singing charms the Blest above, Angels sing, and Saints approve; All we below Of Heaven can know, Is that they both sing and love. 5 II. Anna with an Angel’s Air, Sweet her Notes, her Face as fair: Vassals and Kings Feels, when she sings, Charms of warbling Beauty near. 10 III. Savage Nature conquer’d lyes, All is Wonder and Surprize; Souls expiring, Hearts a-firing, By her charming Notes and Eyes. 15 IV. Let the Violin and Harp Hang and moulder till they warp; 290

Text: TTM IV (1737) Let Flute and Lyre In Dust expire, Shatter’d by a vocal Sharp. 20 *** R276 Sweet William’s Ghost. I. There came a Ghost to Marg’ret’s Door, With many a grievous Groan, And ay he tirled at the Pin, But Answer made she none. II. Is that my Father Philip? 5 Or is’t my Brother John? Or is’t my true Love Willy From Scotland new come home? III. ’Tis not thy Father Philip, Nor yet thy Brother John; 10 But ’tis thy true Love Willy From Scotland new come home. IV. O sweet Marg’ret! O dear Marg’ret! I pray thee speak to me, Give me my Faith and Troth, Marg’ret, 15 As I gave it to thee. V. Thy Faith and Troth thou’s never get, Nor yet will I thee lend, Till that thou come within my Bower, And kiss my Cheek and Chin.

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VI. If I shou’d come within thy Bower, I am no earthly Man; And shou’d I kiss thy rosy Lips, Thy Days will not be lang. VII. O sweet Marg’ret! &c. as 4th Stanza. 291

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The Tea-Table Miscellany VIII. Thy Faith and Troth thou’s never get, Nor yet will I thee lend, Till you take me to yon Kirk-yard, And wed me with a Ring. IX. My Bones are bury’d in yon Kirk-yard, Afar beyond the Sea; And it is but my Sp’rit, Marg’ret, That’s now speaking to thee.

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X. She stretch’d out her Lilly-white Hand, And for to do her best, 35 Hae there’s your Faith and Troth, Willy, God send your Soul good Rest. XI. Now she has kilted her Robes of Green A Piece below her Knee, And a’ the live long Winter Night 40 The dead Corp followed she. XII. Is there any Room at your Head, Willy? Or any Room at your Feet? Or any Room at your Side, Willy, Wherein that I may creep? 45 XIII. There’s no Room at my Head, Marg’ret; There’s no Room at my Feet; There’s no Room at my Side, Marg’ret, My Coffin’s made so meet. XIV. Then up and crew the red red Cock, And up then crew the gray; ’Tis Time, ’tis Time, my dear Marg’ret, That you were going away. XV. No more the Ghost to Marg’ret said, But, with a grievous Groan, Evanish’d in a Cloud of Mist, And left her all alone. 292

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Text: TTM IV (1737) XVI. O stay, my only true Love, stay, The constant Marg’ret cry’d; Wan grew her Cheek, she clos’d her Een, Stretch’d her soft Limbs and dy’d.

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*** R277 Great Lamentation for the Loss of sweet Senisino I. AS musing I rang’d in a Meadow alone, A beautiful Creature was making her Moan; Oh! the Tears they did trickle full fast from her Eyes: She pierc’d both the Air and my Heart with her Cries. Oh ! the Tears, &c. II. I gently requested the Cause of her Moan, 5 She told me, her sweet Senisino was flown; And in that sad Posture she’d ever remain, Unless the dear Charmer wou’d come back again. And in, &c. III. Why, who is this mortal so cruel, said I, That draws such a Stream from so lovely an Eye! 10 To Beauty so blooming, what Man can be blind! To Passion so tender, what Monster unkind! To Beauty, &c. IV. ’Tis neither for Man, nor for Woman, said she, That thus, in lamenting, I water the Lee; My Warbler celestial, sweet Darling of Fame, Is a Shadow of something, a Sex without Name. My Warbler celestial, &c.

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V. Perhaps ’tis some Linnet, some Black-bird, said I, Perhaps ’tis your Lark that has soar’d to the Sky; Come dry up your Tears, and abandon your Grief, I’ll bring you another to give you Relief. 20 Come dry, &c. 293

The Tea-Table Miscellany VI. No Linnet, no Black-bird, no Sky-lark, said she, But one much more tuneful by far than all three; My sweet Senisino, for whom I now cry, Is sweeter than all the wing’d Songsters that fly. My Charmer, &c. VII. Adieu Farinelli, Cuzzoni likewise, 25 Whom Stars and whom Garters extol the Skies; Adieu to the Opera, adieu to the Ball, My Darling is gone, and a Fig for them all. Adieu, &c. *** R278 The Virgin’s Prayer. I. CUpid, ease a Love-sick Maid, Bring thy Quiver to her Aid; With equal Ardour wound the Swain: Beauty should never sigh in vain. II. Let him feel the pleasing Smart, 5 Drive thy Arrows through his Heart; When one you wound, you then destroy; When both you kill, you kill with Joy. *** R279 Ungrateful Nanny. I. DId ever Swain a Nymph adore, As I ungrateful Nanny do? Was ever Shepherd’s Heart so sore, Or ever broken Heart so true? My Cheeks are swell’d with Tears, but she Has never wet a Cheek for me. II. If Nanny call’d, did e’er I stay, Or linger when she did me run? She only had the Word to say, And all she wish’d was quickly done. 294

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Text: TTM IV (1737) I always think of her, but she Does ne’er bestow a Thought on me. III. To let her Cows my Clover taste, Have I not rose by Break of Day? Did ever Nanny’s Heifers fast, 15 If Robin in his Barn had Hay. Tho’ to my Fields they welcome were, I ne’er was welcome yet to her. IV. If ever Nanny lost a Sheep, I cheerfully did give her two; 20 And I her Lambs did safely keep Within my Folds in Frost and Snow: Have they not there from Cold been free? But Nanny still is cold to me. V. When Nanny to the Well did come, 25 ’Twas I that did her Pitcher fill; Full as they were, I brought them home: Her Corn I carried to the Mill; My Back did bear the Sack, but she Will never bear a Sight of me. 30 VI. To Nanny’s Poultry, Oats I gave, I’m sure they always had the best; Within this Week her Pidgeons have Eat up a Peck of Pease at least. Her little Pidgeons kiss, but she Will never take a Kiss from me. VII. Must Robin always Nanny woo, And Nanny still on Robin frown? Alas, poor Wretch! what shall I do, If Nanny does not love me soon! If no Relief to me she’ll bring, I’ll hang me in her Apron-string.

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The Tea-Table Miscellany R280 The Scullion’s Complaint. I. BY the Side of a great Kitchin Fire, A Scullion so hungry was laid, A Pudding was all his Desire; A Kettle supported his Head. The Hogs that were fed by the House, 5 To his Sigh with a Grunt did reply; And the Gutter that car’d not a Louse, Ran mournfully muddily by. II. But when it was set in a Dish, Thus sadly complaining he cry’d, My Mouth it does water, and wish, I think it had better been fry’d; The Butter around it was spread, ’Twas a great as a Prince in his Chair: Oh! might I but eat it, he said, The Proof of the Pudding lyes there. III. How foolish was I to believe It was made for so homely a Clown, Or that it would have a Reprieve From the dainty fine Folks of the Town. Could I think that a Pudding so fine Would ever uneaten remove: We labour that others may dine, And live in a Kitchin on Love.

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IV. What tho’ at the Fire I have wrought 25 Where Puddings we boil and we fry, Tho’ Part of it hither be brought, And none of it ever set by. Ah, Colin ! thou must not be first, Thy Knife and thy Trencher resign; 30 There’s Marg’ret will eat till she burst, And her Turn is sooner than mine. V. And you my Companions so dear, Who sorrow to see me so pale, Whatever I suffer, forbear, Forbear at a Pudding to rail. 296

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Text: TTM IV (1737) Tho’ I shou’d through all the Rooms rove, ’Tis in vain from my Fortune to go; ’Tis its Fate to be often above, ’Tis mine still to want it below.

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VI. If while my hard Fate I sustain, In your Breasts any Pity be found, Ye Servants that earliest dine, Come see how I ly on the Ground: Then hang up a Pan and a Pot, 45 And sorrow to see how I dwell; And say, when you grieve at my Lot, Poor Colin lov’d Pudding too well. VII. Then back to your Meat you may go, Which you set in your Dishes so prim, 50 Where Sauce in the Middle does flow, And Flowers are strew’d round the Brim: Whilst Colin, forgotten and gone, By the Hedges shall dismally rove, Unless when he sees the round Moon, 55 He thinks on a Pudding above.*1 *** R281 The Hunter’s Song. I. WHen betimes on the Morn to the Fields we repair, We range where the Chace may be seated; At the Sound of the Horn, all Disturbance and Care Flies away from the Din as defeated. II. Then Jouler doth roar, hearing Tolier before, 5 Brave Musick makes Sweet-lips and Mally, At the Sound of the Noise the Hunters rejoice, And the Squat makes the Ratches to rally. III. Then casting about, we find her anew, And we raise then a Haloo to chear them; The Echoes around from the Mountains resound, Rejoicing all Hearts that do hear them. * See the excellent Original, Vol. III. p. 37, of which this is the Burlesque.

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The Tea-Table Miscellany IV. And when she turns weak, and her Life’s at the Stake, We take Care to make her a Seizure; And soon as we kill, we recover at our Will, 15 And home we return at our Leisure. V. And when we come Home, our kind loving Dames With the best of good Chear can provide us; Good Liquors abound, and Health go round, Till nothing that’s bad can betide us.

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VI. Then we rise in a Ring, we dance and we sing, Having enough of our own, none to borrow: Can the Court of a King yield a pleasanter Thing? We’re the same just to Day as to Morrow. *** R282

The jolly Bender.

I. BAcchus must now his Power resign, I am the only God of Wine; It is not fit the Wretch shou’d be In Competition set with me, Who can drink ten times more than he.

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II. Make a new World, ye Powers divine, Stock it with nothing else but Wine: Let Wine the only Product be, Let Wine be Earth, be Air and Sea, And let that Wine be all for me.

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III. Let wretched Mortals vainly wear A tedious Life in anxious Care, Let the Ambitious toil and think, Let States and Empires swim or sink, My Soul’s Ambition is to drink.

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Text: TTM IV (1737) R283 The Haymaker’s Song. I. COme, Neighbours, now we’ve made our Hay; The Sun in haste Drives to the West, With Sports, with Sports conclude the Day. Let ev’ry Man chuse out his Lass, 5 And then salute her on the Grass: And when you find She’s coming kind, Let now that Moment pass; Then we’ll toss off our Bowls, 10 To true Love and Honour, To all kind loving Girls, And the Lord of the Mannor. II. At Night when round the Hall we sit, With good brown Bowls 15 To chear our Souls, And raise, and raise a merry Chat: When Blood grows warm, and Love runs high, And Jokes about the Table fly, Then we retreat, 20 And that repeat Which all would gladly try; Then we’ll toss off our Bowls, To true Love and Honour, To all kind loving Girls, 25 And the Lord of the Mannor. III. Let lazy great Ones of the Town Drink Night away, And sleep all Day, Till gouty, gouty they are grown; 30 Our daily Works such Vigour give, That nightly Sports we oft revive, And kiss our Dames With stronger Flames Than any Prince alive: 35 Then we’ll toss off our Bowls, To true Love and Honour, To all kind loving Girls, And the Lord of the Mannor. 299

The Tea-Table Miscellany R284

Watty and Madge, In Imitation of William and Margaret. I. ’TWas at the shining Mid-day Hour, When all behan to gaunt, That Hunger rugg’d at Watty’s Breast, And the poor Lad grow faint. II. His Face was like a Bacon Ham 5 That lang in Reek had hung, And Horn-hard was his tawny Hand That held his Hazel-rung. III. So wad the saftest Face appear Of the maist dressy Spark, And such the Hands that Lords wad hae, Were they kept close at Wark.

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IV. His Head was like a heathery Bush Beneath his Bonnet blew, On his braid Cheeks, frae Lug to Lug, 15 His bairdy Bristles grew. V. But Hunger, like a gnawing Worm, Gade rumbling through his Kyte, And nothing now but solid Gear Cou’d give his Heart Delyte. 20 VI. He to the Kitchin ran with Speed, To his lov’d Madge he ran, Sunk down into the Chimney-nook With Visage sowr and wan. VII. Get up, he cries, my crishy Love, 25 Support my sinking Saul With something that is fit to chew, Be’t either het or caul.

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Text: TTM IV (1737) VIII. This is the how and hungry Hour, When the best Cures for Gried 30 Are Cogue-fous of the lythy Kail, And a good Junt of Beef. IX. Oh Watty, Watty, Madge replies, I but o’er justly trow’d Your Love was thowless, and that ye 35 For Cake and Pudding woo’d. X. Bethink thee, Watty, on that Night, When all were fast sleep, How ye kiss’d me frae Cheek to Cheek, Now leave these Cheeks to dreep.

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XI. How cou’d ye ca’ my Hurdies fat, And Comfort of your Sight? How cou’d ye roose my dimpled Hand, Now all my Dimples slight? XII. Why did you promise me a Snood, 45 To bind my Locks sae brown? Why did you me fine Garters heght, Yet let my Hose fa’ down? XIII. O faithless Watty, think how aft I ment your Sarks and Hose! 50 For you how mony Bannocks stown, How mony Cogues of Brose. XIV. But hark! — the Kail-bell rings, and I Maun gae link aff the Pot; Come see, ye Hash, how fair I sweat, 55 To stegh your Guts, ye Sot. XV. The Grace was said, the Master serv’d, Fat Madge return’d again, Blyth Watty raise and rax’d himsell, And fidg’d he was sae fain. 301

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The Tea-Table Miscellany XVI. He hy’d him to the savoury Bench, Where a warm Haggies stood, And gart his Gooly through the Bag Let out its fat Heart’s Blood. XVII. And thrice he cry’d, Come eat, dear Madge, 65 Of this delicious Fare; Syne claw’d it aff most cleverly, Till he cou’d eat nae mair. *** R285 Celia in a Jessamine Bower. I. WHen the bright God of Day Drove Westward his Ray, And the Evening was charming and clear, The Swallows amain Nimbly skim o’er the Plain, 5 And our Shadows like Giants appear. II. In a Jessamine Bower, When the Bean was in Flower, And Zephyrs breath’d Odours around, Lov’d Celia she sat 10 With her Song and Spinet, And she charm’d all the Grove with her Sound. III. Rosy Bowers she sung, Whilst the Harmony rung, And the Birds they all flutt’ring arrive, 15 The industrious Bees From the Flowers and Trees, Gently hum with their Sweets to their Hive. IV. The gay God of Love, As he flew o’er the Grove, 20 By Zephyrs conducted along; As she touch’d on the Strings, He beat Time with his Wings, And Echoe repeated the song. 302

Text: TTM IV (1737) V. O ye Mortals! Beware 25 How you venture too near, Love doubly is armed to wound; Your Fate you can’t shun, For you’re surely undone, If you rashly approach near the Sound. 30 *** R286 Were not my Heart light, I wad die. I. THere was anes a May, and she loo’d na Men, She biggit her bonny Bower down in yon Glen, But now she cries Dool! and a well-a day Come down the green Gate, and come here away. But now she cries Dool! &c. II. When bonny young Johny came o’er the Sea, 5 He said he sae naithing sae lovely as me; He heght me baith Rings and mony braw Things: And were na my Heart light, I wad die. He heght, &c. III. He had a wee Titty that lood na me, Because I was twice as bonny as she; 10 She rais’d sic a Pother ’twixt him and his Mother, That were na my Heart light, I wad die. She rais’d, &c. IV. The Day it was set, and the Bridal to be, The Wife took a Dwam, and lay down to die; She main’d and she grain’d out of Dolour and Pain, 15 Till he vow’d he never wad see me again. She main’d, &c. V. His Kin was for ane of a higher Degree, Said, What had he to do with the like of me? Albeit I was bonny, I was na for Johny; And were na my Heart light, I wad die. 20 Albeit I was, &c. 303

The Tea-Table Miscellany VI. They said, I had neither Cow nor Caff, Nor Dribles of Drink rins throw the Draff, Nor Pickles of Meal rins throw the Mill-eye; And were na my Heart light, I wad die. Nor Pickles of, &c. VII. His Titty she was baith wylie and slee, 25 She spy’d me as I came o’er the Lee; And then she ran in and made a loud Din, Believe your ain Een, and ye trow na me. And then she, &c. VIII. His Bonnet stood ay fou round on his Brow, His auld ane looks ay as well as some’s new: 30 But now he lets’t wear ony Gate it will hing, And cast himsell dowie upon the Cornbing. But now he, &c. IX. And now he gaes drooping about the Dykes, And a’ he dow do is to hund the Tykes: The live lang Night he ne’er steeks his Eye, 35 And wer na my Heart light, I wad die. The live lang, &c. X. Were I young for thee, as I hae been, We shou’d hae been gallopping down on yon Green, And linking it on the Lilly-white Lee; And wow gin I were but young for thee. 40 And linking, &c. *** R287 Kind Robin lo’es me. ROBIN WHilst I alone your Soul possest, And none more lov’d your Bosom prest, Ye Gods, what King like me was blest, When kind Jeany lo’ed me! Hey ho Jeany, quoth he, 5 Kind Robin lo’es thee.

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Text: TTM IV (1737) JEANY. Whilst you ador’d no other Fair, Nor Kate with me your Heart did share, What Queen with Jeany cou’d compare, When kind Robin lo’ed me! Hey ho Robin, &c.

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ROBIN. Katy now commands my Heart, Kate who sings with so much Art, Whose Life to save with mine I’d part; For kind Katy lo’es me. 15 Hey ho Jeany, &c.

JEANY. Paty now delights mine Eyes, He with equal Ardour dies, Whose Life to save I’d perish twice; For kind Paty lo’es me. 20 Hey ho Robin, &c.

ROBIN. What if I Kate for thee disdain, And former Love return again, To link us in the strongest Chain; For kind Robin lo’es thee. 25 Hey ho Jeany, &c.

JEANY. Tho’ Paty’s kind, as kind can be, And thou more stormy than the Sea, I’d chuse to live and die with thee, If kind Robin lo’es me. 30 Hey ho Robin, &c.

*** R288 O my heavy Heart! Tune of, The Broom of Cowdenknows. I. O My Heart, my heavy, heavy Heart, Swells as’t wou’d burst in twain! No Tongue can e’er describe its Smart; Nor I conceal its Pain.

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The Tea-Table Miscellany II. Blow on ye Winds, descend soft Rains, 5 To sooth my tender Grief: Your solemn Musick lulls my Pain, And yields me short Relief. O my Heart, &c. III. In some lone Corner would I sit, Retired from human Kind; 10 Since Mirth, nor show, nor sparkling Wit, Can ease my anxious Mind. O my Heart, &c. IV. The Sun which makes all Nature gay, Torments my weary Eyes, And in dark Shades I pass the Day, 15 Where Echo sleeping lyes. O my Heart, &c. V. The sparkling Stars which gayly shine, And glittering deck the Night, Are all such cruel Foes of mine, I sicken at their Sight. 20 O my Heart, &c. VI. The Gods themselves their Creatures love, Who do their Aid implore; O learn of them, and bless the Nymph Who only you adore. O my Heart, &c. VII. The strongest Passion of the Mind, 25 The greatest Bliss we know, Arises from successful Love, If not the greatest Woe. O my Heart, &c.

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Text: TTM IV (1737) R289

Bellaspelling.

I. ALL you that would refine your Blood As pure as fam’d Lewelling, By Water clear, come every Year And drink at Bellaspelling. Tho’ Pox or Itch your Skin enrich 5 With Rubies past the telling, ’Twill clear your Skin, eye you have been A Month at Bellaspelling. II. Tho’ Ladies Cheeks be green as Leeks When they come from their Dwelling, 10 The kindling Rose within them blows While she’s at Bellaspelling. The sutty brown just come from Town, Grows here as fresh as Helen; Then back she goes to kill the Beaus 15 By Dint of Bellaspelling. III. Our Ladies are as fresh and fair As Ross or bright Dunkelling, And Mars might make a fair Mistake, Were he at Bellaspelling. 20 We must submit as they think fit, And there is no rebelling; The Reason’s plain, the Ladies reign Our Queens at Bellaspelling. IV. By matchless Charms and conquering Arms 25 They have the way of quelling Such desperate Foes, as dare oppose Their Power at Bellaspelling. Cold Water turns to Fire and burns, I know’t; because I fell in 30 The happy Stream where a fair Dame Did bathe at Bellaspelling. V. Fine Beaus advance, equipt for Dance, And bring their Anne and Nell in With so much Grace, I’m sure no Place Can vie with Bellaspelling. 307

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The Tea-Table Miscellany No Politicks, or subtile Tricks, No Man his Country selling; We eat and drink, and never think, Like Rogues at Bellaspelling. 40 VI. The pain’d in Mind, the puff’d with Wind, They all come here pell-mell in, And they are sure to find a Cure By drinking Bellaspelling. Tho’ Dropsy fill you to the Gill, 45 From Chin to Toe high Swelling, Pour in, pour out, you need not doubt A Cure at Bellaspelling. VII. Death throws no Darts in these good Parts, No Sextons here are knelling: 50 Come Judge and try, you’ll never die While you’re at Bellaspelling; Except you feel Darts tip’d with Steel, Which here are every Belle in, When from their Eyes sweet Ruin flys, 55 You die at Bellaspelling. VIII. Good Chear, good Air, much Joy, no Care, Your Sight, your Taste and Smelling, Your Ears, your Touch, transported much Each Day at Bellaspelling. 60 Within this Bound we all sleep sound, No noisy Dogs are yelling, Except you wake for Celia’s Sake All Night at Bellaspelling. IX. Here all you see, both he and she, 65 No Lady keeps her Cell in, But all partake the Mirth we make, Who live at Bellaspelling. My Rhime is gone, I think I’ve done, Unless I should bring Hell in; 70 But since we’re here to Heaven so near, I can’t at Bellaspelling.

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Text: TTM IV (1737) R290 The wandering Beauty. I. THe Graces and the wandering Loves Are fled to distant Plains, To chace the Fawns, or in the Groves To wound admiring Swains: With their bright Mistress there they stray, 5 Who turns her careless Eyes From daily Victories; yet each Day Beholds new Triumphs in her Way, And conquers as she flys, And conquers, &c. II. But see! implor’d by moving Prayers 10 To change the Lover’s Pain; Venus her harness’d Doves prepares, And brings the Fair again. Proud Mortals who this Maid pursue, Think you she’ll e’er resign? 15 Cease Fools your Wishes to renew, ’Till she grows Flesh and Blood like you, Or you like her divine, Or you, &c. *** R291 The sweet Temptation. I. Saw ye the Nymph whom I adore? Saw ye the Goddess of my Heart? And can you bid me love no more? And can ye think I feel no Smart? II. So many Charms around her shine, Who can the sweet Temptation fly? Spite of her Scorn, she’s so divine, That I must love her, tho’ I do.

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The Tea-Table Miscellany R292

Bonny Barbara Allan.

I. It was in and about the Martinmas time, When the green Leaves were a falling, That Sir John Græme in the West Country Fell in Love with Barbara Allan. II. He sent his Man down through the Town, 5 To the Place where she was dwelling, O haste and come to my Master dear, Gin ye be Barbara Allan. III. O hooly, hooly rose she up, To the Place where he was lying, 10 And when she drew the Curtain by, Young Man, I think you’re dying. IV. O its I’m sick, and very very sick, And ’tis a’ for Barbara Allan. O the better for me ye’s never be, Tho’ your Heart’s Blood were a spilling.

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V. O dinna ye mind, young Man, said she, When ye was in the Tavern a drinking, That ye made the Healths gae round and round, And slighted Barbara Allan. 20 VI. He turn’d his Face unto the Wall, And Death was with him dealing; Adieu, adieu, my dear Friends all, And be kind to Barbara Allan. VII. And slowly, slowly raise she up, 25 And slowly, slowly left him; And sighing, said, she cou’d not stay, Since Death of Life had reft him. VIII. She had not gane a Mile but twa, When she heard the dead Bell ringing, 310

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Text: TTM IV (1737) And every Jow that the dead Bell geid, It cry’d, Woe to Barbara Allan. IX. O Mother, Mother, make my Bed, O make it saft and narrow, Since my Love died for me to Day, 35 I’ll die for him the Morrow. *** R293 The Toper’s Petition. I. O Grant me, kind Bacchus, The God of the Vine, Not a Pipe nor a Tun, But an Ocean of Wine, With a Ship that’s well man’d 5 With such rare hearted Fellows, Who ne’er left the Tavern For a porterly Ale-house. II. Let the Ship spring a Leak, To let in the Tipple, 10 Without Pump or Long-boat, To save Ship or People: So that each jolly Lad May always be bound, Or to drink, or to drink, 15 Or to drink, or be drown’d. III. When Death does prevail, It is my Design To be nobly intomb’d In a Wave of good Wine: 20 So that living or dead, Both Body and Spirit, May float round the World In an Ocean of Claret.

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The Tea-Table Miscellany R294 The Relief by the Bowl. I. Since Drinking has Power to bring us Relief, Come fill up a Bowl, and the Pox on all Grief: If we find that won’t do, we’ll have such another, And so we’ll proceed from own Bowl to another; Till, like Sons of Apollo, we’ll make our Wit soar, Or in Homage to Bacchus fall down on the Floor. II. Apollo and Bacchus were both merry Souls, Each of them delighted to toss of their Bowls; Then let us to shew our selves Mortals of Merit, By toasting these Gods in a Bowl of good Claret, And then we shall each be deserving of Praise: But the Man that drinks most shall go off with the Bays.

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*** R295 On Masonry. I. By Mason’s Art, the aspiring Dome In various Columns shall arise; All Climates are their native Home, Their Godlike Actions reach the Skies. Heroes and Kings revere their Name, 5 And Poets sing their deathless Fame. II. Great, gen’rous, noble, wise and brave, Are Titles they most justly claim; Their Deeds shall live beyond the Grave, Which Babes unborn shall loud proclaim; Time shall their glorious Acts inroll, Whilst Love and Friendship charm the Soul. *** R296 The Coquet. I. From White’s and Will’s, To purling Rills, The Love-sick Strephon flies; There, full of Woe, 312

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Text: TTM IV (1737) His Numbers flow, 5 And all in Rhime he dies. II. The fair Coquet, With feign’d Regret, Invites him back to Town; But when in Tears 10 The Lad appears, She meets him with a Frown. III. Full oft the Maid This Prank had play’d, ’Till angry Strephon swore, 15 And what is strange, Tho’ loth to change, Would never see her more. *** R297 Gently touch, &c. I. Gently touch the warbling Lyre, Chloe seems inclin’d to Rest, Fill her Soul with fond Desire, Softest Notes will sooth her Breast. Pleasing Dreams assist in Love, 5 Let them all propitious prove. II. On the mossy Banks she lyes, (Nature’s verdant Velvet-bed) Beauteous Flowers meet her Eyes, Forming Pillows for her Head. 10 Zephyrs waft their Odours round, And indulging Whispers sound. *** R298 I M I T A T E D. I. Gently stir and blow the Fire, Lay the Mutton down to roast: Get me, quick, ’tis my Desire, In the Dreeping-pan a Toast, 313

The Tea-Table Miscellany That my Hunger may remove; 5 Mutton is the Meat I love. II. On the Dresser see it lyes; Oh the charming White and Red! Finer Meat near met my Eyes, On the sweetest Grass it fed: Swiftly make the Jack go round, Let me have it nicely brown’d.

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III. On the Table spread the Cloth, Let the Knives be sharp and clean; Pickles get of ev’ry sort, 15 And a Sallad crisp and green: Then with small Beer and sparkling Wine, O ye Gods! how I shall dine. *** R299 The happy Beggars. Queen of the Beggars. How blest are beggar Lasses, Who never toil for Treasure! We know no Care, but how to share Each Day successive Pleasure. Drink away, let’s be gay, 5 Beggars still with Bliss abound, Mirth and Joy ne’er can cloy, Whilst the sparkling Glass goes round. First Woman. A Fig for gaudy Fashions, No want of Clothes oppresses; We leave at Ease with Rags and Fleas, We value not our Dresses. Drink away, &c, Second Woman. We scorn all Ladies Washes, With which they spoil each Feature, No Patch or Paint our Beauties want, We live in simple Nature. Drink away, &c. Third Woman. No Cholick, Spleen, or Vapours, 314

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Text: TTM IV (1737) At Morn or Evening teaze us; We drink not Tea, or Ratafia; When sick, a Dram can ease us. 20 Drink away, &c. Fourth Woman. That Ladies act in private, By Nature’s soft Compliance; We think no Crime, when in our Prime, To kiss without a Licence. Drink away, &c. Fifth Woman. We know no Shame or Scandal, 25 The Beggars Law befriends us; We all agree in Liberty, And Poverty defends us. Drink away, &c. Sixth Woman. Like jolly beggar Wenches, Thus, thus we drown all Sorrow; We live to Day, and ne’er delay Our Pleasure till to Morrow. Drink away, &c.

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*** R300 Lucy and Colin. I. Of Leister, fam’d for Maidens fair, Bright Lucy was the Grace; Nor e’er did Liffy’s limpid Stream Reflect so sweet a Face: ’Till luckless Love and pining Care 5 Impair’d her rosy Hue, Her Coral Lips and Damask Cheeks, And Eyes of glossy Blue. II. Oh! have you seen a Lilly pale, When beating Rains descend? So droop’d the slow-consuming Maid, Her Life was near an End. By Lucy warn’d, or flatt’ring Swains Take heed, ye easy Fair, 315

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The Tea-Table Miscellany Of Vengeance due to broken Vows, 15 Ye perjur’d Swains beware. III. Three times, all in the dead of Night, A Bell was heard to ring; And shreeking at her Window thrice, The Raven slap’d his Wing: 20 Too well the Love-lorn Maiden knew The solemn bodding Sound, And thus in dying Words bespoke, The Virgins weeping round: IV. “ I hear a Voice you cannot hear, 25 “ Which says, I must not stay; “ I see a Hand you cannot see, “ Which beckons me away. “ By a false Heart and broken Vows, “ In early Youth I die: 30 “ Was I to blame, because his Bride “ Was thrice as rich as I? V. “ Ah Colin! give not her thy Vows, “ Vows due to me alone; “ Nor thou, fond Maid, receive his Kiss, 35 “ Nor think him all thy own. “ To Morrow in the Church to wed, “ Impatient both prepare: “ But know, fond Maid, and know, false Man, “ That Lucy will be there. 40 VI. “ Then bear my Coarse, my Comrades, bear, “ This Bridegroom blyth to meet; “He in the Wedding-trim so gay, “ I in my Winding sheet.” She spoke, she dy’d: Her Coarse was born, 45 The Bridegroom blyth to meet; He in his Wedding-trim so gay, She in her Winding sheet. VII. Then what were perjur’d Colin’s Thoughts! How were these Nuptials kept! The Bride’s Men flock’d round Lucy dead, And all the Village wept. 316

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Text: TTM IV (1737) Confusion, Shame, Remorse, Despair, At once his Bosom swell; The Damps of Death bedew’d his Brow, He shook, he groan’d, he fell. VIII. From the vain Bride (ah Bride no more!) The varying Crimson fled, When stretch’d before her Rival’s Coarse, She saw her Husband dead. Then to his Lucy’s new made Grave, Convey’d by trembling Swains, One Mold with her, beneath one Sod, For ever now remains.

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IX. Oft at his Grave, the constant Hind, 65 And plighted Maids are seen; With Garlands gay and true Love Knots They deck the sacred Green. But Swain foresworn, whoe’er thou art, This hallow’d Spot forbear; 70 Remember Colin’s dreadful Fate, And fear to meet him here. *** R301 Dermet’s Cronnoch. I. One Sunday after Mass, Dermet and his Lass To the Greenwood did pass, All alone, all alone, All alone, all alone, all alone.

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II. He ask’d for a Pogue, And she call’d him a Rogue, And struck him with her Brogue. Ahon! ahon! ahon! III. Said he, My dear Shoy, Why will you prove coy? Let us play, let us toy, All alone, all alone, All alone, all alone, all alone. 317

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The Tea-Table Miscellany IV. If I were so mild, You are so very wild, You would get me a Shild. Ahon! ahon! ahon! V. He brib’d her with Fruits, And he brib’d her with Nuts, ’Till a Thorn prick’d her Foots. Haloo! haloo! haloo! haloo!

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VI. Shall I pull it out? You will hurt me, I doubt, And make me to shout. 25 Haloo! haloo! haloo! *** R302 A Review of St. Paul’s Church, Covent-Garden I. Having spent all my Time Upon Women and Wine, I went to the Church out of Spite; But what the Priest said Is quite out of my Head, I resolv’d not to edify by’t.

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II. All the Women I view’d, Both religious and lewd, From the sable Top-knot to the Scarlets; An even Wager I’d lay, 10 That at a foul Play The House ne’er swarm’d so with Harlots. III. Madam Lovely I saw With her Daughters-in-law, Who she offers to Sale ev’ry Sunday ; 15 In the midst of her Prayers She negoriates Affairs, And signs Assignations for Monday. 318

Text: TTM IV (1737) IV. Next, a Baron Knight’s Daughter, Whose own Mother taught her, By Precept and practical Notions, To wear gaudy Clothes, And ogle the Beaux, Was at Church, to shew Signs of Devotion. V. Next, a Lady of Fame, Who we shall not name, She’ll give you no Trouble in teaching; She has a very fine Book, But ne’er on it does look, And regards neither praying nor preaching.

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VI. Madam Fair there she sits, Almost out of her Wits, Betwixt Vice and Devotion debating; She’s as vicious as fair, And has no Business there, 35 To hear Master Tickle Text-prating. VII. From the Corner of the Square Comes a hopeful young Pair, As religious as they see Occasion; But if Patches or Paint Be true Signs of a Saint, We’ve no Reason to fear their Damnation.

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VIII. When thus he had done, He blest every one, With his Benediction the People: 45 So I run to the Crown, Lest the Church shou’d fall down, And beat out my Brains with the Steeple. *** R303 Susan’s Complaint and Remedy. I. AS down in the Meadows I chanced to pass, Oh! there I beheld a young beautiful Lass, Her Age, I am sure, it was scarcely fifteen, 319

The Tea-Table Miscellany And she on her Head wore a Garland of Green: Her Lips were like Rubies; and as for her Eyes They sparkled like Diamonds, or Stars in the Skies; And as for her Voice it was charming and clear, And she sung a Song for the Loss of her Dear.

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II. Why does my Love Willy prove false and unkind? Ah! why does he change like the wavering Wind, 10 From one that is loyal in every Degree? Ah! why does he change to another from me? Or does he take Pleasure to torture me so? Or does he delight in my sad Overthrow? Susannah will always prove true to her Trust, 15 ’Tis Pity lov’d Willy shou’d prove so unjust. III. In the Meadows as we were a making of Hay, There did we pass the soft Minutes away; Then was I kiss’d, and sat down on his Knee, No Man in the World was so loving as he. And as he went forth to harrow and plow, I milk’d him sweet Sillabubs under my Cow: O then I was kiss’d as I sat on his Knee! No Man in the World was so loving as he.

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IV. But now he has left me! And Fanny the Fair 25 Employs all his Wishes, his Thoughts and his Care: He kisses her Lip as she sits on his Knee, And says all the sweet Things he once said to me: But if she believe him, the false-hearted Swain Will leave her, and then she with me may complain. 30 For nought is more certain, believe silly Sue, Who once has been faithless can never be true. V. She finish’d her Song, and ’rose up to be gone, When over the Meadow came jolly young John, Who told her that she was the Joy of his Life, And if she’d consent he wou’d make her his Wife: She cou’d not refuse him, so to Church they went; Young Willy’s forgot, and young Susan’s content. Most Men are like Willy, most Women like Sue; If Men will be false, why shou’d Women be true? 320

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Text: TTM IV (1737) R304

The Cobler.

I. A Cobler there was, and he liv’d in a Stall, Which serv’d him for Parlour, for Kitchin and Hall; No Coin in his Pocket, no Care in his Pate, No Ambition had he, nor Duns at his Gate. Derry down, down, down, derry down.

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II. Contented he work’d, and he thought himself happy, If at Night he cou’d purchase a Cup of brown Nappy; He’d laugh then and whistle, and sing too most sweet, Saying, Just to a Hair I’ve made both Ends meet. Derry down, &c. III. But Love the Disturber of high and of low, 10 That shoots at the Peasant as well as the Beau, He shot the poor Cobler quite through the Heart, I wish it had hit some more ignoble Part. Derry down, &c. IV. It was from a Cellar this Archer did play, Where a buxom young Damsel continually lay; 15 Her Eyes shone so bright when she rose every Day, That she shot the poor Cobler straight over the Way. Derry down, &c. V. He sung her Love Songs as he sat at his Work, But she was as hard as a Jew or a Turk: When ever he spoke, she wou’d flounce, and wou’d tear; 20 Which put that poor Cobler quite into Despair. Derry down, &c. VI. He took up his Aul, that he had in the World. And to make away with himself was resolv’d, He pierc’d thro’ his Body instead of the Sole: So the Cobler he dy’d, and the Bell it did toll. 25 Derry down, &c. 321

The Tea-Table Miscellany R305 The bonny Earl of Murray. I. Ye Highlands and ye Lawlands, Oh! where have you been? They have slain the Earl of Murray, And they lay’d him on the Green! They have, &c. II. Now wae be to thee, Huntly, 5 And wherefore did you sae? I bade you bring him wi’ you, But forbade you him to slay. I bade, &c. III. He was a braw Gallant, And he rid at the Ring; 10 And the bonny Earl of Murray, Oh! he might have been a King. And the, &c. IV. He was a braw Gallant, And he play’d at the Ba’; And the bonny Earl of Murray 15 Was the Flower amang them a’. And the, &c. V. He was a braw Gallant, And he play’d at the Glove; And the bonny Earl of Murray, Oh! he was the Queen’s Love. And the, &c. VI. Oh! lang will his Lady Look o’er the Castle Down, E’er she see the Earl of Murray Come sounding thro’ the Town. E’er she, &c.

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Text: TTM IV (1737) R306 If e’er I do well, ’tis a Wonder. I. WHen I was a young Lad, My Fortune was bad; If e’er I do well, ’tis a Wonder: I spent all my Means On Whores, Bawds and Queans; 5 Then I got a Commission to plunder. Fall all de rall, &c. II. The Hat I have on So greasy is grown, Remarkable it is for its shining: ’Tis stitch’d all about, 10 Without Button or Loop, And never a bit of a Lining. Fall all de rall, &c. III. The Coat I have on, So Thread bare is worn, So out at the Armpits and Elbows, 15 That I look as absurd As a Sailor on board, That has ly’n fifteen Months in the Bilbos. Fall all de rall, &c. IV. My Shirt it is tore Both behind and before, 20 The Colour is much like a Cinder; ’Tis so thin and so fine, That it is my Design To present it to the Muses for Tinder. Fall all de rall, &c. V. My blue Fustian Breeches 25 Is wore to the Stitches, My Legs you may see what’s between them, My Pockets all four, I’m the Son of a Whore, If there’s ever one Farthing within them. 30 Fall all de rall, &c. 323

The Tea-Table Miscellany VI. I have Stockings, ’tis true, But the Devil a Shoe, I’m obliged to wear Boots in all Weather Be damn’d the Boot-sole, Curse on the Spur-roll, 35 Confounded be the Upper-leather. Fall all de rall, &c. VII. Had ye then but seen The sad Plight I was in, Ye’d not seen such a Poet amongst twenty; I have nothing that’s full, 40 But my Shirt and my Scull, For my Pockets and Belly were empty. Fall all de rall, &c. *** R307 The Fumblers Rant. I. Come Carles a’ of Fumblers Ha’, And I will tell you of our Fate, Since we have married Wives that’s braw, And canna please them when ’tis late: A Pint we’ll take, our Hearts to chear; 5 What Fauts we have, our Wives can tell: Gar bring us in baith Ale and Beer, The auldest Bairn we hae’s our sell. II. Christning of Weans we are redd off, The Parish Priest ’tis he can tell, 10 We aw him nought but a gray Groat, The Off’ring for the House we dwell. Our Bairns’s Tocher is a’ paid, We’re Masters of the Gear our sell; Let either Well or Wae betide, 15 Here’s a Health to a’ the Wive’s that’s yell. III. Our Nibour’s auld Son and the Lass, Into the Barn amang the Strae, He grips her in the Dark beguess, And after that comes meikle Wae. Repentance ay comes afterhin’, 324

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Text: TTM IV (1737) It cost the Carle baith Corn and Hay; We’re quat of that with little Din, Sic crosses haunt ne’er you nor I. IV. Now merry, merry may we be, 25 When we think on our Nibour Robie, The Way the Carle does, we see, Wi’ his auld Son and Daughter Maggy; Boots he maun hae, Pistols, why not; The Hussy maun hae corkit Shoon: 30 We are no sae, gar fill the Pot, We’ll drink to a’ the Hours at E’en. V. Here’s a Health to John Mackay we’ll drink, To Hughie, Andrew, Rob and Tam; We’ll sit and drink, we’ll nod and wink, 35 It is o’er soon for us to gang. Foul fa the Cock, he’as spilt the Play, And I do trow he’s but a Fool, We’ll sit a while, ’tis lang to Day, For a’ the Cocks they rave at Yool. 40 VI. Since we have met, we’ll merry be, The foremost hame shall bear the Mell; I’ll set me down, lest I be fee, For fear that I should bear’t my sell. And I, quoth Rob, and down sat he, 45 The Gear shall never me out-ride, But we’ll take a Sowp of the Barley Bree, And drink to our yell Fire-side. *** R308 The Matron’s Wish. I. When my Locks are grown hoary, And my Visage looks pale; When my Forehead has Wrinkles, And my Eye-sight does fail; Let my Words and my Actions 5 Be free from all Harm, And may I have my old Husband To keep my Back warm. 325

The Tea-Table Miscellany CHORUS. The Pleasures of Youth Are Flowers but of May; 10 Our Life’s but a Vapour, Our Body’s but Clay: O let me live well, Tho’ I live but a Day. II. With a Sermon on Sunday, 15 And a Bible of good Print; With a Pot on the Fire, And good Viands in’t; With Ale, Beer and Brandy, Both Winter and Summer, 20 To drink to my Gossip, And be pledg’d by my Cummer. The Pleasures of, &c. III. With Pigs and with Poultry, And some Money in Store, To purchase the needful, 25 And to give to the Poor: With a Bottle of Canary To sip without Sin, And to comfort my Daughter Whene’er she lyes in. 30 The Pleasures of, &c. IV. With a Bed soft and easy To rest on at Night, With a Maid in the Morning To rise with the Light, To do her Work neatly, 35 And obey my Desire, To make the House clean, And blow up the Fire. The Pleasures of, &c. V. With Health and Content, And a good Easy Chair; 40 With a thick Hood and Mantle, When I ride on my Mare. Let me dwell near my Cup-board, And far from my Foes, 326

Text: TTM IV (1737) With a Pair of Glass Eyes 45 To clap on my Nose. The Pleasures of, &c. VI. And when I am dead, With a Sigh let them say, Our honest old Cummer’s Now laid in the Clay: 50 When young, she was chearful, No Scold, nor no Whore; She assister her Neighbours, And gave to the Poor. Tho’ the Flower of her Youth 60 In her Age did decay, Tho’ her Life like a Vapour Evanish’d away, She liv’d well and happy Unto her last Day. 65 *** R309 The free Mason’s Song. I. Come let us prepare, We Brothers that are Assembled, on merry Occasion: Let’s drink, laugh and sing, Our Wine has a Spring; 5 Here’s a Health to an accepted Mason. II. The World is in Pain Our Secret to gain, And still let them wonder and gaze on: They ne’er can divine 10 The Word, or the Sign, Of a free and an accepted Mason. III. ’Tis this and ’tis That, They cannot tell what, Why so many great Men of the Nation Should Aprons put on, 327

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The Tea-Table Miscellany To make themselves one With a free and an accepted Mason. IV. Great Kings, Dukes and Lords, Have laid by their Swords, Our Myst’ry to put a good Grace on, And ne’er been asham’d To hear themselves nam’d With a free and an accepted Mason. V. Still firm to our Trust, In Friendship we’re just, Our Actions we guide by our Reason: By observing this Rule, The Passions move cool Of a free and an accepted Mason. VI. All idle Debate About Church or the State, The Springs of Impiety and Treason; These Raisers of Strife Ne’er ruffle the Life Of a free and an accepted Mason. VII. Antiquity’s Pride We have on our Side, Which adds high Renown to our Station There’s nought but what’s good To be understood By a free and an accepted Mason.

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VIII. The Clergy embrace, And all Aaron’s Race, Our square Actions their Knowledge to place on And in each Degree They’ll honoured be With a free and an accepted Mason.

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IX. We’re true and sincere In our Love to the Fair, Who will trust us on every Occasion: No Mortal can more

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Text: TTM IV (1737) The Ladies adore Than a free and an accepted Mason. X. Then join hand in hand, T’each other firm stand, Let’s be merry, and put a good Face on: What Mortal can boast So noble a Toast As a free and an accepted Mason?

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*** R310 The Sailor’s Rant. I. How pleasant a Sailor’s Life passes, Who roams o’er the watery Main! No Treasure he ever amasses, But chearfully spends all his Gain. We’re Strangers to Party and Faction, To Honour and Honesty true; And would not commit a bad Action, For Power, or Profit in View. CHORUS. Then why should we quarrel for Riches, Or any such glittering Toy? A light Heart and a thin Pair of Breeches Goes thorow the World, brave Boy.

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II. The World is a beautiful Garden, Enrich’d with the Blessings of Life, The Toiler with Plenty rewarding, 15 Which Plenty too often breeds Strife. When terrible Tempests assail us, And mountainous Billows affright; No Grandeur or Wealth can avail us, But skilful Industry steers right. 20 Then why should, &c. III. The Courtier’s more subject to Dangers, Who rules at the Helm of the State, Than we, that to Politicks are Strangers Escape the Snares laid for the Great. The various Blessings of Nature, 25 329

The Tea-Table Miscellany In various Nations we try: No Mortal than us can be greater, Who merrily live till we dy. Then why should, &c. *** R311 A Love Song in the modern Taste by Dr. Swift. I. Flutt’ring spread thy purple Pinions, Gentle Cupid, o’er my Heart; I a Slave in thy Dominions, Nature must give Way to Art. II. Mild Arcadians, ever blooming, 5 Nightly nodding o’er your Flocks, See my weary Days consuming All beneath yon flowery Rocks. III. Thus the Cyprian Goddess weeping, Mourn’d Adonis, darling Youth, 10 Him the Boar, in Silence creeping, Gor’d with unrelenting Tooth. IV. Cynthia tune harmonious Numbers, Fair Discretion string the Lyre, Sooth my ever waking Numbers, 15 Bright Apollo lend thy Choir. V. Gloomy Pluto, King of Terrors, Arm’d in Adamantine Chains, Lead me to the Crystal Mirrors Wat’ring soft Elysian Plains. 20 VI. Mournful Cypress, verdant Willow, Gilding my Aurelia’s Brows, Morpheus hov’ring o’er my Pillow, Hear me pay my dying Vows. VII. Melancholy, smooth Meander 25 Swiftly purling in a Round, 330

Text: TTM IV (1737) On thy Margin Lovers wander, With thy flow’ry Chaplets crown’d. VIII. Thus when Philomela drooping, Softly seeks her silent Mare; See the Birds of Juno stooping: Melody resigns to Fate.

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*** R312 Silvia and the Flask. I. I Thank thee, my Friend, That at length you declare, Why Silvia’s so coy As to shun me with Care: I mus’d every Night, And rack’d my poor Soul, To find out the Cause Of a Falshood so foul.

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II. But she tells me, she cannont With Claret agree, 10 That she thinks of a Hogshead Whene’er she sees me: That I smell like a Beast, And therefore that I Must resolve to forsake her, 15 Or Claret, good Claret, deny. III. Ye Gods! was e’er it known That Beasts smell’d of Wine? They brutishly abhor A Liquor so divine: 20 ’Tis then we are most Beasts, When like them in common, We eagerly go a hunting For the next lewd Woman. IV. Must I love my hear Bottle, That has been ever my Friend, Which prolongs all my Joys, To my Grief puts an End? Which inspires me with Wit, 331

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The Tea-Table Miscellany And makes me so sublime, That there’s none are like us That drink the best Wine.

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V. But Silvia, whom Nature So perfect has made, Has no Room left for Withes, 35 New Beauties to add. Must I leave her, I’m sorry, It is too hard a Task; Yet she may go to the Devil, Bring me the other Flask. 40 *** R313 Love, Drink and Debt. I. I Have been in Love, and in Debt, and in Drink, These many and many a Year; And these are Plagues enough I shou’d think For any poor Mortal to bear. ’Twas Love made me fall into Drink; And Drink made me fall into Debt; And tho’ I have struggled and strove, I cannot get out of them yet. II. There’s nothing but Money can cure me, And rid me of all my Pain; ’Twill pay all my Debts, And remove all my Lets; And my Mistress, that cannot endure me, Will love me, and love me again: Then, then I shall fall to my Loving and Drinking again. *** R314 The Farmer’s Son. I. Sweet Nelly, my Heart’s Delight, Be loving, and do not slight The Profer I make, for Modesty’s sake, 332

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Text: TTM IV (1737) I honour your Beauty bright; For Love I profess, I can do no less, Thou hast my Favour won: And since I see your Modesty, I pray agree and fancy me, Tho’ I’m but a Farmer’s Son. II. No: I am a Lady gay, ’Tis very well known I may Have Men of Renown in Country and Town, Sir Roger without Delay. Court Bridget, or Sue, Kate, Nanny, or Prue, Their Loves will soon be won; But don’t ye dare to speak me fair, As tho’ I were at my last Pray’r, To marry a Farmer’s Son. III. My Father has Riches in store, Two Hundred a Year and more, Besides Sheep and Cows, Carts, Harrows and Plows, His Age is above threescore: And when he gives Way, then merrily I Shall have what he has won; Both Land and Kine, and all shall be thine, If thou’lt incline, and wilt be mine, And marry a Farmer’s Son.

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IV. A Fig for your Cattle on Corn, Your profer’d Love I scorn; ’Tis known very well my Name is Nell, 30 And you’re but a Bumpkin born. Well, since it is so, away I will ago, And I hope no Harm is done; Farewell, adieu, I hope to woo As good as you, and win her too, 35 Tho’ I’m but a Farmer’s Son. V. Be not in such Haste, quoth she, Perhaps we may still agree: For, Man, I protest, I was but in Jest, Come prithee sit down by me; For thou art the Man that verily can Perform what must be done, 333

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The Tea-Table Miscellany Both strait and tall, genteel withal, Therefore I shall be at your Call To marry a Farmer’s Son. VI. Dear Nelly believe me now, I solemnly swear and vow, No Lords in their Lives take Pleasure in Wives Like Fellows that drive the Plow: For whate’er they gain with Labour and Pain, They don’t do Harlots run As Courtiers do. I never knew A London Beau that could outdo A Country Farmer’s Son.

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*** R315 The Angel Woman. I. WHen thy Beauty appears With its Graces and Airs, All bright as an Angel New dropt from the Sky: At Distance I gaze, 5 And am aw’d by my Fears; So strangely you dazzle mine Eye! II. But then without Art Your kind Thoughts you impart, When your Love runs in Blushes 10 Through every Vein, When it darts from your Eyes, When it pants from your Heart, Then I know you’re a Woman again. III. There’s a Passion and Pride 15 In our Sex, she reply’d, And thus (might I gratify both) I would do, Still an Angel appear To each Lover beside, 20 But still be a Woman to you.

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Text: TTM IV (1737) R316

Roger’s Courtship.

I. Young Roger came tapping At Dolly’s Window, Tumpaty, Tumpaty, Tump: He beg’d for Admittance, She answer’d him, No; 5 Glumpaty, Glumpaty, Glump. My Dolly, my Dear, Your true Love is here, Dumpaty, Dumpaty, Dump: No, no, Roger, no, 10 As you came you may go, Slumpaty, Slumpaty, Slump. II. Oh! what is the Reason, Dear Dolly? he cry’d: Humpaty, &c. That thus I am cast off, 15 And unkindly deny’d: Trumpaty, &c. Some Rival more dear I guess has been here: Crumpaty, &c. Suppose there’s been two, Sir, Pray what’s that to you, Sir? 20 Numpaty, &c. III. Oh! then with a sad Look His Farewel he took: Humpaty, &c. And all in Despair He leap’d into the Brook: Plumpaty, &c. His Courage he cool’d, 25 He found himself fool’d: Mumpaty, &c. He swam to the Shore, And saw Dolly no more: Rumpaty, &c. IV. Oh! then she recall’d, And recall’d him again: 30 335

The Tea-Table Miscellany Humpaty, &c. Whilst he like a Madman Ran over the Plain: Slumpaty, &c. Determin’d to find A Damsel more kind: Plumpaty, &c. While Dolly afraid 35 She must die an old Maid: Mumpaty, &c. *** R317 Jump at a Crust. I. As I am a Friend, Be willing to lend An Ear to these Lines, Which in Pity I pen’d, ’Tis a cordial Advice, 5 Girls be not too nice, Young Lovers are now At another gate Price Than they have been. II. I pray you refrain 10 Your Scorn and Disdain, If young Men you slight, They’ll slight you again. They’ll make you run mad, Sigh heavy and sad, 15 There are not so many Young Men to be had As there have been. III. Perhaps you suppose Fine furbelow’d Clothes 20 Will serve for a Portion: But under the Rose, If Truth may be spoke, ’Tis but a mere Joke; For Love without Money 25 Will vanish like Smoke, Let me tell ye. 336

Text: TTM IV (1737) IV. The Country Clown, When he comes to Town, He values not Miss 30 With her Butterfly Gown; I tell you it wont do, There must be a few Bright glittering Guineas, A thousand or two, 35 Or he’ll leave ye. V. Young Men are grown wise, A Portion they prize, They are done with the Charms Of your conquering Eyes. A Portion! they cry, If Love you would buy; In order to purchase, You then must bid high, Or live single.

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VI. Once Batchelors, they Did sigh, whine and pray; Bit still we’re put off With a scornful Delay. Down with your Dust, 50 A Portion there must; Poor Girls would be glad To jump at a Crust, Could ye get it. *** R318 Merry Beggars. First Beggar. I Once was a Poet at London, I kept my Heart still full of Glee; There’s no Man can say that I’m undone, For Beginning’s no new Trade to me. Toll deroll, &c. Second Beggar. I once was an Attorney at Law, And after a Knight of the Post; Give me a brisk Wench and clean Straw, 337

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The Tea-Table Miscellany And I value not who rules the Roast. Toll deroll, &c. Third Beggar. Make Room for a Soldier in Buff, Who valiantly strutted about, 10 ’Till he fancy’d the Peace breaking off, And then he most wisely sold out. Toll deroll, &c. Fourth Beggar. Here comes a Courtier polite, Sir, Who flatter’d my Lord to his Face; Now Railing is all his Delight, Sir, 15 Because he miss’d getting a Place. Toll deroll, &c. Fifth Beggar. I still am a merry Gut-scraper, My Heart never yet felt a Qualm; Tho’ poor, I can frolick and vapour, And sing any Tune but a Psalm. 20 Toll deroll, &c. Sixth Beggar. I was a fanatical Preacher, I turn’d up my Eyes when I pray’d; But my Hearers half-starv’d their Teacher For they believ’d not one Word that I said. Toll deroll, &c. First Beggar. Whoe’er wou’d be merry and free, 25 Let him list, and from us he may learn; In Palaces who shall you see Half so happy as we in a Barn? Toll deroll, &c. CHORUS of all. Whoe’er would be merry, &c.

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Text: TTM IV (1737) R319

To Signora Cuzzoni.

I. Little Syrene of the Stage, Charmer of an idle Age, Empty Warbler, breathing Lyre, Wanton Gale of fond Desire. II. Bane of every manly Art, 5 Sweet Enfeebler of the Heart; Oh too pleasing is thy Strain! Hence to Southern Climes again. III. Tuneful Mischief, vocal Spell, To this Island bid Farewell: 10 Leave us as we ought to be, Leave the Britons rough and free. *** R320

HAPPINESS.

Tune, To all you Ladies now at Land. I. My dearest Maid, since you desire To know what I would wish, What Store of Wealth I would require To gain true Happiness; This faithful Inventary take 5 Of all that Life can easy make. II. Here happy only are the few Who wish to live at home, Who never do extend their View Beyond their small Income. 10 An Income which should ever be The Fruit of honest Industry. III. A Soul serene and free from Fears, With no Contentions vex’d, Nor yet with vain and anxious Cares To be at all perplex’d, 339

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The Tea-Table Miscellany A Body that’s with Health endow’d, An open Temper, yet not rude. IV. A Heart that’s always circumspect, Unknowing to deceive, 20 Yet ever wisely can reflect, Not easy to believe. As to my Dress, let it be plain, Yet always neat without a Stain. V. A cleanly Hearth and chearful Fire To drive away the Cold, A moderate Glass one would require When merry Tales are told: The Company of an easy Friend, My Like in Fortune and in Mind.

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VI. Some Shelfs of Books of the right Kind, For Knowledge and Delight, Not intricate, nor interlin’d With narrow Party Spite: A Garden fair, to paint me clear 35 Nature’s Gradations through the Year. VII. To give true Relish to Delight, A chaste and chearful Wife, With sweetest Humour to unite Our Hearts as long as Life: 40 Sound Sleep, whose kind delusive Turn, Shall join the Evening to the Morn. VIII. So would we live agreeably, And ever be content, To PROVIDENCE ay thankful be 45 For all those Blessings lent. O Sovereign Power! but grant me this, No more I’ll ask, no more I’ll wish. J.W.

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Text: TTM IV (1737) R321

Smirky Nan.



Tune, Nannio.

I. Ah! woes me, poor Willy cry’d, See how I’m wasted to a Span? My Heart I lost, when first I spy’d The charming, lovely Milk-maid Nan. I’m grown so weak, a gentle Breeze 5 Of dusky Roger’s winnowing Fan Would blow me o’er yon beachy Trees, And all for thee my smirky Nan. II. The Ale-wife misses me of late, I used to take a hearty Can; 10 But I can neither drink nor eat, Unless ’tis brew’d and bak’d by Nan. The Baker makes the best of Bread, The Flower he takes, and leaves the Bran: The Bran is every other Maid, 15 Compar’d with thee my smirky Nan. III. But Dick of th’Green, that nasty Lown, Last Sunday to my Mistress ran, He snatch’d a Kiss: I knock’d him down Which hugely pleas’d my smirky Nan 20 But hark! the roaring Soger comes, And rattles Tantara Taran, She leaves her Cows for noisy Drums, Woes me, I’ve lost my smirky Nan! *** R322 Tarry Woo. I. Tarry Woo, tarry Woo, Tarry Woo is ill to spin, Card it well, card it well, Card it well e’er ye begin. When ’tis carded, row’d and spun, 5 Then the Work is haflens done; But when woven, drest and clean, It may be Cleading for a Queen. 341

The Tea-Table Miscellany II. Sing my bonny harmless Sheep That feed upon the Mountains steep, 10 Bleeting sweetly as ye go Through the Winter’s Frost and Snow. Hart and Hynd, and Fallow Deer, No be haff sae useful are; Frae Kings to him that hads the Plow 15 Are all oblig’d to tarry Woo. III. Up ye Shepherds, dance and skip, O’er the Hills and Valleys trip, Sing up the Praise of tarry Woo, Sing the Flocks that bear it too; 20 Harmless Creatures without Blame, That clead the Back and cram the Wame, Keep us warm and hearty fou; Leese me on the tarry Woo. IV. How happy is a Shepherd’s Life! 25 Far frae Courts, and free of Strife, While the Glimmers bleet and bae, And the Lambkins answer Mae: No such Musick to his Ear, Of Thief or Fox he has no Fear; 30 Sturdy Kent, and Colly too, Well defend the tarry Woo. V. He lives Content, and envies none, Not even a Monarch on this Throne, Tho’ he the Royal Scepter sways, 35 Has not sweeter holy Days. Who’d be a Kind, can ony tell, When a Shepherd sings sae well? Sings sae well, and pays his Due, With honest Heart and tarry Woo. 40

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Text: TTM IV (1737) R323 On Henrietta’s Recovery. Tune, My Deary if thou die. I. If Heaven, its Blessings to augment, Call Henny to the Skies, Hence from the Earth flies all Content, The Moment that she dies: For in this Earth there is no Fair 5 Can give such Joy to me; How great must then be my Despair, My Henny ann thou die. II. But now pale Sickness leaves her Face, And now my Charmer smiles; New Beauty heightens every Grace, And all my Fear beguiles: The bounteous Powers have heard the Prayers I daily made for thee, Like them be kind, and ease my Cares Else I my self must die.

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*** R324 Hodge of the Mill and buxome Nell. I. Young Roger of the Mill, One Morning very soon, Put on his best Apparel, New Hose and clouted Shoon; And he a wooing came 5 To bonny buxome Nell, Dear Lass, cries he, cou’dst fancy me, I like thee wond’rous well. II. My Horses I have drest, And gi’en them Corn and Hay, 10 Put on my best Apparel: And having come this Way, Let’s sit and chat a while With thee my bonny Nell. Dear Lass, cries he, cou’dst fancy me, 15 I’se like thy Person well. 343

The Tea-Table Miscellany III. Young Roger, you’re mistaken, The Damsel then reply’d, I am not in such a Haste To be a Plowman’s Bride; 20 Know I then live in Hopes To marry a Farmer’s Son: If it be so, says Hodge, I’ll go; Sweet Mistress, I have done. IV. Your Horses you have drest, 25 Good Hodge, I heard you say, Put on your best Apparel; And being come this Way, Come sit and chat a while. O no indeed, not I, 30 I’ll neither wait, nor sit, nor prat, I’ve other Fish to fry. V. Go take your Farmer’s Son With all my honest Heart: What tho’ my Name be Roger, 35 That goes at Plow and Cart? I need not tarry long, I soon may gain a Wife; There’s buxome Joan, it is well known She loves me as her Life. 40 VI. Pray what of buxome Joan? Can’t I please you as well? For she has ne’er a Penny, And I am buxome Nell; And I have fifty Shillings. 45 The Money made him smile: Oh then, my Dear, I’ll draw a Chair, And chat with thee a while. VII. Within the Space of half an Hour This Couple a Bargain struck, 50 Hoping that with their Money They both wou’d have good Luck. To your Fifty I’ve Forty, With which a Cow we’ll buy; We’ll join our Hands in Wedlock Bands, 55 Then who but you and I? 344

Text: TTM IV (1737) R325

Buttery May.

I. In yonder Town there wons a May, Snack and perfyte as can be ony, She is sae jimp, sae gamp, sae gay, Sae capernoytie, and sae bonny: She has been woo’d and loo’d by mony, 5 But she was very ill to win; She wadna hae him, except he were bonny, Tho’ he were ne’er sae noble a Kin. II. Her Bonnyness has been forseen In ilka Town baith far and near, 10 And when she kirns her Minny’s Kirn She rubs her Face till it grows clear: But when her Minny she did perceive Sic great Inlack amang the Butter, Shame fa’ that filthy Face of thine, 15 ’Tis Crish that gars yours Grunzie glitter. There’s Dunkyson, Davyson, Robie Carniel, The Lass with the Petticoat dances right well, Sing Stidrum, Stouthrum, Suthrom, Stony, Ann ye dance ony mair, we’se tell Mess Johny. 20 Sing, &c. *** R326 The wise Penitent. Sung my Mr. Gay. I. Daphnis stood pensive in the Shade, With Arms across and Head reclin’d; Pale Looks accus’d the cruel Maid, And sighs reliev’d his Love-sick Mind: His tuneful Pipe all broken lay, 5 Looks, Sighs and Actions seem’d to say My Chloe is unkind. II. Why ring the Woods with warbling Throats? Ye Larks, ye Linnets, cease your Strains; I faintly hear in your soft Notes 10 345

The Tea-Table Miscellany My Chloe’s Voice, that wakes my Pains, But why would you your Songs forbear? Your Mates delight your Songs to hear, But Chloe mine disdains. III. As thus he melancholly stood 15 Dejected, as the lonely Dove, Sweet Sound broke gently thro’ the Wood I feel a Sound my Heart-strings move: ’Twas not the Nightingale that sung; No, ’tis Chloe’s sweeter Tongue: 20 Hark! hark! what says my Love? IV. How simple is the Nymph, she cries, Who trifles with her Lover’s Pain? Nature still speaks in Womens Eyes, Our artful Lips are made to feign. 25 Oh Daphnis! Daphnis! ’twas my Pride, ’Twas not my Heart thy Love deny’d: Come back, dear Youth, again. V. As t’other Day my Hand he seiz’d, My Blood with trickling Motion flew, 30 Sudden I put on Looks displeas’d, And hasty from his Hold withdrew: ’Twas Fear alone, thou simple Swain; Then hadst thou press’d my Hand again, My Heart had yielded too. 35 VI. ’Tis true, thy tuneful Reed I blam’d, That swell’d thy Lip and rosy Cheek; Think not thy Skill in Song defam’d, Thy Lip should other Pleasures seek. Much much thy Musick I approve, 40 Yet break thy Pipe, for more I love Much more to hear thee speak. VII. My Heart forbodes that I’m betray’d: Daphnis, I fear, is ever gone! Last Night with Delia’s Dog he play’d; 45 Love by such Trifles first comes on. Now, now, dear Shepherd, come away, My Tongue would now my Heart betray. Ah Chloe! thou art won. 346

Text: TTM IV (1737) VIII. The Youth stept forth with hasty Pace, 50 And found where wishing Chloe lay; Shame sudden lightned in her Face, Confus’d, she knew now what to say: At last, in broken Words, she cry’d, To-morrow you in vain had try’d, 55 But I am lost To-day. *** R327 Old Darby. An Advice to Chloe. I. Dear Chloe, while thus beyond Measure You treat me with Doubts and Disdain, You rob all your Youth of its Pleasure, And hoard up an old Age of Pain; Your Maxim, that Love is still founded 5 On Charms that will quickly decay, You’ll find to be very ill grounded, When once you its Dictates obey. II. The Love that from Beauty is drawn By Kindness, you ought to improve; 10 Soft Looks and gay Smiles are the Dawn, Fruition the Sun-shine of Love. And tho’ the bright Beams of your Eyes Should be clouded, that now are so gay, And Darkness obscure all the Skies, 15 You ne’er can forget it was Day. III. Old Darby, with Joan by his Side, You have often regarded with Wonder, He’s dropsical, she is dim-ey’d, Yet they’re ever uneasy asunder: 20 Together they totter about, Or sin in the Sun at the Door; And at Night when old Darby’s Pot’s out, His Joan will not smoke a Whiff more. IV. No Beauty nor Wit they possess, 25 Their several Failings to cover: 347

The Tea-Table Miscellany Then what are the Charms, can you guess, That make them so fond of each other? ’Tis the pleasing Remembrance of Youth, The Endearments that Youth did bestow, The Thoughts of past Pleasure and Truth, The best of our Blessings below. V. Those Traces for ever will last, No Sickness or Time can remove: For when Youth and Beauty are past, And Age brings the Winter of Love, A Friendship insensibly grows, By Reviews of such Raptures as these; The Current of Fondness still flows, Which decrepit old Age cannot freeze.

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*** R328 The modern Marriage Question. I. Happy the World in that blest Age, When Beauty was not bought & sold, When the fair Mind was uninflam’d With the mean Thirst of baneful Gold. With the mean Thirst, &c. II. Then the kind Shepherd when he sigh’d, The Swain, whose Dog was all his Wealth, Was not by cruel Parents forc’d To breathe the am’rous Vow by Stealth. To breath, &c.

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III. Now the first Question Fathers ask, When for their Girls fond Lovers sue, 10 Is, —What’s the Settlement you’ll make? You’re poor!—he flings the Door at you. You’re poor! &c.

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Text: TTM IV (1737) R329

The Country Wake.

I. I’ll sing you a Dittay, and warrant it true, Give but Attention unto me a while, Of Transactions in Court, and in Country too, Toilsome Pleasure, and pleasing Toil: Accept it, I pray, as your Help-mates you take 5 To some ’twill give Joy, And some others Annoy; All’s fair at a Country Wake. All’s fair, &c. II. Many Ladies at Court are stil’d unpolite, Because truly virtuous, and prone to no Ill; 10 Whilst others who sparkle in Diamonds bright, Are stript of their Pride at Basset or Quadrille, Till their Losses at Play do their Lords Credit shake: Then their Toys to recover, They’ll grant the last Favour; 15 Strange News at a Country Wake. Strange News, &c. III. Here most of our Gentlemen Patriots are Tho’ very bad Statesmen, I freely confess They design Harm to none, but a Fox or a Hare, And are always found loyal in War and in Peace. 20 The Farmer’s Industry does Earth fertile make; The Husbandman’s plowing, His planting and sowing, Gets Health and good Cheer at a Country Wake. Gets Health, &c. IV. Our Maids blooming fair, without Washes and Paints, 25 From neighbouring Villages hither resort, They kiss sweet as Roses, yet virtuous as Saints; (Who can say more for the Ladies at Court?) No worldly Cares vex them asleep or awake, But their Time they improve 30 In Peace and true Love, And innocent Mirth at a Country Wake. And innocent, &c. 349

The Tea-Table Miscellany V. The Schemes of a Courtier are full of Intrigue; Here all’s fair and open, dark Deeds we despise, Set rural Contentment ’gainst courtly Fatigue, 35 Who chuses the former is happy wise: Now let’s pray for the King, and, for Britain’s Sake, From all Factions free, May his Subjects agree, As well at the Court as the Country Wake. 40 As well, &c. *** R330 Oaths in fashion. Custom prevailing so long ’mongst the Great, Makes Oaths easy Potions to sleep on; Which many (on gaining good Places) repeat, Without e’er designing to keep one. For an Oath’s seldom kept, as a Virgin’s fair Fame, 5 A Lover’s fond Vows, or a Prelate’s good Name; A Lawyer to Truth, or a Statesman from Blame, Or a Patriot’s Heart in a Courtier. *** R331 The terrible Law. I. The terrible Law when it fastens its Paw On a poor Man, it grips till he’s undone; And what I am doing may prove to my Ruin, Tho’ rich as the Lord Mayor of London. II. Therefore I’ll be wary what Message I carry, 5 Unless we first make a zure Bargain; I will be’dempnified, thorowly satisfied, That ch’an shan’t zuffer a Varding. *** R332 The Play of Love. First Act. The Play of Love is now begun, And thus the Actions do go on; Strephon, enamour’d, courts the Fair, 350

Text: TTM IV (1737) She hears him with a careless Air, And smiles to find him in Loves Snare.

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Second Act. The Act Tune play’d, they meet again, Here Pity moves her for his Pain, Which she evades with some Pretence, And thinks she may with Love dispense, But pants to hear a Man of Sense.

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Third Act. The third Approach her Lover makes, She colours up whene’er she speaks; But with feign’d Slights she puts him by, And faintly cries, she can’t comply, Altho’ she gives her Heart the Ly.

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Fourth Act. Now the Plot rises, he seems shy, As if some other Fair he’d try; At which she wells with Spleen and Fear, Lest some more wise his Love should share, Which yet no Woman e’er can bear.

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Fifth Act. The last Act now is wrought so high, That thus it crowns the Lover’s Joy; She does no more his Passion shun, He strait into her Arms does run: The Curtain falls, the Play is done.

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*** R333 Fanny fair. I. To Fanny fair could I impart The Cause of all my Woe! That Beauty which has won my Heart, She scarcely seems to know: Unskill’d in th’Art of Womankind, 5 Without Design she charms; How can those sparkling Eyes be blind, Which every Bosom warms? II. She knows her Power is all Deceit, The conscious Blushes shows, 10 351

The Tea-Table Miscellany Those Blushes to the Eye more sweet Than th’op’ning budding Rose: Yet the delicious fragrant Rose, That charms the Sense so much, Upon a thorny Briar grows, 15 And wounds with ev’ry Touch. III. At first when I beheld the Fair, With Raptures I was blest; But as I would approach more near, At once I lost my Rest: Th’inchanting Sight, the sweet Surprize, Prepare me for my Doom; One cruel Look from those bright Eyes Will lay me in my Tomb.

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*** R334 The Bottle preferr’d. I. Proud Woman I scorn you, Brisk Wine’s my Delight, I’ll drink all the Day, And I’ll revel at Night. II. As great as a Monarch, 5 The Moments I pass, The Bottle’s my Globe, And my Scepter’s the Glass. III. The Table’s my Throne, And the Tavern’s my Court, The Drawer’s my Subject, And Drinking’s my Sport.

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IV. Here’s the Chief of all Joy, Here’s a Mistress ne’er coy; Dear Cure of all Sorrows, 15 And Life of all Bliss: I’m a King when I hug you, But more when I kiss.

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Text: TTM IV (1737) R335

Tippling John.

I. As tippling John was jogging on, Upon a Riot Night, With tottering Pace and fiery Face, Suspicious of high Flight; The Guards, who took him by his Look 5 For some chief Fiery-brand, Ask’d, whence he came? what was his Name? Who are you? Stand Friend, stand. II. I’m going home, from Meeting come. Ay, says one, that’s the Case; 10 Some Meeting he has burnt, you see The Flame’s still in his Face. John thought it Time to purge his Crime, And said, My chief Intent Was to asswage my thirsty Rage, 15 I’th’Meeting that I meant. III. Come Friend be plain, you trifle in vain, Says one, pray let us know, That we may find how you’re inclin’d; Are you High Church or Low? John said to that, I’ll tell you what, To end Debates and Strife, All I can say, this is the Way I steer my Course of Life.

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IV. I ne’er to Bow, nor Burgess go, 25 To Steeple, House nor Hall, The brisk Bar-Bell best suits my Zeal With Gentlemen d’ye call; Guess then, am I Low Church or High, From that Tow’r, or no Steeple, 30 Whose merry Toll exalts the Soul, And must make high flown People? V. The Guards came on and look’d at John With Countenance most pleasant, By Whisper round they all soon found 35 He was no damag’d Peasant. 353

The Tea-Table Miscellany Thus while John stood the best he cou’d, Expecting their Decision; Damn him, says one, let him begone, He’s of our own Religion.

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*** R336 Belinda. I. Would Fate to me Belinda give, With her alone I’d chuse to live; Variety I’d ne’er require, Nor a greater, nor a greater, Nor a greater Bliss desire. 5 II. My charming Nymph, if you can find Amongst the Race of human kind, A Man that loves you more than I, I’ll resign you, I’ll resign you, I’ll resign you, tho’ I die. 10 III. Let my Belinda fill my Arms, With all her Beauty, all her Charms; With Scorn and Pity I’d look down On the Glories, on the Glories, On the Glories of a Crown. 15 *** R337 Beauty and Rigour. I. The Nymph that undoes me is fair and unkind, No less than a Wonder by Nature design’d; She’s the Grief of my Heart and the Joy of my Eye, And the Cause of a Flame that never can die. And the Cause, &c. II. Her Mouth, from whence Wit still obligingly flows, 5 Has the beautiful Blush and the Smell of the Rose: Love and Destiny both attend on her Will; She wounds with a Look, with a Frown she can kill. She wounds, &c. 354

Text: TTM IV (1737) III. The desperate Lover can hope no Redress, Where Beauty and Rigour are both in Excess; 10 In Silvia they meet, so unhappy am I, Who sees her must love, who loves her must die. Who sees her, &c. *** R338 The Rival. I. Of all the Torment, all the Care, By which our Lives are curst, Of all the Sorrows that we bear, A Rival is the worst. By Partners in another kind 5 Afflictions easier grow, In Love alone we hate to find Companions in our Woe. II. Silvia, for all the Griefs you see Arising in my Breast, 10 I beg you not that you’d pity me, Would you but slight the rest. Howe’er severe your Rigours are, Alone with them I’d cope, I can endure my own Despair, 15 But not another’s Hope. *** R339 Hunting Song going out. I. Hark! away, ’tis the merry ton’d Horn Calls the Hunters all up with the Morn; To the Hills and the Woodlands they steer, To unharbour the out-lying Deer.

CHORUS of Huntsmen. All the Day long, 5 This, this is our Song, Still hallooing, And following; So frolick and free, Our Joys know no Bounds, 10 355

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While we’re after the Hounds, No Mortals on Earth are so jolly as we.

II. Round the Woods when we beat, how we glow, While the Hills they all echo Hillo; With a Bounce from his Cover when he flies, Then our Shouts they resound to the Skies. All the Day, &c. III. When we sweep o’er the Valleys, or climb Up the Heath-breathing Mountain sublime, What a Joy from our Labour we feel! Which alone they who taste can reveal. All the Day, &c.

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*** R340 The Return from the Chace. I. The sweet rosy Morn peeps over the Hills, With Blushes adorning the Meadows and Fields, The merry, merry, merry Horn calls, Come, come away, Awake from your Slumbers, and hail the new Day. 5 The merry, &c. II. The Stag rouz’d before us, away seems to fly, And pants to the Chorus of Hounds in full Cry, Then follow, follow, follow the musical Chace, Where Pleasure and vigorous Health you embrace. Then follow, &c. III. The Day’s Sport when over makes Blood circle right, And gives the brisk Lover fresh Charms for the Night; Then let us, let us now enjoy all we can while we may, Let Love crown the Night, as our Sports crown the Day. Then let us, &c.

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Text: TTM IV (1737) R341

The Girl that’s blyth and gay. Tune, Black Jock.

Of all the Girls in our Town, Or black, or yellow, or fair or brown, With their soft Eyes and Faces so bright; Give me a Girl that’s blyth and gay, As warm as June, and as sweet as May, 5 With her Heart free and faithful as Light. What lovely Couple then cou’d be So happy and so blest as we! On whom the sweetest Joys wou’d smile, And all the Cares of Life beguile, 10 Entranc’d in Bliss each rapt’rous Night. *** R342 Cynthia’s Perplexity I. Cynthia frowns whene’er I woo her, Yet she’s vex’d if I give over, Much she fears I should undo her, But much more to lose her Lover: Thus in doubting she refuses, 5 And not winning thus she loses. II. Prithee Cynthia, look behind you, Age and Wrinkles will o’ertake you; Then, too late, Desire will find you When the Power must forsake you. Think upon the sad Condition To be past, yet wish Fruition.

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*** R343 Nought but Love. I. The Sun was sunk beneath the Hill, The western Clouds were lin’d with Gold, The Sky was clear, the Winds were still, The Flocks were pant within the Fold; When, from the Silence of the Grove, 5 Poor Damon thus despair’d of Love! 357

The Tea-Table Miscellany II. Who seeks to pluck the fragrant Rose From the bare Rock, or oozy Beach; Who from each barren Wood that grows Expects the Grape, or blushing Peach; With equal Faith may hope to find The Truth of Love in Womankind. III. I have no Herds, no fleecy Care, No Fields that wave with golden Grain, No Pastures green, nor Gardens fair, A Maiden’s venal Heart to gain: Then all in vain my Sighs must prove, For I, alas! have nought but Love. IV. How wretched is the faithful Youth, Since Womens Hearts are bought and sold? They ask not Vows of sacred Truth, Whene’er they sigh, they sigh for Gold. Gold can the Frowns of Scorn remove, But I, alas! have nought but Love.

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V. To buy the Gems of India’s Coast, 25 What Wealth, what Treasure can suffice Not all their Shine can ever boast The living Lustre of her Eyes: For these the World too cheap would prove But I, alas! have nought but Love. 30 VI. O Silvia! since nor Gems, nor Oar, Can with your brighter Charms compare, Consider that I offer more, More seldom found a Soul sincere: Let Riches meaner Beauties move, Who pays thy Worth, must pay in Love.

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Text: TTM IV (1737) R344

Tell me, my Heart.

I. When Delia on the Plain appears, Aw’d by a thousand tender Fears, I would approach, but dare not move: Tell me, my Heart, if this be Love? II. Whene’er she speaks, my ravish’d Ear No other Voice but her’s can bear, No other Wit but her’s approve: Tell me, my Heart, If this be Love? III. If she some other Swain commend, Tho’ I was once his fondest Friend, That instant Enemy I prove: Tell me, my Heart, if this be Love?

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IV. When she is absent, I no more Delight in all that pleas’d before, The clearest Spring, or shady Grove: 15 Tell me, my Heart, if this be Love? V. When arm’d with insolent Disdain, She seem’d to triumph in my Pain; I strove to hate, but vainly strove: Tell me, my Heart, if this be Love?

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*** R345 Cupid mistaken. I. As after Noon, one Summer’s Day, Venus stood bathing in a River, Cupid a shooting went that Way, New strung his Bow, and fill’d his Quiver: With Skill he chose his sharpest Dart, With all his Might his Bow he drew; Swift to his beauteous Parent’s Heart, The too well guided Arrow flew. 359

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The Tea-Table Miscellany II. I faint! I die! the Goddess cry’d: O cruel! Cou’dst thou find none other 10 To wreck thy Spleen on? Parricide, Like Nero, thou hast slain thy Mother Poor Cupid, sobbing, scarce cou’d speak Indeed Mamma I did not know ye: Alas! how easy the Mistake, 15 I took you for your Likeness Chloe. *** R346 Silvia to Alexis. I. Alexis, how artless a Lover! How bashful and silly you grow! In my Eyes can you never discover I mean Yes when I often say No? I mean, &c. II. When you pine and you whine out your Passion, 5 And only intreat for a Kiss; To be coy and deny is the Fashion, Alexis should ravish the Bliss. Alexis should, &c. III. In Love, as in War, ’tis but Reason To make some Defence for the Town; 10 To surrender without it were Treason, Before that the Outworks were won. Before that, &c. IV. If I frown, ’tis my Blushes to cover, ’Tis for Honour and Modesty’s sake; He is but a pitiful Lover 15 Who is foil’d by a single Attack. Who is, &c. V. But when we by Force are o’erpower’d, The best and the bravest must yield; I am not to be won by a Coward, Who hardly dares enter the Field. 20 Who hardly, &c. 360

Text: TTM IV (1737) R347

The serious Lover.

I. Believe my Sighs, my Tears, my Dear Relieve the Heart you’ve won, Believe my Vows to you sincere, Or, Jenny, I’m undone. You say I’m fickle, and apt to change 5 At every Face that’s new; Of all the Girls I ever saw, I ne’er lov’d one but you. II. My Heart was like a Lump of Ice, Till warm’d by your bright Eye; 10 And then it kindled in a Trice, A Flame that ne’er can die. Then take and try me, you shall find That I’ve a Heart that’s true; Of all the Girls I ever saw, 15 I ne’er lov’d one like you. *** R348 The grateful Admirer. False tho’ she be to me and Love, I’ll never pursue Revenge; For still the Charmer I approve, Tho’ I deplore her Change. In Hours of Bliss we oft have met, 5 They could not always last; But tho’ the present I regret, I’m grateful for the past. I’m grateful, &c. *** R349 Celia and Sabina. I. Thirsis, a young and am’rous Swain, Saw two, the Beauties of the Plain, Who both his Heart subdue: Gay Celia’s Eyes were dazling fair; Sabina’s easy Shape and Air, 5 With softer Musick drew. 361

The Tea-Table Miscellany II. He haunts the Stream, he haunts the Grove, Live in a fond Romance of Love, And seems for each to die; ’Till each a little spiteful grown, 10 Sabina Celia’s Shape ran down, And she Sabina’s Eye. III. Their Envy made the Shepherd find Those Eyes that Love could only blind; So let the Lover free. No more he haunts the Grove or Stream, Or, with a true Love-knot or Name, Engraves a wounded Tree. IV. Ah Celia! sly Sabina cry’d, Tho’ neither love, we’re both deny’d, Let either fix the Dart. Poor Girl! says Celia, say no more; That Spite which broke his Chains before, Would break the other’s Heart.

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*** R350 The fair Warning Young Virgins love Pleasure, As Misers do Treasure; And both alike study To heighten the Measure; Their Hearts they will rifle 5 For every new Trifle. And when in their Teens Fall in Love for a Song; But soon as they marry, And find Things miscarry: 10 Oh! how they sigh That they were not more wary. Instead of soft Wooing They run to their Ruin, And all their Lives after 15 Drag Sorrow along.

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Text: TTM IV (1737) R351

Petticoat wooing.

I. Dear Colin, prevent my warm Blushes, How can I speak without Pain? My Eyes have oft told you their Wishes: Why can’t you the Meaning explain? II. My Passion wou’d loose by Expression, And you too might cruelly blame; Then pray don’t expect a Confession Of what is too tender to name. III. Since yours is the Province of speaking, How can you expect it from me? Our Wishes shou’d be in our keeping, Till you tell us what they shou’d be. IV. Then quickly why don’t you discover? Did your Heart feel such Tortures as mine, I need not tell over and over What I in my Bosom confine.

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*** R352 Colin’s Reply. I. Good Madam, when Ladies are willing, A Man must needs look like a Fool; For me I wou’d not give a Shilling For one that does love without Rule. II. At least you shou’d wait for our Offers, Not snatch like old Maids in Despair; Had you liv’d to these Years without Profers, Your Sighs were all spent in the Air. III. You shou’d leave us to guess by your blushing, And not tell the Matter so plain; ’Tis ours to be writing and pushing, And yours to affect a Disdain. 363

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The Tea-Table Miscellany IV. But you’re in a terrible taking, By all the fond Oglings I see; The Fruit that can fall without shaking 15 Indeed is too mellow for me. *** R353 The Country Lass’s Ambition. I. What tho’ they call me Country Lass? I read it plainly in my Glass, That for a Dutchess I might pass: Oh, could I see the Day! Wou’d Fortune but attend my Call, At Park, at Play, at Ring, and Ball, I’d brave the proudest of them all, With a stand-by, clear the Way. II. Surrounded by a Crowd of Beaus With smart Toupees and powder’d Clothes, At Rivals I’ll turn up my Nose; Oh, could I see the Day! I’ll dart such Glances from these Eyes, Shall make some Duke, or Lord, my Prize; And then, oh! how I’ll tyrannize, With a stand-by, clear the Way. III. Oh! then for every new Delight, For Equipage, and Diamonds bright, Quadrille, and Balls, and Plays, all Night: Oh, could I see the Day! Of Love and Joy I’d take my Fill, The tedious Hours of Life to kill, In every thing I’d have my Will, With a stand-by, clear the Way.

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Text: TTM IV (1737) R354 The following Song is said to be made in Honour of our Sovereign Lady Mary Queen of Scots. I. You meaner Beauties of the Night, Who poorly satisfy our Eyes, More by your Number than your Light, Ye are but Officers of the Skies; What are ye when the Moon doth rise?

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II. You Violets that first appear, By your fine Purple Colour known, Taking Possession of the Year, As if the Spring were all your own; What are ye when the Rose is blown?

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III. You charming Birds that in the Woods Do warble forth your lively Lays, Making your Passion understood In softest Notes; What is your Praise, When Philomel her Voice does raise? 15 IV. You glancing Jewels of the East, Whose Estimation Fancies raise, Pearls, Rubies, Sapphires, and the rest Of glittering Gems; What is your Praise When the bright Diamond shews his Rays?

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V. But ah! poor Light, Gem, Voice and Smell, What are ye if my MARY shine? Moon, Diamond, Flowers, and Philomel, Light, Lustre, Scent, and Musick tine, And yield to Merit more divine.

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VI. Thus when my Mistress you have seen In Beauties of her Face and Mind, First, by Descent, she is a Queen; Judge then if she be not divine, And Glory of all Womankind. 30 365

The Tea-Table Miscellany VII. The Rose and Lilly, the hale Spring, Unto her Breath for Sweetness speed; The Diamond darkens in the Ring: When she appears, the Moon looks dead, As when Sol lifts his radiant Head. 35 *** R355 There Gowans are gay. I. There Gowans are gay, my Joy, There Gowans are gay, They gar me wake when I shou’d sleep, The first Morning of May. II. About the Fields as I did pass, 5 There Gowans are gay, I chanc’d to meet a proper Lass, The first Morning of May. III. Right busy was that bonny Maid, There Gowans are gay, 10 I halst her, syne to her I said, The first Morning of May: IV. O Lady fair, what do ye here? There Gowans are gay, Gathering the Dew, what need ye speir; 15 The first Morning of May. V. The Dew, quoth I, what can that mean? There Gowans are gay; Quoth she, to wash my Mistress clean, The first Morning of May. 20 VI. I asked farder at her syne, There Gowans are gay, Gif to my Will she wad incline? The first Morning of May. 366

Text: TTM IV (1737) VII. She said, her Errand was not there, 25 Where Gowans are gay, Her Maidenhood on me to ware, The first Morning of May. VIII. Then like an Arrow frae a Bow, There Gowans are gay, 30 She skift away out o’er the Know, The first Morning of May; IX. And left me in the Garth my lane, There Gowans are gay, And in my Heart a Twang of Pain, 35 The first Morning of May. X. The little Birds they sang full sweet, There Gowans are gay, Unto my Comfort was right meet, The first Morning of May. 40 XI. And thereabout I past my Time, There Gowans are gay, Until it was the Hour of Prime, The first Morning of May. XII. And then returned hame bedeen, 45 There Gowans are gay, Pansand what Maiden that had been, The first Morning of May. *** R356 Slighted Love sair to bide. I. I Had a Heart, but now I heartless gae; I had a Mind, but daily was opprest; I had a Friend that’s now become my Fae; I had a Will that now has Freedom lost: What have I now? 5 Naithing I trow, But Grief where I had Joy: 367

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What am I than? A heartless Man: Could Love me thus destroy! I love, I serve ane whom I much regard, Yet for my Love Disdain is my Reward.

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II. Where shall I gang to hide my weary Face? Where shall I find a Place for my Defence? Where my true Love remains the fittest Place, 15 Of all the Earth that is my Confidence. She is my Heart ’Till I depart: Let her do what she list, I cannot mend, 20 But still depend, And daily to insist, To purchase Love, if Love my Love deserve; If not for Love, let Love my Body starve. III. O Lady fair! whom I do honour most, 25 Your Name and Fame within my Breast I have; Let not my Love and Labour thus be lost, But still in Mind I pray thee to ingrave, That I am true, And sall not rue 30 Ane Word that I have said: I am your Man, Do what you can, When all these Plays are plaid. Then save your Ship unbroken on the Sand, 35 Since Man and Goods are all at your Command. *** R357 The Invitation. I. Come, Love, let’s walk by yonder Spring Where we may hear the Black-bird sing, The Robin Redbreast and the Thrush, And Nightingale in thorny Bush, The Mavis sweetly carroling; 5 This to my Love, this to my Love, Content will bring. 368

Text: TTM IV (1737) II. See where the Nymph, with all her Train, Comes skipping through the Park amain, And in this Grove she means to stay, 10 At Barley breaks to sport and play; Where we may sit us down, and see Fair Beauty mixt, fair Beauty mixt With Chastity. III. In yonder Dale are finest Flowers, 15 With mony pleasant shady Bowers, A purling Brook, whose Silver Streams Are beautified with Phœbus’ Beams; Which steal out-thro’ the Trees for Fear, Because Diana, because Diana 20 Bathes her there. IV. All her Delight is as ye see, Thus way to sport, and here to be Delyting in this calour Spring, Only to bathe herself therein, 25 Until Acteon her espy’d; Then to the Thicker, then to the Thicker Did she glyde. V. And there by magick Art she wrought, And in her Heart she thus bethought 30 With secret Speed away to flee, And he a Hart was turn’d to be; Because he follow’s Diana’s Train, His Life he lost, his Life he lost, Her Love to gain. 35 *** R358

Cast away Care.

I. Care away gae thou frae me, For I am no fit Match for thee, Thou bereaves me of my Wits, Wherefore I hate thy frantick Fits: Therefore I will care no moir, 5 Since that in Cares comes no Restoir; 369

The Tea-Table Miscellany But I will sing hey down a dee, And cast doilt Care away frae me. II. If I want, I care to get, The moir I have, the moir I fret; 10 Love I much, I care for moir, The moir I have I think I’m poor: Thus Grief and Care my Mind oppress, Nor Wealth or Wae gives no Redress; Therefore I’ll care no moir in vain, 15 Since Care has cost me meikle Pain. III. Is not this World a sliddry Ball? And thinks Men strange to catch a Fall? Does not the Sea baith ebb and flow? And Fortune’s but a painted Show. Why shou’d Men take Care or Grief, Since that by these comes no Relief? Some Careful saw what Careless reap, And Wasters ware what Niggarts scrape.

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IV. Well then, ay learn to knaw thy self, 25 And care not for this warldly Pelf: Whether thy ’State be great or small, Give Thanks to GOD whate’er befall, Sae sall thou than ay live at Ease, No sudden Grief shall thee displease; 30 Then mayst thou sing, he down a dee, When thou hast cast all Care frae thee. *** R359 The fairest of her Days. I. Whoe’er beholds my Helen’s Face, And says not that good Hap has she; Who hears her speak, and tents her Grace, Sall think nane ever spake but she. The short Way to resound her Praise, 5 She is the fairest of her Days. II. Who knows her Wit, and not admires, He maun be deem’d devoid of Skill; 370

Text: TTM IV (1737) Her Virtues kindle strong Desires In them that think upon her still. The short Way, &c.

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III. Her Red is like unto the Rose Whase Buds are opening to the Sun, Her comely Colours do disclose The first Degree of Ripeness won. 15 The short Way, &c. IV. And with the Red is mixt the Whyte, Like to the Sun or fair Moon shine That does upon clear Waters light, And makes the Colour seem divine. 20 The short Way to resound her Praise, She is the fairest of her Days. N. B. The six foregoing Songs I took out of a very old MS. Collection, wrote by a Gentleman in Aberdeen. *** R360 Lord Henry and Katharine. I. In ancient Times, in Britain’s Isle, Lord Henry well was known, Nor Knight in all the Land more fam’d, Or more deserv’d Renown; His Thoughts on Honour always run, 5 He ne’er cou’d bow to Love, No Nymph in all the Land had Charms His frozen Heart to move. II. Amongst the Nymphs where Katharine came, The fairest Face she shows, 10 She was as bright as Morning Sun, And sweeter than the Rose: Although she was of mean Degree, She daily Conquests gains; For ne’er a Youth who her beheld, 15 Escap’d her powerful Chains. 371

The Tea-Table Miscellany III. But soon her Eyes their Lustre lost, Her Cheek grew pale and wan, A Pining seiz’d her lovely Form, And Cures were all in vain: 20 The Sickness was to all unknown That did the fair One waste, Her Time in Sighs and Floods of Tears, And broken Slumbers past. IV. Once in a Dream she cry’d aloud, 25 Oh Henry, I’m undone! Oh cruel Fate! Oh wretched Maid! Thy Love must ne’er be known! Such is the Fate of Womankind, They must the Truth conceal; 30 I’ll die ten thousand thousand Deaths, Ere I my Love reveal. V. A tender Friend that watch’d the Fair, To Henry hey’d away, My Lord, says she, we’ve found the Cause 35 Of Kath’rine’s quick Decay, She in a Dream the Secret told, Till now no Mortal knew: Alas! she now expiring lies, And dies for Love of you! 40 VI. The gen’rous Henry’s Soul was touch’d, His Heart began to flame, Ah, poor unhappy Maid! he cry’d, Yet I am not to blame. Ah Kath’rine! too too modest Maid, 45 Thy Love I never knew; I’ll ease your Pain: And swift as Wind To her Bedside he flew. VII. Awake! awake! he fondly cry’d, Awake! awake! my Dear; If I had only guess’d your Love, You ne’er had shed a Tear: ’Tis Henry calls, complain no more, Renew thy wonted Charms; 372

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Text: TTM IV (1737) I come to save thee from Despair, 55 And take thee to my Arms. VIII. These Words reviv’d the dying Fair, She rais’d her drooping Head, And gazing on the long lov’d Youth, She starred from the Bed, 60 Around his Neck her Arms she flung, In Extasy, and cried, Will you be kind? Will you indeed? My Love! And so she died. *** R361 The Milking-Pail. I. Ye Nymphs and Silvian Gods, That love Green Fields and Woods, When Spring newly born herself does adorn With Flowers and blooming Buds: Come sing in the Praise, while Flocks do graze On yonder pleasant Vale; Of those that chose to milk their Ews, And in cold Dews with clouted Shoes, To carry the Milking-Pail.

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II. You Goddess of the Morn, 10 With Blushes you adorn, And take the fresh Air, whilst Lenits prepare A Consort on each Green Thorn: The Black-bird and Thrush, on every Bush, And the charming Nightingale, 15 In merry vein, their Throats do strain, To entertain the jolly Train Of those of the Milking-Pail. III. When cold bleak Winds do rore, And Flowers will spring no more, 20 The Fields that were seen so pleasant and green, With Winter’s all candid o’er. See how the Town Lass looks with her white Face, And her Lips so deadly pale? But it is not so with those that go 25 373

The Tea-Table Miscellany Thro’ Frost and Snow, with Cheeks that glow, And carry the Milking-Pail. IV. The Miss of courtly Mold, Adorn’d with Pearl and Gold, With Washes & Paint her Skin does so taint, She’s wither’d before she’s old: While she of Commode puts on a Cart-load, And with Cushions plumps her Tail. What Joys are found in rushy Ground, Young, plump and round, nay sweet and sound, Of those of the Milking Pail? V. You Girls of Venus Game, That venture Health and Fame, In practising Fears, with Cold and Heats, Make Lovers grow blind and lame: If Men were so wise to value the Prize Of the Wares most fit for the Sale, What Store of Beaux would daub their Clothes, To save a Nose, by following of those Who carry the Milking Pail? VI. The Country Lad is free From Fears and Jealousie, Whilst upon the Green he is often seen With his Lass upon his Knee; With Kisses most sweet he doth her so treat, And swears she’ll never grow stale: But the London Lass, in every Place, With brazen Face despises the Grace Of those of the Milking-Pail.

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*** R362 Phillis despise not. I. Phillis despise not your faithful Lover, Play not the Tyrant, because you are fair; Beauty will fade, my charming Maid, Just as the Lilly. My beautiful Philly, Cease to prove coy, smile on the Boy, 5 Grant him the Blessing he longs to enjoy. 374

Text: TTM IV (1737) II. Crowns are but Trifles, compar’d with my Philly: Who can behold her, and not be enslav’d? Angel divine! wert thou but mine; Pity my Story, I laugh at all Glory, 10 Here I protest on thy dear Breast, With thee in a Cottage I’d think myself blest. *** R363 Drink while ye can. I. Let’s drink, my Friends, while here we live, The fleeting Moments as they pass This silent Admonition give, T’improve our Time, and push the Glass. II. Whence once we’ve entred Charon’s Boat, 5 Farewel to drinking, Joys divine, There’s not a Drop to weet our Throat, The Grave’s a Cellar void of Wine. *** R364 Meddlers out of the Season. I. COme Lads, ne’er plague your Heads With what is done in Spain, But leave to them Who are supreme, To settle Peace again: 5 Debating, prating, jumbling, grumbling, Pays no Nation’s Debt; ’Tis Time must clear it, Just like Claret, When it is on the Fret. 10 II. Each one shou’d mind his own, Not Business of the State: This all we get, By meddling yet, More Troubles to create, 15 Our wrangling, jangling, clam’ring, hamm’ring, 375

The Tea-Table Miscellany But disturb the Town; Such Men of Mettle, In a Kettle, 20 Makes two Holes for one. III. If you the Dangers knew Of those that wear a Crown, You’d scarce envy A State so high, 25 But wisely use your own: Unsteady, giddy, busy, dizzy, With the dazling Height; Yet daily stooping, Almost drooping 30 Underneath the Weight. IV. Low Swains that range the Plains, Their native Freedom keep, Who yet command, With Crook in hand, 35 Their faithful Dog and Sheep: Their Leisure, Pleasure, Sporting, Courting, None but Time deceive; Whilst Amaryllis, Jug and Phillis, 40 Flow’ry Garlands weave. *** R365 Complaint on Scorn. I. Why will Florella, when I gaze, My ravish’d Eyes reprove, And chide them from the only Face I can behold with Love? To shun your Scorn, and ease my Care, I seek a Nymph more kind: And as I range from Fair to Fair, Still gentle Usage find. II. But O! how faint is ev’ry Joy, Where Nature has no Part; New Beauties may my Eyes employ, But you engage my Heart. 376

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Text: TTM IV (1737) So restless Exiles, as they roam, Meet Pity ev’ry where; Yet languish for their native home, 15 Tho’ Death attends them there. *** R366 Love or Wine. I. If Phillis denies me Relief, If she’s angry, I’ll seek it in Wine; Tho’ she laughs at my amorous Grief, At my Mirth why shou’d she repine? At my Mirth, &c. II. The sparkling Champaign shall remove 5 All the Cares my dull Grief has in Store: My Reason I lost when I lov’d, And by drinking what can I do more? And by drinking, &c. III. Wou’d Phillis but pity my Pain, Or my am’rous Vows wou’d approve, 10 The Juice of the Grape I’d disdain, And be drunk with nothing but Love. And be drunk, &c. *** R367 Twenty one favourite SONGS, in the Beggar’s Opera. Song I. Tune, An old Woman cloathed in Grey, &c. Through all the Employments of Life, Each Neighbour abuses his Brother; Whore and Rogue they call Husband and Wife, All Professions be-rogue one another: The Priest calls the Lawyer a Cheat, 5 The Lawyer be-knaves the Divine; And the Statesman, because he’s so great, Thinks his Trade as honest as mine. 377

The Tea-Table Miscellany Song II. Tune, The bonny grey-ey’d Morn, &c. ’Tis Woman that seduces all Mankind By her we first were taught the wheedling Arts: Her very Eyes can cheat, when most she’s kind, She tricks us of our Money with our Hearts: For her, like Wolves by Night, we roam for Prey 5 And practise ev’ry Fraud to bribe her Charms; For Suits of Love, like Law, are won by Pay, And Beauty must be fee’d into our Arms. Song III. Tune, Why is your faithful Slave disdain’d? &c. If Love a Virgin’s Heart invade, How, like a Moth, the simple Maid Still plays about the Flame! If soon she be not made a Wife, Her Honour’s sign’d, and then for Life 5 She’s — what I dare not name. Song IV. Tune, Of all the simple Things we do, &c. A Maid is like the golden Oar, Which hath Guineas intrinsical in’t, Whose Worth is never known, before It is try’d, and imprest in the Mint. A Wife’s like a Guinea in Gold, Stampt with the Name of her Spouse; Now here, now there; is bought, or is sold; And is current in every House.

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Song V. Tune, What shall I do to show how much I love her, &c. Virgins are like the fair Flower in its Lustre, Which in the Garden enamels the Ground; Near it the Bees in play flutter and cluster, And gaudy Butterflies frolick around, But when once pluck’d, ’tis no longer alluring, 5 To Covent-Garden ’tis sent, (as yet sweet,) There fades, and shrinks, and grows past all enduring, Rots, stinks, and dies, and is trod under feet.

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Text: TTM IV (1737) Song VI. Tune, Oh London is a fine Town. Our Polly is a sad Slut! nor heeds what we taught her, I wonder any Man alive will ever rear a Daughter! For she must have both Hoods and Gowns, and Hoops to swell her Pride, With Scarfs and Stays, and Gloves and Lace; and she will have Men beside; And when she’s drest with Care and Cost, all tempting, fine and gay, As Men should serve a Cucumber, she flings herself away. Our Polly is a sad Slut, &c.

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Song VII. Tune, Grim King of the Ghosts, &c. Can Love be controul’d by Advice? Will Cupid our Mothers obey? Though my Heart were as frozen as Ice, At his Flame’t would have melted away. When he kist me so closely he prest, 5 ’Twas so sweet that I must have comply’d: So I thought it both safest and best, To marry for fear you should chide.

Song VIII. Tune, A Soldier and a Sailor.

A Fox may steal your Hens, Sir, A Whore your Health and Pence, Sir, Your Daughter rob your Chest, Sir, Your Wife may steal your Rest, Sir, A Thief your Goods and Plate. But this is all but picking. With Rest, Pence, Chest, and Chicken; It ever was decreed, Sir, If Lawyer’s Hand is fee’d, Sir, He steals your whole Estate.

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Song IX. Tune, Over the Hills and far away. Were I laid on Greenland’s Coast, And in my Arms embrac’d my Lass; Warm amidst eternal Frost, Too soon the Half Year’s Nights would pass. Were I sold on Indian Soil, 5 Soon as the burning Day was clos’d, 379

The Tea-Table Miscellany I could mock the sultry Toil, When on my Charmer’s Breast repos’d. And I would love you all the Day. Every Night would kiss and play. 10 If with me you’d fondly stray. Over the Hills and far away. Song X. Tune, O the Broom, &c. The Miser thus a Shilling sees, Which he’s oblig’d to pay, With Sighs resigns it by Degrees, And fears ’tis gone for aye. The Boy, thus, when his Sparrow’s flown, 5 The Bird in Silence eyes; But soon as out of Sight ’tis gone, Whines, whimpers, sobs, and cries. Song XI. Tune, Cotillon. Youth’s the Season made for Joys, Love is then our Duty, She alone who that employs, Well deserves her Beauty. Let’s be gay, 5 While we may, Beauty’s a Flower despis’d in Decay. Youth’s the Season, &c. Let us drink and sport to-day, Ours is not to-morrow, 10 Love with Youth flies swift away, Age is nought but Sorrow. Dance and sing, Time’s on the Wing, Life never knows the Return of Spring. 15 Chorus. Let us drink, &c. Song XII. Tune, When once I lay with another Man’s Wife. The Gamesters and Lawyers are Jugglers alike, If they meddle, your All is in Danger; Like Gypsies if once they can finger a Souse, Your Pockets they pick, and they pilfer your House, And give your Estate to a Stranger.

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Text: TTM IV (1737) Song XIII. Tune, Courtiers, Courtiers, think it no Harm, &c. Man may escape from Rope and Gun, Nay, some have out-liv’d the Doctor’s Pill; Who takes a Woman must be undone, That Basilisk is sure to kill. The Fly that sips Treacle is lost in the Sweets, 5 So he that tastes Woman, Woman, Woman, He that tastes Woman, Ruin meets. Song XIV. Tune, The Sun had loos’d his weary Teams, &c. The first time at the Looking-glass The Mother sets her Daughter, The Image strikes the smiling Lass With Self-Love ever after. Each time she looks, she, fonder grown, 5 Thinks ev’ry Charm grows stronger: But alas, vain Maid, all Eyes but your own, Can see you are not younger. Song XV. Tune, How happy are we, &c. When you censure the Age, Be cautious and sage, Lest the Courtiers offended should be: If you mention Vice or Bribe, ’Tis pat to all the Tribe, 5 Each cries—That was levell’d at me. Song XVI. Tune, London Ladies. If you at an Office sollicite your Due, And would not have Matters neglected; You must quicken the Clerk with the Perquisite too, To what his Duty directed. Or would you the Frowns of a Lady prevent, 5 She too has this palpable Failing, The Perquisite softens her into Consent; That Reason with all is prevailing. Song XVII. Tune, Packinton’s Pound. Thus Gamesters united in Friendship are found, Though they know that their Industry all is a Cheat; They flock to their Prey at the Dice-Box’s Sound, 381

The Tea-Table Miscellany And join to promote one another’s Deceit; But if by Mishap 5 They fail of a Chap, To keep in their Hands, they each other entrap: Like Pikes lank with Hunger, who miss of their Ends, They bite their Companions, and prey on their Friends. Song XVIII. Tune, Lillibullero. The Modes of the Court so common are grown, That a true Friend can hardly be met; Friendship for Interest is but a Loan, Which they let out for what they can get. ’Tis true you find Some Friends so kind, Who will give you good Counsel themselves to defend. In sorrowful Ditty, They promise, they pity, But shift you for Money, from Friend to Friend.

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Song XIX. Tune, Down in the North Country, &c. What Gudgeons are we Men! Ev’ry Woman’s easy Prey, Though we have felt the Hook, agen We bite and they betray. The Bird that hath been trapt, 5 When he hears his calling Mate, To her he flies, again he’s clapt Within the wiry Grate. Song XX. Tune, A Cobler there was, &c. Our selves, like the Great, to secure a Retreat, When Matters require it, must give up our Gang: And good reason why, Or, instead of the Fry, Ev’n Peachum and I 5 Like poor petty Rascals, might hang, hang; Like poor petty Rascals, might hang. Song XXI. Tune, Green Sleeves. Since Laws were made for ev’ry Degree, To curb Vice in others, as well as me, I wonder we han’t better Company, Upon Tyburn Tree! But Gold from Law can take out the Sting; 382

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Text: TTM IV (1737) And if rich Men like us were to swing, ’Twould thin the Land, such Numbers to string Upon Tyburn Tree! *** R368 Andro and his cutty Gun. I. Blyth, blyth, blyth was she, Blyth was she butt and ben; And well she loo’d a Hawick Gill, And leugh to see a tappit Hen. She took me in, and set me down, And heght to keep me Lawing-free; But, cunning Carling that she was, She gart me birle my Bawbie.

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II. We loe’d the Liquir well enough; But waes my Heart my Cash was done, 10 Before that I had quench’d my Drowth, And laith I was to pawn my Shoon. When we had three times toom’d our Stoup, And the niest Chappin new begun, In started, to heeze up our Hope, 15 Young Andro with his cutty Gun. III. The Carling brought her Kebbuck ben, With Girdle-cakes well toasted brown; Well does the canny Kimmer ken They gar the Scuds gae glibber down. 20 We ca’d the Bicker aft about; Till Dawning we ne’er jee’d our Bun; And ay the cleanest Drinker out Was Andro with his cutty Gun. IV. He did like ony Mavis sing, 25 And as I in his Oxter sat He ca’d me ay his bonny thing, And mony a sappy Kiss I gat. I hae been East, I hae been West, I hae been far ayont the Sun; 30 But the blythest Lad that e’er I saw Was Andro with his cuty Gun. 383

The Tea-Table Miscellany R369 Sailors Song. How happy are we, Now the Wind is abaft; And the Bosson [sic=’bosun’] he pipes, Hawl both our Sheets aft. Steady, steady, says the Master, 5 It blows a fresh Gale; We’ll soon reach our Port, Boys, If the Wind does not fail. Then drink about Tom, Altho’ the Ship roll; 10 Then drink about Tom, Altho’ the Ship roll: We’ll save our rich Liquor, We’ll save. &c. By slinging our Bowl. *** R370 A hundred Years hence. I. Let us drink and be merry, dance, joke, and rejoice, With Claret, Canary, Thearboe and Voice; The changeable World to our Joys is unjust, And all Pleasure’s ended when we are in Dust. In Mirth let us spend our spare Hours and our Pence, For we shall be past it a hundred Years hence. II. The Butterfly Courtier, that Pageant of State, That Mouse-Trap of Honour, and May-Game of Fate; For all his Ambition, his Freaks and his Tricks, He must die like a Bumbkin, and fall into Styx: His Plot against Death’s but a slender Pretence, Who’d take his Place from him a hundred Years hence!

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III. The beautiful Bride, who with Garlands is crown’d, And kills with each Glance as she treads on the Ground; Her glittering Dress does cast such a Splendor, 15 As if none were fit but the Stars to attend her; Altho’ she is pleasant, and sweet to the Sense, She’ll be damnable mouldy a hundred Years hence. 384

Text: TTM IV (1737) IV. The right-hearted Soldier, who’s a Stranger to Fear, Calls up all his Spirits when Danger is near; He labours and fights, great Honour to gain, And hardily thinks it will ever remain; But Virtue and Courage prove in vain a Pretence, To flourish his Standard a hundred Years hence. V. The Merchant who ventures his all on the Main, Not doubting to grasp what the Indies contain, He buzzes and bustles like a Bee in the Spring, Yet knows not what Harvest the Autumn will bring; Tho’ Fortune’s great Queen should load him with Pence, He’ll ne’er reach the Market a hundred Years hence. VI. The rich bawling Lawyer, who, by Fools wrangling Strife, Can spin out a Suit to the End of a Life; A Suit which the Client does wear out in Slavery, Whilst the Pleader makes Conscience a Cloak for his Knavery; Tho’ he boasts of his Cunning, and brags of his Sense, He’ll be non est inventus a hundred Years hence.

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VII. The Plush-coated Quack, who, his Fees to enlarge Kills People by Licence, and at their own Charge; He builds up fair Structures with ill gotten Wealth: In the Dregs of a Piss-pot and Ruins of Health: 40 By the Treasures of Health he pretends to dispense, He’ll be turned into Mummy a hundred Years hence. VIII. The Meagre-chopp’d Usurer, who in hundreds gets twenty, But starves in his Wealth, and pines in his Plenty; Lays up for a Season he never will see, The Year of One thousand eight hundred and three: He must change all his Houses, his Lands and his Rents, For a Worm-eaten Coffin a hundred Years hence. IX. The learned Divine, with all his Pretensions To Knowledge superior, and heavenly Mansions; Who lives by the Tythe of other Folks Labour, Yet expects that his Blessing be received as a Favour: Tho’ he talks of the Spirit, and bewilders our Sense, Knows not what will come of him a hundred Years hence. 385

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The Tea-Table Miscellany X. The poet himself, who so loftily sings, And scorns any Subject but Heroes or Kings, Must to the Capricio of Fortune submit; Which will make a Fool of him in spite of his Wit. Thus Health, Wealth and Beauty, Wit, Learning and Sense Must all come to nothing a hundred Years hence. XI. Why should we turmoil then in Cares and in Fears, By converting our Joys into Sighs and to Tears? Since Pleasures abound, let us ever be tasting, And to drive away Sorrow while Vigour is lasting; We’ll kiss the brisk Damsels, that we may from thence Have Brats to succeed us a hundred Years hence. XII. The true hearted Mason, who acts on the Square, And lives within Compass by Rules that are fair; Whilst Honour and Conscience approve all his Deeds, As Virtue and Prudence directs he proceeds, With Friendship and Love, Discretion and Sense, Leaves a Pattern for Brothers a hundred Years hence.

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*** R371 Johny Faa, the Gypsie Laddie. I. The Gypsies came to our good Lord’s Gate, And wow but they sang sweetly; They sang sae sweet, and sae very compleat, That down came the fair Lady. II. And she cam tripping down the Stair, 5 And a’ her Maids before her; As soon as they saw her well-far’d Face, They coost the Glamer o’er her. III. Gae tak frae me this gay Mantile, And bring to me a Plaidie; 10 For if Kith and Kin and a’ had sworn, I’ll follow the Gypsie Laddie.

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Text: TTM IV (1737) IV. Yestreen I lay in a well made Bed, And my good Lord beside me; This Night I’ll ly in a Tenant’s Barn, 15 Whatever shall betide me. V. Come to your Bed, says Johny Faa, Oh come to your Bed my Deary; For I vow and I swear by the Hilt of my Sword, That your Lord shall nae mair come near ye.

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VI. I’ll go to Bed to my Johny Faa, And I’ll go to Bed to my Deary; For I vow and swear by what past Yestreen, That my Lord shall nae mair come near me. VII. I’ll mak up a Hap to my Johny Faa, 25 And I’ll mak a Hap to my Deary; And he’s get a’ the Coat gaes round, And my Lord shall nae mair come near me. VIII. And when our Lord came hame at E’en, And speir’d for his fair Lady, 30 The tane she cry’d, and the other reply’d, She’s away with the Gypsie Laddie. IX. Gae saddle to me the black black Steed, Gae saddle and mak him ready; Before that I either eat or sleep 35 I’ll gae seek my fair Lady. X. And we were fifteen well made Men, Altho’ we were nae bonny; And we were a’ put down for ane, A fair young wanton Lady. 40

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The Tea-Table Miscellany R372

Old Chiron.

I. Old Chiron thus preach’d to his Pupil Achilles, I’ll tell thee, young Gentleman, what the Fates Will is: You, my Boy, must go (The Gods will have it so) To the Siege of Troy; 5 Thence never to return to Greece again, But before those Walls to be slain. II. Let now your noble Courage be cast down, But all the while you ly before the Town Drink and drive Care away, Drink and be merry; You’ll ne’er go the sooner to the Stygian Ferry.

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*** R373 Bottle and Friend. I. Sum up all the Delights This World does produce, The darling Allurements Now chiefly in Use, You’ll find, if compar’d, There’s none can contend With the solid Enjoyments Of a Bottle and Friend.

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II. For Honour, for Wealth, For Beauty may waste; 10 These Joys often fade, And rarely do last; They’re so hard to attain, And so easily lost, That the Pleasure ne’er answers 15 The Trouble and Cost. III. None but Wine and true Friendship Are lasting and sure, From Jealousy free, And from Envy secure; 20 388

Text: TTM IV (1737) Then fill all the Glasses Until they run o’er, A Friend and good Wine Are the Charms we adore. *** R374 Dunt, dunt, pittie, pattie. Tune, Yellow-hair’d Laddie. I. On Whitsunday Morning I went to the Fair, My yellow-hair’d Laddie Was selling his Ware; He gied me sic a blyth Blink 5 With his bonny black Eye, And a dear Blink, and a sair Blink It was unto me. II. I wist not what ail’d me When my Laddie came in, 10 The little wee Starnies Flew ay frae my Een; And the Sweat it dropt down Frae my very Eye-brie, And my Heart play’d ay 15 Dunt, dunt, dunt, pittie, pattie. III. I wist not what ail’d me When I went to my Bed, I tossed and tumbled, And Sleep frae me fled. Now its sleeping and waking He is ay in my Eye, And my Heart play’d ay Dunt, dunt, dunt, pittie, pattie. *** R375 Roger and Dolly. As Dolly was milking of the Cows, Young Roger came tripping it over the Plain, And made unto her most delicate Bows, And then he went tripping it back again. 389

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The Tea-Table Miscellany My pretty sweet Roger, come back again; 5 My pretty sweet Roger, come back again; For it is your Company that I do lack, Or else my poor Heart will burst in twain. I winna come back, nor I canna come back; I wonot, I cannot; no, no, not I: 10 And if ’tis my Company that you do lack, You may lack it until the last Day you die. Oh! do you not mind the Curds and Cream, And many a Bottle of good March Beer, When you was going along with your Team? 15 And then it was Dolly my own sweet Dear. But I winna come back, nor I canna come back, &c. *** R376 The Invocation. I. Ye Powers that o’er Mankind preside, And pity Human Woes, My Steps to some Retirement guide That no Disturbance knows. Ye Powers, &c. II. There let my Soul forget her Pain, Restor’d to blessful Peace again; Nor e’er resign the calm Retreat, To feel the Sorrows of the Great, To feel the Sorrows of the Great.

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*** R377 The Virgin’s Choice. I. Virgins, if e’er at last it prove My Destiny to be in Love, Pray with me this good Fate: May Wit and Prudence be my Guide, And may a little decent Pride 5 My Actions regulate. II. If e’er I an Amour commence, May it be with a Man of Sense, 390

Text: TTM IV (1737) And learned Education; May all his Courtship easy be, 10 Neither too formal, not too free, But wisely shew his Passion. III. May his Estate be like to mine, That nothing look like a Design To bring us into Sorrow. Grant me but this that I have said, And willingly I’ll live a Maid No longer than To-morrow.

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*** R378 Still he’s the Man. I. What Woman cou’d do, I have try’d to be free; Yet do all I can, I find I love him, and tho’ he flies me, Still, still, he’s the Man. They tell me at once, he to twenty will swear: 5 When Vows are so sweet, who the Falshood can fear? So, when you have said all you can, Still— still he’s the Man. II. I caught him once making Love to a Maid, When to him I ran 10 He turn’d, and he kiss’d me, then who cou’d upbraid So civil a Man? The next Day I found to a third he was kind, I rated him soundly he swore I was blind; So let me do what I can, 15 Still— still he’s the Man. III. All the World bids me beware of his Art: I do what I can; But he has taken such Hold of my Heart, I doubt he’s the Man! So sweet are his Kisses, his Looks are so kind, He may have his Faults, but if I none can find, Who can do more than they can, He— still is the Man. 391

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The Tea-Table Miscellany R379 An old Catch. Now God be wi’ old Symon, For he made Cans to many a one, And a good old Man was he; And Jenkin was his Journeyman, Aad [sic] he cou’d tipple off ev’ry Can; 5 And thus he said to me: To whom drink you Sir Knave, Turn the Timber like the lave; Ho! jolly Jenkin, I spy a Knave in drinking; 10 Come, troll the Bowl to me. *** R380 The Cobler’s Merits. Tune, Charming Sally. Of all the Trades from East to West, The Cobler’s, past contending, Is like in Time to prove the best, Which every Day is mending. How great his Praise who can amend 5 The Soals of all his Neighbours, Nor is unmindful of his End, But to his last he labours. *** R381 The Cobler’s Happiness. Tune, Come let us prepare. I. Let Matters of State, Disquiet the Great The Cobler has nought to perplex him; Has nought but his Wife To ruffle his Life, And her he can strap, if she vex him. II. He’s out of the Pow’r Of Fortune, that Whore, Since low as can be, she has thrust him; 392

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Text: TTM IV (1737) From Duns he’s secure, 10 For being so poor, There’s none to be found that will trust him. *** R382 The honourable Support. Tune, The Milking-pail. I Hate the coward Tribes, Who, by mean sneaking Bribes, By Tricks and Disguise, By Flattery and Lies, To Power and Grandeur rise. 5 Like Heroes of old, Be still greatly bold; Let the Sword your Cause support; Never learn to fawn, And never be drawn 10 Your Truth to pawn Among the Spawn Who practise the Frauds of Courts. *** R383 Self, the prime Mover. Tune, Hunt the Squirrel. The World is always jarring; This is pursuing T’other Man’s Ruin; Friends with Friends are warring In a false cowardly Way. 5 Spurr’d on by Emulations, Tongues are engaging, Calumny raging, Murthers Reputations, Envy keeps up the Fray. 10 Thus, with burning Heat, Each returning Hate Wounds and robs his Friends In civil Life; Each Man and Wife 15 Squabble for selfish Ends. 393

The Tea-Table Miscellany R384

The spotless Virgin.

Tune, My Deary if thou die. Pure as the new-fallen Snow appears The spotless Virgin’s Fame, Unsully’d white her Bosom bears As fair her Form and Fame; But when she’s soil’d, her Lustre greets 5 The admiring Eye no more; She sinks to Mud, defiles the Streets, And swells the common Shore. *** R385 The Worth of Wine. Tune, Let’s be jovial. ’Tis Wine that clears the Understanding, Makes Men learn’d withoutten Books; It fits the General for commanding, And gives Sogers fiercer Looks. With a fa, la, la, &c. II. ’Tis Wine that gives a Life to Lovers, 5 Heightens Beauties of the Fair; Truth from Falshood it discovers, Quickens Joys, and conquers Care. With a fa, la, la, &c. III. Wine will set our Souls on Fire, Fit us for all glorious Things; 10 When rais’d by Bacchus we aspire At Flights above the Reach of Kings. With a fa, la, la, &c. IV. Bring in Bonny magnums plenty, Be each Glass a Bumper crown’d; None to flinch till they be empty, 15 And full fifty Toasts gone round. With a fa, la, la, &c.

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Text: TTM IV (1737) R386 Woman compar’d to China. Tune, Pinks and Lillies. I. A Woman’s Ware, like China, Now cheap, now dear is bought; When whole, tho’ worth a Guinea, When broke’s not worth a Groat; When broke, &c. II. A Woman at St. James’s, 5 With hundreds you obtain; But stay till lost her Fame is, She’ll be cheap in Drury-Lane. She’ll be cheap, &c. *** R387 Slow Men of London. I. There were three Lads in our Town, Slow Men of London, They courted a Widow was bonny and brown, Yet they left her undone. II. They often tasted this Widow’s Chear, 5 Slow Men of London; Yet the Widow was never the near, For still they left her undone. III. They went to work without their Tools, Slow Men of London; 10 The Widow she sent them away like Fools, Because they left her undone. IV. Blow ye Winds, can come down Rain, Slow Men of London; They never shall woo this Widow again, 15 Because they left her undone.

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The Tea-Table Miscellany R388

Follow your Leaders. To the foregoing Tune.

The Manners of the Great affect; Stint not your Pleasure: If Conscience had their Genius checkt, How got their Treasure? The more in Debt, run in Debt the more, 5 Careless who is undone; Morals and Honesty leave to the Poor, As they do at London. *** R389 The Pimp and Politician Parallels. Tune, ’Twas within a Furlong of Edinburgh Town. In Pimps and Politicians The Genius is the same; Both raise their own Conditions On others Guilt and Shame: With a Tongue well tipt with Lies 5 Each the want of Parts supplies, And with a Heart that’s all Disguise Keeps his Schemes unknown. Seducing as the Devil, They play the Tempter’s Part, 10 And have, when most they’re civil, Most Mischief in their Heart. Each a secret Commerce drives, First corrupts and then connives, And by his Neighbour’s Vices thrives, 15 For they are all his own. *** R390 Philander and Amoret. I. When gay Philander fell a Prize To Amoretta’s conquering Eyes, He took his Pipe, he sought the Plain, Regardless of his growing Pain; And resolutely bent to wrest 5 396

Text: TTM IV (1737) The bearded Arrow from his Breast. II. Come, gentle Gales, the Shepherd cry’d, Be Cupid and his Bow defy’d; But, as the Gales obsequious flew, With flow’ry Scents and spicy Dew, 10 He did unknowingly repeat, The Breath of Amoret is sweet. III. His Pipe again the Shepherd try’d, And warb’ling Nightingales reply’d; Their Sounds in rival Measures move, 15 And meeting Ecchoes charm the Grove: His Thoughts that rov’d again repeat, The Voice of Amoret is sweet. IV. Since every fair and lovely View The Thoughts of Amoret renew, 20 From flow’ry Lawn and shady Green To Prospect gloomy change the Scene: Sad Change for him! for sighing there, He thought of Lovers in Despair. V. Convinc’d, the sad Philander cries, 25 Now, cruel God, assert thy Prize, For Love its fatal Empire gains; Yet grant, in pity to my Pains, These Lines the Nymph may oft repeat, And own Philander’s Lays are sweet. 30 *** R391 The Wit and the Beau. Tune, Bright Aurelia. I. With ev’ry Grace young Strephon chose His Person to adorn, That by the Beauties of his Face In Sylvia’s Love he might find Place, And wonder’d at her Scorn. 397

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The Tea-Table Miscellany II. With Bows and Smiles he did his Part, But oh! ’twas all in vain; A Youth less fine, a Youth of Art, Had talk’d himself into her Heart, And would not out again. 10 III. With Change of Habits Strephon press’d, And urg’d her to admire; His Love alone the other dress’d, As Verse or Prose became it best, And mov’d her soft Desire.

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IV. This sound, his Courtship Strephon ends, Or makes it to his Glass; There in himself now seeks amends, Convinc’d, that where a Wit pretends A Beau is but an Ass. 20 *** R392 The Nurse’s Song. Tune, Yellow Stockings. I. Hey! my Kitten, a Kitten, Hey! my Kitten, a Deary; Such a sweet Pett as this Is neither far nor neary: Here we go up, up, up; 5 Here we go down, down, downy; Here we go backwards and forwards; And here we go round, round, roundy. II. Chicky, Cockow, my lilly Cock; See, see, sic a Downy; 10 Gallop a Trot, Trot, Trot, And hey for Dublin Towny. This Peg went to the Market. Squeek Mouse, Mouse, Mousy; Shoe, shoe, show the wild Colt, 15 And hear thy own Dol Dousy. 398

Text: TTM IV (1737) III. Where was a Jewel and Petty, Where was a Sugar and Spicy; Hush a Baba in a Cradle, And we’ll go abroad in a Tricy. 20 Did a Papa torment it? Did-e vex his own Baby? did-e? Hush a Baba in a Bosie; Take our own Sucky: Did-e? IV. Goodmorrow, a Pudding is broke; 25 Slavers a Thread o’ Crystal. Now the sweet Posset comes up; Who said my Child was piss’d all? Come water my Chickens, come clock. Leave oft, or he’ll crawl you, he’ll crawl you; 30 Come, gie me your Hand, and I’ll beat him: Wha was it vexed my Baby? V. Where was a Laugh and a Craw? Where was, was, was a gigling Honey? Goody, good Child shall he fed, 35 But naughty Child shall get nony. Get ye gone Raw-head and Bloody-bones, Here is a Child that won’t fear ye. Come, pissy, pissy, my Jewel, And ik, ik ay, my Deary. 40 *** R393 The Magpye. I. Good People, draw near, A Story ye’s head, A Story both pleasant and true; Which happened of late, And it’s not out of Date; 5 I am going to tell it to you. II. It was of an old Cobler, Who soal’d Shoes at Dubler, And lov’d to drink the Juice of good Barley; And then with his Wife, 10 399

The Tea-Table Miscellany As dear as his Life, When drunk he lov’d for to parley. III. This Cobler, they say, Being drunk on a Day, His Wife she did murmur and chat; This Cobler, they say, Did thrash her that Day, And cry’d, What a pox wad ye be at? IV. He had a Magpye That was very fly, And used for to murmur and chat; Who soon got the Tone, Before it was long, Of, What a pox wad ye be at?

15

20

V. And this Magpye, 25 Who was so very sly, He into a Meeting house gat; And as the old Parson Was canting his Lesson, Cry’d, What a pox wad ye be at? 30 VI. The Parson, surpris’d, Did lift up his Eyes; Now help us, pray, Father, in need; For Satan I fear Does visit us here; 35 So help us, pray, Father, with Speed. VII. The Parson again Began to explain To those around him that sat; But Magie indeed Flew over his Head, And cry’d, What a pox wad ye be at? VIII. Then the Parson did skip, Five Yards at a Leap, From his Pulpit quite down to the Floor; And left every Saint, 400

40

45

Text: TTM IV (1737) Quite ready to faint, Leaping out of the Meeting-house Door. IX. Then some without Hats, And some without Hoods, 50 Then out of the Meeting-house gat; And Magie happ’d after, Which caused much Laughter, Crying, What a pox wad ye be at? X. Then a sanctify’d Soul, 55 Who thought to controul, Look’d Magie quite full in the Face, Said, Satan, How dare You thus to appear In this our sanctify’d Place? 60 XI. But Magie he pranc’d, He skipp’d and he danc’d, And out of the Meeting house gat; And all the way long He kept up his Song, Of a, What a pox wad ye be at?

65

*** R394 A good Excuse for Drinking. Upbraid me not, capricious Fair, With drinking to Excess; I should not want to drown Despair, Were your Indifference less. Love me, my Dear, and you shall find, 5 When this Excuse is gone, That all my Bless, when Chloe’s kind, Is fix’d on her alone. The God of Wine the Victory To Beauty yields with Joy; 10 For Bacchus only drinks like me, When Ariadne’s coy. ***

401

The Tea-Table Miscellany R395

Mason’s Song.

Tune, Leave off your foolish Pratting. I. We have no idle Pratting, Of either Whig or Tory; But each agrees To live at Ease, And sing, or tell a Story. 5 CHORUS. Fill to him to the Brim; Let it round the Table roll; The Divine tells you, Wine Chears the Body and the Soul. II. We will be Men of Pleasure, 10 Despising Pride or Party; Whilst Knaves and Fools Prescribe us Rules, We are sincere and hearty. Fill to him, &c. III. If any are so foolish, 15 To whin for Courtiers Favour, We’ll bind him o’er To drink no more Till he has a better Savour. Fill to him, &c. IV. If an accepted Mason 20 Should talk of High and Low Church, We’ll set him down A shallow Crown, And understanding no Church. Fill to him, &c. V. The World is all in Darkness; 25 About us they conjecture; But little think A Song and Drink Succeeds the Mason’s Lecture. Fill to him, &c. 402

Text: TTM IV (1737) VI. Then, Landlord, bring a Hogshead, 30 And in the Corner place it; ’Till it rebound With hollow Sound Each Mason here shall face it. Fill to him, &c. *** R396 The frugal Maid. I. I Am a poor Maiden forsaken, Yet I bear a contented Mind; I am a poor Maiden forsaken, Yet I’ll find another more kind: For altho’ I be forsaken, 5 Yet this I wou’d have you to know, I ne’er was so ill provided, But I’d two ’r three String to my Bow. II. I own that once I lov’d him, But his Scorn I could never endure; 10 Nor yet to that Height of Perfection, For his Slights to love him the more. I own he was very engaging, Yet this I would have you to know, I ne’er was so ill provided, 15 But I’d two’ r three Strings to my Bow. III. Ye Maidens who hear of my Ditty, And are unto Loving inclin’d, Mens Minds thy are subject to changing, And wavering like the Wind; 20 Each Object creates a new Fancy: Then this I would have you to do; Be easy and free, Take Pattern by me, And keep two’ r three Strings to your Bow.

403

The Tea-Table Miscellany R397 Damon’s Picture of Celia. Tune, Down the Burn Davie. I. Assist your Vot’ry, friendly Nine, Inspire becoming Lays; Cause Celia’s matchless Beauty shine, Till Heav’n and Earth shall blaze. She’s pleasant as returning Light, 5 Sweet as the Morning Ray, When Phœbus quells the Shades of Night, And brings the chearful Day. II. Her graceful Forehead’s wondrous fair, As purest Air serene; 10 No gloomy Passion rising there, O’ercasts the peaceful Scene: Her small bright Eye-brows finely bend, Transport Darts from her Eyes; The sparling Diamond they transcend, 15 Or Stars which gem the Skies. III. A rising Blush of heavenly Dy O’er her fair Cheek still glows; Her shining Locks in Ringlets ly, Well shap’d and siz’d her Nose; Her smiling Lips are lovely red, Like Roses newly blown; Her Iv’ry Teeth (for most part hid) You’d wish for ever shown. IV. Her snowy Neck and Breasts like Glass, Or polish’d Marble smooth, That Nymph’s in Beauty far surpass Who fir’d the Trojan Youth; Her slender Waist, white Arm and Hand, Just Symmetry does grace: What’s hid from these (if you demand) Let lively Fancy trace. V. A sprightly and Angelick Mind Reigns in this comely Frame, With decent Ease acts unconfin’d, 404

20

25

30

35

Text: TTM IV (1737) Inspires the whole like Flame; Minerva or Diana’s State, With Venus Softness join’d, Proclaim her Goddess, meant by Fate, Love’s rightful Queen design’d.

40

VI. Good Gods what Raptures fire my Soul! How flutters my fond Heart! When tender Glances Art controul, And Love suppress’d impart. Propitious Pow’rs, make Celia mine, 45 Complete my dawning Bless; At Monarch’s Pomp I’ll not repine, Nor grudge their Happiness. *** R398 The new Light. I. Celia, now my Heart hath broke The Bond of your ungentle Yoke, Dissolv’d the Fetter of that Chain, By which I strove so long in vain: May I be slighted if I e’er 5 Am caught again within your Snare, Am caught, &c. II. In vain you spread your treach’rous Net; In vain your wily Snares are set; The Bird can now your Arts espy, And, arm’d with Caution, from them fly: 10 Some heedless Swain your Prey may be, But faith you’re too well known to me, But faith, &c. III. I with Contempt can now dispise The treach’rous Follies of your Eyes, And with Contempt can sit and hear You prattle Nonsense half a Year, And go away as little mov’d As you was lately when I lov’d, As you was, &c. 405

15

The Tea-Table Miscellany IV. I wonder what the plague it was Made me such a stupid Ass, 20 To fancy such a noble Grace In your Language, Mien and Face, Where now I nothing more can find Than what I see in all your Kind, Than what, &c. V. Thus when the drousy God of Sleep 25 Upon our wearied Fancies creep, Some headless piece of Image rise, By Fancies form’d delude our Eyes; But soon as e’er the God of Day Appears, they faint and die away, 30 Appears, they, &c. *** R399

The Fickle fix’d.

I. My Love was fickle once and changing, Nor e’er wou’d settle in my Heart; From Beauty still to Beauty ranging, In ev’ry Face I found a Dart. II. ’Twas first a charming Shape enslav’d me, An Eye then gave the fatal Stroke, Till by her Wit Corinna sav’d me, And all my former Fetters broke.

5

III. But now a long and lasting Anguish For Belvidera I endure; 10 Hourly I sigh, and hourly languish; Nor hope to find the wonted Cure. IV. For here the false unconstant Lover, After a thousand Beauties shown, Does new surprising Charms discover, 15 And finds Variety in one. 406

PRELIMINARY MATTERS The headline quotation (‘Behold, and listen, while the Fair’) is from the short poem ‘Of Mrs Arden’ by Edmund Waller (1606–87), the first poet (see Introduction) to write on tea as a polite commodity. It clearly locates TTM in the context of the language of the drawing-room, where music lends additional enchantment to good looks, and does so in the voice of a fundamentally Royalist and pro-Stuart English poet whose life was filled with trimming to advantage. This view of music and song as kinds of auditory maquillage has a long subsequent history in fiction and drama: Elizabeth Bennet’s piano-playing at Pemberley in Pride and Prejudice (1813) and Ingrid Bergman’s musicianship in Intermezzo (1939) are only two examples of the augmentation of charm obtained by drawing-room music. These initial lines cast the musical woman in a bolder light than her non-musical rival: she ‘Breaks...the willing Air’ and rather than using a fan to screen herself from the fire, ‘fans the Fire’ itself. Given that Waller wrote ‘Of Tea’, which praises the beverage as ‘The Muses’ friend’, it is perhaps strange that Ramsay did not choose this poem as the epigraph to his collection; but as often, he was oblique. Ramsay’s introductory dedication (‘TO Ilka lovely British Lass’) extends the initial quotation to include not only the ‘Charlote [sic], Ann and Jean’ of the drawing-room (itself a procession of names from English through neutral to Scots), but also ‘ilk bony singing Bess, | Wha dances barefoot’. The Miscellany that follows may be aimed at the polite ladies of Scotland and England, but it is also to be enjoyed by the natural autochthonous women of quotidian Scotland. The second last stanza alludes to the association of the Tea-Table with gossip and backbiting, Ramsay suggesting that songs are a much more innocent way of passing the time over tea for those with ‘Lugs’, attuned to listening to the honest voice of Scotland. The dedication is dated 1 January 1723, which probably refers to the calendar year 1723 rather than – as it might in England – 1724, Scotland already having adopted the commencement of the year on 1 January rather than 25 March (Old Style, now 6 April, still the beginning of the financial year). Throughout TTM, Ramsay makes use of several tunes already in circulation, and, as such, the notes provide a brief overview of where the tune is found in written sources. Indeed, there are occasions where he indicates a newly penned text should be sung to a tune that was already very well-known during the period. While TTM does not 409

The Tea-Table Miscellany

include any music notation, Ramsay did print Alexander Stuart’s Musick for Allan Ramsay’s Collection of Scots Songs, a book that provides music for almost all the songs in volume 1 of TTM. As discussed by Newman and McGuinness (2022) pp.386–7 the small, oblong music book is, for the most part, stylistically instrumental, but there are occasional instances where the musical line and slur markings appear to suit Ramsay’s text. It is unknown whether Ramsay had any musical knowledge at all, beyond the ability to hum a tune, and there are occasions when an element of invention is needed to fit Ramsay’s text to the musical line. However, the fact that he was involved in the production of Stuart’s music book suggests he did want to provide his customers with music so they, at the very least, knew what tune he had in mind for the songs in TTM (1723). No other music book was produced to accompany the subsequent volumes of TTM. When Ramsay turned GS into a ballad opera in 1729, he applied the same method of using a tune in circulation and writing a text to suit as he had done in TTM. He even recycled some of the tunes from TTM for GS, though the texts are different. Newman and McGuinness (2022) have already provided a comprehensive overview of the musical archaeology for the tunes in GS. As such, the notes on the songs for this edition only comments on the suitability of the TTM text it terms of musical fit. A detailed musical note that provides transcribed examples and explains the musical archaeology of a tune are reserved for those songs in category I. A less substantial note that lists where else the tune/song has been found is provided for those songs in categories IIIV. The music has been edited in a similar manner to Newman and McGuinness’s edition of GS. Stem directions conform to modern conventions. Repeat marks and double bars are presented as in the source. Accidentals given in the key signature are listed in the order they appear in the source. Where the same accidental is repeated at different pitches, for example a key signature of 3 sharps where two of these are F an octave apart, the F is given here only once.

410

Preliminary Matter

Where text is underlaid in songs, the use of hyphens to show syllabification generally follows present-day practice but preserves the original underlay where it is sufficiently clear in the source. The bar count begins with the first full bar; the counting of notes within bars does not include grace notes or ornaments. Pitches at a specific octave are represented in italic in the Helmholtz system, where c’ is middle C. Pitches in Roman type refer to pitch class. Any other alterations are discussed in the ‘Notes on the music’ which appears under the transcribed tune.

411

SOURCES FOR THE MUSIC Below is an annotated list of the musical sources (that is sources with music notation included) and ballad operas. Single song sheets, and collections that are purely textual are listed in the bibliography.

MANUSCRIPTS AgnesHume A small composite music book: it was acquired by the Faculty of Advocates and was later given to the National Library of Scotland. It is inscribed ‘Mrs Agnes Hume, 1704’ and contains a mixture of Scots tunes, instrumental melodies, English airs, and Psalms. James Porter (2012) has provided a more extensive examination of this manuscript where he notes concordances for the tunes and even suggests a possible identity for Agnes Hume. Agnes Hume’s music book Northumberland Record Office, Newcastle upon Tyne ZAN/M26/11 AnonGB Oblong quarto with 48 leaves (some blank). This bound manuscript is dated 1715-85, though the Front endpaper is inscribed “1761 May ye 26 / Juliana Mackworth”. The music consists of compositions by well-known composers including Thomas Augustine Arne (1710-78), William Bates (fl.1750-80), Thomas D’Urfey (1653-1723) and George Frideric Handel (1685-1759). There are also hymns and Scots songs in the collection. [Various vocal and instrumental music] Special Collections and Archives, Cardiff University, GB 1239 442/39l Atkinson Oblong octavo, containing 207 songs and dance tunes dating from the latter half of the seventeenth century. It is inscribed ‘HENRY ATKINSON HIS BOOK 1694’ though JA is also inscribed throughout the manuscript. Christopher Marsh (2013), p.211 has provided a detailed biography for Atkinson and suggests the manuscript ‘presumably derived recreational pleasure’. It contains many known and previously unknown melodies popular in northern England and southern Scotland. Henry Atkinson MS tune book, 1694-95 Northumberland Record Office, Newcastle upon Tyne (on deposit from The Society of Antiquaries, Newcastle upon Tyne) ZAN/M26/11 413

The Tea-Table Miscellany

Balcarres The Balcarres Lute-book (hence Balcarres MS) contains 252 pieces from Scotland, England and France and is one of the largest collections of lute music post-1640. Its Scottish tunes are common to the Wemyss, Straloch, Rowallan, and Skene MSS, though, the notation is clearer and more detailed in comparison to other sources. Matthew Spring (2010), xvii suggests that whoever the scribe was, they demonstrate ‘reasonable technical skill and much enthusiasm for collecting lute settings of Scottish tunes’. Mr Beck’s and John McLachlan’s names appear frequently throughout the Balcarres MS (McKillop 2007, p.93). Indeed, McLachlan contributed pieces to Henry Playford’s A Collection of Original Scots Tunes (London: 1700, 1701) and his hand appears in Bowie (Edward 2007, p.63). The Balcarres Lute Book [c. 1695-1700] NLS Acc.9769, Personal papers, 84/1/6 modern edition & facsimile: Spring (2010) Ballet Housed at Trinity College, Dublin, the William Ballet lute book is dated c.1590-1603 and is a collection of lute and viol music. Many popular Elizabethan dance and broadside ballad tunes are included such as ‘Bonny sweet Robin,’ ‘The Witches Dawnce,’ ‘The Quadran Pavan,’ and ‘Lachrymae by mr dowland.’ The collection has been digitised. William Ballet lute book Trinity College Library, Dublin MS408_001 Blaikie Around 1820, Paisley engraver and antiquarian Andrew Blaikie copied out the ‘principal airs’ from two viol tablature MSS in his collection: one MS was dated 1683, and was once owned by Lady Katherine Boyd, daughter of William, 1st Earl of Kilmarnock. The other was dated 1692. Aberdeen music seller and composer James Davie (1783-1857) made his own transcription possibly from Blaikie’s copy, which Dundee merchant and music collector Andrew Wighton borrowed. Wighton selected forty tunes to copy, and it is this copy that has survived in the collection bequeathed to the city of Dundee. Blaikie MS, a 19th-century copy of lost MSS from 1683 & 1692. Wighton Collection, Central Library, Dundee [no call number] 414

Sources for the Music

BlaikieWS This is a set of transcription-cum-arrangements for treble and bass on eight foolscap pages created by Andrew Blaikie from the tablature MSS referred to above under Blaikie and presented ‘To Sir Walter Scott of Abbotsford Bart. from his most obedient and very humble servant Andrw. Blaikie. 27. July 1824.’ Blaikie-Scott MS, 1824, transcribed from lost MSS of 1683 & 1692. National Library of Scotland, Edinburgh MS.1578 Bowie The Bowie Manuscript was gifted to the National Library of Scotland by Francis Collinson in 1972 (Stell 1999, p.47). Its name comes from the inscription on the flyleaf: At edinburgh the 11th day of october 1705 I G: B: grants me to have borowed from M: M: ye soume of 12 pounds scots of which I justly oue to ye said M: M [signed] G B According to Aaron McGregor (2020), pp.257-8 ‘MM’ is Margaret McKenzie, widow of Edinburgh-based musician, John McLachlan (d.1702). Within the manuscript, there are 51 pieces of music in staff notation, which show a ‘novel and experimental’ compositional style (McGregor 2020, p.274). Though six different hands contributed to the manuscript, much of it has been copied by one person and both McGregor (2020), p.259 and Stell (1999), p.51 assert that the principal hand could be McLachlan himself. Indeed, 14 tunes are closely related to pieces found in the Balcarres, a source that features McLachlan’s work, and seven pieces are specifically attributed to ‘JMc’, ‘JMcL’ and ‘JMcLac’. George Bowie MS, c. 1690-17oo National Library of Scotland, Edinburgh MS.21714

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The Tea-Table Miscellany

Britton 92 folios consisting of London playhouse tunes arranged for strings, this manuscript is thought to have once belonged to Thomas Britton (1644-1714), a man who initially started out as a charcoal merchant, but then became known as a famous concert promoter, having built a small concert hall in the loft of his home. Several renowned musicians played at Britton’s concerts including Johann Christoph Pepusch (1667-1752), John Banister (1630-1679) and Philip Hart (1647-1718) (Reid 2004). A collection of arrangements, in parts, mostly of dramatic works, 18th century. British Library Add MS 24889 Campbell This notebook was used by John Campbell (1698-1729) while he was a student at the University of Glasgow. The front cover was elaborately decorated with geometric shapes, and passages written in English, Latin, and Greek, including the phrase ‘God Save the King’. The notebook includes within it passages written in Latin, philosophical themes, and some verses, as well as some notated music. The tunes are mainly well-known Scottish tunes, and all are notated in flat keys. John Campbell notebook, 1713 University of Glasgow Library, Glasgow SpColl GB 247 MS Gen 12 ClerkPenicuik Among the large collection of the Clerk of Penicuik Papers are loose sheets of music, including new compositions and well-known Scottish dance tunes, predominantly in the hand of composer and violinist John Clerk of Penicuik (1676-1755). A complete list of items found in the collection is available at hms.scot. Clerk of Penicuik Papers National Records of Scotland, Edinburgh GD18/4538/5/7, Clerk of Penicuik Papers 21 Cockburn This folio contains 60 leaves and is bound. It includes arrangements indicative of both Scotland and England. It is inscribed ‘magdalen cockburn Iohn [or sohn?] on the inside front cover, though ‘I.F.’ appears on the outer boards. Evelyn Stell (1999), p.71 identifies one of the scribes as the same hand that wrote the two Panmure violin 416

Sources for the Music

manuscripts. She goes onto note ‘the hand of the musician is distinctive and highly competent’, appearing in seven manuscripts belonging to the Maules of Panmure and the Kers of Newbattle (Stell 1999, p.71). Warwick Edwards (2007), p.60 tenuously suggests the scribe was Jafery Banister whose hand appears throughout the two Panmure books. Magdalen Cockburn Music Book University of Edinburgh Library, Edinburgh Mus.M.1 Crockat As noted by Karen McAulay (2013), p.167, as recently as 1966, this oblong octavo was thought to have been lost. It is now part of the private collection at Boughton House. It is in two parts; music for keyboard and tunes for flute and recorder. The keyboard side is inscribed ‘Charles Kirkpatrick Sharpe’. The reverse of the volume is inscribed ‘Mrs Crockat 1709’ and it contains several Scots airs including ‘Muirland Willy,’ ‘Polwart on the Green,’ ‘Logan Water,’ and ‘Pegie I must love thee,’ all tunes which appear in Allan Ramsay’s TTM. Mrs Crockat’s Music Book, 1709 Montagu Music Collection, Boughton House, Kettering no. 6 Cuming Oblong octavo of 37 leaves, signed ‘Patrick Cuming his Book | Edinburgh 1723’ with ‘Patrick Cuming his Book | for the Violin 1724 | Musick’ on the reverse. This book contains several tunes found in printed collections including some dance tunes such as reels and minuets. Patrick Cuming his Book Edinburgh 1723; Thomas Cuming His Book, 1723 National Library of Scotland, Edinburgh MS.1667 Cutting ‘Greenesleeues by maister Cuttinge’ is part of a larger collection of music dating from the late sixteenth century. A folio of 44 leaves, the collection consists mainly of dance music, compositions for lute, and lessons. Six pavans and galliards written for the virginal by [William] Byrd British Library Add MS 31392 417

The Tea-Table Miscellany

Dow This oblong octavo commonplace book of 88 pages was acquired by the National Library of Scotland at an auction in 1990. It is inscribed with three different names and dates: ‘John Dow his Musick Book 1722’ | ‘Alexander Anderson his book 1743’ | ‘Andrew Smith Musick Book 1776.’ The first page is missing from the manuscript, but the remainder is in good condition. Throughout, there are several, carefully notated Scots tunes, minuets, and Italian arias (complete with lyrics). John Dow, owner of book of tunes for flute, 1722 National Library of Scotland, Edinburgh Acc. 10182 Edward The commonplace book contains both sacred and secular pieces as well as some notes about music and a methodically ordered contents list. There are a couple of pieces by John Dowland (1563-1826) including his famous ‘Lacrymae’ and ‘The Galeard’ and there are also several Scots tunes such as ‘The Lass of Petie’s Mill,’ ‘Jhon come kisse me noue,’ and ‘The bonie Bote man’. Robert Edward’s Commonplace Book, [1622-1665] National Library of Scotland, Edinburgh MS.9450 Fitzwilliam A folio containing 297 pieces of keyboard music, mostly composed in the late sixteenth and early seventeenth century. Music composed by William Byrd (c.1539/40 or 1543-1623), John Bull (1562/63-1628), Giles Farnaby (c.1563-1640), and Peter Philips (1560/1-1628) are found in the collection. Fitzwilliam Virginal Book Fitzwilliam Museum, Cambridge Mu. MS 168

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Sources for the Music

FolgerDowland Folio of 97 leaves (though many are blank), the FolgerDowland, also known as the Dowland MS, is officially titled ‘Collection of songs and dances for the lute [manuscript], ca.1594-ca.1600.’ Much of the music consists of well-known Elizabethan airs arranged for solo, duet, and ensemble performances on the lute. It is written in French lute tablature. The Folger Library have identified about a dozen hands throughout the manuscript. Collection of songs and dances for the lute [manuscript], c.1594-c.1600 / Dowland MS Folger Shakespeare Library, Washington, D.C. Ms.V.b.280 Gairdyn A small oblong octavo of 58 leaves, containing over 300 tunes and fragments of tunes, which presumably acted as an aide memoir for the player who may have been a professional violinist (Gelbart 2012, p.86). As noted by Stell (1999), p.87, several dates are listed including 1700, 1710, 1725 and 1739 ‘implying that the binding, though apparently contemporary, was later than at least some of the music’. Though it is known as the ‘Gairdyn MS’ it actually bears three different names: ‘Mr. Alexr. Naughton, merchant in Rotterdam,’ ‘John Gairdyn,’ and ‘James Steuart’. It is an example of a highly personalised manuscript that had a distinctive functional use. Gairdyn MS, 1700-1739 National Library of Scotland, Edinburgh MS.3298 GeorgeSkene Oblong octavo of 28 leaves, dated 1727. The music is mostly for violin or bagpipe, including ‘Mr David Skene’s Reell’ and ‘Sir William Wallace His March learnt from (Pat: Ogilvie) Young Balfour anno 1715.’ Ian MacInnes (ed. Dickson 2009, p.183) notes the music book was put together by George Skene, a local laird from Skene in Aberdeenshire who played the fiddle and the bellows bagpipe. George Skene’s Music Book, 1717 National Library of Scotland, Edinburgh Adv.MS 5.2.21

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The Tea-Table Miscellany

Guthrie Octavo, 458 pages. Rev. James Guthrie was a minister in Stirling, who was executed in Edinburgh in 1661. The bound volume consists of scriptures, breviaries, missals, treatises, discourses, sermons, notes on theological matters, notes on philosophical matters, historical, legal, biographical material, letters, and poems as well as musical material. James Porter (2007), p.42 dates it from around 1680, but it is listed on the Edinburgh University Archival Record as c.1650-60. Sermons by Mr. James Guthrie, 1650-60; Notes on Philosophy, etc., MS, c.1650-61. University of Edinburgh Library, Edinburgh La.III.111 HolmesCittern Octavo, 35 leaves. This manuscript is part of a much larger collection of manuscript books copied by Mathew Holmes, a Precentor and Singingman of Christ Church in Oxford from 1588 and then in Westminster Abbey in London from 1597 until his death in 1621. Much of its contents are a variety of galliards and pavanes. Mathew Holmes’s cittern book Cambridge University Library, Cambridge MS Dd.4.23 HolmesConsortBooks Holmes’s consort book for lute is one of four part books. The other three are for bass viol (Dd.5.20), recorder (Dd.5.21) and cittern (Dd.14.24). It consists of English consort music for lute. Holmes’s consort book for lute Cambridge University Library, Cambridge MS Dd.3.18

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Sources for the Music

JamesThomson An oblong octavo of 144 pages. It is particularly versatile and includes a mixture of Scottish and English traditional tunes, English court and theatre music, and a large number of ‘flourishes’ and other exerciselike pieces. According to Alexander McGrattan (ed. Porter 2007, p.248), the book may have been associated with Daniel Thomson, who was a popular trumpet soloist playing for theatres and concerts in Edinburgh and London. Stell (1999), p.210 suggests the manuscript was owned by the military, which accounts for the variety of pieces. James Thomson Music MS, 1702 National Library of Scotland, Edinburgh MSS.2833-4 JohnSkene Oblong octavo, with 252 pages in eight sections (originally eight separate volumes). It was bound together by the Advocates’ Library when it came into their possession at some point in the late eighteenth century. All eight manuscripts were written for mandora (a small lute). The music consists of Scots songs (without lyrics), courtly pieces, English songs, dances, theatre music and French melodies (Stell 1999, p.177). John Skene of Hallyard’s Lute-book, [c. 1620] National Library of Scotland, Edinburgh MS.Adv.5.2.15 Leyden Quarto, 81 leaves of tablature for lyra-viol, and tunes for violin in staff notation. Stell (1999,) pp.113-21 identified Andrew Adams hand within the manuscript, the same hand who compiled the majority of Sinkler. She also detected a hand like the main compiler of Bowie in the second half of the volume. Peter Holman (2010), p.87 notes the original binding was said to have been lettered ‘Pour le viole’ on the spine, suggesting a French owner or copyist. John H. Robinson (2008) has provided a more detailed description of the Leyden manuscript including a more in-depth account of its provenance. John Leyden’s MS, [1695-1705] University of Newcastle Library, Newcastle upon Tyne Bell-White 46

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MarthaBrown This oblong quarto of 127 leaves, is inscribed ‘Martha Brown her musick / Book Boght at Inver ay’ and is dated 1714. When reversed, the book is inscribed ‘Severall Receipes of Paistrie – dictated by M’s Yoūng at Glasgow may 22d 1710’ and consists of a large collection of recipes. It mostly consists of music for keyboard though there is also some fiddle music (ff.36-55v). There are a variety of Scottish tunes, some of which appear in Sinkler, and English theatre songs such as ‘Love’s a sweet passion’ by Henry Purcell. There are also a few Italian aria, complete with underlaid lyrics. Martha Brown her musick / Book Boght at Inver ay, 1714 Ayrshire Archives, Ayr [no call number] MMC353 Oblong octavo of 86 pages, containing music for recorder. It includes compositions by various composers including Jean-Baptiste Lully (1632-87), Arcangelo Corelli (1653–1713), William Croft (bap.1678–1727), Jeremiah Clarke (c.1674–1707) as well as anonymous Scottish tunes. The manuscript has been dated at around 1704-5 by Matthew Spring (2010), and c.1720 by Patrick and Rachel Cadell. BH 353 ‘Tunes for the Flute in manuscript’, 1704-05? Montagu Music Collection, Boughton House, Kettering 353 Mynshall The manuscript consists of 52 leaves of music written in lute tablature. It is mainly in the hand of Richard Mynshall (b.1582). The music mostly consists of dance tunes and compositions by John Dowland. Richard Mynshall Lute Book Facsimile of the original ms consulted: The Mynshall lute book / with an introductory study by Richard Spencer, Leeds: Boethius Press, 1975. Original ms in the private library of Robert Spencer, Woodford Green, Essex.

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NewbattleLessones This oblong octavo of 20 leaves includes 28 pieces for violin. It is the second of two volumes found at the library of Newbattle Abbey and is now housed at the National Library of Scotland. Stell (1999), pp.139-40 doubts the two ‘Newbattle violin books’ are companion volumes. The same hand appears in this manuscript, Panmure9454 and Cockburn. ‘Lessones for ye Violin’, Newbattle Violin MS 2, c. 1680 National Library of Scotland, Edinburgh MS.5778 Otley This oblong octavo of 39 leaves contains 109 compositions for cittern in tablature and 12 consort pieces. Throughout it are several unidentified hands on both sides of leaves, though it does bear the signatures of ‘Otley’, “witness” ‘James Davis’, and’ James Buckherst’ on the inside front and back covers. It includes music by John Dowland, Anthony Holburn (c.1545-1602) and William Lawes (1602-45) as well as Scottish and Irish tunes. Matthew Otley’s cittern book Houghton Library, Harvard University Mus.181 Ox576 This oblong octavo of 52 leaves contains music for lute and 25 pieces for harpsichord. The lute music is for 10- and 11-course lute in French tablature. Eighty pieces for the lute or harpsichord, occasionally with English or French words Bodleian Library, Oxford MS. Mus. Sch. F. 576 Panmure9458 Oblong octavo, 52 leaves consisting of 17 pieces for keyboard. This is the only volume of keyboard music that is part of the Panmure collection. The arrangement of contents is very similar to other music books in the collection. It also includes Scots airs. Unfortunately, it contains no inscriptions that identify the owner or the scribe. Stell (1999), p.145 suggests it may have been owned by Mary Maule, the sister of Harry and James though the evidence is not definitive. Panmure Music Book 9458 National Library of Scotland, Edinburgh MSS.9458 423

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Panmure9454 This oblong octavo of 41 leaves is principally in the hand of the ‘Panmure scribe’, who is possibly Jeffrey Banister (d.c.1674). It is associated with Harry Maule, Earl of Panmure (d.1734), who was known to play the bass viol. Stell (1999), pp.156-7 suggests some of the volume was compiled in London as it includes fashionable song and dance melodies from the period. Panmure Music Book 9454 National Library of Scotland, Edinburgh MSS.9454 PanmureViolin2 An oblong octavo manuscript consisting of 16 folios, it was once in the collection of the Maules of Panmure, Earls of Lothian. It is now separate from the Panmure collection held by the National Library of Scotland. Also, unlike the NLS Panmure books, it is unbound. There are 22 musical items, which are mainly dance tunes. Panmure Violin Manuscript 2 National Records of Scotland, Edinburgh GD45/26/104 Ridout This small, 14cm tall, bound commonplace book consists of 166 leaves. Included are medical and kitchen recipes, spiritual and moral propositions, lists of printed books, and 32 pieces for cittern in tablature. John Ridout’s commonplace book, [16--] Houghton Library, Harvard University Mus.182 Rogers Folio of 60 pages that consists of 94 pieces for keyboard and 18 vocal lessons. Little is known of Elizabeth Rogers or the other names that appear in the manuscript: Elizabeth Fayre, John Tillet, Thomas Strengthfield and Beare. Much of the music is English with pieces by William Byrd, Orlando Gibbons (1583-1625), Henry Lawes (1596-1662), and Robert Johnson (c.1583-1633), as well as Scottish and Irish tunes. The virginal book of Elizabeth Rogers British Library Add. MS 10337

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Sources for the Music

Rowallan Oblong octavo. The names William Mure of Rowallan and Anna Hay appear in the manuscript, but the title page is inscribed ‘my lade bekluch her book’, which has led Rob MacKillop to suggest the manuscript should be more appropriately called Beccleuch ms. Several pieces are by English and European composers, including William Byrd and Jan Pieterszoon Sweelinck (1562-1621). Sir William Mure of Rowallan’s Lute Book University of Edinburgh Library, Edinburgh Laing III.487 Sinkler An oblong octavo of 73 leaves, the section inscribed ‘Margaret Sinkler | bught this Musick Book written | By Andrew Adam at Glasgow | October the 3i day i7i0.’ This manuscript was copied by Glasgow musician Andrew Adam (fl.1700-1732), who would become a burgess of Glasgow city in 1732 (Stell 1999, p.169). Adam is also thought to have compiled the 81 tablatures in the Leyden and the original two tablature books, which Blaikie copied (now lost) (Holman 2010a, pp.86-87; Edwards ed. Porter 2007, p.66). It is now bound with a keyboard book inscribed ‘George Kincaid, Glasgow 1717’ and ‘Anne Crookshank’. Much of the music is Scottish, with some pieces appearing in both the Blaikie and Leyden. The tunes are written in treble clef and seem to be principally for treble viol. However, it also contains a chart entitled ‘the Gam ut on the viol de gambo the consort way of playing’ indicating a bass viol was also intended to perform some of this music. Margaret Sinkler’s Music Book, 1710 National Library of Scotland, Edinburgh MS.3296 [also catalogued as Glen.143(i)] Straloch The original manuscript was lost in the mid-nineteenth century after it was sold at auction to ‘a name quite unknown to Collectors’ (quoted in Stell 1999, p.186). All that remains is a copy, consisting of 15 folios, created by George Farquhar Graham. In his transcription, Graham acknowledged there were pitch errors and few rhythmic indications in the original manuscript. copy of Robert Gordon of Straloch Lute Book National Library of Scotland, Edinburgh Adv.MS.5.2.18 425

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Sutherland Folio of 30 pages consisting of 39 pieces in lyra-viol tablature, followed by 14 keyboard pieces in staff notation. This manuscript was found with Weymss and at one point was called ‘Wemyss MS 2, the Companion to the Lady Margaret Wemyss manuscript’ before evidence of its true provenance came to light. The initials LMC appears on the binding, and it was possibly owned by Margaret, the eldest daughter of William, Lord Cochrane. She likely passed it to her sister Helen, who went on to marry the 15th Earl of Sutherland. Stell (1999), pp.198-9 identifies four hands, one which is competent (possibly a teacher), and three others. Music manuscript [Lady Montgomre lyra-viol and virginal book] National Library of Scotland, Edinburgh Dep.314/24 Taitt An oblong octavo manuscript consisting of 193 leaves, it includes Scottish and English catches and airs. There is also some writing on music theory. The commonplace book was compiled by Scottish assistant schoolmaster, musician, and session clerk Robert Taitt. Book of songs, music and poems William Andrews Clark Memorial Library, University of California MS.1959.003 Waterston This oblong octavo manuscript opens with the following statement ‘This volume is made up of | Five Old Manuscript Music Books | The First is dated 1715. consists of 108 pages & contains about 12 old tunes, some | of them are well known yet, but others altogether | forgotten tho’ not without some merit in their own way. | The Second is dated 1762 consists of | 80 pages & contains about 87 tunes of rather a | more modern cast than the previous, the | great part ane not to be met with in any |of our extant? music collection’. Noted on the section dated 1763: ‘Old Music Book contains some | old airs but generally to be met with | not uncommon | 1762.

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Sources for the Music

The first book is for keyboard. The remaining books are tunes for violin. Much of the repertoire consists of known Scottish tunes. Waterston Music Manuscripts. National Library of Scotland, Edinburgh Acc.4292 [also catalogued as MF.MSS.111] Thysius The manuscript was created by Adrian Smout, who studied at the University of Leiden in 1595 and later became a counter-Reformation preacher. Shortly after Smout’s death, it was acquired by book collector, Joan Thys (Latinised into Thysius), from whom the manuscript takes its name. Het Luitboek van Thysius copy consulted: J.W.J. Burgers, L.P. Grijp, S. Groot, J. Robinson, 2009, Het Luitboek van Thysius / The Thysius Lute Book. Facimile edition of Leiden, Bibliotheca Thysiana 1666. 3 vols., Leiden & Utrecht: Nederlandse Luitvereniging & Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis Wemyss Quarto sized manuscript with 75 folios containing poetry, songs in staff notation and lute tablature, together with several blank leaves. It is inscribed ‘A Booke | Containing some pleasant aires | Collected out of diverse authors | begunne june 5 1643 | Mrs Margarit Weemys’ and is thought to have been compiled by the daughter of David, Earl of Weymss (1610-79) and his first wife Anna Balfour (d.1649). According to Stell (1999), p.217 the music falls into two categories: 1. Scottish and English popular tunes and 2. French dance music. It also contains several pieces by Thomas Campion (1567-1620) and Thomas Morley (1557-1602). Lady Margaret Wemyss’s song book, inscribed ‘begun 1643’. National Library of Scotland, Edinburgh Dep.314/23

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YoungDrummondCD YoungDrummondHR Drummond MSS 1 & 2, 1737 private collection, Drummond Castle, Crieff photocopies of both at NLS Acc.7722 & University of Glasgow Library Ca9-d.52 These two MSS are bound together, as an oblong quarto of 49 + 35 folios. Their compiler David Young was in Edinburgh in the early 1740s before returning to his native Aberdeen and serving as the first secretary of the Aberdeen Musical Society from 1748. Besides the volumes listed here, there also survives ‘A Collection of the newest Countrey Dances Perform’d in Scotland: Written at Edinburgh by Da. Young W[riting].M[aster]. 1740.’ at Bodleian Library, Oxford MS.Don.d.54. The hand-written title page of YoungDrummondCD reads A COLLECTION OF | Countrey Dances | Written for the use of his Grace the Duke of PERTH. | By Dav. Young. and the book consists of descriptions of dance figures, followed by the tune in each case. The descriptions and the tunes take up a single page each. YoungDrummondHR has a similar title page: A Collection | OF THE BEST | Highland Reels. | Written by David Young. W.M. &. Accompdant. and its contents are indeed reels, some of them given with variations.

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YoungMcFarlane2085 This upright folio of 154 + 153 leaves consists of two manuscripts bound together. These form volumes 2 and 3 of a three-volume set prepared by David Young (b.c.1707-fl.1748): the first was already lost by 1838, having been borrowed from the Society of Antiquaries. YoungMcFarlane2084 has an elaborately inscribed title page, which reads A | Collection | of | Scotch Airs With the latest Variations | Written for the use of | Walter Mcfarlan | OF THAT ILK | By David Young W[riting]. M[aster]. in Ednr. | 1740. A similar title page in YoungMcFarlane2085 has been badly torn so that the date at the foot of the page is now missing. McFarlane (d.1767) was chief of clan MacFarlane, and 20th Laird of Arrochar, and the contents of the McFarlane MSS, 543 pieces in all, cover a wide range of Scottish fiddle styles. They include substantial variation sets, some of which are technically demanding, as befits their description as ‘the latest’ (McGregor 2020, pp.254-66). McFarlane [MacFarlane, McFarlan] MSS, 1740 National Library of Scotland, Edinburgh MSS.2084-2085 YoungMS957 An upright folio consisting of 102 pages, the hand in this manuscript is unmistakably David Young’s. The index is also in the same style as YoungMcFarlane2085, written out with the tunes alphabetically listed, rather than by page number. There are several Scottish tunes throughout, including variations by Charles McLean (fl.c.1737) and William McGibbon (1690-1756). There are also several minuets, Italian works by Corelli (1653-1713), Tessarini (1690-1766) and Vivaldi (16781741). Unlike the MacFarlane manuscript, which clearly identifies an owner, this manuscript is void of any inscriptions. There are some errors throughout, which perhaps suggests Young prepared this for himself or a friend as opposed to a patron. David Young Manuscript, MS 957 Jean Gray Hargrove Music Library, University of California MS 957

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PRINT Aglaura AGLAURA. | LONDON, | Printed by Iohn Haviland for Thomas Walkley, and are | to be sold at his shop at the Signe of the Flying | Horse between York-house | and Britaines Burse. 1638. Aglaura is a play by Sir John Suckling (1609-41). It was first staged by the King’s Men at Blackfriar’s Theatre, London. A production was staged at the English Royal Court in 1638. London: John Haviland, 1638 copy consulted: British Library C.71.ff.2. Amphitryon AMPHITRYON; | OR, | The Two Sofia’s. | A COMEDY. | As it is Acted at the | Theatre Royal. | Engregiam vero lauden &c. spolia ampla resertis; | Una, dolo, Divûm, si Fœmina victa duorum est. Virg. | Written by Mr. DRYDEN. | To which is added, | The MUSIC of the SONGS. | Compos’d by Mr. Henry Purcel. John Dryden’s (1631-1700) Amphitryon was an adaptation of the French play (also called Amphitryon) by Molière (1622-73). The original story was a Greek myth. The music for Dryden’s play was composed by Henry Purcell (1659-95). It premiered at the Theatre Royal, Drury Lane on 21 October 1690. London: Jacob Tonson, 1691 copy consulted: The Huntington Library, San Marino 123003 AmorousMiser The AMOROUS | MISER: | OR, THE | Younger the Wiser. | A | COMEDY. | LONDON: | Printed, and sold by Ben. Bragg at the Blue Bell | in Avymary-lane. 1705. The Amorous Miser by Peter Motteux (1660-1718) is a farcical comedy that premiered at Drury Lane on 18 January 1705. London: Benjamin Bragg, 1705 copy consulted: British Library 161.c.61.

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Apollo&Daphne VOCAL PARTS | OF’AN | ENTERTAINMENT, | CALLED | Apollo and Daphne: | Or, the BURGO-MASTER Trick’d. | As Perform’d at the | THEATRE ROYAL | IN | Lincoln’s-Inn-Fields. | The Fourth EDITION, with Alterations and | Additions. Apollo and Daphne by Lewis Theobald (1688-1744) premiered at the Theatre Royal in Lincoln’s Inn Fields on 14 January 1726. London: T[homas], 1726. copy consulted: Bodleian Library, Oxford Harding D2115 AriaDiCamera ARIA DI CAMERA | being | A Choice Collection | of | Scotch, Irish & Welsh Air’s | for the Violin and | GERMAN FLUTE, | by the following Masters. | Mr. Alex: Urquahart, of Edinburgh. | Mr. Dermt. O’connar, of Limerick. | Mr. Hugh Edwards, of Carmarthen. Alexander Urquhart (d.1727), the source for the Scottish material in this volume, was also a flute maker: his maker’s mark was a thistle. Although the titlepage mentions the violin, the music is prefaced by an illustration of a flute player, and by 25 pages of ‘The Newest Instructions For the GERMAN FLUTE’ which are a translation of Hotteterre’s Principes de la Flûte (Ford 2020b, p.168-9). London: Printed for Dan: Wright [...] and Dan: Wright Junr., [c. 1727]. copy consulted: National Library of Scotland, Edinburgh F.7.g.10 Astartus ASTARTUS: | AN | OPERA. | As it is Perform’d | At the KING’s THEATRE in | the HAY-MARKET, | FOR THE | Royal Academy of Musick. | --to mitigate and swage | With solemn Touches, troubled Thoughts, and chase | Anguish, and Doubt, and Fear, and Sorrow, and Pain. | MILTON’S Paradise Lost, Book I. The opera Astartus was composed by Giovanni Bononcini (1670-1747) and first performed at the King’s Theatre, Haymarket on 23 November 1720. London: Tho[mas] Wood, 1721 copy consulted: British Library 639.d.17.(4.) 431

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Ayres&Dialogues I-III SELECT | AYRES | AND | DIALOGUES | For One, Two, and Three Voyces; | TO THE | THEORBO-LUTE or BASSE-VIOL This collection in three parts consists of 92 songs for solo voice in book 1, 10 dialogues and 3 glees for two voices in book 2, and 17 songs for three voices in book 3. Composers contributing to the collection include John Wilson (1595-1674), Charles Colman (c.1605-1664), Henry Lawes (1596-1662), William Lawes (1602-1645), Nicholas Laneare (or Lanier) (1588-1666) and William Webb (c.1600-1657) among others. This copy is missing p.29 and p.30. London: W[illiam] Godbid for John Playford, 1659 copy consulted: British Library K.7.i.19.(1.) BanquetMusick THE | Banquet of MUSICK: | OR, | A Collection of the newest and best SONGS | Sung at Court and at Publick Theatres being most of them within the Compass of the FLUTE. | WITH | A THOROW-BASS for the Theorbo-Lute, | Bass-Viol, Harpsichord, or Organ. | Composed by several of the Best Masters. | The WORDS by the Ingenious Wits of the Age. The SIXTH and LAST BOOK. The Banquet of Musick is a collection of music now attributed to Henry Playford. The sixth book consists of 25 songs, set with a melody line, underlaid text and a bass line. London: Edw[ard] Jones, 1692 copy consulted: British Library G.83.a. Barsanti A | COLLECTION | OF | OLD SCOTS TUNES | With the Bass | FOR | VIOLONCELLO or HARPSICHORD: | Set and most humbly Dedicated, to | THE RIGHT HONOURABLE | THE LADY ERSKINE, | BY | FRANCIS [Francesco] BARSANTI. Resident in Edinburgh from 1735 to 1743, Francesco Barsanti (1690-1775) was a wind player as well as an accomplished composer, and his book of Scots Tunes has several intriguing features. There are no variations added to the tunes, and the copious ornament signs added to the melodies could be an attempt to transcribe them the way he heard them being played, rather than a deliberate Italianisation of their style. 432

Sources for the Music

Every tune in the book is marked ‘Slow’, perhaps as an indication that they are not intended for dancing. The bassline for [4] and, to a lesser extent, for ‘Cromlet’s Lilt’ are strikingly like those published a few years earlier in the ‘Sonata of Scots Tunes’ in A Collection of Musick by James Oswald (1710-1769). Edinburgh: Alexander Baillie, [1742]. copy consulted: National Library of Scotland, Edinburgh Glen.319 BaysOpera BAY’s | OPERA. | As it is Acted at the | THEATRE-ROYAL, | BY | His MAJESTY’s Servants. | Written by Mr. ODINGSELLS. | --Ridentem discere verum | Quid vetat? | Hor. A ballad opera by Gabriel Odingsells (1690-1734), it was first performed at Drury Lane on 30 March 1730, with Theophilus Cibber (1701/3-1758) in the title role. London: J[ames] Roberts, 1730 copy consulted: British Library 82.e.35.(3.) BeggarsOpera1728 THE | BEGGAR’s | OPERA. | As it is Acted at the | THEATRE-ROYAL | IN | LINCOLNS-INN FIELDS. | Written by Mr. GAY. | […] The SECOND EDITION, | WITH THE | MUSICK prefix’d to each SONG. The Beggar’s Opera was first performed in London on 29 January 1728, as noted in the Daily Journal of 1 February. In this edition, the melodies of the songs are given in woodcuts at the appropriate places in the play text, an arrangement which returns for the fourth edition of 1735. London: John Watts, 1728. copy consulted: Houghton Library, Harvard University GEN *EC7. G2523B.1728ca.

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BeggarsOpera1729 THE | BEGGAR’s | OPERA. | As it is Acted at the | THEATRE-ROYAL | IN | LINCOLNS-INN FIELDS. | Written by Mr. GAY. | […] The THIRD EDITION: | With the OUVERTURE in SCORE, | The SONGS, and the BASSES, | (The OUVERTURE and BASSES Compos’d by Dr. PEPUSCH) | Curiously Engrav’d on COPPER PLATES. In this edition, the music for the songs is engraved with basses by Pepusch and presented separately at the end of the volume. London: John Watts, 1729. copies consulted: Bibliothèque nationale de France Musique VM3-234; British Library R.M.10.a.6.(1.) BeggarsWedding THE | BEGGAR’S WEDDING. | A NEW | OPERA | As it is Acted at the | THEATRE in Dublin, with great Applause | AND | At the THEATRE in the Hay-Market. | To which are added the New | PROLOGUE and EPILOGUE. | By Mr. CHAR. COFFEY. | Sometimes we frame our Selves to be lame, | And when a Coach comes we hope to see our Game; | We seldom miscarry, and seldomer marry, | By Gown, Common Prayer, or Cloak Directory; | But Simon and Susan like Birds of a Feather, | First kiss, sing, and laugh, and lie down together : | And therefore brave, bonny, bold Beggars we’ll be, | For none leads a Life so merry as we. | Pills to purge Melancholy. | The SECOND EDITION. Ballad opera The Beggar’s Wedding by Charles Coffey (d.1745) was inspired by Gay’s The Beggar’s Opera, and after an unsuccessful run at Smock Alley theatre, Dublin in March 1729 (Walsh 1973, pp.367), Coffey took it to London’s Haymarket in May of that year to great success. The libretto went through five editions by 1733 (Knight and Noble, 2004). London: James and John Knapton, 1729 copy consulted: National Library of Scotland, Edinburgh Glen.172(3)

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Sources for the Music

BeggarsWeddingSongs SONGS | in the | OPERA | call’d the | BEGGAR’S | WEDDING | as it is Perform’d at the | Theatre in the | HAY MARKET. | The Tunes proper for the | German Flute, Violin or Com- | mon Flute. the 2d. Edition The songs for The Beggar’s Wedding were published separately with music. The printed music is a melody stave with underlaid text. The melody is ‘within the compass of the flute’, allowing for more performance options. London: [J]. Walsh, [J]. Hare & [J]. Young, [1729]. copy consulted: National Library of Scotland, Edinburgh Mus. Box.s.130.4 BoardingSchool THE | BOARDING-SCHOOL: | OR, THE | SHAM CAPTAIN. | AN OPERA. | As it is Perform’d at the THEATRE-ROYAL in DRURY-LANE, | By His MAJESTY’s Servants. | Written by the Author of The BEGGAR’s WEDDING | and The DEVIL to PAY. | With the MUSICK prefix’d to each SONG. The Boarding School by Charles Coffey is a ballad opera based on Thomas D’Urfey’s 1691 comedy Love For Money; Or, The Boarding School. According to the Daily Post report published on 31 January 1733, it was performed ‘by desire’ on the same day at the Theatre Royal, Drury. London: J[ohn] Watts. 1733 copy consulted: British Library 841.d.17(6)

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Bocchi A MUSICALL | ENTERTAINMENT | For A Chamber Sonatas | For | Violin, Flute, Violincello | and SIX STRING BASS | With A Thorough bass for the Harpsichord | or bass Violin Lastly a Scotch Cantata with the | Instrumental parts, after the Italian Manner. | Dedicated to his Grace James, | Duke of Hamilton and Brandon. | Composed by | Lorenzo Bocchi | OPERA PRIMA Composed by Italian cellist, Lorenzo Bocchi (fl.1720s), it consists of 12 sonatas, ‘an English Aire Improv’d after an Italian manner,’ a short piece titled ‘In Imitation of a french horn,’ and A Scotch Cantata, a setting of Ramsay’s text. The musical style is in the Italian manner. The printers, John, and William Neal in Dublin had also printed other important collections of Scottish and Irish music to which Bocchi had contributed (Holman 2010a, p.115). Dublin: [J]ohn and William Neal, [c. 1724] copy consulted: National Library of Ireland, Dublin Add Mus 10069 Bonduca BONDUCA: | OR, | The British Heroine. | A | TRAGEDY. | Acted at the | Theatre Royal. | BY | His MAJESTY’s SERVANTS. | With a New Entertainment of MUSICK, | Vocal and Instrumental | Never printed or Acted before. Bonduca was originally a tragi-comedy by John Fletcher (1579–1625), however, in 1695 a new version, was performed at the Theatre Royal with newly composed instrumental and vocal music by Henry Purcell. London: Richard Bentley, 1696 copy consulted: Princeton University Library, Princeton 3899.167.312

436

Sources for the Music

BritishMusicalMiscellany I-VI The | British Musical Miscellany. | or, the | Delightful Grove: | Being a Collection of Celebrated | English, and Scotch Songs, | By the best Masters. | Set for the Violin, German | Flute, the Common Flute. | and Harpsichord. | VOL. I. | Engraven in a fair Character, and | Carefully Corrected. The British Musical Miscellany is a collection of songs, set with a melody line, underlaid text and a bass line. Matthew Gelbart (2007), p.32 notes that collections such as The British Musical Miscellany that emphasised a ‘British coherence’ temporarily replaced Scottish collections. London: [John] Walsh, [1734-36] copy consulted: National Library of Scotland, Edinburgh Glen.171 Calista CALISTA. | AN | OPERA. | As it was designed to have been per- | form’d at one of the | THEATRES. | Dedicated to her GRACE | The DUTCHESS | OF | QUEENSBURY and DOVER. | […] | The SECOND EDITIONS, Revised and | Corrected by the Author’s original MS. Calista, a ballad opera advertised as ‘after the Manner of the Beggar’s Opera’ is often attributed to John Gay, though no author appears on the title page or in advertisements. On 25 March 1731, the London Evening Post announced that the opera had been offered to many theatres but ‘the Managers did not think fit to accept it, having been […] forbid by authority.’ In 1728, John Gay’s opera Polly was forbidden from performance for being libellous and it is possible Calista was forbidden for similar reasons (Dryden 2001, p.539). London: Printed for C. Davies, 1731. copy consulted: British Library 11775.c.9

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CanzonetsThreeVoyces CANZONETS | TO | THREE VOYCES | NEWLY COMPOSED | BY | HENRY YOVLL | PRACTITIONER IN | THE ART OF | MVSICKE. Canzonets to Three Voyces by Suffolk-based composer Henry Youll (fl.1608) is a book of 24 madrigals for three voices. The collection is dedicated to ‘the virtuous Gentlemen Mr. Nicholas Bason, Mr. Phillip Bacon, Mr. Nathaniell Bacon, and Mr. Lionell Bacon’, the four sons of Edward Bacon (d.1618) who Youll tutored. London: Thomas Este, 1608 copy consulted: British Library K.3.k.21. ChamberMaid THE | CHAMBER-MAID | A | BALLAD OPERA | OF ONE ACT. | As it is Perform’d at the | THEATRE-ROYAL, | By His MAJESTY’S Servants. | Diminuendo restituit. The Chamber-Maid is a one-act afterpiece ballad opera written by Edward Philips (fl.1730-40). It was first performed at the Haymarket Theatre, London on 10 February 1730. London: J[ohn] Watts, 1730 copy consulted: British Library 161.d.64. CoblersOpera THE | COBLER’s | OPERA. | As it is now Acted at the | THEATREROYAL | IN | LINCOLN’S-INN-FIELDS. The Cobler’s Opera by Lacy Ryan (c.1694-1760) was first performed at the Theatre Royal in Lincoln’s Inn Fields on the 26 April 1728. A year later, the opera was revived ‘with several alterations’ according to the advertisement published in the Daily Journal on 17 March 1729 and performed during Ryan’s Benefit. It was published on 9 April 1729. Dublin: Samuel Powell, 1729 copy consulted: Bodleian Library, Oxford Harding D1942

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Sources for the Music

CoblerofPreston THE | COBLER | OF | PRESTON. | AN | OPERA, | As it is Acted at the | New BOOTH in Dublin, | With great APPLAUSE. | --Sutor ultra Crepidam. | HOR This anonymous ballad opera by was based on Charles Johnson’s (16791748) comedy, The Cobler of Preston, A Farce (1716). It premiered at the New Theatre in Goodman’s Fields in January 1731, with the libretto published the following year. Dublin: George Faulkner, 1732 copy consulted: British Library 11774.aaa.19(2) CollectionTwentyFourSongs A | COLLECTION | Of Twenty Four | SONGS, | Written by several Hands. | And set by several Masters of Musick. | VVith the Tunes Engraven on Copper- | plates, with great Care. | Most of them within the Compass of a Flute. This collection consists of 24 songs with a single melody line and block lyrics. No composers are cited throughout the volume. London: F. Leach, 1685 copy consulted: The Huntington Library, San Marino 51769

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ComesAmoris I & II COMES AMORIS: | OR THE | Companion of LOVE. | Being a Choice COLLECTION | Of THE Newest SONGS now in Use. | WITH | ThorowBass to each SONG for the Harpsichord, Theorbo, or Bass Viol. Comes Amoris was a popular song collection that provided printed music notation and underlaid lyrics. In 1687, John Carr had revolutionised music printing by using a new fount type that allowed for round notes heads (Millard 2000, p.281). The new type was used in Comes Amoris. Book 2 is bound with A Small COLLECTION | OF THE | Newest CATCHES | For 3 Voices. Though this appears as a separate book (with differing page numbers), the songs in this part have been incorporated the contents page of ComesAmoris II. Two different printer attributions appear. The first is on p.2 where at the foot of the page ‘Printed for John Carr at the Middle Temple-Gate, 1687’ and the second is at the foot of p.4 ‘LONDON, Printed for Sam. Scott next door to the Devil-Tavern by Temple Bar. 1687’. John Carr likely gathered up these catches and included them in ComesAmoris without removing this unnecessary printer attributions or changing the page numbers. London: Printed by Thomas Moore, for John Carr, 1687-88. copies consulted: University of Glasgow Library, Glasgow Sp Coll Farmer f53 (Lacking a title page); Houghton Library *Mus.P9713.692f; and Royal Academy of Music, London XX(174804.1). ComicalRevenge THE | Comical Revenge; | OR, | LOVE | IN A | TUB. | Acted at His Highness the Duke of YORK’s | Theatre in Lincoln’s-Inn-Fields. | LICENSED, | July 8. | 1664 | Roger L’Estrange | LONDON, | Printed for Henry Herringman, and are to be sold at his Shop | at the Blew-Anchor, in the Lower-Walk of the | New-Exchange. 1664. The Comical Revenge is a restoration comedy by George Etherege (c.1636-92). It was first performed at the Theatre Royal, Lincoln Inns Field by the Duke’s Company in March 1664. London: Henry Herringman, 1664. copy consulted: British Library C.71.e.9. 440

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Comic&Serious A | Choice Collection | OF | COMIC and SERIOUS | Scots Poems | BOTH | ANCIENT and MODERN. | By several Hands. | PART I. | Quicquid agunt Homines, votum, timor, ira, voluptas, Gaudia, discursus, nostril est farr ago Libelli. First published in 1706, a further two volumes of A Choice Collection of Comic and Serious Scots Poems in 1709 and 1711. The first volume was produced less than a year after the Act of Union and as such was a public declaration of James Watson’s Scottish patriotism. Leith Davis (2011), p.61 points out that the collection is significant because ‘Watson uses the imaginative space of the miscellany to bring readers of different tastes and interests together to promote the cause of Scotland at a time during which the nation’s very existence was under threat.’ Edinburgh: James Watson, 1706 British Library C.131.de.3. CompleatMusickMaster THE COMPLEAT | Musick-Master: | BEING | Plain, Easie, and Familiar RULES for SINGING, and PLAYING | On the Most Useful Instruments now in Vogue, according to the Rudiments of Musick. […] The third Edition, with Additions. Price Stitch’d 2 s. The Compleat Musick Master is a music treatise designed for beginners to sing, play the bass, treble or tenor viol, violin, flute and haut boy (or oboe). It consists of concise instructions on how to play each of the stated instruments followed by easy tunes written in staff notation. The songs (composed for two voices) consist of music for treble and bass with underlaid text. London: William Pearson and John Young, 1722 copy consulted: British Library Music A.1330

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CountryWedding THE | COUNTRY-WEDDING, | AND | SKIMMINGTON: | Tragi-ComiPastoral-Farcical | OPERA. | As it is Acted | By His Majesty’s Servants | AT THE | THEATRE-ROYAL | In DRURY-LANE. Essex Hawker’s (fl.1723-1729) The Country-Wedding and Skimmington is a one-act farce that premiered at Lincoln’s Inn Fields on 6 May 1729. London: W. Trott, 1729 copy consulted: Bodleian Library, Oxford Harding D1221 Craig A COLLECTION | Of the Choicest of the SCOTS TUNES | Adapted For the Harpsicord or Spinnet | and within the Compass of the Voice | Violin or German Flute | By Adam Craig. Edinburgh: Richard Cooper [engraver], [c. 1727]. Several corrections in red appear throughout this edition, which suggests it was the corrected proof created ahead of printing the final version. The second impression bears the date ‘1730’ on the title page after Craig’s name. It appears to be the final version of the collections with the corrections made in the c.1727 now incorporated. As such, transcriptions are from the 1730 edition. copies consulted: National Library of Scotland, Edinburgh Glen.168(1) (c. 1727 edition); GB En Glen.170, Montagu Music Collection, Boughton House, Kettering no. 491 (1730 edition).

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Cyder CYDER | A | POEM. | In TWO BOOKS. | –Honos erit huic quoq; Pomo? Virg. | WITH THE | SPENDID SHILLING; | PARADISE LOST, | And Two SONGS, &c. | London: Printed and Sold by H[enry]. Hills, in Black Fryars, near the Water-side. 1709. The poem was written by John Philips (1676-1709) and discusses cidermaking. Also included were songs by various authors written for the London stage, including ‘Bright Cynthia’s Powers’ written by Thomas Cheeke. London: Henry Hills, 1709 copy consulted: British Library DRT Digital Store 1508/1429.(1.) DeliciaeMusicae DELICAE MUSICÆ: | BEING, A | Collection of the newest and best SONGS | Sung at Court and at the Publick Theatres, most | of them within the Compass of the FLUTE. | WITH | A Thorow-Bass, for the Theorbo-Lute, | Bass-Viol, Harpsichord, or Organ. | Composed by Several of the Best Masters. | THE THIRD BOOK. Delicae Musicae (third book) consists of 13 songs, all of which were taken from the London theatre stage. Many of the songs were composed by Henry Purcell, though there are 2 songs by John Eccles (1668-1735), and 1 song set by John Freeman (1666-1736). The music consists of a melody with underlaid lyrics and a bass line. London: J. Heptinstall for Henry Playford, 1696 copy consulted: Bayerische Staatsbibliothek, München 4 Mus.pr. 30000-1/4#3

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DevilDuke THE | DEVIL of a DUKE: | OR, | Trapolin’s Vagaries. | A | (FARCICAL BALLAD) | OPERA, | As it is Acted at the | THEATRE-ROYAL | IN | DRURY-LANE. | To which is prefix’d the Musick to each Song, set for the Spinnet, Harpsichord, German Flute, Violin, and Hautboy; | with the Thorough Base to each Tune. The Devil of a Duke by Robert Drury was adapted from Nahum Tate’s (1652-1715) A Duke and No Duke (1685). Allan Ramsay printed the Edinburgh edition of the libretto in 1733. A detailed note appears in Poems (Brown, 2023, II: pp.302-3). London: Charles Corbett, 1732 copy consulted: Bodleian Library, Oxford Harding D 963 DevilToPay THE | DEVIL | to | PAY; | OR, THE | WIVES Metamorphos’d. | AN | OPERA. | As it is Perform’d at the | THEATRE-ROYAL in Drury-Lane, | By His MAJESTY’s Servants. | Written by the Author of The Beggars Wedding. | in nova fert animus mutatas dicere formas Corpora -- | Ovid. | With the MUSICK prefix’d to each SONG. The Devil to Pay by Charles Coffey premiered at the Theatre Royal, Drury Lane on 6 August 1731. The work was based on Thomas Jevon’s (1652-88) The Devil of a Wife (1686). London: J[ohn] Watts, 1731 copy consulted: GB Lbl DRT Digital Store 11775.c.24. Disappointment THE | DISAPPOINTMENT; | A New BALLAD | OPERA | Of One Act, | Alter’d from a FARCE after the Manner | of the BEGGAR’S OPERA. | As it is ACTED at the | THEATRE | IN THE | HAY-MARKET. | By JOHN RANDALL. | The Second Edition Corrected. The Disappointment is a ballad opera by John Randall (fl.1732) based on the 1716 play of the same name by Susanna Centlivre (c.1669-1723). The ballad opera was supposedly performed at the Haymarket, but it was not advertised in the newspapers. London: S. Slow, 1732 copy consulted: British Library 11778.e.30 444

Sources for the Music

DoubleDealer THE | Double-Dealer, | A | COMEDY. | Acted at the | THEATRE ROYAL, | By Their Majesties Servants. | Written by Mr. CONGREVE. The comedy, The Double-Dealer by William Congreve with music set by Henry Purcell, premiered in 1693. London: Jacob Tonson, 1694 copy consulted: Houghton Library, Harvard University *EC65 C7605 694da D’UrfeyBath THE | BATH, | OR, | The Western Lass. | A | COMEDY, | AS IT IS | Acted at the Theatre Royal in Drury-lane, | By His Majesty’s Servants. | By Mr Durfey. The Bath; or, The Western Lass is another of D’Urfey’s restoration comedies. It premiered at Drury Lane on 31 May 1701. London: Peter Buck, 1701 copy consulted: British Library 644.h.27 D’UrfeyDonQuixote THE | Comical History of DON QUIXOTE, | As it is ACTED | AT THE | QUEENS THEATRE | IN | Dorset-Garden, | By Their Majesties Servants. | PART I. | Written by Mr. D’Urfey. | LONDON, | Printed for Samuel Briscoe, at the Corner of Charles-street, in Russel- | street, Covent-Garden, 1694 The Comical History of Don Quixote was written by D’Urfey with music composed by Henry Purcell. London: Samuel Briscoe, 1694 copy consulted: The Huntington Library, San Marino 151868

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D’UrfeyNCSP A NEW | COLLECTION | OF | SONGS | AND | POEMS. | By Thomas D’urfey, Gent. | London: | Printed for Joseph Hindmarsh, at the Black Bull in Cornhill: 1683. This collection is just one of several D’Urfey produced, his most famous being Wit and Mirth, or Pills to Purge Melancholy, written between 1698 and 1720. Many of the songs performed in D’Urfey’s theatricals are included in this collection. London: Joseph Hindmarsh, 1683 copy consulted: Houghton Library, Harvard University GEN *EC65 D9345 683n DramatickEntertainment A | Dramatick Entertainment, | CALL’D THE | NECROMANCER: | OR, | Harlequin, Doctor Faustus, | As Perform’d at the | THEATRE ROYAL | In Lincoln’s-Inn-Fields. | The Sixth EDITION. | To which is PREFIX’d | A short Account of Doctor Faustus ; and how | he came to be reputed a MAGICIAN. A Dramatick Entertainment Call’d the Necromancer was written by John Rich (1692-1761) and first performed at the Theatre Royal in Lincoln’s Inn Fields on 8 January 1724. London: T[homas] Wood, 1724 copy consulted: British Library RB.23.a.7064(2) Eccles A | Collection of SONGS | for | One Two and Three VOICES | Together | With such Symphonys for VIOLINS or FLUTES | As were | by the Author design’d for any of Them; | and | a THOROUGH-BASS to Each SONG | Figur’d for an | ORGAN HARPSICHORD or THEORBO-LUTE, | Compos’d | by Mr. Iohn Eccles, | Master of HER MAJESTY’s Musick. John Eccles dedicated this collection to Queen Anne. It consists of 96 songs, complete with underlaid lyrics and a bass line. Eccles also provides a separate flute part. London: [John Walsh], 1704 copy consulted: British Library G.300. 446

Sources for the Music

FairyQueen THE | Fairy-Queen: | AN | OPERA. | Represented at the | Queen’sTheatre | By Their | MAJESTIES SERVANTS. The Fairy Queen premiered on 2 May 1692 at the Queen’s Theatre, Dorset Garden, London. An anonymous adaptation of William Shakespeare’s A Midsummer Night’s Dream, the theatrical is not strictly speaking an opera, but is a semi-opera where the music was introduced in scene by supernatural beings, pastoral, or drunken characters. The autograph manuscript was lost shortly after Purcell’s death but was found in 1901 by John Shedlock in the Royal Academy of Music’s library. London: Jacob Tonson, 1692 copy consulted: The Newberry Library, Chicago ML50.2.F355 P87 1692a FarewelFolly Farewel Folly: | OR, | The Younger the Wiser. | A | COMEDY, |As it is Acted at the Theatre Royal. | WITH A | MUSICAL INTERLUDE, | CALL’D | The Mountebank: | OR, | The Humours of the Fair. | Never before Printed. | Written by Mr. Motteux. Farewel [sic] Folly: or the Younger the Wiser by Peter Motteux premiered on 18 January 1705 at the Theatre Royal, Drury Lane; however, it did appear in print until 4 January 1707. The story is essentially the same as The Amorous Miser though it includes more songs. The Mountebank; or Humours of the Fair was performed as an interlude. London: James Round, 1707 copy consulted: British Library 162.k.34. FashionableLady THE | FASHIONABLE LADY; | OR | HARLEQUIN’s OPERA. | In the Manner of a | REHEARSAL. | As it is Perform’d at the | THEATRE in Goodman’s-Fields. | Written by Mr. RALPH. The Fashionable Lady is a comedy written by James Ralph (1705-62). It premiered at Goodman’s Fields Theatre in Whitechapel on 2 April 1730. Topics explored were very similar to those of The Beggar’s Opera in that it criticised the general acceptance of Italian opera. London: J[ohn] Watts, MDCCXXX [1730]. copy consulted: British Library 163.h.23 447

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FemaleParson THE | FEMALE PARSON: | OR, | BEAU in the SUDDS, | AN | OPERA. | AS IT IS Acted at the | NEW THEATRE in the hay-Market. | Dulce est desipere in loco. Hor. Od. 12. Lib. 4. | By Mr. CHARLES COFFEY, Author | of the BEGGARS WEDDING. The Female Parson was written by Charles Coffey. It premiered on 27 April 1730 at the Haymarket Theatre, London. London: Lawton Gilliver, 1730 copy consulted: British Library 161.h.15 FineLadysAirs THE | Fine Lady’s Airs | OR, AN | EQUIPAGE of LOVERS. | A | COMEDY. | As it is Acted at the | THEATRE-ROYAL | IN | DRURYLANE. | Written by the Author of the Yeoman of Kent. Thomas Baker’s (c.1680-1749) comedy, The Fine Lady’s Airs, premiered at the Theatre Royal, Drury Lane on 14 December 1708. London: Bernard Lintott, [1708?] copy consulted: British Library 81.c.12(5) Flora FLORA; | AN | OPERA. | As it is now Acting at the | THEATRE ROYAL | IN | LINCOLN’s-INN-FIELDS. | BEING | The FARCE of the COUNTRYWAKE, | alter’d after the Manner of the BEGGAR’s OPERA. | To which is Added, | The MUSICK Engrav’d on COPPER- | PLATES. | Written by a GENTLEMAN. | Agrestem tenui meditabor Arundine Musan. | VIRG. The ballad opera, Flora, was an adaptation of an old play by John Hippisley (1696-1748) and it is another example of a ballad opera produced in the style of The Beggar’s Opera. Twenty-four tunes were added to create the ballad opera adaptation (Rogers 2019, pp.89-90). London: T[homas] Wood, 1729 copy consulted: British Library 11775.c.53.

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Florida FLORIDA, | SIVE | Cantiones, è quamplurimis præstantisi- | morum nostri æui Musicorum | Libris selectæ. | Ad TESTVDINIS vsum accommodatæ. | OPERA atque industriâ | IOACHIMI VANDEN HOVE | ANTVERPIANI. | Quarum Omnium INDICEM proxima à | Præfatione pagina repræsentat. | [illustration of lute] | VLTRAIECTI, | Apud Salomonem de Roy, & Ioannem Guilielmi de Rhenen. | ANNO DOMINI. M. D. CI. Florida is a published collection by Dutch composer and lutenist Joachim van den Hove (1567?–1620). Many of the pieces in this collection are for lute, voice, and basso continuo. 1601: Utrecht; Salomon de Roy & Joannes Guilelmus de Rhenen copy consulted: Bodleian Library, Oxford Mus. 11 c.36 FondHusband A | Fond Husband: | OR, | The Plotting Sisters. | A | COMEDY: | As it is Acted at His Royal Highness | THE | DUKE’s Theatre. | H&c, dum incipias, gravia sunt, dumque ignores, ubi cognôris, facilia, Terent. | Written by THO. DURFEY Gent. | Licensed June 15. 1676. A Fond Husband is a comedy by D’Urfey that premiered at Dorset Garden Theatre, London on 31 May 1677. It was particularly popular and performed throughout the seventeenth and early eighteenth centuries. London: Printed by T[homas] N[ewcomb], 1677 copy consulted: The Huntington Library, San Marino 122951

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FoolsPreferment NEW | SONGS | SUNG IN | The Fool’s Preferment, | OR, THE | Three DUKES of Dunstable. | In the SAVOY: | Printed by E. Jones, for Jos. Knight and Fran. Saunders, | at the Blue Anchor in the Lower-Walk if the New Exchange in the Strand, 1688. A Fool’s Preferment or The Fool’s Preferment is a play by D’Urfey with incidental music composed by Henry Purcell. It premiered at the Dorset Garden Theatre in April 1688. The songs were published separately. New Songs Sung in The Fool’s Preferment consists of 7 songs with a melody line underlaid with the song text and a figured-bass line. London: E[dward] Jones, 1688 copy consulted: National Library of Scotland, Edinburgh Bute.191(2) Footman THE | FOOTMAN: | AN | OPERA. | As it is ACTED at the | NEWTHEATRE, | IN | GOODMAN’s-FIELDS. | Trim-Tram, like Master like Man. | London : | Printed for HENRY LENTOT, at the Cross-Keys, | against St. Dunstan’s Church, in Fleet-street. | M.DCC.XXXII. | (Price one Shilling and Sixpence.) The Footman is an anonymously authored ballad opera that premiered at the New Theatre in Goodman’s Fields, London on 7 March 1732. It was acted by the Company of Comedians. London: Henry Lentot, 1732 copy consulted: British Library W51/1236

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Sources for the Music

Forbes CANTUS, | Songs and Fancies, | To Three, Four, or | Five Parts, | Both apt for Voices and Viols. | With a brief Introduction | to Musick, | As is taught by Thomas | Davidson, in the Musick- | School of Aberdene. | Second Edition, Corrected | and Enlarged. Cantus, Songs and Fancies was the first book of secular music to be printed in Scotland. The edition dates from 1662, with the second edition appearing in 1666 and the third in 1682. The contents of the first and second editions slightly differ. Six songs were removed from the first edition and three different songs were added (Cooper 2003, pp.11-2). Aberdeen: John Forbes, 1666 copy consulted: British Library K.1.e.12. GenerousFreemason THE | Generous Free-Mason: | OR, THE | CONSTANT LADY. | WITH THE | HUMOURS | OF | Squire Noodle, and his Man Doodle. | A | TRAGI-COMI-FARCICAL BALLAD | OPERA. | IN THREE ACTS. | With the MUSICK prefix’s to each SONG. | By the AUTHOR of the LOVER’s OPERA. The Generous Free-mason is a ballad opera by William Rufus Chetwood (d.1766). It was first performed at the George Inn Yard in Smithfield, London during the Bartholomew Festival in 1730. The Bartholomew Festival was originally a three-day cloth fair that expanded to a twoweek event in the seventeenth century. The fair usually commenced on 24 August 1730. The Generous Free-mason was performed on several occasions throughout the festival and received much applause according to the advertisement published in the Daily Post on 9 September 1730. London: J[ames] Roberts, 1731 copy consulted: British Library 992.k.8.(2.)

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GunnTwoCantatas TWO | CANTATA’s | And SIX | SONGS, | Set to MUSICK. | By B. GUNN, Organist of the CATHEDRAL in Gloucester. Organist and composer, Barnabas Gunn (c.1680-1753), composed these two cantatas while he was the organist at Gloucester cathedral. The music is set to a treble and bass stave, with underlaid lyrics and a figured bass line. Gloucester: R[obert] Raikes, 1736 copy consulted: British Library Music F.52 HarpsicordMaster THE | HARPSICORD MASTER. | Containing plain & easy Instructions for Learners on ye Spinnet or | Harpsicord, written by ye late famous Mr H Purcell at the request of a | perticuler friend, & taken from his owne Manuscript, never before | publish’d being ye best extant, together with a Choice Collection of ye newest Aires & Song Tunes | Compos’d by ye best Masters, & fitted for ye Harpsicord | Spinnet or Harp, by these that Compos’d them, all graven on Copper Plates. The arrangement of [20] here is not by Purcell, despite the claims of the titlepage. London: J. Walsh, 1697. copy consulted: Auckland City Libraries, Auckland 1697 HARP HighlandFair THE | HIGHLAND FAIR; | OR, |UNION of the CLANS. | AN | OPERA. | As it is Perform’d at the | THEATRE-ROYAL, | In DRURY-LANE | By His MAJESTY’s Servants. | Written by Mr. MITCHELL. | With the MUSIC, which wholly consists of | SELECT SCOTS TUNES, | Prefix’d to each SONG. The Highland Fair was first performed at the Theatre Royal, Drury Lane in March 1731, and was performed throughout the 1731 season, often as benefit performances for the author Joseph Mitchell. The Daily Post of 2 March advertised it as ‘a new Scots Opera […] in which the original Humours, Manners, Customs, Dresses, and Musick of the Scotch Nation will be exhibited’. London: J. Watts, 1731. copy consulted: University of Glasgow Library, Glasgow Sp Coll 1314 452

Sources for the Music

HonestElectors THE | Honest ELECTORS; | OR, THE | Courtiers sent back with the Bribes, | A New BALLAD | OPERA | Of Three ACTS. | Dedicated to the Worthy Liverymen | of the City of London. An anonymous ballad opera, The Honest Electors was one of several publications designed as political satire (Morrissey 1971, p.387). There is no evidence it was performed, but an advertisement in the Daily Journal on 8 May 1734 notes it was published that day. London: W[illiam] Webb, [1734] copy consulted: Houghton Library, Harvard University *EC7. A100.733h3 HonestYorkshireman THE | Honest Yorkshire-Man. | A | BALLAD FARCE. | As it is Perform’d at the | THEATRES | With Universal Applause | Nunc itaque & versus & cætera ludicra pono | HOR. Epist. T. The Honest Yorkshireman is by Henry Carey (1687-1743) and he claimed it was ‘the last of that Kind He ever intends to compose’ (quoted in Scouten and Hughes 1945, p.8). After several delays, the farce premiered at the New Theatre in the Haymarket on 15 July 1735. London: W[illiam] Feales, 1735 copy consulted: John Rylands University Library, Manchester UCCG799 HumoursCourt THE | HUMOURS of the COURT: | OR, | Modern Gallantry. | A New BALLAD | OPERA. | As it was intended to have been Perform’d | at one of the THEATRES. | THE SECOND EDITION CORRECTED. | LONDON: | Printed for W. JAMES near Temple-Bar, and sold by | most Booksellers in Town and Country. | MDCCXXXII. | (Price One Shilling and Six-pence.) Another ballad opera in the style of The Beggar’s Opera it seems that it was never performed. Both the titlepage and the advertisement announcing its publication (Daily Post, 24 March 1732) stated ‘as it was intended to have been performed at one of the theatres’. There was no announcement of a performance taking place in 1732. London: W. James, 1732 copy consulted: British Library 11775.c.60. 453

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JealouosClown THE | JEALOUS CLOWN: | OR, THE | Lucky Mistake. | AN | OPERA | (Of One ACT) | As Perform’d at the | NEW THEATRE | IN | GOODMAN’s-FIELDS. | By THOMAS GATAKER, Gent. | To which is annex’d the MUSICK. Thomas Gataker’s (fl.1730) one-act ballad opera The Jealous Clown premiered at the New Theatre in Goodman’s Fields on 16 December 1730. London: Henry Parker, 1730 copy consulted: British Library 161.i.62 JewDecoyd THE | JEW Decoy’d; | OR THE | PROGRESS | OR A | HARLOT. | A New BALLAD OPERA | of Three Acts. | The AIRS set to old Ballad Tunes. The subject of this ballad opera was inspired by William Hogarth’s (1697-1764) series of six paintings, which were engraved and published in 1732 called The Harlot’s Progress. The ballad opera was never performed. The libretto was published in February 1733. London: Printed for E. Rayner, 1733 copy consulted: Houghton Library, Harvard University *EC7.A100.733j JohnYoung A | Collection of Original | SCOTCH TUNES | for the | VIOLIN | The whole Pleasant and Comicall being full of the | Highland Humour. Porter (2007), p.353 suggests that John Young produced a copy of a collection created around 1704 by John Hare (fl.1668-1725). It consists of 36 tunes written for violin. London: Sold by John Young, [1720]. copy consulted: National Library of Scotland, Edinburgh Inglis.26

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JovialCrew THE | JOVIAL CREW. | A | COMIC-OPERA. | As it is Acted at the | THEATRE-ROYAL, | By His MAJESTY’s Servants. | [ … ] With the MUSICK prefix’d to each SONG. Richard Broome’s 1642 play had been revived after the Restoration (Pepys notes in his diary that he saw it three times in 1661), and in February 1731, it opened at the Theatre Royal in its ballad opera form. Although the authors are not named, Elizabeth Schafer has suggested that the adaptation was the work of Matthew Concanen, Edward Roome, and Sir William Yonge (Cave 2010). London: J. Watts, 1731. copy consulted: National Library of Scotland, Edinburgh Glen.149(3) JudgmentOfParis THE | Judgment of PARIS; | OR, THE | TRIUMPH of BEAUTY. | A | PASTORAL BALLAD OPERA | Of ONE ACT. | As it is Perform’d at the | THEATRE-ROYAL | IN | LINCOLN’S-INN FIELDS. | Arbitur es formæ : certamina siste Dearum, | Vincere quæ formȃ Digna fit una duas. | Ovid. | LONDON, | Printed: And Sold by J.[ohn] ROBERTS in Warwick-Lane. | MDCCXXXI. | [Price Six Pence.] The Judgment of Paris is a story taken from Greek mythology and follows the events the led to the Trojan War. William Congreve (1670-1729) wrote a one-act libretto. On 17 March 1700, Lord Halifax announced a competition to set Congreve’s short libretto as an all-sung English opera. Four composers entered the competition, John Weldon (16761736), John Eccles, Daniel Purcell (c.1664-1717) and Gottfried Finger (c.1655/6-1730). The four renditions were staged at the Dorset Garden Theatre on 3 June 1703. Weldon won the contest with Eccles coming second, Purcell third and Finger fourth (Holman 2010b). London: John Roberts, 1731 copy consulted: British Library 11775.c.1.

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LadysBanquet4 The Lady’s Banquet | Fourth Book: | Being a Choice Collection of the newest, & most Airy | Lessons for the HARPSICORD or SPINNET, | Compos’d by the most Eminent Masters. London: J. Walsh, [c. 1734] This is a reprinting of WalshThirtyNew along with WalshThirtyNew2, on either side of the same sheets. In the Wighton catalogue it is listed as a title-less collection published by Daniel Wright; an explanation of its contents is in McAulay (2019), pp.75-80. copies consulted: Wighton Collection, Central Library, Dundee H.53676; British Library Music Collections R.M.7.e.17(4) Leveridge1727 I-II A | Collection | of | SONGS, | With the Musick. | by | Mr. Leveridge. | In Two Volumes. | LONDON | Engrav’d amd Printed for | the Author in Tavistock-street | Covent-Garden. | 1727. A Collection of Songs by singer and actor Richard Leveridge (1670-1758) consists of 22 songs in the first volume and 20 songs in the second volume, set out with a melody line, underlaid lyrics and a bass line. Separate flute parts for each of the songs appear at the end of the volume. London: Richard Leveridge, 1727 copy consulted: Nanki Ongaku Bunko, Tokyo N-1 (4) Leveridge1728 A | Collection of SONGS | by Mr. Richard Leveridge. | Price 6 Shillings In 1728, Richard Leveridge published another collection of his songs. A facsimile edition was published in 1997, which included his complete collection of songs. London: [John] Walsh and [J]oseph Hare, 1728 copy consulted: Facsimile edition with introduction and notes: Baldwin and Wilson, 1997

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Love&Revenge LOVE and REVENGE; | OR, THE | VINTNER Outwitted: | AN | OPERA; | As Acted at the | NEW THEATRE | IN THE | HAYMARKET. The anonymously authored ballad opera premiered at Haymarket on 11 November 1729. It was performed by the Company of Comedians. London: J[ohn] Clark, 1729 copy consulted: British Library 11775.c.67 LoversOpera THE | LOVER’s | OPERA. | As it is Performed at the | THEATREROYAL, | His MAJESTY’s Servants. | By Mr. CHETWOOD, Prompter to the Theatre. The Lover’s Opera by William Chetwood (d.1766) is an adaptation of the 1718 satirical play, A Bold Stroke for a Wife, authored by Susanna Centlivre. It was published on 24 May 1729 performed on 26 May 1729. London: A. Dodd, 1729 copy consulted: William Andrews Clark Memorial Library, University of California PR3346.C3 L9 * LoveRiddle LOVE | IN A | RIDDLE. | A | PASTORAL. | As it is Acted at the | THEATRE-ROYAL, | BY | His Majesty’s Servants. | Written by Mr. Cibber. Love in a Riddle by Colley Cibber was another ballad opera inspired by John Gay’s The Beggar’s Opera. It premiered at the Theatre Royal, Drury Lane and was published in London and Dublin. Dublin: S[amuel] Powell, 1729 copy consulted: Houghton Library, Harvard University 15482.39.7.5* LovesTriumph Love’s Triumph. | AN | OPERA. | As it is Perform’d at the | QUEEN’s THEATRE in the | Hay-Market. | By P. MOTTEUX. Love’s Triumph by Peter Motteux premiered at the Queen’s Theatre, Haymarket on 20 March 1729. London: Jacob Tonson, 1708 copy consulted: British Library 162.k.36 457

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MadCaptain THE | MAD CAPTAIN, | AN OPERA. | As it is ACTED | At the New The[a]tre in Goodman’s Fields. The Mad Captain by Robert Drury (possibly the sailor, Robert Drury (1687-1743?), whose supposed memoirs were published in 1729) premiered at the theatre in Goodman’s Fields on 3 March 1733. London: Charles Corbett, 1733 copy consulted: William Andrews Clark Memorial Library, University of California PR3409.D9 M1 * MansBewitch’d The Man’s bewtch’d | OR, | The Devil to do about Her. | A | COMEDY. | As it is Acted at the | NEW-THEATRE | IN THE | HAY-MARKET; | BY HER | MAJESTY’s SERVANTS. | By SUSANNA CENT-LIVRE. The Man’s Bewitch’d is a comedy by Susanna Centlivre. It premiered on 12 December 1709 at the Haymarket. London: Bernard Lintott, 1709 copy consulted: British Library 11777.dd.1 MarriageMode MARRIAGE | A-la-Mode. | A | COMEDY. | As it is Acted at the | THEATRE-ROYAL. | Written by JOHN DRYDEN, Servant to His Majesty. John Dryden’s restoration comedy Marriage à la Mode premiered at the Theatre Royal Drury Lane in 1673. It only contains two songs: ‘Why Should a Foolish Marriage Vow’ by Robert Smith (c.1648- 1675) and ‘Whilst Alexis Lay Pressed’ by Nicholas Staggins (d.1700). London: T.N. for Henry Herringman, 1673 copy consulted: Princeton University Library, Princeton MICROFILM 919

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McGibbon A | COLLECTION | of | Scots Tunes | Some with Variations | FOR | A VIOLIN HAUTBOY or GERMAN FLUTE | With a Bass | For a VIOLONCELLO or HARPSICORD | BY | WILLIAM MCGIBBON An accomplished composer of chamber music in an Italianate style, McGibbon was the highest-paid violinist in the Edinburgh Musical Society for three decades, and the most celebrated Scottish musician of the early eighteenth century (McGregor 2020, p.299). His Scots Tunes, many of which are presented with variations, remained in print throughout the century in revised editions by others, including Robert Bremner, Neil Stewart, and Samuel, Ann & Peter Thompson. Edinburgh: Richard Cooper, 3 vols: 1742, 1746, 1755. copies consulted: University of Glasgow Library, Glasgow Sp Coll Ca9-y.1 (vols. 1-2 only, lacking some pages); National Library of Scotland, Edinburgh Glen.230 (Bremner 1762 edition printed from the same plates, complete) Melismata MELISMATA. | MVSICALL | PHANSIES | FITTING THE COVRT, | CITIE, and COVNTREY | HVMOVS. | TO 3, 4, and 5. Voyces. Melismata is one of three song books produced by Thomas Ravenscroft (c.1588-1635). They were the first to include a significant proportion of popular and tradition material such as ballads, nursery rhymes, street cries and carols (Bidgood 1980, p.24). The other two books were Pammelia (1609) and Deuteromelia (1609) with Melismata appearing in 1611. London: Printed by Willian Stansby for Thomas Adams, 1611. copy consulted: British Library K.1.e.11.

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MerryMountebank THE | Merry MOUNTEBANK; | OR, THE | Humourous QuackDoctor: | BEING | A certain, safe and speedy CURE, for that | HeartBreaking DISTEMPER, commonly | call’d or known by the Name of | Hypochondriac-Melancholy. | Containing various never failing Receipts against | SPLEEN and ILL-NATURE; | EXEMPLIFIED | In a choir Collection of OLD and NEW SONGS; And compiled with GREAT JUDGMENT, secundem bhem. | By TIMOTHY TULIP, of FIDLER-HALL in CUKOLD- | SHIRE, Esq; a Well-wisher to the MATHEMATICKS. | Figur’d for the HARPSICHORD, and directed for the FLUTE. | THE WHOLE | Revised by several knowing and unknowing Musicians, Poetsters, | Balladmongers, and Haberdashers of Small-wares. | VOL. I. The Merry Mountebank by Timothy Tulip (a pseudonym) consists of 43 songs, set to music. The music comprises of a treble and bass stave with underlaid text and figured bass line. Most of the songs were performed on the London stage. There are a few recognisable composers and authors mentioned in the volume including Henry Purcell, Daniel Purcell, Henry Carey, John Weldon and George Frederic Handel. There are also songs of anonymous authorship included. London: W[illiam] Pearson, 1732 copy consulted: British Library Music C.381

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MerryMusician I-IV THE | Merry Musician | OR, A | CURE for the SPLEEN: | BEING | A COLLECTION of the most | diverting SONGS and pleasant BALLADS | set to Musick; adapted to every Taste and | Humour. | Together with a curious Compound of | State Pills, to allay the Malady of Male- | contents. | Here Mirth and Musick both appear, | And Songs diverting, new and rare; | Biting Satyr smooth, tho’ keen, | The surest Physick for the Spleen, | By which, with Age and Youth may be | From Indolence and Vapours free. | Part I. The Merry Musician is a large collection of popular and traditional songs, with many derived from the London theatre. It is similar in style and contents to other song collections such as PPM and the MusicalMiscellany. All songs are musically notated with the lyrics underlaid. This volume was produced by John Walsh the Elder (1665/61736). London: Printed by Hugh Meere, for John Walsh, [1716] THE | Merry Musician | OR, A | CURE for the SPLEEN: | BEING | A COLLECTION of the | most diverting SONGS & pleasant | BALLADS set to Music; adapted | to every Taste and Humour. | Harmonious Mirth, sweetest Lays have long | Charm’d with soft Notes ye beauteous feather’d Throng | Successful to persuade Mankind to Love. | For Musick fills the Breast with warm desire | Touches the Heart; and does each Soul inspire | VOL II. Unlike the first volume, which was printed by Hugh Meere, Walsh the Elder worked his long-term collaborator Joseph Hare (who he had been engaged with prior to 1710) and John Young to produce this volume. London: John Walsh, Joseph Hare and John Young, [1728?] THE | Merry Musician | OR, A | CURE for the SPLEEN: | BEING | A COLLECTION of the | most diverting SONGS and | pleasant BALLADS set to the | VIOLIN and FLUTE; adapted | to every Taste and | Humour. | Let other Arts in Senseless Matter reign, | Mimick in Brass, or with mix’d Juices stains | Musick, the mighty Artist Man, can rule, | As long as it has Numbers, he a Soul. | Vol III.

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Walsh’s son, John Walsh the Younger (1709–66) took over the business in 1730. He was responsible for producing the third and fourth volumes of The Merry Musician. London: John Walsh [1731?] The fourth volume title page reads: THE | Merry Musician | OR, A | CURE for the SPLEEN: | BEING | A COLLECTION of the | most diverting SONGS, and pleasant | BALLADS, set to the VIOLIN & FLUTE; | adapted to every Taste & Humour. | Here, in this little Magazine, | The greatest Rarities are seen; | For Musick has such Pow’rful charms, | The Valiant Souldier she disarms, | The Cripple throws his Crutch away, | And the Morose looks brisk and gay. | Vol IV. London: John Walsh [1733?] copy consulted: British Library Music Collections B.353. MockDoctor THE | MOCK DOCTOR: | OR, | The Dumb Lady Cur’d. | A | COMEDY. | Done from MOLIERE. | As it is Acted at the THEATRE- | ROYAL in Drury-Lane. | By His MAJESTY’s Servants. The Mock Doctor is a play by Henry Fielding (1707-54) that premiered on 23 June 1732 at the Theatre Royal. It was an adaptation of Molière’s (1622-73) Le Médecin malgré lui published in 1667. London: John Watts, 1732 copy consulted: Houghton Library, Harvard University GEN *EC7 F460 732mc

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ModernMusick-Master THE | Modern Musick-Master | OR, THE | UNIVERSAL MUSICIAN The Modern Musick-Master is a compendium giving instructions for beginners on how to sing, play the flute, German flute, haut boy (or oboe), violin, harpsichord, and organ. It also includes easy airs (songs), set with a melody line with underlaid lyrics and a figured-bass line. It has been attributed to the organist, Peter Prelleur (1705?-1741), who was one of the found subscribers of the Royal Society of Musicians (Platt 2001). London: Printing Office in Bow Church, 1731 Bodleian Library, Oxford Douce M57-58 ModernProphets THE | Modern Prophets: | OR, | NEW WIT for a HUSBAND. | A | COMEDY. | As it is Acted at the | THEATRE-ROYAL | IN | DRURYLANE, | By Her MAJESTY’S Servants. | Written by Mr.Tho’ D’Urfey. The Modern Prophets by D’Urfey premiered at the Theatre-Royal, Drury Lane on 3 May 1709. D’Urfey had planned for it to premier much sooner, but, as he noted in the preface, the production was delayed after the death of Prince George of Denmark on 28 October 1708. London: Bernard Lintott, 1709 copy consulted: British Library 644.h.7 Momus MOMUS | TURN’D | FABULIST: | OR, | VULCAN’s WEDDING. | An OPERA: | After the Manner of the | BEGGAR’s OPERA. | As it is Perform’d at the | Theatre-Royal in Lincolns-InnFields. | With the MUSICK prefix’d to each SONG. Momus Turn’d Fabulist; or, Vulcan’s Wedding premiered at Lincoln’s Inn Fields on 3 December 1729 and was regularly revived through the 1730s and early 1740s. London: J[ohn] Watts, 1729. copy consulted: British Library 161.e.77

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MonthlyMask THE MONTHLY MASK OF VOCAL MUSICK | or | the Newest | SONGS The facsimile edition of The Monthly Mask of Musick consists of 360 songs published between November 1702 to September 1711. All the songs were first performed at a London theatre. Typically, each monthly edition of The Monthly Mask would consist of 4 songs set on a melody line with underlaid lyrics and a bass line. It would also include a separate part for the flute. London: [John] Walsh copy consulted: facsimile edition with introduction and notes: Baldwin and Wilson, 2007 Munro A | COLLECTION | Of the Best | SCOTS TUNES | Fited to the | GERMAN FLUTE | With Several Divisions & Variations. | BY | A.[LEXANDER] MUNRO. Munro’s collection contains 12 tunes with variations, nine of which are presented as Italianate variation sonatas da camera, with each movement based on the original tune. His entire five-movement sonata on [2] was copied exactly, but without its bass, into YoungMcFarlane2085 a few years later. Paris: 1732 copy consulted: British Library g.17

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MusicalMiscellany I-VI THE MUSICAL | MISCELLANY; | Being a COLLECTION of | CHOICE SONGS, | Set to the VIOLIN and FLUTE, | By the most Eminent MASTERS. | The Man that hath no Musick in himself, | And is not mov’d with Concord of sweet Sounds, | Is fit for Treasons, Stratagems, and Spoils. | Shakespear. | VOLUME the FIRST. | LONDON: | Printed by and for JOHN WATTS, at the Printing- | Office in Wild-Court near Lincoln’s-Inn Fields. | MDCCXXIX. Volume 2 prints the same title page, but replaces ‘VOLUME the FIRST.’ for ‘VOLUME the SECOND.’ The Shakespearean quote is not reprinted. Volume 3 is printed with the following title: THE MUSICAL | MISCELLANY; | Being a COLLECTION of | CHOICE SONGS, | AND | LYRICK POEMS: | With the BASSES to each TUNE, and | Transpos’d for the FLUTE. | By the most Eminent MASTERS. | MUSICK’S the Cordial of a troubled Breast, | The softest Remedy that Grief can find ; | The gentle Spell that charms our Cares to rest, | And calms the ruffling Passions of the Mind. | VOLUME the THIRD. | LONDON: | Printed by and for JOHN WATTS, at the Printing- | Office in Wild-Court near Lincoln’s-Inn Fields. | MDCCXXX. Volume 4 prints the same title page as volume 4, but replaces ‘VOLUME the THIRD.’ for ‘VOLUME the FOURTH.’ The quote is not reprinted. Volume 5 is printed with the following title: THE MUSICAL | MISCELLANY; | Being a COLLECTION of | CHOICE SONGS, | AND | LYRICK POEMS: | With the BASSES to each TUNE, and | Transpos’d for the FLUTE. | By the most Eminent MASTERS. | Behold and listen, while the Fair | Breaks in sweet Sounds the yielding Air; | And with her own Breath fans the Fire, | Which her bright Eyes did first inspire. | Waller. | VOLUME the FIFTH. | LONDON: | Printed by and for JOHN WATTS, at the Printing- | Office in Wild-Court near Lincoln’s-Inn Fields. | MDCCXXXI. Volume 6 prints the same title page as volume 5, but replaces ‘VOLUME the FIFTH.’ for ‘VOLUME the SIXTH.’ The quote is not reprinted. Underlined text was printed in red. London: Printed by and for John Watts, [1729-31]. copies consulted: National Library of Scotland, Edinburgh Glen. 157157e. 465

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NealDances A Choice | COLLECTION | OF | Country Dances | With their Proper TUNES. whereof many | never before Publish’d, and in an easier Method | to be understood then ever yet Printed | Gathered, Composed and Corrected by Many of the Best Masters of this Kingdom In contrast to the Neals’ earlier collections of Scottish and Irish tunes, this publication is very much focused on dancing, with the dance figure for each tune given underneath it. Dublin: John & William Neal, [1726]. copy consulted: National Library of Ireland, Dublin Joly JM5469 NealIrish A COLECTION | of the most Celebrated Irish Tunes proper for the | VIOLIN German Flute or Hautboy | PleaRar kah na Rough set ro.th differene divisions | Bass & Corus | As performed at the Subscription Consort by | Snior Loranzo Bocchi This was one of the first collections of Irish tunes to be published in Dublin, with many of them composed by the famous blind harper Turlough Carolan (1670-1738). The volume includes 49 tunes arranged for instruments that were new and fashionable in the early eighteenth century, notably the violin, German flute, and oboe. Dublin: [J]ohn & William Neal, [1724?]. Facsimile edition with introduction and notes: Carolan 2010.

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NealScotch A: COLECTION | of the most Celebrated Scotch Tunes | For The | VIOLIN | Being all Diferent from any yet Printed in Londo[n] | And Carefully Corrected by the Best Master[s] Neal’s Colection of the most Celebrated Irish Tunes, which appeared soon after this volume, advertised on its title page that the tunes are ‘As performed at the Subscription Consort by Senior Loranzo Bocchi.’ Peter Holman (2007), pp.71-5 noted that 16 of the tunes in NealScotch also appear in Stuart, and that Bocchi may have transmitted them to Dublin after his time in Ramsay’s circle in Edinburgh. He returned to Edinburgh briefly after the publication of his A Musicall Entertainment in 1725, which includes his Italianate A Scots Cantata to words by Ramsay, but no obviously Scottish musical material. Dublin: John & William Neal, [1724]. copy consulted: Queen’s University Library, Belfast Bunting Collection MS4/31/3 (unique, missing p. 6, stub after p. 28) NewSongsBallads A CHOICE COLLECTION OF New Songs and Ballads. | THE Words made to several Pleasant Tunes, By Mr. D’urfey. | With the TUNES Transpos’d for the FLUTE. This is a collection of 6 songs set on a treble and bass stave with underlaid lyrics placed beneath the melody line. This copy is bound slightly out of order with p.9 appearing first after the title page, then followed by ‘tunes for flute’ and then p.1. The first 4 pages of Odes and Dialogues (book 1) appears at the end. London: William Pearson, 1699 copy consulted: Houghton Library, Harvard University *f Mus 9713.692f[37]

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Pammelia Pammelia. | MVSICKS | Miscellanie. | OR, | MIXED VARIETIE OF | Pleasant Roundelayes, and | delightfull Catches, of 3.4. | 5.6.7.8.9.10. Parts | in one. | None so coordinarie as musicall, none so musical | as not to al, very pleasing and acceptable. Pammelia was a collection by Ravenscroft and consists of 100 catches and rounds for the voice. The music consists of a single stave (with the catches and rounds written in a variety of clefs) and underlaid text. London: William Barley, 1609 copy consulted: British Library K.1.e.9 Penelope PENELOPE, | A | Dramatic OPERA. | As it is Acted at the | NEW THEATRE | IN THE | HAY-MARKET. Penelope by John Mottley (1692-1750) premiered at the Haymarket Theatre on 8 May 1728. London: Tho[mas] Green, 1728 copy consulted: British Library 80.c.23(3) Perseus&Andromeda PERSEUS | AND | ANDROMEDA. | As it is Performed at the | THEATRE ROYAL | IN | LINCOLN’S-INN-FIELDS. | Adorn’d with COPPERPLATES. | --Risu diducere Rictum | Auditoris; & est quædam tamen hîc quoque Virtus. | HOR. | The FOURTH EDITION; to which is added, | the SAILOR’s BALLAD. Perseus and Andromeda by Lewis Theobald is described as a pantomime ballad and was performed at the Theatre Royal, Lincon’s Inn Fields on 19 February 1730. London: Tho[mas] Wood, 1730 copy consulted: Bodleian Library, Oxford Harding D2113(2)

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Sources for the Music

PPM1699 I & II Wit and Mirth: | OR, | PILLS | TO PURGE | Melancholy: | BEING | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their | proper TUNE for either Voice or Instrument: | Many of the SONGS being new Set. | With several New SONGS by Mr. D’Urfey | Also, an Addition of Excellent POEMS. | The Second PART. | The first kind Dose may purge of Dregs impure | And fit the sickning Body for a Cure; | But should no Second Pills the Cure compleat |, Disease would rally, and regain its Sear, | Deriding the Physician’s thoughtless Care, | Who could not perfect what he could Prepare. Henry Playford produced a first edition of Wit and Mirth: Or Pills to Purge Melancholy in 1698 (post-dated to 1699), which proved to be a popular collection. The second volume was published in 1700. London: William Pearson, 1699-1700 copy consulted: British Library C.117.a.19. PPM1706 IV Wit and Mirth: | OR, | PILLS | TO PURGE | Melancholy: | BEING | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their | proper TUNE for either Voice or Instrument: | Being carefully Correct by Mr. J. Lenton. | Vol. IV. | Hic est quem legis, ille quem requires, | Tot â notus in urbe Merrimannus. Playford produced two more volumes before retiring from publishing. This was his fourth and last volume (Day 1932, p.178). London: W[illiam Pearson], 1706 copy consulted: Bodleian Library, Oxford Harding C 1150

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PPM1707 I-IV Wit and Mirth: | OR, | PILLS | TO PURGE | Melancholy. | BEING | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their | proper TUNE for either Voice or Instrument: | Many of the SONGS being new Sett. | The Third Edition. John Young took over the collection and between 1707 to 1709 published a new four-volume edition (Day 1932, pp.180-1). London: printed by William Pearson and sold by John Young, 1707-09 copy consulted: Bodleian Library, Oxford Harding C 1148 /9 PPM1712 III Wit and Mirth: | OR, | PILLS | TO PURGE | Melancholy: | BEING | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their | proper TUNE for either Voice or Instrument: | Many of the SONGS being new Set. | With several New SONGS by Mr. D’Urfey | The Third Edition with large Additions | Carefully Corrected | Vol. III In 1712, John Young brought out a third edition of volumes II and III, which included some additional songs (Day 1932, p.179). London: W[illiam] P[earson], 1712 copy consulted: Bayerische Staatsbibliothek, München Mus.pr. 20-1/4 PPM1714 V Wit and Mirth | OR, | PILLS | TO PURGE | Melancholy: | BEING | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their | proper TUNE for either Voice or Instrument: | Many of the SONGS being new Sett. | Vol. V. | To which is also added, A Collection of Excellent POEMS. John Young produced a fourth edition of volume 1 and added volume 5 to the series (Day 1932, p.179). This new volume included several new songs not previously published in other volumes. London: William Pearson and sold by John Young, 1714 copy consulted: British Library 238.g.40

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Sources for the Music

PPM1719 I-VI WIT and MIRTH: | OR | PILLS | TO PURGE | Melancholy; | BEING | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their proper | TUNE for either Voice or Instrument: | Most of the SONGS being new Set. | In Five VOLUMES. | The Fourth EDITION. From 1719-20 Jacob Tonson published the final edition of the collection in six volumes. Most of the songs were re-arranged and over 200 new songs were added. Some copies appear with the following titlepage, though the textual and musical contents are the same in both issues (Day 1932, p.180). SONGS Compleat, | Pleasant and Divertive; | SET TO | MUSICK | BY Dr. JOHN BLOW, Mr. HENRY | PURCELL, and other Excellent masters of the Town. [ ... ] | Written by Mr. D’URFEY. London: W. Pearson, for J. Tonson, 1719-20. copy consulted: British Library General Reference Collection 1078.c.48. Patie&Peggy PATIE and PEGGY: | OR, THE | FAIR FOUNDLING. | A | SCOTCH BALLAD OPERA. | As it is Acted at the | Theatre-Royal in Drury-Lane, | By His MAJESTY’s Servants. | […] With the MUSICK prefix’d to each SONG. Theophilus Cibber’s play was largely derived (with attribution) from GS and the tunes are given here as single treble lines in a block of simple staff notation above the texts of the songs. In his preface of April 1730, Cibber describes GS as a ‘POEM’ whose simplicity ‘induced me to turn it into a Ballad Opera’, ‘bringing the Tale within the Compass of One Act, adding to the Number of the Songs, and changing it into the English Dialect’. London: J. Watts, 1731. copy consulted: National Library of Scotland, Edinburgh Glen.173

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PlayfordAB Apollo’s Banquet: | CONTAINING | Instructions, and Variety of New Tunes, Ayres, | Jiggs, and several New Scotch Tunes | for the TREBLEVIOLIN. | TO WHICH IS ADDED, | the Tunes of the ne[west Fr]ench Dances, now used at Court and in Dancing-Schools. | The 5th Edition, with new Additions. Playford’s anthology of popular music for violin, which his letter to the reader describes as ‘at this present the only Instrument in fashion’, is prefaced by some practical and theoretical guidance for beginners. The 121 tunes, including theatre music, are set in letterpress, headed ‘Choice new Tunes, Jiggs, and Dances, for the Treble-Violin.’ London: John Playford, 1687. copy consulted: National Library of Scotland, Edinburgh Glen.66 PlayfordAyres I-V CHOICE | Ayres, Songs, & Dialogues | To SING to the | THEORBOLUTE, or BASS-VIOL. | BEING | Most of the Newest Ayres and Songs, Sung at COURT, | And at the Publick THEATRES. | Composed by Several Gentlemen of His Majesties MUSICK, and others. | Newly Reprinted with large ADDITIONS. Starting in 1673, John Playford issued his Choice Ayres, Songs & Dialogues, a popular series that ran in to five books and was printed in a variety of editions. The dates of the initial printing of the first five books are as follows: book 1, 1676; book 2, 1679; book 3, 1681; book 4, 1683; book 5, 1684. It is beyond the scope of this study to list all editions printed, but each volume was similar in style in that its contents consisted of texts already published. Playford noted in this edition that he added 40 new ayres, songs, and dialogues at the request of his public. London: William Godbid, 1676 copies consulted: The Huntington Library, San Marino 14173 and British Library

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Sources for the Music

PlayfordAyres1681 CHOICE | SONGS and AYRES | FOR ONE VOYCE | To Sing to a THEORBO LUTE, or | BASS-VIOL. | BEING | Most of the Newest SONGS sung at Court, | and at the Publick THEATRES. | Composed by Several Gentlemen of His Majesties MUSICK. | THE FIRST BOOK. Though stated to be the first book, it is part of the Choice Ayres and Songs series that John Playford commenced in 1673. Playford noted in his introduction that ‘The Transcription of most of these Songs were presented to the Gentlemen who Compos’d the MUSICK, and by them allowed to be made publick.’ Such a statement appears unique to this collection. Rebecca Herissone (2010), p.251 notes ‘But for the most part it seems that this was the limit of the composer’s involvement. Indeed, there is evidence that Playford did not always consult his composers at all: Henry Lawes was apparently completely unaware that Playford had used his music in the 1652 Select Musicall Ayres and Dialogue’. London: Printed by [Anne] G[odbid] for John Playford, 1681 copy consulted: Eda Kuhn Loeb Music Library, Harvard University Mus 512.31.7

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PlayfordDM The English Dancing Master: | OR, | Plaine and easie Rules for the Dancing of Country Dances, with the Tune to each Dance. Thereafter the title page appears as The Dancing Master: | Or, plain and easie Rules for the Dancing of Country Dances, with the Tune to each Dance, to be playd on the Treble Violin. Playford’s very popular pocket-book of tunes, with the dance figure given under each tune, went through 18 editions, published over 77 years. There were also supplementary works added during that time. Scott Pfitzinger (ND) notes that new books were published in the style of The Dancing Master between 1710-1728 and were described as ‘volumes’. Prior to this (1652-1709), newly produced Dancing Masters were described as ‘editions’. A comprehensive bibliography of the many variants in the different printings would be well beyond the scope of the present volume; however, Pfitzinger has provided a comprehensive catalogue of the Playford’s Dancing Master with both a transcribed and digitised facsimile copy of each dance. London: John Playford, 1651-1728. copy consulted: digitised facsimiles available from https://playforddances.com/. PlayfordDV The Division=Violin: | CONTAINING | A Collection of Divisions upon several Grounds for the | TREBLE-VIOLIN | Being the first Musick of this kind made Publick. The Second Edition much enlarged. This collection was first published in 1684, shortly before John Playford’s death. Owing to its popularity it was reprinted in 1685. It was modelled on Christopher Simpson’s successful Division-violist (1659, rev. 2/1665) (Gilmore 1983, p.223). The collection consists of contemporary recorder, bass viol and violin repertoire as well as popular ballad tunes. London: John Playford, 1685 Bodleian Library, Oxford Douce PP 191

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PlayfordMD Musick’s Delight | ON THE | CITHREN, | Restored and Refined to a more Easie and Pleasant | Manner of Playing than formerly ; And set forth with | Lessons Al a Mode, being the Choicest of our late new Ayres, Corants, Sarabands, Tunes, and Jiggs, | To which is added several New Songs and Ayres to Sing to the Cithren. | By John Playford PhiloMusicae. The collection of cittern music, which by 1666 was considered oldfashioned next to the newly introduced guitar, is a mix of dances and airs by several seventeenth-century English composers including Matthew Locke (c.1621–77), William Laws (1602-45) and Simon Ives (1600-62). London: Printed by W[illiam]. G[odbid]., 1666. copy consulted: National Library of Scotland, Edinburgh Ing.37 PlayfordMHM Musicks Hand-maide | Presenting New and Pleasant LESSONS | /FOR THE | Virginals or Harpsycon. | London, Printed for John Playford at his Shop in the Temple. 1663. Musicks Hand-maide is an instructional book produced by John Playford with the intent of teaching women how to play the virginals or harpsichord. In the second edition, published in 1678, Playford noted that the 1663 first edition was not well received because he did not include explicit instructions. Indeed, all Playford provides for the first edition is a short introduction, 49 pieces arranged for virginals (described as lessons) and 4 psalm tunes to be played on the virginals or organ (Carter 2016, p.97). London: John Playford, 1663 copy consulted: British Library K.1.c.1

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PlayfordSMHM The SECOND PART of | Musick’s Hand-maid: | CONTAINING | The Newest Lessons, Grounds, Sarabands, Minuets, and Jiggs, | Set for the VIRGINALS, HARPSICHORD, and SPINET. This collection consists of 35 easy pieces composed by virginals and/ or harpsichord. Most of the pieces are by Henry Purcell, but other composers who contributed to the collection are Giovanni Draghi (c.1640-1708), John Blow (1649-1708), Moses Snow (bap.1661-1702), and William Turner (1651/2- 1740). London: Henry Playford, 1689 copy consulted: British Library Music K.4.b.10.(2.) PlayfordMR1652 Musicks Recreation | ON THE | LYRA VIOL | Being A Collection of New and Excellent Lessons for the Lyra Viol, both easie and delight| full for all yong Practitioners. To which is added some few plain Directions as a Guide | for Beginners. A music treatise, it contains 89 simple tunes in tablature, and an introduction to the instrument for beginners. London: John Playford, 1652 copy consulted: British Library K.4.b.11 PlayfordMRV1661 Musicks Recreation | ON | The VIOL, Lyra-way. | Being A Collection of New LESSONS Lyra-way. To which is added a PREFACE, | Containing some brief Rules and Instructions for young Practitioners. Another example of a music treatise designed for young beginners who wanted to learn the lyra-viol. The treatise begins with ‘Instructions for the Lyra Viol’ and provides guidance on tuning and finger placement. Thereafter are 99 simple tunes in tablature. London: W[illiam] G[odbid], 1661 copy consulted: British Library K.1.c.2

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Sources for the Music

PlayfordMRV1669 Musicks Recreation | ON | The VIOL, Lyra-way. | Being A Collection of New LESSONS Lyra-way. To which is added a PREFACE, | Containing some brief Rules and Instructions for young Practitioners. The title page for the 1669 edition of Musick’s Recreation is almost identical to the 1661 edition; however (excepting the introductory instructions) the rest of the contents is quite different. London: W[illiam] G[odbid], 1661 copy consulted: The Huntington Library, San Marino 81621 PlayfordMRV1682 Musick’s Recreation | ON | The VIOL, Lyra-way: | Being a choice Collection of LESSONS Lyra-way. To which is added a PREFACE, | Containing some Brief Rules and Instructions for young Practitioners. | The Second Edition, Enlarged with Additional New LESSONS. The second edition of Playford’s viol tutor consists of 77 simple tunes in tablature, and an introduction to the instrument for beginners. New tunes were added since the 1661 and 1669 editions. London: J. Playford, 1682. copy consulted: British Library K.1.c.3. PlayfordNL A Booke of New Lessons | FOR THE | CITHERN & GITTERN | Containing many New and Excellent Tunes; | Delightfull to the Practitioner | With plain and easie Instructions, teaching the right use of the use of the hand, and perfect Tuning | of both Instruments, never before Printed. A tutor consisting of 60 simple tunes for cittern in tablature and 41 simple tunes for gittern in tablature, with an introduction to the instruments for beginners. London: T[homas] H[arper], 1652 copy consulted: B-Gu Sp Coll Q.c.78

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PlayfordOST A COLLECTION of | Original Scotch-Tunes, | (Full of the Highland Humours) for the | VIOLIN: | Being the First of this Kind yet Printed: | Most of them being in the Compass of the FLUTE. Henry Playford’s collection of 39 tunes shares some repertoire with Bowie, which suggests that he made have had a connection with Edinburgh fiddler John McLachlan, whose name appears in ‘Mr Mc. Clauklaines Scotch Measure’. London: Henry Playford, 1700. copy consulted: National Library of Scotland, Edinburgh Glen.112 PlayfordTM THE | Theater of MUSIC: | OR, A | Choice COLLECTION of the newest and best Songs | Sung at the COURT, and Public Theaters | The Words composed by the most ingenious Wits of the Age, and set to MUSIC by the greatest Masters in that Science. | WITH | A THEORBO-BASS to each Song for the Theorbo, or, Bass-Viol. | ALSO | Symphones and Retornels in 3 Parts to several of them for the Violins and Flutes. | THE FIRST BOOK. This collection consists of 58 songs, notated with melody, bass and underlaid lyrics. London: J[ohn] Playford, 1685. copy consulted: The Library of Congress, Music Division, Washington, D.C. M1619 .P72 (Case) Plot THE | PLOT. | As it is Perform’d | By His MAJESTY’s Company of | COMEDIANS at the THEATRE- | ROYAL in Drury-Lane. | With the MUSICK prefix’d to each SONG. The Plot by John Kelly (1684-1751) was published in January 1735, but it is unclear if it was ever performed in theatres, despite its claims on the title page. London: John Watts, 1735 copy consulted: British Library 161.f.16

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Sources for the Music

Polly POLLY: | an | OPERA. | being the | SECOND PART | of the | BEGGAR’s OPERA. | Written by Mr. GAY. The airs for John Gay’s sequel to The Beggar’s Opera are engraved in a separate section at the end of the volume, after the play text. The piece, a satirical attack on the colonisation of the West Indies, was never performed in Gay’s lifetime, as the Lord Chamberlain banned it even from being rehearsed (Dryden 2001, pp.539-40). London: John Gay, 1729. copy consulted: British Library Music Collections 841.c.23.(1.) OrpheusBritannicus I-II ORPHEUS BRITANNICUS | A | COLLECTION | OF ALL | The Choicest SONGS | FOR | One, Two, and Three Voices, | COMPOS’D | By Mr. Henry Purcell. | TOGETHER, | With such Symphonies for Violins or Flutes, | As were by Him design’d for any of them: | AND | A THROUGH-BASS to each Song; | Figur’d for the Organ, Harpsichrod, or Theorbo-Lute. | All which are placed in their several Keys, according to the Order of the Gamut. The song collection, Orpheus Britannicus by Henry Playford, was posthumously published in 2 volumes with volume 1 appearing in 1698 and volume 2 appearing in 1702. Many of the songs are by Henry Purcell and were performed in London theatres. The songs are set with a melody line, complete with underlaid lyrics and a figured bass line. London: J[ohn] Heptinstall for Henry Playford, 1698 & 1702 copy consulted: Houghton Library, Harvard University f*Mus. P9713.698o

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Oroonoko Oroonoko: | A | TRAGEDY | As it is Acted at the | Theatre=Royal, | By His MAJESTY’S SERVANTS. | Written by THO[MAS]. SOUTHERNE. | ….Quo fata trabuat, virtues lerura sequitur. Lucan. | Virtues recludens immeritis mori | Cœlum, negatȃtentat ner viȃ. | Hor. Od. 2. Lib. 3. Thomas Southerne’s (1660-1746) Oroonoko is based on Aphra Behn’s (1640-89) novel of the same name. Songs were incorporated throughout though no music notation was printed in the 1696 copy of the opera. London: Henry Playford, 1696 copy consulted: The Huntington Library, San Marino 64330 OswaldCPC The | CALEDONIAN | POCKET COMPANION | Containing | Fifty of the most favourite Scotch | Tunes several of them with | Variations, all set for the German | Flute, by | Mr. Oswald The following publication dates for each volume were pencilled into the AK Bell Library, Perth copies by an unknown writer, possibly J. Murdoch Henderson: 1 - 1745. 2 - 1750. 3 - 1751. 4 - 1752. 5 - 1754. 6 - 1755. 7 - 1756. 8 - 1756. 9 - 1757. 10 - 1758. 11 - 1759. 12 – 1760. After Oswald’s death in 1769, the books were reprinted in London by Straight & Skillern (Purser 2006). Vols. 3 onwards are ‘Printed for the author’, and the title pages mention ‘German Flute or Violin’. The repertoire in this very successful series of pocket tune-books stretches beyond a broad selection of both Lowland and Highland Scottish material, into London music for theatre and pleasure gardens. London: J. Simpson, 12 vols. [1745-60]. copies consulted: Books 1-6, private collection; Books 7-12, GB DUcl 31983 copy consulted: Facsimile edition with introduction and notes: Purser 2006.

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OxfordAct THE | OXFORD ACT, | A NEW BALLAD-OPERA. | As it was perform’d | BY A COMPANY OF STUDENTS | AT OXFORD. An anonymously authored ballad opera written for students to perform at Oxford. London: L. Gulliver [sic], 1733 copy consulted: Bodleian Library, Oxford Harding D81 RobertsOB A | COLLECTION | OF OLD | BALLADS. | Corrected from the best and most | Ancient Copies Extant. | WITH | INTRODUCTIONS | HISTORICAL and CRITICAL. | Illustrated with COPPER PLATES. | VOL. III. | Omne malum Cantu vinoq; levato. Hor. A Collection of Old Ballads was an anonymous production printed by James Roberts. It was considered the first antiquarian collections. The collection was very popular. Two months after publication, volume one had sold out and a second edition was produced. (Dugaw 1987, pp.723) London: J. Roberts, D. Leach and J. Batley, 1725 copy consulted: Bodleian Library, Oxford Harding C 223 RobinHood ROBIN HOOD. | AN | OPERA. | As it is Perform’d at | LEE’s and HARPER’s | Great Theatrical Booth | IN | BARTHOLOMEW-FAIR | With in the MUSICK prefix’d each SONG. Robin Hood premiered at Lee’s and Harper’s Great Theatrical booth in Smithfield during the 1730 Bartholomew Fair. According to the advertisement printed on 27 August 1730 in the Daily Post it was performed alongside The Siege of Bethulia, and The Stratagems of Harlequin. London: Printed for J[ohn] Watts, 1730. copy consulted: British Library 161.e.41

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RoyalChace THE | ROYAL CHACE. | OR, | MERLIN’S | HERMITAGE and CAVE. | AS | It is Perform’d in Covent-Garden.* | […] | *This New-Entertainment is Introduced in the Old-One of | Jupiter and Europa. The Royal Chace by Edward Philips premiered at Covent Garden on 5 January 1736. According to the advert published in the London Daily Post and General Advertiser on 2 January 1736, it included ‘Comic Scenes of Action introduc’d in the Grotesque Pantomime of JUPITER and EUROPA’. London?: NP, 1736? copy consulted: British Library 8630.f.31(3) ScotchOrpheus THE | Scotch Orpheus. | Containing FIFTY of the best | Scotch TUNES, | Engrav’d on Copper Plates, and transpos’d | for the Flute, on the same Size and | Paper as the last Edition of the SCOTCH | SONGS, Printed at London. | N.B. Those Tunes which have not the Musick | transpos’d for Flute immediately follow- | ing them, the same will be found at the End | of the Book, properly number’d. | [manicule] This Book contains all the Tunes in Mr. Thomson’s | Folio Edition, which was subscrib’d at the Price of One Guinea. According to the title page, Watson’s The Scotch Orpheus was designed as a cheap pocketbook alternative to ThomsonOC1. The foot of the page also carries two prices: ‘The Songs and Musick together Five Shillings. Separately Two Shillings and Six-pence each.” The ‘last edition of the Scotch Songs’ Watson referred to his edition of TTM from the previous year, and this is further confirmed by the sole surviving copy, which is bound together with Watson’s TTM in a single volume. Watson faithfully (and brazenly) copied Thomson’s musical texts. All that is missing are most of the ornament signs: to see Thomson’s baroque decorations in their full splendour, the reader would have to pay Thomson’s full price of a guinea. As a result, The Scotch Orpheus is far closer to TTM in shape and in spirit than is than ThomsonOC1. London: J. Watson, 1731. copy consulted: private collection (unique)

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Sources for the Music

SeaSongs A | Collection | of | Sea Songs | on Several | Occasions | Price 1s: 6d This 15-page collection consists of songs composed by Richard Leveridge, John Barrett, John Weldon, Henry Purcell, Louis Ramondon and Ralph Courtivill, many of which were performed in London theatres. London: [John] Walsh and [Joseph] Hare, [1720] copy consulted: British Library Music Collections H.35 SecondPleasantMusicalCompanion THE SECOND BOOK of the | Pleasant Musical Companion: | BEING | A New Collection of Select Catches, Songs, and | Ayres, for Two and Three Voices. The Second Book of the Pleasant Musical Companion consists of 66 catches, songs and ayres, set on a single stave. This copy also includes The Third Part, containing Choice Songs for two Voices Cantus & Bassus. London: John Playford, 1686 copy consulted: British Library reel 193:3 Sedley THE | Mulberry-Garden, | A | COMEDY. | As it is Acted by | His MAJESTIE’S SERVANTS | AT THE | THEATRE-ROYAL. | Written by the Honourable | Sir CHARLES SIDLEY | LONDON, | Printed for H[enry] Herringman, at the Sign of the Blow Anchor in the | Lower walk of the New Exchange. 1668. Restoration comedy, The Mulberry-Garden was written by Charles Sedley (1639-1701). It premiered on 18 May 1668 at the Theatre in Bridges. London: Henry Herringman, 1668. copies consulted: British Library DRT Digital Store 644.i.4.

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SelectMusicallAyres SELECT | Musicall Ayres | AND | DIALOGUES, | In Three BOOKES, | First Book, containes AYRES for a Voyce alone to the | Theorbo, or Basse Violl. | Second book, containes Choice DIALOGUES for two Voyces to the | Theorbo or Basse Violl. | Third Book, containes short AYRES or SONGS for three Voyces, | so Composed, as they may either be sung by a Voyce alone, | to an instrument, or by two or three Voyces. | Composed by these severall excellent masters in musick, viz. | Dr. John Wilson, | Dr. Charles Colman, | Mr. Henry Lawes, | Mr. William Lawes, | Mr. William Webb. | Mr. Nicholas Lanneare, | Mr. William Smegergill alias Caesar, | Mr. Edward Colman, | Mr. Jeremy Savile. Select Musical Ayres and Dialogues is in three books consisting of 55 ayres (solo songs) in book 1, 10 dialogues (duets) in book 2 and 15 short ayres and songs for three voices in book 3. London: T[homas] H[arper] For John Playford, 1653. copy consulted: The Huntington Library, San Marino 148977 SequelToFlora A | SEQUEL | TO THE | Opera of FLORA. | As it is now Acted at the | THEATRE ROYAL | IN | LINCOLN’s-INN-FIELDS. | To which is added, | The MUSICK Engraved on COPPER | PLATES. | Written by the Author of FLORA. A Sequel to the Opera of Flora also titled The Sequel to the Opera of Flora was a theatrical sequel to John Hippisley’s ballad opera Flora. It premiered as an afterpiece to William Congreve’s The Old Batchelor on 20 March 1732 at the Theatre Royal at Lincoln’s Inn Fields. London: Printed for A Bettesworth and C. Hitch, MDCCXXXII [1732]. copy consulted: British Library 161.k.69 Stuart MUSICK | For | Allan Ramsay’s | Collection of | SCOTS SONGS. | Set by Alexr Stuart & Engrav’d by R. Cooper | Parts 2-6 have the title: MUSICK | For the Scots Songs | in the | TEA TABLE MISCELLANY This is the only volume of music to be published by Ramsay himself, with the musical texts prepared by Alexander Stuart. There are payments to Stuart in the accounts of the Edinburgh Musical Society 484

Sources for the Music

over a forty-year period to 1767, both as a performer and for supplying strings and instruments. He was one of the three musicians first paid by the society for performing in the winter of 1726-7, along with William McGibbon and Adam Craig (Macleod 2001, pp.140, 150-151). It is not clear whether ThomsonOC1 or Stuart was published first: Kirsteen McCue found that trying to answer this question was ‘a pretty impossible task’ after surveying the evidence in detail (Stuart 2017, pp.xix-xxii). In any case, the two volumes could not be more different in their approaches to providing music for Ramsay’s songs. Thomson’s ostentatiously large folio volume was ornate in its production and in its musical content; Ramsay and Stuart’s was tiny, rudimentary in its production, and simpler in its musical values. Thomson was a singer, and his settings are precisely notated in their syllabic setting of the texts, and the sometimes virtuosic ornamentation of the tunes. Alexander Stuart was a violinist who provided the tunes without their texts, occasionally in settings that were quite unsingable, and the music was engraved by Richard Cooper, undoubtedly a highly skilled craftsman (his Vitruvius Scoticus shows his architectural work at its finest), but one whose facility with music notation can be seen to improve after a shaky start as the book progresses. There is no list of subscribers, but the first of the book’s six parts is ‘Inscrib’d to the Right Honourable Countess of Eglintoun’ Susanna Montgomery (née Kennedy), who was also the dedicatee of the 1725 edition of GS. The book contains 71 tunes in the order that they appear in TTM, set with active but simple unfigured bass lines: the simple arrangements include almost no prescribed ornaments. Edinburgh: Allan Ramsay, [1725-6]. In 6 parts. copies consulted: University of Glasgow Library, Glasgow Sp Coll Ca9-e.12; University of South Carolina, Music Library, Columbia Rare PR 1187 .R3 1720z

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Silvia SILVIA; | OR, THE | COUNTRY BURIAL. | AN | OPERA. | As it is Performed at the | THEATRE-ROYAL | IN | LINCOLN’s-INN FIELDS. | With the MUSICK prefix’d to each SONG. Silvia or Sylvia by George Lillo (1691-1739) premiered at the Theatre Royal, Lincolns Inn Fields on 10 November 1730. According to the news report published in The Daily Courant on 12 November 1730, while it was applauded there were people in attendance who disrupted the performance with ‘Hissings’ and ‘Cat-Calls. Despite this, the opera was performed before the prince (presumably Prince Frederick (1707-1751)) and ‘several Persons of Distinction’. London: J[ohn] Watts, 1731 copy consulted: British Library 841.d.32(8) ThesaurusMusicus THESAURUS MUSICUS: | BEING A | COLLECTION of the Newest SONGS | PERFORMED | At His Majesties Theatres; and at the Consorts in | Viller-Street in York-buildings, and in Charles-Street | CoventGarden. Most of the Songs being within the | Compass of the Flute. | WITH A | Thorow-Bass to each SONG, for the Harpsicord, Theorbo, or Bass-Viol. | Composed by most of the Ingenious Masters of the Town. | THE FOURTH BOOK. Thesaurus Musicus consists of 25 songs with a melody line and underlaid text and a bass line. Most of the songs were performed in London theatres. Composers include John Eccles, Godfrey Finger, and Henry Purcell, through though there are also some songs of anonymous authorship. London: J. Heptinstall for John Hudgebutt, 1695 copy consulted: Houghton Library, Harvard University *f Mus 9713.692f[6]

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Sources for the Music

ThomsonOC1 Orpheus Caledonius | or | a Collection of the best | Scotch Songs | set to Musick| by | W. Thomson This first version of Orpheus Caledonius was clearly intended for an affluent readership: it is a high-quality folio edition, at the cost of one guinea, with an illustrious list of over 300 mainly upper-class subscribers and a dedication to the Princess of Wales. The presentation and musical style, possibly based on Thomson’s own performances, appear far removed from the naturalistic oral culture Ramsay apparently referred to, and also quite different in character from the genteel domestic performances Ramsay described in the prefatory verse of TTM. London: William Thomson, [1725-6] copies consulted: University of Glasgow Library, Glasgow Sp Coll N.a.2; National Library of Scotland, Edinburgh Ing.241

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ThomsonOC2 I-II Orpheus Caledonius: | or, a | COLLECTION | of | SCOTS SONGS, | Set to Musick | by | W. THOMSON, [underlined text printed in red] Whether it was as a reaction to the publication of its cheaper rival ScotchOrpheus or not, William Thomson’s next move in 1733 was to issue a second, less ostentatious, version of Orpheus Caledonius in two volumes, in a smaller format with recomposed arrangements mostly in a less fussily ornate style. ThomsonOC2’s engraved music was printed separately from the typeset texts, and the texts and music each have their own sequence of page numbers: they were probably available for sale separately, as copies survive both interleaved, and with only one page sequence. The copy in London Library contains only the texts without music, and the availability of what was in effect a partial unauthorised edition of TTM may be behind Ramsay’s displeasure at its publication, expressed in the preface to the 1733 ninth edition of TTM: From this and the following volume, Mr. Thomson (who is allowed by all, to be a good teacher and singer of Scots Songs) cull’d his Orpheus Caledonius […] . This by the by I thought proper to intimate and do my self that justice which the publisher neglected; since he ought to have acquainted his illustrious list of subscribers, that the most of the songs were mine, the musick abstracted (p.vii). Ramsay’s stated distaste has to be set against the Edinburgh Musical Society’s enthusiastic ordering of ten copies of ThomsonOC2 on its publication; also, his description of Thomson’s book as ‘finely engraven in a folio book’ better fits ThomsonOC1. The titles of the songs as given here follow those at the head of the music, rather than those in the index, or those above the text. London: William Thomson, 1733. 2 vols. copies consulted: University of Glasgow Library, Glasgow Sp Coll N.c.39-40; National Library of Scotland, Edinburgh Glen.169-169a Thumoth Twelve Scotch, | and | Twelve Irish | AIRS | with | VARIATIONS | Set for the German Flute Violin | or Harpsichord by | Mr. Burk Thumoth Irish composer, flute player and trumpeter Burk (or Burke) Thumoth was active as a performer in Dublin and London. The National Library of Scotland, Edinburgh Inglis Collection copy of this volume is bound 488

Sources for the Music

along with his Twelve English and Twelve Irish Airs (‘Book the Second’), and both stayed in print until at least the 1780s, with a reprint by John Cox after he took over the Simpsons’ shop in 1751, and later a new edition of both books in one volume by Samuel, Ann and Peter Thompson. London: John Simpson, [c. 1745]. copy consulted: National Library of Scotland, Edinburgh Ing.79 TrickForTrick TRICK for TRICK. | A | COMEDY | OF TWO ACTS. | As it is Perform’d at the | THEATRE-ROYAL in Drury-Lane, | By His MAJESTY’s Servants. | By R. FABIAN. | Sic visum Veneri, cui placet impares | Fortunas atque Animos sub Juga abenea | Sævo mittere cum Joco. | HOR. Trick for Trick by Robert Fabian (fl.1735) premiered at the Theatre Royal, Drury Lane on 10 May 1735. At the premier, actor Thomas Hallam (d.1735) was killed by Charles Macklin (1699-1797) in the green room due to a costume dispute. London: John Watts, 1735 copy consulted: Adam Matthews Digital TriumphLondon THE | Triumphs of London, | Performed on Friday, Octob. 29. 1675, for the | Entertainment of the Right Honorable, | and truly Noble Pattern of | Prudence and Loyalty, | Sir JOSEPH SHELDON Kt, | Lord Mayor of the City of | LONDON. | […] | Designed and Composed, by Tho. Jordan, Gent. The Triumphs of London is a restoration play by Thomas Jordan (1612?1685?). In 1671, Jordon was appointed London’s laureate, where he would arrange the pageantry for the Lord Mayor, which included penning theatricals such as this one. London: J. Macock for John Playford, 1675 copy consulted: The Huntington Library, San Marino 132508

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TwelveNewSongs TWELVE | New SONGS, | WITH | a Thorow-Bass to each SONG, | Figur’d for the | Organ, Harpsichord, or Theorbo. | Chiefly to Encourage | William Pearson’s New London Character. | COMPOS’D BY | Dr. Blow, Mr. Daniel Purcell, | Dr. Turner, | Mr. John Barrett, | Mr. Nicola, | Mr. Williams, | Mr. Ralph Courtivill, | Mr. John Church, | Mr. Samuel Akeroyde, | AND | Mr. John Eccles, | Mr. William Crofts. | WITH | Two New Dialogues, Sett by Mr. JER. CLARK, | Sung in the last Revived Play, | CALL’D | The Island Princess: Or, The Generous Portigueise. | Newly made into an OPERA. Twelve New Songs is a collection produced by William Pearson (fl.16991735), who noted that he has taken ‘Care to Examine before [the songs] were work’d off’ though he did not have time to send proofs to each contributing composer. The music consists of a treble and bass stave, with lyrics underlaid beneath the melody line. London: William Pearson, 1699 copy consulted: The Library of Congress, Music Division, Washington, D.C. VillageOpera THE | VILLAGE | OPERA | As it is Acted at the | THEATRE-ROYAL, | BY | His MAJESTY’s Servants. | Written by Mr. [Charles] JOHNSON. | […] To which is Added | The MUSICK to each SONG. The Village Opera was first performed at the Theatre Royal, Drury Lane in 1729. It was advertised in the Country Journal of 25 January as ‘a regular Comedy in low Life, interspers’d with Ballads, to known English Tunes’. Although the advertisement suggests similarities with John Gay’s The Beggar’s Opera, it also puts some distance between them, carefully pointing out that ‘this Performance bears a very good Character’ and that the scandal surrounding Gay’s follow-up Polly ‘did not proceed from any Prejudice against That Company in general’. The piece later formed the basis for Thomas Arne’s (1710-1778) pasticcio ballad opera Love in a Village in 1762. London: J. Watts, 1729. copy consulted: National Library of Scotland, Edinburgh Glen.179

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Sources for the Music

WalshBMM The | British Musical Miscellany | or, the | Delightful Grove: | Being a Collection of Celebrated | English, and Scotch Songs, | By the best Masters. | Set for the Violin, German Flute, the Common Flute, and Harpsicord. | VOL. II. The theatre songs by Leveridge, Handel and others in this collection are presented for voice with a bassline, along with the names of many of their most celebrated singers. The titlepage also advertises the publication of ‘A Collection of all the Ballad Operas’, marking the distinction between the two repertoires. London: J. Walsh, 1734. The 2nd of 6 vols, 1734-6. copy consulted: National Library of Scotland, Edinburgh Ing.48-49 WalshCCD Caledonian Country Dances | Being | A Collection of all the Celebrated Scotch Country Dances | now in Vogue, with the proper Directions to each Dance, | As they are perform’d at Court, & publick Entertainments. | for the Violin, Hoboy, or German Flute; with their Basses | for the Bass Violin, or Harpsicord. 3d. Edition. By 1750, Walsh’s original collection had expanded to fill five volumes containing ‘all the Celebrated Scotch and English Country Dances’, but the third edition advertised for sale on 3 November 1736 was still in a single volume (Smith & Humphries 1968, p.65). The tunes are given with basslines, and with the dance figures underneath. London: J. Walsh, [1736, 1st ed. 1733]. copy consulted: National Library of Scotland, Edinburgh Ing.36

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WalshCD1713 TWENTY FOUR | New Country-Dances, | For the Year 1713. | WITH | Proper Times, and New Figures or Directions, to each Dance. | The Musick proper for the Violin, Hautboy, or Flute. | Printed on the New Capital Character of Musick. From as early as 1705, John Walsh issued yearly collections of TwentyFour New Country Dances. Each collection includes the notated tune and instructions for each dance. London: John Walsh […] J. [John] Hare, [1712?] copy consulted: British Library Music Collections a.9.(2.) WalshCCDM THE | Compleat Country Dancing-Master. | Being a Collection of all the Celebrated Country Dances | now in Vogue. | Perform’d at Court, the Theatres, Masquerades, | and Publick Balls. | With Proper Tunes and Directions to each Dance. | The Tunes fitted for the Violin, Hoboy, or German Flute. | The 4th. Edition. Walsh’s Country Dancing-Master series gradually evolved from his plagiarised reprints of Playford’s work, begun in 1718, and as a result the many different editions are somewhat chaotic, and very difficult to collate. This Bodleian Library, Oxford copy also includes the titlepage of volume 4 of the series, in error. London: J. Walsh, [c. 1740]. copy consulted: Bodleian Library, Oxford (W) Harding Mus. F 341 (1) WalshCCDM1719 The Second Book of the | Compleat Country Dancing-Master| CONTAINING | Great Variety of DANCES, both Old and New; | PARTICULARLY | Those perform’d at the several MASQUERADES: | Together with | All the Choicest and most Noted COUNTRY-DANCES, Perform’d at COURT, the THEARES, and publick BALLS; | With their proper Tunes, and Figures (or Directions) to each DANCE: The Tunes fitted to the Violin, or Hautboy, and most of ‘em within the Compass of the Flute. | Note, In this, and the first Book, are contain’d all the Dances generally used, and more correct than | the former Editions; printed in the LONDON CAPITAL CHARACTER, far exceeding any other of the Common Press.

492

Sources for the Music

The Second Book of the Compleat Country Dancing-Master reprinted tunes that originally published in past editions of PlayfordDM. London: H. Meere for J[ohn] Walsh, 1719 copy consulted: Houghton Library, Harvard University *52-351 WalshNCD THE NEW COUNTRY DANCING MASTER | 3d Book | being a choice Collection of Country Dances | perform’d at the Theatre, at Schools and publick Balls; | with Directions to each Dance. | The Tunes Airy and pleasant for the Violin or Hoboy, and most | of them within the compass of the Flute. | Price 2s. 6d. Another of John Walsh’s country dancing volumes that largely reprints tunes previously published in PlayfordDM. London: [John] Walsh and [J]oseph Hare, 1728. copy consulted: British Library a.8. WalshDF The First and Second Part of | The Division | FLUTE | Containing | The Newest Divisions | upon the Choisest Grounds | for the | FLUTE | as also Several Excellent | PRELUDES CHACON’S | and CIBELLS The Division Flute was published around 1706 by John Walsh the Elder and was based on The Division Violin produced by John Playford (Habert 1987). Book 1 consists of 12 tunes with variations (or divisions). Book 2 consists of 20 tunes also with variations. London: [J]ohn Walsh, [1706] copy consulted: Facsimile reprint Musica Repartita, 1993. WalshThirtyNew Thirty | New and Choice | COUNTRY DANCES | Set for the | HARPSICORD or SPINNET | The Dances | Perform’d at Court and publick Entertainments | Being a delightful and Entertaining Collection. London: John Walsh, [1731]. copies consulted: British Library Music Collections R.M.7.e.17(4) 493

The Tea-Table Miscellany

WalshThirtyNew2 A Second Collection of | Thirty New and Choice COUNTRY DANCES | Set for the | HARPSICORD or SPINNET | The Dances | Perform’d at Court and publick Entertainments. | Being a delightful and Entertaining Collection. | Consisting of Irish, Welch, & Scotch Tunes. These two volumes of simple, neatly engraved dance tunes arranged for keyboard were later reprinted together as LadysBanquet4 above. London: John Walsh, [1732]. copies consulted: British Library Music Collections R.M.7.e.17(4) WantonJesuit THE | WANTON JESUIT: | OR, | Innocence Seduced. | A NEW BALLAD | OPERA. | As it is Acted at the | NEW THEATRE | IN THE | HAY-MARKET. | London: | Printed for J.[ohn] Millan at the HorseGuards, and | W. SHROPSHIRE in New-Bond-Street. | 1731. | [Price One Shilling.] The Wanton Jesuit was another ballad opera in the style of Gay’s The Beggar’s Opera. It premiered at the New Theatre in the Haymarket on 17 March 1732. London: John Millan, 1731 copy consulted: British Library 161.e.44 WayWorld THE | Way of the World, | A | COMEDY. | As it is Acted at the | THEATRE in Lincolns-Inn-Fields, | BY | HIS MAJESTY’s Servants. | Written by Mr. CONGREVE | Audire est Operæ pretium, procedure recte | Qui mæchis non vultis -- | --Metuat doti deprensa. -- | Hor. Sat. 2. | I. | Ibid. | The SECOND EDITION, Revised. The Way of the World is a restoration comedy by William Congreve. It premiered at the theatre in Lincoln’s Inn Fields in March 1700. London: Jacob Tonson, 1706 copy consulted: Cambridge University Library, Cambridge Keynes.C.08.28

494

Wedding THE | WEDDING: | A Tragi-Comi-Pastoral-Farcical | OPERA. | As it is now ACTING at the Theatre-Royal, | In Lincoln’s-Inn-Fields. | With an HUDIBRASTICK Skimmington. | By Mr. Hawker. | --There are no Bargains driv’n, | Nor Marriages clapp’d up in Heav’n, | And that’s the Reason, as some guess, | There is no Heav’n in Marriages. | Hud. | To which is prefix’d, THE | OVERTURE, by Dr. PEPUSCH. | With an ADDITION of the Musick to each | Song, Engrav’d on COPPER-PLATES. The Wedding by Essex Hawker (fl.1723-29) premiered at the Theatre Royal in Lincoln’s Inn Fields on 6 May 1729. It was performed as an afterpiece for the benefit of Hawker. It was later altered and published as CountryWedding. London: W[illiam Mears], 1729 copy consulted: William Andrews Clark Memorial Library, University of California K-D 39 WelshOpera THE | WELSH OPERA: | OR, THE | Grey MARE the better HORSE. | As it is Acted at the | NEW THEATRE | IN THE | HAY-MARKET. | Written by SCRIBLERUS SECUNDUS, | Author of the Tragedy of Tragedies. | Cobler. Say, why what d’ye think I say? I say. | All Men are married for their Sins, | And that a Batchelor Cobler, is happier than a Hen-peck’d Prince. The Welsh Opera by Henry Fielding premiered at the Haymarket on 22 April 1731. The name, Scriblerus Secundus, was a nod to the satirist Scriblerus Club as well as being a character of the play. London: E. Rayner, 1731 copy consulted: Houghton Library, Harvard University *EC7. F460.731wa

495

The Tea-Table Miscellany

WhatDYe THE | WHAT D’YE CALL IT: | A Tragi-Comi-Pastoral | FARCE. | By Mr. GAY. | --Spirat Tragicum status, & feliciter audit. | Hor. | --Locus est & pluribus Umbris. | Hor. The What D’Ye Call it is a farcical comedy by John Gay. It premiered at the Theatre Royal, Drury Lane on 23 February 1715. London: Bernard Lintott, 1715 copy consulted: British Library Ashley 769 Wonders Wonders in the Sun, | OR, | The Kingdom of the Birds: | A | Comick Opera. | With great Variety of Songs in all kinds, | set to Musick by several of the most Emi- | nent Masters of the Age. | Written by Mr. D’Urfey. Wonders in the Sun by D’Urfey is a comical opera that premiered at the Queen’s Theatre, Haymarket on 5 April 1706. London: Jacob Tonson, 1706 copy consulted: British Library 644.h.28 YouthsDelight YOVTH’s DELIGHT | On the Flagelet the second part | Containing the newest Lessons with easier | Directions than any here to fore | Being the 9th. Edition with Additions of ye best & newest Tunes | Allso | A Scale of the Gamut the Violin way | Sold by IOHN CLARKE at the | Golden Violin St. Pauls | Church-Yard The Youth’s Delight on the Flagelet was published in three parts, though there are no known surviving copies of the first part. Indeed, though it was published in several editions there are only a few copies extant (Macmillan 2020, pp.13-4). It consists of simple tunes in tablature with instructions on how to play the flageolet. London: [J]ohn Clarke, c.1690 copy consulted: British Library Music Collections K.4.a.8

496

NOTES The Tea-Table Miscellany, Edinburgh, 1723. EDINBURGH, Printed by Mr. Thomas Ruddiman for Allan Ramsay at the Mercury, opposite to the Cross-Well. 1723. R1: Bony Christy (‘How sweetly smells the Simmer green?’). AR This song appears always to have been accepted as by Ramsay, and was published in Poems (1728) p.113. The main textual note appears in Poems edited by Brown (2023, I: p.604). The lyrics are at BL Egerton MS ff.127-28. However, the tune can be identified in Guthrie dating from 1650-60. Variants are as follows: 1. flowry Green [not ‘Simmer green?’] 2. Refreshing is the Cherry [not ‘Sweet taste the Peach and Cherry;’] 3. The Rainbow Clours please our my een [not ‘Painting and Order please our Een,’] 4. me [not ‘us’] 5. Colours fruits & flowers [not ‘Colours, Fruits and Flowers’] 6. Nor [not ‘And’] 7. Loss a’ thier [sic] [not ‘Lose a’ their’] 8. Compared [not ‘Compar’d’] 9. Traversing the Bramell[?] parkd [not ‘When wandring o’er the flow’ry Park’] 10. Natrule [not ‘nat’ral’]; Beautys [not ‘Beauty’] 11. Delightsom its to hear the Lark [not ‘How lightsome is’t to hear the Lark,’] 13. when [not ‘if’] 15. in Raptures sae Rejoyce [not ‘with Extasies rejoice’] 16. I forget drap [not ‘And drap’] 18. Happy omen [not ‘happy Omen’] 20. a the [two redacted lines between lines 20 and 21] 21. Dubious [not ‘dubious’] 24. Lest she should love annother [not ‘For fear she love another’] 25. Blate [redacted, illegible] Jonny [not ‘blate Edie’] 26. Kind [not ‘His’] 27. Mŭrn [not ‘mourn’] 28. or he [not ‘e’er’] 29. acceptance her favour 31. whyt [not ‘white’] 32. aboute [not ‘about’] 34. Sic Such [not ‘Sic’] 497

The Tea-Table Miscellany 35. this it [not ‘this’] 36. surprising [not ‘surprising!’] 39. sett his [not ‘set’]; Bauk [not ‘bauk’] The tune is found in several late seventeenth and early eighteenth-century sources without text: AriaDiCamera p.23, no.33: Bonny Christy. Balcarres p.76, no.116: Bonnie Christian, david grieves way, with the 9th string lowed Balcarres p.100, no.156: Bonnie Christien, mr mclachlans way, by mr beck Bowie ff.3v-4r, no.3: bone cirste Craig p.43: Bonny Christy Dow f.60r, no.85: Bonny Christie Guthrie p.309: bonnie christan JohnYoung p.3: Bonie Kirsty NealScotch p.27: Bonny Christy Panmure9458 ff.45v-46r: [untitled] ScotchOrpheus p.13: How sweetly smells Stuart pp.2-3: Bonny Christy ThomsonOC1 no.12: Bonny Christy (index), Bony Christy (music) ThomsonOC1, a source that largely sets Ramsay’s published texts, is the only source to give underlaid text. It is a more ornamented setting than Stuart, with an active bassline which often outlines the harmony in broken chords. The earlier version in Bowie includes a variation in which the bassline, written upside down in table format, is subtly altered to suit the shifting harmonic structure: this reading is very similar to that attributed to McLachlan in Balcarres. JohnYoung is almost identical (other than lacking the bassline) and seems to derive directly from Bowie, even in its beaming. The NealScotch setting initially appears simple but the variation that follows picks up the pace with constant moving quavers. As for Stuart, Ramsay’s text neatly maps to the tune with the slurs indicating textual melisma, a common practice in vocal music.

498

Notes: TTM I (1723) Stuart, pp.2-3: Bonny Christy

Notes on the music: bar 2, treble stave, note 4, dotted crotchet [probably copied in error from bar 6]; bar 14, treble stave, note 4, dotted crotchet [similar error] Craig includes an ornamental variation and ScotchOrpheus is identical to ThomsonOC1 though most of the ornaments have been stripped out. Matthew Spring (2010) II: p.286 gives two possibilities for the identity of the original Christian/Christy/Kirsty named in the tune’s title. The first is the daughter of Sir Alexander Hamilton of Innerwick and Ballencrieff and the second is daughter of the 7th Lord Boyd. Both daughters were named Christian. The song also appears at SMM I: no.60. Category I: by Ramsay to an earlier tune. R2: The Bush aboon Traquhair. (‘Hear me, ye Nymphs, and every Swain’). Marked C with new words by different hands. The song is widely attributed to Robert Crawford (of Achnames, c.1690– 1733/35) a friend and collaborator of Hamilton of Bangour and Ramsay, although it appears to have become almost instant heritage, being printed for example in A Collection of Old Ballads (London, 1725) III: pp.253-54. The reference to May is to spring fertility; ‘Bush’ carries the expected double meaning. In both this song and R1 ‘Bony Christy’, sexual consummation is clearly implied, emphasising a greater directness in the Scottish version of the Tea-Table. The tune to which this became most commonly sung (e.g. SMM I: no.80) is Air XIII in John Gay’s 499

The Tea-Table Miscellany Polly (London, 1729) p.14 and is Air V (with the tune printed) in Joseph Mitchell’s HighlandFair (London, 1731) p.12. This song is Air XVIII in GS and at SMM I: no.80. There is a note in GS on the musical provenance (Newman and McGuinness 2022, pp.528-36). The tune is found in the following seventeenth and early eighteenth-century sources: AriaDiCamera p.23, no.34: Peggy grieves me. Craig p.30: The Bush aboon Traquair Gairdyn f.1r: Traquair Gairdyn f.4v: Traquair Gairdyn f.47v: The flames of Love hath perced me or Traquair HighlandFair p.12: AIR V. Bush aboon Traquair. MusicalMiscellany II: p.97: The Bush o’ boon Traquair. Patie&Peggy p.24: AIR XIX. Bush aboon Traquair. Polly p.16: AIR XIII. The bush a boon traquair ScotchOrpheus p.3: Hear me ye Nymphs Stuart pp.4-5: Bush aboon Traquair ThomsonOC1 no.3: The Bush aboon Traquair Category V: Not by Ramsay; by Robert Crawford. R3: An Ode: To the Tune of Polwarth on the Green (‘Tho Beauty, like the Rose’). D There is a note in GS on the provenance of the tune (Newman and McGuinness 2022, pp.435-41). Indeed, the tune is found in the following seventeenth and early eighteenth-century sources: BeggarsWedding p.11: AIR V. Polwart on the Green. BeggarsWeddingSongs p.10 At Polwart on the Green Craig pp.36-7: Polwort Green Crockat f.55v: Poluort on ye Green Crockat ff.32r-33r, no. 36: [untitled] Gairdyn f.40r: Polwart on the green HighlandFair p.69: AIR XLV. Polworth on the Green MerryMusician II: pp.70-1: The DESCRIPTION NealScotch p.28: At Polwarth on the Green Patie&Peggy p.5: AIR IV. Polwart on the Green. Polly p.23: AIR XX. Polwart on the Green. ScotchOrpheus p.25: At Polwart on the green Stuart pp.6-7: Polwart on the Green ThomsonOC1 no.24: Polwart on the Green Category V: not by Ramsay.

500

Notes: TTM I (1723) R4: Tweed-Side: (‘What Beauties does Flora disclose ?’). C There are full musical notes in GS (Newman and McGuinness 2022, pp.51628). The tune for the song appears in the following seventeenth and early eighteenth-century sources: Balcarres p.26, no.48: Tweedsyde, the old way. by mr beck; pp.26-7, no.49: Tweedsyde, the new way. by mr beck Craig p.12: Tweed Side. Cuming pp.48-50: [untitled], ‘tweedside’ added in pencil by a later hand Dow p.22, no.39: Down Tweed Side Gairdyn ff.13r-13v: Down tweed Sead Leyden f.44r, no.75: Twide Syde Munro pp.25-7: Tweed Side MusicalMiscellany II: p.160: CHARMING MOGGY. Patie&Peggy p.22: AIR XVIII. Tweed-Side. Polly p.69: AIR LXVII. Tweed Side. ScotchOrpheus p.17: What Beauties does Flora Stuart pp.8-9: Tweed Side ThomsonOC1 no.16: Tweed side Category V: This song is at SMM I: no.36 and is attributed to Robert Crawford. R5: Song: To the Tune of, Wo’s my Heart that we should sunder (‘Is Hamilla then my own’). S There are full musical notes in GS (Newman and McGuinness 2022, pp.50715). The tune appears in the following seventeenth and early eighteenthcentury sources: Balcarres p.119, no.183: Woes my heart, that we should sunder, Mr McLaughlans way, by Mr Beck HighlandFair p.36: AIR XXII. Waes my Heart, that we shou’d sunder. JohnSkene pp.94-5: To dance about the Bailzeis dubb. JohnSkene pp.96-7: Alare this night yat we suld sinder. MusicalMiscellany I: pp.14-5: The Parting of Delia and Damon. Patie&Peggy p.21: AIR XVII. Waes my Heart, that we shou’d sunder. PlayfordOST p.14: A ways my Heart that we mun sunder. ScotchOrpheus p.10: With broken words Stuart pp.10-1: Woes my heart that we shoud sunder. ThomsonOC1 no.9: Woes my Heart that we shou’d Sunder Category IV: Dubia.

501

The Tea-Table Miscellany R6: A Song (‘Let’s be jovial, fill our Glasses’). S The anacreontic drinking song, named after Anacreon (c.582–c.485c.582–c.485 BC) was a popular feature of Ramsay’s collecting and composition in TTM. John Ernst Galliard (1687–1749) set the song ‘Jolly Mortals, fill your Glasses’, which was published as a separate song sheet around 1730 and titled ‘A SONG set by Mr. GALLIARD.’ The same setting is found in MusicalMiscellany VI. However, while the text is similar in theme to Ramsay’s ‘Let’s be jovial’ the content is quite different. Galliard’s is whimsical, noting ‘Noble Deeds are done by Wine’, while scorning the ‘Nymph’ for her beauty. Ramsay’s text is much more political, specifically noting in verse one, ‘How the World is rul’d by Asses’. Both Galliard and Ramsay were likely inspired by Edward Ward’s The Delights of the Bottle published in 1720. There are also three different tunes: the first, which is directly connected to Ramsay, is found in Stuart and is titled ‘Let’s be jovial &c.’; the second is Galliard’s setting with the first line ‘Jolly Mortals, fill your Glasses’; and the third is a short, simple tune found in Ralph’s FashionableLady, again with different text. Here is where to locate these tunes: FashionableLady p.53: AIR XLI. Let’s be jovial, fill our Glasses. MusicalMiscellany VI: pp.182-3: Set by Mr. GALLIARD. Stuart pp.12-3: Let’s be jovial &c. Category II/IV: heavily edited by Ramsay or Dubia. R7: Muirland Willie (‘Harken and I will tell you how’). Z. There are a variety of versions of the tune (discussed in more detail below) and these are located at: Craig p.45: Muirland Willie Crockat f.39r: Muirland Willie Melismata no 21: COVNTRY PASTIMES. | The Marriage of the Frogge and the MOVSE. MerryMusician I: pp.17-19: A new Ditty on a high Amour at St. James’s; the Words by Mr. D’Urfey, and set to a pretty comical Tune. PlayfordAB (1669): THe Northern Lass (This version of the tune differs to ‘THe Northern Lass’ found in the 1687 edition of Apollo’s Banquet). PPM1719 I: pp.14-16: A Ditty on a high Armour at St James’s. Set to a Comical Tune Stuart pp.14-5: Muirland Willie ThomsonOC1 no.28: Muirland Willie WalshCD1713 p.3: Lord Frog.

502

Notes: TTM I (1723) This is marked as Z (old song), an attribution which appears to be justified, as the tune is found in Crockat. The story of the song The Marriage of the Frogge and the Mouse found in Thomas Ravenscroft’s Melismata, is not entirely dissimilar to Ramsay’s, though the tune is quite different, as discussed below. The text embodies Scottish practicality and the importance of a financially sustainable marriage settlement. It ends with consummation. William Chappell’s discussion on the musical archaeology of this tune found in Popular Music of Olden Times has, to some extent, confused its origins. Indeed, Glen (1900) p.39 has provided a more comprehensive note tracking the origins of the tune, ‘The Northern Lass’ which is the ancestor of two tunes: the ‘Great Lord Frog’ found in Melismata, MerryMusician, WalshCD1713, and PPM1719, and ‘Muirland Willie’. There are musical sources that specifically reference Ramsay’s TTM text, ‘Harken and I will tell you how’, notably MusicalMiscellany I and ScotchOrpheus. However, the tune in MusicalMiscellany I is ‘Great Lord Frog’. Muirland Willie is found in Crockat as a lively, jig and is relatively unchanged by the time it is printed in Stuart, ThomsonOC1, and Craig. In terms of format for singing, ThomsonOC1 is much clearer, with notes beamed to suit the text. Category IV: Dubia, an old tune but not necessarily old words. R8: The promis’d Joy, To the Tune of Carle and the King come. Address’d to Ophelia (‘When we meet again, Phely’). M ‘Carle and the King come’ was a Jacobite tune. Its use in the context of erotic loss, as here, was also common in a political context. The song has been dated back as early as the Commonwealth, but it certainly dates to before 1719, when William Thoirs of Muiresk noted a new set of words to this tune in his Commonplace Book (NLS Adv MS 35.4.14 f.455). There is a full musical note in GS (Newman and McGuinness 2022, pp.462-4). The tune is found in the following seventeenth and early eighteenth-century sources: Blaikie, p.7, no.40: The New Way of Owing. Campbell, f.39r: Carle an the King Come LadysBanquet4, p.5: New Way of Wooing. Stuart, pp.16-7: Carle an the King come. WalshCCD, p.37: New Way of Wooing. WalshThirtyNew p.4, no.3: New way of Wooing. Category IV: Dubia.

503

The Tea-Table Miscellany R9: To DELIA on her drawing him to her Valantine, To the tune of Black Ey’d Susan. (‘Ye Powers! Was Damon then so blest’). R There are two different tunes titled ‘Black Eye’d Susan’ and these are located in the following sources: Cuming p.27: Black eyed Susan (same tune printed in Stuart) Leveridge1728 p.75: Sweet William’s Farewell to Black Ey’d SUSAN | The Tune by Mr Carey (Carey’s tune differs from Leveridge and both versions appear in this source. Leveridge’s tune here is the same as appears in SeaSongs) MusicalMiscellany IV: pp.148-51: Sweet WILLIAM’s FAREWELL to Blackey’d SUSAN. | By Mr. GAY. | The Tune by Mr. LEVERIDGE. (Tune attributed to Leverdieg differs from the tune printed in SeaSongs and Leveridge1728) RobinHood p.20: AIR IX. Black-ey’d Susan. (Tune is the one that appears in MusicalMiscellany) SeaSongs p.5: Sweet William’s Farewell to Black Ey’d SUSAN | The Tune by Mr Carey (Carey’s tune differs from Leveridge and both versions appear in this source. Leveridge’s tune (printed in verso) is the same as appears in Leveridge1728). Stuart pp.18-9: Black Ey’d Susan (same tune printed in Cuming) A song, ‘Sweet William’s Farewell to Black-Ey’d Susan’ (first line, ‘All in the downs the Fleet was Moor’d’) was printed in SeaSongs in 1720 and then reprinted in Leveridge1728. A different tune attributed to John Gay and Richard Leveridge appears in MusicalMiscellany IV and RobinHood. Andrew Gustar (2014) pp.432-448 suggests that alternative texts and tunes were in circulation. Indeed, the tune that is found in Stuart, which is not the same as the tune published in SeaSongs, Leveridge1728, MusicalMiscellany or RobinHood is only found in one other source, namely Cuming. Ramsay prints multiple text versions of Black Ey’d Susan across TTM. Category IV: Dubia. R10: The Faithful Shepherd (‘When Flow’ry Meadows deck the Year’). To the Tune of Auld Lang Syne. O For notes on the tune see R51. The song is pastoral, and the author has not been identified. Category V: not attributed to or claimed by Ramsay.

504

Notes: TTM I (1723) R11: To Mrs S.H. on her taking something ill I said To the tune of Hallow E’en. (‘Why hangs that Cloud upon thy Brow?’). H. Versions of the tune can be found from the late seventeenth century at: Balcarres p.29, no.55: Hallow even, mr Becks way Crockat ff.24-25, no.29: Hallow Even Gairdyn f.36: Scots-measur Leyden f.18: hallo Even NealScotch p.20: Hallou Even PlayfordOST p.16: Holy Even, a Scotch-measure. Sinkler ff.21v-22r: Hallow Even Stuart pp.22-3: Hallow Ee’n The song is at SMM II: no.136, where it is attributed to Hamilton, possibly Hamilton of Bangour. The first line may derive from Mary Pix’s Violenta (London, 1704) p.25. Category V: not by Ramsay, possibly by Hamilton of Bangour. R12: The Broom of Cowdenknows (‘How blyth ilk Morn was I to see’). SR Cowdenknowes is about 8km northwest of Melrose. The song, ‘The Broom of Cowdenknowes’, appeared in the Stationer’s Register (‘SR?’) for 1632, being known as early as 1621 as ‘The Lovely Northern Lass’, with somewhat differing words (the first line is ‘Through Liddersdale as lately I went, | I musing on did passe’), but to the same ‘pleasant Scotch tune’: see Euing Ballads 166. It is an ancestor of Ramsay’s song but unlike it; Ramsay’s is clearly pastoral, although it also celebrates the ascendancy of love over pastoral. Child 4.45 and elsewhere lists twenty-one versions of the song. Versions of the tune can be found at: Balcarres p.23, no.42: The broom of caudinknows. Jean mores way. by mr beck Balcarres p.134, no.213: The brome of Caudinknows david grieves way Gairdyn f.3v: The broom of cougingknous Guthrie f.7: The Bonnie Broom Dow no.16, The bony broome Dow no.53: The Broom of kowden Knowes MMC353 p.39: The Broom of Cowdenknowes PlayfordDM (1651) p.28: Broome : The bonny bonny Broom. PlayfordMD p.36, no. 37: THe Bonny Broom. Stuart pp.26-7: Broom of Cowden knows ThomsonOC1 no.10: The Broom Cowdenknows Wemyss f.48r, no.86: broom of cauden knous

505

The Tea-Table Miscellany ‘Cowdenknowes’ also appears in John Watt’s MusicalMiscellany I: pp.76-77, Joseph Mitchell’s HighlandFair (1731) Air VII and in Watson’s ScotchOrpheus from the same year. The first line by which the song is now usually sung, ‘Hard Fate that I should banisht be’ is found for the first time in the broadside ballad titled An Excellent New Song Entituled, the | New way of the Broom of Cowden | Knows (dated c.1702–12 by EBBA). The ‘broom’ (like the ‘greenwood’ in English tradition, ‘can be a liminal place, well suited to sexual liaisons’ (Atkinson 2002, p.148). The broadside is a Jacobite version of the song allegedly by Lord Duffus that according to Donaldson (1974) p.45 appeared in c.1716. The longstanding power of this song may arise in no small part from its vocalization of this reference as a symptom of sexual longing, with the plaintive chorus conveying desire and desperation in equal measure. Fiske (1983) p.3 suggested that words were only added to this tune in ‘about 1720’, but it also appears to accompany a 1712 song, no.20 in ‘A Choice Collection of Severall Scots Poems’ (NLS) and is also found in its Jacobite pastoral version at NLS Rosebery Ry III.a.10 no.7. Printed copies are at NLS MS 2914 p.43 and NLS Ry. III.a.10 p7. There are many other copies cited at JR II: p.485. The tune is also used R15 and elsewhere, suggesting its ready familiarity to a 1720s audience. Category V: not by Ramsay. R13: To Chloe To the Tune of, I wish my Love were in a Mire (‘O Lovely Maid ! How dear’s thy Pow’r’). L. The song was printed in Poems (1728) p.387 with a different text (see Brown 2023, I: pp.747-48). The tune appears in: Craig p.31: I wish my Love were in a myre Dow no.7: And My Love in a Myre Dow no.29: I wish my Love were in a Myre Gairdyn f.40: I wish My Love wer in a mire Gairdyn f.47: I wish my love were in a mire NealScotch p.8: I wad my Loove war in a mire Stuart pp.28-9: I wish my love were in a myre Waterston pp.8-9: 5th I wish my love were in a mire Waterston p.80: 51[st] I wish my love was in a mire The tune also appears in Mitchell’s HighlandFair (1731) Air XLII, which is like Stuart. The initial line and Ramsay’s exact title do not seem to appear before TTM I (1723). This is the second song printed to the tune at SMM I: no.41. Category IV: Dubia. 506

Notes: TTM I (1723) R14: Upon hearing his Picture was in CHLOE’s Breast To the Tune of The Fourteen of October (‘Ye Gods ! was Strephon’s Picture blest’). L. This tune is in: Stuart, pp.30-1: The fourteen of October, ThomsonOC2 II: pp.18-9, no. 9: Ye Gods ! was Strephon’s Picture blest. (text); Ye Gods! Was Strephon’s Picture Blest (music) The first line does not appear before TTM I (1723). The song was printed in A New Miscellany of Scots Sangs (1727). It is also at SMM II: no.174, which attributes the song to William Hamilton of Bangour. The versions of the tune in Stuart and ThomsonOC2 are strikingly similar, with only small divergencies of ornamentation, suggesting either that they had a common source or that ThomsonOC2 used Stuart’s version and stripped out the bassline in favour of his own. Category V: Not by Ramsay, probably by William Hamilton of Bangour. R15: Song for a Serenade To the Tune of The Broom of Cowdenknows (‘Teach me, Chloe, how to prove’). L For the tune, see R12. The first line does not appear before TTM I (1723). Category IV: Dubia. R16: Love is the Cause of my Mourning: (‘By a murmuring Stream a fair Shepherdess lay’). X-unknown. The tune, ‘Love is the cause of my mourning’, is found in several late seventeenth-century manuscript and eighteenth-century print sources including: Atkinson pp.147-8: Love is ye Cause of my Mourning Balcarres p.98, no.153: loue is the cause of my mourning, mr mclachlands way by mr beck Bowie f.6v: Love is the Caues of My mornen Gairdyn f.53v: Love is the cause of my Mourning Dow p.58: Love is the Cause of my Morning Leyden f.50v: Love is the caus of my mourning NealScotch p.9: Love is ye cause of my mourning PlayfordOST pp.10-1: If love is the cause of my Mourning. Sinkler ff.3v-4r: Love is the cause of my murning Stuart pp.32-5: Love is the cause of my mourning ThomsonOC1 no.17: Love is the cause of my Mourning 507

The Tea-Table Miscellany There are few inconsistencies between Atkinson, Bowie and the version printed in Stuart, with bars 6-8 perfectly in accord across all three sources. PlayfordOST adds an anacrusis, but thereafter is consistent with Atkinson and Bowie. Glen (1900) p.93 also notes the tune was found in a manuscript flute-book dated 1694 and inscribed ‘William Graham’, which in 1900 was owned by William Chappell. However, this source is now untraced (Porter 2007, p.350). Atkinson pp.147-8: Love is ye Cause of my Mourning

Notes on the music: bar 1, note 1, missing dot; bar 1, note 3, appears as a dotted crotchet in the source; bar 1, note 4, missing dot; bar 2, note 1, missing dot; bar 2, note 3, missing dot; bar 2, note 5, appears as a dotted crotchet in the source; bar 7, note 1 is missing a dot; bar 14 has one extra beat in the bar (diplomatically transcribed); bar 31 has one extra beat in the bar (diplomatically transcribed)

508

Notes: TTM I (1723) Bowie f.6v: Love is the Caues of My mornen

Notes on the music: bar 10 is missing three beats in the bar (diplomatically transcribed); bar 15 is missing 1 beat in the bar (diplomatically transcribed); bar 16, note 7, precariously placed between f’ and g’ but an ‘F’ appears under the note as clarification

509

The Tea-Table Miscellany Stuart pp.32-5; Love is the cause of my mourning

Notes on the music: bar 10, treble stave, note 2 appears as a quaver. Throughout the early eighteenth century, the same tune is printed in several collections of popular Scots tunes including NealScotch, ThomsonOC1 and MusicalMiscellany III. As such, there is little doubt that since the late seventeenth-century, there was one tune known as ‘Love is the cause of my mourning’ in circulation. Stuart does little to the notation to render it more suitable for singing, with the tune appearing in the same manner as it is notated in other instrumental sources, namely Atkinson, Bowie and PlayfordOST. Broadside ballads printed around 1700 stated that the lyrics were to be sung to the tune of ‘Love is the cause of my mourning’, suggesting the tune was familiarly known. Neither of these broadsides print the same lyrics as Ramsay.

510

Notes: TTM I (1723) The song also appears in ScotchOrpheus and is in the YoungMS957 p.57. ThomsonOC1 may be the source for the tunes at John Walsh’s MerryMusician III: pp.146-8 and Mitchell’s HighlandFair Air XXV. The first line does not appear before TTM I (1723). The song is at SMM II: no.109. Category I/II: heavily edited by Ramsay, possibly authored by him with pre-existing tune. R17: To Mrs A.H. on seeing her at a Consort To the Tune of The bonniest Lass in a’ the Warld (‘Look where my dear Hamilla smiles’). 2C. Versions of the tune are found from the late seventeenth century at: Balcarres pp.112-3, no.174: The bonniest lasse in the world, mr mc laughlands way, by mr beck Gairdyn f.43v: The bonnyest lass in a the warld Stuart pp.36-7; Bonnyest Lass in all the World It is also found and AriaDiCamera, ThomsonOC2 II: p.57 and in Mitchell’s HighlandFair Air XXXVI, with the opening line ‘Thou fairest of the fairest kind’. The first line does not appear before TTM I (1723), but in John Watts’ MusicalMiscellany VI: pp.126-8, where a different set of words appears (‘Beneath a Beech’s grateful Shade, Young Colin lay complaining’), though with some borrowing from Ramsay elsewhere in the set) the tune is attributed to David Rizzio. The song is at SMM II: no.108. Category IV: Dubia. R18: The bonny SCOT To the Tune of The Boat-Man (‘Ye Gales thar gently wave the Sea’). AR. This was printed in Ramsay’s Poems (1728) p.115 (see Brown 2023, I: p.604). The first line does not appear before TTM I (1723), but there is a variant MS source in BL Egerton MS 2023 f.143v-4 (pages are water-damaged), beginning Have oer have a oer to AberDows Come help Me oer the Watter My Bony Bonny Boat Man Come help &c And I’ll give the a Groat Man The Wind is Lowd And the Water is proud I dare na Row a sot Man

511

The Tea-Table Miscellany The text thereafter varies from TTM I (1723) as follows: 1. Gently [not ‘gently’]; Blaw wave the main Sea 2. Canny Boats Man [not ‘canny Boat-man’] 3. hence or Bring my Swain to me [not ‘hence, or bring to me’] 4. My Brave my Bony Scots Man [not ‘My brave, my bonny Scot---Man.’] 5. with in Haly Bands [not ‘In haly Bands’] 6. joynd our hands [not ‘join’d our Hands’] 7. are obligd to [illegible] 8. parents [not ‘Parents’] 10. beyond [not ‘Before’] [Two abandoned lines before Line 11, only partially legible given their closeness to the edge of the MS]: But I’d Rather to the Highland Shores Where Jaws dash our the bare Rocks man 11. But I Rather I [redacted] chusd on Highland hills Glens [not ‘But I loor chuse in Highland Glens’] 12. to ward herd the sheep & Goats Man [not ‘To her the Kid and Goat----Man’] 13. ere frae sic like I am litle sic mercenary Ends [not ‘E’er I cou’d for sic little Ends’] 14. I’d flight my Lovely Scots Man [not ‘Refuse my bonny Scot---Man’] [Lines 15-20 very difficult to read due to water damage]. 17. Base [not ‘base’] 18. for Loves greedy Coin [illegible] [not ‘Frae greedy Views’] 19. twa hands to in love to Joyn [not ‘Love’s Art to use’] 20. But never kend the passion [not ‘While strangers to its Passion’] [21-6 not included] 27. O fair saft Winds & Canny Boats Man [not ‘Fair Winds and tenty Boat-man’] 30. My Blyth Bony Scots Man [not ‘My blyth, my bonny Scot---Man’] Versions of the tune can be found from the mid seventeenth century at: Balcarres p.23, no.40: The bonnie boatman. mr Becks way Craig pp.34-5: The Boat Man Edward ff.46r-47v: The bonie Bots man Gairdyn f.43v: The Boatman NealScotch p.19: the Boat man PlayfordDM (1651) p.13: The Boat-man PlayfordMRV1661 p.93, no.96: The Boatman Stuart pp.38-9: The Boat man ThomsonOC1 no.8: The Bonny Scot

512

Notes: TTM I (1723) The tune first appeared in Edward and then in Balcarres. Both are instrumental and share similarities with PlayfordDM, where the tune first appears in print. The tune was also printed in PlayfordMRV1661 in lyra viol notation. Both PlayfordDM and PlayfordMRV1661 are in jig time. An incipit of the tune was written in Gairdyn, which is almost identical to the opening of the tune in Stuart. Gairdyn f.43v: The Boatman

The tune is next found in NealScotch and excepting slight alterations, it is identical to Stuart. Indeed, NealScotch may be the source for Stuart. NealScotch has one variation, which is not included in the example below. NealScotch p.19: the Boat man

The tune as it appears in ThomsonOC1 is the same as Stuart, but it is a lot more decorated throughout.

513

The Tea-Table Miscellany ThomsonOC1 no.8: The Bonny Scot

514

Notes: TTM I (1723) Stuart pp.38-9: The Boat man

Notes on the music: bar 11, treble stave, notes 5-7, slur is in the middle of these three notes, and it is ambiguous if it extends across all three notes or the first two notes; bar 8, bass stave, note 1 appears as e; bar 16, bass stave, note 1, dot is missing The song appears as ‘The Bonny Scot-man’ in SMM I: no.12. Category I or II: substantially by Ramsay.

515

The Tea-Table Miscellany R19: Scornfu’ Nansy To it’s own Tune (‘Nansy’s to the Green Wood gane’). Z There are notes on the tune in GS (Newman and McGuinness 2022, pp.448-56). Ramsay marks this as ‘Z’, noting that it is an ‘old song’. It certainly celebrates the cause of alimentary patriotism, where Willie’s demonstration of the authentic foodstuffs of his childhood in the second stanza (and authentic dress too, noting his ‘blew Bonnet’) show that he is to be preferred to the ‘Sugar-Candy’ of his rival, in comparison with whom he is plain but true, despite Nansy’s rejection of him. The tune can be found at: Blaikie p.4: Tow to Spine Campbell f.42v: Nansy’s to the Green wood gane Gairdyn f.1v: Nansy’s to the green wood gane Stuart p.40: Nancy’s to the Green Wood gane Thomson OC1 no.13: Scornfu’ Nansy The air is also printed in McGibbon, OswaldCPC and frequently elsewhere: v. SFMI p.122. Glen (1900) p.72 dates it back to the seventeenth century. In ThomsonOC1 it is in a different key with a markedly different sixth bar among other minor discrepancies. It is in Cibber’s Patie&Peggy Air VIII and is Air XXVII in HighlandFair, and also appears in other locations. Category III: lightly edited by Ramsay. R20: Slighted Nansy To the Tune of, The Kirk wad let me be (‘’Tis I have seven braw new Gowns’). Z, old song Nancy now has cause to reject at leisure her rejection of Sandy in R19. Though she is wealthy, she cannot win true love. The tune is found from the mid seventeenth century at: Balcarres p.61, no.98: If the kirk wold lett me be, Jean mores way. by mr beck Cockburn f.40: An the kirk would let me bee Craig p.41: And the Kirk would let me be Guthrie p.304: If the kirk would let me be MarthaBrown ff.27-8: If the kirk wold lett me be Stuart pp.42-3: And the Kirk woud let me be ThomsonOC2 I: pp.70-9, no.36: The Blythsome Bridal. The song is also found in HighlandFair Air XXXI and elsewhere. Category III/IV: lightly edited by Ramsay or Dubia.

516

Notes: TTM I (1723) R21: Lucky Nansy To the Tune of, Dainty Davy (‘While Fops in saft Italian Verse’). Q: old song with additions. The song is unlikely to be very old, or the first line is by Ramsay, as this is a topical attack on the perceived unmanliness of Italian opera in the 1720s, particularly in London. The speaker contrasts honest manly passions, even when directed at an ageing woman with greying hair and lined and withered cheeks. The tune was in apparent existence from the end of the seventeenth century, and is found at: PlayfordDM (1701) p.292: Dainty Davy PPM1719 I: pp.42-3: A New SONG in Honour of the Glorious Assembly at Court, on the Queen’s Birth-day; made to a pretty Scotch Tune. Stuart pp.44-5: Dainty Davie The song is at SMM I: no.34. Cromek attributes it to the era of the pursuit of the Covenanters by the later Stuarts, but this seems fanciful (Reliques, pp.3045). Category III: lightly edited by Ramsay, if the Q attribution is accepted. R22: A Scots Cantata The tune after an Italian Manner. Compos’d by Signior LORENZO BOCCHI. (‘Blate Jonny faintly tell’d fair Jean his Mind’). AR The MS for this is at BL Egerton 2023 f.148-49: the lyrics are very faint, due to water damage. There are a few abandoned drafts of the song at the top of f.148, beginning: Blate with anes spak out his mind To many wild and young [illegible] Thus Blate Jonnie anes wi great do Tald Jean how weel he Lood[?] her 1. young Jonie Teld fair Jean his mind (BL) Blate Jonny tell’d Fair Jeen His mind (Bocchi) [not ‘Blate Jonny faintly tell’d fair Jean his Mind,’] 2. and vowd to Loo her Lang (BL) Jeanny took Pleasure to deny Him lang (Bocchi) [not ‘Jeany took Pleasure to deny him lang:’] 3. but hes [redacted, illegible] nae Love nor vows coud Bind (BL) He thought her Scorn Came Frae a Heart unkind (Bocchi) [not ‘He thought her Scorn came frae a Heart unkind,’] 4. and thus he Grat & Sang (BL) Which Gart him in dispair Tune up this sang (Bocchi) [not ‘Which gart him in Despair tune up this Sang.’] 517

The Tea-Table Miscellany 5. O Bonny Jewel Lass since tis sae (BL) O’ bon ny Lassie | since-tis sae (Bocchi) [not ‘O bonny Lassie, since ’tis sae,’] 6. [One draft line illegible] | that I’m dispisd by thee (BL) That I’m dispis’d by thee (Bocchi) [not ‘That I’m despis’d by thee’] [Redacted line illegible] 7. what boots my life but O Im wae (BL) I hate to live but O’ I’m Wae (Bocchi) [not ‘I hate to live; but O I’m wae’] 8. uncko (Bocchi) [not ‘unko’]; swear (BL) Sweer (Bocchi) [not ‘sweer’]; die and [n.p.] uncko sweer to die And uncko Sue (Bocchi) [not ‘die.’] [2-3 redacted, illegible lines in BL] 9. [First half of line faded out entirely] […] dowy howrs (BL) dear Jeany think what dowy houres [not ‘Dear Jeany, think what dowy Hours’] 10. [BL illegible]; It hole by [n.p.] your disdain I’ thole be your Disdain (Bocchi) [not ‘I thole by your Disdain’] 11. [BL illegible]; Ah, shou’d a Breast sae saft as youre (Bocchi) [not ‘Ah! should a Breast sae saft as yours’] 12. Stain (BL) [not ‘Stane’] The BL variants for lines 13-16 are taken from the revised verse made at the bottom of f. 148v, but they first appear as follows: his gushing Tears to pity did pity her Move in Consort with his Tongue She [???] to the Boy She and She and Vanquishd smild then promisd Love and thus he sang his Joy 13. The [not ‘These’]; notes (Bocchi) [not ‘Notes’]; pity | Move (Bocchi) [not ‘Pity move,’] 14. hert she Lystend (BL) heart she listned (Bocchi) [not ‘Heart she listned’] 15. she and she and vanquishd smild & then promisd Love (BL) O’er came she smil’d and promis’d him her Love (Bocchi) [not ‘O’ercome she smil’d, and promis’d him her Love:’] 16. and thus he sang his Joy (BL) He | in return thus sang his rising Joy (Bocchi) [not ‘He in Return thus sang his rising Joy’] 17-20 in Bocchi are repeated. 17. Jenie frae my Breast ilka dreary Care be gane awa (BL) [not ‘Hence frae my Breast contentious Care’] 18. nae mair to gie me pine (BL) ye’ve tint the power to pine (Bocchi) [not ‘Ye’ve tint the Power to pine’] 19. for Jeanys sweet & Heavnly fair (BL) My Jeany’s good my Jeany’s fair (Bocchi) [not ‘My Jeany’s good, my Jeany’s fair,’] [Two redacted lines in BL: What the ambitious Soul for fame Come my Dear Jeany lets away] 21. let me fald hae fouth (BL) [not ‘gi’e me Fowth’]; fouth (Bocchi) [not ‘Fowth’ 518

Notes: TTM I (1723) 22. saft enchanting Bliss (BL) dear enchanting Bliss, (Bocchi) [not ‘dear enchanting Bless,’] 23 repeated in Bocchi. 23. A Thousand joys pray arround sound thy mouth (BL) A thousand Joys ar-round thy Mouth (Bocchi) [not ‘A thousand Joys around thy Mouth,’] Lorenzo Bocchi set the cantata to music in 1724, and it was printed at the end of A Musical Entertainment, published by John and William Neal in Dublin. The setting is for soprano, unison violins, and continuo and includes two recitatives and two lively da capo arias employing the Italian corrente form. While Peter Holman (2007) p.65 describes the cantata as ‘unusual’ and perhaps the first example of a ‘rather unlikely genre’ in that it sets Scots words to an overtly Italian musical style, Bocchi demonstrates a sound stylistic understanding of conventional Baroque composition. Both arias are written in 3/8, a time signature more common to the Italian corrente than its sister form, the French courante, and he makes sure to end each section with an unstressed beat or paroxytonic. It is likely Bocchi took inspiration from Handel, who, in 1724, was at the height of his operatic success in London. Indeed, Holman points out that the last movement of the sonata titled, ‘In Imitation of a French Horn’ also found in A Musical Entertainment ‘borrows rhythmic patterns from the ‘Minuet for the French Horn’ from Handel’s Water Music, HWV348/7’ (Bocchi; Holman 2012) p.16. In keeping with Baroque compositional convention, the melismatic passages complement the text and show that the virtues of Italian music are aligned with and not in opposition to, the verse and song of Scotland. Unfortunately, the printing is a little primitive and there are quite a few odd shortcuts, errors, and inconsistencies throughout (listed below). A trill is indicated with a ‘t.’ and dynamic markings are simply engraved as ‘P.’ and ‘F.’ in standard type. Slurs are frequently ambiguously placed as is the figured bass. Despite these errors, the lyrics are neatly underlaid, which perhaps suggests that specific attention was paid to their placement. That said, there are two occasions, where a few bars of music are repeated immediately after each other, but instead of underlaying the same text twice a dal segno, or ‘repeat’ mark is placed instead indicating to the singer to simply repeat the lyrics as performed in the previous bars of music. This takes place in aria 1 ‘Spiritoso’, bars 33-4 and in aria 2 ‘Allegro’, bars 122-5. This is another example of the engraver opting for an easier, perhaps less time-consuming option as there is plenty of space to underlay text in these bars.

519

The Tea-Table Miscellany Bocchi [untitled], pp.46-54

520

Notes: TTM I (1723)

521

The Tea-Table Miscellany

522

Notes: TTM I (1723)

523

The Tea-Table Miscellany

524

Notes: TTM I (1723)

Notes on the music: spelling throughout is consistent with the original source; bar 1-7, the figured bass and notes on the treble and bass staves are misaligned; bar 8, beat 1, figured bass, crashes into the stave above the minim d’; bar 8, beat 3, figured bass appears above crotchet c; bars 93-99, the figured bass and notes on the treble and bass staves are misaligned, bar 96-99, figured bass often crashes into the stave Category I: by Ramsay.

525

The Tea-Table Miscellany R23: The TOAST To the Tune of, Saw ye my PEGGY (‘Come let’s ha’e mair Wine in’). AR. This song reflects the culture of toasting women at male assemblies. The tune appears in the following sources: Atkinson pt.2, p.37, lines 1-3: Saw yee not My Meggy ClerkPenicuik no.21: Saw ye not my Meggie. divisions 1720 Dow no.69: Saw ye my Love Pegie Gairdyn f.3v: Saw ye my pegie JamesThomson p.5: Saw you my love Miggy Linken owr the Lee Sinkler f.58v, no.54: [untitled] Stuart pp.46-7: Saw ye my Peggy ThomsonOC1 no.37: The Toast. The Tune of Saw na ye my Maggie A tune called Saw yee not My Meggy appears in Atkinson p.37, lines 1-3, which is similar to ClerkPenicuik. They share a dotted crotchet-quaver motif that does not appear in other sources. Atkinson pt.2, p.37: Saw yee not My Meggy

ClerkPenicuik no.21: Saw ye not my Meggie. divisions 1720 (two-strain tune only)

In addition to the two-strain tune there are three variations, and it is almost identical to Sinkler. The version appearing in JamesThomson is the same tune found in Stuart, however, only the first four bars are notated in this source. Stuart and ThomsonOC1 no.37 are notably similar, particularly in the first half, though ThomsonOC1 moves into a higher tessitura in the second half, possibly to give a little more contrast between the two sections. 526

Notes: TTM I (1723) ThomsonOC1 no.37; The Toast. | The the Tune of Saw na ye my Maggie

Stuart pp.46-7, Saw ye my Peggy

The same tune is also found untitled in Sinkler, Dow, and ScotchOrpheus (p.39) bearing the same first line as Ramsay’s song text, ‘Come Let’s Ha’e Mair Wine in’. Category I: by Ramsay.

527

The Tea-Table Miscellany R24: Maggie’s Tocher To its ain Tune (‘The Meal was dear short syne’). Z, old song. This song once again stresses the theme of the ascendancy of love over the worth of the ‘tocher’ or dowry: but here Maggie’s father drives a hard bargain. The words were reprinted in RobertsOB. A tune for this was collected in Alfred and Amy Johnston’s Old-lore Miscellany of Orkney, Shetland, Caithness and Sutherland (1913) VI. i. p.6, which very likely derives from Ramsay. The tune is also present from 1725 (and therefore cannot be shown to predate TTM I (1723) at: RobertsOB VIII: pp.255-6: Maggie’s Tocher (only lyrics are printed in this source with a note saying ‘To its ain Tune.’) Stuart, pp.48-9: Maggys Tocher ThomsonOC1, no.39: Maggie’s Tocher The tune is also in ScotchOrpheus p.40 and the ThomsonOC2 I: pp.84-7, was printed at SMM III: no.230. Category III: probably lightly edited by Ramsay. R25: A SONG to the Tune of, Blink over the Burn sweet BETTIE (‘Leave Kindred and Friends, sweet Betty’). M SMM I: no.51 attributes this song to Joseph Mitchell (1684–1738), the author of the ballad opera HighlandFair; it is marked ‘M’ in TTM I (1723). The tune is found from 1725 (and therefore does not precede TTM I (1723) at AriaDiCamera no.69, Stuart pp.50-1 and ThomsonOC1 no.15 (Blink o’er the Burn sweet Betty, first line As entle Turtle Doves, By Cooing shew desire). It was reprinted frequently from ThomsonOC1 on: in McGibbon pp.15-6, OswaldCPC II: p.21 and elsewhere in 3/4 time (SFMI p.9). Category V: not by Ramsay, probably by Joseph Mitchell.

528

Notes: TTM I (1723) R26: A SONG To the Tune of, The bonny Gray-ey’d Morning (‘Celestial Muses, tune your Lyres’). O This is Song XX in GS and is also a dance. The song of the tune’s title was a famous late seventeenth-century song, but Ramsay’s set is different. There are detailed notes in GS on this song, which was composed by Jeremiah Clarke (1674–1707) for Thomas D’Urfey’s FondHusband in the 1690s (Newman and McGuinness 2022, pp.536-46). The tune is also found in: Atkinson part 2 (reverse), pp.32-3: The Gray Eyd Morn. BeggarsOpera1728 p.3: AIR II. The bonny gray-ey’d Morn, &c BeggarsOpera1729 pp.9-10 [in music sequence]: AIR II. The bonny gray-ey’d morn, &c. Dow p.25, no.43: The bonie gray Ey’d morning Gairdyn f.19v: Bonny Gray head morn HarpsicordMaster p.24: The bonny Gray Ey’d Morn JamesThomson p.24: The Gray Eye’d Morn Leyden f.55v: The Gray Eyed morning NealScotch p.9: ye Bonny grey eyd morning PlayfordDM (1698) p.26: The bonny Grey-Ey’d Morn. Longways for as many as will. PPM1719 III: pp.233-4: A SONG. Sinkler f.67r: Gray Morning Stuart pp.54-5: The Bonny Grey ey’d Morning It is also in Patie&Peggy (Air I), Oswald, Walsh and other collections. Category V: by Jeremiah Clarke. R27: SONG. To the Tune of the Broom of Cowdenknows. (‘Subjected to the Pow’r of Love’). G This is signed ‘G’. For the air see note to R12. Category V: not by Ramsay.

529

The Tea-Table Miscellany R28: SONG. Tune of Logan Water. Vites hinnuleo me similis, Chloe. (‘Tell me, Hamilla, tell me why’). W. The quotation is from Horace, Odes I: p.23 (‘you fly, Chloe, from my sight’). Like other Latin epigraphs, Ramsay probably derived this from his friend Thomas Ruddiman (1674–1757). The tune is found from the early eighteenth century at: Crockat (reversed) f.40v: Logan Watter Dow no.72: Logan Water Flora p.16: AIR XI. The Logan Water is so deep. Gairdyn f.46v: Logan water Stuart pp.56-7: Logan Water VillageOpera p.3: AIR III. The Logan Water. It is also found later in ThomsonOC2 II: p.56, no.23. It is Air II in HighlandFair p.6 and in the earlier Hippisley and Johnson texts mentioned above, indicating its early penetration into ballad opera. It does not appear with the name ‘Logan Water’ until TTM I (1723), and there does not appear to be earlier textual evidence for the first line. Category III: lightly edited by Ramsay. R29: A South-Sea Sang’ Tune of, For our lang biding here. (‘When we came to London Town’). This song is by Allan Ramsay on the South-Sea bubble of 1720 and should be read in conjunction with his poem on John Law. The intense Scots underlines the patriotic disappointment felt by the speaker at being cheated of his London dreams of ‘gowd in gowpens’ (gold enough to fill both hands held in a bowl shape) through speculation in South Sea stock. The rest of Scotland (‘the lave’) will fare the worse for the loss of these speculators’ spending power and through their absence from Scotland. Indeed, noble families began to return from their ‘lang biding’ in London to Edinburgh at about this time, but there is no clear sign that this was connected with the South Sea fiasco. The song does set up a contrast between trusting but deluded Scots and the ‘whillywa’s’ (practitioners of deceitful coaxing and cajoling) of London. An entry in SFMI, suggests that the tune was first published in PlayfordDM volume 2 by John Playford (1623–1686/7) (Gore, ND). The bibliographical history of The Dancing Master is extremely complex. Indeed, as discussed by Scott Pfitzinge, new books were published in the style of The Dancing Master between 1710–1728 and were described as ‘volumes’. Prior to this (1652–1709), newly produced Dancing Masters were described as ‘editions’. Pfitzinge (ND) has carried out exhaustive bibliographic work on The Dancing Master, including listing all the dance titles, but none of the tunes are titled ‘For our 530

Notes: TTM I (1723) Lang Biding Here’ as the SFMI entry suggests. As such, there is no evidence of the tune before TTM I (1723). A setting titled ‘For our long biding here’ appears in Stuart; however, it is quite difficult to underlay Ramsay’s text to this version of the tune. ThomsonOC2, solves the textual underlay issue by changing the crotchets in bar 1, beats 2 and 4, to a dotted quaver followed by a semiquaver, so that the first line of text fits the first musical phrase. Only four bars of music are provided in ThomsonOC2, which perfectly fits the lyrics. Stuart, on the other hand, sets eight bars in the first strain; the first four bars repeated with a little more decoration added in the second iteration. As such, Stuart’s setting is suitable for instruments, but not Ramsay’s text. Stuart pp.58-9 For our long biding here

Notes on the music: bar 7, treble stave, notes 5-7, the slur is cut short and only appears over notes 6-7; however, this is inconsistent with the slurs in bar 1, 3 and 5 and was likely a printing error ThomsonOC2 II: p.20, no.10: For our lang biding here

The song text also appears in A New Miscellany of Scots Sangs (1727), pp.412. Category I: by Ramsay. 531

The Tea-Table Miscellany R30: Hap me with thy Petticoat (‘O Bell, thy looks have kill’d my Heart’). AR. An extensive note on the musical archaeology of the tune, ‘Hap me with thy Petticoat’ is in Newman and McGuinness’s edition of GS (2022) pp.484-9. The tune appears at: AgnesHume f.1: The pitticott Craig p.16: Leith wynd Gairdyn f.43v: hap me with thy petticoat Gairdyn f.49: The winter nights is cald or hap me with your peticot NealScotch p.16: Long Absence Stuart pp.60-1: Hap me with thy Pettycoat ThomsonOC1 no.11: Come Hap me with thy Pettycoat The tune also appears in HighlandFair as Air XLIII (p.66), ScotchOrpheus (p.12), ThomsonOC2 (p.21 (text) no.11 (music)) and elsewhere. McGibbon and OswaldCPC also provided settings of the tune in their collections. There is a copy in the Bodleian (Douyce Ballads 2, 271b) of uncertain date. It was printed at SMM II: no.139. There is no reason known to doubt Ramsay’s authorship. As noted by Newman and McGuinness (2022) pp.484-5, the tune as found in Gairdyn, NealScotch and Stuart is instrumental and not suitable for singing. NealScotch p.16: Long Absence

532

Notes: TTM I (1723) Stuart pp.60-1: Hap me with thy Pettycoat.

Thomson alters the tune rendering it suitable for singing, but the vocal range of the song extends across nearly two octaves, which would be particularly challenging for an untrained singer to perform.

533

The Tea-Table Miscellany ThomsonOC1 no.11: Come Hap me with thy Pettycoat

Category I: by Ramsay. R31: Love inviting Reason. A SONG to the Tune of,---Chami me chatle, ne duce skar mi (‘When innocent Pastime our Pleasure did crown’). AR. The song was printed in Poems (1728) p.117 (see Brown 2023, I: pp.604-5). As discussed by Matthew Gelbart (2012) pp.98-9 the tune is notably derived from Gaelic sources. The tune appears from the early eighteenth century in: NealIrish p.12: Ta me ma Chulla’s na doushe me Sinkler f.67: An Irish Tune Stuart pp.62-3: Chami ma chattle Structurally, NealIrish is in three clear sections: AABBCC and it is almost identical to the tune in Stuart.

534

Notes: TTM I (1723) NealIrish p.12: Ta me ma Chulla’s na doushe me

Notes on the music: bar 25, a first-time marker is missing. Though the tune is G Mixlydian, the first half of Stuart’s setting introduces an F sharp in the bass line to give a sense that the key is G major. The second half of the tune shifts to an F major tonality to accommodate the F naturals before shifting back to G major.

535

The Tea-Table Miscellany Stuart pp.62-3: Chami ma chattle

Notes on the music: bar 27, treble stave, note 2, note is ambiguously placed between d and e; bar 31, bass stave, note 3, appears as an e in the source. An earlier Scottish source, namely Sinkler also includes a setting of the tune under the title ‘An Irish Tune’ (f.3v). Despite the title, which suggests a direct Irish link, the setting is more like Stuart than NealScotch throughout. This is one of the first – if not the first – uses of a Gaelic air in a Scottish song collection, indicative of the inclusive nature of Ramsay’s mission. It went on to appear (with different words) in Hippisley’s Flora (lyrics at p.9 and tune at p.34) and Charles Coffey’s BeggarsWedding Air X, p.36 of the same year. Category I: by Ramsay.

536

Notes: TTM I (1723) R32: The Bob of Dunblane (‘Lassie, lend me your braw Hemp Heckle’). AR. This was published in Poems (1728) (see Brown 2023, I: p.287). The subject is apparently the toothed comb-like implement used for dressing flax (heckle/ thrippling kame). In fact, the reference is to the male and female genitals, coming together with a bobbing movement to perform the ‘dance’ of copulation. The double entendre here was to be typical of Burns’ songs but is worthy of remark in a ‘polite’ collection such as TTM. At the end of the first stanza, the reference to monkeys is to the tradition that women who do not sleep with men on earth will ‘lead’ (have sexual relations with) primates in hell. There is an MS source for the lyrics at BL Egerton 2023 f. 150, differing from the printed text as follows: 1. Lassie Lend me your auld Bony Hemp Keckle [not ‘Lassie, lend me your braw hemp Heckle’] 3. My Jo [not ‘Dearie’] 4. gin ye’ll go try the Bob of Dumblane [not ‘If ye’ll go dance the Bob of Dunblane’] 5. gae [not ‘gang’] 6. dina [not ‘dinna’] [Two redacted lines] 8. Dumblane [not ‘Dunblane’, and again in lines 12 and 16.] In the MS lines 13-16 appear before lines 9-12. Between these are two additional redacted lines and two new lines. 9. frank my Lassie lest [not ‘frank, my Lassie, lest’] 10. tak my word & offer [not ‘take my Word and Offer’] 11. Syn ye may Chance to Repent it Miekle [not ‘Syne ye may chance to repent it mickle’] 13. The Dinner the piper & priest are Ready [not ‘The Dinner, the Piper and Priest shall be ready’] 14. wi [not ‘with’, again on line 16] 15. Leave Baith [not ‘leave baith’] The tune appears in Stuart as ‘Bob of Dumblane’ and ThomsonOC1 as ‘The Bob of Dunblane’. Both settings are almost identical, though the beaming of the notes in Stuart is stylistically instrumental, while the beaming in ThomsonOC1 follows the text and is common practice for settings intended for singers.

537

The Tea-Table Miscellany ThomsonOC1 no.45: The Bob of Dunblane

Notes on the music: bar 7, treble stave, beat 1, in the lyrics ‘l’ is missing from ‘you’ll’. Stuart pp.64-5: Bob of Dumblane.

The tune also appears in other collections, including John Watts MusicalMiscellany IV: pp.118-9, ScotchOrpheus p.49, ThomsonOC2 I: p.101 and John Walsh’s MerryMusician III: pp.52-3, both with the first line, ‘Come lassie lend me your braw hemp heckle’. Category I: by Ramsay.

538

Notes: TTM I (1723) R33: SONG complaining of Absence. To the Tune of,----My Apron Deany. (‘Ah Chloe! thou Treasure, thou Joy of my Breast’). R There is a tune for this in circulation from a least the early eighteenth century in Campbell f.40v: My Apron Dearie &c Craig p.32: My Apron dearie Dow p.54, no.82: My Apron Dearie Gairdyn f.45: My Apron Diry Stuart pp.66-7: My Apron deary ThomsonOC1 no.32: My Apron Deary An incipit of the tune appears in Gairdyn. In Campbell, the sixteen-bar tune is followed by two variations. A setting also appears in ThomsonOC1 no.32, with the title ‘My Apron Deary’, though, on this occasion, the text that is set is not Ramsay’s and instead begins ‘Twas forth in a morning, a morning of May’. While the text set in ThomsonOC1 does not underlay to Stuart’s sixteenbar setting of the tune, Ramsay’s text fits remarkably well, with the slur markings aligning with some of the sung melisma. However, as is common with Stuart’s settings the note beaming does not conform to standard vocal setting practice. Stuart pp.66-7, My Apron deary

Notes on the music: bar 5, bass stave, note 1, appears as a B; bar 7, treble stave, notes 1-3, the slur is missing its tail and may extend to note 4; bar 10, treble stave, note 4, appears as a demi-semi quaver

539

The Tea-Table Miscellany Craig also provides a sixteen-bar setting of the tune with one variation. In fact, the first eight bars, including the beaming, are almost identical to Stuart’s setting. However, from bar nine onwards, Stuart and Craig’s settings deviate. This might be quite deliberate as the rhythms used by Stuart better suit Ramsay’s text. Craig p.32, My Apron dearie (sixteen bar tune only)

Other eighteenth-century sources that include a setting of the tune are John Watts’ MusicalMiscellany III: p.74, ScotchOrpheus p.33 and ThomsonOC2 I: p.68. Category I: by Ramsay.

540

Notes: TTM I (1723) R34: SONG. To the Tune of, I fixed my Fancy on her. (‘Bright Cynthia’s Power divinely great’). X. The song begins as an idealistic love song and concludes with delight in the prospect of orgasm (‘dye with pleasure’) arising from the use of the last sense, touch. The song ‘Bright Cynthia’s pow’r divinely great’ is by Josiah Cheeke, and appears in Thomas Southerne’s anti-slavery play, Oroonoko (1696) p.29 as ‘A song, by Mr. Cheeke. Set by Mr. Courteville, and sung by Mr. Leveredge’. The text is also found in: Cyder II: p.47: A SONG. By Mr. Cheek. The tune appears in PlayfordOST p.15, no.35: I fix my Fancy on her, a Round O. Stuart pp.68-9: I fix my fancy on her Category V: by Josiah Cheeke. R35: A SONG. To the Tune of, I loo’d a bony Lady. (‘Tell me, tell me, charming Creature’). X The tune is in Stuart pp.70-1: I loo’d a bonny Lady Category II/IV: heavily edited by Ramsay/Dubia. R36: THE REPLY. (‘In vain, fond Youth, thy Tears give o’er’). This song seems to have left no trace outside TTM I (1723). Category IV: Dubia.

541

The Tea-Table Miscellany R37: The Rose in YARROW. To the Tune of Mary-Scot. (‘’Twas Summer and the Day was fair’). C This sentimental variant of the many songs dealing with love and death on Yarrow is marked C. ‘Mary Scot’ is found in Poems (1721) p.261, (see Brown 2023, I: pp.167-8). The tune is found from at least the late seventeenth century in: AgnesHume f.1: Mary Scott AgnesHume f.2: Mary Scott Atkinson pp.19-20: Flower of Yarraw (Mary Scot written in pencil) ComesAmoris I: p.47: A New Scotch SONG. (with different words) Craig p.33: Mary Scotts the Flower of Yearon Cuming p.10: Mary Scott Gairdyn f.2v: Mary Scot’s the Flower of yearow JamesThomson p.17: When ye cold winter nights were frozen JamesThomson p.33: The Banks of Yaro PlayfordAB p.88: LOng Cold Nights. Stuart pp.72-3: Mary Scot ThomsonOC1 no.19: Mary Scot It is also in John Watts’ MusicalMiscellany II: p.141 and in ThomsonOC2 I: p.38, no.19 and Munro p.4 with some variations from Stuart, particularly as respects ornamentation. See also R64. Category V: not by Ramsay, attributed to Robert Crawford, but given the appearance in Playford, probably in large part dependent on an earlier text. R38: The Fair Penitent. A SONG,---To its own Tune. (‘A Lovely Lass to a Friar came’). This song of doubtful Catholic sexual ethics (with the same first line) is found in an MS from c1710-15 in Cardiff University archives, 1239 442/391/35. There is a setting in Stuart, pp.74-5 (lovely Lass to a Fryar came). Evidently ‘A Lovely Lass to a Friar came’ was a popular theatre tune with settings of it appearing in BeggarsOpera1728 (Air XXVII), WantonJesuit (Air I), JudgmentOfParis (Air V), MusicalMiscellany VI: pp.177-8 and Footman (Air XXV), authored by ‘Roderick Random’, as well as elsewhere. The tune was referenced as Irish under the title ‘Caitlin Dear’ by William Flood in Irish Music in the Seventeenth Century (1905). The song is also found in AnonGB as ‘The friar & ye Nun, a Lovely Lass to a friar came’ Category IV/V: Dubia or not by Ramsay. The situation described is a cliché of Protestant propaganda.

542

Notes: TTM I (1723) R39: The last Time I came o’er the Moor (‘The last Time I came o’er the Moor’). AR This song was first printed in Scots Songs (1718; 1719; 1720) and in Poems (1721) p.60 as ‘The happy Lover’s Reflections’ . The reference to Greenland anticipates John Gay’s ‘Were I laid on Greenland’s coast’ in BeggarsOpera1728. The 1721 text varies from TTM I (1723) as follows: 3. endure, [not ‘endure’] 4. soft Idea’s mind me: [not ‘soft Ideas mind me?’] 9. lay, [not ‘lay’] 10. Gazing [not ‘Gazing,’] 16. ill [not ‘Ill’] 20. me; [not ‘me:’] 21. hopes [not ‘Hopes’] 24. Blisses [not ‘Blesses’] 25. Soul [not ‘Soul,’] 27. ev’ry [not ‘every’] 33. Moor [not ‘Moor,’] 36. Tho [not ‘Tho’’] The same first line is seen as early as the 1625 JohnSkene. The tune is at: AriaDiCamera p.11, no.16: The last Time I came over the Moor. Balcarres pp 56-7, no.92: The last tyme I came over the moore by mr Beck Blaikie no.43: The Last time I came over the Moor. Bowie f.21v: [The Last time I Came O’er the moor] J: McL Dow f.5r, no.10: The last time I came over the moor. Gairdyn f.43v: The last time I came ou’r the Muir JohnSkene pp.55-6: Alace yat I came owr the moor and left my love be-hind me NealScotch p.26: the last time I came thro’ the MVIRE Panmure9454 f.39r-38v: Last time I came over the Mure Panmure9458 f.51: [untitled] Sinkler f.62: ore the muir to Maggie Stuart pp.78-9: The last time I came o’er the Moor ThomsonOC1 no.6: The last Time I came o’er the Moor It is also in Watts’ MusicalMiscellany I: pp.142-3, ScotchOrpheus p.7 and Mitchell’s HighlandFair (Air IX), as well as ThomsonOC2 I: pp.10-1 (text), no.6 (music). The song is at SMM I: no.18 Burns (Pittock, SMM (2018) III: p.6) claims that Ramsay ‘found the first line of this song…and then composed the rest of the verses to suit that line’, but there is no specific evidence for this known: the song is attributed to Ramsay in TTM I (1723). The marking of ‘AR’ in TTM does however appear to be optimistic. There is a note on this song in Poems (Brown 2023, I: pp.454-5). Category II/III: edited by Ramsay. 543

The Tea-Table Miscellany R40: The Lass of Peatie’s Mill (‘The Lass of Peatie’s Mill’). AR This song was first printed in Scots Songs (1718; 1719; 1720) and in Poems (1721) p.63 as ‘The Lass of Peattie’s Mill’. The 1721 text varies from TTM I (1723) as follows: 1. Peattie’s [not ‘Peatie’s’] 4. She [not ‘Hath’] 26. Hopeton’s [not ‘Hoptoun’s’] 30. bonny She [not ‘bony she’] This song was widespread in eighteenth-century Scotland, and became one of Ramsay’s most popular songs. He mentions it at the end of Act II of GS and it is alluded to by Josiah Burchet in his prefatory poem to Ramsay’s Poems (Edinburgh, 1727/32) p.xi. The song is printed in ThomsonOC1 and is found in an Aberdeen songbook of 1777 (AUL MS795/2) and was played from an uncertain date (probably after Alasdair MacMhaighstir’s (c.1695–1770) time at the University of Glasgow, though he was rumoured to have heard it while there) on the Tolbooth Clock in Glasgow’s High Street. Ramsay is supposed to have taken the title for the song from ‘a sweet romantic spot on Irvine water, still called “Patie’s Mill”’ which he passed in company with the (Boyle, 1985: p.109). This is Burns’ anecdote, who notes the spot was ‘near New-Mills’ and that the song was occasioned by seeing ‘a beautiful country girl’ there. Newmilns in Ayrshire in the valley of the river Irvine is about 11km east of Kilmarnock. John Ramsay, Allan’s father, was superintendent of Lord Hopetoun’s lead mines at Leadhills (deep in the south of Lanarkshire), hence the reference in the final stanza. The Leadhills Miners Library, founded in 1741, was named after Allan Ramsay. In fact, a tune with the same title can be traced back to the mid-seventeenth century: AriaDiCamera p.22, no.31: The Lass of Patties Mill. Balcarres pp.2-3, no.2: the lasse, of Petties mill, | mr Becks way BeggarsOpera1728 p.48: Air XL. The Lass of Patie’s Mill, &c. Campbell f.38v: The lass of Paties Mill ClerkPenicuik p.64: [The Lass of Patie’s Mill] Craig p.24: The Lass of Petties Mill Dow p.13, no.26: The lass of patties mill. Edward (reversed), f.46a: The Lass of Peties mille MMC353 p.48: The Lass of Peggie’s Miln NealScotch p.13: Lass of pettys Mill Panmure9458 f.51: [untitled] PlayfordAB p.28, no.69: The tune of young Jenny Stuart pp.80-1: The Lass of Peaty’s Mill ThomsonOC1 no.1: The Lass of Paties Mill

544

Notes: TTM I (1723) The tune is remarkably consistent across all sources, with one exception. PlayfordAB is rhythmically simpler and is in a minor mode. PlayfordAB p.28, no.69: The tune of young Jenny

ThomsonOC1 is particularly decorated compared to Stuart though the additional ornamentation does not hinder the textual underlay. ThomsonOC1 no.1: The Lass of Paties Mill

545

The Tea-Table Miscellany Stuart pp.80-1: The Lass of Peaty’s Mill

The song appears in Watts’ MusicalMiscellany I: pp.97-8, in ScotchOrpheus p.1, in ThomsonOC2 I: pp.1-2 and is Air XX in HighlandFair. It is also at SMM I: no.20. There is a note on it in Poems (Brown 2023, I: pp.455-56). Category II: heavily edited by Ramsay, but the tune is far older and helped to make Ramsay’s words popular.

546

Notes: TTM I (1723) R41: GREENSLEEVES. (‘Ye watchful Guardians of the Fair’). AR First printed in Scots Songs (1718; 1719; 1720) and in Poems (1721), p.65 as ‘Delia. To the Tune of Green Sleeves.’ The 1721 text varies from TTM I (1723) as follows: 7. return, [not ‘return’] 9. careful, [not ‘careful’] 15. Plenty [not ‘plenty’] 23. Pleasure [not ‘Pleasures,’] Detailed notes will be in Poems (Brown 2023, I: p.456). The tune was of course already very well known by Ramsay’s day, and can be found from the sixteenth century onwards in the following sources: Atkinson p.120: Green Sleaves. Balcarres pp.62-3, no 99: Green sleeves, wt the 9th string lowed, halfe a note by mr beck Ballet p.104: Greene sleues Cutting f.29/2: Greenesleeues by maister Cuttinge Florida p.107v: GRiensliefs. [index:] Griensliefs FolgerDowland f.5/1: the the terble to grien sluis FolgerDowland f.5/2: the ground to grien sluis HolmesCittern f.67: Green Sleeues HolmesConsortBooks ff.8v-9r: Green Sleeues JamesThomson p.18: Green slives Mynshall f.3/2-3v: greensleues [index] Greene sleues trebble PlayfordDV ff.25v-26r: Green Sleeves to a ground with division Ridout f.67r: Greene sleeves Sinkler f.62: Green sleivs and pudding pys Stuart pp.82-3: Green Sleeves Tait f.151v: Green Sleeves Thysius: Greene sleves is al mij Joije WalshDF I: pp.9-10: Greensleeves to a Ground The song is at SMM IV: no.388 and in later collections. Though the beaming does not suit a vocal setting, Ramsay’s text neatly underlays to the tune as it appears in Stuart.

547

The Tea-Table Miscellany Stuart pp.82-3, Green Sleeves

Notes on the music: bar 3, treble stave, note 4, semi-quaver is missing a tail; bar 5, treble stave, notes 3-4, the slur mark is ambiguous and only appears over note 5; bar 7, bass stave, note 1, misplaced dot; bar 13, treble stave, note 2, semi-quaver is missing a tail; bar 14, bass stave, note 2, missing dot; bar 15, bass stave, note 4, quaver is missing its tail Category I: by Ramsay, again utilizing a well-known tune to support the dissemination of his own set of words.

548

Notes: TTM I (1723) R42: The Yellow-hair’d Laddie. (‘In April when Primroses paint the sweet Plain’). AR This song was first printed in Scots Songs (1719; 1720) and in Poems (1721) p.67. The 1721 text varies from TTM I (1723) as follows: 4. Glens [not ‘Glens,’] 6. Loves, [not ‘Loves’] 7. soft [not ‘saft’] 10. scornful [not ‘scornfu’’] 11. handsome, [not ‘handsome’] 14. unconstant, [not ‘unconstant’] 19. Then [not ‘Then,’] Detailed notes on the text can be found in Poems (Brown 2023, I: p.457) and detailed notes on the music including the musical archaeology is found in Newman and McGuinness’s edition of GS (2022) pp.465-74. Though no tune is marked, in the same manner as the other songs in TTM I (1723), the tune is in the title, and it is also found at R48. The lyrics were frequently associated with a popular eighteenth-century tune, possibly deriving from the English song ‘The Country Man’s Care in Choosing a Wife’ (see Pittock, SMM (2018) III: p.38). The hawthorn or May tree is a longestablished sign of seasonal instinctive love, driven by sexual desire rather than personal commitment, hence ‘loves’ is plural. As the eighteenth century progressed, the title of this song – which is very likely to be originally by Ramsay – became attached to the person of Charles Edward Stuart. The tune is found in several manuscripts from the late seventeenth century onwards, including: Balcarres pp.16-7, [no.30]: The yellow haired ladie, mr beck’s way Balcarres p.127, [no.201]: The yellow haired ladie, heneretta imbries way, by mr beck, much helped Balcarres pp.82-3, [no.130]: My own dear honey, be kind to me, or the yellow haired ladie, by mr lessly Craig p.15: The Yellow haird Laddie Crockat f.51v: yellowhaird laddie Gairdyn p.5: The yellow hair’d Ladie MMC353 p.49: Yellow haird Lady MusicalMiscellany I: pp.106-7: SCOTCH SONG. NealScotch p.11: yallow hared lad Stuart pp.84-5: Yellow hair’d Laddie ThomsonOC1 no.7: The Yellow=Hair’d Laddie The song is in Patie&Peggy Air XIV, p.17, JovialCrew Air XV, p.19 and ScotchOrpheus p.8, ThomsonOC2 I: no.7 and elsewhere, and is at SMM II: no.122. 549

The Tea-Table Miscellany ThomsonOC1 set ‘In April when Primroses’. This version is notably decorative, but this does not affect the underlay of the lyrics. As noted by Newman and McGuinness (2022) p.468 Thomson appears to have mistakenly exchanged the 1st and 2nd time bars in the second strain. Stuart similarly reverses the 1st and 2nd time bars, though Craig does not. Compared to Stuart, ThomsonOC1 tends to straighten out the dotted quavers. ThomsonOC1 no.7: The Yellow=Hair’d Laddie

550

Notes: TTM I (1723) Stuart pp.84-5: Yellow hair’d Laddie

Notes on the music: bar 10, treble stave, note 6. quaver [not semiquaver]; bar 15, treble stave, note 4. quaver [not semiquaver] Category I: by Ramsay.

551

The Tea-Table Miscellany R43: NANNYO. (‘While some for Pleasure pawn their Health’). AR There is no reason to doubt that this version of the words of this song is by Ramsay, although there are earlier variants and tunes: see J.A. Lavin in Notes and Queries (NQ) (July 1961) on the Roxburghe Ballads version (III: pp.408-10). A. Gillis (NQ July 1958) sees its subject as the daughter of the Earl of Marchmont, based on an annotation in his 1768 edition, but there is no further evidence for this. ‘NannyO’ was first printed in Scots Songs (1719; 1720), p.10 and in Poems (1721) p.68 (see Brown 2023, I: p.457). The texts vary from TTM I (1723) as follows: 1: Health (1719) [not ‘Health,’] 3. self (1719) [not ‘self,’]; Stealth, (1721) [not ‘Stealth’] 5. t’ingage (1719, 1721) [not ‘t’engage’]; Jove, (1721) [not ‘Jove’] 6. O; (1721) [not ‘O,’] 11: Heaven (1719) [not ‘Heav’n’] 12: O, (1719) [not ‘O.’] 14. Britannio (1719, 1721) [not ‘Brittania’] 17, 18, 20: NANNYO (1719) [not ‘Nanny-O’] Leda and Danae were beloved of Jove/Zeus, who came to the first as a swan and to the second as a shower of golden rain. Leda, daughter of the King of Aetolia, was the mother of Helen, Clytemnestra, Castor and Pollux, while Danae gave birth to Perseus when Zeus became her lover in her captivity. The tune can be found from the late seventeenth century at: Balcarres pp.114-5, no.177: My Nannieo, mr mclaughlans way, by mr beck Gairdyn f.16: The last part of my Nanio Gairdyn f.28v: The last pt of my Nanio GeorgeSkene f.17r: My Namiy o. Stuart pp.86-7: My Nanny o ThomsonOC1 no.38: My Nanny O Waterston f.5: My Nanie The song is also in Watts’ MusicalMiscellany III: pp.126-8 and HighlandFair Air III as well as ScotchOrpheus pp.41-2 and ThomsonOC2 I: pp.81-2, no.38. It was printed in SMM I: no.88, with a different bass line. Category II: Lightly edited by Ramsay.

552

Notes: TTM I (1723) R44: Bonny JEAN. (‘Love’s Goddess in a Myrtle Grove’). AR The song is marked ‘AR’, and there is no reason to doubt his authorship. It was first printed in Scots Songs (1719; 1720) and in Poems (1721), p.70. The 1721 text varies from TTM I (1723) as follows: 2. Speed [not ‘speed’] 4. Jeanie’s [not ‘Jeany’s’] 7. Heart, [not ‘Heart.’] 9. Nymph [not ‘Nymph,’]; Air [not ‘Air,’] 10. Address; [not ‘Address,’] 22. mean, [not ‘mean;’] 26. seems: [not ‘seems,’] 30. Prize, the Spartan Queen: [not ‘Prize the Spartan Queen,’] A further annotation can be found in Poems (Brown 2023, I: p.458). No tune is marked. A very similar set of words, with a slightly different tune and different bass line, is to be found at MusicalMiscellany I: pp.113-4. Lais of Corinth and Lais of Hyccara were famous courtesans of the ancient world. The tune itself is found from the mid seventeenth century at: AriaDiCamera p.22: Bonny Jean Campbell f.32v: Bonny Jean. Craig p.27: Bonny Jean of Aberdeen Cuming p.62: [untitled] Dow p.3, no.3: Bonny Jean of Aberdeen. Gairdyn f.44: Bony Jean of Aberdeen Guthrie p.295: Bonnie Jean NealScotch p.3: Booney Jeen Stuart pp.88-9: Bonny Jean ThomsonOC1 no.18: Bonny Jean The tune is first found in Guthrie written in tablature. The tune next appears in Gairdyn, where, unusually for this source, the tune is fully written out. It then appears in Campbell, Dow, NealScotch, ThomsonOC1 and Stuart. Other than minor rhythmic variations, the tune remains remarkably consistent. One significant different between ThomsonOC1 and Stuart is that ThomsonOC1 changes the anacrusis before bar 9 from quavers c’’ and d’’ to quavers a’’-g’’. This change suits the higher tessitura of the second section but is vocally more challenging to perform since the singer has to jump more than an octave between the crotchet f’ in the previous bar and the quaver a’’.

553

The Tea-Table Miscellany ThomsonOC1 no.18: Bonny Jean

554

Notes: TTM I (1723) Stuart pp.88-9: Bonny Jean

Notes on the music: bar 4, bass stave, note 3, ambiguously placed between the F and G; bar 8, treble stave, note 2, missing a dot The tune is also found in Charles Johnson’s VillageOpera (Air XXV) and Munro pp.20-1, MusicalMiscellany I: pp.113-5, ChamberMaid (Air XII, p.14), FemaleParson (Air III, p.22), ScotchOrpheus (p.20), ThomsonOC2 I: pp.36-7 and OswaldCPC (v. SFMI, p.11) and elsewhere. The song is also at SMM I: no.54. The ‘Bonny Jean of Aberdeen’ title suggests some relationship to ‘The Bonny Lass o Fyvie’, which has the line ‘There’s monie a bonnie Jean in the toun o Aiberdeen’ in its refrain. Category I: by Ramsay.

555

The Tea-Table Miscellany R45: Throw the Wood Laddie. (‘O Sandy, why leaves thou thy Nelly to mourn?’). AR Throw the Wood Laddie (‘O Sandy, why leaves thou thy Nelly to mourn?’) appeared as a song at p.120 of Ramsay’s 1728 Poems, but no tune is marked. The song is marked ‘AR’ and there is no reason to doubt Ramsay’s authorship. The lyrics were also printed in 1725 in RobertsOB III: p.258, though there is no evidence Ramsay was involved in the production of this collection. The tune is found in several seventeenth and early eighteenth-century manuscripts, as well as early eighteenth-century prints: Campbell f.34v: Through the wood ladie Craig p.23: Throw the Wood Laddie Dow pp.6, no.11: Through ye wood Ladie Dow p.32, no.51: Though the Wood Ladie Gairdyn f.40: throw the wood Ladie NealScotch p.2: Through G wood Ladey Panmure9458 f.52v: [untitled] Stuart pp.90-1: Thron the Wood Laddie ThomsonOC1 no.4: Throw the Wood Laddie Waterston pp.6-7: Through the wood, Laddie Waterston pp.81-2: 52[nd] Through the wood Lassie / Laddie Wemyss f.35, no.50: Through the wood Laudie The tune appears in Wemyss in tablature, under the title ‘Through the wood Laudie’. It was copied out in staff notation in Panmure9458 though it is untitled. There is also appears to be a folio missing, as the tune is missing the final four bars and there is no final double bar line marking the tune’s end. While the first half is a little more varied, the second half of the tune is almost identical to Stuart. The tune as it appears in Campbell under the title ‘Through the wood ladie’, is almost identical to Stuart. The tune is copied twice in Dow and once again, appears almost identical to the notated versions of the tune, other than slight deviations in decoration. Two versions of the tune appear in Waterson. The consistency by which the tune is copied in these manuscripts suggests that all they shared a point of origin, though no seventeenth-century print containing the tune has been identified that may have served as a link. There is also no scribe or music teacher that links Panmure9458, Campbell, and Dow together. In terms of print, a highly decorated version of the tune is printed in NealScotch. By comparison, Stuart lacks significant decoration, and as such, it is relatively easy to underlay Ramsay’s text. Other than a few additional appoggiaturas, which are used to decorate the vocal line ThomsonOC1 is consistent with Stuart. Even the bass lines are markedly similar, as can be seen in the examples below. 556

Notes: TTM I (1723) ThomsonOC1 no.4 Throw the Wood Laddie

Notes on the music: bar 1, treble stave, notes 5-7, slur appears above the beam.

557

The Tea-Table Miscellany Stuart pp.90-1, Thron the Wood Laddie

Notes on the music: Treble stave, key signature, throughout the flat is incorrectly placed on second space from the bottom of the stave The song is also Air LVII in Gay’s Polly p.24. It is in Watts’ MusicalMiscellany I: p.116 as ‘The Recanting Lover’, ScotchOrpheus p.5 and ThomsonOC2 I: pp.7-8, and was also printed at SMM II: no.154. Category I: by Ramsay. 558

Notes: TTM I (1723) R46: Down the burn Davie. (‘When Trees did bud and Fields were green’). C Attributed to C in the text. The tune appears from 1695–1700 (Balcarres), and is found as follows: AriaDiCamera p.7, no.8: Down the Burn Davie Balcarres pp.70-1, no. 109: Down the burne davie, my daughters way, by mr Beck Balcarres pp.72-3, no.111: Down the burne davie, John morisons way. by mr Beck Bowie f.4v: down the bowrn devie Panmure9454 (reversed), ff.37v-38r: Down the Burn Davie Stuart pp.92-3: Down the Burn Davie ThomsonOCI no.50: Down the burn Davie The tune is also found in A Collection of Scots Dances, Marches, and Other Airs (1730), p.7, WalshThirtyNew2 p.5, no.6, ScotchOrpheus p.54 and ThomsonOC2 I: pp.113-4 (text) no.50 (music). The song is attributed to Robert Crawford. It was printed at SMM I: no.74; Riddell’s notes to SMM claim – on his father’s authority – that the tune was composed by David Maigh, ‘keeper of the Blood Slough hound, belonging to the Laird of Riddell’, but this appears not to be the case (Pittock, SMM (2018) III: p.20). Category V: not by Ramsay, probably by Robert Crawford.

559

The Tea-Table Miscellany R47: SONG. To the Tune of Gilder Roy. (‘Ah! Cloris, cou’d I now but sit’). X The song associated with this tune (‘Gilderoy was a bonny Boy’) is found in the Pepys Ballads V: p.354 (1683–1703). The tune is also found on a broadside ballad with the first line ‘MY Love he was as brave a Man | as ever Scotland bred,’ printed around 1701?. The tune is also identified in the following sources: Balcarres p.13, no.21: Gilderoy, with the 9th string, lowed halfe a note. mr becks way Balcarres pp.122-3, no.189: The new gilderoy, mr mclaughlans way, by mr beck MMC353 p.35: Gildy-roy was a bony boy PPM1707 III: pp.111-3: Gilderoys last Farewel. To an excellent new Tune PPM1719 V: pp.39-40: Gilderoys last Farewel. To a New Tune Sedley p.38: Victoria sings (lyrics only) Stuart pp.94-5: Gilder Roy The song is at AnonGB, MusicalMiscellany III: p.154-5, ThomsonOC2 II: pp.106-8 (text), no.47 and SMM I: no.66. The subject has been claimed to be Patrick Macgregor, hanged on 29 July 1636, and it has been attributed both to Sir Alexander Halket and Sir Charles Sedley (c.1639–1701), the latter identification being made in Peter Garside et al’s edition of James Hogg’s Forest Minstrel (2006), 213n (see Pittock, SMM (2018) III: p.18, for a full note). Category V: not by Ramsay, probably by Charles Sedley. R48: A SONG. To the Tune of, The yellow hair’d Laddie. (‘Ye Shepherds and Nymphs that adorn the gay Plain,’). X See notes in GS and on R42 above. Category IV: Dubia.

560

Notes: TTM I (1723) R49: SONG. To the Tune of, When she came ben she bobbed. (‘Come, fill me a Bumper, my jolly brave Boys’). L The tune is found from 1650 in the following locations: Balcarres, pp.90-1, no.143; When she came in she bobbed, mr mclachlands way, by master Beck Bowie, f.28v: when she came ben she bobbed Crockat, ff.18v-19r: As shee cam benn Leyden, f.45: when she came ben Leyden, f.53v: When the bryd cam ben she becked Sinkler, f.62: when shee com ben Stuart, pp.96-7; When she came ben she bobbed The tune is also found in later texts, such as Joseph Mitchell’s BacchusVenus. Category V: Not by Ramsay, author unknown. R50: Dumbarton’s Drums, (‘Dumbarton’s Drums beat bonny O’). C The song is interesting because of the figure to whom it refers. Major-General George Douglas, the Catholic 1st Earl of Dumbarton (1635–92), became commander of the Régiment de Douglas, founded by his family in 1633, in 1653, when it was in the French service. Douglas mostly remained in France until 1678, being created Earl of Dumbarton in 1675. In 1677, Louis XIV created him Maréchal de Camp and Lt-General of the French Army, but by 1679 his regiment (which became the Royal Scots) was listed on the English establishment. After 1688, many of the veterans of Dumbarton’s regiment joined the Jacobite Army in France, where Dumbarton himself was in exile at Saint-Germain. The song in this version reminds a woman of her lover, who is serving (probably abroad) with Dumbarton’s regiment. This is thus potentially a Jacobite song: it has been identified by some as having been composed between 1679 and 1688 (Farmer (1947), p.78), but this is by no means established: Ramsay’s ‘C’ attribution suggesting that the words were contributed by a contemporary, just possibly Robert Crawford, who receives this letter elsewhere. The tune appears as early as the JohnSkene (p.134) as ‘I serve a worthy laddie’ in the first quarter of the seventeenth century and appears in PlayfordAB II: no.66 as ‘A New Scotch Hornpipe’ and in JohnYoung (p.8) as ‘Serve a Gallant Lady’. ‘Dumbartons March’, not necessarily the same melody, is in Atkinson. The song is at SMM II: no.161. Category V: not by Ramsay, possibly (though doubtfully) by Robert Crawford.

561

The Tea-Table Miscellany R51: Auld Lang Syne (‘Should auld Acquaintance be forgot’). AR This is Ramsay’s version of the traditional song, from Scots Songs, (Edinburgh, 1718), pp.10-1, where it was published as ‘The KIND RECEPTION’ To the Tune of Auld lang syne. First printed in Scots Songs (1718; 1719; 1720) and in Poems (1721) p.72 as ‘The Kind Reception. To the Tune of Auld lang syne.’ The 1721 text varies from TTM I (1723) as follows: 4. Welcome my Varo [not ‘Welcome, my Varo,’] 12. gay. [not ‘gay:’] 17. State, [not ‘State;’] 18. fall; [not ‘fall,’] 20. Ball? [not ‘Ball;’] 25. Dale [not ‘Dale,’]; Friend [not ‘Friend,’] 26. Chace; [not ‘Chase,’] 27. And after a blyth Bottle [not ‘And, after a blyth Bottle,’] 37. Air, [not ‘Air’] 40. above: [not ‘above;’] Ramsay’s set was itself an adaptation of earlier Jacobite (and possibly other) versions dating back to before 1700). There are two versions in NLS Rosebery III.a.10 nos.70, 71, the latter of which takes the form of a lament by St Andrew and is probably Jacobite. There is a note in Poems (Brown 2023, I: pp.45859) which suggests that the reference to ‘Varo’ may be to ‘Marcus Terentius Varro (116–27 BC), an ancient Roman scholar and writer who commanded one of Pompey’s armies during Caesar’s civil war’. The tune is indicated on the following broadside ballad An Excellent and proper New Ballad, Entitled, | OLD LONG SYNE, | Newly corrected and amended, with a large and new | Edition of several excellent Love Lines. (1701?) Versions of the notated tune appear at: Balcarres p.68, no.106: For old long syne, by mr beck Bowie f.31v-32r: Old Long Signe PlayfordOST p.11, no.26: For old long Gine [sic] my Joe. Sinkler f.59v: [untitled] Stuart pp.20-1: Auld lang Syne ThomsonOC1 no.31: Auld lang Syne Versions of the tune appearing in Balcarres, PlayfordOST, Bowie and Sinkler are almost identical to Stuart excepting slight rhythmic variations. Bowie also includes two variations following the tune. That said, Ramsay’s text does not always neatly align with the tune as it appears in Stuart, particularly bars 4 and 12. Stuart has created a dotted crotchet-quavercrotchet rhythm, which is inconsistent with earlier sources, where the rhythm 562

Notes: TTM I (1723) is minim-crotchet. The minim-crochet rhythm also awkwardly aligns with Ramsay’s text, which is perhaps why ThomsonOC1 came up with a much simpler solution overall so that the underlay is neater. Bowie ff.31v-32r: Old Long Signe (only the tune has been transcribed)

PlayfordOST p.11, no 26: For old long Gine [sic] my Joe.

Sinkler f.59v: [untitled] (only the first strain of the tune has been transcribed)

563

The Tea-Table Miscellany ThomsonOC1 no.31: Auld lang Syne

Stuart pp.20-1: Auld lang Syne

Notes on the music: bar 6, bass line, note 3, note sits ambiguously between F and G; bar 6, bass line, beat 4, crotchet rest is missing The song was printed in SMM I: no.25. Category I: by Ramsay.

564

Notes: TTM I (1723) R52: The Lass of Livingston (‘Pain’d with her slighting JAMIE’s Love’). AR This song was first printed in Scots Songs (1718; 1719; 1720) and in Poems (1721) p.74 as ‘The Penitent. To the Tune of the Lass of Livingston.’ The main note on the text is in Poems (Brown 2023, I: p.459). The 1721 text varies from TTM I (1723) as follows: 16. to [not ‘him’, repeated] 23. now, alas! [not ‘now alas’] 25. Fair [not ‘fair’] 28. Fans [not ‘fa’ns’, repeated] 34. Eyes; [not ‘Eyes,’] 38. unchang’d, [not ‘unchang’d;’] The tune appears in seventeenth and early eighteenth-century manuscripts and prints including: AriaDiCamera p.7, no.9: The Lass of Livingstone. Atkinson pp.78-9: Claw her waem (‘Scotch’ added in pencil). Balcarres pp.4-5, no.4: The New highland Ladye, mr becks way it may want the measu Blaikie f.2, no.12: New Heilland Ladie Bowie ff.8v-9r: hyland Lady Crockat (reversed) ff.18: Lass of Livingston Leyden f.21, no.48: New hilland ladie/ hiland Ladie Panmure9458 (reversed) f.47v-46r: [untitled] PlayfordDM (1701) p.304: Cockle-Shells (‘A Scots Air’ written in pen next to the title. ‘The Lass of Livinstone’ written below the first stave). Sinkler ff.28v-9r: Highland Ladie Stuart pp.102-3; The lass of Livingston ThomsonOC1 no.48: The lass of Livingstone The tune is consistent in presentation in each of these sources, though there are particularly distinctive features common to certain sources that are not found in others. The tune is found in Panmure9458 though in bar 1, beats 3-4 the phrase is a dotted crotchet a’ followed by a quaver f’’, which is also notated in Atkinson. Whereas, the tune as it appears in the Bowie, bar 1, beats 3-4 is a dotted crotchet a’ followed by a quaver d’’, a feature that also appears in Stuart. In Bowie, the tune is followed by three variations, with the first variation resembling the variation that appears in Atkinson.

565

The Tea-Table Miscellany Panmure9458 (reversed) ff.47v-46r, [untitled]

Notes on the music: bar 1, treble stave, note 2, quaver tail is missing; bar 15 has been erroneously omitted by the copyist Bowie ff.8v-9r, hyland Lady

The first half of the tune, as it appears in Crockat and Sinkler is consistent with Bowie, though in both sources the second half of the tune becomes more varied. The tune is also found in Blaikie where it is notated in tablature, Balcarres, and Leyden (also notated in tablature). A tune titled ‘The Lass of Leving-Stone’ was printed in PlayfordOST (pp.1415) but this is a different tune. However, a tune titled ‘Cockle-Shells’, printed in the eleventh edition of PlayfordDM (1701) is the same tune found in the earlier manuscript sources.

566

Notes: TTM I (1723) PlayfordDM (1701) p.304: Cockle-Shells

The tune as it is printed in ThomsonOC1, finishes bar 1 with a’-f’’ as in Panmure9458 and Atkinson, though the remainder of the tune is almost identical to Stuart. ThomsonOC1 no.48, The Lass of Livingstone

The version in Stuart is particularly singable and the slur markings follow the textual underlay.

567

The Tea-Table Miscellany Stuart pp.102-3, The lass of Livingston

Other eighteenth-century collections where the tune is found are Walsh, ThirtyNew2 p.6, no.10, HighlandFair Air XLIV, p.67, ScotchOrpheus p.53, and ThomsonOC2 I: pp.107-8. Glen (1900), p.64, is sceptical of Stenhouse’s claims of antiquity. The song is attributed to Allan Ramsay in TTM I (1723) and there is no reason to doubt the attribution. The song subsequently became the name of a country dance. It was printed in SMM I: no.17. Category I: by Ramsay.

568

Notes: TTM I (1723) R53: Peggy, I must love thee (‘As from a Rock past all Relief’). AR. This song was first printed in in Scots Songs (1718; 1719; 1720) and in Poems (1721) as ‘Love’s Cure. To the Tune of Peggy I must love thee.’ The main note on the text is in Poems (Brown 2023, I: pp.459-60). The 1721 text varies from TTM I (1723) as follows: 2. Shipwreckt [not ‘Shipwrackt’] 3. Home [not ‘Soil’] 14. Face; [not ‘Face,’] 24. Since Peggy [not ‘Since, Peggy,’] 25. foolish, [not ‘foolish’] Versions of the tune are located in the following locations: Balcarres pp.92-3, no.145: Peggie I must loue the, | Master mclaughlands way, | by mr Beck’ Blaikie no.23: Yer Meggie’s I must Love The. Bowie f.16v: pege I most Love the Bowie f.30v: Pegy I mosst love thee Capt: Campbell his marsh Crockat (reversed) f.19v: Pegie I must love thee Gairdyn f.7v: As I went down yon burn so Clear Leyden no.20b: Maggie I must love the (title only) PlayfordAB III: no.5: A Scotch Tune in fashion PPM1719 II: pp.148-49: A Lad of the Town Sinkler f.63: Magie I most love thee Stuart pp.104-5: Peggie I must love thee ThomsonOC1 no.29: PEGGY I must love thee Chappell in Popular Music of the Olden Times (1859) II: pp.609-10 claimed the tune originated from ‘The Deel Assist the Plotting Whigs’ composed by Henry Purcell and published in 180 Loyal Songs (1685). However, Glen (1900) pp.42-43 dismissed this theory as ‘absurd’ and even prints ‘The Deel Assist the Plotting Whigs’ side-by-side with the tune found in PlayfordAB, Blaikie and Sinkler to demonstrate that it is a different tune. Stenhouse (1853) pp.23 stated that the tune pre-dated Purcell, but Glen also dismissed this claim. Indeed, the earliest version of the tune appears in PlayfordAB. The same tune was later printed in the 1689 edition of PurcellMH (part 2, p.16) published by John Playford, where it was titled ‘A New Scotch Tune’ and attributed to Henry Purcell, though, according to Glen, Purcell may have only provided the bass line. There are slight deviations between PlayfordAB, Blaikie, and Sinkler in the second half of the tune. As such, this suggests PlayfordAB was the original source for the later manuscripts. The title is written into the Leyden MS, but there is no tune. The tune is copied into Balcarres and Bowie. The tune is also copied into Crockat and a simple version of the tune, which outlines the main melody appears in Gairdyn. The tune, as it is found in PlayfordAB is printed in PPM1719. 569

The Tea-Table Miscellany The tune in ThomsonOC1 and Stuart are almost identical excepting a few appoggiature, which are common additions in ThomsonOC1. Stuart, pp.104-5, Peggie I must love thee

Notes on the music: bar 3, treble, note 3, sits ambiguously between f’ and g’; bar 4, bass stave, beat 4, crotchet rest is missing; bar 7, treble stave note 4 and 6, semi-quavers have missing tails A different set of lyrics by Robert Crawford (1690–1733/35), a friend of Ramsay’s whom he helped in editing TTM, was published in The Weekly Amusement in 1735, p.244. SFMI identifies the tune in McGibbon. The song was printed at SMM I: no.3, and in many other eighteenth-century collections. Category I: by Ramsay.

570

Notes: TTM I (1723) R54: Bessy Bell and Mary Gray. (‘O Bessy Bell and Mary Gray’). AR First printed in Scots Songs (1720) and in Poems (1721) p.80. The main textual note is in Poems (Brown 2023, I: p.460-61). The 1721 text varies from TTM I (1723) as follows: 1. Gray [not ‘Gray,’] 5. yestreen [not ‘Yestreen’] 18. glances; [not ‘glances,’] 19. sae clean, red-up [not ‘sa clean, redd-up’] 23. gracefou [not ‘gracefu’’] 26. us, [not ‘us:’] 27. twae [not ‘twa’] 29. Wae’s me, [not ‘Wae’s me!’] 31. Cuts [not ‘Cuts,’] Martin Parker’s Foure pence halfe penney Farthing: | OR, | A Woman will haue the Oddes, dating from around 1629, with the opening lines One Morning bright, (for my delight) | Into the Fields I walked, is marked To the tune of Bessy Bell, or a Health to Betty. There is a set of words AN | Excellent New | BALLAD | INTITULED, | BESSY BELL | AND | MARY GRAY, beginning ‘Bessy Bell and Mary Gray, | they are two bonny Lasses’ attributed to Ramsay in NLS Ry III.a.10 (114). It is unclear whether Ramsay’s version of the song is earlier or later than the grimmer and more familiar version referring to the plague of 1645 (Child, p.201). Ramsay’s lyrics appear in RobertsOB VIII: pp.243-4. Thetis is a sea goddess and Pallas refers to Pallas Athena, goddess of wisdom; Apollo is the god of the sun and of music. ‘Rashes’ (rushes) are a symbol of female sexuality, being used as such in (e.g.). ‘Green Grow the Rashes, O’ in SMM I. Here they seem to symbolise youth and virility. The tune for this song is in the following sources: Balcarres pp.146-7, no.230: Besie Bell mr Mclaughlans way, by mr Beck Craig p.5: Bessie Bell Cuming p.28: Bessie Bell &c Guthrie p.300: Bessie bell MarthaBrown ff.28v-9r: Bessie Bell PlayfordOST pp.8-9: Bess-Bell Stuart pp.106-7: Bessy Bell & Mary Grey ThomsonOC1 no.2: Bessie Bell The tune first appears in Guthrie where it is written in tablature. It also appears in Balcarres. The tune first appears in print in PlayfordOST. Excepting the occasional additional ornament, the tune, as it appears in MarthaBrown is almost identical to PlayfordOST, though it is written in 3-4 time and a 571

The Tea-Table Miscellany crotchet d’ is added as an anacrusis to the beginning. PlayfordOST is in 6/4 time. Likewise, the tune that appears in Cuming is also almost identical to PlayfordOST, though it too includes an anacrusis – a crotchet a’. Bar four slightly differs: a dotted minim d’’ followed by a minim f’’, which is a third lower that what appears in PlayfordOST. Like PlayfordOST, Cuming is in 6/4 time. PlayfordOST pp.8-9: Bess-Bell

Notes on the music: bars 10 and 14, c’’ naturals appear as c’’ flats First strain of Cuming p.28: Bessie Bell &c

Both ThomsonOC1 and Stuart include an anacrusis and are notated in 6/8 time, a deviation from PlayfordOST. While ThomsonOC1 is much more decorated than Stuart, such decoration is necessary to allow the words to fit the tune. Indeed, in Stuart bar 7, the slurs do not align with the textual underlay and as such, it would be very difficult to fit the text to the tune. ThomsonOC1 has altered the rhythms in bar 7 specifically to suit the text. Also, in Stuart bar 5, there is a descending octave leap, which while not impossible for a singer is still quite awkward. The same leap appears in MarthaBrown and Cuming. ThomsonOC1 does not include such a leap. In this case, there is no suggestion Stuart had a singer in mind for his setting and was perhaps copying from an instrumental source.

572

Notes: TTM I (1723) ThomsonOC1 no.2, Bessie Bell

573

The Tea-Table Miscellany Stuart pp.106-7 Bessy Bell & Mary Grey

Craig also provides an instrumental setting of the tune. Other eighteenthcentury sources where the tune appears is in Gay’s BeggarsOpera1728 Air IX, p.49, Watts’ MusicalMiscellany I: pp.158-9, ScotchOrpheus p.2 and HighlandFair Air XXVIII, p.45 and in several texts from the early 1730s, including HumoursCourt (1732) Air XVIII, p.59, JewDecoyd (1733) Air V, p.11, Henry Fielding’s MockDoctor (1732) Air I, p.2 and under the title The Vicar of Bray in MerryMusician IV: p.5 among other locations. Category I: by Ramsay, again using a well-known tune to act as a platform for his new set of words.

574

Notes: TTM I (1723) R55: I’ll never leave thee (JONNY: ‘Tho’ for seven Years and mair Honour shou’d reave me’). AR First printed in Scots Songs (1720) and in Poems (1721), p.266. The main textual note is in Poems (Brown 2023, I: p.512). The 1721 text varies from TTM I (1723) as follows: 2. thee; [not ‘thee,’] 6. Dearest [not ‘Dearest,’ and again on line 18] 7. Jonny [not ‘Jonny,’ and again on line 19]; jealous, [not ‘jealous’] 10. fairer. [not ‘fairer:’] 13. Nelly [not ‘Nelly,’] 14. ye, [not ‘ye;’] 16. hyer: [not ‘higher.’] 21. sel [not ‘sell’] 22. Maiden. [not ‘Maiden:’] 23. me, [not ‘me’] 25. Study [not ‘Studdy’] 26. ruddy; [not ‘ruddy,’] Garside et al. (2006) pp.217-8 note that the air is published in ‘the sixth part of Alexander Stuart’s Musick for Allan Ramsay’s Collection of Scots Songs (1725)’, though it first appears in ThomsonOC1, titled I’ll never leave Thee’ (no.21). Indeed, while the same tune appears in both ThomsonOC1 and Stuart pp.108-9 the two are quite distinct. Stuart places a repeat at the end of the first eight bar strain, while ThomsonOC1 does not repeat the first strain and instead repeats the second strain. In general, ThomsonOC1 is more decorated than Stuart, though this does not always serve the text. For example, at each cadence, ThomsonOC1 consistently notates a three-note motif with an appoggiatura on the second note. But, in these bars, there are only two sung syllables, requiring the singer to perform a melisma to accommodate the extra notes. While not unusual, it sounds more decorated than it needs to be.

575

The Tea-Table Miscellany ThomsonOC1 no.21, I’ll never leave Thee

In Stuart the final bar in each strain consistently notates two notes, a minim followed by a crotchet, which matches the two-syllables in the text. Overall, this is a much cleaner finish at the cadential points. Stuart pp.108-9, I’ll never leave thee

The tune also appears in ScotchOrpheus p.22 and David Young’s A Collection of the Newest Country Dances in 1740. It was published in SMM VI: no.507. Category I: by Ramsay.

576

Notes: TTM I (1723) R56: My Deary, if thou die, (‘Love never more shall give me Pain’). C The tune appears from 1680 in Blaikie no.12: My Dearie if then Dye Craig p.11: My Dearie and thou die Gairdyn p.54v: My dirie an’t thou die JohnYoung p.11: My Dearie and thu Diie [sic] Leyden f.12: My dearie if thou dye NewbattleLessones f.12v: My Derrie and Thou Die Stuart pp.110-1: My dearie if thou die It is also in ThomsonOC2 II: pp.4-5 (text), no.2 (music) and is used in Robert Drury’s DevilDuke (1733) Air XIV, p.19. It was printed at SMM I: no.82. Glen (1900) p.84 securely dates it to the seventeenth century, but SMM (following TTM I (1723) attributes it to Robert Crawford. Category V: not by Ramsay, possibly by Robert Crawford. R57: My Jo Janet. (‘Sweet Sir, for your Courtesie’). Q This tune appears from 1625 in JohnSkene p.8: Long er onie old man. Leyden f.13: Robin and Jannet Straloch p.6: The old man Stuart pp.112-3: My Jo Janet It is also in ThomsonOc2 II: pp.80-2 (text), no.36 (music). The double entendre in the last stanza is clear enough. Category III/IV: Lightly edited by Ramsay if the Q classification is to be believed, otherwise Dubia.

577

The Tea-Table Miscellany R58: SONG. To the Tune of, John Anderson my Jo. (‘What means this Niceness now of late’) X The song is in BL Egerton 2023 f.88, but the text there is different to that printed by Ramsay in TTM I (1723). The same first line is found in a single stanza at the Bodleian Library, MS Mus. b.1.f.85: What meanes this Niceness, and the tune is found from the first quarter of the seventeenth century in AgnesHume f.18-21: John Anderson my Jo Dow p.52, no.79: John Anderson my Jo PlayfordDM (1651) p.43: St. Paul’s Steeple PlayfordDV no.18: Pauls Steeple or ye Duke of Norfolk. A second Division on ye same Ground. Stuart pp.114-5: John Anderson my Jo Waterston p.80, no.60: John Anderson my Joe Category IV: Dubia. R59: Auld Rob Moris. (MITHER: ‘Auld Rob Moris that wins in yon Glen’). Q The tune to this song appears in Balcarres p.38, no.72: Jock the lairds brother, Balcarres p.39, no.73: John mores way by mr beck | Jock the lairds | brother, Jean | mores way, by mr beck Blaikie no.39: Jock the Laird’s Brother Craig p.45: Old Rob Morries Gairdyn f.43v: Rob Morice Leyden f.25, no.39: Jocke ye lairds Brother Stuart pp.116-7: Auld Rob Morris ThomsonOC1 no.30: Auld Robe Morris It was used by Joseph Mitchell in HighlandFair Air XLVIII, p.73, Calista (1731) Air VIII, p.21, MusicalMiscellany III: pp.174-6, and ScotchOrpheus p.31. As ‘There’s auld Rob Morris that wins in yon glen’ it is in ThomsonOC2 I: pp.64-5 (text), no.30 (music). It was republished by Ramsay in A New Miscellany of Scots Sangs (1727) pp.72-3. Category III/IV: Lightly edited by Ramsay (Q), or Dubia.

578

Notes: TTM I (1723) R60: SONG. To the Tune of, Come kiss with me, come clap with me, &c.(PEGGY: ‘My Jocky blyth what thou hast done’). X The song points out that Peggy’s pregnancy has come about through Jocky’s lingering ‘Sae late amang the rashes’, both outside courting and the female genitalia: ‘well’s me on the rashes | When’er thou likes I’ll do’t again’ she contentedly concludes on finding he will marry her. The tune is found in Stuart pp.118-9: Come kiss me, come clap me It appears as ‘My Jockey blyth for what thou hast done’ in ThomsonOC2 II: pp.88-9. Though Ramsay indicates the author is unknown, no sources earlier than TTM I (1723) have been identified. Category IV: Dubia R61: SONG. To the Tune of Rothes’s Lament; or, PinkyHouse. (‘As Silvia in a Forrest lay’). M As ‘Pinky House’ this is in Stuart pp.120-1 and ThomsonOC2 II: p.52 (text), no.21 (music) but can be traced to Dow (1722) p.60. It is also Air XXXII in Mitchell’s HighlandFair and appears as ‘Corydon’s Complaint’ in Watts’ MusicalMiscellany V: pp.174-6, Walsh’s MerryMusician IV: p.131 and the YoungMS957. It was printed in SMM V: no.429. Category V: not by Ramsay, author not determined.

579

The Tea-Table Miscellany R62: The Young Laird and Edinburgh Katy. (‘Now wat ye wha I met Yestreen’). AR The main note for on the text is in Poems (Brown 2023, I: p461) and GS (Newman and McGuinness 2022, p.495-96). It was first printed in the third edition of Scots Songs (1720) and in Poems (1721) p.82. The use of Scots and English language is mixed, as is so often the case in Ramsay: ‘Yestreen’ and ‘Fou’, but ‘Lark’ rather than ‘Laverock’. The 1721 text varies from TTM I (1723) as follows: 1. Yestreen [not ‘Yestreen,’] 3. Fou [not ‘Fow’] 6. ill; [not ‘ill,’] 9. Katy [not ‘Katy,’] 10. dinsom [not ‘dinsome’] 18. Does bend [not ‘Bends’] 19. Burn-side [not ‘Burnside’] 21. Daizies [not ‘Daisies’] with ‘Katy’s Answer.’ 8. Then Sandy [not ‘Then, Sandy,’] 9. wyt [not ‘wyte’] 14. Gear; [not ‘Gear,’] 17. Motion; [not ‘Motion,’] This song is attributed to Ramsay and there is no reason to doubt his authorship. The ‘tartan screen’ is not only a contemporary affirmation that the wearing of tartan was common in Edinburgh (which we know from other sources) but also an allusion perhaps indicative of Katy’s patriotism – or willingness – to be wooed by a representative of the ‘country party’, as well as a sexual reference (cf. R84). The Edinburgh or Jacobite pattern of tartan first appears in the city in 1713 and wearing tartan in general was increasingly an indication of Stuart and national loyalties after 1707. Edinburgh is also portrayed (as it was) as close to the Scottish countryside and its values of native beauty and honesty. The tune was set in Stuart.

580

Notes: TTM I (1723) Stuart p.122-3: Wat ye wha I met yestreen

Notes on the music: bar 3, bass stave, note 2. slightly misplaced, more like g than f; bar 5, treble stave, note 5. slur to notes 5-6 only Ramsay’s lyrics do not align neatly to Stuart’s setting of the tune, in part because the lyrics require an anacrusis before bar 1 and bar 4. Another setting of the tune appears in HighlandFair Air XL with different lyrics. The song was later printed at SMM II: no.171. Category I: by Ramsay. R63: KATY’s Answer. (‘My Mither’s ay glowran o’er me’). AR In response, Katy is suitably cautious and practical. The song appears in the apparently lost third edition of Scots Songs (1720) and Poems (1721), p.84. There is a full note in Poems (Brown 2023, I: p.461). A tocher is a dowry. The tune appears in tablature in Blaikie, titled ‘A Health to Bettie’. The tune as it appears in PlayfordDM, where it is titled ‘A Health to Betty’ (1651) p.55 is an eight-bar strain. The same, albeit a slightly more decorated tune also appears in ThomsonOC1 (no.25). However, the text set in ThomsonOC1 is not Katy’s Answer. Stuart sets a sixteen-bar tune, where the first eight bars are like PlayfordDM and ThomsonOC1. The additional eight bars accommodates Ramsay’s text.

581

The Tea-Table Miscellany Stuart pp.124-5, My Mither’s ay glowran o’er me

The tune also appears in ScotchOrpheus p.26. The song was printed at SMM II: no.172. Category I: by Ramsay.

582

Notes: TTM I (1723) R64: MARY SCOT. (‘Happy’s the Love which meets Return’). AR This song was first printed in the Edinburgh edition of Scots Songs (1720) and in Poems (1721) p.261; there is a note in Poems (Brown 2023, I: p.511). The 1721 text varies from TTM I (1723) as follows: 5. Heav’n [not ‘Heav’n,’] 7. see mark’d for my Marrow [not ‘see me mark’d to marrow’] 8. Mary Scot [not ‘Mary Scot,’] 13. beguile, [not ‘beguile!’] 14. Smile; [not ‘Smile,’] 15. Alace! [not ‘Alace’] 16. Yarrow. [not ‘Yarrow,’] 17. Fears, [not ‘Fears.’] 19. Anguish; [not ‘Anguish,’] 21. crown’d [not ‘crown’d,’] The song allegedly celebrates the marriage of Mary Scot, the ‘Flower or Rose of Yarrow’, into the Harden family in the reign of James VI (1567–1625). The notes to the tune are at R37 above. Category I: by Ramsay. R65: ‘O’er BOGIE. (‘I Will awa’ wi’ my Love’). AR This song was first printed in Scots Songs (1720) and in Poems (1721) p.262; there are notes in Poems (Brown 2023, I: pp.511-12) and in GS (Newman and McGuinness, 2022: pp.489-494). The 1721 text varies from TTM I (1723) as follows: 11. shanna part, [not ‘shanna’ part’] 20. rare: [not ‘rare;’] 27. Servant [not ‘Servant,’] 28. change [not ‘change:’] 30. wa’d [not ‘wad’] The tune appears in: AriaDiCamera p.21, no.30: O’er Boggie. Crockat f.47v: ore Bogie NealDances p.16: Ore boggy Stuart pp.126-7: O’er Bogie ThomsonOC1 no.47: O’er Boggie It is also in ScotchOrpheus p.51, ThomsonOC2 I: pp.104-6 (text) no.47 (music) and elsewhere, and is the first air in Mitchell’s HighlandFair. It is printed at SMM II: no.168. Category IV Dubia: no evidence that the words are not by Ramsay, although the ‘Bogie’ is a river in Aberdeenshire running from Strathbogie to Huntly, which is rather remote from Ramsay’s usual subject-matter. 583

The Tea-Table Miscellany R66: O’er the Moor to MAGGY (‘And I’ll o’er the Moor to Maggy’). AR This was first printed in Scots Songs (1720) and in Poems (1721), p.264. The main textual note in Poems (Brown 2023, I: p.512). The 1721 text varies from TTM I (1723) as follows: 7. Pindus’ [not ‘Pindus’’] 14. Nations [not ‘Nation’s’] 23. burn [not ‘burn,’] 24. bleezes [not ‘blazes’] Pindus is a range of mountains in north Greece, and Apollo, god of music among other qualities, was the traditional leader of the Muses. The alignment ‘between love and martial glory in stanza 2 suggests that this may be a coded Jacobite song which links valour to love for “my nation’s glory”, personified as St Margaret, Patroness of Scotland’ (Pittock, SMM (2018) III: p.15), ‘Maggy’ (as elsewhere, ‘Peggy’), whose feast day had recently (1693) been changed to the birthday of the future King James VIII. The tune appears from the late seventeenth century in: AriaDiCamera p.42, no.65: Over the Muir to Moggie Balcarres pp.46-7, no.80, Over the moore to Maggie the new way by mr Beck, not so good as mclaughlans way Balcarres p.96, no.150, Over the moore, to maggie, the new way, in mr maclachlands fashion, by mr Beck Balcarres p.139, no.222: Over the moore to Maggie, the old way, in mr macklachlans fashion, by mr Beck Bowie f.32v: over the moor to magie Cuming p.31: O’er the muir to Maggie Dow p.48, no.75: O’er the moor to Magie JohnYoung p.2; Ore the Moor to Maggie Leyden f.11, tune, no.9: Over the Mure to Maggie MarthaBrown f.3: Over the moore to magie NealScotch p.12: O’er the moor to Maggy Sinkler ff.14v-15r: Ore the Mure to Magie Sinkler f.62, no.38: ore the muir to Maggie Stuart pp.130-1: O’er the Moor to Maggie The song was printed at SMM I: no.55.

584

Notes: TTM I (1723) The tune is copied into Sinkler in two places. The first version, Ore the Mure to Magie, is quite distinct from the second, though there are resemblances between it and what appears in MarthaBrown. (It should be noted that there are numerous errors in MarthaBrown). Sinkler ff.14v-15r: Ore the Mure to Magie

Notes on the music: bar 7, bass stave, note 3 appears as a minim in the source; bar 15, bass stave, note 3, minim in source; bar 16, repeat bar line is reversed in the source The second iteration of the tune is almost an exact copy of what appears in JohnYoung, Cuming, NealScotch, and Stuart. The tune also appears in Bowie but there are key instances when the first strain diverges from the other sources. For example, in bar 1, Bowie avoids ascending leap of a sixth and instead inserts four stepwise quavers.

585

The Tea-Table Miscellany Bowie f.32v: Over the moor to Magie

The other sources are consistent with one another other than the following minor differences. The rhythmic values in JohnYoung are doubled in value, though the melody remains the same. JohnYoung p.2: Ore the Moor to Maggie

In JohnYoung, Cuming, and Stuart the first two notes are f#’’-e’’, whereas the first two notes in Sinkler and NealScotch are g’’-e’’. NealScotch p.12: O’er the Moor to Maggy

586

Notes: TTM I (1723) Stuart pp.130-1: O’er the Moor to Maggie

Notes on the music: bar 1, treble stave, note 3, missing a semi-quaver tail; bar 3, treble stave, notes 9-11, the slur appears over three notes, but based on the other semi-quaver groups this is likely a misprint and it should appear over notes 9-12; bar 5, treble stave, note 6, missing a semi-quaver tail Category I: by Ramsay. R67: Polwart on the GREEN. (‘At Polwart on the Green’). AR This song was first printed in Scots Songs (1720) and in Poems (1721), p.268, and refers to a local custom of the town of Polwarth in Berwickshire. The (haw)thorn was – among many other more theological references – a symbol of human sexuality (Pittock (2016), pp.449-58). The 1721 text varies from TTM I (1723) as follows: 12. bleeze; [not ‘bleez,’] 19. Dancing [not ‘dancing’] The main notes are in GS (Newman and McGuinness, 2022: pp.435-41) and Poems (Brown 2023, I: p.512). The tune appears from the early eighteenth century in: Craig pp.36-37: Polwort Green Crockat f.55v: Poluort on ye Green Crockat ff.32r-33r, no. 36: [untitled] Gairdyn p.75: Polwart on the green NealScotch p.28: At Polwarth on the Green Stuart pp.6-7: Polwart on the Green ThomsonOC1 no.24: Polwart on the Green 587

The Tea-Table Miscellany It also appears in Polly, Patie&Peggy, BeggarsWedding, HighlandFair (Air XLV), ScotchOrpheus (p.25), ThomsonOC2 I: pp.49-50 and elsewhere. The song was printed at SMM II: no.183. As discussed by Newman and McGuinness (2022) pp.435-41, the falling octave at the end of each line (bar 4, beat 3; bar 8, beat 3; bar 12, beat 3; and bar 16, beat 3) suggests there should be an extra syllable in the lyrics. ThomsonOC1 removes this falling octave, which makes the line neater for singing. ThomsonOC1 no.24: Polwart on the Green

588

Notes: TTM I (1723) Stuart pp.6-7: Polwart on the Green

Category I: by Ramsay.

589

The Tea-Table Miscellany R68: John Hay’s Bonnie Lassie. (‘BY smooth winding Tay a Swain was reclining’). AR This was first printed in Scots Songs (1720) and in Poems (1721) p.269 as ‘John Hay’s Bonny Lassie’. There is a note in Poems (Brown 2023, I: p.513). The 1721 text varies from TTM I (1723) as follows: 4. Lover. [not ‘Lover?’] 8. May be e’er we part [not ‘May be, e’er we part,’] 10. sing [not ‘sing,’] 11. Mead [not ‘Mead,’] 12. dead [not ‘dead,’] 18. confounded; [not ‘confounded:’] The ‘Lassie’ referred to is identified as the daughter of John Hay, ‘Earl or Marquis of Tweeddale’ who later became ‘Countess Dowager of Roxburgh’ in Riddell’s Notes. She is traditionally identified as Lady Margaret Hay (1657– 1753), whose walking stick is still at Floors Castle (Pittock, Scots Musical Museum (2018), III: pp.18-9). ‘Aurora’ is the goddess of dawn. Ramsay may have written this song in pursuit of Tweeddale’s subscription to his Poems. The tune is found from 1660 in:AriaDiCamera p.44, no.67: John Haye’s bony lassie Craig p.2: John Haye’s bony lassie Stuart pp.132-5: John Hay’s bony Lassie Sutherland f.1v: John Hays boney Lasy ThomsonOC1 no.35: John Hay’s Bonny Lassie The song is also at Watts, MusicalMiscellany IV: pp.62-4, MerryMusician III: pp.78-9 and ScotchOrpheus p.37. The song is in SMM I: no.67. The tune was notated in tablature in Sutherland. ThomsonOC1 makes sure to include an anacrusis, so that Ramsay’s text neatly fits to the tune. He also creates a second strain for the tune by borrowing some material from the first sixtreen bars, including repeating the first strain an octave higher. As such, it ensures there is enough music for Ramsay’s eight lines of verse text.

590

Notes: TTM I (1723) ThomsonOC1 no.35: John Hay’s Bonny Lassie

Stuart does not include an anacrusis, even though Ramsay’s text requires one. Stuart has also split the tune in two, separating out the second part entirely.

591

The Tea-Table Miscellany Stuart pp.132-3: John Hay’s bony Lassie

Stuart pp.134-5: 2d Part

Notes on the music: c flats have been altered to c naturals for the purposes of clarity Like Stuart, the tune as it appears in Craig and AriaDiCamera also do not have an anacrusis, which suggests ThomsonOC1 deliberately inserted one to fit Ramsay’s text. Category I: by Ramsay, again using an established tune.

592

Notes: TTM I (1723) R69: Katharine Ogie. (‘As walking forth to view the Plain’). X The song celebrates the primacy of love over wealth in fairly standard fashion. The tune appears from c.1650 in: Bowie f.19v: Catharin Logie Craig p.20: Catherine Oggie Dow p.50, no.77: Katharine Hoggie Gairdyn f.54v: Cathrin Ogie Guthrie p.299: Ketron Ogie Leyden f.58: Catherne Logie NealScotch p.23; Katrin Hoggie Panmure9454 ff.36: Kathren Oggie PPM1719 II: pp.200-1, A New Scotch SONG. PlayfordAB 5th ed. pt. 1, no.96: Lady Catherine Ogle; a new dance PlayfordDM 7th ed. no.8: Lady Catherine Ogle; a new dance Stuart pp.136-7: Katharine Ogie ThomsonOC1 no.22: Katharine Ogie Waterston pp.43, no.26: Catherine Ogie Waterston p.90, no.59: Catherine Hoggie It is Air XXXVI in BeggarsOpera1728 and as ‘As I Gang’d Down to Yonder Town’ in BeggarsWedding, Air VII, p.54. It is found in BeggarsWeddingSongs p.46. It is set to words beginning ‘I well cou’d pass my Days with thee’ in Patie&Peggy and ‘As Mothers fond with Transport meet’ in HighlandFair Air XIII and it also appears as ‘Hard is the Case that men must Mourn’ in Calista and is in Watts’ MusicalMiscellany II: pp.166-7 and ScotchOrpheus p.23. The song was printed at SMM II: no.164. Category IV: Dubia.

593

The Tea-Table Miscellany R70: Ann thou were my ain Thing. (‘Of Race divine thou needs must be’). AR This appeared as a song at p.121 of Ramsay’s 1728 Poems (see Brown, 2023, I: p.121). The words of this song are attributed to Ramsay in the text, and the tune reappeared in the SMM I: no.2. The song was printed many times in the eighteenth century (e.g. in The Vocal Miscellany, 2nd ed., (London, 1734), pp.117-8). The tune is found from the earlier seventeenth century in: Balcarres pp.108-109, no.167: If thou wert my own thing mr mclaughlans way by mr beck Balcarres p.145 no.228: If thou wert myne own thing, mr mclaughlans way, by mr Beck Balcarres p.216, no.240: If thou wert my own thing, david grieves way Craig p.10: And thou wert my own thing Dow p.9, no.18: And thou ware my own Thing Dow p.14, no.28: An thou woerl my own Thing Gairdyn f.17r: wert you but my oun thing Guthrie p.306: If tho wert my own thing NealScotch p.18: If thou were mine own thing Straloch pp.18-9: An thou wer myn own thing Stuart pp.138-9: Ann thou were my ain thing ThomsonOC1 no.23: Ann thou were my ain Thing The tune is found in seventeenth-century manuscript sources, including Robert Gordon of Straloch’s Lute Book (dated 1627-29), Guthrie and Balcarres where it is notated in tablature. It is notated twice in Dow, with the first tune has no anacrusis and a second, equally decorated version is with an anacrusis, though there are a few more errors in the notation.

594

Notes: TTM I (1723) Dow p.9, no.18, And thou ware my own Thing

Notes on the music: bar 9, al segno sign is duplicated just below the bar. Dow p.14, no.28: An thou woerl my own Thing (first strain only)

Notes on the music: bar 1, note 3 is a dotted crotchet in the source; bar 4, between notes 4-5, a barline has been scribbled out The version of the tune printed in NealScotch is remarkably like the first version of the tune as it appears in Dow, though NealScotch includes an anacrusis. NealScotch prints the two-strain tune with two variations. NealScotch p.18: If thou were mine own thing

Notes on the music: the ‘shake’ ornament appears as two horizontal lines rather than diagonal

595

The Tea-Table Miscellany In ThomsonOC1 the first verse beginning ‘I would clasp thee in my arms’ does not appear here in TTM I (1723). It is unclear where this additional verse has come from or why exactly it was added. Unfortunately, from verse two onwards, the text requires an anacrusis, which is not given in ThomsonOC1. Oddly, at the end of each strain (bar 8 and bar 16) there is a missing crotchet beat as if Thomson intended an anacrusis at the beginning of each strain, though he does not give one. ThomsonOC1 no.23: Ann thou were my ain Thing

Owing to the addition of the much-needed anacrusis, Ramsay’s text is well suited to the version of the tune, printed in Stuart, so long as the repeats in bars 8 and 16 are ignored. With the repeats, the singer would have to repeat the chorus and verse lyrics.

596

Notes: TTM I (1723) Stuart pp.138-9: Ann thou were my ain thing

Notes on the music: bar 14, treble stave, note 4, missing a semi-quaver tail As ‘Gin thou wert my awn thing’ it is Air XVII of BeggarsOpera1728, where Polly sings ‘O what pain it is to part ! | Can I leave thee, can I leave thee !’. Gay may possibly have taken the song from TTM I (1723). It is also in HighlandFair Air XVI (first line, ‘Were we but in Wedlock join’d’, and otherwise different from Ramsay), Watts’ MusicalMiscellany II: pp.81-82 and ScotchOrpheus p.24. The most common air of this song had Jacobite associations (perhaps unsurprisingly, given the absent lover theme), and appears as the tune of a song in the Jacobite collection The True Loyalist, (Edinburgh, 1779), p.20. Category I: by Ramsay. R71: There’s my Thumb I’ll ne’er beguile thee. (‘My sweetest May, let Love incline thee’). AR This appeared as a song on p.123 of Ramsay’s 1728 Poems (for the main textual note see Brown 2023, I: p.607). No tune is marked or appears to be extant before: Craig p.44: Ther’s my Thumb I’ll nere beguile you. Stuart pp.140-1: Ther’s my Thumb ThomsonOC1 no.42: There’s my Thumb I’ll ne’er beguile thee

597

The Tea-Table Miscellany ThomsonOC1 sets the text ‘Betty Early gone a Maying’ which fits the tune much better than Ramsay’s text. The first four lines of Ramsay’s text align with the eight-strain tune as found in Stuart and the slur markings follow the textual elisions. However, the second four lines do not fit Stuart’s tune. At eleven syllables, there are two syllables too many in line seven. The number of syllables in each line of text in verse two and three are inconsistent, rendering it almost impossible to sing the text to this tune. Stuart, pp.140-1: Ther’s my Thumb

The tune in a broadly similar form to Stuart is also found in MusicalMiscellany III: pp.87-8 and ScotchOrpheus p.46. ‘Betty early gone a-maying’ is the first line in ThomsonOC1, MusicalMiscellany, and the title in ScotchOrpheus. Category I: by Ramsay. R72: For the Love of JEAN (‘Jocky said to Jenny, Jenny, wilt thou do’t’). Z The song is neatly balanced between a promise of marriage and an invitation to premarital intimacy. The song belongs to the ‘Jocky and Jenny’ subgenre, which was popular in 1680s London, and was strongly associated with Jacobite pastoral in the wake of the Exclusion Crisis. The main note is in GS (Newman and McGuinness 2022, pp.497-9). The tune is found at Stuart, pp.142-3: Jocky said to Jenny and is also at ThomsonOC2 II: pp.14-5 and many later sources. The song was printed at SMM I: no.61. Category III/IV: lightly edited by Ramsay or Dubia.

598

Notes: TTM I (1723) R73: SONG. To the Tune of, PEGGY, I must love thee. (‘Beneath a Beech’s grateful Shade’). C This appears in Poems (1721), p.77 as ‘Love’s Cure’. The main textual note appears in Poems edited by Brown (2023, I: p.459-60). There is a musical note at R53. A tune for this seems first to appear for a Crown and Tory song called ‘The Deel Assist the Plotting Whigs’ in 180 Loyal Songs (1685), edited by Henry Purcell. It appears in: AriaDiCamera p.13, no.20: Peggy I Must Love Thee Balcarres pp.92-3, no.145: Peggie I must loue the, Master mclachlands way, by mr Beck Balcarres p.129, no.204: Peggie I must love thee, by mr beck Blaikie p.8, no.23: Yet, Meggie, I must love thee Bowie f.16v: pege I most love thee Bowie f.30v-31r: Pegy I mosst love thee Capt: Campbell his marsh Craig p.18: Peggy I Must Love Thee Crockat (reversed) f.19: Pegie I must love the Gairdyn f.7: As I went down yon burn so clear Leyden no.20b: Maggie I must love thee MerryMusician II: pp.38-9: Peggy I Must Love Thee PlayfordAB 5th edition, pt.3: no.5: A Scotch Tune in fashion PlayfordMHM pt.II: p.16: A New Scotch Tune Sinkler f.63, no.32: Magie I must love thee PPM1719 II: pp.148-9: A Lad of the Town Stuart pp.104-5: Peggie I must love thee ThomsonOC1 no.29: Peggy I must love thee It is found in several other sources, including HighlandFair Air XVIII, with the first line ‘No more be Fuds and Faction known’. These later appearances are generally like Stuart’s tune and ScotchOrpheus p.30. Category V: not by Ramsay, but not by Robert Crawford as appears in Ramsay’s attribution.

599

The Tea-Table Miscellany R74: Genty TIBBY, and sonsy NELLY. To the Tune of Tibby Fowler in the Glen. (‘Tibby has a store of Charms’). AR This song is one of a number in TTM I (1723) which foreshadow the ‘How happy could I be with either, | ’Twere t’other dear charmer away’ theme of John Gay’s BeggarsOpera1728. It was first printed in Scots Songs (1720) and in Poems (1721), p.271. The main textual note is in Poems (Brown 2023, I: p.513). The 1721 Poems text varies from TTM I (1723) as follows: 3. sma’ [not ‘sma’] 4. Lad [not ‘Lad,’] 5. Frae [not ‘Frae ’er’] 14. plump [not ‘plump,’] 20. thegether [not ‘thegither’] 21. Why [not ‘why’] 22. large? [not ‘large,’]; nither [not ‘neither?’] 23. Desires [not ‘desires’] An accompanying tune is found from the late seventeenth century in Bowie f.29v-30r: Tibie fouller in the glen GeorgeSkene f.4: Tibbie Fouller in the Glen (‘Iosobell fouller in ye mount’ is written under the first system) Sinkler f.62v: Owing at her Stuart pp.144-5: Genty Tibby It is also found in the 1734 YoungDrummondCD no.38. Bowie includes both strains of the tune and two variations. An f’ sharp-e’-d’ motif that appears at the end of each phrase does not appear in Sinkler or Stuart but is present in GeorgeSkene. Bowie f.29v-30r: Tibie fouller in the glen

600

Notes: TTM I (1723) GeorgeSkene f.4: Tibbie Fouller in the Glen

Notes on the music: bar 9, beat 4, there is a missing hemi-demi-semi quaver Indeed, all three MS sources, Bowie, Sinkler, and GeorgeSkene incorporate an anacrusis at the beginning of the bar, though this does not feature in Stuart. While this allows Ramsay’s first line of text to neatly align with the first bar of the tune in Stuart, there is one too many syllables in the second and fourth line. As such, the tune in Stuart requires some alteration to fit Ramsay’s text. Stuart pp.144-5: Genty Tibby

Notes on the music: bar 2, treble stave, note 3, the note is sitting ambiguously between f’ and g’; bar 3, note 6, a chord in the treble stave is unusual for Stuart, so the f’-c’’ chord is more like a printing error; bar 7, treble stave, note 5, missing a semi-quaver tail Category I: by Ramsay.

601

The Tea-Table Miscellany R75: Up in the AIR. (‘Now the Sun’s gane out o’ Sight). This was first printed in Scots Songs (1720) and in Poems (1721), p.273. There is a note at Poems (Brown 2023, I: p.513). The 1721 text varies from TTM I (1723) as follows: 10. Foot Ba’ [not ‘Foot-Ba’’] 12. Pit, [not ‘Pit.’] 18. hales [not ‘heals’] 20. Fire, [not ‘Fire.’] 26. Come Willy [not ‘Come, Willie,’] 28. ha’e [not ‘hae’]; bylthsom Bowt, [not ‘blythsome Bout.’] The tune for this is in Stuart, pp.146-7: Up in the Air. Category IV: Dubia. R76: Fy gar rub her o’er wi’ Strae (‘Gin ye meet a bonny Lassie’). AR. Burns claimed that the first four lines are not by Ramsay (Pittock, Scots Musical Museum (2018) III: p.5). The song was also printed in MerryMusician III: pp.13-14 as ‘A Cure for the Spleen’, and there is a broadside version from 1720-30 at NLS Ry. III.a.10 no. 47 (NLS suggests 1720, v. email from, Dr Pauline Mackay to the General Editor, 7 June 2016). The song is straightforward Horatian ‘carpe diem’, possibly mediated through Robert Herrick (1591–1674), the main exponent of this aspect of Horace’s work in English, as Herrick’s friend Ben Jonson was of the more public face of Horace’s Odes. The sixth stanza is very close to the sixth stanza of Horace’s Ode I: p.9: nunc et latentis proditor intumo gratus puellae risus ab angulo pignusque dereptum lacertis aut digito male pertinaci. The tune can be located from the early eighteenth century at: AriaDiCamera no.18, p.12: Fy gar rub her o’er with Strae. Crockat f.34r: fy garr rub: her ower wee Straw Gairdyn p.5: ffy gar rub her Stuart pp.148-9: Fy gar rub her ThomsonOC1 no.27: Fy Gar rub her o’er wi’ Strae It is also found at Patie&Peggy Air III, p.4, HighlandFair Air XI, p.19, MusicalMiscellany V: p.76, ScotchOrpheus p.28, JovialCrew Air XIII, p.15 and elsewhere. The song was printed at SMM I: no.16.

602

Notes: TTM I (1723) Unfortunately, the tune as it appears in Stuart is missing a crucial anacrusis that is needed for Ramsay’s text to neatly align with the tune. Had this been included (as it is in ThomsonOC1) then the text would have easily underlaid without issue. ThomsonOC1 no.27: Fy Gar rub her o’er wi’ Strae

Stuart pp.148-9: Fy gar rub her

Notes on the music: bar 11, treble stave, note 1. crotchet [not dotted crotchet] Category I: by Ramsay. 603

The Tea-Table Miscellany R77: PATIE and PEGGIE. (PATIE ‘By the delicious Warmness of thy Mouth’). AR See the new edition of the GS edition for detailed musical notes (Newman and McGuinness 2022, pp.474-80). The song was printed at Poems (1721), p.287 and SMM III: no.253. The tune can be found in Stuart as ‘Patie & Peggy’ (pp.150-3). Also, a different tune (albeit one that is related) is also found in NealScotch as ‘Jockey and Jenny’ (p.4). It is also in Patie&Peggy Air XI-XII, pp.14-5, WalshBMM VI: pp.131-2 and ThomsonOC2 II: pp.76-7. Category I: by Ramsay. R78: The Mill, Mill, ----O. (‘Beneath a green Shade I fand a fair Maid’). AR This was first printed in Poems (1721), p.373 as ‘The Mill, Mill, --- O. A Song.’ The main note is in Poems (Brown 2023, I: pp.541-42). The 1721 text varies from TTM I (1723) as follows: 4. O; [not ‘O,’] 5. Rest [not ‘Rest,’] 6. sitrdna [not ‘stir’dna’] 7. slept [not ‘slept,’] 11. hois’d Saild and awa [not ‘hoist Sails and awa’’] 18. O, [not ‘O;’] 19. let [not ‘Let’] 21. gae [not ‘gave’] 22. expell [not ‘expel’] 26. O. [not ‘O,’] 27. Offence [not ‘Offence,’] 30. Cogging [not ‘cogging’] 31. Sive [not ‘Sieve’] 32. Soger [not ‘Sodger’] If R76 is rather doubtful in its understanding of consent (‘Nineteen na says are half a grant’), this song, despite being for the ‘tea-table’. describes a rape. The tune is in: Gairdyn f.48: The Mill mill o (incipit) NealScotch p.7: Ye mill mill O ThomsonOC1 no.20; The Mill Mill O Stuart pp.154-5: The Mill Mill o

604

Notes: TTM I (1723) Stenhouse stated that the tune first appeared in Crockat, though Glen (1900), p.140 doubted ‘this affirmation’ despite not examining the manuscript himself. The tune is no.28, ff.23r-24v, which shares some similarities to the tune found in ThomsonOC1. Both open with an eight-bar strain, where the second four bars are a variation of the first four. The general shape of the tune is similar throughout and bar four is almost identical in both sources. Crockat, no.28, ff.23r-24v

However, the tune as it appears in NealScotch, and later in Stuart, deviates from Crockat and ThomsonOC1. Both insert a repeat bar after the first four bars, which makes it much more challenging to underlay Ramsay’s lyrics. Indeed, in the in bars 9-11 of the tune as it appears in Stuart, it would not be possible to underlay Ramsay’s text if the slur markings were followed. The way the tune is notated in ThomsonOC1 is, at least, singable when compared to Stuart and NealScotch.

605

The Tea-Table Miscellany ThomsonOC1 no.20: The Mill Mill O

Stuart pp.154-5: The Mill Mill o’

It is also in ScotchOrpheus p.21 and in Watts’ MusicalMiscellany VI: p.76. The song is at SMM III: no.242. Category I: by Ramsay. 606

Notes: TTM I (1723) R79: Colin and Grisy parting. To the Tune of, Woe’s my Heart that we should sunder. (‘With broken Words and down-cast Eyes’). AR. This song was first printed in Scots Songs (1720) and in Poems (1721, p.371). The main note is in Poems (Brown 2023, I: p.541). The 1721 text varies from TTM I (1723) as follows: 1. downcast [not ‘down-cast’] 2. tender, [not ‘tender;’] 4. Woes [not ‘woe’s’] 16. present [not ‘present,’] 17. Nymph [not ‘Nymph,’] 18. You’l [not ‘You’ll’]; kinder, [not ‘kinder:’] 20. me [not ‘me,’] 21. Gods [not ‘Gods,’] 22. her, [not ‘her:’] This tune, ‘Woe’s my Heart that we should sunder’ was used GS (Newman and McGuinness 2022, pp.507-15), where there is a more substantive musical note. The tune is found in: Balcarres p.119, no.183: Woes my heart, that we should sunder, Mr McLaughlans way, by Mr Beck. JohnSkene pp.94-5: To dance about the Bailzeis dubb. JohnSkene pp.96-7: Alace this night yat we suld sinder. PlayfordOST p.14: A ways my Heart that we mun sunder. ThomsonOC1 no.9: Woes my Heart that we shou’d Sunder Stuart pp.10-1: Woes my heart that we shoud sunder Indeed, as discussed in the note in GS, Ramsay’s text as found in TTM I (1723) fits the tune found in Stuart.

607

The Tea-Table Miscellany Stuart pp.10-1, Woes my heart that we shoud sunder.

Notes on the music: bar 9, bass stave, beat 2, the rest is likely an error in the score; bar 12, treble stave, note 1 is missing a dot; bar 16, treble stave, note 2 appears as a crotchet g’; final double bar line is missing The tune also appears in MusicalMiscellany I: p.14-15, ScotchOrpheus p.10, HighlandFair Air XXII, p.36 and Patie&Peggy Air XVII, p.21. It was printed in SMM II: no.131. Category I: by Ramsay. R80: The Gaberlunzie-man. (‘The pauky auld Carle came o’er the Lee’). I. The song belongs to the genre of gypsy or Highland abduction, and probably refers to the legend of James V’s appearance as a ‘Gaberlunzie-man’, utilised by Scott in The Lady of the Lake, with a specific reference here to his incognito visits to ladies in ‘Gosford, in Aberlady Parish’ (Pittock, SMM (2018), III: p.75). The ‘priving’ of the cheese (‘kebbuck’) is yet another of the endlessly inventive double entendres in pastoral Scots writing. The tune for this song is found from 1713 at: Campbell f.33: Gaberluney Man Craig p.19: The Gaberlunzie Man Gairdyn f.44: The Gaberlungy Man ThomsonOC1 no.43: The Gaberlunzie-Man It is also found in ScotchOrpheus p.47 and in Watts’ MusicalMiscellany V: p.140, and is printed at SMM III: no.226, where it is attributed to James V himself. Category V: not by Ramsay. 608

Notes: TTM I (1723) R81: The Cordial. To the Tune of, Where shall our Good man ly. (HE. ‘Where wad bony Ann ly’). AR The tune is found in: Atkinson p.95: Wheir must our Good Man ly Balcarres pp.102-3, no.160: Where Will our goodman/ lye, mr mclaughlans way, | by mr Beck Bowie f.25v: wher will oure Good man ly Dow p.51, no.78: Where will our Good-man Ly Gairdyn f.9v: Where shall our Goodman Lay JamesThomson p.32: Where shall our Good-man Lye in the Cold nights in Winter Panmure9454 f.35: The new good Man Panmure9454 is in the myxolydian mode, and the first half provides a basic outline of the tune before becoming more decorated in the second half. Comparatively, Atkinson is also in the myxolydian mode and decorates the first half of the tune with passing notes. Panmure9454 f.35: The new good Man

Atkinson p.95: Wheir must our Good Man ly

Notes on the music: bar 1, note 1, marked as a dotted crotchet, but this is clearly an error; bar 12, notes 1 and 2, erroneously marked as quavers

609

The Tea-Table Miscellany The tune is also found in Bowie with five variations. Although a tune titled ‘Where shall our Goodman Lay’ appears in Gairdyn, it is quite different to the other sources. The tune as it appears in Panmure9454, Atkinson, Bowie, JamesThomson, and Dow incorporates several ascending phrases throughout, whereas Gairdyn incorporates several descending phrases. However, the tune as it appears in Gairdyn concludes with a minim followed by a crotchet, which is indicative of this tune. As such, the tune notated in Gairdyn may be a second violin part. Gairdyn f.9v, Where shall our Good man Lay

Category I: by Ramsay. R82: Ewe Bughts Marion (‘Will ye go to the Ew Boughts, Marion’). Q. This song was reputed to have additions by Ramsay (see Pittock, SMM (2018), III: p.23, and was printed at SMM I: no.85), though it is not clear that this derives from any evidence beyond Ramsay’s own ‘Q’ classification. It is set in ThomsonOC2 II: pp.32-3 (text), no.15 (music). Category II/IV: heavily edited by Ramsay/Dubia. R83: The blythsome Bridal (‘Fy let us a’ to the Bridal’). Z. This song is by Francis Sempill (?1616–82) and is an early example of the riotous wedding song common in Scots tradition. The reference to the ‘Stool’ in stanza 3 is to public penance for fornication; the reference in stanza 4 to ‘bang’d up her Wame in Mons-meg’ refers to the practice of using the barrel of this fifteenth century Burgundian bombard, gifted to James II in 1454, at Edinburgh Castle for sexual encounters. The barrel diameter of 51cm makes this possible (especially for those of early modern height) but uncomfortable: it is not recommended if alternative accommodation is available. After the 1745 Rising, Mons Meg was removed to London until 1829, though 610

Notes: TTM I (1723) this seems to have had no discernible effect on the Scottish birthrate. ‘The Blythsome Wedding’ opens ‘Fy let us all to the bridal’ and was contributed to Comic&Serious (1706), pp.8-10 but first published in 1680. This song (v. Donaldson, The Jacobite Song (1988), p.35) is the ancestor of Hogg’s Relics I: p.XL, ‘The Union’, which was possibly written on 16 April 1706 (v. Pittock (2002) I: p.447). The tune is present from 1650 in: Balcarres p.61: If the kirk wold lett me be, Jean mores way. by mr beck Cockburn f.40r: An the kirk would let me bee Craig p.41: And the Kirk would let me be Guthrie p.304: If the kirk would let me be. Dow p.10, no.19: If the kirck would let me be. Dow p.58, no.86: If the Kirk wou’d let me be MarthaBrown ff.27v-28r: If the kirk wold lett me be PPM1719 VI: pp.350-352: The SCOTCH Wedding : Or, Lass with the Golden Hair Stuart pp.42-3: And the Kirk woud let me be ThomsonOC1 no.36: The Blithsom Bridal It is also in ThomsonOC2 I: pp.76-9 (text), no.36 (music). The boisterous bawdry of the song makes it an interesting choice for the tea-table, while the alimentary nationalism of some of the latter stanzas is worth noting. Category V: not by Ramsay, by Francis Sempill. R84: The Highland Laddie (‘The Lawland Lads think they are fine’). AR This song appeared on p.124 of Ramsay’s 1728 Poems. There is an MS at BL Egerton 2023 f.39 as ‘The Highland Lassie’ which differs substantially, with only nine lines in common. No tune is marked. The song is marked as ‘AR’ in TTM I (1723) but while this set may well be by Ramsay, matters are rather more complex. There are many similar texts in MS of this song cycle, which has strong links both to the ‘Johnnie Faa’ gipsy abduction/seduction theme and to Jacobitism: the sexual vigour of the Highlander’s ‘rowing’ is a common theme in these songs, which had become strongly associated with Jacobitism in the 1720-40 period. The ‘screen’ carries a sexual implication (cf. R62). For a comprehensive survey of extant MS and early printed collections, v. Pittock (ed.), Hogg: JR II: p.LXn.

611

The Tea-Table Miscellany The tune is found from the early eighteenth century in AriaDiCamera p.47, no.72: Highland Laddie ThomsonOC1 no.14: The Highland Laddie It appears later in MusicalMiscellany II: p.56, ScotchOrpheus, WalshThirtyNew and ThomsonOC2. The song was printed at SMM I: no.21, and there is a full note in Pittock, SMM (2018), III: pp.6-7 and at Garside, Horsfall and Jackson (2006), p.364. A tune titled ‘hyland Lady’ (ff. 8v-9r) is found in Bowie. Likewise, a tune titled ‘Highland Ladie’ (ff. 28-29) is found in Sinkler but in these instances, the tune is actually the ‘Lass of Livingstone’ and is quite different to other settings of Highland Laddie found in AriaDiCamera and ThomsonOC1. Glen (1900), pp.241-3 suggests that the ‘Lass of Livingstone’ and ‘The Highland Laddie’ are versions of the same tune. There are similarities between the two, but the versions found in AriaDiCamera and ThomsonOC1 are quite distinct from Bowie and Sinkler. The notation for the tune found in Bowie is at R52. ThomsonOC1 only sets one strain, which means the chorus, ‘Oh my bonny, bonny Highland Laddie’ is sung to the same tune as the seven verses. As such, there are verse lines (such as verse 1, line 1) that do not have enough syllables to neatly fit the musical line. ThomsonOC1 no.14: The Highland Laddie

Glen (1900), p.242 also transcribes a version of the tune found in the original 1692 Blaikie MS, which aligns with the version of the tune found in AriaDiCamera and ThomsonOC1, however, it does not appear in the copy of Blaikie that survives presently. Category I/II: Written or heavily edited by Ramsay.

612

Notes: TTM I (1723) R85: ALLAN-WATER. Or, My Love Annie’s very bonny. (‘What Numbers shall the muse repete?’). C The song appears as ALLAN WATER: | OR, A | LOVER | IN | CAPTIVITY: | A NEW SONG (‘ALLAN Water’s wide and deep, | and my dear Anny’s very bonny’) Sung with a pleasant New Airin c.1701. The tune appears from the late seventeenth century in a wide range of sources, and was obviously a favourite: Atkinson pp.127-128: Allen Water Balcarres p.30, no.57: Alen water/ mr Becks way Bowie f.9v: Alen Watter Crockat ff.14v-15r: Allan Water Cuming pp.25-6: Allan Water Dow p.38: Allan Water Gairdyn f.46v Allan water JamesThomson p.35: Allin Water PlayfordOST p.12: Allen Water Sinkler f.67, no.11: Allan Watter The song is printed at SMM I: no.43. It is attributed (following TTM I (1723) to Robert Crawford, but the song is found earlier- Crawford may only have passed it to Ramsay. Dauney (1828), p.145 claimed Allan Water was in the original MS from which Blaikie made his copy. Glen (1900), p.70 stated the tune was not transcribed and is now lost. Category V: not by Ramsay, with possible contributions by Robert Crawford.

613

The Tea-Table Miscellany R86: The Collier’s bonnie Lassie (‘The Collier has a Daughter’). AR This appeared as a song in Poems (1728), p.126. The main textual note appears in Poems edited by Brown (2023, I: p.608). No tune is marked. The title is spelt ‘Coalier’s’ in Poems. The tune has two different titles attributed to it: ‘The Collier’s Lass’ and ‘The Collier’s Daughter’ but based on sources from the later seventeenth and early eighteenth centuries, it is the same tune. It is found in: Cuming p.54: [untitled] Gairdyn f.4: The Coaliers daughter Leyden f.55v: The Colleyrs daughter PlayfordOST p.5, no.11: The Colliers Lass Sinkler f.67v, no. 10: Coallier’s Daughter ThomsonOC1 no.44: The Colliers bonny Lassie It first appears in print in PlayfordOST and this may have been the source for Sinkler, as the two versions are almost identical. There are few differences between PlayfordOST and ThomsonOC1, for example, in the latter, the note values are halved. PlayfordOST p5, no.11, The Colliers Lass

Notes on the music: bar 7, note 5, appears as a semiquaver a’

614

Notes: TTM I (1723) ThomsonOC1 no.44: The Colliers bonny Lassie

It is Air LX in John Gay’s Polly p.64. The tune appears in Charles Coffey’s BeggarsWeddingSongs p.45 and song and tune (‘Collier has a daughter, and ‘Oh she’s wondrous bonny)’ in Watts’ MusicalMiscellany II: pp.33-4. The song was printed in SMM I: no.47. The theme of the rich lover in disguise is not uncommon in traditional Scots song (v. ‘Will ye gang to the Hielands, Leezie Lindsay’). Category I: by Ramsay.

615

The Tea-Table Miscellany R87: Where HELEN lies. To --- in Mourning. (‘Ah why those Tears in Nelly’s Eyes’). AR The song is printed in Poems (1728), p.128. The main textual note appears in Poems edited by Brown (2023, I: p.608). The tune is indicated in the following broadsides: Where Helen Lyes. (1690?) I would I were where HELEN lyes. (1710?) The notated tune is found in: Balcarres p.59, no.96: I wish I were, where Helen lyes, by david grieve Bowie f.33v: I wish I wer for hellen lyes Gairdyn f.2v: Where Helen lyes Sutherland f.5, no. 17: wher hilin lys Wemyss f.43: ‘I uish I uer uher In 1690 a broadside ballad with the first line ‘MY sweetest sweet and fairest fair,’ indicated it should be sung to the tune ‘I would I were Helen lyes’, a strong indication the tune was already popularly known. The broadside was printed again around 1710?. The first three bars of the tune are transcribed in the Gairdyn manuscript, though the repeated quaver c’’ at the beginning of the bar is quite unique when compared to Bowie (see examples below). It is likely Gairdyn is a fragment of a second violin part. Bowie f.33v, I wish I wer for hellen lyes

616

Notes: TTM I (1723) Gairdyn f.2v: Where Helen Lyes,

There are many versions of songs on this subject. This one appears to be by Ramsay. Category I: by Ramsay. R88: SONG. To the Tune of Gallowshiels (‘AH the Shepherd’s mournful Fate’). H A tune for this appears in Craig p.6: Sour Plumbs in Gallashiels ThomsonOC1 p.41: To the Tune of Gallowsheils And is also in ScotchOrpheus, pp.44-5. A similar version of the song is at SMM II: no.151, where it is attributed-following TTM I (1723) to Hamilton of Bangour. Category V: not by Ramsay, probably by Hamilton of Bangour.

617

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Tea-Table Miscellany; Or, A Collection of Scots Sangs Volume the Second. Edinburgh, 1726. Edinburgh: Printed and sold by ALLAN RAMSAY, at his Shop the East-end of the Lucken Booths, by Mr MACEUEN near Temple-bar, London; by the Booksellers of Newcastle, and Mr CARMICHAEL in Glasgow. 1726. The frontispiece quotation is the first four lines of ‘To Calista: A Song’, to the tune of ‘I wish my Love were in a Mire’. It is identical to the text in the main collection, save for a colon rather than a semi-colon as the conclusion to line 2. The same text was also published in Poems (see Brown 2023, I: pp.426-27). Its Circassian reference (as we see in the Note to R89 below, they were reputed the best concubines) once again references the female and domestic in the context of these tea-table songs, but in a somewhat subversive way. Equally misleading is the collection’s evocation of ‘national’ status. Despite the proclamation of this collection as ‘Scots Sangs’, the evidence presented below clearly indicates that a substantial proportion of the songs are English in origin by words or tune or both, with some hybrid and Irish productions. R89: Clarinda, A Song. To the Tune of, I wish my Love were in a Mire (‘BLEST as the immortal Gods is he’). A There is an MS at BL Egerton 2023 f.73, coded A, and the words very likely derive from Ambrose Philips’ (1674-1749) translation of Nicolas Boileau. Philips’ text appears in The Spectator, 1711 [1853 reprint: v. 3: pp.150-1]. The text also appears ‘To Calista: A Song’ in Poems (Brown 2023, I: pp.426-27). The first line, ‘Blest as the immortal God is he’, is at the head of f.73v in BL Egerton 2023, but it seems to be a note only, as there follows some cancelled lines and then the text of ‘To the Lovely Lechmere’, first printed in STS III: pp.323-5. Circassian women of the north-west Caucasus were reputed to make the best concubines and had been used as such in the Italian states and the Ottoman Empire. It was unusual to find them called ‘Clarinda’, however. Circassians were identified as European ‘highlanders’ and are portrayed as such in Pyotr Guzinsky’s paintings of the Circassians during the Russian ethnic cleansing of their people in the late nineteenth century. The song appears in 1711 in The Works of Monsieur Boileau I: p.321 (with the title ‘An ode of Sappho’, noted as translated by Ambrose Philips and Ramsay’s text appears in Ambrose Philips, Epistles, Odes &c (1724) pp.170-71 (‘Longinus On’). There is a discussion in C. Gelmi, “The Pleasures of Merely Circulating”: Sappho and Early American Newspaper Poetry. Nineteenth-Century Literature (2014), 69(2), pp.151-74. The song appears at SMM I: no.41.

619

The Tea-Table Miscellany The tune is found in: ScotchOrpheus p.4: Blest as th’Immortal God The song was set in ThomsonOC1 no.5: A Hymn to Venus ThomsonOC2 I: p.9 (text), no.5 (music): Blest as th’Immortal Gods (music title), Blest as the Immortal Gods (text title) Category V: Author Ambrose Philips, despite Ramsay being claimed in the Contents. R90: A Song. Tune of Lochaber No More (‘Farewell to Lochaber, and farewell my Jean’). This song is not marked for authorship in the first edition of TTM II (1726). It appears to be a song which had become transformed for Irish Jacobite use, here repurposed as a Scottish Jacobite song. It is toned down by Ramsay. The tune appears from the late seventeenth century as follows: Atkinson King James’ March to Dublin Blaikie f.6: no.2 King James March to Ireland Craig p.26: Lochaber DuffetNP (1676) Since Caelia’s my foe (identified as ‘Irish tune’) GeorgeSkene f.5v: [untitled, ‘Limerick’s Lamentation’ is added in pencil, though Lamentation is half rubbed out]. Leyden f.7v: King James march to Irland NealIrish p.25: Limbrick’s lamentation PlayfordDM (1701) p.263: Reeve’s Maggot Sinkler f.65, no.21: King James March Though the tune titled ‘Reeve’s Maggot’ in PlayfordDM is unique, the tune is consistent with other sources, particularly Sinkler. PlayfordDM and Sinkler share a crotchet d’ at the beginning of the tune that does not appear in the other listed sources. While it is an anacrusis in PlayfordDM it is not in Sinkler.

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Notes: TTM II (1726) PlayfordDM (1701) p.263: Reeve’s Maggot

Sinkler f.65, no.21: King James March

GeorgeSkene is more florid, but there are several errors in the score, which suggests the copyist was in a rush, or was copying the tune from memory, or they were inexperienced in copying music. NealIrish is possibly the source of Craig as the ornaments often appear in the same place in both sources. They also both make use of a dotted quaver, semiquaver rhythm in the second half of the tune that does not appear elsewhere. NealIrish p.25: Limbrick’s lamentation

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The Tea-Table Miscellany Craig p.26: Lochaber

Notes on the music: bar 7, treble stave, note 4, lower voice, ornament is in between notes 3 and 4; bar 8, bass stave, note 1, both voices appear as a dotted minim; bar 8, treble stave, note 1, lower voice, ornament is sitting on the stave next to the note; bar 23, treble stave, note 4, lower voice, ornament is in between notes 3 and 4 It is also in ThomsonOC2 II: p.50, no.20 and the YoungMS957 p.55, and appears in SMM I: no.95. As there appears to be no mention of ‘Lochaber’ as a title before TTM II (1726), this may be an Irish Jacobite song repurposed for Scottish use by Ramsay. Category I/II: Likely by or heavily edited by Ramsay. R91: The auld Goodman (‘Late in an Evening forth I went’). Z. ‘Auld Goodman’ was also a term used of the Devil. The song was also collected in Percy’s Reliques and is at SMM IV: no.318. The tune is in ThomsonOC2 II: pp.47-49, no.19. This is classified in the Contents as one of ‘Auld Sangs brush’d up, some of them with Additions, by the Publisher’. Category III: Lightly edited by Ramsay. 622

Notes: TTM II (1726) R92: SONG, to the Tune of Valiant Jocky,. On a beautiful, but very young Lady. (‘Beauty from Fancy takes its Arms’). P Apelles of Kos (fl. 4th century BC) was a famous painter of the ancient Greek world; the ‘Cyprian Goddess’ is Venus/Aphrodite, allegedly born out of the sea at Paphos in Cyprus and the subject of a famous image by Sandro Botticelli (1445-1510); he also painted The Calumny of Apelles, intended to be the reproduction of a lost work by Apelles himself, depicting his alleged accusation before Pharaoh Ptolemy IV. The tune is at Leyden f.25v, no.40: Vallent Jockie PPM1719 II: pp.228-29: The Scotch VIRAGO. A SONG Sung to the Queen at Kensington. The Words made to a pretty New Scotch Tune. (different lyrics) PlayfordAB 5th ed, pt.1, no.119: Scotch Tune PlayfordDM (1695) ed.9, p.172: Valiant Jocky. YouthsDelight [no.6]: a new Scotch tune call’d Valiant Jockey. Category V: not by Ramsay, and not attributed to him in Contents.

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The Tea-Table Miscellany R93: Lass with a Lump o’ Land (‘Gi’e me a Lass with a Lump of Land’). [AR?] There is an MS at EUL Laing II.212 f. 21 (where the text is intact, though a score runs through the whole page). The song also appears in Poems (Brown 2023, I: pp.427-28). The MS varies from the 1726 text as follows: Title. ‘The Lass with a Lump of Land. A Sang.’ [not ‘Lass with a Lump o’ Land.’] 1. Give [not ‘Gi’e’, and again on line 9] 2. our Life [not ‘Life’] 3. Daft or wise I’se [not ‘daft or wise, I’ll’] 4. Black or Red it maksna whither [not ‘black or fair it maskna whether’] 5. witt, & [not ‘Wit, and’] 6. alain [not ‘alane’]; shilling [not ‘Shilling’] 7. has Good is Rich her Market’s [not ‘that’s rich, her Market’s’] 8. evry [not ‘ilka’]; Killing [not ‘killing’] 9. The [not ‘a’] 10. Bossom [not ‘Bosom’] 11. hand [not ‘Hand’] 12. when Love turns dowf it will find [redacted] pleasure [not ‘Shou’d Love turn dowf, it will find Pleasure’] Four lines, not printed, in the MS as follows: Shoud she prove dull or a dinsome Scauld A drinking dunty or dirty Havren ithe skin she heats I’ll let her grow Cauld her Tocher will purchase peace in a Tavern 13, beginning in the MS as a new stanza: Likes [not ‘likes’]; ther is my hand [not ‘there’s my Hand’] 14. Poortith tho Bony to Medle [not ‘Poortith, tho’ bonny, to meddle’] 15. Cash [not ‘Cash,’] 16. They’se never ne’er [not ‘They’ll never’]; fidle [not ‘Fiddle’] The remainder appears in the left-hand margin of the MS. 17. Ther’s Meikle [not ‘There’s meikle’]; Bands & bags [not ‘Bands and Bags’] 18. for siller & gowds a sweet complexion [not ‘And Siller and Gowd’s a sweet Complexion’] 19. Wit. & wth Virtue in Rags [not ‘Wit, and Virtue in Rags’] 20. affection [not ‘Affection’] 21. parks [not ‘Parks’] 22. castles and Rigs & Moors & Meadows [not ‘Castles, and Riggs, and Moors, and Meadows’] 23. Modern sparks [not ‘modern Sparks’] 24. & joynterd [not ‘or joynter’d’]

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Notes: TTM II (1726) This song expresses Ramsay’s own core values of pragmatic materialism. The tune is in Calista p.32: AIR XVII. Give me a Lass with a Lump of Land. Gairdyn f.3v: Lump of Land HighlandFair p.13: AIR VI. Give me a Lass with a Lump of Land. MusicalMiscellany VI: pp.86-7: A LASS with a LUMP of LAND. The first four bars of the tune are copied into Gairdyn and is musically consistent with MusicalMiscellany and HighlandFair. Gairdyn f.3v: Lump of Land

MusicalMiscellany VI: pp.86-7: A LASS with a LUMP of LAND.

Notes on the music: bar 4, treble stave, notes 4-6, it is unclear if the slur is only intended for notes 4-5 or notes 4-6. Presumably, its inclusion is designed to show the melisma on the second syllable of ‘together’. The melody line in HighlandFair is an exact replica of MusicalMiscellany. It is likely that MusicalMiscellany is the source for HighlandFair. The words differ in HighlandFair and Calista. The song is also at SMM II: no.169, attributed to Ramsay. Category I: Ramsay author, as he is in Contents.

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The Tea-Table Miscellany R94: The Shepherd Adonis. (‘The Shepherd Adonis, // Being weary’d with Sport’). Z. Adonis was beloved of Aphrodite and is here presented in pastoral guide in love with Amynta, a name widely used of pastoral shepherdesses. Torquata Tasso’s play Aminta was first produced in 1573. The tune is indicated in The Contented Lovers, Shepherd ADONIS and Contented LOVERS, though there is no music notation printed in either source. The first two of these at least are published in London, while the dates of all are uncertain; all open as Ramsay’s does. The song is at SMM II: no.159. It is classified as one of the ‘Auld Sangs brush’d up’ in the Contents. Category III or V: not by Ramsay, author unknown, although categorised as edited in Contents.

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Notes: TTM II (1726) R95: The Complaint. To B.I.G. To the tune of When absent, &c. (‘When absent from the Nymph I love’). No author appears to be attributed here. From the words accompanying earlier appearances of the tune, the song clearly predates Ramsay. It is from Thomas Southerne’s (1660–1746) Disappointment (1684). There is an MS at BL Egerton 2023 ff.34-35. This is untitled, with the following variants: 1. Love [not ‘love’] 2. bear [not ‘wear’] 3. The more But while [not ‘But whislt’] 4. fetters [not ‘Fetters’]; wear [not ‘bear’] 5. fancy Day & Night [not ‘Fancy Day and Night’] 6. & fairer Represents [not ‘and fairer represents’] 7. [redacted] Calista [not ‘Bellinda’]; delight [not ‘Delight’] 9. day [not ‘Day’]; throw [not ‘through’] 10. evry [not ‘ev’ry’] 11. singing [not ‘chirping’] 12. Lonely Me [not ‘lonely me’] 13. The Silent Night when Gentle Sleep with Balmy wings which softly [not ‘When gentle sleep with balmy Wings’] 14. weard wight to Rest [not ‘weary’d Wight’] 15. Thousand fears my fancy Brings [not ‘thousand Fears my Fancy brings’] Redacted line: The Nymph all as a Goddess fair 17. sleep flys while Like a the [not ‘Sleep flies, while like the’] Redacted: All soft and Blooming 18. with [not ‘And’] 19. & [not ‘and’] 20. Apears [not ‘Appears’]; My pain [not ‘my Pain’] 21. my Ravisht fancy my mind delighted joys Rove Crys [not ‘my Mind delighted flies’] Redacted lines: but soon my doubtful Merit but soon my doubts attack in drove 23 and 24 transposed. 23. merit worth makes fears [not ‘Worth makes Doubts’] 24. an [not ‘That’]; distroy [not ‘destroy’] 26. & disire [not ‘and Desire’] 27. high [not ‘high,’] 28. Roses & mine eys all fire [not ‘Roses, and mine Eyes all Fire’] 29. but when [not ‘When’] Redacted line: mine eyes force in their Sockets to Move 30. Viens grow Chil my Cheek turns Wan [not ‘Veins grow chill, my Cheek looks wan’] 31. whilsts [not ‘whilst’]; fears my pains [not ‘Fears my Pains’] 32. Look or Move a Man [not ‘look or move a Man’] 627

The Tea-Table Miscellany From the words accompanying earlier appearances of the tune, a version of the song predates Ramsay. It is from Thomas Southerne’s (1660-1746) Disappointment (1684). The song does not appear in the libretto but was included as one of ‘The three following Songs in the Disappointment, or The Mother in fashion’ in PlayfordTM p.5 where it is attributed to Thomas Farmer (fl.1685). While the first two lines are similar to what appears in TTM II (1726) the text thereafter is quite different. PlayfordTM I: p.5: [untitled]

The song with Ramsay’s text is in ThomsonOC2 II: pp.54-5, no.22, though the tune differs from PlayfordTM.

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Notes: TTM II (1726) ThomsonOC2 II: pp.54-5: When absent from the Nymph I Love

The song with Ramsay’s text is also at SMM I: no.53. Category II: Heavily edited from Thomas Southerne’s original song.

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The Tea-Table Miscellany R96: The young Lass contra auld Man (‘The Carle he came o’er the Croft’). No author appears to be attributed here. This is an eighteenth-century take on the senex amans topos, where ‘Cash without a Man’ is of no value. The threat in the last stanza (‘The Antlers dinna claim their Station’) is that an unwilling wife will cuckold her husband, who would thus be ‘horned’ The MS is at BL Egerton 2023 f.34, and varies as follows: 2. was 3. Glowrd Lookd [not ‘look’d’]; me [not ‘me,’]; Daft [not ‘daft’] 4. thinks trows [not ‘trows’] 8. bit [not ‘Bit’] Following this first stanza, the MS contains a stanza not printed: he gae to me a pair of shoon and a pair of Gloves with them he bad me dance till they were done and sae I did but wae worth them and him to I winna hae him na forsooth I winna hae him his Leather Gifts are Grow like himsell auld and faild wae [illegible] I winna hae him 9-16 appear next in the MS, varying thus: Redacted line between 9 and 10: my [Curtche] [illegible] my breast to fasten 10. Curtche [not ‘Curtchea’, misprint?] 11. wored [not ‘wor’d’]; wee upo [not ‘a wi’] 12. alake [not ‘alake!’]; Crooked [not ‘crooked’] 14. forsooth [not ‘forsooth,’] 15. Ane [not ‘An’]; Bairn’s [not ‘Bairn’s,’]; Lasses [not ‘Lass’s’] 16. fool [not ‘Fool’]; that likes for me [not ‘for me’] 17-32 not in MS. The tune is found in Cuming p.70: [untitled] ThomsonOC1 no.46: The Carle came o’er the Craft And thereafter (as The YOUNG LASS contra AULD MAN) in the MusicalMiscellany III: p.110 and in ThomsonOC2 I: pp.102-3, no.46. All these have the same first lines, but only the MusicalMiscellany preserves Ramsay’s title.

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Notes: TTM II (1726) The first strain of the tune as it appears in Cuming is recognisably the same tune as appears in ThomsonOC1, but there is quite a lot of rhythmic variation. Cuming is also missing an anacrusis, which is necessary for Ramsay’s lyrics. The second strain as it appears in Cuming is more florid than ThomsonOC1, in part because this tune is instrumental in design. Cuming p.70: [untitled]

Notes on the music: the natural signs (appearing in the transcription in square brackets) are given as flat signs in the source.

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The Tea-Table Miscellany ThomsonOC1 no.46: The Carle came o’er the Craft

The song was printed in SMM II: no.134. Category I or IV: Claimed as Ramsay’s in Contents, but evidence not clear. R97: Vertue and Wit: The Preservatives of Love and Beauty. To the tune of Gillikranky. (‘Confess thy Love, fair blushing Maid’). No author appears to be attributed here, though the phrase ‘Nasays no worth tenting’ is redolent of Ramsay’s language in R76. There are two MSS: BL Egerton 2023 f.27 and Huntington HM 1490, and the song appears later in Poems (Brown 2023, I: pp.428-29). The Egerton MS seems to be an untitled draft, with the lines ordered thus, in two columns: 25-32; 1-8; 9-16 (and with many redrafted and redacted lines). The Huntington MS is in the correct order, and is the fair copy. Both MSS feature some doodles, found below. Title. Virtue & Wit | the true Preservatives of | Love & beauty | a Sang | To the Tune of – Bessy Bell (Huntington) [not ‘Vertue and Wit, | The Preservatives of Love and Beauty. | To the Tune of Gillikranky.’ 632

Notes: TTM II (1726) 1. And why so coy fair Blushing Maid (BL v.2) [not ‘Confess thy Love, fair blushing Maid’]; Mind fair Blushing (BL v.1); Love fair Blushing (Huntington) [not ‘Love, fair blushing’] 2. since thine Eyes deceive the consenting (BL v.1); now when no Eeyes perceive us (BL v.2); Since thine eye’s Consenting (Huntington) [not ‘since thine Eye’s consenting’] 3. for tho thy safter thoughts are a betray (BL v.1); can will troting[?] streams or Bird upbraid (BL, v.2) [not ‘Thy safter Thoughts are a’ betray’d’]; Safter thoughts are a’ all (Huntington) [not ‘safter Thoughts are a’’] 4. or green the silent groves deave ŭs (BL v.2) [not ‘And Nasays no worth tenting’]; naysays (BL v.1); Nay-Says (Huntington) [not ‘Nasays’]; not (Huntington) [not ‘no’] 5. Why Struglest flowest thou to opose thou against thy Mind (BL) [not ‘Why aims thou to oppose thy Mind’]; Aims (Huntington) [not ‘aims’] 6. Thy with words thy Wishes all Denying (BL) [not ‘With Words thy Wish denying’] 7. When (BL) [not ‘Since’]; Made (BL, Huntington) [not ‘made’]; the (BL) [not ‘thee’]; Kind (Huntington) [not ‘kind’] 8. Reson (Huntington) [not ‘Reason’]; demands allows (BL) [not ‘allows’]; Complying (BL, Huntington) [not ‘complying’] 9. & (BL) [not ‘and’]; Jount (BL); joynt (Huntington) [not ‘joint’]; consent (BL) [not ‘Consent’] 10. Heavnly (BL); Sacred (Huntington) [not ‘sacred’] 11. Then happyly that time is spent (BL); then happylie that time is Spent (Huntington) [not ‘Then happily that Time is spent’] 12. that is bestowd on Kissing (BL) [not ‘That’s war’d on kind caressing’]; ware’d on kind Carressing (Huntington) [not ‘war’d on kind caressing’] 13. Then Let me fald thee in my arms Come Sweetest May to my Arms (BL) [not ‘Come then my Katie to my Arms’]; Myra Calista (Huntington) [not ‘Katie’] 14. I’ll think nae be nae mair a Rover of Roving (BL) [not ‘I’ll be nae mair a Rover’]; more mair (Huntington) [not ‘mair’] 15. heaven (Huntington) [not ‘Heaven’] 16. faithfull (Huntington) [not ‘faithful’] The last word in lines 17, 19, 21, and the majority of 22 of the BL MS are lost to a tear in the page. 17. natures (BL) [not ‘Nature’s’] 19. That the (BL) [not ‘That’]; willy wisp (BL) [not ‘Willy---Wisp’] 21. gaes out (both MSS) [not ‘goes out,’]; caresses (BL) [not ‘Caresses’] 23-4 not in BL MS (lost to tear). 23. fire (Huntington) [not ‘Fire’] 24. A our Boasted (Huntington) [not ‘all our boasted’] Redacted version of l. 25 in BL: Inferiour Beauty with sic fears 25. Beautys of Inferiour (both MSS) [not ‘Beauties of inferior’]; cast (BL) [not ‘Cast’] 633

The Tea-Table Miscellany 26. have (BL) [not ‘start’]; reflection (Huntington) [not ‘Reflection’] Alternate version of Line 26 in BL MS: may Raiss such an objection 27. must ever (BL); Maun allways (Huntington) [not ‘maun always’] 28. When (BL) [not ‘Where’]; protection (BL) [not ‘Protection’] Redacted line in BL: Thy Wit Resplendant as the Sŭn 29. & (BL) [not ‘and’]; vernal (BL) Aprile (Huntington) [not ‘April’] 30. grow still (BL) [not ‘rise the’] 31. [Part of line 31 erased in BL MS]; the mair on the (BL); the on The (Huntington) [not ‘then on thee’] 31 repeated in BL MS, corrected: Then ay the mair I hear & gaze [not ‘The langer then on thee I gaze’] 32. my love will wax compleeter (BL, v.1); On Thee Love grows completer (BL, v.2) [not ‘My Love will grow completer.’] Doodle on p.1 of the Huntington MS, as a stanza break:

Doodle at the foot of BL Egerton:

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Notes: TTM II (1726) The tune is indicated on the following broadside ballads: THE BRAES O’ | KILLIECRANKIE. (1689). The Memorable BATTLE fought at | KILLY CRANKIE. | By Chief CLAVERS and his HIGHLAND MAN. | To the Tune call’d Killy Cranky. (1689). The tune is located from the early seventeenth century in AriaDiCamera p.34, no.50: Keele Cranke. Atkinson pp.96-7: Irish Gilikrankey (a later hand has written ‘Highland Pibroch’ in pencil above the first stave). Dow p.48, no.74: Gillicrankie Gairdyn f.23: Gillecrankie (incipit) JamesThomson p.20: Killie Krankie JamesThomson p.40: Killie Krankie Leyden f.9r, no.5: Killie Crankie PlayfordOST p.3, no. 6: Keele Cranke. Sinkler f.52, no.44: New Killikrankie The tune had thus been incorporated as a song about the battle of Killiecrankie (1689) by the time Ramsay published this alternative set in 1726. Glen (1900) p.156 claimed that the chorus for ‘Killiecrankie’ was derived from the tune ‘My mistres blush is bonie’ found in JohnSkene pp.101-2. The two are clearly separate tunes, but there is a familiarity between Killiecrankie’s chorus and ‘My mistres blush is bonie’. The tune is written out in tablature in Leyden. In the NLS copy of PlayfordOST a note appears in pencil above the first stave, ‘Keele Cranke’ that says ‘Atkinson MS. 1694’. Indeed, the tune, which appears in Atkinson, ‘Irish Gilikrankey’ is the same tune appearing in PlayfordOST, though there are notable differences, particularly in the first strain. Atkinson has no anacrusis and the beats within each bar are inconsistent throughout, which makes it difficult to distinguish a clear time signature. The second strain of the tune in more in keeping with PlayfordOST.

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The Tea-Table Miscellany Atkinson pp.96-7: Irish Gilikrankey

Notes on the music: bar 12, note 8, the quaver e’ has a quaver a’ scribbled over the top; bar 17, note 7, the ornament is ambiguously placed between note 7-8 [similar ornament appears in bar 11 on note 2] PlayfordOST p.3, no. 6: Keele Cranke.

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Notes: TTM II (1726) The copy of the tune appearing at NLS Glen.112 includes the pencil note ‘Atkinson Ms. 1694–’. The first half of the tune in JamesThomson is like PlayfordOST, however the second half is quite distinct. McGregor (see comments on the tune, HMS. scot) observes that the tune has ‘gone awry towards the end of the 2nd strain’ and yet when comparing this to second half of the tune in Atkinson, there are notable similarities, suggesting these two sources shared a common ancestor. Like Atkinson, JamesThomson is also missing the anacrusis, which is needed when singing Ramsay’s text. JamesThomson pp.40: Killie Krankie

Notes on the music: bar 5, note 4, the notehead is ambiguous, but the copyist has written ‘c’ above the note, bar 25-31 the original quaver and semi-quaver beams have been scratched out and as such the rewritten rhythms have been transcribed The tune in Dow is almost identical to PlayfordOST (albeit written a fifth higher, perhaps to better suit the flute tessitura). PlayfordOST is likely also the source for AriaDiCamera. Though Sinkler is titled ‘New Killikrankie’ it is a different tune. Category I: attributed to Ramsay in Contents.

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The Tea-Table Miscellany R98: SONG. To the tune of The happy Clown. (‘It was the charming month of May’). X. There is a note on this in GS (Newman and McGuinness 2022, pp.481-4). ‘King Phoebus’ is Apollo, god of the sun. The tune is in Campbell f.42v: The Happy Clown Crockat f.44v: Happy Clown played on Exchange bells PlayfordDM (1718) p.347: Walpoole; or the happy Clown. Longway for as many as will. It also appears in BeggarsOpera1728 Air XLVII, p.59, WalshCCDM IV: no.26 and elsewhere. Category V: Probably not by Ramsay; not claimed in Contents, authorship unknown. R99: Lady Anne Bothwel’s Lament (‘Balow, my Boy, ly still and sleep’). X. This song is more usually characterised as a lullaby rather than a lament, but the words here are more in tune with loss and misery. Similar lyrics are found in a c.1630 manuscript known as Poetical Miscellany pp.166-7 under the title ‘A mothers song to her sonne.’ Also, in Comic&Serious pp.79-82: Lady Anne Bothwel’s Balow. (Same title and almost the same lyrics, likely to be Ramsay’s source). The tune is present from the early seventeenth century in Rogers f.56v-57r: [untitled] (first line Baloo my boy) It is also in ThomsonOC2 II: pp.40-4, no.17. A different set appears at SMM II: no.130. Category III/V: authorship unknown; not by Ramsay or with at least only light editing from him; claimed to be edited ‘Auld Sang’ in Contents.

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Notes: TTM II (1726) R100: SONG. She raise and loot me in. (‘The Night her silent Sable wore’). Z. This song provides balance for R99, and the lover here is true. The song lyrics appear on a single sheet, where it is titled A New Love Song (1684?). Three other songs are also printed on the same sheet. It is found from the late seventeenth century in D’UrfeyFCS A New Love Song. D’UrfeyNCSP pp.56-7: The Generous Lover, a New Song, set by Mr. Tho. Farmer. Gairdyn f.49v: She rose and let me in PlayfordCA IV: p.8: [untitled] Sinkler f.38: She roase and let me In D’UrfeyFCS, D’UrfeyNCSP and PlayfordCA have the same first lines. The song is later found at ThomsonOC2 II: pp.30-1, no.14 and SMM I: no.83 and is attributed by Glen (1900) p.36 to Thomas D’Urfey. Category V: By Thomas D’Urfey (1653-1723), although noted as an edited ‘Auld Sang’ in Contents. R101: SONG. If Love’s a sweet Passion. (‘If Love’s a sweet Passion, why does it torment?’) X This song appears to derive from its appearance in Purcell’s FairyQueen of 1692 (words attributed to Elkanah Settle (1648-1724)), which is possibly Ramsay’s source (or via PPM1719 below). The tune is indicated in the following broadside ballads: The Court and Kingdom in Tears: OR, THE Sorrowful Subject’s Lamentation for the DEATH OF Her Royal Majesty Queen Mary; […] To the Tune of If Love’s a Sweet Passion, &c. ([1695]). The Languishing Young Man: | […] | To the Tune of, If Love’s a Sweet Passion, &c. (1671-1704?). The West-Country Weaver: […] To the Tune of If Love’s a sweet Passion, &c. (1683-1716?) THE | Young Lover’s ENQUIRY; | OR, | The Batchelor’s Question to Cupid. | To an Excellent New Ayre, Sung at the Play-House. (Settle, 1692)

639

The Tea-Table Miscellany It can also be found at Brown f.14: [untitled] (same first line) Gairdyn f.10: Since Loves a sweet pasion Leyden f.56v: If loves a sweat pasion PPM1719 III: pp.287-88: A SONG. (same first line) FairyQueen p.29: A Song in two Parts. (same first line) Sinkler f.65: Loves a sweet passion The song appears with different words in BeggarsOpera1728, Air XLI, p.50. Category V: Author Elkanah Settle, although noted as an edited ‘Auld Sang’ in Contents. R102: John Ochiltree (‘Honest Man John Ochiltree’). Z. Ramsay claimed that this song was ‘old’, however, there is no trace of it in manuscript or print before TTM II (1726). In fact, the first time it appears is in ThomsonOC2 II: p.109, no.48, where Ramsay’s text is set to music. Indeed, the setting here is written in the style of a French gigue, a common baroque dance form. As such, the tune sounds quite mannered compared to earlier Scots’ songs settings. Ramsay’s text aligns with the music perfectly. However, this does not necessarily suggest the tune was composed to fit Ramsay’s lyrics, as Thomson typically edited tunes to make them more singable. ThomsonOC2 II: p.109, no.48: John Ochiltree. (text); JOHN OCHILTREE (music)

Notes on the music: bar 4, bass stave, notes 1-2, it looks like a fermata is placed in between notes 1-2, but this is likely an error and it is intended to be a dotted crotchet tied to a crotchet Category I/II: attributed as an edited ‘Auld Sang’ in Contents, but Ramsay’s authorship cannot be ruled out on the available evidence. 640

Notes: TTM II (1726) R103: Song. To the Tune of, Jenny beguil’d the Webster. The auld Chorus. (‘O Mither dear, I ’gin to fear’). ‘Johnny/Jockey’ and ‘Jenny’ are stock names for late seventeenth and early eighteenth-century love-themed art songs. Jenny’s dream of Johny coming down the glen hardly needs Dr Freud’s elucidation, though presumably it remains a dream since Jenny is avoiding Eppy’s fate of ‘Hainches fow’ (full haunches) and may succeed in a good match combining their fortunes since she has ‘bidden down’ her apron, unlike Eppy. The tune is better known as ‘Jenny Dang the Weaver’. It was first printed in ThomsonOC2 II: pp.83-4, no.37 under Ramsay’s tune title ‘Jenny beguil’d the Webster’. Allan Cunningham (1825) p.93 claimed it was originally an ancient lowland air, now lost. He could only recall the chorus that began with the first line ‘Jenny lap an’ Jenny flang’. The tune was later reprinted in other Scottish and Irish collections, including Robert Bremner’s Scots Reels (1757) p.54. It does not appear in known manuscripts before ThomsonOC2. ThomsonOC2 II: pp.83-4, no.37: To the Tune of Jenny beguil’d the Webster (music); XXXVII. | O Mither dear, I gin to fear. (text)

Notes on the music: bar 7, treble stave, note 5, lyric, the ‘r’ in ‘yr’ is in superscript in the source The song was also collected in SMM II: no.127. Category I: attributed to Ramsay in Contents.

641

The Tea-Table Miscellany R104: SONG. To the Tune of, Wat ye wha I met Yestreen, etc. (‘Of all the Birds, whose tuneful Throats’). T.R The main note for this song is in GS (Newman and McGuinness 2022, pp.4956). Here the young man is of a mind to let his ‘honest Word’ substitute for marriage. Hymen is the Greek god of marriage ceremonies. The tune is at Stuart, pp.122-3: Wat ye wha I met yestreen HighlandFair, p.61: AIR XL. Wat ye wha I met ystreen. Category V: noted as by another hand in Contents. Thomas Robertson of Downyhills is a possible author. R105: A SONG. To its own Tune. (‘In January last, On Munanday at Morn’). Z The meeting of a man and a woman on the road with erotic overtones became an established theme in Scottish song, perhaps most famously in ‘The Road and the Miles to Dundee’, first printed in The Buchan Observer in 1908, which bears some slight similarity to the structure of this song. The tune is indicated in the following broadside ballads: Loves Quintessence. […] To the new Scotch Tune, or in January last (different words) (1662-1692?) The Scotch Wedding: | OR, | A short and Pretty Way of Wooing. | […]| To a New Northern Tune, much us’d at the Theatres. (D’Urfey, 1672-1696?) Young Jemmy, | OR | The Princely Shepherd. | […] | To a pleasant New Playhouse Tune. Or, In Ianuary last, Or, The Gowlin. (Behn, 1672-1696?) The tune is found from the seventeenth century onward in the following sources: Blaikie f.2, no.80: The Bony Brow. Blaikie f.2, no.94: In January Last Blaikie f.2, no.96: Landy Binny’s Lilt. FondHusband pp.10-1: A Scotch SONG. (different words) Leyden no.50: The bonny Brow PlayfordAB p.23, no.55: Scotch Tune PlayfordCA p.46: A SCOTCH SONG, in the FondHusband. PlayfordMRV1682 pp.36-7, no.50: Bonny Brow. PlayfordNL p.26, no.31: Gen. Leshley’s March. PPM1719 I: pp.306-07: A Scotch SONG (different words)

642

Notes: TTM II (1726) Ramsay has simply reprinted the song from D’Urfey’s FondHusband, making occasional changes to the words. For example, in verse three, the first line as it appears in D’Urfey is: ‘Fair Maid, I’m weel contented to have like company’ whereas Ramsay prints: ‘Fair Maid, I’m thanfu’ to my Fate,’. The meaning is the same, but Ramsay’s text is clearer and more direct in its meaning. Its appearance in Young Jemmy indicates its use in anti-Jacobite pastoral; this text in broadside in the Roxburgh Ballads includes a woodcut image of James Scott, 1st Duke of Monmouth (1649-85), who rebelled against King James, his half-brother. It is also in ThomsonOC2 II: pp.95-7, no.42 and elsewhere and was clearly a very well-known song of the period. Categoy III/V: Author/editor Thomas D’Urfey (1653-1723), though attributed as an edited ‘Auld Sang’ in Contents. R106: SONG. To the Tune of, I’ll never leave thee. (‘One Day I heard Mary say’). C See TTM I (1723) R55 for notes on this tune. The song was collected in SMM I: no.91, where it is attributed to Robert Crawford of Achnames, a friend of William Hamilton of Bangour and collaborator of Allan Ramsay’s (Pittock (2018) III: p.24) Category V: Author Robert Crawford (c.1690-1733/35); not attributed to Ramsay in Contents. R107: Sleepy Body, drowsy Body. (‘O sleepy Body, // And drowsy Body’). Q. The Latin is unusual in Ramsay and there does not appear to be a classical source for it. It is an invocation to sleep to come (Vigila, vive, me tange) and a rather rueful recognition that the speaker’s husband is always dreaming and asleep, somnio captus, rather than the lover of earlier days. The wife is so frustrated that she at least fantasises about seeking sexual fulfilment elsewhere. The tune is at NealScotch p.22: Drousie body ThomsonOC2 II: no.50: Sleepy Body The first strain of the tune as it appears in NealScotch is only four bars long, and, as such, does not fit Ramsay’s text, which requires eight bars. That said, the Latin text, ‘Somnolente’ follows a four-bar; eight-bar strain structure and fits the NealScotch tune.

643

The Tea-Table Miscellany NealScotch, p.22: Drousie body

Notes on the music: bar 17, a semi-quaver is missing ThomsonOC2 adds an extra four bars to the first strain so that Ramsay’s text fits the tune. ThomsonOC2 II: no.50: Sleepy Body

Category I: attributed to Ramsay in Contents. 644

Notes: TTM II (1726) R108: General Lesley’s March to Long-maston Moor. (‘March, march, // Why the D---- do ye na march!’). Z. Alexander Leslie, 1st Earl of Leven (1582–1661) had risen to the rank of Field Marshal in the Swedish Army under Gustavus Adolphus, before returning to Scotland, where he became Lord General of the Army of the Solemn League and Covenant. This song celebrates his incursion into England in support of the English Parliamentary forces in 1644, which resulted in the critical victory over the Crown at Marston Moor (‘Long-maston Moor’), largely delivered by Leslie’s troops. In 1646, Charles I surrendered to the Scottish army under Leslie. ‘Jenny shall wear the Hood, | Jocky the Sark of God’ expresses the misplaced triumphalism of the contemporary Covenanters. The song appears to be contemporary with the events it describes, as the tune appears first in 1652: Atkinson pp.151-2: Leshly’s March (different tune from Playford). PlayfordMD p.26, no.31: Gen. Leshley’s March PlayfordMR1652 p.10, no.19: Lesley’s March PlayfordNL II: p.29: Tantarram, or Lashleys March. Ramsay probably took the tune at least from Playford. Category III: Identified as an edited ‘Auld Sang’ in Contents. R109: SONG To the Tune of, I’ll gar ye be fain to follow me. (‘ADieu for a while my native green Plains’). Author not marked. This is a fairly routine pastoral. The tune appears in JamesThomson p.28: I’ll mak you be fain to follow me Sinkler f.58v-9v: [untitled] The tune appears as Ramsay titles it in HighlandFair Air XXXIII, p.52. Category I: very likely to be by Ramsay with an inherited tune, attributed to Ramsay in Contents.

645

The Tea-Table Miscellany R110: SONG To the Tune of, Busk ye, busk ye, my bony Bride (‘Busk ye, busk ye, my bony Bride’). Not marked. There are many versions of the song ‘The Bonny Braes of Yarrow’ of which William Hamilton of Bangour (1704–54) wrote the most famous version. This is more cheerful than many of them but looks to be based on Hamilton’s version. The tune is notated in lyra-viol tab in Leyden f.14r: The Ladys Goune The song is at ThomsonOC2 II: pp.34-9, no.16 as ‘The Braes of Yarrow’ and is in SMM I: no.64. See also the discussion in Karen McAulay, Our Ancient National Airs (2016), p.196. Category II: Edited by Ramsay after William Hamilton of Bangour, though attributed to Ramsay in Contents. R111: Corn Riggs are bony (‘My Patie is a Lover gay’). Not marked This song has a fuller note in GS (Newman and McGuinness 2022, pp.54659). It bears a relationship to an earlier song by Thomas D’Urfey from The Virtuous Wife (1680), and there is MS evidence of related words and tune earlier than Ramsay. ‘Cockernony’ is a high coiffure, but the reference in the song is probably-as can be found in Burns and elsewhere-by extension to the female genitalia. The song was set to a contemporary dance tune, and it can be found in related forms from the late seventeenth century at Balcarres pp.8-9, [no.10]: Corne riggs are bonnie. mr Becks way. Blaikie p.6, no.104: New Cornriges. BlaikieWS p.10, no.25: New Corn rigs Campbell f.36v: Corn riggs are Bonny Cockburn f.33v: Sandie shall never be my love again Craig p.42: Corn Riggs is bonny. Cuming p.45: [untitled] Gairdyn f.4r: Corn riggs NealScotch p.5: Sawny he was Tall NewbattleLessones f.14v: New Corn Rigs Panmure9454 f.27: New Corn riggs PlayfordAB I: no.47: Sawney. PlayfordAyres1681 III: p.9: A NORTHERN Song. PlayfordMRV1682 p.16: A Scotch Tune called Sawney. PPM1719 I: p.316: A SONG. [first line: Sawney was tall and of Noble Race]

646

Notes: TTM II (1726) The song appears later in HighlandFair Air XXIX, p.46 Patie&Peggy Air VII, p.8, Gay’s Polly, Air XXX, p.12, ThomsonOC2 II: pp.45-6, no.18 and elsewhere. It was collected in SMM I: no.93. Category II: heavily edited by Ramsay, though attributed in Contents to his authorship. R112: Cromlet’s Lilt (‘SInce all thy Vows, False Maid’). X. The song is separately printed as Cromlet’s Lilt in ballad form, certainly before Ramsay but with no specific date. It is an Anglicised version of the same text. The story behind the song was transmitted by Alexander Tytler of Woodhouselee to Robert Riddell (Pittock, SMM, III: p.66). In The Saint’s Recreation (1683) pt. 3, p.73, Rev. William Geddes (1630–1694) stated the hymn ‘The Path-way to Paradice’ should be sung to ‘the Tune of that which is called Cromlicks’ though his lyrics are not the same as is printed in TTM II (1726). The tune can also be found in: Balcarres p.7, no.9: Cromlick’s Lilt (Beck) Balcarres p.140, no. 223: Cromlick’s Lilt, mr macklachlands way, by mr beck It is also in ThomsonOC2 II: pp.1-3, no.1 and was collected in SMM II: no.199. The tune is indicated in the following broadside ballad, though there is no music notation: CHROMLETS LILT. (same first line) (ND) Category III or V: Not by Ramsay, author unknown, although categorised as an edited ‘Auld Sang’ in Contents. It is possible that Ramsay Scotticised it. R113: SONG. We’ll a’ to Kelso go.(‘An I’ll awa to bony Tweed side’). Not marked. The reference to ‘Apes’ is to the proverb that women who die spinsters will lead apes in hell. A reference first appears in English in George Gascoigne’s A Hundreth sundrie Flowres bounde vp in one small Poesie (1573) and is also referenced in The Taming of the Shrew and Much Ado about Nothing. The first time a tune titled ‘We’ll a’ to Kelso go’ appears is in the sixth volume of OswaldCPC, published around 1755. However, Glen (1900) p.231 observed that this tune was a slightly altered version of ‘The Geud Man of Ballangigh’ published in PlayfordDM as a 6/4 tune following an AB structure.

647

The Tea-Table Miscellany PlayfordDM (1696) p.216: The Geud Man of Ballangigh; To a New Scotch Jigg.

Ramsay’s lyrics do not really fit well with ‘The Geud Man of Ballangigh’ though, they do fit to ‘We’ll a’ to Kelso go’ as found in OswaldCPC. Unfortunately, without earlier evidence of what the tune titled ‘We’ll a’ to Kelso go’ was in Ramsay’s day, it is impossible to know the exact tune he had in mind. Indeed, Oswald may have simply adapted ‘The Geud Man of Ballangigh’ to ensure it fit with Ramsay’s text. The tune is at SMM VI: no.561. Category I: Attributed to Ramsay in Contents.

648

Notes: TTM II (1726) R114: WILLIAM and MARGARET. An old BALLAD (‘’Twas at the fearful Midnight Hour’). D.M. This is a very similar text to ‘When it was growne to darke midnight’ in Francis Beaumont’s The Knight of the Burning Pestle (1613) p.33. William and Margaret (opening line ‘When all was wrapt in dark midnight’) was also published separately, but it should be noted that it was published as William and Margaret: A New Ballad in 1725. There are also similarities to Fair Margaret’s Misfortune and the song is also in Ambrose Philips, A Collection of Old Ballads (1725) pp.218-9 with the same first line as is in Beaumont’s text. It is very similar to Ramsay’s text and may be his direct source, though Beaumont’s text is the original. The tune is indicated in the following broadside ballad: Fair Margaret’s Misfortune; | OR, | Sweet William’s Dream on his Wedding Night, | With the sudden Death and Burial of those noble Lovers. ([c.1720]) The tune is printed on the following song sheets: William and Margaret A New BALLAD. (1725?) William and Margaret A BALLAD (1727?) The tune is also printed in the following music collections: PlayfordDM (1686) p.110: Never love thee more. ThomsonOC1 no.49: William and Margaret | An old Scotch Ballad with the Original Scotch Tune The song is also at ThomsonOC2 I: pp.109-112, no.49. Category III/V: Author/attributed to Francis Beaumont (1584–1616), and not claimed in Contents. Looks to be lightly edited by Ramsay.

649

The Tea-Table Miscellany R115: ODE. To Mris. A.R. To the Tune of, Love’s Goddess in a Myrtle Grove. (‘Now Spring begins her smiling Round’). H. The Ode appears to be dedicated to Ramsay’s wife. The reference to ‘Sisters’ in stanza 2 is to the Muses. Tweed and Yarrow are Latinised in Stanza VI, as is appropriate in the circumstances of the speaker’s approach to (but not final endorsement of) the carpe diem values of Horace (Quintus Horatius Flaccis, 65–8BC), as expressed in Odes I: p.11: ‘carpe diem, quam minimum credula postero’ - seize the day, the future is little to be trusted). See TTM I (1723) R44 for notes on the tune. Category I: Apparently by Ramsay, although the Contents list attributes this song to other hands. R116: HORACE. Book I. Ode II. To W.D. Tune of, Willy was a wanton Wag. (‘Willy ne’er enquire what End’). H. This song is in the tradition of domestication of Horatian poetry and Horatian values as practised by Ben Jonson (1572–1637) and his followers including Robert Herrick (1591–1674). Ramsay’s reference point is one of Horace’s parade odes, lamenting civil strife and invoking the return of poetry (Apollo) and love (Venus). We may perhaps discern the influence of Ramsay’s friend Thomas Ruddiman (1674–1757): the two shared a common patron in Archibald Pitcairne (1652–1713). From about 1725–26, Jonson’s and William Drummond of Hawthornden’s (1585–1649) heads appeared on the sign outside Ramsay’s shop in the Luckenbooths, symbolizing both the Scottish and wider British features of his poetic allegiance and practice, much as TTM II (1726) does itself. The choice of tune is indicative of Ramsay’s determination to yoke high culture and demotic Scots reference together. It can be found from the early eighteenth century in AgnesHume f.5v: Lady Streathelen’s tune AriaDiCamera p.46, no.70: Will was a wanton Wag. Gairdyn f.4: Willie is a wanton wag The tune is also in ThomsonOC2 II: pp.60-2, no.26, though the lyrics printed here are found at R148. Category V: attributed to another author in Contents.

650

Notes: TTM II (1726) R117: The Widow (‘The Widow can Bake, and the Widow can brew’). Author not marked. It is not immediately apparent in this song whether the chief appeal of the widow is financial or aesthetic, but both seem to form a happy conjunction. Versions of the song can be found from the turn of the eighteenth century in Bowie f.10v: Wap at the Widow my Lady Dow p.6, no.12: The widows Ladie. Dow p.54, no.81: Whip at the Widow my Ladie PlayfordOST p.10: Wappat the Widow my Lady. It is also in HighlandFair Air XLVI, p.70 and ThomsonOC2 I: pp.10-1, no.6 (titled The Widow), and was collected at SMM II: no.124. Category II: attributed to Ramsay in Contents, but previous circulation of the song many suggest more of an editorial than an authorial role. R118: The Highland Lassie. (‘The Lawland Maids gang trig and fine’). Not marked. This is a famous topos of abduction of the same kind as the ‘Gipsy Laddie’ songs, where the Highland lover represents the elusive spirit of freedom from constraints of space, state, or law. The poem is at BL Egerton 2023, f.39, comprising ll. 1-8 only, varying thus: 1. May’s gang Trig & [not ‘Maids gang trig and’] Redacted: but mony of them’s 2. & unko sausy [not ‘and unco sawsy’] 4. Higland [not ‘Highland’] 5. O my Bonny Bony Higland [not ‘O, my bony, bony Highland’] 6. Hartsome smiling Higland [not ‘hearty smiling Highland’] 7. The Less [not ‘thee less’] 8. But Joys still keep ‘Borrowstoun’ is a generic term for a burgh. The usual double entendre use of the Highland Laddie’s ‘sword’ is rendered yet more explicit in stanza 5 through its reinforcement by the ‘Whinger’, a short sword (not unlike a dirk) designed for thrusting. The last stanza describes the pudenda and nipples in terms of the landscape and its fruits. Glen (1900) p.99 stated the tune was ‘McLauchlin’s Scots Measure’ and was found in several seventeenth-century sources including: AgnesHume p.4: Marklans Scots Measor Balcarres p.30, no.56: Macklaines scots measure Leyden f.24v, no.38: McLeans Scots Mesure PlayfordOST I: p.1: Mr Mc. Laines Scotch-measure 651

The Tea-Table Miscellany The tune is titled ‘The HIGHLAND LASSIE’ in MusicalMiscellany IV: p.142-4 and there are similarities between this version and those titled McLean’s Scotch Measure. ‘The HIGHLAND LASSIE’ has been adapted in MusicalMiscellany to make it more suitable for singing. It was collected at SMM I: no.22. Category II: attributed to Ramsay in Contents, but previous circulation of the song many suggest more of an editorial than an authorial role. R119: Jocky blyth and gay. (‘Blyth Jocky young and gay’). Q. The song was printed as a broadside ballad around 1701 where it was titled The new way of | JOCKY Blyth and Gay, | A Song much in Request. | To an Excellent new Tune. The tune is found in the Atkinson manuscript dated from the late seventeenth century and later in PPM1719. Atkinson pt.2, p.19: Blyth Jockey Young and Gay. PPM1719 IV: p.271: A SONG. (The first line is ‘BLith Jockey Young and Gay,’) The song was collected at SMM I: no.29. Category V: song in circulation before D’Urfey and collected by him. R120: Had away frae me, Donald (‘O Come away, come away’). Q. Precursors of this song are found from the late seventeenth century at: Blaikie, no.21: Hold away from me Donald PlayfordDM (1690), p.153: Welcom home old Rowley. (‘Scots air’ written in pen after the title). It is also at ThomsonOC2 II: pp.104-5, no.46. Category V: not attributed to Ramsay in Contents. R121: Her ANSWER (‘O Had away, had away’). Q. See note for R120. These two songs are a dialogue. R122: Todlen Butt, and Todlen Ben (‘When I’ve a Saxpence under my Thumb’). Z. Unusual in its praise of drinking. Tippony ale was weak ale or beer sold at 2d sterling per Scots pint (1.7 litres). Reference to it tends to suggest a patriotic Scots outlook. The tune is at ThomsonOC2 II: pp.93-4, no.41. Category II: Classified as an edited ‘Auld Sang’ in Contents.

652

Notes: TTM II (1726) R123: The Auld Man’s Best Argument To the tune of, Widow are ye wawkin (‘O Wha’s that at my Chamber Door?’). Unmarked. This is a senex amans song, very common in Scottish tradition. Being ‘pawky, wise and thrifty’ does not seem to be enough at ‘little mair than Fifty’, but the sight of the guineas ‘ten Times better can express | Affection’. This is a material girl. The tune is at PlayfordOST p.14 as ‘Widow gin thou be waking’. Category II: pre-existing tune, authorship of words uncertain. Attributed to Ramsay in Contents, but many similar sets in circulation. The tune in Contents is given as ‘Wha but I Jo Findlay’. R124: The peremptor Lover To the tune of, John Anderson my Jo. (‘’Tis not your Beauty, nor your Wit’). Q. The female speaker demonstrates an uncompromisingly contractual outlook on love. Sources for the tune are listed at TTM I (1723) R58. Category V: not attributed to Ramsay in Contents, author unknown. R125: What’s that to you. To the Tune of, The glancing of her Apron (‘My Jeany and I have toil’d’). Q. The tune appears in ThomsonOC2 II: pp.95-7, no.42 titled The Glancing of her Apron, though the first line is ‘In January last’, a song that was performed in D’Urfey’s FondHusband pp.10-1. The music for the song in FondHusband is in PlayfordAyres II: pp.46-7. William Chappell explained that the tune was known by three different titles: ‘In January Last’, ‘The Glenting of her Apron’ and ‘The Bonny Brow’. The latter two names are taken from the last line of the first verse: ‘Yen glinting in an Apron with a bonny brent brow.’ However, it should be noted, the tune as found in ThomsonOC2 is quite different when compared to the tune from the PlayfordAyres. Sources for the PlayfordAyres version of the tune are listed at TTM II (1726) R105. A version of the song is collected at SMM VI: no.571. Category V: Author/editor/collector Thomas D’Urfey (1653-1723), though categorised as an edited ‘Auld Sang’ in Contents.

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The Tea-Table Miscellany R126: SONG To the absent FLORINDA. To the Tune of, Queen of Sheba’s March. (‘Come, Florinda, lovely Charmer’). Unmarked. The only direct evidence of this tune is from Patrick O’Neill’s MS from as late as 1787 (see Loughnane 2016). Georg Frederic Handel did not compose Solomon, the oratorio that includes the famous ‘Arrival of the Queen of Sheba’, until 1748, with the first performance taking place in 1749. As such, it is unconnected to the tune listed here. Category V: not attributed to Ramsay in Contents, author unknown. R127: A Bacchanal SONG. To the Tune of, Auld Sir Symon the King. (‘Come here’s to the Nymph that I love!’). IWQ. Bacchus (=Dionysos) is the Roman god of drink, invoked by ‘Io’; Perseus, the slayer of the Gorgon, is the legendary founder of Mycenae, and Pegasus the winged horse is the offspring of Poseidon (=Neptune); Aether is the element that fills the universe above the terrestrial sphere and the Empyreum is where it is found. The tune of this drinking song was long well known in Ramsay’s day, and was indicated on the following broadside ballad THE | TRIFLE,| A New SONG. To the Tune of Winchester wedding: Or, Old Sir Simon the King, (first line ‘A Trifling Song ye shall hear’) (1714). The tune was also notated in the following sources Balcarres p.98, no.174: Old sir simon, | the king, john| Morisons way. | by mr beck PlayfordAB p.29, no.71: OLd Simon the King. PlayfordDM (1679) p.112: Old Simon the King. PlayfordDV no.4: Old Simon the King PlayfordMH [p.30-1]: Old Simon the King PlayfordMR1652 p.80, no.89, SImon the King. PlayfordMRV1661 p.93, no.95, SImon the King. PPM1707 II: pp.47-8: The Reformed Drinker. (first line ‘COme my Hearts of Gold,’) PPM1719 III: pp.143-4: Old Simon the King, (first line ‘IN a humour I was late’) WalshDF bk 1, p.5: Old Simon the King The tune is also found in the BeggarsOpera1728 AIR LXII p.71. ‘To old Simon the King’, first line, ‘But Valour the stronger grows’. The song is collected at SMM IV: no.344. Category V: not attributed to Ramsay in Contents, author (‘I.W.Q’) unknown.

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Notes: TTM II (1726) R128: To Mris A.C. A SONG. To the Tune of, All in the Downs. (‘When Beauty blazes heavenly bright’). Not marked. It is unclear who the dedicatee – presumably ‘Annie’ as in the text – is, but Rhona Brown suggests it could be Anne Clerk, daughter of Sir John Clerk of Penicuik, who was born in 1712. The musical history for ‘All in the Downs’ requires some unpicking, though Andrew Gustar (2014), and Olive Baldwin and Thelma Wilson (1997) have already done quite a lot of the leg work. A song titled ‘Sweet William’s Farewell to Black-Ey’d Susan’ with the first line, ‘All in the downs the Fleet was Moor’d’ was advertised as having been published on 10 January 1719. It was written by John Gay and according to Gustar (2014) p.433 was one of his best-known works. Gay’s text was set four times: one by Henry Carey, one by George Hayden (or Haydon) (d.1722), one by Pietri Giuseppe Sandoni (1685–1748), and one by Richard Leveridge. Henry Carey and Richard Leveridge’s settings were published together in SeaSongs, with Leveridge’s tune for the flute (titled Black Ey’d Susan | to Mr Leveridge’s Tune) printed verso.

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The Tea-Table Miscellany SeaSongs p.5: Sweet William’s Farewell to Black Ey’d SUSAN | The Tune by Mr Carey

Notes on the music: the brace in the original source is barely visible Leveridge reprinted both his and Carey’s setting in Leveridge1728, though he made sure his tune appeared on the front, just below Carey’s setting. This version of Leveridge’s tune appears below. The flute version still appeared at the verso of the song sheet, though in a different key. Leveridge1728 p.75

As discussed by Gustar (2014) p.438, Hayden’s version was very similar to Carey’s and may have derived from the same source. He prints all three tunes side by side in his article. 656

Notes: TTM II (1726) In 1730, the song appeared in MusicalMiscellany IV: pp.148-51 and was attributed to both Gay and Leveridge. Leveridge’s melody was used for the song, ‘Where shall Matilda find her love?’ in Watts’ RobinHood AIR IX, p.20. Sandoni’s tune was used for setting found in BeggarsOpera1728 and titled ‘All in the Downs, &c’ (AIR XXXIV, p.42) with the first line ‘Thus when the Swallow, seeking pray’. Considering Gay authored The Beggar’s Opera it is likely he was differentiating the tune titled ‘All in the Downs, &c’ from Leveridge’s, which was titled ‘Black eye’d Susan’ in printed sources. BeggarsOpera1728 p.42 AIR XXXIV. All in the Downs, &c.

Stuart also printed a tune titled ‘Black Ey’d Susan’ but it is different again from Leveridge’s melody and the tune found in BeggarsOpera1728. The tune was also found copied in Cuming (p.27), a manuscript that dates from 1723, which suggests there were at least two different tunes titled ‘Black Ey’d Susan’ in circulation at the time TTM II (1726) was published. Cuming p.27: Black eyed Susan

Notes on the music: bar 22, note 3, erroneous semi-quaver in the source

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The Tea-Table Miscellany Stuart pp.18-9: Black Ey’d Susan

Notes on the music: bar 22, treble stave, note 3, erroneous semi-quaver in the source The same error appears in both Cuming and Stuart. Ramsay’s text fits well with all three tunes, and as such it is difficult to determine which he had in mind. However, he differentiated ‘All in the Downs’ from the song printed at TTM I (1723) R9, where the tune is indicated as ‘Black Ey’d Susan’. Whether it was Leveridge’s or Sandoni’s melody is unclear. Category I: pre-existing tune, words attributed to Ramsay in Contents. R129: A Pastoral SONG. To the Tune of, My Apron deary (‘WHile our Flocks are a feeding’). Unmarked. A note on the music is at TTM I (1723) R33. Ramsay’s fondness for pastoral is here on show. The hawthorn is the may tree and the flower of seasonal love. The women of Lemnos were deserted by their husbands in Greek myth and in vengeance murdered them all. The reference may also be to Hypsipyle, Princess of Lemnos, who loved Jason and was later sold into slavery. ‘Helen of Greece’’s flight with Paris to Troy, deserting her husband Menelaus, was the cause of the Trojan War. Category I or V: not attributed to Ramsay in Contents, but likely to be the author on contextual grounds. 658

Notes: TTM II (1726) R130: Love will find out the Way. (‘Over the Mountains, // And over the Waves’). Not marked. The Phoenix is a legendary bird that regenerates itself from its own remains: associated by Herodotus (c484–425 BC) with Egypt and the cult of the sun god at Heliopolis, it is also likely to have had a Greek origin. Neptune/Poseidon is the god of the sea. The tune is referenced from the early/mid seventeenth century in the following broadside ballads: The Country-mans | New Care away. | To the tune of, Love will find out the way. (tune indicated; no music notation. The first line is: If there were implyments | for men, as yaue beene) (Guy, 1601–1640?) Truths Integrity: | OR, | A curious Northerne Ditty, called, Love Will Find Out the Way. | To a pleasant new Tune (1624–1680?) Truths Integrity, | OR, | A curious Northern Ditty Called, | Love Will Find Out the Way, To a pleasant tune (1655–1658) Strephon and Cloris: | OR, | The Coy Shepherd and Kind Shepherdess. […] | To a pleasant New Play-house Tune; Love will find out the way. (1678?) And in the following collections: Forbes [pp.94-5]: THE XLV. SONG. (first line ‘Over the Mountains’) PlayfordMD no.5: OVer the Moun-tains. PlayfordMR1652 p.2, no.4: OVer the Mountains. PPM1719 VI: pp.86-8: Love will find out the Way, (first line ‘Over the Mountains’) This song has a long history; it is likely that PPM1719, which is textually identical to what appears in TTM II (1726) was Ramsay’s source. The song has a much longer history: the text in Forbes is close to what appears in TTM II (1726). Category V: Author unknown, but attributed as an edited ‘Auld Sang’ in Contents. R131: SONG. To the Tune of Throw the Wood Laddie. (‘AS early I walkt, on the first of sweet May’). Appears unsigned. See TTM I (1723) R45 for Music notes Category V: not attributed to Ramsay in Contents, author unknown.

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The Tea-Table Miscellany R132: Rob’s Jock. A very auld Ballat. (‘Rob’s Jock cam to woo our Jenny’). Z One of the few songs which itemises a tocher, or dowry. Both Jenny’s tocher and Jock’s own possessions demonstrate the mutuality of a modest, rural farming life, a version of the Scots pastoral ideal on which Burns drew heavily. The song’s presence in TTM II (1726) is indicative of the appeal of such ideals to the polite society of harpsichord and tea-table, with matter to sing supplied by the alert and demonstrably urban businessman Allan Ramsay. It begins a sequence of three songs which evidence the same theme. The song is very old and appears in the Bannatyne MS (1568) f.137 as ‘Robeyns iok come to wow our Iynny’, with the same first line. It is titled As ‘Jocky wood a wooing go’ in Blaikie (f.3) and as ‘The Country Wedding’ in Watson’s Comic&Serious III: p.46. This misses out some material in Ramsay, but is nonetheless a likely source, as it is textually closer than ‘The SCOTCH Wedding Between Jockey and Jenny’ in PPM1719 V: p.42 with the first line, ‘THEN Jockey wou’d a wooing away’. D’Urfey’s title suggests that it was a Scots song circulating in England, possibly in use as an entr’acte or similar. Category V: not by Ramsay, author unknown, though categorised as an edited ‘Auld Sang’ in Contents.

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Notes: TTM II (1726) R133: SONG. To the Tune of, A Rock and a wee pickle Tow. (‘I Have a green Purse and a wee pickle Gowd’). Author not marked. The song/tune appears in various versions from the mid seventeenth century in Blaikie no.112: Montrose March Gairdyn f.3r: A Rock & a wee pickle tow (incipit only) PlayfordMD no.67: MOntrosses | March PlayfordMHM no.11: Scotish March. PlayfordMRV1669 pp.12-3, no.22: Montrose’s March. Blaikie, PlayfordMD, and PlayfordMRV1669 are all written in tablature. Playford prints the same tune on all three occasions. The first four bars of the tune found in PlayfordMHM is similar to the incipit found in Gairdyn, however, it lacks an anacrusis, which is necessary for Ramsay’s text. Ramsay’s text does not scan particularly well as a result. PlayfordMHM no.11: Scotish March.

Notes on the music: bass stave, upper voice, note 3, dot missing from c’

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The Tea-Table Miscellany The first two lines of text neatly fit to the tune as it is found in Gairdyn. Unfortunately, the rest of the tune has not been transcribed. Gairdyn f.3r: A Rock & a wee pickle tow

Notes on the music: bar 2, notes 11-14 are ambiguous as several notes have been written then corrected. The clearest notes have been transcribed. It is also found in HighlandFair Air XXXVII, ‘Rock and a wi Pickle-Tow.’ Category I: prior appearance of tune, attributed to Ramsay in Contents. R134: SONG. To its ain Tune. (‘Altho’ I be but a Country Lass’). Z The rural shepherdess living a simple life is nonetheless strongly identified with honour, virtue and chastity. The song first appears as a broadside ballad titled ‘The Countrey Lassie’ and printed around 1619–1629 (probably 1628). Ramsay keeps the first two stanzas but alters the remainder of the song to strongly associate it with Scottish identity with pastoral virtue. This modesty topos of Scottish rural identity – with its unmistakable implication that I am just as good as you and have more integrity to boot – is strongly drawn on by Burns at the end of the century 100 000 crowns sterling (£25000), was an enormous some, worth around £8M in 2022 or as high as £12M in purchasing power parity, for Scottish prices – even in Edinburgh – did not converge with English ones until late in the eighteenth century. Paisley Pig is a modern gastropub in Missouri. ThomsonOC2 II: pp.85-7, no.38 also has the tune, which is at SMM IV: no.346 and there is an extensive note at Pittock (2018), III: pp.118-20. Category III or V: by Martin Parker (1600–56), though categorised as an edited ‘Auld Sang’ in Contents due to Ramsay’s Scotticizing.

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Notes: TTM II (1726) R135: Waly, waly, gin Love be bony. (‘O Waly, waly, up the Bank’). Z In this song we stand on the verge of the pathetic fallacy as the countryside – even the ‘Aik’ (Oak) with its symbolism of strength – evidences the failure of the speaker’s relationship rather than speaking of its success. Arthur’s Seat is the extinct volcano at the heart of Holyrood Park, Edinburgh, while St Anthony’s (Anton’s) well is a natural spring there. Martinmas, the feast of St Martin of Tours, is 11 November, now more strongly associated with the Armistice of 1918. Traditionally, this day marked the end of autumn, and in Scotland it was a quarter day, when rent fell due, and hiring fairs might take place. The song – with different sets – appears in SMM II: no.158 and V: no.446. Ramsay’s is the earlier set. ThomsonOC1, no.34 has the tune with the title Wale Wale up yon Bank, and a slightly different text. It appears in Gay’s Polly, Air VII, titled O Waly Waly Up the Bank with the first line ‘Farewell, farewell all hope of bliss’. ThomsonOC1 appears to be Gay’s source. Category II: Categorised as edited ‘Auld Sang’ in Contents. R136: The Loving Lass and Spinning-Wheel. (‘As I sat at my Spinningwheel’). Not marked. This song is classified as an edited, ‘brush’d up’ song in the Contents. The tune is indicated in the following broadside ballad: THE | Bonny SCOT: OR, | The Yielding LASS. | To an Excellent New Tune. (1685-1688) (same lyrics as Ramsay, though more anglicised in style) It can be located from the late seventeenth century in: PPM1719 III: pp.88-9: A Scotch SONG. RobertsOB pp.241-3: The Bonny Scot, Or, the yielding Lass (same lyrics as Ramsay, though Ambrose Philips’ text is more Scottish in its vocabulary) The tune is referenced in the following broadside ballad: A | Ready Cure for Uneasie Minds | FOR | That their MONY will not Pass. | To the Tune of, As I sat at my Spinning Wheele (1696). This song belongs to the genre celebrating Scots virility, which in the Jacobite period came to be seen as symptomatic of the disruptive political threat posed from thence. Category V: not by Ramsay, author unknown. D’Urfey is a likely source.

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The Tea-Table Miscellany R137: SONG. To the Tune of, Woes my Heart that we shoul’d sunder. (‘ADieu ye pleasant Sports and Plays’). H. There is a full note on this song in GS (Newman and McGuinness 2022, pp.507-15), where it appears as Sang XVII. This tune appears from the late seventeenth century in Balcarres p.119, [no.183]: Woes my heart, that we should sunder, Mr McLaughlans way, by Mr Beck. JohnSkene pp.94-95: To dance about the Bailzeis dubb. JohnSkene pp.96-97: Alace this night yat we suld sinder. PlayfordOST p.14: A ways my Heart that we mun sunder. Stuart, p.10: Woes my heart that we shoud sunder. ThomsonOC1 p.9: Woes my Heart that we shou’d Sunder The song is also in MusicalMiscellany I: pp.14-5, HighlandFair Air XXII, p.36 and Patie&Peggy Air XVII, p.21, ScotchOrpheus, p.10, ThomsonOC2 I: pp.16-7, no.9 and elsewhere. Category V: not by Ramsay and not attributed to him in Contents, author unknown. R138: O’er the Hills and far away. (‘Jocky met with Jenny fair’). Z. This song appears at SMM I: no.62, and versions of it have been dated back to the 1620s; the title can be found in the sixteenth century. See Pittock, (2018) III: p.17 and Pittock, ed, James Hogg, Jacobite Relics, 2 vols, (Edinburgh: Edinburgh University Press, 2002-3), I: pp.442-44 for extended discussion of this song and its antecedents. The tune, ‘Over the Hills and Far Away’ replaced the second part of the duet ‘By the delicious Warmness of thy Mouth’, in Theophilius Cibber’s Patie&Peggy. Newman and McGuinness (2022) p.478 theorise that the original music for ‘By the delicious Warmness of thy Mouth’ may have been hard to come by in London. The tune, ‘Over the Hills and Far Away’, on the other hand, was in circulation in Scotland and England. It was printed as a single song sheet (complete with music notation and underlaid lyrics) and titled The Hubble Bubbles A Ballad by Mr D’Urfey. to the tune of | O’er the Hills and far away. Within Compass of the flute (D’Urfey, 1715–1720?). It also appeared in the following manuscripts and collections: Atkinson p.102: Over the hills and far away BeggarsOpera1728 p.21: AIR XVI. Over the Hills and far away. PlayfordDM (1710) ed.2, p.55: ‘Twas o’er the Hills and far away. PPM1719 IV: p.99: Jockey’s Lamentation. WalshCCDM II: p.116: Over the Hills and far away. Category II: categorised as an ‘Auld Sang’ edited in Contents. 664

Notes: TTM II (1726) R139: Jenny Nettles (‘Saw ye Jenny Nettles’). Unmarked. The second stanza of this song, attributed to Ramsay in Contents, is the model for Hugh MacDiarmid’s early poem ‘Empty Vessel’ from Penny Wheep (1926). Glen (1900), p.73 dates it back to the seventeenth century and James Johnson included it in SMM I: no.52. There is a note at Pittock (2018), III: p.14. The ‘Dool upo’ the Stool’ is the public humiliation doled out by the Kirk to those found guilty of fornication, where the guilty party or parties sits on an elevated seat on successive Sundays in view of the congregation. At the end of the service, the offender might stand on the stool to be rebuked. The humiliation of the stool could be avoided by the payment of ‘buttock mail’ which allowed the avoidance of public humiliation. Not everyone – and certainly not every single mother – could afford this of course. The tune is found from 1625 in Dow p.34, no.55: Jenny nettles Gairdyn f.36, Jenne Nettles JohnSkene pp.158-61: I love for love again. JohnSkene pp.201-2: I love my Love for love again. PanmureViolin2 f.16v: Janie Nettle The tune is not printed until Robert Bremner’s A Collection of Scots Reels or Country Dances (1757). Category I/II: attributed to Ramsay in Contents. R140: Jocky’s fou and Jenny’s fain. (‘Jocky fou, Jenny fain’). Q. Versions of this kind of song date back to the 1680s at least. One that is particularly close to Ramsay’s is a broadside ballad dating from 1684–5. The Loves of Jockey and Jenny: | OR, | The Scotch Wedding. | A most pleasant New Song. (Tune is Jenny Gin, which is not the same as Jockie’s fou & Jannie’s faine). (1684–5). A variant of this song is found at SMM IV: no.381. The tune is found in Craig, p.25: Jockie’s fou & Jannie’s faine The tune is also in HighlandFair Air VIII, p.15. Category V: not by Ramsay and not attributed to him in Contents, author unknown.

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The Tea-Table Miscellany R141: Leader Haughs and Yarrow (‘When Phoebus bright the Azure Skies’). Z The second stanza is in praise of April and the coming of spring, in a tradition which dates back at least to the opening of The Canterbury Tales. Stanzas 7 and 8 praise the extraordinary fertility of the countryside of the district. The ‘lintwhite’ of stanza 5 is a linnet; ‘progne’ is a martin, a name for the genus derived from Prokne, daughter of Pandion, king of Athens, who turned herself into a swallow to save her from Tereus, her husband and the rapist of her sister ‘Philomel’, who was turned into a nightingale. These birds each sister was turned into are reversed in some sources, but the Latin ones would have been those familiar to Ramsay through Ruddiman. The last stanzas reference the song of Cowdenknows on Home land and the Scotts of Yarrow, linking the intense focus on place in the song to Scottish landholding families and their traditions. The song can be found from the late seventeenth century printed as a broadside ballad. These include: A Delectable New BALLAD | INTITULED Leader=Haughs and Yarow (1690?). An Excellent new ballad, | ENTITULED | LEADER-HAUGHS and YAROW, | To its own proper tune (1700?) It is also in ThomsonOC2 II: pp.21-5, no.11. Category III or V: categorised as an ‘Auld Sang’ edited in Contents, but not Ramsay’s. Light editing at best. R142: For the Sake of Some-body. (‘For the Sake of Some-body’). Unmarked. A related song is at SMM V: no.436, though Burns used very little of Ramsay’s text. This was used as a Jacobite song (where the female nation invokes the love of her absent king) by the 1740s if not earlier, but Ramsay’s original appears to be simply a love song. The ‘Haff-mark Bridal Band’ (l.20) is a cheap ring costing half a merk, 6s 8d. If Scots currency is being referred to, this would only be just under sixpence three-farthings sterling: cheap indeed. Aaron McGregor identified the tune in GeorgeSkene (f.20v) though it is titled ‘Largehetto a M G Largo | The Long Sadle’. The highly decorated tune is stylistically instrumental in design. Structurally, it is a sonata with variations.

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Notes: TTM II (1726) GeorgeSkene ff.20v-1r: Largehetto a M G? Largo | The Long Sadle. (Below is the transcription for tune + 1 variation only).

Notes on the music: key signature, the c’’ and f’’ sharp are sporadically placed throughout, with the c’’ even appearing as an a’ sharp in the opening bar and the f’’ sharp occasionally appearing on the e’’ and g’’ Category I: attributed to Ramsay in Contents. R143: Norland Jocky and Southland Jenny (‘A Southland Jenny that was right bony’). Z This is at SMM IV: no.308. Burns in his Notes describes it as ‘a popular Ayrshire song, though the notes were never taken down before…written from Mrs Burns’s voice’ (quoted Pittock (2018) III: p.103). This is clearly by no means the whole truth of the matter: such songs in general dated back to London and the reign of Charles II, identifying ‘the rawness and even clownishness of “Norland” Scots’ (Pittock (2018) III: p.103). Ramsay uses it here as familiar material for a British market (see Library Quarterly 79:2 (2016), pp.201-20). Category II: classified as an edited ‘Auld Sang’ in Contents. R144: THE Auld Yellow-Hair’d Ladie (‘The Yellow Hair’d Ladie sat down on yon Brae’). Z This is Song X in GS. Variants of this song were later used in a Jacobite context, perhaps from as early as 1730 (Pittock (2002) I: p.429): Ramsay’s ballad opera is tantalisingly close to this date. It is printed at SMM II: no.122, where the tune has been seen as deriving from an English song, ‘The Country man’s care in choosing a wife’. James Johnson attributes it to Ramsay (Pittock (2018), III: p.38). Once again, the typical Scottish love song is presented as rural and pastoral, further reinforcement of a constructed Gemeinschaft in which the pastoral/rural space is increasingly dominated by Scottish literature in the writing of Ramsay and later Burns. There are detailed notes in the editions of Poems (Brown 2023, I: pp.457) and GS (Newman and McGuinness 2022, pp.465-74). Sources for the tune are also listed TTM I (1723) R42. Category II: classified as an edited ‘Auld Sang’ in Contents. 667

The Tea-Table Miscellany R145: SONG. To the Tune of, BOOTH’s Minuet (‘FAir, Sweet and Young, receive a Prize’). X This text is attributed to John Dryden (1631–1700) in the Poetical Miscellanies of 1704. It appears as ‘Mrs Booth’s Minuet’ in PlayfordDM (1726) p.149. There are significant textual differences between Dryden and Ramsay, but the text is fundamentally similar. ‘Booth’ may refer to Mrs Booth, an exceptional dancer of the era: see Pierre Rameau, The Dancing-Master (1728). The tune is found in PlayfordDM (1726) ed. 3: Mrs Booth’s Minuet Category III or V: By John Dryden, categorised as not by Ramsay and not attributed to him in Contents. There are very slight variations between Dryden and Ramsay’s song which is an extract from Dryden’s 18-line text. R146: THE GENEROUS GENTLEMAN. A SANG to the Tune of, The bony Lass of Branksom. (‘AS I came in by Tiviot Side’). Author not marked. The bonny LASS of Branksome was published in 1701 with the same first line and a similar but not identical text. The tune (with minor textual differences in title and first line) is at ThomsonOC2 II: pp.78-9, no.35: The bonny Lass of Branksome. Branxholme is a Scott family tower house, and there is an implication in the fact that the speaker marries the ‘Lass’ and thus makes her a ‘Lady’ that he is of gentle birth, as indeed the title also suggests. Category III: attributed to Ramsay in Contents, but an editing role is as much as can be attributed to him. R147: The Happy Clown. (‘How happy is the rural Clown’). X This is a song of Horatian retreat, one not uncommon in a period of such political disruption; once again, simple rural life is prized. Cf TTM II (1726) R98. Category II: classified as an edited ‘Auld Sang’ in Contents.

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Notes: TTM II (1726) R148: Willy was a wanton Wag (‘Willy was a wanton Wag’). WW For notes on the tune, see TTM II (1726) R116. See also SMM II: no.137. The attributed author here and in Ramsay’s notes appears to be William Walkingshaw (dates unknown), although Garside, Jackson and Horsfall advance other possibilities in their edition of James Hogg, The Forest Minstrel, (Edinburgh: Edinburgh University Press, 2006), pp.315-16, including William Hamilton of Gilbertfield (c.1665–1751), and also note the song’s Horatian elements (Pittock (2018) III: p.43). The air is at ThomsonOC2 II: pp.60-2, no.26. ‘Zetland Shag’ is leather from an ox castrated in adulthood or incompletely; the ‘wanton Leg’ is a phallic reference and may refer to the practice of pressing with the leg during dancing to show sexual interest and/or availability. Category III or V: classified as an edited ‘Auld Sang’ in Contents. Lightly edited or not by Ramsay. R149: CLELIA’s Reflections on herself for slighting Philander’s Love. To the Tune of, The Gallant Shoe-maker. (‘Young Philander woo’d me lang’). No author attributed. This song is seen as one of those ‘brush’d up’ by Ramsay in Contents. The last stanza refers to the English proverbial saying ‘They that die maids, lead apes in hell’ (see Gwendolyn B. Needham, ‘New Light on Maids “Leading Apes in Hell”’, The Journal of American Folklore 75:296 (1962), pp.106-19) and TTM II (1726) R113. ‘Lead’ is a synonym for the sex act in the proverb. Ramsay’s song thus offers a greater incentive to carpe diem than the ageing process. As can be seen from the listing of tunes below, it appears that Ramsay took the text from D’Urfey. The tune appears from the mid seventeenth century in Balcarres p.106, no.164: The shoemaker, mr mclaughlans way, by mr beck Craig p.14: The Peer of Leith Dow no. 13, p.7: The Shooemacker. Gairdyn ff.22: The Shoemaker Gairdyn ff.44v: Gallant Shoemaker (incipit only) Guthrie p.304: The shoemaker PlayfordAB no.118, p.46: The Shoe-maker, a Scotch Tune PPM1719 I: pp.265-6: The SONGS AND DIALOGUES Waterston pp.3-4: The Shoe Maker

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The Tea-Table Miscellany It is also at ThomsonOC2 II: pp.67-8, no.29 and is titled ‘Young PILANDER’ in the musical setting and ‘Peer of Leith’ in the text setting. The song appears in SMM III: no.222. The tune in Dow, Gairdyn, Guthrie, and PlayfordAB is the same as Craig. The tune appearing in PPM1719 differs to Craig but prints the same text as TTM II (1726). Category V: Authored/collected by D’Urfey, though categorised as an edited ‘Auld Sang’ in Contents. R150: The Young Ladies Thanks, to the Repenting Virgin, for her seasonable Advice. (‘O Virgin kind! we canna tell’). No author noted. The project team have been unable to identify the tune. The song is not attributed in Contents. The ‘Flag’ is the skirt or apron, the ‘Pinnet’ or small ensign may be a reference to the pudenda. Category IV: Dubia. R151: The Step Daughter’s Relief. To the tune of, The Kirk wad let me be. (‘I was anes a well tocher’d Lass’). No author noted. This is another song of rural wooing. The substantive note on the tune is found in GS (see Newman and McGuinness 2022, pp.499-507), where it is Sang XVI. The tune is found from the mid seventeenth century in Balcarres p.61, no.98: If the kirk wold lett me be, Jean mores way. by mr beck Cockburn f.40: An the kirk would let me bee Craig p.41: And the Kirk would let me be Guthrie p.304: If the kirk would let me be MarthaBrown ff.27-8: If the kirk wold lett me be Stuart pp.42-3: And the Kirk woud let me be ThomsonOC2 I: pp.76-9, no. 36: The Blythsome Bridal. A setting of the tune is found in Stuart, but just as Newman and McGuinness (2022), p.504 observed neither the song text in GS, nor TTM I (1723) (R20) fit the tune particularly well. The range spans nearly two octaves, which is vocally challenging and there is no anacrusis, which the text really requires. Stuart pp.42-3: And the Kirk woud let me be

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Notes: TTM II (1726)

Notes on the music: bar 8, bass stave, note 2, B flat [not c]; bar 12, treble stave, slur position is ambiguous: it could begin on note 3 rather than note 2 There is a setting in HighlandFair, which is a little more singable, in part because it includes the much-needed anacrusis, but the range is still vocally challenging. HighlandFair p.49: AIR XXXI. An the Kirk wad let me be.

The tune can also be found in WalshCCD p.76 as ‘Silly Old Man’ and elsewhere. Category I: attributed to Ramsay in Contents.

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The Tea-Table Miscellany R152: Jeany, where has thou been. (‘O Jeany, Jeany, where has thou been’). Q This tune appeared as ‘May Fair; Or, Grief Alamonde’ in PlayfordDM (1703, p.349) and was later used by Gay (see below). Ramsay’s text, with minor variations is in PPM1719 I: pp.169-71 with the title is ‘The Willoughby WHIM’. It is described as ‘a Scotch Song’, and the tune is different from PlayfordDM (1703) p.349. This seems to be the same editorial process as TTM II (1726) R147. The tune is also at BeggarsOpera1728 Air IX, p.13, which has the title ‘Oh Jenny, Jenny, where hast thou been?’ and the first line ‘Oh Polly you might have toyed and kissed’. D’Urfey is likely to be Ramsay’s source. Category V (or possibly III): Not by Ramsay, substantively authored/edited/ collected by D’Urfey, though categorised as an edited ‘Auld Sang’ in Contents. R153: SONG. To the Tune, Last time I came o’er the Moor. (‘Ye blythest Lads and Lasses gay’). X The theme of female resistance as a prelude to consent is a favourite one in TTM II (1726) and elsewhere in Ramsay’s work. Here the female lover overdoes it and regrets the level of resistance she offered. See the notes on TTM I (1723) R39 for the tune. Category II: categorised as an edited ‘Auld Sang’ in Contents.

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Notes: TTM II (1726) R154: The Cock Laird. (‘A Cock Laird fou cadgie’). Unmarked. The reference to ‘Bannocks of Bear-meal’ anticipates SMM V: no.475; the song itself is at SMM II: no.148. ‘Borowstoun’ is a generic reference to a trading town with burgh rights. The ‘Cock-Laird’ may be a gentleman, but certainly has no means of keeping his beloved in the style which she expects. The tune is located at ThomsonOC1, no.26: A Cock-Laird fu`Caigie

The setting is in a comfortable range and Ramsay’s lyrics fit particularly well. Category I: Attributed to Ramsay in Contents. R155: The Soger Laddie. (‘My Soger Laddie // Is over the Sea’). Unmarked. The song is at SMM IV: no.323. Burns claims that ‘The first verse of this is old; the rest is by Ramsay’ (Pittock (2018) III: p.109), but there is no clear evidence for this other than Burns’s word. The tune is found in MusicalMiscellany VI: pp.110-2: The SOGER LADDIE. Sinkler f.10v-11r: Northland Ladie ThomsonOC2 II: pp.63-4, no.27: My Soger Laddie Sinkler is stylistically instrumental and is barred in 3/4 time. The other two sources are barred in 6/8 time, which better suits the text. Despite this, Sinkler shares commonalities with MusicalMiscellany in that both incorporate a dotted rhythm throughout.

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The Tea-Table Miscellany Sinkler f.10v-11r: Northland Ladie

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Notes: TTM II (1726) MusicalMiscellany VI: pp.110-2: The SOGER LADDIE.

Notes on the music: bar 4, treble stave, note 3 is a semi-quaver in the original source Occasionally, ThomsonOC2 straightens out the dotted rhythm and changes the final bar of the strain to an octave leap. There are also some alterations to the lyric underlay, for example “Lover behave” in bar 12, which is a better fit than what appears in MusicalMiscellany.

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The Tea-Table Miscellany ThomsonOC2 II: pp.63-4, no.27: My Soger Laddie

Category I or II: prior tune, attributed to Ramsay in Contents. R156: The ARCHERS March. (‘Sound, sound, the Musick sound it’). Unmarked. Parnassus is sacred to Apollo and is the seat of the Muses. ‘Cynthia’ is an epithet for Artemis/Diana, the virgin goddess of hunting, whose bow slew wild animals and also fired arrows of plague and disaster. The Royal Company of Archers (founded 1676, Royal Charter, 1703) was a quasi-Jacobite organization and remained so until the middle of the eighteenth century, hence possibly the reference to ‘guard our Liberty’. The Archers adopted tartan as their uniform in 1713, and their seal was ‘a man in a philibeg under a tree with broadsword and targe’. In 1715, James ‘VIII’ was depicted ‘in the uniform of the Royal Company, in a clear hint of its loyalty to the Stuarts’ at the time of the Rising (Pittock (2019), pp.199-200). Ramsay’s song positions the Archers as noble defenders of Scotland’s national liberty, the successors of a century old struggle to maintain the liberty of the country against foreign rule.

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Notes: TTM II (1726) The battle of Largs marked the effective end of Norse influence in the Scottish mainland; the semi-legendary Battle of Luncarty was a much earlier victory. Dunkeld is as described an entirely legendary battle, while Aberlemno appears wrongly described, as the stones there are often understood (though this is disputed in recent scholarship) as referring to the battle of Dunnichen Moss or Nechtansmere in AD 685. At Roslin in 1303, John Comyn and Simon Fraser delivered victory for the Scots over an English army commanded by John, 2nd Lord Segrave (1256–1325). The action was on a much more modest scale than that described by Ramsay. Bannockburn was of course fought in the midsummer of 1314. The tune for this song is in Campbell f.34v: The Archers March Dow p.3, no.5: Archers March Gairdyn f.6: Archors March Campbell and Dow are virtually identical which suggests they share a common source. Campbell f.34v: The Archers March

Dow p.3, no.5: Archers March

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The Tea-Table Miscellany While there are occasional similarities between Campbell, Dow and Gairdyn, (for example, bar 9 in Campbell and Dow, and bar 13 of Gairdyn) the latter is a different tune. Gairdyn f.6: Archors March

Notes on the music: bar 1-5 are water damaged and it is occasionally challenging to make out the exact rhythm; bar 18, missing barline All three sources are stylistically instrumental. Category I: by Ramsay, and so attributed in Contents.

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The Tea-Table Miscellany: or, A Collection of Celebrated Songs. Vol. III. Edinburgh, 1727. Edinburgh: Printed for and sold by ALLAN RAMSAY, at Hawthornden and Ben Johnson’s Heads, the East-end of the Luckenbooths; by Mrs Long-man and Osburn Paternoster-Row London, and Mr. Bryson of Newcastle, &c. 1727.

A Collection of celebrated SONGS. R157: Song I (‘A Nymph of the Plain’). The text is virtually the same as that in John Watts’ MusicalMiscellany II: pp.36-38, which is discussed in Morrissey (1971) p.393. ‘A pastoral dialogue between Alexis and Amyntas’ appearing in an anonymous manuscript collection title Poems on Several Occasions (c.1700–10) ff.36v-40r has some slight verbal similarity. The punning reference to ‘die’ is the traditional English double entendre relating to the sexual act. Category IV or V: probably not by Ramsay. R158: Song II (‘SEND Home my long stray’d Eyes to me’). This song is substantially ‘The Message’ by John Donne (1573–1631) and published in his 1633 Poems. The second half of the first verse differs from Ramsay. As noted by Baldwin and Wilson (1997) the BL has three different musical settings by Anthony Young (1683–1747). These are G.311.(76.), dated 1720?, H.1606.(405.), and G.316.g.(54.). Young includes an extra three verses. The song was set by Richard Leveridge and appears in Leveridge1727 II: p.16, MerryMusician I: p.52 and MusicalMiscellany II: p.101. Category V: by John Donne, with settings by Richard Leveridge and Anthony Young. R159: Song III (‘Whilst I fondly view the Charmer’). This first appears as A new SONG | set by Mr Barrett in 1705. It is in Chetham’s Library, Song H.P.1384, and was printed in MonthlyMask for September 1711 in London and in MerryMusician I: pp.271-74 as ‘A new SONG. Set by Mr. Barrett’. ‘Supererogation’ is the undertaking of virtuous acts above and beyond those required by duty; its application in Catholic doctrine to the treasury of merits earned by the supererogatory heroic virtue of the saints, which can be drawn by their intercession in response to the prayer of the faithful, was odious to Protestants and is the reason for the reference to ‘Idolatry’ here. Devotion to the beloved is an erotic form of the religious idolatry Protestants consider Catholic saints to receive. Category V: not by Ramsay 679

The Tea-Table Miscellany R160: Song IV (‘Ten Years, like Troy, my stubborn heart’). The text for this song is by Dr Daniel Kenrick (fl.1685) and printed as ‘An ODE. To DELIA.’ In The Grove in London in 1721, pp.119-20. The reference is to the ten-year siege of Troy, the closing stages of which are recounted in The Iliad. Category V: by Daniel Kenrick R161: Song V (‘Whilst I gaze on Chloe trembling’) An almost identical lyric (with Chloris for Chloe) can be found printed as a broadside ballad titled THE | Jealous LOVER’s | Complaint: | OR, | His Torment for Love of | Fair Cloris (c1664–1706). ‘Cloe’ is the name in the text of this song presented as ‘The Jealous Lover’s deplorable Tragedy’ is in A New Academy of Complements (1715?) p.114. Both are published in London. The song is also in MusicalMiscellany II: pp.76-7. Category V: not by Ramsay R162: Song VI (‘My Days have been so wond’rous free’). The text is by Thomas Parnell (1679–1718) and was published in Poems on Several Occasions in London in 1722 (pp.21-22). A musical setting was published in MusicalMiscellany IV: pp.106-8. The composer is not named, though the setting was misattributed to William Jackson of Exeter (1730–1803) by Thomas Park in A Select Collection of English Songs, with Their Original Airs (1813) III: p.114. Category V: By Thomas Parnell. R163: Song VII (‘All in the Downs the Fleet was moor’d’). See R128 for the tune. The song appears as ‘Sweet William’s Farewell to BlackEy’d SUSAN’ in Black-eyed Susan (1720) and is also in Cuming p.27 and in John Gay, WILLIAM and SUSAN. Air XXXIV in BeggarsOpera1728 has a different set of words. Category V: not by Ramsay.

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Notes: TTM III (1727) R164: Song VIII (‘Sweet are the Charms of her I love’). The song titled A New BALLAD, with the first line ‘Sweet are the Charms of Her I Love’, was written by Barton Booth (1682–1733) with the music by Richard Leveridge. It was published in 1710 in London. A copy of the song can be found in the BL at H.1601.(404.). This song was later published in MusicalMiscellany II: pp.144-46 and Leveridge1728 p.29. There is a commonplace book text at the Brotherton Library LEbc Lt 15, which reverses the fourth and fifth stanzas. Anthony Aston penned new lyrics, with the first line, ‘Fair soft and easy Cecilia walks’, and set it to Leveridge’s tune. It too was published in London in 1720 with the title A SONG To the Tune of Sweet are the Charms &c. ‘Zypher’ is the Zephyr, a soft gentle breeze; Philomel is the Latin poetic tag for a nightingale, into which Philomel, the daughter of Pandion, King of Athens was turned, while her sister Procne became a swallow to escape the attentions of Tereus. This rather extreme and victim-blaming remedy for stalking and rape reversed the birds into which the sisters were turned in its Greek version. Category V: by Barton Booth R165: Song IX (‘Fair Iris and her Swain’). The text is from John Dryden (1631–1700) and Henry Purcell (1659–95), Amphitryon (1691). The text is also found at BL Egerton MS 2960 f. 58b. ‘Thyrsis’ comes from the title of the first idyll of the Sicilian-Egyptian Doric Greek, Theocritus (fl.300-260 BC), the first pastoral poet of the classical world and the root cultural icon for Ramsay’s presentation of Scots as both pastoral and Doric. ‘Kiss and tell’ is first recorded as an idiom in 1695. Category V: Text by John Dryden. R166: Song X (‘Ah! bright Bellinda, hither fly’). ‘Bellinda’ as a name means ‘beautiful’. The text is in Charles Gildon’s The New Metamorphosis (London, 1708) I: pp.60-1, a translation of Lucius Apuleius’ (c.124–70) Golden Ass. The lyrics were also published in The Hive (1725) III: p.31. Category V: not by Ramsay, probably by Charles Gildon (1665–1724).

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The Tea-Table Miscellany R167: Song XI (‘Fie! Liza, scorn the little Arts’). A conventional carpe diem song, also printed in The Choice (1733) Song CXXV. A suggestion that it is by John Oldmixon (1673–1742) has not been substantiated. See https://firstlines.folger.edu/detail.php?id=410613 Category IV: Dubia, probably not by Ramsay but no earlier text. R168: Song XII (‘Be wary, my Celia, when Celadon sues’). This song is in Aaron Hill (ed.), The Plain Dealer: Being Select Essays on Several Curious Subjects, 2 vols (London, 1724) I: pp.206-7. The lyrics were also published in The Hive (1725) III: p.106. Celadon is a hero in seventeenthcentury French pastoral comedy. Category IV or V: Probably not by Ramsay, but no earlier text identified. R169: Song XIII (‘Stella and Flavia every Hour’). A song which associates lasting charms with the success of British imperialism. ‘Eastern Tyrants’, by contrast, are seen as valuing only the extent of their dominions in contrast to their agricultural value. The song is found in Miscellaneous Poems (London, 1724) p.234, A New Miscellany (London, 1725) p.70, and in The Hive (1725) III: p.5. Category V: Not by Ramsay R170: Song XIV (‘Of all the Girls that are so smart’). This song is Sally in our Alley by Henry Carey (1687–1743). It is unclear when the song was first published with various dates being given. A copy of the song appears in Chetham’s Library at H.P.1972, where it is dated c.1715. Robert Gale Noyes (1935) pp.165-75 was the first to date the song as 1715 but based on more recent evidence the date seems too premature. Norman Gillespie (1984) pp.203-4 states that it first appeared in the annals of Drury Lane theatre at the end of the 1716–17 season, though Carey was not credited as the author. It was later published in The Harpsichord Master Improved (1718), as ‘Sally in our Alley by Mr Carey’ and perhaps also in Carey’s 1719 Book of Songs (now lost). The tune was used in BeggarsOpera1728 (Air XVIII), though John Gay penned new lyrics. The same tune was also used for Air XXXV in Calista p.55, though again with different lyrics. Ramsay printed Carey’s original 1715 lyrics. ‘Sally down our Alley’ became both a key popular song and a figure of speech. Category V: by Henry Carey. 682

Notes: TTM III (1727) R171: Song XV (‘Would you have a young Virgin of fifteen Years?’). Fifteen was not viewed as an inappropriate age for sexual relations at this time; the age of puberty appears to have risen during the Industrial Revolution. ‘Smicket’ is a woman’s smock or other undergarment, though the reference could also be a screen for the pudenda. The conquests of the widow and the courtesan require proportionately greater boldness (and in the latter case of course, cash). A ‘Cully’ is a man who is imposed upon; a ‘Punk’ is a prostitute, but the guinea it takes to secure her services indicates that she is a relatively upmarket one, compared to those ‘of the Town/Will ly down for a Crown’ in the next song. The song is in Thomas D’Urfey’s ModernProphets (London, 1709) p.65, and again in PlayfordDM (1710) p.148. The same tune was reprinted WalshCCDM1719 p.167. The tune was also printed in PPM1719 I: 132-33 and NealDances p.14. The tune was also used by John Gay in BeggarsOpera1728 (Air XXI) though he penned different lyrics. Category V: Not by Ramsay, possibly by D’Urfey. R172: Song XVI (‘Oh Love! if a God thou wilt be’). This song is in Thomas D’Urfey’s the comic opera Wonders in the Sun: The Kingdom of the Birds (1706) (hence Wonders): p.51. It was later published in PPM1712 III: pp.290-2, PPM1719 I: pp.100-1 and the The Second Part of Penkethman’s Jests (1721) p.46. Category V: Not by Ramsay, by D’Urfey. R173: Song XVII (‘Maiden fresh as a Rose’). ‘Pericrane’ is the pericranium; ‘Snush’ is snuff. Doxies are women of easy virtue, not necessarily prostitutes, although the term can be applied to them. The song was printed in MerryMusician I: pp.189-90, PPM1719 I: pp.56-57, where it is titled A SONG in my Play call’d the Richmond Heiress: Sung by Mr. Pack. However, it does not appear in the 1693 or 1718 opera libretto for Thomas D’Urfey’s The Richmond Heiress. In Act 5, scene V there is a direction to insert a ‘SONG here’ and it is possibly where ‘Maiden fresh as a Rose’ was performed. It is also found in The Hive (1724) I: pp.38-9. Ramsay’s lyrics also appear in The Second Part of Penkethman’s Jests (1721) pp.41-2 where the source play is again identified as The Richmond Heiress and this as the ‘Quaker’s song’. Category V: Not by Ramsay, by D’Urfey.

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The Tea-Table Miscellany R174: Song XVIII (‘Last Sunday at Saint James’s Pray’rs’). ‘Whale bone Airs’ indicates that the speaker is dressed in her finest clothes, with a whale-bone reinforced bodice and/or hoop for her dress. The theme of an erotic encounter in church is a common one: Strephon is a name for a pastoral lover derived from Sir Philip Sidney’s (1554–86) Arcadia (1593). This song was published in PPM1719 I: pp.10-1 with the title ‘The Saint at St. James’s Chappel.’ Category V: Probably by Thomas D’Urfey. R175: Song XIX (‘Love, thou art the best of humane Joys’). ‘Love, thou are the best of humane Joys’ is a duet composed by Henry Purcell and performed in Act V of Thomas Wright’s comedy The Female Virtuosos. The song was not printed in the libretto, but it does appear as ‘A Two Part SONG’ in Henry Purcell’s OrpheusBritannicus, pp.39-41. It can also be found in the manuscript ‘Collection of sacred and secular compositions’ with ‘an arrangement by Henry Purcell for Queen Mary’s birthday in 1693’ attributed to Purcell and Anne Finch, Countess of Winchilsea (1661–1720) at BL Add MS 22099. Category V: Not by Ramsay, arranged by Henry Purcell R176: Song XX (‘Despairing beside a clear Stream’). The preference of the forsaken Shepherd’s lover for ‘the fine Folk of the Town’ is an example of the contrast between pastoral honesty and urban corruption found as late as Wordsworth’s ‘Michael’. ‘Colin’ is a pastoral name referring to Edmund Spenser’s (1552–99) pastoral, Colin Clouts Come Home Againe (1595). The broadside ballad, The Father’s Wholesome Admonition (1675–96) stated the lyrics should be sung to the tune ‘Grim King of the Ghosts’. The same tune is also applied to several different lyrical compositions in late seventeenth century printings including, The Subjects Satisfaction (1689), The Loyal Subjects Free Choice (1689), The Whipster of Woodstreet (1690), The Lunatick Lover (1691?), and The Pensive Lover (1664–1706?). Ramsay’s lyrics derive from Nicholas Rowe: see The Poetical Works of Nicholas Rowe, Esq. (London, 1718), I: pp.34-37. The lyrics appear in PPM1719 VI: pp.363-64 which is a more likely source for Ramsay, and the tune is used as Air VIII in BeggarsOpera1728. Category V: Not by Ramsay, probably by Nicholas Rowe (1674–1718). 684

Notes: TTM III (1727) R177: Song XXI (‘’Twas when the Seas were roaring’). This song was published in John Gay’s (1685–1732) The What D’Ye Call It (hence WhatDYe), pp.32-3, and the music for it was provided by George Frederic Handel (1685–1759). The song (with musical notation) also appeared in MerryMusician I: pp.297-99 and in MusicalMiscellany II: pp.94-6. The song with music was printed in SeaSongs, p.10 in 1720, where it is titled ‘Sung in the Comick Tragick Pastorall Farce or what dye call it.’ A song titled ‘The Distress’d LOVER, a SONG. To the Tune of—‘Twas when the Seas were roaring’ was printed in Poems on Several Occasions by Mr. Stafford (1721): pp.69-72. Gay uses the tune with different words as Air I in Calista. ‘Willows’ as signs of female grieving and abandonment are found here and in the following two songs: in this one, the subject enables ‘Billows’ to rhyme with them. Category V: by John Gay (1685–1732), set by George Frederic Handel. R178: Song XXII (‘Remember, Damon, you did tell’). The song appears in A New SONG | To an Irish Coranoch (London, 1715?) by Louis Ramondon (1684–1715/18) and is reprinted by Ramsay without the chorus. It also appears in The Hive (1724) II: pp.252-53, The Choice (1729) I: pp.83-84, also without the chorus, and Watts’ MusicalMiscellany II: pp.9596 as ‘Celia’s Complaint’. The references ‘who loves him, dies’ (stanza 4) indicates that Damon is only interested in sex (for which ‘die’ is of course a synonym) not a relationship: hence the girl’s abandonment. The last stanza provides a very substantial helping of the pathetic fallacy. Category V: not by Ramsay, probably by Louis Ramondon. R179: Song XXIII (‘On a Bank beside a Willow’). Again, another song of consummation and abandonment in pastoral format. The song is by John Dryden and appears under the title ‘The Tears of Aminta, for the Death of Damon’ in Miscellany Poems (1684), pp.308-9. It was also printed in Poems on Various Occasions (1701) p.202. Category V: by John Dryden.

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The Tea-Table Miscellany R180: Song XXIV (‘Alexis shunn’d his fellow Swains’). This song appears as ‘The Despairing Shepherd’ in Thomas Creech’s Daphnis: or a Pastoral Elegy (London, 1709) pp.15-6 and in The Virgin Muse (1717) pp.10-1 and The Choice (1729) pp.13-4 as well as Watts’ MusicalMiscellany II: pp.14-6, where both text and music notation are printed. This latter setting is attributed to Mr. Gouge, who was a singer at Lincoln Inn Fields. Category V: not by Ramsay. R181: Song XXV (‘Why so pale and wan, fond Lover?’). This was published in Sir John Suckling’s Agiaura (London, 1638) p.23 and Ramsay prints a near identical version here. There is an MS at BL Egerton 923. The lyrics also appeared in the third edition of Edward Bysshe’s The Art of English Poetry (1708) II: pp.263-4. The song with music notation was published as ‘A Song Sung by Mrs Cross in ‘The Mock Astrologer’ in MonthlyMask (April 1706). The setting was attributed to Louis Ramondon. The same setting was printed in PPM1719 V: pp.194-5. Category V: by Sir John Suckling (1609–41). R182: Song XXVI (‘MY Friend and I’). The text is in RobertsOB III: pp.145-47 and is also in The Triumphs of Bacchus (1729) pp.33-35 and The Choice (1729) pp.167-69. It is a somewhat more demotic heroicization of alcohol, Anacreontic rather than Theocritan in tone. Anacreon (c.582–c.485 BC) from Teos in Asia Minor, was the Greek poet of drinking songs, who wrote in Ionic Greek. A ‘tun’ of wine is normally 945-1145 litres, or around a ‘tonne’ of water by weight (1000 litres). Category V: not by Ramsay. R183: Song XXVII (‘Let Soldiers fight for Prey or Praise’). Another song in Anacreontic tone, found as ‘The Praise of Wine’ in RobertsOB III: pp.164-65, and in The Triumphs of Bacchus, where it immediately follows R180. This therefore is likely to be Ramsay’s source. Category V: not by Ramsay.

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Notes: TTM III (1727) R184:Song XXVIII (‘Farewell, my bonny, bonny, witty, pretty Maggy’). Despite being a Scots song in style, this is not Ramsay’s, but derives from Farewell my Bonny, witty, pretty Moggy. A Scotch Song sung by Mr. Leveridge the words by Mr. Durfey, first published around 1710, which differs only slightly from Ramsay. The text is also found in A New Academy of Complements (1715?) pp.153-54 and PPM1719 I: pp.251-52. This was originally a patriotic song for the War of the Spanish Succession. ‘Hogan Morgan’ is a slang term for the Dutch; the song envisions all Europe pitted against the ambitions of ‘Monsieur’, Louis XIV of France (r.1643–1715), in the war. Rodondellow (Redondella) was captured in 1719, later than most of the song is set, as part of the Vigo Expedition, the punitive British response to Spanish support for the Jacobite Rising of 1719. Category V: by Thomas D’Urfey. R185: Song XXIX (‘The Ordnance a-board’). This song was written by Richard Estcourt (1668–1712) and published in MonthlyMask (August 1708). The same print is also at BL H.1601(352). In both places the song is ascribed to the English actor Richard Estcourt (1668–1712). The song also appears in MerryMusician I: pp.60-61, though it lacks a bass line. The tune (titled ‘The Ordnance Bor’d’) is reused later in MerryMusician I: p.243. This latter song is titled ‘A new Health on King George’s Coronation’, with the words attributed to Thomas D’Urfey. The Ordnance Board was responsible for supplying equipment to both the Army and Navy. John Churchill, 1st Duke of Marlborough (1650–1722), who commanded British and Allied forces in the War of the Spanish Succession, is also honoured. Mars is the god of war; Vulcan is in this context the god of metalworking and hence cannon. Category V: by Richard Estcourt.

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The Tea-Table Miscellany R186: Song XXX (‘Leave off your foolish Pratting’). This song appears in Leveridge1727 II: pp.22-4, the MerryMusician II: p.102 and MusicalMiscellany VI: p.40. The tune also appears with different lyrics in Charles Coffey’s BeggarsWeddingSongs p.5. Coffey’s song later appeared in MusicalMiscellany III: pp.122-5. This is an Anacreontic plea for conviviality to displace the rage of party politics, an ancestor of songs such as John Skinner’s (1721–1807) ‘Tullochgorum’. Claret is the traditional wine drunk in Scotland. Category V: By Richard Leveridge. R187: Song XXXI (‘We’ll drink, and we’ll never have done, Boys’). The song first appears in Act 4 of William Congreve’s comedy The Way of the World (1706) pp.50-1 (hence WayWorld). The song later appears in The Hive (1725) III: p.22, The Choice (1729) p.93 and The Triumphs of Bacchus (1729) III: p.24, though only the first verse appears in these texts. All were printed in London. Ramsay prints the full text as appears in The Way of the World here. The ‘Sophy’ is the ruler of Persia, the ‘Sultan’ of the Ottoman Empire. Category V: Not by Ramsay. R188: Song XXXII (‘While the Lover is thinking’). This is a song from AmorousMiser (London, 1705) pp.39-40 by Peter Anthony Motteux (1663–1718). There is a setting attributed to Jeremiah Clarke (c.1674– 1707) in PPM1706 IV: p.65 and also at PPM1719 V: p.283. The lyrics are also in The Triumphs of Bacchus (1729) II: p.46 and The Hive II: p.89. Category V: Not by Ramsay. R189: Song XXXIII (‘CELIA, let not Pride undo you’). This song, set by John Weldon (1676–1736) is in MonthlyMask for May 1703, and can also be found at JY300/26 in Edinburgh University Library (Special Collections). ‘Celia’ is a popular name in contemporary pastoral. The recommended course of action for this young lady is along the usual lines of Horatian carpe diem. Category V: Not by Ramsay, set by John Weldon.

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Notes: TTM III (1727) R190: Song XXXIV (‘I’ll range around the shady Bowers’). No earlier text discovered. The song – with the same lyrics – can also be found in The Weekly Amusement for 8 February 1734. Category IV: Dubia. R191: Song XXXV (‘Tho’ cruel you seem to my Pain’). This song appears first in Henry Carey’s (1687–1743) CruelLover (London, 1710). The song was printed in MerryMusician I: pp.320-1, where the song is attributed to ‘Mr Cary’ (Henry Carey’s (1687–1743)). A single song sheet, printed with the same text and dated 1720 is found at the BL G.315.(55.). It is titled ‘A BALLAD by Mr. Carey’ and includes a separate flute part at the bottom of the sheet. The same lyrics also appeared in The Hive (1724) I: pp.119-20. It is also – with different words – Air XII in Charles Coffey’s BeggarsWeddingSongs, p.33 and appears in Henry Carey’s Poems on Several Occasions (3rd ed, pp.138-39) in the same year. It remained popular in other 1730s collections, including the 1732 edition of The Hive I: pp.106-7. Category V: by Henry Carey. R192: Song XXXVI (‘From rosy Bowers, where sleeps the God of Love’). This appears in D’UrfeyDonQuixote (1696) Part III p.49. In PPM1719 I: p.1 the musical setting was attributed to Henry Purcell though the music does not appear in this source, but in the second edition of OrpheusBritannicus (1706) I: pp.63-4, where a note states ‘The last SONG the Author Sett, in his Sickness.’ The lyrics were printed in The Choice (1729) I: p.59. ‘Mount Ida’ in Crete is the tallest mountain on the island, and is sacred to Rhea, sister of Kronos, who is often identified with Cybele, and is the mother of the Olympian gods. There is another Mount Ida in Anatolia with similar associations. Category V: by Thomas D’Urfey. R193: Song XXXVII (‘Oh! lead me some peaceful Gloom’). This song appears in The Tragedy of Bonduca by John Fletcher (1579– 1625). It is titled ‘Second SONG, by Miss Cross’, in Bonduca (1696) p.44. The song (including its music notation) was printed in Henry Playford’s DeliciaeMusicae (1696) III: pp.6-7, where a note states it was set by Henry Purcell. Category V: By John Fletcher, set by Henry Purcell. 689

The Tea-Table Miscellany R194: Song XXXVIII (‘Oh! Lead me to some peaceful Room’). In PPM1706 III: pp.289 there is a song titled ‘A Mock Song to Oh, lead me to some Peaceful Gloom. To the Same Tune.’ The song is a parody of R194. This song appears in in PPM1719 IV: pp.126-7. PPM is likely Ramsay’s source. Category V: Not by Ramsay, possibly by Thomas D’Urfey after John Fletcher. R195: Song XXXIX (‘Pious Selinda goes to Prayers’). This song is by William Congreve (1670–1729) and set by Purcell: see ThesaurusMusicus 1694) IV: p.2 (. It appears in Playford’s DeliciaeMusicae (1696) p.13 and OrpheusBritanicus (1702) II: p.63. It was also printed in Poetical Miscellanies The Fifth Part (1704) p.362. Category V: by William Congreve and Henry Purcell. R196: Song XL (‘See, see, she wakes, Sabina wakes’). This song is by William Congreve and is printed in Gentleman’s Journal (January 1694) III: p.22. The lyrics were printed in The Second Volume of Works by Mr. William Congreve (1710) pp.915-6, The Hive (1724) II: p.39, and A Collection of Epigrams (1727), where it appears under the title ‘CDXXXIX’. It also appears in Poetical Miscellanies The Fifth Part (1704) p.361, where the song immediately precedes R195. Category V: by William Congreve. R197: Song XLI (‘Young Corydon and Phillis’). Jeremiah Clarke published Young Corydon and Phillis in London in 1695 which, other than small accidental differences, is the same text that appears here. The song was reprinted in 1705. The lyrics are also found in The Poetical Works Of the Honourable Sir Charles Sedley Baronet (London, 1707) pp.137-38. The tune was reused in Silvia (1731) p.49, though different lyrics were printed. The rhyme of ‘increas’d’ with ‘Breast’ in stanza 4 is a Scots one, and ‘Nature at a stand’ (stanza 9) is of course double entendre. Category V: not by Ramsay, probably by Sir Charles Sedley (1639–1701).

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Notes: TTM III (1727) R198: Song XLII (‘See, see, my Seraphina comes’). The lyrics appear in Henry Carey’s The Records of Love (11 March 1710) I: p.159, where a note indicates the song was set by John Reading (1685/86–1764). Unfortunately, no music notation appears in this volume. Another musical setting was printed around 1715 with the lyrics attributed to Henry Carey and the music to Mr. Vanbrughe, (possibly George Vanbrugh, an English bass and composer who may have been related to Sir John Vanbrugh, the dramatist and architect). The lyrics also appeared in Poems on Several Occasions by Henry Carey (1720) p.45 under the title ‘The Presumptuous Lover’. This source states the song was set by ‘Mr. Vanbrughe.’ The lyrics were later printed in The Hive (1724) II: p.44, The Choice (1729) p.27, and the MusicalMiscellany V: pp.8083. Category V: Not by Ramsay; by Henry Carey, tune by John Reading and later Vanbrughe. R199: Song XLIII (‘Pray now, John, let Jug prevail’). A plea to stay away from the wars in this rather jerky duet, first published in Thomas D’Urfey’s opera Wonders pp.53-54 and subsequently in PPM1706 IV: pp.150-2 and PPM1719 I: pp.139-42. There is a slightly varying set of words in The Second Part of Penkethman’s Jests (1721) p.33. ‘Flea-flint’ is a skinflint; to ‘buss’ is to kiss. Category V: Not by Ramsay, by D’Urfey. R200: Song XLIV (‘Since Times are so bad, I must tell thee, sweet Heart’). A rather anti-clerical song (‘Black Cattle’ for clergy) in praise of the pastoral life and against all possible alternatives, especially gaming, highway robbery and pimping, the law, and the church. The song derives from D’UrfeyDonQuixote Part II (1694) p.46, with a setting by Henry Purcell: see OrpheusBritannicus pp.168-74. It is also in PPM1719 I: 88-91, The Second Part OF Penkethman’s Jests (1721) p.43 and The Hive (1724) II: pp.179-80. Category V: not by Ramsay, by D’Urfey.

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The Tea-Table Miscellany R201: Song XLV (‘Where Oxen do low’). This song is in Thomas D’Urfey’s The Bath, or the Western Lass Act V scene 3 (1701) (hence D’UrfeyBath). A 1705 song sheet states it was set by Daniel Purcell and published in London. It was later printed in PPM1706 IV: pp.66-9 (as ‘The Country Dialogue’) and subsequently in A New Academy of Complements (1715?) pp.145-7, PPM1719 I: pp.3-7, The Second Part of Penkethman’s Jests (1721) pp.37-40, The Hive (1724) I: p.179, and The Choice (1729) I: pp.163-5. As in the case of R200, this is another rejection of city life – this time of its social and cultural as much as its economic and professional side – in favour of the pastoral. ‘Cully’ is an easily imposed upon man, a mark; a ‘Dolly’ or ‘Doxie’ is a sexually available woman; a ‘Molly’ a gay man. To ‘bubble’ is to swindle; a ‘buss’ is a kiss. ‘Rantipole’ is wild or unruly; ‘Rattafie’ is a liqueur (more usually Ratafia). ‘Morbleau’ [Morbleu] is French expression of surprise, while a ‘Flea-flint’ appears to be an alternative form of ‘skinflint’, first recorded in 1699. An ‘Ell’ varied in length depending on location: in England it was customarily 45cm or half a yard. The long loose stitches of a ‘tacker’ or the sloppy cleaning of a ‘swobber’ are both part of the unreliable and unstable experience of urban ‘stock-jobbing’ London. Category V: by Thomas D’Urfey, set by Daniel Purcell. R202: Song XLVI (‘Of all Comforts I miscarried’). This song appears with these lyrics as ‘The Curtain Lecture’ in MonthlyMask for November 1707. It then appears as ‘The Curtain Lecture’ in Henry Scougal’s The Compleat English Secretary (1714) and is explicitly attributed to D’Urfey in MerryMusician I: pp.218-20. It is also found elsewhere in Momus Turn’d Fabulist (hence Momus) (1729) p. 1 and with different lyrics in Thomas Odell’s The Patron (Dublin, 1729) p. 21. The song is a teasing duet. Note the wife’s domestic recourse to tea, with which she ‘Reagle’s (regales) herself, even down to the ‘Slopes’ (slops). By contrast, her husband – already drunk when the duet opens – comforts himself with his wife’s rivals, ‘Strong wine and Nantz [brandy]’. The ‘Madam/Adam’ rhyme was revisited by W.B. Yeats in ‘Under Ben Bulben’ (1938). Category V: probably by Thomas D’Urfey.

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Notes: TTM III (1727) R203: Song XLVII (‘Pretty Parrot, say, when I was away’). This song appears as ‘A New Song Translated from the French’ at PPM1706 IV: pp.59-60. Richard Leveridge’s setting was published in MonthlyMask for May 1706, though the tune differs from what appears in PPM1706. It subsequently appears in other locations prior to 1730, including A New Academy of Complements (1715) p.155, PPM1719 V: pp.279-80 and The Choice (1729) I: pp.46-47. Polly the parrot informs on her mistress in a tradition of the honest and disclosing parrot which goes back to John Skelton’s (1460–1529) Speke Parrot (1521). Category V: not by Ramsay. R204: Song XLVIII (‘Here are People and Sports’). This is a graphic and entertaining dialogue, full of slang and surely at the very verge of what might be considered ‘tea-table’ entertainment. It first appears as ‘The Mountebank Song’ set by Richard Leveridge (1670–1758) in The Diverting Post for 27 January 1705, p.46 and is in PPM1706 IV: pp.86-7. It is also in FarewelFolly, acted at the Theatre Royal in 1707 where it was titled ‘A Balladsinger’ (pp.62-63), and attributed to [Peter] Motteux (1663–1718), being also separately printed that year in London as The Mountebank Song (1707). It appears in The New Academy of Complements (1715), p.152 (‘The shamdoctor’) PPM1719 V: pp.308-14, Laugh and Be Fat (1724) p.149 and The Choice (1729) pp.145-6. An interesting example of mountebank references is The High-German doctor (1714) which claims to be by ‘the nephew of Alexander Bendo’, the pseudonym adopted by the Earl of Rochester while pretending to be a mountebank in 1675. ‘Leverigo’ may jokingly identify Leveridge himself as his own mountebank (a swindler or charlatan with a relatively structured back story). A ‘merry andrew’ is a clown or comedian who entertains via physical antics; a mountebank is a deceiver, a charlatan. A ‘Tarpaulin’ in this context is a sailor, a ‘Trugmallion’ a prostitute. A ‘Looby’ is an awkward, clumsy man and to ‘fleer’ is to laugh impudently or jeeringly. ‘Popet’ and ‘Mopet’ are diminutives for sweet girls and children respectively. ‘Puddens’ and ‘Cuddens’ are both terms for asinine or clownish men. A ‘Plaeket/placket’ is an opening or slit in a garment, here the vagina. To ‘Rook’ is to swindle, while ‘Putt’ here is a diminutive for ‘putain’, French for prostitute, rather than a reference to nudging or golf, though the primary Scots meaning, ‘to push or nudge gently’ may also be indicated, in the sense of being a mild physical approach, just as ‘hooker’ comes from the American prostitute’s custom of linking arms with her mark. A ‘Taly-man’ sells goods on credit, usually door to door. A ‘furbelow’ is a gathered strip or pleated border of a skirt or petticoat. These urban 693

The Tea-Table Miscellany prostitutes are overdressed; a ‘doily’ prostitute is one in summer woollen wear. A ‘spiggot’ is a peg or plug for inserting in a cask; like ‘tap’ it is a phallic reference. ‘Fairing’ is what you go away with. In the second part, in the list of diseases, the ‘Squirt’ may be a urinary disorder rather than the way the term is generally used today; the ‘Itch’ is gonorrhea, the ‘Pox’, syphilis. ‘Mullingrubs’ is a term for depression, ‘Scrubs’[?]. ‘Crinkums’ are twisted muscles or organs, a ‘Murain’ is generally used for plague, fever or illness. ‘Jades’ are worthless women of doubtful morals; ‘pepper’d Vizard Cracks’ refers to make up to (unsuccessfully) conceal an aged and wrinkled face. ‘Pim-ginet’ is a pomegranate; ‘Ratafee’ is sweet liqueur made with wine, brandy and fruit and almonds. ‘Wainscot-face’ is not identified but may refer to a weatherbeaten face or one caked in make-up. Category V: not by Ramsay, possibly by Peter Motteux or Richard Leveridge. R205: Song XLIX (‘Oh! the charming Month of May’). This was printed in Joseph Addison’s The Guardian for August 1713 (p.2) and also (as ‘A Song out of the Guardian’) appears in PPM1714 V: pp.270-71 (1714) and PPM1719 VI: pp.344-45. ‘Curds and cream’ is a double entendre for semen. The ‘skiming Dish’ is for skimming milk. Category V: not by Ramsay. R206: Song L (‘Cupid God of pleasing Anguish’). This song first appears in John Rich’s (1692–1761) DramatickEntertainment (1724) pp.7-8 and was possibly set by John Ernest Galliard. The Necromancer was first performed 20 December 1723. Rich was the effective introducer of pantomime and harlequin to the English stage, a popular approach by the 1720s which Ramsay rejected (Pittock (2019) p.174). The song is reprinted in The Hive (1725) III: p.21, The Choice (1729) I: p.92, and MusicalMiscellany III: p.148, where it is noted as sung by Mrs Chambers. It is in James Ralph’s FashionableLady (1730) p.31, with different lyrics; there is yet another set of words in Footman Air LXIII, p.69. Given the tenor of many of these songs, there seems to be no particular need for Cupid to teach ‘fierce Desires’: there are enough of them abroad already. Category V: not by Ramsay, possibly by John Rich.

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Notes: TTM III (1727) R207: Song LI (‘My Cloe, why do ye slight me’). This song is found in MusicalMiscellany II: pp.113-5, The Hive (1729) III: p.172, and (with different lyrics though the same tune) in FashionableLady Air LVII, p.77. The swansong derives from Greek mythology, and first appears in literature in Aeschylus’ (525 –456 BC) Agamemnon (458 BC), in reference to Cassandra’s death: it is clear by the reference there that it was already proverbial. Category V: not by Ramsay. R208: Song LII (‘In this Grove my Strephon walkt’). Louis Ramondon’s setting of The Forsaken Shepherdess (1713) is the origin for this text. It was later printed in MerryMusician I: pp.283-5. Category V: probably by Thomas D’Urfey. R209: Song LIII (‘Transported with Pleasure’). An early text appears in at the end of Giovanni Bononcini’s (1670–1747) opera Astartus (Act III, scene 9). The opera premiered in London November 1720 and the libretto was published by Thomas Wood in 1720. It was also published as a separate song sheet under the title A Favourite Song in the Opera of Astartus (1721). While the text is different to what is printed in TTM III (1727) it is clearly derived from the song in Astartus. The same tune with different words appears as A Burlesque attributed to Bononcini in Chetham’s Library H.P.1917 and in John Mottley and Thomas Cooke’s Penelope (1728) Air XI, p.14, Lucy Ryan’s CoblersOpera (1729) p.11 and Essex Hawker’s The CountryWedding, and Skimington (hence CountryWedding) (1729) p.5. The lyrics printed in TTM III (1727) appear in MusicalMiscellany IV: pp.176-7 under the title ‘The Happy Lover’. Category III or V: light editing by Ramsay at best. R210: Song LIV (‘A Quire of bright Beauties’). This is ‘The Lady’s Song’ by John Dryden (1631–1700) and appears in the fifth part of Poetical Miscellanies (1704) pp. 182-83. The lyrics were later printed in The Choice (1729) pp.161-62. ‘May-lady’ is the May Queen. Syrinx a chaste nymph who was pursued by Pan and changed into water reeds, from which Pan fashioned his pipes. They henceforth were together. The reference might sometimes be used to refer to the Stuart king overseas, and this is very likely to be Dryden’s intention here (see Pittock (1994), p.106), though whether it is Ramsay’s is another matter. Category V: by John Dryden. 695

The Tea-Table Miscellany R211: Song LV (‘As charming Clara walk’d alone’). This is in The Hive (1729) III: p.171. We have been unable to trace the text to before Ramsay’s publication. It does not appear in the 1724-5 edition of The Hive. Category IV: Dubia. R212: Song LVI (‘Ye Beaux of Pleasure’). The tune, titled ‘Ye Beaux of Pleasure’ is found in Belsize-house published in London in 1722, though the text differs from what is printed in TTM III (1727). The tune was also used in William Chetwood’s LoversOpera (1729) p. 29 as Air XXXVII, again with different text. There are also different lyrics in Richard Brome’s JovialCrew (1731) (Air XXV, ‘Ye Beaux of Pleasure’). The same text as appears in TTM is found in The Choice II: pp.13-4. It is unclear where Ramsay found the lyrics printed in TTM, but the tune was clearly in use prior to 1727. Aurora is the dawn; ‘Slee’ is ‘sloe’. Category IV: Dubia; no prior text and no evidence of Ramsay’s authorship. R213: Song LVII (‘One Evening as I lay’). A variant text, titled Love in the Groves. A Song, appeared in 1710 (see H.1601. (337) in the British Library), with the first line ‘One evening as I lay’. Someone – possibly Ramsay – has altered the third last verse and omitted the last two, substituting material. The same tune with different lyrics is found in Polly (1729) Air LXXIII, published the year that Ramsay met Gay, and also in George Lillo’s Silvia (1731) and Richard Brome’s JovialCrew of the same year (as also R212). Category III or V: possibly lightly edited by Ramsay. R214: Song LVIII (‘Do not ask me, charming Phillis’). The lyrics for this song was printed in the 1677 London publication The Wits Academy (p.133). The song with music notation was printed in London around 1705 under the title Pinks and Lillies or Phillis at a Nonplus (BL H.1601.(123.). An additional verse is added to this source, which does not appear in the 1677 publication or in TTM III (1727). Subsequent versions also did not print the sixth stanza. The song in very similar form can be found in The Hive (1724) I: p.136, The Pink Garland (1725) p.2 and (with different lyrics) in FemaleParson (1730) p.53. The tune is printed in PlayfordDM (1726) and later reprinted WalshNCD (1728) III: p.121. Category V: not by Ramsay. 696

Notes: TTM III (1727) R215: Song LIX (‘Phillis the fairest of Love’s Foes’). This is by Charles Sackville (1638–1706), 6th Earl of Dorset, and appears in his Poetical Miscellanies (1704) pp.287-8 and other texts. Category V: by Charles Sackville. R216: Song LX (‘WHen Chloe we ply’). This song was printed with music notation in London around 1720. Its title is ‘(The Artifice) Sung by Mrs Reading’ (see BL H.1601.(522.)). It may have been performed in Susanna Centlivre’s play The Artifice, which premiered at the Theatre Royal, Drury Lane in 1722. The 1722 libretto does not include songs. The lyrics are printed in The Hive (1725) III: p.20, the MusicalMiscellany III: pp.81-3 and MerryMusician II: pp.112-3, as well as ModernMusick-Master I: p.13. Alternative lyrics appear in Silvia (1731) p.40 by George Lillo and Footman (1732) Air XXVII, p.32. ‘Pelf’ is wealth or treasure. Category V: not by Ramsay. R217: Song LXI The Parson among the Pease (‘One long Whitsun Holy day’). This is one of the very few songs in TTM III (1727) with a title. The lyrics appear in A New Academy of Complements (1715?), pp.113-4, where a note states it is to be sung ‘To a Play-house Tune.’ In Walsh’s MerryMusician I: pp.193-96 and PPM1719, I: pp.38-9: the song is attributed to D’Urfey. The air appears with different lyrics in Gabrielle Odingsells’ BaysOpera (1730) p.44. ‘Sir Domini’ is a clergyman, ‘Sir’ being a courtesy title for a priest. The reference to parsons and holy days is clearly not to a Presbyterian minister. The parson appears to ‘serve the Family’ in more ways than one; the references to prayers and homily are capable of bearing this meaning. ‘Recubite’ is one who lies down on (her?) back. Category V: probably by Thomas D’Urfey.

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The Tea-Table Miscellany R218: Song LXII (‘How happy are we’). The song is in Thomas Baker’s play FineLadysAirs (1708?) p.47. It was printed with music notation in MonthlyMask for December 1708 [1709] as ‘A New SONG in the Play call’d the Ladys fine Aires Sung by Mr Pack in ye figure of a Baw’d Composd by Mr Barrett’. It is also at PPM1714 V: p.175 and Walsh’s MerryMusician I: pp.73-4. This is very much a song on the edge – one might think – of what was acceptable in the polite domestic world of the tea-table; slightly redolent of ‘Lucky Spence’s Last Advice’. Category V: not by Ramsay. R219: Song LXIII (‘One April morn, when from the Sea’). The same text as printed in TTM III (1727) is found in Walsh’s MerryMusician I: pp.192-3 as ‘Love of no Party’ and is attributed to D’Urfey. The song is also credited to D’Urfey in Bodleian Library, Oxford Harding Mus E 120 (82) and appears with different lyrics as Air XIX in Charles Coffey’s BeggarsWeddingSongs, p.28. ‘Phœbus’ is Apollo, god of the Sun. Category V: by Thomas D’Urfey. R220: Song LXIV (‘Amongst the Willows on the Grass’). There is no evidence of this song before Ramsay, though it later appears in The Syren (1735) p.120 and A Complete Collection of Old and New English and Scotch Songs (1736) IV: no.1. Category IV: Dubia. R221: Song LXV (‘Selinda sure’s the brightest Thing’). This song appears in the Irish poet Matthew Concanen’s (1701–49) Poems on Several Occasions (1722), p.41, and in his Collection of Epigrams (1727) I: p.47. It is also in the Miscellaneous Poems Original and Translated By Several Hands (1724) pp.80-1. Category V: by Matthew Concanen.

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Notes: TTM III (1727) R222: Song LXVI (‘A trifling Song ye shall hear’). The Irish dramatist George Farquhar’s (1677–1707) The Trifle: A New Song was published in 1714, to the tune of ‘Winchester Wedding’ or ‘Old Sir Simon the King’. The song was later published in MonthlyMask (July 1707) where a note stated it was set by Daniel Purcell. For a more detailed discussion on the archaeology of the song, see R127. The pun is on ‘trifle’ in its various meanings, including virginity itself. In Stanza 5, there is some irony with a bearing on the title of TTM III (1727) itself: Or who is’t cou’d bear a Tea-table, | Without talking Trifles for Wit? ‘Whyte’s’is White’s Gentleman’s Club in London, founded in 1693. Category V: by George Farquhar. R223: Song LXVII (‘From grave Lessons and Restraint’). This first appears in John Weldon’s MonthlyMask for May 1704 as ‘a song sung by Mrs Bradshaw…set by Mr Weldon’. It is also in Scougal’s The Compleat English Secretary (1714) pp.122-3, The New Academy of Complements (1715), pp.100-01 and Walsh, MerryMusician (1716) I: pp.97-101. Category V: not by Ramsay, set by John Weldon.

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The Tea-Table Miscellany R224: Song LXVIII (‘Women and Wine: Some say Women are like the Sea’). The song appears with different lyrics in James Ralph’s FashionableLady, Air LI, p.70 and in Footman (1732) Air XL, p.49. Ramsay’s lyrics are not known elsewhere, though Ralph’s theme is similar. ‘Gigg’ in stanza 2= ‘jig’. FashionableLady, p.70: AIR LI. Some say Women are like the Sea.

Notes on the music: bar 5, notes 5-7, slur appears to extend from note 5-7, but since bar 5 is a duplication of bar 1 this is likely an error; bar 7, note 1, the note is ambiguously placed between d’ and e’; Category I or IV. R225: Song LXIX (‘Wou’d you chuse a Wife’). This song is in Susanna Centlivre’s (1669–1723) MansBewitch’d (1709) attributed to the author and ‘sung by Mr Dugget’. Tea-table of stanza 3 with its ‘Green and Bohea’ is again an idle one of gossip and prattle (‘Tatles’). It is also in The Hive (1726) I: p.96. Category V: by Susanna Centlivre. R226: Song LXX (‘Yes I could love, if I could find’). This text is in The New Academy of Complements (1669) pp.254-55; there is a variant text in Bodleian Library, Oxford Harding B.6 (13). ‘Intitule’ in the last line means ‘entitle’. Category V: not by Ramsay.

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Notes: TTM III (1727) R227: Song LXXI (‘Blest as th’immortal Gods is he’). This is the first song in TTM I (1723) R89. Category V: By Ambrose Phillips (1674–1749). R228: Song LXXII (‘You may cease to complain’). The editorial team has been unable to identify this song before Ramsay, and it may be by him. Category IV: Dubia. R229: Song LXXIII. (‘The tippling Philosophers: Diogenes surly and proud’). This drinking song was published in Edward (Ned) Ward’s (1667–1731) The Wars of the Elements as ‘In Vino Veritas: or the tippling Philosopher’ in London in 1708, pp.51-53 and in Edward Ward and Tony Aston’s The Pleasures of the Bath (1721) and The Second Part of Penkethman’s Jests II: pp.84-86 in the same year. It was also published in Leveridge1728, p.73. The tune was used for a different set of words in), MusicalMiscellany I: pp.154-57 (set by Mr Leveridge) and Charles Coffey’s BeggarsWeddingSongs p.1 in 1729. It is perhaps a distant original of Monty Python’s ‘Philosophers’ Drinking Song’ (https://genius.com/Monty-python-bruces-philosophers-song-lyrics). Diogenes (412/404–323BC) was one of the founders of Cynic philosophy and lived a simple life in order to be an active critic of society. In 336BC he mocked an admiring Alexander the Great (whose tutor was Aristotle (384– 322BC)), during the latter’s visit to Corinth. Job is the central character of the Book of Job, whom God permits Satan to test in the Bible. Heraclitus (fl.500BC) is famous for a foundational quotation, ‘panta rei kai houden menei’ (everything flows and nothing stays) which underpins the writing of modernist and proto-modernist figures such as Walter Pater (whose 1868 Conclusion to The Renaissance begins with this quotation from Heraclitus) and James Joyce. Democritus (c.460–c370BC) founded the atomic theory of the universe, Solon (c.630–c560BC) was a famous Athenian statesman and lawgiver, while Croesus (b.595 BC) was King of Lydia (r. 560–546BC) and proverbially wealthy, who is supposed to have known Solon, who visited him at his capital Sardis. Socrates (c.470–399BC) was the great philosopher executed by his fellowAthenians and idealized by his pupil Plato (428/423–348/347BC); Socrates’ wife was the proverbially shrewish Xanthippe, who of course may have tired of her husband’s boyish infidelities and penchant for challenging the categories into which ‘reality’ is divided. Seneca (c.4BC–AD65) was the Stoic philosopher 701

The Tea-Table Miscellany who was Nero’s (the ‘Bully of Rome’)’s tutor, forced to commit suicide by his erstwhile pupil. Pythagoras (c.570–c495BC) was a Greek philosopher now chiefly recalled through trigonometry; Aristotle (384–322BC), one of the greatest philosophers of the ancient world, was Alexander the Great’s tutor; Nicolaus Copernicus (1473–1543) was a Polish astronomer who placed the sun rather than the earth at the centre of the universe. ‘Philosophers, Poets, or Kings’ may be an oblique reference to the philosopher kings and unruly poets of Plato’s Republic. Category V: Not by Ramsay, probably by Ned Ward and set by Richard Leveridge. R230: Song LXXIV (‘Down among the dead Men: Here’s a Health to the King, and a lasting Peace’). This is a famous Anacreontic drinking song of the early eighteenth century, probably celebrating the Peace of Utrecht in 1713, and looking forward to the restoration of the ‘King’, James VIII and III, after the death of the ‘Queen’, Anne, but the ambivalence of the reference to ‘king’ enables it to refer to the future George I also. The tune is anthologized without lyrics in PlayfordDM (1726) p.73, and the lyrics appear are printed in A New Academy of Complements (1727) pp.152-53. The first line reads ‘The honest Englishman’s health’; ‘honest’ being not infrequently used as a contemporary code word for Jacobite. It also appears in The Triumphs of Bacchus (1729) pp.42-3 (Song XXXIII) and continued to be widely anthologized in songbooks up to recent times. The ‘Queen’ is Anne (r. 1702–14), the royal toast to whom, which opened the evening, was succeeded by toasts to the woman proposed by each man in turn in the all-male company. This is the process referred to in ‘Let charming Beauty’s Health go round’ in stanza 3. Bacchus (Dionysus) is the Roman/ Greek god of wine. Category IV or V: Probably not by Ramsay, though strictly speaking there is no prior text located and Dubia (Category IV) is justified. R231: Song LXXV (‘He that will not merry merry be’). Another drinking song. We have been unable to trace the lyrics before the printing of TTM III (1727); however, the text does appear in The Triumphs of Bacchus (1729) pp.43-44. The same tune but different lyrics appear in Richard Brome’s JovialCrew (1731) Air III and Roderick Random’s Footman (1732) Air XXXV, p.43. ‘Bridwell’ (Bridewell) was a prison in London to which prostitutes were often consigned. The reference to being ‘fast bound to a Post’ refers to the not uncommon punishment of whipping such unfortunate women, in the days 702

Notes: TTM III (1727) when sadism and related fetishes were conditionally enshrined in the legal system. The conforming Christianity of the man who likes neither sex nor drink will earn him the reward of being ‘buried in the Church yard’ in the last stanza: possibly with a view to entering heaven, but then again possibly not. Category IV: Dubia. R232: Song LXXVI (‘Jolly Mortals, fill your Glasses’). Another Anacreontic song, which first appeared in similar form in Ned Ward’s The Diverting Muse (1707/08), Song XI (p.127) and with identical lyrics in The Triumphs of Bacchus (1729) Song CIII, p.144. The reference is to Alexander the Great (356–323BC), whose drinking probably hampered his efficiency as much as it secured it, not least in his alcohol-fuelled murder of his general Cleitus (c.375–328BC) who had saved Alexander’s life six years earlier. It later appears in MusicalMiscellany VI: pp.182-3. Category V: Not by Ramsay, possibly by Ned Ward and subsequently edited. R233: Song LXXVII (‘Since we die by the Help of good Wine’). Another Anacreontic, for which the editorial team can find no evidence prior to Ramsay. A ‘Tun’ is anything from 208-252 imperial gallons (945-1145 litres). Again, the ‘Church-yard’ is seen as the reward for ‘Misers and Slaves’ (stanza 2); cf. R231. Category IV: Dubia. R234: Song LXXVIII (‘BACCHUS IS A Power divine’). An Anacreontic song, which first appears in Henry Purcell’s OrpheusBritannicus (1698) pp.174-6. The text later appears in The Triumphs of Bacchus (1729) Song XXXI, p.40. Category V: not by Ramsay.

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The Tea-Table Miscellany R235: Song LXXIX (‘Ye Virgin Powers, defend my Heart’). The song first appears in PlayfordTM (1685) I: p.44 and was also printed in the 1685 publication Miscellany, Being A Collection of Poems By Several Hands pp.69-70 where it is attributed to Elizabeth Wythens née Taylor (1638–1708). It is attributed to a ‘lady’ in Examen Poeticum (1698) pp.401-2 and is in James Greenwood and Wythens’ Virgin Muse of 1717, p.139. It is in MonthlyMask (September, 1707) and The Hive (1726) I: p.170. The woman speaker resolves on chastity, guarded by her ‘Pride’ if not her ‘Nature’. Category V: by Elizabeth Wythens. R236: Song LXXX (‘Why shou’d a foolish Marriage Vow’). A song defending the prospect of mutually acceptable adultery without the need for jealousy after the passion of a marriage is spent, which evinces the Restoration mentalité: it first appeared in Robert Veel’s New Court-Songs, and Poems (1672) p.72, and subsequently in Playford’s Choice Songs and Ayres (1673) p.39 and John Dryden’s Marriage-a-la-Mode (hence MarriageMode of the same year (p.1). It was later printed in The Hive (1724) I: p.175 and MusicalMiscellany (1729) II: pp.52-3. The song is by Robert Smith (1648–75). Category V: by Robert Smith. R237: Song LXXXI (‘My dear Mistress has a Heart’). This song, by John Wilmot, 2nd Earl of Rochester (1647–80), was printed in Miscellany, Being a Collection of Poems by Several Hands (1685) pp.43-44, and then in Rochester’s Works (1714) p.35. There are some small differences from Ramsay’s text, which appeared in The Hive (1724) I: pp.173-74. Thomas Arne (1710–1778) set the song in 1751 and titled it The Fickle Fair. Category V: by the Earl of Rochester.

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Notes: TTM III (1727) R238: Song LXXXII (‘I’ll sail upon the Dog-star’). This first appears in New Songs Sung in The Fool’s Preferment (hence FoolsPreferment) (1688) pp.10-2 by D’Urfey (lyrics) and Purcell (music). The song appeared under the title ‘A Song sung in the Fourth Act’. It is also in OrpheusBritannicus (1698) pp.122-3. The ‘Dog-star’ (l.1) is Sirius, the brightest of all stars in our sky; ‘Horning’ (l.4) is ‘putting to the horn’, the process of rendering a person an outlaw, or a metaphorical application of that process; a ‘roaring Boy’ (l.11) is a noisy and aggressive young man. ‘Gresham College’ (l.12) was founded in London in 1597 and remains active as an institute of higher scholarship (not education, as it has neither students nor degrees) to this day. ‘Celum’ (l.13) appears to be a reference to the heavens. Category V: probably by Thomas D’Urfey. R239: Song LXXXIII (‘Prithee, Susan, what dost muse on’). This song first appeared in Windsor-Drollery (1672) p.20 Song 31 as ‘James and Susan’: the TTM III (1727) text Scotticizes ‘James’ to ‘Jamie’. Ramsay’s text is in RobertsOB II: pp.220-1 and in Poetical miscellany [manuscript], (c.1690– 1730), f.2. Category V: not by Ramsay. R240: Song LXXXIV (‘When, lovely Phillis, thou art kind’). This song first appears in PlayfordTM (1685) p.4, set by Purcell, and is also in OrpheusBritannicus (1702) II: pp.114-5 (‘A Song for Two Voices’), A New Academy of Complements (1715?) p.125 and The Compleat Musick-Master (hence CompleatMusickMaster) (1722) I: pp.20-1. The Hive (1725) III: p.75 is a possible source for Ramsay. It also appears in The Triumphs of Bacchus (1729) p.41. ‘The Boy and his Mother’ are Cupid and Venus. The ‘Bumper’ is a glass filled to the brim. Category V: not by Ramsay.

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The Tea-Table Miscellany R241: Song LXXXV (‘You that love Mirth, attend to my Song’). The tune is ‘Lilliburlero’, which first appeared in print as a ‘New Irish Tune’ in PlayfordSMHM (1689) pp. 52-3 and with lyrics in The Muses’ Farewel to Popery and Slavery (1690), p.91. It first appears in print with Ramsay’s words in Teague and Sawney (c.1690) (‘YOU that love Mirth, give ear to my Song, / a moment you never can better imploy’). ‘Sawny’ and ‘Teague’ are generic and mildly derogatory terms for a Scot and Irishman, frequently found in English popular literature. The anti-Irishness and anti-Catholicism of the mock speech of the Irishman are typical of the genre. The ‘Solemn League and Covenant’ (stanza 3) was the 1643 agreement between the Scottish Covenanters and the English Parliament to supply troops to the Parliamentary side in return for the establishment of Presbyterianism in England and Ireland: it was seen as the height of Covenanter ambition and arrogance by their opponents. The tune – a Williamite and anti-Scottish and Irish one which was for a long time the signature melody of the BBC World Service – can otherwise be found on numerous occasions in AgnesHume f.2: Lillye Burlerro Britton f.43, no.21: Lilliburlero Balcarres pp.30-1: no.143: lillybollaro Leyden f.41, no.70: Lillibolero NewSongsBallads pp. 4-5: The National Quarrel; a New BALLAD: The Words made to the Tune of Lily burlero Ox576 ff.11v-12r: Lairi bollairy bolli nola (written in tablature) PlayfordDM p.216: Lilli Burlero PlayfordSMHM pp.52-3: A New Irish Tune PPM1706 pp.24-6: The Hopeful Bargain: Or a Fare for a Hackney- | Coachman, giving a Comical relation, how an | Ale-draper at the Sign of the Doubletooth’d Rake | in or near the new Palace-yard, Westminster, Sold | his wife for a Shilling, and how she was sold a second time for five Shillings to Judge; My Lord, --- | Coachman, and how her Husband receiv’d her again | after she had lain with other Folks three days and | nights, &c. The Tune Lilly Bolero. It is also Air XLIV in BeggarsOpera1728. None of these sources have the same words as TTM III (1727). Category V: not by Ramsay. R242: Song LXXXVI (‘May the Ambitious ever find’). This song with Ramsay’s lyrics appears in. The Annual Miscellany (1694) I: p.265, Poetical Miscellanies of 1704 (Fifth Part, pp.311-12) and Richardson Pack’s (1682–1728) Miscellaneous Works (1726) p.281. Category V: not by Ramsay.

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Notes: TTM III (1727) R243: Song LXXXVII (‘CELIA, too late you wou’d repent’). This appears in William Walsh’s Letters and Poems (1692) pp.90-1 (‘Upon a favor offered’, Ramsay’s lyrics), the Annual Miscellany, for the year 1694 (1708) pp.382-3 and is in The Hive (1724) II: p.263, where it is attributed to John Dryden. Category V: possibly by John Dryden. R244: Song LXXXVIII (‘Yes, all the World will sure agree’). This appears in William Walsh’s Letters and Poems (1692), pp.90-1, as ‘To His Mistress Against Marriage’. Category V: not by Ramsay. R245: Song LXXXIX (‘My Goddess Lydia, heavenly fair’). The text is published in The Annual Miscellany for the year 1694 (1694) pp.190-91 where it is attributed to Edward Radcliffe (1655–1705). Later in the eighteenth century, the text was reprinted in The Works of the Right Honourable John Earl of Rochester (1756) p.144 where it was misattributed to the Earl of Rochester. Ambrosia (stanza 3) was the food of the gods in Greek mythology. Category V: probably by Edward Radcliffe. R246: Song XC (‘Why we love, and why we hate’). This appears in the sixth part of Poetical Miscellanies (1709) pp.281-2 as ‘By the same hand’ as the previous song that has the first line ‘Then never let me see her more!’. Category V: not by Ramsay.

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The Tea-Table Miscellany R247: Song XCI (‘Hark how the Trumpet sounds to Battle’). The first two verses of the text were printed as the song (The Soldiers Call to the War) Set to the French Horn Minuet (c.1720), which was set to Handel’s Water Music Suite No. 2, Trumpet Minuet (1717). The song title misattributes the piece as the French horn minuet. It is unclear who authored the text. The tune remains an opera staple into the 1730s appearing in FemaleParson Air II, p.3 and Footman Air XXIX, p.35, but with a different text that what is published in TTM III (1727), though the same first line is used in Air XVIII of Robert Drury’s MadCaptain (1733) Air XVIII, p.25. Category II or IV: heavily edited by Ramsay or Dubia. R248: Song XCII (‘Shall I, wasting in Despair’). This is by George Withers (1588–1667) and was published in his Works and in A Description of Love, p59, both of which appeared in 1620: in the latter the title is ‘Master Johnson’s answer to Master Withers’; it is also in Withers’ Fidelia (1622). It appears in in The New Academy of Complements (1669), song 43, The Golden Garland of Princely Pleasures (as ‘The shepherd’s resolution’) and elsewhere. PPM1699 I: pp.120-21 has the tune for this song, titled ‘Love for love’, ‘set by Mr King’, and there are other appearances of the song in. MiscellanyPoems1716 VI: pp.335-36 and PPM1719 I: pp.120-21. Category V: by George Withers. R249: Song XCIII (‘As the Snow in Vallies lying’). A carpe diem song (the term derives from Horace’s Odes I: p.XI), which appears in MonthlyMask (May 1703), as ‘A Song Sung by Mrs Hudgson set by Mr John Weldon’. It is present with Ramsay’s text in Poetical Miscellanies (1704) V: pp.331-2 and The Hive (1726) I: p.142 and appears with a tune in MusicalMiscellany (1729) I: pp.118-9, as ‘Advice to the Ladies’. The song’s presence with different lyrics in William Chetwood’s LoversOpera (1729) Air XVI, p.14, CountryWedding (1729) Air XXIII, pp.22-3, GenerousFreemason Air I, p.2 and Footman Air XIX, p.27, suggests it was in reasonably wide circulation. Category V: not by Ramsay

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Notes: TTM III (1727) R250: Song XCIV (‘Fair Amoret is gone astray’). This song is attributed to William Congreve in Poetical Miscellanies (1704) pp.353-54 and (with music) in A Collection of Songs by John Eccles (hence Eccles) (1704) p. 121. It appears in Congreve’s Works (third volume) in 1710 (pp.990-1) and in The Hive (1729) III: p.175. Category V: probably by William Congreve, although it has also been attributed to Charles Sackville, 6th Earl of Dorset. R251: Song XCV (‘DAMON, if you will believe me’). This song by Charles Sackville, 6th Earl of Dorset appears in Tonson’s Poetical Miscellanies (1704), pp. 301-2. It is also in PPM1706 IV: pp.112-3. Category V: by Charles Sackville. R252: Song XCVI (‘If she be not kind as fair’). This appears in Sir George Etherege’s (1636–92) ComicalRevenge (1664) p.30 and is also in The New Academy of Complements (1669) pp.121-2 and The Hive (1729) III: pp.163-4. A ‘Jack-a-dandy’ is a dandiacal, foppish and impertinent man. Category V: by Sir George Etherege. R253: Song XCVII (‘Awake, thou fairest Thing in Nature’). This song is in the MS ‘Political and Other Pieces’ (1731) at BL Add MSS 32463 f. 40 v. The text may date from before Ramsay, but there is no absolute evidence available of this, though he is a very unlikely source for this collection. Category IV or V: Dubia, probably not by Ramsay. R254: Song XCVIII (‘In spite of Love, at Length I’ve found’). This is published in The Triumphs of Bacchus (1729) pp.44-45. The text may date before TTM III (1727), but there is no evidence available. Ramsay is unlikely to have authored this text. Category V: not by Ramsay.

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The Tea-Table Miscellany R255: Song XCIX (‘O Surprising lovely Fair!’). There is no trace of this song before Ramsay. Unfortunately, there is no identifiable tune. Category IV: Dubia. R256: Song C (‘When bright Aurelia tript the Plain’). This appears in The Hive (1729) I: pp.179 as ‘The bright AURELIA’ with a few minor accidental differences, and in John Gay’s Polly (1729) Air XLI with different lyrics. A tune ‘set by Mr Ramondon’ appears in MusicalMiscellany III: pp.97-100 in 1729. Different texts appear in Essex Hawker’s Wedding (1729), p.5, Thomas Cooke’s Love&Revenge (1729) p.31, James Ralph, FashionableLady (1730) Air XXI and MerryMusician IV: pp.71-72. Phaon was an ugly boatman who ferried an incognito Aphrodite to Asia Minor without payment and was rewarded by her with an ointment that made him young again. Category V: not by Ramsay. R257: Song CI (‘Away you Rover’). There is a closely similar song with the same title in Peter Motteux’s opera Thomyris, Queen of Scythia (1707) p.11 and one in Elizabeth Cochrane’s Songbook (c.1730) at Houghton Library, Harvard University MS Eng.512. Category V: Not by Ramsay, possibly by Peter Motteux. R258: Song CII (‘He, who for ever’). No earlier text has been identified. Category IV: Dubia. R259: Song CIII (‘Go, go, go, go falsest of thy Sex begone’). A closely similar text is printed at PPM1714 V: p.178 as ‘The precaution’d Nymph’, attributed to Peter Motteux and Jeremiah Clarke, set by Louis Ramondon, and in The Precaution’d Nymph (1715), MerryMusician I: pp.111-2 and PPM1719 VI: p.288. Ramsay’s text is perhaps a little more formal. Category III: lightly edited by Ramsay, originally by Peter Motteux and Jeremiah Clarke

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Notes: TTM III (1727) R260: Song CIV (‘BELINDA, with affected Mein’). This appears in the 1725 New Miscellany, pp.56-57 and The Hive (1729) III: p.179. Category V: not by Ramsay R261: Song CV (‘On a Bank of Flowers’). A version appears in Charles Coffey’s (d.1745) BeggarsWedding, p.35 with the same title but different words. Coffey’s printed lyrics derived from Ramsay’s text. The Coffey lyrics are written to suit The Beggar’s Wedding storyline but include the ‘Fa La La’ section also found in Ramsay’s text, which suggests it was recognisable feature of the song. Coffey also prints the tune, which also neatly fits Ramsay’s text. The ‘gentle Zypher’ [Zephyr] of stanza 2 is a reference to the proverbially gentle west wind. The music is found in BeggarsWeddingSongs: BeggarsWeddingSongs, p.24: On a Bank of Flowers.

The tune was later used in Footman Air XX, p.28. Category I: by Ramsay. R262: Song CVI (‘While silently I lov’d, nor dar’d’). This appears in The Hive (1729) III: p.180. The text may date before TTM III (1727), but there is no evidence available. Ramsay is unlikely to have authored this text. Category V: not by Ramsay. R263: Song CVII (‘Oh! happy, happy Grove’). The editorial team have found no prior text of this song. Category IV: Dubia. 711

The Tea-Table Miscellany R264: Song CVIII (‘The Sages of old’). This song may appear in D’Urfey’s The Loyal States-man (1689–97), but we have been unable to locate a copy. It is attributed to D’Urfey and appears in PPM1719 II: pp.17-8, (tune by John Eccles (1668–1735)). Category V: by Thomas D’Urfey. R265: Song CIX (‘We all to conquering Beauty bow’). This song may appear in D’Urfey’s The Love-Sick Shepherd (after 1684), but we have been unable to locate a copy. It was printed as a single song sheet titled The Conquering Virgin (1687). There is a text very close to Ramsay’s titled as ‘The Court Star’ in A Compleat Collection of Mr D’Urfey’s Songs And Odes (1687) pp.82-3. The song also appears in The Theatre of Complements (1689) p.127 as ‘Song 67’, as ‘The Conquering Virgin’ in The Compleat English Secretary (1714), pp.143-44 and as ‘The Perfect FAIR’ in The Hive (1726) I: p.149. In stanza 3, The Patriarch who waited fourteen years for a wife was Jacob (Genesis 29): the wife, Rachel. Category V: by Thomas D’Urfey. R266: Song CX (‘Prithee, Billy, be’nt so silly’). This is from Henry Carey’s (1687–1743) Poems on Several Occasions (1721) pp.20-21 as ‘ADVICE TO A Friend in LOVE’ and was set to music by Louis Ramondon in MusicalMiscellany V: pp.184-85. Category V: by Henry Carey. R267: Song CXI (‘Kindly, kindly, thus, my Treasure’). This appears in Peter Motteux’s opera LovesTriumph (1708) pp.6-7, adapted from L’Amore Eroico Fra Pastori (1696) by Cesarini, Luller and Bononcini. Motteux’s words are very similar to Ramsay’s, but there are some differences. There is a vocal score (‘sung by Mrs Tofts’) at Bodleian Library, Oxford at Harding Mus G.O. 18(11). The song – with Ramsay’s lyrics – is in The Hive (1729) III: p.180, and this is Ramsay’s probable source. Category V: not by Ramsay, probably by Peter Motteux.

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Notes: TTM III (1727) R268: Song CXII (‘A Sour Reformation’). The editorial team have been unable to locate an earlier example of this strange song which closes the collection, though in many respects it reads like a topical song of the 1698–1705 era. ‘Nonjurors’ (stanza 1) are those Anglicans and Episcopalians who refused the post-Revolution oaths (abut 1200 clergy in England and Scotland, and almost all Scottish lay Episcopalians); ‘Colliers’ is a reference to Jeremy Collier (1650–1726), a Nonjuring bishop who published his Short View of the Immorality and Profaneness of the English Stage in 1698. In stanza 2 ‘Oliver’ is of course Oliver Cromwell, a strange bedfellow for any Nonjuror. Nonetheless, the song makes reference to the common cause Nonjurors and Nonconformists have found in puritanical attacks on poetry and drama. It thus sits very close to Ramsay’s own opinions and passion for both poetry and the stage, attacked by the ‘Revolvers’ of Cromwellian low and Stuart high church alike. Category IV: Dubia.

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THE Tea-Table Miscellany: or, A Collection of CHOICE Songs, Scots and English. Vol. IV. Edinburgh, 1737. Edinburgh: Printed for and sold by the Publisher, and all the other Booksellers in Britain, 1737. R269: Etrick Banks (‘On Etrick Banks, in a Summer’s Night’). This is a song belonging to the ‘Highland Laddie’ cycle (particularly popular from the 1720s to 1740s) in which a ‘Lawland Lass’ is promised sexual and personal freedom by leaving for the Highlands (here represented by the Bridge of Earn as a frontier: other examples include Cairnamount or Bennachie, but the presence of a transition point is a common feature. Bridge of Earn (the Brig) is now a town of about 3000, 6km south of Perth, a very southerly frontier for the imagined land of ‘the Highlands’ by comparison with similar songs. ‘Earse’ was the common name for Gaelic between the sixteenth and nineteenth centuries, associating it (correctly) with its Irish subling. It was often (but by no means always) used in a disparaging fashion, to suggest the alien and by implication Catholic nature of the Gaelic speaker, The implications here – of escape to a pastoral bliss governed only by the changing seasons – are clearly more positive. The ‘Pipes’ are a phallic symbol, and were well recognized as such in eighteenth-century Scotland (Williams (2013). This song appears in ThomsonOC2 II: pp.102-3, no.45 and is later found in OswaldCPC pp.28-9, McGibbon p.23, and Barsanti p.2. Category IV: Dubia. No direct evidence this is by Ramsay, but it is a possibility. R270: The Birks of Invermay (‘The smiling Morn, the breathing Spring’). The location for this carpe diem song, Invermay, is 8km south west of Perth. The ‘birk’ (birch) is a symbol of liminal transition between two worlds (e.g. the living and the dead, the artificial and the natural) in Scottish rural lovesong (cf the ballad ‘The Wife of Usher’s Well’, where the mother’s sons return from the dead to say farewell to her one last time): It fell about the Martinmass, When nights are lang and mirk, The carlin wife’s three sons came hame, And their hats were o the birk. It neither grew in syke nor ditch Nor yet in ony sheugh; But at the yetts o Paradise, That birk grew fair enough. In the song collected by Ramsay here, the transition into the birks is one into 715

The Tea-Table Miscellany sexual freedom at one with nature (‘the young/In one another’s arms, birds in the trees, | -Those dying generations- at their song’ as Yeats would put it two hundred years later), and the eventual ‘adieu’ to them will come when age has wasted desire. For this trope in Burns, see Pittock (2016b). The song (as ‘The Banks of Endermay’) is in ThomsonOC2 II: p.98, no.43, and Walsh’s BritishMusicalMiscellany II: pp.87-8; the text, attributed to David Malloch/Mallet, was also printed in The Gentleman’s Magazine (September 1737) p.565. It can also be found in Thumoth, pp.2-3 and in Barsanti p.8 and McGibbon p.32. Category V: probably by David Malloch/Mallet (c.1705-65) R271: Hero and Leander, An old Ballad. (‘Leander on the Bay // Of Hellespont, all naked stood’). The legend of the love of Hero, priestess of Aphrodite at Sestos on the European side of the Hellespont and Leander of Abydos on the Asian side, was the subject of an unfinished poem by Christopher Marlowe (1564-93). Leander seduced Hero and swam across to make love to her, tragically drowning when the winds from the sea blew out the lamp in her high tower which usually guided him. In anguish, she threw herself into the sea and perished. The topic was a popular one. There is a variant text published as a broadside ballad that is similar to Ramsay’s and perhaps was the inspiration. It is titled The Tragedy of Hero and Leander: | OR, | The Two Unfortunate Lovers. | Famous Leander for his love renown’d, | In crossing of the Hellespont was drown’d, | And Hero when his corps she once espy’d, | She leapt into the waves, and with him dy’d (1640–1874?). Ramsay does not print verse 1 of this text; instead starting at verse (with some alterations). Thereafter the verses differ. It is also at ThomsonOC2 II: pp.90-2, no.40, and BritishMusicalMiscellany V: p.101. Category II: heavily edited by Ramsay. R272: Rare Willy drown’d in Yarrow (‘Willy’s rare and Willy’s fair’). One of the many songs on Yarrow, few of which have a happy ending: it is good advice to fall in love somewhere else if one is a native of Scotland, the risk of death for men in particular being unacceptably high. ThomsonOC2 II: p.110, no.49 prints the same tune and adds a bass line and ornamentation. Category IV: Dubia 716

Notes: TTM IV (1737) R273: The King and the Miller. (‘How happy a State does the Miller possess!’). Since at least the time of The Canterbury Tales, which refers to his proverbial ‘golden thumb’ (here ‘Gold in handling will stick to his Fingers like Meal’ (stanza 2)), derived from persistently giving customers short measure, the Miller has been seen as a prosperous member of the middling sort (‘middle class’ was beginning to be in vogue by the end of Ramsay’s life). A variant text can be found at the British Library (C.116.i.4.(22.)) as a single song sheet titled ‘The HARLOT Unmask’d’ (1720?) with the first line ‘HOW happy a State does the Damsel possess’. The text appears as ‘SONG’ attributed to Robert Dodsley (1703-64) in The King and the Miller of Mansfield KingMillerMansfield) (1737) pp.20-1 with the same first line and lyrics as Ramsay. Category V: probably by, or edited by, Robert Dodsley. R274: Tamo Tanto. (‘So much I love thee, O my Treasure!’). This song appears to derive from ‘T’amo tanto o mio tesoro’ in Pietro Pariati’s (1665–1733) Artaserse (1724) p.55. The air is also in John Walsh’s HarpsicordMaster XII: p.8, Air XLVII in John Gay’s Polly (1729) no. 23 in Essex Hawker’s Wedding and no. 25 in CountryWedding of the same year. It can also be found in Edward Philips’ StageMutineers (1733) p. 32 and George Stayley’s RivalTheatres (1737) p. 30. The lyrics (where given) differ in all of these. Category II: heavily edited by Ramsay. R275: The beautiful Singer. (‘Singing charms the Blest above’). There are similar lyrics to Ramsay’s in Ayres&Dialogues (1659) I: p.25 titled ‘To a Lady Singing’. The same lyrics found in Ayres&Dialogues also appear as Edmund Waller’s (1606-87) ‘Singing’ in his Poems (1668), and in The Bee III: p.27 (1715) and The Complete Art of Poetry (1718) p.353. The song is no LXVII in The Choice (1733) II: p.75. The lyrics as they appear in TTM III (1727) are not printed in Ramsay’s form anywhere. Category III: lightly edited by Ramsay.

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The Tea-Table Miscellany R276: Sweet William’s Ghost. (‘There came a Ghost to Marg’ret’s Door’). This is a song in the ‘ghostly lover’ tradition. Margaret’s ‘Robes of Green’, the colour of fairyland, signify the supernatural tenor of the song. There is no evidence for this song found by the research team before Ramsay; it may be mock-ballad of his own. Unfortunately, Ramsay did not identify a tune for this song. Category I: Probably by Ramsay. R277: Great Lamentation for the Loss of sweet Senisino (‘AS musing I rang’d in a Meadow alone’). This song uses stock pastoral ‘lost lover’ imagery in the fresh context of the fashionability of opera in the early eighteenth century. The woman’s pining for the loss of Senisino is rendered ridiculous by the knowledge that Senisino is neither dead nor a fertile partner for her: he is Francesco Bernardi (‘Senesino’) (1686–1757), a castrato who first appeared on the London stage in December 1720 as Handel’s primo uomo in Radamisto. Handel subsequently wrote major roles for Senesino in Giulio Cesare, Orlando and Rodelinda. Perhaps the lovelorn woman is in fact pining for his salary, which was reportedly as high as 3000 guineas. Carlo Maria Michelangelo Nicola Broschi (‘Farinelli’, 1705-82), was a castrato with tremendous top notes who joined Senesino’s Opera of the Nobility, a rival to Handel, in London in 1734 after a glittering Continental career. Farinelli first appeared in London in his brother’s Artaserse. Francesca Cuzzoni (1696– 1778) made her debut in London in Handel’s Ottone in 1723. The fact that the woman in this song appears to be pining for two castrati and a soprano is a humorous reflection on the contemporary obsession with opera. The song is Henry Carey’s (1687–1743) MOCKING is CATCHING, | OR, | A Pastoral LAMENTATION for the Loss of a Man and no Man (1726), though Ramsay has slightly altered some of the text. It also appears as ‘A Sorrowful Lamentation for the Loss of a Man and no Man ‘ in Carey’s Poems on Several Occasions (1729): pp.62-3. The song is published as The Ladies Lamentation, for the Loss of Senesino: Sung by Mr. Roberts. / Set for the German Flute (1735) and is in BritishMusicalMiscellany VI: pp.138-9. Category V: by Henry Carey.

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Notes: TTM IV (1737) R278: The Virgin’s Prayer. (‘CUpid, ease a Love-sick Maid’). The double entendre of the ‘prayer’ (‘Bring thy Quiver to my aid’) is only too obvious. The song is from Henry Fielding’s (1707-54) The Life and Death of Tom. Thumb the Great (hence LifeDeathTomThumb) (1731) p.22, where it is titled ‘Cleora sings’. Category V: by Henry Fielding R279: Ungrateful Nanny I (‘DId ever Swain a Nymph adore’). The ‘swain’ of the song, despite perhaps having occasionally had his way with ‘Nanny’ in the past (‘’Twas I that did her pitcher fill’, stanza 5) is clearly suffering from nice guy syndrome. He is indeed well on the way to being hanged ‘in her Apron-string’ as the last line proclaims. This song seems first to appear as Robin’s Complaint (1720) by ‘Mr Greene and Lord Binning’ (Charles Hamilton, Lord Binning (1697–1732) was a poet; Greene is unidentified, being presumably not Maurice Greene (?1696–1755), who was a cathedral organist). The text is the same as what appears in TTM III (1727). The song also appears in Charles Coffey’s BeggarsWedding at Air XII, p.58 (‘Did ever swain a nymph adore’), but with a different set of words. The music is in BeggarsWeddingSongs, p.39. The song with Ramsay’s words (and described as ‘Set by Mr Greene’) is in Watts’ MusicalMiscellany I: pp.168-71. It is also found in The Choice (1733) III: p.134, The Vocal Miscellany (1734) pp.82-3 and The Syren (1735) pp.184-5 with Ramsay’s words. Category V: not by Ramsay, possibly by Charles Hamilton, Lord Binning. R280: The Scullion’s Complaint. (‘BY the Side of a great Kitchin Fire’). ‘The Proof of the Pudding’ (Stanza 2) was already proverbial by this time, having been in circulation for as much as 400 years. The original song of which this is a ‘Burlesque’ is noted to derive from R176. This song appears in Count Piper’s Packet (1732), p.33 as ‘Colin’s complaint burlesqued’ by ‘D- S-‘. It is also song CCXXV in The Choice (1733) II: pp.236-37. Both of are the same as the text printed here in TTM III (1727). The Weekly Amusement (28 December 1734) I: viii: p.201 has a slightly variant version as Song V ‘Despairing Beside a Clear Stream’. This is also the title which appears as Song LI in The Vocal Miscellany (1734) pp.41-42 and as Song LXVI in A Complete Collection of Old and New English and Scotch Songs (1735) I: p.82, though both of these have the lyrics which appear in Ramsay.

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The Tea-Table Miscellany With his customary eye for business, Ramsay appears to have integrated a burlesque on one of his own songs into the next volume of his own collection. Category V: not by Ramsay, author not identified. R281: The Hunter’s Song. (‘When betimes on the Morn to the Fields we repair’). ‘Jouler’ and ‘Tolier’ are the names of hounds (stanza 2), the former indicating a dog with prominent jowls, as are ‘Sweet-lips’ (later the name of George Washington’s dog) and ‘Mally’. A ‘Mally’ is a ‘Malinois’ or Belgian shepherd dog, but it is not a hound and so the reference here is tangential. The ‘Squat’ is not a modern strength exercise but is probably a reference to a deer’s squat as it moves its thighs downwards in anticipation of an attack and to allow it to accelerate away; ‘Ratches’ are surely a reference to ‘Ratchets’, a type of hound. The text of this song cannot be found before Ramsay, but there are similarities in William Basse’s (c.1583–1653) ‘The Hunter’s Song’ in Wit and Drollery (1682) p.64 and to RobertsOB (1725) III: p.196. Category II: heavily edited by Ramsay. R282: The jolly Bender (‘BAcchus must now his Power resign’). This song appears in singable form with Ramsay’s lyrics in John Watts’ BritishMusicalMiscellany I: p.38 with the title ‘Bacchus Defeated’. It can also be found in The Weekly Amusement (9 November 1734) I: i: p.10, The Vocal Miscellany (1734) p.18 (as Song XIX, ‘Bacchus must now his power resign’) and A Complete Collection of Old and New English and Scotch Songs (1735) II: p.183 as song CCXXXV (again with the first line as title), and in The Syren (1735) p.174. Ramsay has evidently included this as a popular contemporary song. Category V: not by Ramsay. R283: The Haymaker’s Song. (‘COme, Neighbours, now we’ve made our Hay’). This song contrasts (English- hence the ‘Lord of the Mannor’ reference) pastoral values and enjoyment against the gouty corruptions of the town. A song sheet titled ‘‘A SONG Sung in the Country Scene of Jupeter & Europia o’re ye Brown Bowl’ I (1723) s at the British Library G.315.(165.) which has the same text as s printed in TTM III (1727). It appears to have come from a larger, unidentified collection. The British Library credit Richard Leveridge as the author. Indeed, the song is found in Leveridge1727 I: pp.48-50, no.19 with 720

Notes: TTM IV (1737) the title ‘The harvest of Love’. The same air (‘Come Neighbours now we’ve made our Hay’) is used with different lyrics in Air XV of Charles Coffey’s BeggarsWedding, pp.45-5 and the music is at BeggarsWeddingSongs, p.42. Ramsay’s lyrics reappear in The Hive (1727) II: p.152, The Choice (1729) I: pp.389; Watt’s MusicalMiscellany III: pp.100-3, The Vocal Miscellany (1734) p.120, The Weekly Amusement (8 March 1735), II: xviii: p.455, A Complete Collection of Old and New English Scots Songs (1735) IV: i: p.16, The Syren (1735), pp.40-41 and RoyalChace (1736?), pp.35-6. This is clearly a very popular contemporary song and air, sung at Covent Garden (The Royal Chace) and elsewhere, and included by Ramsay for this reason. Category V: probably by Richard Leveridge. R284: Watty and Madge, In Imitation of William and Margaret. (‘’TWas at the shining Mid-day Hour’). Stanza XVI of this Scots burlesque is one of the earliest literary mentions of the haggis. The song is probably by Ramsay and is a burlesque of that at TTM II (1726): p.61, which was probably written by David Malloch/Mallet (?170565): see Glen (1900) and Atkinson (2014). A variant of the tune first appears in PlayfordDM (1686) p.110. The text does not fit neatly to this version of the tune, in part because it lacks an anacrusis and is in a 6-4 time. PlayfordDM (1686) p.110: Never love thee more.

The tune with underlaid lyrics was also printed in ThomsonOC1 no.49 though the lyrics were taken from TTM II (1726): p.61. The lyrics printed in TTM IV (1737) would also neatly fit to this setting.

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The Tea-Table Miscellany ThomsonOC1 no.49: William and Margaret | An old Scotch Ballad with the Original Scotch Tune

Category I: by Ramsay. R285: Celia in a Jessamine Bower. (‘WHen the bright God of Day’). The ‘bright God of Day’ is Apollo. The ‘God of Love’ (stanza IV) is the (winged) Cupid/Eros. The song with Ramsay’s lyrics first appears in Watts’ MusicalMiscellany I: pp.172-3. The same tune is used with different words in Charles Johnson’s VillageOpera (1729) Air XXIV, p.30 and in Edward Philips’ ChamberMaid (1730) Air XI, p.14, John Randall’s Disappointment (1733) Air III, p.8, Henry Carey’s HonestYorkshireman (1735) pp.8-9, The Weekly Amusement (10 May 1735) II: xxvii: p.706, A Complete Collection of Old and New English and Scotch Songs (1735) II: p.10, John. Kelly’s Plot (1735) p.19. The Syren (1735) pp.63-4 restores the original lyrics, reprinted by Ramsay in 1737. Again, this is clearly a popular contemporary song which Ramsay sees as highly eligible for inclusion on that basis. Category V: not by Ramsay.

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Notes: TTM IV (1737) R286: Were not my Heart light, I wad die. (‘There was anes a May, and she loo’d na Men’). Sisterhood is not to the fore in this song, where the woman of low degree, without cattle, only the ‘draff’ (dregs or refuse) of drink and hardly any meal (stanza VI) is not embraced but in the end rejected by her lover of ‘higher Degree’ (stanza V), in contradistinction to the usual outcome in songs of this kind, where disparity of fortune is of no consequence (‘Jock o Hazeldean’, ‘Leezie Lindsay’, ‘The Raggle Taggle Gypsies O’). There appear to be no earlier version of this song extant, and it is likely to be a fake by Ramsay. He does not indicate an intended tune for the song. Category I: probably by Ramsay R287: Kind Robin lo’es me. (‘Whilst I alone your Soul possest’). A tune ‘Robin Kind’ is mentioned in The Scotch Presbyterian Eloquence (1692), p.148 and the tune appears to be in the Blaikie p.6, no.10b. The same lyrics as printed in TTM III (1727) are found in a ballad titled ‘Kind Robin lo’es me.’ in the Bodleian (Bodleian Library, Oxford Harding B 11(227)), but the date of this is uncertain. Category IV: Dubia. R288: O my heavy Heart ! Tune of, The Broom of Cowdenknows. (‘O My Heart, my heavy, heavy Heart’). The tune is at TTM I (1723): p.25 and is of course well known; there is no evidence of the words before Ramsay. The tune is found in several manuscript and print sources including: Balcarres p.23, no.42: The broom of caudinknows. Jean mores way. by mr beck Balcarres p.134, no.213: The brome of Caudinknows david grieves way Dow no.16, The bony broome Dow no.53: The Broom of kowden Knowes Gairdyn f.3v: The broom of cougingknous Guthrie f.7: The Bonnie Broom MMC353 p.39: The Broom of Cowdenknowes PlayfordDM (1651) p.28: Broome : The bonny bonny Broom. PlayfordMD p.36, no. 37: THe Bonny Broom. Stuart pp.26-7: Broom of Cowden knows ThomsonOC1 no.10: The Broom Cowdenknows Wemyss f.48r, no.86: broom of cauden knous 723

The Tea-Table Miscellany Stuart is the source, which is directly associated with Ramsay. For the most part, the lyrics as found here in TTM IV (1737) suit Stuart’s setting. The second half of the tune (starting bar 9) does not include the necessary anacrusis. Had it been included the tune would be a better fit. Stuart pp.26-7: Broom of Cowden knows

Notes on the music: bar 1, bass stave, note 3, e in source; bar 8, bass stave, note 5, crotchet in source Category I: Probably by Ramsay

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Notes: TTM IV (1737) R289: Bellaspelling (‘ALL you that would refine your Blood’). ‘Bellaspelling’ is Ballyspellin, a spa in co. Kilkenny, despite the suggestion of Wales in the references to ‘Lewelling’ (Llewelyn, stanza 1) and ‘Leeks’ (stanza 2). ‘Mars’(stanza 3) is the Roman God of war. The style of this song – the crambo with its single word to which multiple rhymes must be found – was to influence Burns’s practice. The text is by Thomas Sheridan and written in 1728, where it was titled ‘Ballyspellin’. It can be found in Robert Hogan’s edition of The Poems of Thomas Sheridan (1994) p.171, where he explains it was found in a letter to Jonathan Swift dated 28 September 1728 (p.348). It is also in The Flower-Piece (1731) pp.36-9 as ‘A crambo on Ballyspellin, a place in Ireland, famed for its mineral waters’. Category V: by Thomas Sheridan (1687–1738).  R290: The wandering Beauty. (‘The Graces and the wandering Loves’). ‘Venus’ (stanza 2) is the Roman goddess of love. This song first appears in Poems and Translations (1714) I: pp.112-13 with the same title and is in Watts’ MusicalMiscellany V: p.32, where it is attributed to John Hughes (1677– 1720), and MerryMusician III: pp.26-27 with the same tune as appears in the MusicalMiscellany. Category V: probably by John Hughes. R291: The sweet Temptation. (‘Saw ye the Nymph whom I adore?’). This song, attributed to Henry Carey, is in MerryMusician I: pp.322-23 and at The Syren (1735) p.370. A different set, also attributed to Carey, can be found in MerryMountebank (1732) I: pp.44-5. Category V: by Henry Carey.

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The Tea-Table Miscellany R292: Bonny Barbara Allan. (‘IT was in and about the Martinmas time’). This song, believed to be the most widely collected of traditional songs, is mentioned in 1666 in Pepys’s diary (Diary eds Latham and Mathews, 10 vols (London: Bell & Hyman, 1978 [1972]), VII: p/1). Its tropes of dying or almost dying for love can be found in a number of parallel songs including ‘The Braes of Yarrow’ (which often uses the stanza 9 here word for word) and ‘Jean O’Bethelnie’. Sir John de Graham (cf stanza 1) was a nobleman killed at the Battle of Falkirk on 22 July 1298, but the name occurs subsequently as an exemplar of Scots nobility and the Name of Graeme/Graham. Sir John’s own seat at Dundaff was near Stirling rather than in the ‘West Country’ (i.e. Galloway). ‘Martinmas’ (stanza 1) is 11 November New Style: November is of course the month of the dead, and the association of St Martin with the last thing can be found in modern cinema in Flesh and Blood (1985), where the traditional beef butchered at Martinmas becomes the plague-poisoned feast eaten by the outlawed condottieri. The ballad can be found at the National Library of Scotland Crawford.eb.675 and was printed at London between 1675–1696? As ‘Barbara Allen’s Cruelty’ which has a similar theme but different text. Ross Duffin’s (2021) pp.1-13 article ‘Mourning sickness: the musical birth of ‘Barbara Allen’ provides a comprehensive discussion on the origins of the lyrics and tune. Category III: light editing by Ramsay. R293: The Toper’s Petition. (‘O Grant me, kind Bacchus’). A Tun of wine is around 945-1145 litres, so there is indeed an ‘Oceans of Claret’ (stanza 3) available. Taverns and ale-houses (stanza 1) differed at this time in that taverns were usually larger, were more upmarket and had private meeting rooms, though the distinction is not absolute. A different text with a similar theme appears in The Hive (1732) IV: p.39. Category II or IV: Dubia, possibly a text heavily edited by Ramsay. R294: The Relief by the Bowl. (‘Since Drinking has Power to bring us Relief’). The ‘Bays’ (stanza 2) is the crown of laurel given as an athletic prize in the classical world, originally attributed to Apollo: the Laurus nobilis (Bay laurel) of the Mediterranean continues to supply today’s cooks with ‘bay ‘leaves. No text or music has been identified for this song/poem before its appearance in TTM IV (1737). Category I or IV: probably by Ramsay 726

Notes: TTM IV (1737) R295: On Masonry. (‘By Mason’s Art, the aspiring Dome’). The ‘Masonry’ referred to is rather more than the art of the stonemason. Speculative Freemasonry in Scotland dates back to the seventeenth century, and there is reason to believe that Ramsay himself was a Freemason; his son was in attendance at the Jacobite Lodge at Rome in 1736 and his friend the engraver Richard Cooper (1701-64) provided accommodation for the Canongate Kilwinning Lodge which later welcomed Burns, and was a member of it from 1735, as were six members of the Academy of St Luke, co-founded by Ramsay in 1729 (Pittock (2019), pp.214-18). This song appears in W.R, Chetwood’s (d.1766) as Air XXV in the GenerousFreemason (1731) p.51, where it is set by Henry Carey. It is also Song CCLXXXII in The Vocal Miscellany (1734) pp.243-4 (‘By Mason’s Art’) and is Song III in The Weekly Amusement for 16 November 1734, I: ii: p.45. Only one line, (verse 2, line 3) differs between TTM and the texts appear in GenerousFreemason and Vocal Miscellany. In Ramsay’s the line reads ‘Which Babes unborn shall loud proclaim’ and in the latter two the line reads ‘And ev’ry Age their Fame proclaim’. The rest of the text is the same in all sources. Category V: by William Chetwood. R296: The Coquet. (‘From White’s and Will’s’). ‘White’s’ is the oldest gentleman’s club in London, dating from 1693; ‘Will’s’ coffeehouse was one of the most prominent coffeehouses in late seventeenthcentury London, and John Dryden (1631–1700) was its central figure. Its reputation declined after his death. It was cited in The Tatler, where Ramsay may have come across it, though Richard Steele was negative about it in the journal on 8 April 1709. By 1737, it was rather an out-of-date reference. The song first appears in Poetical Miscellanies (1714), pp.197-8 as ‘SONG/ By Mr Philips’). Philips is Ambrose Philips’ (1674–1749). It is also in both the 1724 edition of The Hive I: p.245, and the 1726 edition I: p.144 as ‘The just RESENTMENT’, The Choice (1733) II: 94-95 and The Syren (1735) pp.10506. There is a different set in MerryMusician I: pp.5-7 (1716) and Watts’ MusicalMiscellany I: p.68, where ‘tippling John’ appears in the first line. Ramsay’s words, with the title ‘As tippling John’ are in The Weekly Amusement (2 August 1734) as Song X (III: xxxviii: p.1006) and A Complete Collection of Old and New English and Scots Songs (1735) II: i: p.90, Song CXX, which suggests a crossover between the two texts of the song. Category V: by Ambrose Philips.

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The Tea-Table Miscellany R297: Gently touch, &c. (‘Gently touch the warbling Lyre’). This song was published around 1725 and titled ‘A NEW SONG | To a Favourite Air Compos’d by Sigr. Geminiani | The Words by Mr. A: Bradley’. It is the same text that is printed here. Likewise, the same text as printed in TTM IV (1737) is in The Choice (1733) III: p.136 (Song CXXI), The Weekly Amusement (7 November 1734) I: iv: p.96, A Complete Collection of Old and New English and Scots Songs (1735) I: pp.78-9 (‘Song LXI. Gently touch the warbling lyre’) and A Collection of Above One Hundred and Fifty Choice Songs (1735) p.78 (Song LXI). The attribution to Arthur Bradley is consistent. A different set of lyrics appears in James Ralph’s FashionableLady Air XI, p.15. Category V: by Arthur Bradley. R298: IMITATED. (‘Gently stir and blow the Fire’). A burlesque of R297. The ‘Dreeping-pan’ (stanza 1) is where the fatty dripping of meat is gathered, often-even into the 1960s and 70s and perhaps beyondsmeared on bread. The ‘small Beet’ (stanza 3) is still often eaten, in the guise of ‘baby beets’. This song appears in The Pennsylvania Gazette (12 July 1733) as ‘Gently touch the warbling lyre; burlesqued by Sir W--- Y--- (Sir William Yonge, 4th bart (1693–1755). It is also in The Choice (1733) III: p.101 (Song LXXXV), Song I in The Weekly Amusement (7 December 1734), which has different lyrics, Song III in The Vocal Miscellany (1734) p.3 and Song XII in A Complete Collection of Old and New English and Scotch Songs (1735/6) III: i: p.17. Ramsay thus seems to have included it as a popular contemporary song. Category V: by Sir William Yonge.

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Notes: TTM IV (1737) R299: The happy Beggars. (‘How blest are beggar Lasses’). This dramatised exchange seems very likely to be a remote but pertinent model for Burns’ more complex and sophisticated Jolly Beggars. The living ‘in simple Nature’ (Second Woman, stanza 3) certainly carries over to Burns’ themes, as doe the reference to ‘Liberty’ (Fifth Woman, stanza 6). ‘Ratafia’ (Third Woman, stanza 4) is a Mediterranean fruit liqueur. The song is from Charles Coffey’s BeggarsWedding Air VIII, pp.33-34 (‘Talk no more of Whig or Tory’) and the music is at BeggarsWeddingSongs p.5. The song is also in Watts’ MusicalMiscellany III: pp.122-5 with the same title, and in Coffey’s The Beau’s Miscellany (1730) II: p.41 as ‘The happy beggars’ and The Vocal Miscellany (1734) p.121 as Song CXXXV (‘Talk no more of Whig, &c’). It is also Song CCXIV (‘To its own tune’) in The Syren (1735) p.197, and CXXXV (‘Leave off this idle prating’) in A Complete Collection. of Old and New English and Scotch Songs (1735/6) IV: ii: p.142. Category V: probably by Charles Coffey (d.1745). R300: Lucy and Colin. (‘OF Leister fam’d for Maidens fair’). ‘Leister’ is Leinster and the ‘Lissy’ is likely to be the Liffey (stanza 1). The song first appears as Lucy and Colin, A Song. Written in imitation of [David Mallet’s] William and Margaret in 1725, with the first line ‘Of Leinster, fam’d for maidens fair and bright’. The song is by Thomas Tickell (1685–1740). It also appears in Walsh’s MerryMusician II: pp.9-10, as ‘Lucy and Collin’, attributed to ‘Mr Tickell’ with the same text, and is in Watts’ MusicalMiscellany I: pp.4-7; as ‘Lucy and Colin’, The Vocal Miscellany (1734) Song CCCLXXXV with a different text in which the first line is now the title and there is a new first line, ‘Fly, f ly, ye happy shepherds, f ly’. The song appears again printed as a single song sheet with the same lyrics, but to a new musical setting in Lucy & Collin by Mr Tickle set to a New Tune (?1735). Category V: by Thomas Tickell. R301: Dermot’s Cronnoch. (‘One Sunday after Mass’). A ‘Cronnoch’ is surely a ‘Coronach’, the third part of a keening in a funeral song, though Dermot’s song is altogether more carnal. The song of course gibes at Catholicism also, since the two repair to the ‘Greenwood’ (a longstanding symbolic location for sexual pleasure) for some fornication directly after Mass. A ‘Pogue’ is a kiss (stanza 2: pòg in Scots Gaelic, póg in Irish Gaelic), though by implication rather more. In stanza 3, ‘Shoy’ is ‘Joy’ in the standard orthography of rendering Gaelic accents in English or Scots; ‘Ahon’ in stanza 4 is a stereotypical cry of lament, again representative of Gaelic. The thorn which pricks the girl’s foot stands for another kind of penetration: the ‘Haloos’ 729

The Tea-Table Miscellany of stanzas 5 and 6 are perhaps intended to invoke the last stages of a successful hunt, as the ‘view-halloa’ is (and was called) in the eighteenth century when a fox breaks cover. The song is in PPM1699 II: p.246, where it is attributed to Richard Leveridge. It also appears as a single song sheet at the British Library H.1601.(350.), dated 1710? and was reprinted in PPM1719 IV: pp.278-79 as ‘An Irish Song Set by Mr Leveridge’. Leveridge printed the song in Leveridge1728 p.64. There is a different set of words using the same tune in Richard Brome’s JovialCrew p.50. Category V: by Richard Leveridge. R302: A Review of St. Paul’s Church, Covent-Garden. (‘Having spent all my Time’). The established Church (of England) is the target here in evaluating sexual hypocrisy. The ‘Scarlets’ (stanza 2) are scarlet petticoats or undergarments, hardly on show in church (one hopes). They were a sign of status: ‘the Tudor Tailor’s database of wills, inventories and accounts records more than 500 red petticoats from 1538 to 1603 representing 54 per cent of all of those described by colour’ (https://www.tudortailor.com/news/red-underwear-racy-religious-or-respectable). The ‘Crown’ in stanza 8 is a pub, not the institution of the monarchy. The speaker is as little interested in religion on Sunday as the women he is ogling may be: the world of ‘To a Louse’ is present in embryo. There does not appear to be any earlier text or music of this poem or song. Category IV: Dubia. R303: Susan’s Complaint and Remedy. (‘AS down in the Meadows I chanced to pass’). Susan’s age (‘scarcely fifteen’) is not a sign of anything except her unfamiliarity with the ways of the world: the eighteenth century did not set today’s boundaries on sexual activity. ‘Sillabubs’ (stanza 3) are whipped cream puddings, more usually spelt with a ‘y’ today. There is very likely a double entendre present. ‘Susan’s Complaint’ is in Watts’ MusicalMiscellany I: pp.62-64 and is attributed to Thomas Tickell. There is also a single folio sheet at the BL I.596. (25.) titled ‘As down in the Meadows’ (c.1730) with the same text as is printed in TTM IV (1737), though Ramsay has changed the name Billy to Willy. There is a different set of words and tune in Air VI of Patie&Peggy (1730), p.7. Category V: not by Ramsay. 730

Notes: TTM IV (1737) R304: The Cobler. (‘A Cobler there was, and he liv’d in a Stall’). The simple cobbler is not in debt to anyone (‘Duns’ (stanza 1) are creditors) and enjoys a drink of strong beer (‘Nappy’, stanza 2). The ‘Archer’ (stanza 4) is Cupid, god of love. The gruesome pun in Stanza 6 on sole/soul indicates the lightheartedness of the piece. Sadly, the loves of the poor are a fit subject for humour in artsong. The Cobler’s End. A New Song appeared with these lyrics in 1730. There are different lyrics in The Knight and the Prelate (1734). Category V: not by Ramsay. R305: The bonny Earl of Murray. (‘Ye Highlands and ye Lawlands’). James Stewart, 1st Earl of Moray (1531-70), was the illegitimate son of James V of Scotland, and acted as Regent of Scotland from 1567-70. He was strongly associated with the anti-Marian and pro English party and was murdered in Linlithgow on 23 January 1570 by James Hamilton, a supporter of the Queen, who flew to France and offered his services to the house of Guise, Mary’s mother’s family. George Gordon, 5th Earl of Huntly (d.1576), though of the Queen’s party, had no direct part in Moray’s death, nor is much of the rest of the ballad historical. Playing ‘at the Glove’ (stanza 5) refers to hawking. The song was printed in ThomsonOC2 II: pp.8-9, no. 4. Category V: not by Ramsay R306: If e’er I do well, ’tis a Wonder. (‘When I was a young Lad’). A cheerful song of personal impoverishment and misfortune, the charm of which lies in the tone. ‘Bilbos’ (stanza 3) are leg irons and not a collective noun for hobbits. ‘Whores, Bawds and Queans’ are all of the same occupation (stanza 1), though ‘bawds’ are usually partners rather than interns, apprentices or associates in the relevant business, and procure rather than being procured. There is no sign of this song before TTM IV (1737), and it may be by Ramsay, or he may have a significant part in it. Category IV: Dubia

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The Tea-Table Miscellany R307: The Fumblers Rant. (‘Come Carles a’ of Fumblers Ha’’). An atmospheric drinking-song of long-married men who have successfully got their children off budget, unlike the unfortunate ‘Robie’ of stanza 4 or the (delicately unnamed) ‘Nibour’ of the previous stanza, who has had to buy off a scandal. Neither the lyrics nor a tune for this song appears before TTM IV (1737). Category I or IV. R308: The Matron’s Wish. (‘When my Locks are grown hoary’). The editorial team have located neither text nor tune for this before TTM IV (1737). ‘Canary’ (stanza 3) is canary wine. Category I or IV. R309: The free Mason’s Song. (‘Come let us prepare’). Ramsay had many friends among the Freemasons of Lodge Canongate Kilwinning in particular, including his engraver Richard Cooper (1701-64) who was Grand Steward in 1750, and Allan Ramsay junior repeatedly attended the Jacobite Lodge in Rome in 1736-37. Ramsay himself was almost certainly a Mason: indeed, while absolutely direct evidence appears to be lacking, his engagement with the Craft was such that it would have been unthinkable for an outsider: for example, the Edinburgh theatre under his management was hosted by the Freemasons of Dundee in 1734 (Pittock (2019), pp.179, 217). ‘Aaron’ (stanza 8) was the priestly brother of Moses. ‘The Freemason’s Health’ by Matthew Birkhead (d.1722), an actor at Drury Lane theatre appeared in The Weekly Journal in 1722 and has the same first line. There is a version which is the same versus as appears here in TTM: verses 1-4 and 7 published as ‘Entered ‘Prentice’s Song’ in Peter Farmer’s A New Model for Rebuilding Masonry (1730) pp.16-17; the same title appears in The Grub-Street Journal for 21 October 1731 and is printed as ‘The Enter’d ‘Prentices’ Song. By the late Mr. Matthew Birkhead’ in The Antient Constitutions of the Free and Accepted Masons (1731) IV: p.23 and William Smith’s A Pocket-Companion for Free-Masons (1735) p.68, as well as A Prologue, and an Epilogue and Songs, Spoken and Sung to the Antient and Rt. Worshipful Society of Free-Masons, at the Theatre-Royal (1734) p. 8. The song appears as a ‘A health, by Mr Birkhead’ in The Gentleman’s Magazine, (October 1731) I: p.32, no.10. It is Song LXVIII with the first line as title in The Vocal Miscellany (1734) pp. 82-83 and is also in The Syren (1735) pp.178-80. The Antient Constitutions, Vocal Miscellany, Prologue, Pocket Companion and Syren share the same text where Verses 1-5 and 10 are the same as Ramsay’s but the Ramsay’s middle verses are missing. 732

Notes: TTM IV (1737) This is clearly a popular Masonic song of the era, lightly edited by Ramsay. It is still in use as a Masonic song today (see Robert Peter (ed.), British Freemasonry 1717-1813, vol.5, (London: Routledge, 2016). Category III. Substantially by Matthew Birkhead R310: The Sailor’s Rant. (‘How pleasant a Sailor’s Life passes’). This song first appears as ‘The Sailor’s Ballad. Sung by Mr. Legar, in Perseus and Andromeda’, in MusicalMiscellany VI: pp.33-6 and is in MerryMusician IV: p.39 as ‘The Sailor’s Ballad’. The ultimate source is Perseus&Andromeda though it does not appear until the fourth edition (1730). Theobald (tentatively Lewis Theobald (1668–1744)) is attributed as the author of this ballad opera from c.1730. The Royal Collection and British Library have illustrations by Hogarth. It then appears as Song CLXXX in The Choice (1733) III: p.202, ‘A light heart, and a thin pair of breeches’ in The Hive (1733) IV: p.152 and as ‘SONG in Perseus and Andromeda’ in The Weekly Amusement (9 November 1734) I: i: p.10. It is Song CXC in The Syren (1735) pp. 173-74 and Song XXI ‘How pleasant a Sailor’s Life’ in A Complete Collection of Old and New English and Scotch Songs (1736) III: i: p.30. There are occasional slight variations, but the lyrics are broadly the same as is found in TTM IV (1737) in these versions. Category V: not by Ramsay, possibly by Lewis Theobald. R311: A Love Song in the modern Taste by Dr. Swift. (‘Flutt’ring spread thy purple Pinions’). Arcadia (stanza 2) is the core zone of pastoral; ‘Pinions’ (stanza 1) are the outer part of a wing. In stanza 3 ‘the Cyprian Goddess’ is Venus/Aphrodite, traditionally born from the sea near Paphos in Cyprus. She loved Adonis, god of beauty and desire, who was killed by a wild boar sent against him by a jealous Diana/Artemis, who was also known as ‘Cynthia’ (stanza 4) as a goddess associated with the female principle of the moon, in contrast to the sun’s association with ‘Apollo’. ‘Pluto’ (stanza 5) is the god of the underworld, and the Elysian fields are the abode of the heroic and blessed, the business class end of Hades. Cypress and willow (stanza 6) are associated with mourning, and ‘Morpheus’ is the god of sleep. ‘Philomela’ (stanza 8) turned into a nightingale after being raped and mutilated by her brother-in-law, and ‘Juno’ is the consort of Jove/Zeus. The whole of this rather unlikely pastoral is a deliberate mythological gallimaufry, without a readily discernible allegory or plot. This appeared as ‘A Song, by Dr. Swift’, in The Gentleman’s Magazine no. 30 (June 1733) p.320, and with this title ‘set by Mr. Butler’, as A Love Song in the Modern Taste (Swift, 1733). It appeared as Song IV, ‘Whilst I gaze on Chloe trembling’ in The Weekly Amusement for 30 August 1734 (III: xlii: p.1108) and 733

The Tea-Table Miscellany with the same title as Song IV in A Complete Collection of Old and New English and Scotch Songs (1736) II: ii: pp.175-76. Category V: by Jonathan Swift (1667–1745). R312: Silvia and the Flask. (‘I Thank thee, my Friend’). A ‘Hogshead’ (stanza 2) has about 300 litres in English measure. It is no wonder that Silvia finds an ongoing relationship difficult to maintain in the circumstance outlined. There is no evidence of this text before TTM IV (1737), and it may be by Ramsay, though there is no known evidence linking him with it. Category I or IV. R313: Love, Drink and Debt. (‘I Have been in Love, and in Debt, and in Drink’). A ‘Let’ in this usage (stanza 2) is an impediment or obstruction. This song dates back to Alexander Brome’s (1620-66) Songs and Other Poems (1668), p.43, where it appears as Song XXXIX, ‘The Mad Lover’. It appears in MerryMusician II: pp.89-90 as ‘Truth. Set by Mr Leveridge’ and it appears in Leveridge1727 I: pp.6-7, no.11, titled ‘Truth’. It is untitled in The Hive (1733) III: p.81 and is ‘I have been in love’ (Song CXXVIII) in The Vocal Miscellany (1734), p.114. It is also (‘to its own tune’, Song CCXII) in The Syren (1735) pp.1967 and is Song LXXVI in A Collection of Above One Hundred and Fifty Choice Songs and Ballads (1735) p.98. All these use the lyrics Ramsay repeats in TTM IV (1737). Category V: by Alexander Brome, set by Richard Leveridge. R314: The Farmer’s Son. (‘Sweet Nelly, my Heart’s Delight’). The song with this title appears in Walsh’s MerryMusician II: pp.78-81, Watts’ MusicalMiscellany I: pp.130-32, The Beau’s Miscellany (1730) II: pp.39-41 The Vocal Miscellany (1734) pp.76-7 and The Weekly Amusement for 18 January 1735 as Song III (I: xi: p.278). These all broadly have the same words as appears in TTM, with slight changes in some instances. There is a different set of words at Air X (‘Sweet Nelly, My Heart’s Delight’) in William Rufus Chetwood’s LoversOpera (1729) p.29 and another set at Air IV (again ‘Sweet Nelly, my heart’s delight’) in FemaleParson (1730) p.24. The ethos of the song is very much in line with Ramsay’s emphasis on pastoral and rural value. Category III: lightly edited by Ramsay. 734

Notes: TTM IV (1737) R315: The Angel Woman. (‘When thy Beauty appears’). This poem was printed in Thomas Parnell’s Poems on Several Occasions (1722) p.12, in The Hive (1724) II: pp.1-2, in Alexander Pope’s (1688–1744) Miscellany Poems II (1726) : pp.229-30 and (set by Abiel Wichello) in Watts’ MusicalMiscellany IV: pp.12-3 and Walsh’s MerryMusician III: pp.136-7. It is Song XLVI in The Choice (1733) II: p.58. Category V: by Thomas Parnell (1679–1718) R316: Roger’s Courtship. (‘Young Roger came tapping’). The song is Henry Carey’s (1687–1743) Roger’s Courtship (1735), which is found as a single song sheet at the British Library G.316.f.(95.). However, Ramsay has changed the order of some of the lyrics. The first two lines of verse two appear in TTM IV (1737) as the first two lines of verse four. Other than this alteration, the lyrics are the same. Category V: by Henry Carey. R317: Jump at a Crust. (‘As I am a Friend’). ‘Furbelows’ (stanza 3) are trimmings and adornments on clothing. ‘Under the Rose’ is proverbial (sub rosa) for confidential conversations in private: the ceiling rose of traditional well-to-do dining and reception rooms refers to this belief and practice. In the Jacobite era – though not in this song specifically – the saying was particularly popular as it also referred to the white rose of Albany, Stuart and York which was the Jacobite badge, and thus conspiratorial talk could both draw attention to itself and veil itself in the same metaphor. ‘Butterfly Gown’s (stanza 4) are still sold as ball dresses. This song does not appear before TTM IV (1737) and is very similar in ethos to other works by the ever practical Ramsay, such as ‘Gie me a Lass wi’ a Lump o Land’ (R93). Despite the lack of positive attribution, there is probably enough circumstantial evidence to attribute this to him. He does not indicate an intended tune for this song. Category I: probably by Ramsay.

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The Tea-Table Miscellany R318: Merry Beggars. (‘I Once was a Poet at London’). Like R299, this appears to be another exemplar for Burns’s Jolly Beggars, and influenced John Gay. A ‘Knight of the Post’ (Second Beggar) is a professional false witness, who finds himself routinely condemned to the whipping-post or pillory; the ‘Buffs’ (Royal East Kent Regiment) (Third Beggar) date back to 1572: the colour itself is a brownish yellow. A ‘Gut-Scraper’ (Fifth Beggar) is a fiddler. This song is from Richard Brome’s JovialCrew p.25. It then appears as Song CCXLVII in The Choice (1733) II: pp.269-70, and as ‘Song XI. | Have you heard of a frolicsome ditty’ in The Weekly Amusement (23 November 1734) I: iii: p.71. Category V. By Richard Brome (c.1590?–1652). R319: To Signora Cuzzoni. (‘Little Syrene of the Stage’). Francesca Cuzzoni (1696–1778) was a contemporary soprano, who made her London debut in Handel’s Ottone in 1723. Her rivalry with Faustina Bordoni (1697–1781) in the late 1720s was widely lampooned, including in Gay’s BeggarsOpera1728. Cuzzoni left England for Vienna in winter 1728 (the apparent occasion of this song); in 1734, she returned and joined the rival opera company to Handel set up by supporters of Frederick, Prince of Wales. The Syrens (more usually today ‘sirens’) lured sailors on to the rocks by their seductive singing in the Odyssey and in Greek mythology more generally. The song first appeared in The Syren of the Stage (1728?) by Ambrose Philips (1674–1749) with music by Mr Holcomb. It is found as a single song sheet at the British Library G.305.(46.). It appears first with Ramsay’s title in Watts’ MusicalMiscellany V: pp.116-7 and is also in Walsh’s MerryMusician IV: p.37. Category V: by Ambrose Philips.

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Notes: TTM IV (1737) R320: HAPPINESS. Tune, To all you Ladies now at Land. (‘My dearest Maid, since you desire’). Attributed to ‘J.W.’ Arthur Maynwaring’s (1668–1712) song ‘The South Sea whim. To the tune of ------’ (London, 1711) was set to the tune ‘To you fair ladies now at land, &c.’. The tune was then used for Charles Sackville Dorset’s (1638–1706) song ‘The New Court: being an excellent new song to an old tune, of To all you Ladies now on Land, &c.’ (London, 1714). This song was printed with music notation in PPM1719 VI: pp.272-4. PPM1719 VI: pp.272-4: A BALLAD by the late Lord DORSET, | when at Sea.

None of the texts are the same as the lyrics printed in TTM IV (1737). New texts were set to this popular tune throughout the early eighteenth century and it is possible Ramsay followed suit. Category I or IV. R321: Smirky Nan. Tune, Nannio. (‘Ah! woes me, poor Willy cry’d’). A [Hand] ‘Span’ (l. 2) is just under 23cm but has been used metaphorically rather than as a measurement for centuries. A ‘winnowing Fan’ (stanza 1) separates the chaff from the grain. The ‘Bran’ (stanza 2) is the outer part of cereal. No earlier evidence for this text has been located. For notes on the tune see TTM I (1723): R43. Category I. Possibly by Ramsay. R322: Tarry Woo. (‘Tarry Woo, tarry Woo’). ‘Tarry Woo’ is tarry wool. The song is in general the conventional praise of a shepherd’s life. ‘Kent’ and ‘Colly’ (stanza 4) are dog’s names. Tarry Woo, it’s Tarry Woo. Tarry Woo. A favourite Scotch Song was printed in 1730 and has the same text as TTM. Category V. 737

The Tea-Table Miscellany R323: On Henrietta’s Recovery. Tune, My Deary if thou die. (‘If Heaven, its Blessings to augment’). This text cannot be traced earlier than TTM IV (1737). The Scots rhyme on ‘die’ (=dee) offers some slight evidence of Ramsay’s authorship. For notes on the tune see R56. Category I or IV: possibly by Ramsay. R324: Hodge of the Mill and buxome Nell. (‘Young Roger of the Mill’). This song appears (CCCIX, ‘Young Roger, &c’) in The Vocal Miscellany (1734), pp.339-40 and as Song II in The Weekly Amusement for 8 February 1735 (I: xiv: p.354). It is also Song CCXCII in The Syren (1735) pp.261-63. All these print the same lyrics that appear in TTM. Category V. R325: Buttery May. (‘In yonder Town there wons a May’). A comic reflection on the early use of dairy-based moisturiser. Scots terms are in the glossary. There is no trace of this song (neither lyrics nor tune) before TTM and in terms of style and subject it is very close to Ramsay (and clearly influential on Burns). Category I: Probably by Ramsay. R326: The wise Penitent. Sung my Mr Gay. (‘Daphnis stood pensive in the Shade’). Daphnis and Chloe is a pastoral Greek story by Longus from the 2nd century AD, and the names have been revisited many times in the Western pastoral tradition. The ‘broken Pipe’ (stanza 1) is an obvious enough reference to Daphnis’ unsuccessful pursuit of Chloe, which is humorously reinforced by the reference to his swelling ‘Lip and rosy Cheek’ in stanza 6: the swelling was of course at the other end. The song, fittingly enough, ends in the mutual satisfaction of both passions. This is John Gay’s (1685–1732) Daphnis and Chloe: A Ballad (1720), published with tune. It also appeared in John Gay’s Poems on Several Occasions (1720) II: pp.413-16. The words also appear as ‘Daphnis and Chloe’ in The Universal Mercury (1726) I: pp.15-17, Watts’ MusicalMiscellany I: pp.150-52 and The Hive (1733) IV: pp.106-07. Untitled, this is Song XXI in The Choice (1733) II: pp.25-27 and as Song CLXVI in A Complete Collection of Old and New English and Scots Songs (1735) IV: p.172. The lyrics match Ramsay’s throughout. Category V: by John Gay. 738

Notes: TTM IV (1737) R327: Old Darby. An Advice to Chloe. (‘Dear Chloe, while thus beyond Measure’). Darby and Joan (stanza 3) are a proverbially mutually devoted couple of advancing years, usually supposed to be first mentioned in a poem (‘The Joys of Love never forgot’) by Henry Woodfall (c.1686–1747) in The Gentleman’s Magazine in 1735. However, this text first appears slightly earlier, as ‘Advice to Chloe’ in BritishMusicalMiscellany III: pp.14-5. It is Song I in The Syren (1735) pp.1-2 and appears in Chloe Monita (1735) pp.1-7 and in The London Magazine for November 1737 (VI: xi: p.640). These lyrics are the same as those in TTM. Category V. R328: The modern Marriage Question. (‘Happy the World in that blest Age’). There is no evidence of this poem or song before TTM IV (1737). Category I or IV. R329: The Country Wake. (‘I’ll sing you a Dittsy, and warrant it true’). Once again pastoral simplicity is opposed to civilized refinement. Thomas Dogget wrote a play, The Country Wake, in 1696, which was later revived by Colley Cibber (1671–1757). ‘Basset’ (stanza 2) was a polite card game imported from the Continent into English court circles in the reign of Charles II. It is the subject of Susannah Centlivre’s The Basset Table (1705). ‘Quadrille’ is another fashionable card game that had lately become popular. This song appears as Air XIV (‘A Ballad. Rare Doings at Bath’) in John Hippisley’s (1696–1748) Flora (1729) pp.21-2 and is also song XCIII in The Choice (1733) II: pp.98-9 and Song CCXXXII in The Vocal Miscellany (1734) pp.208-9. All these have TTM’s lyrics. Category V, probably by John Hippisley. R330: Oaths in fashion. (‘Custom prevailing so long ’mongst the Great’). This song appears in Hippisley’s Flora, Air III, p.5. The tune is on p.33. Category V, probably by John Hippisley.

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The Tea-Table Miscellany R331: The terrible Law. (‘The terrible Law when it fastens its Paw’). The presence of mock west Country speech is unusual in Ramsay. The song is Air VII (‘She got money by th’ bargain’) in Hippisley’s Flora, p.10, (tune is on p.35) which appears to have been freely raided. It is also Song CCXXXI (‘The terrible law’) in The Vocal Miscellany (1734) p.207, Song CXXIII in A Complete Collection of Old and New English and Scotch Songs (1735) IV: ii: p.130 and Song XV in The Weekly Amusement (8 March 1735) II: xviiii: pp.464. Category: probably by John Hippisley. R332: The Play of Love. (‘The Play of Love is now begun’). This song appears as a single song sheet at the British Library H.1601.(473.), dated 1725? and attributed to Richard Leveridge (1670–1758). It was later published in Leveridge1728 p.37. It is Song XVII in The Choice (1729) I: p.17, and in Watts’ MusicalMiscellany II: pp.8-9, as ‘The Play of Love’, with ‘The Air by Dr. Pepusch’ (Johann Christoph Pepusch (1667–1752)). The song with the same title appears in MerryMountebank, p.116, The Weekly Amusement (18 January 1735) I: xi: p.278 as Song II (‘The Play of Love’), and as Song XV in The Syren (1735) p.19. All these use the TTM lyrics. Category V: by Richard Leveridge. R333: Fanny fair. (‘To Fanny fair could I impart’). There appears to be no evidence of this song before TTM IV (1737). Category IV: Dubia R334: The Bottle preferr’d. (‘Proud Woman I scorn you’). The research team have found no evidence of this song before TTM IV (1737). There is a similar song with the first line, ‘Farewel proud Woman, you I scorn’ at BL I.530.(54.): it appears to date from around 1700. However, the lyrics are different. Category III or V.

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Notes: TTM IV (1737) R335: Tippling John. (‘As tippling John was jogging on’). This song, with Ramsay’s lyrics, was first printed in Walsh’s MerryMusician I: pp.5-6, with the title ‘Occasioned by the pulling down Burgess’s meeting house’. It is also Song XI in The Triumphs of Bacchus (1729) I: pp.17-18, The Hive (1729) III: pp.121-22, The Choice (1729) I: pp.108-10 and appears in the MusicalMiscellany I: pp.66-68 as ‘Tippling John. Sung by Mr. Harper, in The Provok’d Wife’ (the title of a 1697 play by John Vanbrugh (1664–1726). Unfortunately, the song does not appear in the play, which suggests it was an insertion for a single performance. It is song LXXXVI (‘As tippling John, &c.’) in The Vocal Miscellany (1734) pp.70-1, Song IV in The Weekly Amusement for 18 January 1735 (I: xi: p.279) and Song CLXXXIV in A Complete Collection of Old and New English and Scotch Songs (1735) pp.168-9 and Song LIX in The Syren (1735) pp.60-1. Ramsay has simply anthologised a popular contemporary song. Category V. R336: Belinda. (‘Would Fate to me Belinda give’). This song first appears as Song II (‘The Passionat Swain’) in The Innocent Maid’s Garland (1705) and is also in The Hive (1724) II: p.268. It is Song LXXXII in The Choice (1729) I: p.87 and is ‘The Faithful Lover’ in MusicalMiscellany I: p.17. The song is also in The Vocal Miscellany (1734), p.4, The Weekly Amusement for 30 November 1734 (as Song I with first line as title I: iv: 95), and likewise Song XXXIV in A Complete Collection of Old and New English and Scotch Songs (1735) I: p.48 and in A Collection of Above One Hundred and Fifty Choice Songs and Ballads (1735) p.48. This is another anthologized contemporary popular song. Category V.

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The Tea-Table Miscellany R337: Beauty and Rigour. (‘The Nymph that undoes me is fair and unkind’). This first appeared as ‘To Sylvia’ in A Collection of Poems, Written upon Several Occasions, by Several Persons (1672), part 1, p.42, and is attributed to Sir George Etherege (1636-92). It is Song 246 in The Academy of Complements [sic] (1684), p.368, ‘Sylvia’ in A Collection of Poems by Several Hands (1693), pp.140-41, and ‘A New Song, set by Mr. John Church’ in TwelveNewSongs (1699) p.9. It is ‘Sylvia’ in A Collection of Poems: viz. The Temple of Death (1701) pp.144-5 and ‘To Sylvia’ again in Song XLI of The Virgin Muse (1717) p.58. It is also in The Hive (1724) I: pp.25-6, Watts’ MusicalMiscellany V: pp.8-9 (as ‘Charming Sylvia’. Set by Dr. Green), Song CLXXIV in The Choice (1733) pp.186-7, (‘Ye Shepherds and Nymphs’) in The Weekly Amusement for 22 March 1734 (II: xx: p.563) and also Song CCLXXVII in The Syren (1735), p.250. The attribution to Etherege does not waver. Category V: by Sir George Etherege. R338: The Rival. (‘Of all the Torment, all the Care’). This song appears in The Second Volume of Miscellaneous Works (1705) II: p.58 as ‘The Rival’ with the same first line (though ‘cares’ are plural) attributed to Sir George Etherege. It is also in The British Parnassus (1714) II: p.765, and is Song CLI, ‘On a Rival in Love’ in Bacchus and Venus (1737) pp.113-14, again with ‘cares’ in the plural. Category V: probably by Sir George Etherege. R339: Hunting Song going out. (‘Hark ! away, ’tis the merry ton’d Horn’). This s Song LV in The Choice (1733) III: pp.65-66, attributed to Sir George Etherege. It is also in A Complete Collection of Old and New English and Scotch Songs (1735) Song CIX (III: ii: p.100), with different words, and the first line ‘Why shou’d women so much be controul’d?’. It appears in The Weekly Amusement for 9 November 1734 (I: i: p.9) as ‘The Hunting Song, sung in Cephalus and Procris’ with the same words as appears in TTM IV (1737) and in HonestYorkshireman (1735) with an alternative set of words. Category V: probably by Sir George Etherege.

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Notes: TTM IV (1737) R340: The Return from the Chace. (‘The sweet rosy Morn peeps over the Hills’). The song is found in the Vocal parts of an entertainment, called Apollo and Daphne (hence Apollo&Daphne) (1726), and comes from the theatrical by Lewis Theobald (1688-1744). It also appears in MusicalMiscellany VI: pp.923 as ‘The Hunting Song in Apollo and Daphne’. Category V: by Lewis Theobald. R341: The Girl that’s blyth and gay. Tune, Black Jock. (‘Of all the Girls in our Town’). The song is from Charles Coffey’s BeggarsWeddingSongs, p.17. William Rufus Chetwood’s (d.1766) GenerousFreemason p.20 (Air XI, ‘Black joke’) uses the same tune, and first line as appears in BeggarsWeddingSongs and TTM IV (1737). However, after the first line the text is quite different. The same text and tune as TTM and BeggarsWeddingSongs are found in MusicalMiscellany VI: pp.70-1 a ‘The Coal-Black Joak’, The Choice (1733) II: p.222 (Song CCIX), and The Weekly Amusement for 7 December 1734 (I: v: p.124). It is also printed in A Complete Collection of Old and New English and Scotch Songs (1735) as ‘Song LXVII Black Joak’. Category V: by Charles Coffey. R342: Cynthia’s Perplexity. (‘Cynthia frowns whene’er I woo her’). This song, from DoubleDealer (1694) pp.18-9 by William Congreve (1670– 1729), appears in ThesaurusMusicus (1694) II: p.7, as ‘A Song in The Double-dealler. Sung by Mrs. Ayliff. Set by Mr. Henry Purcell’. It is also in OrpheusBritannicus (1698) pp.70-2. A single song sheet titled ‘A Song in the Double-Dealer’ (1703) is found in Chetham’s Library H.P.1840(2), where it is attributed to Henry Purcell. It was later printed in The Choice (1733) p.107. Category V: originally by William Congreve or Henry Purcell (1659-95), who set it.

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The Tea-Table Miscellany R343: Nought but Love. (‘The Sun was sunk beneath the Hill’). This song first appeared as ‘The Complaint’ in A New Miscellany of Scots SANGS (1727), p. 152, and is in MusicalMiscellany I: p.58 as ‘The Despairing Shepherd’. It is ‘The Poor Shepherd’ in MerryMusician III: pp.174-6 and Song XI in The Choice (1733) I: pp.11-3, also appearing as Song CCCXXXIX in The Vocal Miscellany (1734) pp.288-9 and Song II in The Weekly Amusement for 4 January 1735 (I: ix: p.224). It is also printed as ‘The Poor Shepherd’ in The Bee Revived (1735) VI: p.533, where the reader is assured that it is ‘wrote by a lady, and never before appeared in print’, which is clearly not an entirely reliable statement. The song is possibly by John Gay based on other attributions. Category V: possibly by John Gay R344: Tell me, my Heart. (‘When Delia on the Plain appears’). This appears in George, 1st baron Lyttelton’s (1709-73) Tunbrigalia (1733) pp.145 as ‘A Song’, which is Ramsay’s text, though with variant spellings. It is also Song CXCIII in A Complete Collection of Old and New English and Scotch Songs (1735) II: ii: pp.156-7, and Song CLI in The Syren (1735) pp.136-7. The tune indicated for Air VIII in TrickForTrick (1735) p.26 is ‘When Delia on the Plain appears’, however, the text is different. Category V: probably by George Lyttleton. R345: Cupid mistaken. (‘As after Noon, one Summer’s Day’). Nero (AD 37-68), emperor of Rome 54-68, had his mother Agrippina (AD 15-59) killed. Ths text first appears in Matthew Prior’s (1664–1721) Poems on Several Occasions (1709) pp.212-3 with the same title. It is also in MerryMusician II: p.60 as ‘Cupid mistaken the words by Mr. Prior’ and MusicalMiscellany II: pp.158-59 under the same title. It is also in The Hive (1733) IV: p.132. Category V: by Matthew Prior. R346: Silvia to Alexis. (‘Alexis, how artless a Lover!’). The song and tune are found with the same title in John Walsh’s BritishMusicalMiscellany (1734/36) V: pp.8-9. Category V: probably not by Ramsay.

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Notes: TTM IV (1737) R347: The serious Lover. (‘Believe my Sighs, my Tears, my Dear’). This song appears in MerryMusician III: pp.7-8 as ‘The Sincere Lover’ and is Song CXX in The Choice (1733) pp.52-53, Song CCLXXI in The Vocal Miscellany (1734) p.237. A different set of lyrics appears in in The Weekly Amusement for 21 June 1734 (III: xxxiii: p.861), but it is set to the tune ‘Believe my Sighs, my Tears, my Dear’. It is Song CCXXXVIII in The Syren (1735) pp.221-2 and while the lyrics are the same as appears in TTM, the named character is different. In The Syren the character is Moggy and in TTM it is Jenny. It is Song XXXIII in A Complete Collection of Old and New English and Scotch Songs (1735) IV: i: pp.28-9 and Song XIV (‘The Constant Lover’) in The Cupid (1736) p.97. Category V. R348: The grateful Admirer. (‘False tho’ she be to me and Love’). This song is attributed to William Congreve. It is in Two Cantata’s, and Six Songs. Set to Musick. By B. Gunn, Organist of the Cathedral in Gloucester (1736) (hence GunnTwoCantatas). Category V: possibly by William Congreve. R349: Celia and Sabina. (‘Thirsis, a young and am’rous Swain’). ‘Thyrsis’ is a pastoral character from Theocritus (fl.300-260BC), the originator of pastoral poetry. This song appears in Thomas Parnell’s Poems on Several Occasions (1721) pp.13-14 and is in The Hive (1724) II: p.101, MerryMusician III: p.95 (‘The Words by Mr Parnell. | Set by Dr. Pepusch’), MusicalMiscellany V: p.204 (‘set by Dr Pepusch’ and a rather theatrical tune) and appears as SONG CLI in The Choice (1733) III: p.171. It is also in The Weekly Amusement for 24 May 1735 as ‘Song IX / ‘Young Damon once the happiest Swain’). Category V: by Thomas Parnell. R350: The fair Warning. (‘Young Virgins love Pleasure’). This is published in Charles Coffey’s BeggarsWedding, p.23 as Air XVII (The spring’s a coming &c.’) and also appears in BeggarsWeddingSongs, pp.18-9. It is in the MusicalMiscellany V: pp.40-1, Song CXXXI in The Choice (1733) II: pp.135-36, Song XIII in The Weekly Amusement (18 January 1735), Song CCXIX in The Syren (1735) p.203 and Song XXIX in A Collection of above One Hundred and Fifty Choice Songs and Ballads (1735) p.43. The tune is indicated as ‘Young Virgins love Pleasure’ in OxfordAct (1733) Air XXXV, but the text is different. Category V: probably by Charles Coffey. 745

The Tea-Table Miscellany R351: Petticoat wooing. (‘Dear Colin, prevent my warm Blushes’). This song (‘to the tune of Tweedside’) can be found in BL Egerton 2560 f. 119, in MS Montagu e.13 f.66 in the Bodleian, and is Song LXXXVIII (‘The modest concealment’) in A Complete Collection of Old English and Scotch Songs (1735) I: p.109 and A Collection of above One Hundred and Fifty Choice Songs and Ballads (1735), ‘addressed to Sir William Yonge’. It is attributed to Lady Mary Wortley Montagu (1689–1762), who also wrote a poem ‘Epistle from Mrs Yonge to Her Husband’ on Yonge’s double standards in sexual conduct. Category V: by Lady Mary Wortley Montagu. R352: Colin’s Reply. (‘Good Madam, when Ladies are willing’). This song appears as Air XV (‘At Winchester there was &c.’) in the ballad opera HonestElectors (1733) p.25, and as ‘Answer’ in Tunbrigialia the same year. It is attributed to Sir William Yonge (1693–1755). Category V: possibly by Sir William Yonge. R353: The Country Lass’s Ambition. (‘What tho’ they call me Country Lass?’). ‘Quadrille’ (stanza 3) is a fashionable dance of the era. This a song is printed in MerryMusician II: p.145 where a handwritten attribution is given to Henry Carey. The song was supposedly performed in Colley Cibber’s (1671–1757) The Provoked Husband (1728) (a play based on a fragment of play written by John Vanbrugh), however, it does appear in the 1728 libretto, though there are several references to it being performed. The Weekly Journal (1728) III: p.154 stated ‘The following are the thoughts of an ambitious country girl, on the pleasures of the town, sung last night in The Provoked Husband, by Mrs. Cibber, for the benefit of Mrs. Bertt’. It appears in later editions of The Provok’d Husband notably the 1760 edition, where is appears on pp.212-3. Early eighteenth-century sources where the song appears include The Hive II (1726) I: p.262, and the MusicalMiscellany I: p.102, where it is titled ‘The Fine Lady’s Life’. A different set of lyrics appears in A Collection of New State Songs (1732) p.15 though it is set to the tune ‘What tho’ they call me Country Lass’. It appears as Song CXCIX in The Choice (1733) Song XIV in The Syren (1735) pp.18-9, Song I in The Weekly Amusement for 14 December 1734, and was also printed discretely as The Fine Ladies Life (1735). This was clearly a very popular contemporary song. Category V: possibly by Henry Carey or Colley Cibber. 746

Notes: TTM IV (1737) R354: The following Song is said to be made in Honour of our Sovereign Lady Mary Queen of Scots. (‘You meaner Beauties of the Night’). Ramsay’s note to R359 suggests that R354-R359 were taken ‘out of a very old MS. Collection, wrote by a Gentleman in Aberdeen’. This is at least possible from the evidence we have gathered on these songs, though not all of them have supporting examples from anywhere else prior to Ramsay, though it is true that some are unusually old for TTM. In the eighteenth century, sympathy for Mary Queen of Scots was often – if not usually – a form of ‘false loyalism’ (Pittock (2013)), whereby treasonable support for a current Stuart on the Scottish and other British thrones could be covertly expressed by alluding to a member of the dynasty who was safely distant. As a Catholic deposed in connexion with her religion and executed by the English, Mary was a most suitable exemplar. ‘Philomel’ (Stanza 5) is here the poetic name for nightingale, after the Greek myth. The song seems first to appear in Sir Henry Wotton’s (1568–1639) Reliquiae Wottonianae (1651) p.518 as ‘On his Mistress, the Queen of Bohemia’, though the order of verses differs from TTM. With first line as title, it is in SelectMusicallAyres (1653) II: pp.22-3, as ‘Song’ in Wits Interpreter, the English Parnassus (1655) p.263. It is also in Samuel Rowland’s A Crew of Kind London Gossips all met to be Merry (1663) pp.76-7, and (as ‘A Gentleman to his beautiful Mistress’) in Westminster-drollery (1671) p.54. More likely sources for Ramsay are its appearance as Song XXXVII in The Choice (1733) I: pp.41-2, and (to a tune set by Abiel Whichello (1683–1747)) in MusicalMiscellany VI: pp.80-1. Category V: by Sir Henry Wotton, but possibly not applied to Mary, Queen of Scots until Ramsay. R355: There Gowans are gay. (‘There Gowans are gay, my Joy’). ‘Gowans’ are most usually now daisies, but the term was traditionally used to describe ‘various wildflowers, either yellow or white with yellow centres’ (DSL). The song, complete with notated tune and underlaid lyrics is found in Forbes as THE NYNTEENTH SONG. Verse VIII in Forbes differs from verse VIII in TTM. Likewise, verse IX found in TTM does not appear in Forbes. All other verses are the same in both sources other than minor variations in spelling. Category III.

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The Tea-Table Miscellany R356: Slighted Love sair to bide. (‘I Had a Heart, but now I heartless gae’). The research team have found no evidence of this song before TTM IV (1737). Category IV: no evidence other than TTM IV (1737), but Ramsay disclaims authorship. R357: The Invitation. (‘Come, Love, let’s walk by yonder Spring’). Although ‘Barley breaks’ (stanza 2) is a traditional game played with three couples, its use to describe a single couple often has sexual connotations, despite the reference to chastity. ‘Phoebus’ is Apollo, god of the sun and poetry, and ‘Diana’ is huntress and moon-goddess, the virgin Artemis. Actaeon was turned into a stag and killed by his own hounds as a punishment for seeing Diana bathing (stanzas 3-5). This is an old song, appearing as early as CanzonetsThreeVoyces (1608) by the madrigalist Henry Youll and is also printed as a broadside titled The Lover’s delight: | or, | a pleasant Pastorall sonnet | To a new Court Tune. It also appears in Forbes as THE FOURTHTEENTH SONG. Category V: by Henry Youll. R358: Cast away Care. (‘Care away gae thou frae me’). This song was originally published in Aberdeen (see note to R354, R359) in Forbes no.53. Category V. R359: The fairest of her Days. (‘Whoe’er beholds my Helen’s Face’). Ramsay’s note here (see R354) suggests that R354-R359 were taken ‘out of a very old MS. Collection, wrote by a Gentleman in Aberdeen’. No appearance of this song has been traced before TTM IV (1737). Category IV: Dubia

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Notes: TTM IV (1737) R360: Lord Henry and Katharine. (‘In ancient Times, in Britain’s Isle’). This is a conventional situation to be found in English and Scots song (for example in ‘Jean O’ Bethelnie’). The reference to ‘die’ in Stanza VIII may contain a double entendre, despite the title of the original publication. There may be a glancing reference to Henry VIII and Katherine of Aragon. This song was published as a broadside around 1720 as Lord Henry and F air Katherine; | Or, The | Secret Discovered too Late. Category V. R361: The Milking-Pail. (‘Ye Nymphs and Silvian Gods’). Once again, the superiority of pastoral rurality to urban (London) sophistication is the contrasting theme of this song. ‘Lenits’ in stanza 2 are linnets. The ‘Green [Haw]Thorn’ is the symbol of love and awakened sexuality with spring, in particular May (see Pittock (2016)). ‘Rushy ground’ (Stanza 4) is a reference to the (healthy, natural) female pudenda: cf. Burns’ ‘Green Grow the Rashes O’ at SMM I: no.77. This song first appears as The Milking Pale (1670?). Different lyrics appear in Charles Coffey’s BeggarsWedding p.18 Air XI and BeggarsWeddingSongs p.15. JovialCrew p.50 has yet another text, but Ramsay returns to The Milking Pale. Category V: not by Ramsay. R362: Phillis despise not. (‘Phillis despise not your faithful Lover’). An earlier text has not been identified. Category IV: Dubia. R363: Drink while ye can. (‘Let’s drink, my Friends, while here we live’). ‘Charon’ is the ferryman who carries deceased souls across the river Styx into Hades in classical mythology. An earlier text has not been identified. Category IV: Dubia.

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The Tea-Table Miscellany R364: Meddlers out of the Season. (‘COme Lads, ne’er plague your Heads’). The reference to war in Spain (stanza 1) is probably either to that of the War of the Quadruple Alliance (1718-20), during which Spain supported the 1719 Jacobite Rising, or to the 1727-29 war between Great Britain and Spain. Medlers out of Season (1735), where three verses (verses 1, 3 and 4) of the song first appeared, suggests the latter, though the early stages of agitation that led in 1739 to the War of Jenkins’ Ear against Spain are another possibility. Medlers out of Season (1735) is a single song sheet found at the Bodleian Library, Oxford (W) Mus. 9 c.5 (116) and the British Library G.316.d.(70.). Category V. R365: Complaint on Scorn. (‘Why will Florella, when I gaze’). This song appears in The Hive (1724) I: p.140. It is also Song XIII in The Choice (1729) pp.14-5, and appears as ‘Florella. | Set by Mr Tenoe’ in the MusicalMiscellany I: pp.72-73, with first line as title in Song CXIV of The Vocal Miscellany (1734) pp.99-100 and Song V in The Weekly Amusement for 14 December 1734. It is also song CCV in The Syren (1735) p. 189. Category V. R366: Love or Wine. (‘If Phillis denies me Relief’). This appeared as Song I (‘Celia’s Complaint.’) in Celia’s New Garland (1728?) p.3, Song XVI in The Choice (1729), p.16, and Song C in The Triumphs of Bacchus (1729) I: p.41. It is Song XXVII in The Syren (1735), p.31, Song XV in The Weekly Amusement for 22 February 1735 and Song VIII in The Cupid (1736), p.162. It is Air IV (with different words) in JealousClown (1730) Air XVI (with a third set of words) in Wedding (1734) Air XXIII, p.31. Category V. R367: Twenty one favourite SONGS, in the Beggar’s Opera. 367.1: Tune, An old woman cloath’d in Grey. (‘Through all the Employments of Life’). This is Air I in The Beggar’s Opera. Category V.

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Notes: TTM IV (1737) R367.2: Tune: The bonny grey-ey’d Morn. (‘‘Tis Woman that seduces all Mankind’). This is Air II in The Beggar’s Opera. Category V. R367.3: Tune: Why is your faithful Slave disdain’d. (‘If Love a Virgin’s Heart invade’). This is Air IV in The Beggar’s Opera. Category V. R367.4: Tune: Of all the simple Things we do. (‘A Maid is like the golden Oar’ [i.e. ore]). This is Air V in The Beggar’s Opera. Category V. R367.5: Tune, What shall I do to show how much I love her. (‘Virgins are like the fair Flower in its Lustre’). ‘Covent-Garden’ was a business location for sex workers, hence Harris’s List of Covent Garden Ladies, first published in 1757. This is Air VI in The Beggar’s Opera. Category V R367.6: Tune, O London is a fine Town. (‘Our Polly is a sad Slut! Nor heeds what we taught her’). This is Air VII in The Beggar’s Opera. Category V. R367.7: Tune, Grim King of the Ghosts. (‘Can Love be controul’d by Advice?’). This is Air VIII in The Beggar’s Opera. Category V.

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The Tea-Table Miscellany R367.8: Tune, A Soldier and a Sailor. (‘A Fox may steal your Hens, Sir’). This is Air XI in The Beggar’s Opera. Category V. R367.9: Tune, Over the Hills and Far Away. (‘Were I laid on Greenland’s coast’). The tune is one which was very popular in the era, and often had Jacobite overtones. See Pittock (2002-03), I:442-44. This is Air XVI in The Beggar’s Opera. Category V. R367.10: Tune, O the Broom. (‘The Miser thus a Shilling sees’). This is Air XVIII in The Beggar’s Opera. Category V. R367.11: Tune, Cotillon. (‘Youth’s the Season made for Joys’). The ‘Cotillion’ is a contemporary French country dance for four couples in square: here, the dance of life. This is Air XXII in The Beggar’s Opera. Category V. R367.12: Tune, When once I lay with another Man’s Wife. (‘The Gamesters and Lawyers are Jugglers alike’). This is Air XXIV in The Beggar’s Opera. Category V. R367.13: Tune, Courtiers, Courtiers, think it no Harm. (‘Man may escape from Rope and Gun’). A basilisk is a legendary creature who can cause death with one look. This is Air XXVI in The Beggar’s Opera. Category V. 752

Notes: TTM IV (1737) R367.14: Tune, The Sun had loos’d his weary Teams. (‘The first time at the Looking-glass’). This is Air XXIX in The Beggar’s Opera. Category V. R367.15: Tune, How happy are we. (‘When you censure the Age’). This is Air XXX in The Beggar’s Opera. Category V. R367.16: Tune, London Ladies. (‘If you are at an Office sollicite your Due’). This is Air XXXIII in The Beggar’s Opera. Category V. R367.17: Tune, Packinton’s Pound. (‘Thus Gamesters united in Friendship are fond’). This is Air XLIII in The Beggar’s Opera. Category V. R367.18: Tune, Lillibullero. (‘The Modes of the Court so common are grown’). This is Air XLIV in The Beggar’s Opera. Category V. R367.19: Tune, Down in the North Country. (‘What Gudgeons are we Men !’). This is Air XLV in The Beggar’s Opera. Category V.

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The Tea-Table Miscellany R367.20: Tune, A Cobler there was. (‘Our selves, like the Great, to secure a Retreat’). This is Air LVI in The Beggar’s Opera. Category V. R367.21: Tune, Green Sleeves. (‘Since Laws were made for ev’ry Degree’). This is Air LVII in The Beggar’s Opera. Category V. R368: Andro and his cutty gun. (‘Blyth, blyth, blyth was she’). The Scots of this song is in the glossary which follows these notes. ‘Cutty’ is short, but Andro’s ‘cutty gun’ is also a reference to his short (but effective) penis. At the end of stanza 1, a ‘Bawbie’ is 6d Scots, which takes its name from Alexander, laird of Sillebawby in Fife, who was Master of the Mint under James V (r. 1513-42). Birling the bawbie is to toss the coin, but a ‘birling’ is also a drinking-session, and the meaning of the first stanza is that money was spent, being tossed or spun in a dance (another meaning of ‘birl’) away. We have found no trace of this song prior to TTM IV (1737). It was likely authored by Ramsay. Category I. R369: Sailors Song. (‘How happy are we, // Now the Wind is abaft’). ‘Abaft’ is in or behind the stern of a ship, so the boat of the song is running before the wind, so the ‘sheets’, the lines which control the angle of the sails and holds them in tension is raised, and with them presumably the mainsails ahead of the gale. ‘Three sheets to the wind’ is an English metaphor for drunkenness, meaning the lines are insecure and the ship loses direction. It seems to be glancingly referred to here. This song first appeared in MonthlyMask for September 1709 as ‘A Two-Part song set by Mr Bedford Aldrich’. It was also in the MusicalMiscellany VI: p.174 (quite possibly Ramsay’s source) and in MerryMountebank, pp.128-30. Category V: originally set by Bedford Aldrich.

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Notes: TTM IV (1737) R370: A hundred Years hence. (‘Let us drink and be merry, dance, joke, and rejoice’). In stanza 1, the ‘Theorbo’ is a baroque wind instrument. In stanza 6, ‘non est inventus’ is an English legal term meaning that a writ cannot be served, nor arrest carried out because the person who is its subject cannot be located within the jurisdiction of the legal process in question. Stanza 8 implies a date of 1703 for the composition of the song. In stanza 9, ‘Tythe’ refers to the practice whereby Anglican clergy were supported by one-tenth of the annual produce, earnings or rental of landholders in their district. The rising capital and hence rent value of land in real terms served to make many Anglican livings very prosperous in the early nineteenth century: this changing social status is reflected in Jane Austen’s novels. Stanza 12 reveals that this is a Masonic song. This song first appears in Thomas Jordan’s (?1612-?1685) TriumphLondon as ‘The Epicure. Sung by one in the habit of a Town Gallant’ (pp. 20-21). It then appears in PlayfordAyres I: p.95 as ‘The Town Gallant’. It is printed as a broadside ballad and titled ‘THE CARELESS GALLANT | OR, | A Farevvel to Sorrovv. | Whether these Lines do please, or give offence, | Or shall be damm’d as neither VVit nor Sence; | The Poet is for that in no suspence, For ‘tis all one a hundred years hence’ published in London around 1674–1679. It also appears as ‘The Epicure’ in Henry Playford’s Wit and Mirth An Antidote Against Melancholy (1684), p.68 and as ‘The Town Gallant’ in PPM1699 I: pp.191-92. It was reprinted in PPM1719 I: pp.176-77. It is Song LXXVI in The Triumphs of Bacchus (1729) pp. 93-95, Song CLXXXIX (‘An Hundred Years Hence’) in The Vocal Miscellany (1734) pp.165-66 and Song CLXV in The Syren (1735) p.151. Ramsay appears to have reordered the verses. Verse two beginning ‘The Butterfly Courier’ only appears in ‘THE CARELESS GALLANT’ as stanza 10. From stanza 3 onwards, the text has been slightly altered though when compared to all other. Ramsay likely chose to update the language of the text to suit his contemporary consumers. Category III: edited by Ramsay though the original was possibly by Thomas Jordan.

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The Tea-Table Miscellany R371: Johny Faa, the Gypsie Laddie. (‘The Gypsies came to our good Lord’s Gate’). This song is part of a cycle of Scottish songs about gypsy abduction, which during the eighteenth century largely morphed into ‘Highland Laddie’ songs about Highland/Jacobite abduction. The original story of Johnnie Faa belongs to the mid sixteenth century when Johnnie Faa as lord of all gypsies in Scotland allegedly seduced the Countess of Cassillis, Margaret Kennedy (d.1580), the wife of Gilbert, the 3rd Earl. Gypsies were in any case strongly associated with northern Scots and the wearing of tartan (see stanza 3). In stanza 2, casting the glamour (‘coost the Glamer’) is to bewitch, though in fact the women who respond to gypsy/ Highland approaches tend to be more interested in the sexual energy and freedom they represent. The last stanza reflects the tradition that Johnnie and his followers were hanged by an irate Earl on the Dule Tree in sight of his castle (and his wife). This tune is found before Ramsay in JohnSkene as ‘Ladie Cassilles Lilt’. It is likely that Ramsay introduced it to the Scottish song canon as part of his recovery of past tradition in pursuit of the development of a history of practice and performance for his national literature; though it is just possible that he wrote this text himself, stylistically it seems unlikely. Category III or IV. R372: Old Chiron. (‘Old Chiron thus preach’d to his Pupil Achilles’). In Greek mythology, Chiron was the wise and just centaur (half man, half horse); he taught the Greek hero Achilles, son of Peleus King of Phthia in Thessaly and Thetis the sea nymph. Achilles was of course in the end killed by an arrow to his only vulnerable part, the heel, by Paris of Troy, whose abduction of Helen had caused the war. This song first appeared in A Collection of Twenty Four Songs (1685) (hence CollectionTwentyFourSongs), and (set by Michael Wise (1648-87)) in The Second Book of the Pleasant Musical Companion (1686) part 3 no.6 (hence SecondPleasantMusicalCompanion). The title is mentioned in Useful Miscellanies (1712) p.34 but there are no lyrics. The full text appears in Alexander Pope’s Miscellaneous Poems (1720) II: pp.70-1. Category V: set by Michael Wise.

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Notes: TTM IV (1737) R373: Bottle and Friend. (‘Sum up all the Delights’). This song appeared in ComesAmoris (1688) book 2, p.26 (in the contents, p.2 on the page) and SecondPleasantMusicalCompanion (1686) no.14 set by Henry Purcell. The Houghton Library and Royal Academy of Music, London copies are missing p.26 of ComesAmoris, but the song is listed in the contents page. Category V: set by Henry Purcell. R374: Dunt, dunt, pittie, pattie. Tune, Yellow-hair’d Laddie. (‘On Whitsunday Morning’). No earlier text has been identified. The tune is a famous one, on which there are notes in the Edinburgh edition of GS (Newman and McGuinness 2022, pp.465-74). Category I or IV. R375: Roger and Dolly. (‘As Dolly was milking of the Cows’). This appears in Thomas Cooke’s (1703-56) The Bays Miscellany (1730) p.21, with significantly different lyrics and the first line ‘As Dolly and Roger together lay’. Category II: heavily edited by Ramsay, originally by Thomas Cooke. R376: The Invocation. (‘Ye Powers that o’er Mankind preside’). This song (‘The Invocation set by Mr Bononcini’) appeared in MusicalMiscellany IV: pp.8-11. The Bononcini referred to is probably Giovanni Bononcini (1670–1747), active in London 1720–1732, rather than his brother Antonio (1677–1726). Category V. R377: The Virgin’s Choice. (‘Virgins, if e’er at last in prove’). ‘The Virgin’s Wish’, set by Samuel Akeroyd (c.1650-c1706), appeared in BanquetMusick VI: p.16, with a very similar first line (‘Virgins, if e’er at length it prove’). The text is the same as appears in TTM IV (1737) excepting minor single word changes. It also appears as ‘To Young Virgins’ in PPM1719 III: pp.59-60. In both sources the lyrics of the first verse are (excepting minor alterations) the same as appears in TTM. However, verses two and three are completely different in TTM. Category III: edited by Ramsay, originally set by Samuel Akeroyd. 757

The Tea-Table Miscellany R378: Still he’s the Man. (‘What Woman cou’d do, I have try’d to be free’). This song appeared in MerryMusician II: pp.7-8 (‘The Words by Mr. Cibber’). It is Air IV in Cibber’s Love in a Riddle (1729) p.29 (hence LoveRiddle), and appears with the title ‘The Power of Love. | From Mr. Cibber’s Pastoral call’d, Love in a Riddle: | The Tune by Mr. Brailsford’, possibly Humphrey Brailsford (1658–1733), in MusicalMiscellany III: p.30 and as Song CXLVI (‘Come neighbors’) in The Vocal Miscellany (1734) p.130, Song V in The Weekly Amusement for 8 March 1735, and Song LXXXI in A Collection of Above One Hundred and Fifty Choice Songs and Ballads (1735) p.102. The theme is timeless: cf Joan Jett and the Blackhearts, ‘I hate myself for loving you’. Category V, by Colley Cibber. R379: An old Catch. (‘Now God be wi’ old Symon’). This appears as ‘Canons in Unison’ (‘Now God be with old Simeon’) in Thomas Ravenscroft’s (1588–1635) Pammelia: Musicks Miscellanie (1609) no.7 (hence Pammelia), which bears witness to the variety of Ramsay’s sources. Category V. R380: The Cobler’s Merits. Tune, Charming Sally. (‘Of all the Trades from East to West’). This song appears in Charles Coffey’s The Devil to Pay (1730) p.35 as Air XXIII ‘Charming Sally’ (hence DevilToPay). It has the same title in The Vocal Miscellany (1734), p. 149 Song CLXIX and as Song XI in The Weekly Amusement for 14 December 1734. It is in A Complete Collection of Old and New English and Scotch Songs (1736) as Song LXXII (‘Pretty Sally’). Category V: Probably by Charles Coffey (d.1745). R381: The Cobler’s Happiness. Tune, Come let us prepare. (‘Let Matters of State’). This song is the following air (XXIV) in Coffey’s DevilToPay, p.35, as ‘Come, let us prepare’, and has the same title in The Vocal Miscellany (1734) p.150 Song CLXXII. It appears in The Weekly Amusement for 9 November 1734 under the title ‘Tune, Come let us prepare’, and the lyrics are the same as appears here in TTM IV (1737). Category V. Probably by Charles Coffey (d.1745).

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Notes: TTM IV (1737) R382: The honourable Support. Tune, The Milking-pail. (‘I Hate the coward Tribes’). This song appears as Air XXVII (‘Ye nymphs and sylvan gods’) in John Gay’s Polly p.32. Category V. R383: Self, the prime Mover. Tune, Hunt the Squirrel. (‘The World is always jarring’). This is Air XXIV (‘Hunt the Squirrel’) in Gay’s Polly, and also appears in The Vocal Miscellany (1734) Song CCLV (p. 226) and as Song XIV in The Weekly Amusement for 4 January 1735. Category V. R384: The Spotless Virgin. Tune, My Deary if thou die. (‘Pure as the newfallen Snow appears’). A ‘common Shore’ (from ‘Sewer’) is a public prostitute, a street sex worker in the sexist language of the time. This song previously appeared in Footman Air L, p.59. It was also used in The Devil of a Duke, Or, Trapolin’s Vagaries as ‘Air XIV. My Deary, if thou die’ (1733) p. 19 (hence DevilDuke). Category V. R385: The Worth of Wine. Tune, Let’s be jovial. (‘’Tis Wine that clears the Understanding’). A ‘magnum’ (stanza 4) is a double bottle, 150 cl in today’s measure. Magnum decanters were made in the eighteenth century. A ‘Bumper’ is a large glass filled to the brim, with the liquid bumping against its bounds. The tune can be found at R6 but a text earlier than R385 has not been located. Category IV: Dubia. R386: Woman compar’d to China. Tune, Pinks and Lillies. (‘A Woman’s Ware, like China’). The Guinea’s value was by this time settled at 21 shillings, the ‘Groat’ was 4d (1.66p and 1/60 of a pound). St James’s was the location of the most expensive courtesans, and Drury Lane of an altogether lower order of sex workers, many 759

The Tea-Table Miscellany of whom might be infected. The ‘China’ reference had already been made much of in William Wycherley’s The Country Wife (1675). This song appeared in Henry Fielding’s (1707-54) WelshOpera (1731) p.22 as Air XVII, ‘Do not ask me charming Phyllis’, and as Air VI (‘Pinks and Lilies’) in the same author’s MockDoctor (1732) p.19. It is Song XVIII (‘Pinks and Lilies’) in The Weekly Amusement for 15 February 1735, and Song LX (‘Do not ask me, &c.’) in A Complete Collection of Old English and Scotch Songs (1735) p.43. The tune can also be found in R214. Category V. R387: Slow Men of London. (‘There were three Lads in our Town’). This song appears in MerryMusician II: p.37 as ‘Song in the Play call’d Wit without Money’. It is also in MusicalMiscellany II: pp.74-5 (which switches stanzas 2 and 3), Song CIV in The Choice (1733) III: p.114, Song CIII in The Vocal Miscellany (1734) pp.87-88, where it first appears with Ramsay’s title, and with that title also in A Complete Collection of Old English and Scotch Songs (1735) p.121-2 Song CXIV. It can also be found in The Syren (1735) p.186 Song CCII. Category V. R388: Follow your Leaders. To the foregoing Tune. (‘The Manners of the Great affect’). This is Air I (‘The disappointed Widow’) in John Gay’s Polly. Category V, possibly by John Gay. R389: The Pimp and Politician Parallels. Tune, ’Twas within a Furlong of Edinburgh Town. (‘In Pimps and Politicians’). A furlong is 220 yards, almost exactly 200 metres. This is Air V (‘Twas within a furlong’) in Gay’s Polly and appears as Song CXI in The Choice (1733) p.116, Song XVI (‘Twas within a furlong) in The Weekly Amusement for 11 January 1735 and Song CCLXVIII with the same title in The Syren (1735) p.244. Category V, possibly by John Gay.

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Notes: TTM IV (1737) R390: Philander and Amoret. (‘When gay Philander fell a Prize’). These pastoral names appeared in The Spectator. The song appears untitled in The Hive (1725) III: pp.218-9, and with the same title as appears in TTM IV (1737) in the MusicalMiscellany II: pp.100-1 and MerryMusician III: pp.1834. Category V. R391: The Wit and the Beau. Tune: Bright Aurelia. (‘With ev’ry Grace young Strephon chose’). This song with the same title as appears in TTM IV (1737) is in the MusicalMiscellany IV: pp.188-9. Category V. R392: The Nurse’s Song. Tune, Yellow Stockings. (‘Hey! My Kitten, a Kitten’). A lullaby of a rather satiric and vulgar kind. A ‘Posset’ (stanza 4) was a creambased drink, mixed with sugar and spices, lemon or alcohol: the last would keep the baby quiet. The modern syllabub is a served cold equivalent. In stanza 5, ‘Rawhead’ was the name of a demonic spectre, as was ‘Bloody Bones’: in some traditions the latter concealed themselves in the cupboard under the stairs. A single printed song sheet is found at the Brotherton Library, Leeds BC Lt/SON with the same text as appears in TTM IV (1737). The library catalogue attributes it to Jonathan Swift (1667–1745). A different set of lyrics appear as Air XII (‘Yellow Stockings’, first line ‘I’m happy in easy Fruition’) in CoblerofPreston (1732) p.18. The same tune is used for Air IX in BoardingSchool (1733) p.19 though it is yet another text. Category III or V. Possibly edited by Ramsay, or by Jonathan Swift. R393: The Magpye. (‘Good People, draw near’). A single magpie is proverbially unlucky (‘one for sorrow, two for joy’) and magpies can indeed mimic human speech. The reference to the ‘Meetinghouse’ (stanza 5) suggests that the superstitious clergyman of this song is a Nonconformist, as does the reference to every member of the congregation as a ‘Saint’ (stanza 8): they too appear to share their minister’s superstitions (stanza 10).

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The Tea-Table Miscellany A version of this song with the first line ‘Good People, draw near’, and with a similar structure but different words first appeared in The Virtue of a Protestant Orange: being the best antidote against Roman poison (1682), and is also in The Westminster Bubble (1722) pp.5-11, A New Miscellany of Court Songs (1727) I: p.27 and in Robin’s Panegyrick (1729) I: p.107 with the title ‘Robin will be out at last’. This is a Whig party song heavily edited by Ramsay in an opposite political direction. Category II. R394: A good Excuse for Drinking. (‘Upraid me not, capricious Fair’). This song appeared as ‘A Lover’s Excuse for Drinking. | Set by Mr Leveridge’ in the MusicalMiscellany I: pp.54-5. It is also in Leveridge1727 I: pp.12-3, no.5. The tune ‘Upraid me not, capricious Fair’ appears in DevilDuke, p.21 but the lyrics differ from Leveridge1727 and what appears in TTM. It is also Song VI in The Choice (1733) p.5, Song XVI in The Vocal Miscellany (1734) p.16, Song V (‘Upbraid me, capricious fate, &c’) in The Weekly Amusement for 30 November 1734, Song LXXXII in A Complete Collection of Old and New English and Scotch Songs (1735) and Song XVII in The Syren (1735) p.22. In all of these, the lyrics are identical or almost identical to TTM. This was evidently a popular song of the era. Category V: set by Richard Leveridge. R395: Mason’s Song. Tune, Leave off your foolish Pratting. (‘We have no idle Pratting’). ‘Pratting’ = ‘Prating’, the characteristic self-righteousness of the clergy and the ideologue alike. The song celebrates the reconciliatory aspects of Freemasonry, which indeed could act as a social escape from the often bitter political and religious divisions of early modern Europe. It is rather ironical that one of the most important manifestations of Habermas’s ‘Public Sphere’ was in fact a semi-secret society: this in itself reflected the oppressive politics of many European states as opposed to the easy nostalgia which often characterizes rhetorically seductive but ahistorical evaluations of the age of Enlightenment. The song appears as Song VII (‘Leave off this idle prating’ is the first line) in The Triumphs of Bacchus (1729) and is in the MusicalMiscellany VI: p.40 as ‘Love and Friendship’ with the same first line. It also appears in Farmer’s A New Model for the Rebuilding Masonry on a Stronger Basis than the former (1730) pp.30-32, as ‘The following Song was sung by a son of Bacchus, at a Bacchanalian banquet of Free Masons, and pass’d the Approbation of the late D. of W.’. The reference here is likely to be to Philip Wharton, 1st Duke 762

Notes: TTM IV (1737) of Wharton (1698–1731), Jacobite, founder of the original Hellfire Club and Grand Master of the English Grand Lodge in 1723. The song also appears in The Antient Constitutions of the Free and Accepted Masons (1731) IV: p.35 with Ramsay’s first line, and is Song CLXXI, ‘How blest are Beggars, &c’ in The Vocal Miscellany (1734) p. 150 with ‘Leave off this idle Prating’ `as the first line, as it is in Song XIX (‘How blest are Beggars Wenches’) in The Weekly Amusement for 29 March 1735. With the exception of the Antient Constitutions text, these printed versions all differ to some extent from Ramsay’s, and hence the 1731 text is almost certainly his source. Ramsay was himself almost certainly a Freemason (see Pittock (2019)). Category V. R396: The frugal Maid. (‘I Am a poor Maiden forsaken’). No evidence for this earlier than TTM IV (1737) has been located, though there is no evidence suggestive of Ramsay’s authorship. Category IV: Dubia. R397: Damon’s Picture of Celia. Tune, Down the Burn Davie. (‘Assist your Vot’ry, friendly Nine’). In Stanza 3, the hope that teeth should be ‘for ever shown’ is an unusual one in the first half of the eighteenth century, as the ‘Old Regime of Teeth’ which forbade opening the mouth as impolite only changed in Enlightenment Paris: see Colin Jones, The Smile Revolution in Eighteenth-Century Paris (2014). In Stanza 4, the ‘Trojan Youth’ is Paris, whose abduction of Helen traditionally precipitated the Trojan War. In Stanza 5, Minerva/Athena is the goddess of wisdom and Diana/Artemis the goddess of hunting and the moon, Venus/ Aphrodite being of course the goddess of love. No earlier source than Ramsay has been identified, though there is no particular evidence for his authorship. Category I or IV. R398: The new Light. (‘Celia, now my Heart hath broke’). A rare song of falling out of love. The text can be found in State-poems (1697) pp.228-9 as ‘The Deliverance’. Category V.

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The Tea-Table Miscellany R399: The Fickle fix’d. (‘My Love was fickle once and changing’). This song first appears in The Spectator (1713) VI: pp.414-5, no.470. It is in The Hive (1725) III: p.89, Song XV (‘My love was fickle, &c.’) in The Weekly Amusement for 22 March 1734 and Song CCLXXXIV in The Syren (1735) p.255. Category V.

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APPENDIX 1 TTM Preface The Tea-Table Miscellany: or, a Complete Collection of Scots Sangs [v. I] (Dublin: E. Smith, 1729) Altho’ it be acknowledged, that our Scots Tunes have not lengthened Variety of Musick, yet they have an agreeable Gaiety and natural Sweetness, that make them acceptable whenever they are known, not only among our selves, but in other Countries. They are for the most part so chearful, that on hearing them well play’d or sung, we find a Difficulty to keep out selves from dancing. What further adds to the Esteem we have for them, is, their Antiquity, and their being universally known. Mankind’s Love for Novelty would appear to contradict this Reason; but will not, when we consider, that for one that can tolerably entertain with Vocal or Instrumental Musick, there are fifty that content themselves with the Pleasure of Hearing, and Singing without the Trouble of being taught: Now, such are not Judges of the fine Flourishes of new Musick imported from Italy and elsewhere, yet will listen with Pleasure to Tunes that they know, and can join with in the Chorus. Say that our Way is only an harmonious speaking of merry, witty or soft Thoughts, after the Poet has dress’d them in four or five Stanzas; yet undoubtedly these must relish best with People, who have not bestowed much of their Time in acquiring a Taste for that downright perfect Musick, which requires none, or very little of the Poet’s Assistance. My being well assured, how acceptable new Words to known good Tunes would prove, engaged me to the making Verses for above sixty of them, in this and the second Volume: About thirty more were done by some ingenious young Gentlemen, who were done by some ingenious young Gentlemen, who were so well pleased with my Undertaking, that they generously lent me their Assistance; and to them the Lovers of Sense and Musick are obliged for some of the best Songs in the Collection. The rest are such old Verses as have been done Time out of Mind, and only wanted to be cleared from the Dross of blundering Transcribers and Pritners; such as, The Gaberlunzie-Man, Muirland Willie, &c. that claim their Place in our Collection, for their merry Images of the low Character.

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The Tea-Table Miscellany

This Fifth Edition in four Years, and the general Demand for the Book by Persons of all Ranks, wherever our Language is understood, is a sure Evidence of its being acceptable. My worthy Friend Dr. Bannerman tells me from America, Nor only do your Lay’s o’er Britain flow, Round all the Globe your happy Sonnets go; Here thy soft Verse, made to a Scottish Air, Are often sung by our Virginian Fair. Camilla’s warbling Notes are heard no more, But yield to Last Time I came o’er the Moor; Hydaspes and Rinaldo both give way To Mary Scot, Tweed-side and Mary Gray. From this and the following Volume, Mr. Thomson (who is allowed by all, to be a good Teacher and Singer of Scots Songs) cull’d his Orpheus Caledonius, the Musick for both the Voice and Flute, and the Words of the Songs finely engraven in a folio Book, for the Use of persons of the highest Quality in Britain, and dedicated to her Royal Highness, now her Majesty our most gracious Queen. This by the by I thought proper to intimate, and do my self the Justice which the Publisher neglected; since he ought to have acquainted his Illustrious List of Subscribers, that the most of the Songs were mine, the Musick abstracted. In my Compositions and Collections, I have kept out all Smut and Ribaldry, that the modest Voice and Ear of the fair Singer might meet with no Affront; the chief Bent of all my Studies being, to gain their good Graces: And it shall always be my Care, to ward off these Frowns that would prove mortal to my Muse. Now, Little Books, go your ways; be assured of favourable Reception wherever the Sun shines on the free-born chearful Briton; steal your selves into the Ladies Bosoms. Happy Volumes! you are to live too as long as the Song of Homer in Greek and English, and mix your Ashes only with the Odes of Horace. Were it but my Fate, when old and ruffled, like you to be again reprinted, what a curious Figure would I appear on the outmost Limits of Time, after a thousand Editions? Happy Volumes! you are secure, but I must yield: please the Ladies, and take care of my Fame.

766

Appendix 1

In hopes of this, fearless of coming Age, I’ll smile thro’ Life; and when for Rhime renown’d, I’ll calmly quit the Farce and giddy Stage, And sleep beneath a flow’ry Turf full sound.

767

APPENDIX 2 Extracted from the Descriptive Bibliography The First Edition [v. 1] (1723) Title-page

THE | Tea-Table | MISCELLANY. | [rule] | Behold, and listen, while the Fair | Breaks in sweet Sounds the willing Air; | And, with her own Breath fans the Fire | Which her bright Eyes do first inspire: | What Reason can that Love controul, | Which more than one Way courts the Soul? | E. W. | [rule] | [ornament] | [rule] | EDINBURGH, | Printed by Mr. Thomas Ruddiman for | Allan Ramsay at the Mercury, opposite to the Cross-Well. 1723.

Format

12⁰.

Contents

Pp. iv, 1-182: [i] title-page; [ii] blank; [iii] ‘TO | Ilka lovely British Lass, | Frae Ladys Charlote, Anne, and | Jean, | Down to ilk bony singing Bess, | Wha dances barefoot on the Green.’; 1 [ornament] ‘Bony Christy.’; 3 [decorative rule] | ‘The Bush aboon Traquair.’; 5 [decorative rule] | ‘An ODE. | To the Tune of Polwarth on | the Green.’; 7 [decorative header] | ‘Tweed-Side.’; 9 [decorative header] | ‘SONG. To the Tune of, Wo’s my Heart that we | should sunder.’; 11 [decorative header] | ‘A | SONG.’; 13 [decorative header] | ‘Muirland Willie.’; 18 [decorative header] | ‘The promis’d Joy. | To the Tune of Carle and the King come.’; 19 [decorative rule] | To Delia on her drawing | him to her Valantine. | To the Tune of Black Ey’d Susan.’; 21 ‘The faithful Shepherd. | To the Tune of Auld lang syne.’; 23 ‘To Mrs. S. H. on her taking | something ill I said. | To the Tune of Hallow E’en.’; 25 [decorative header] | ‘The Broom of Cowdenknows.’; 27 [decorative rule] | ‘To CHLOE. | To the Tune of, I wish my Love were in a Mire.’; 29 ‘Upon heading his Picture was | in Chloe’s Breast. | To the Tune of The Fourteen of October.’; 31 ‘Song for a Serenade. | To the 769

The Tea-Table Miscellany

Tune of The Broom of Cowden- | knows.’; 32 ‘Love is the Cause of my Mourn- | ing.’; 34 ‘To Mrs. A. H. on seeing her | at a Consort. | To the Tune of The bonniest Lass in a’ the | Warld.’; 35 [decorative header] | ‘The bonny SCOT. | To the Tune of The Boat-man.’; 37 [decorative header] | ‘Scornfu’ Nansy. | To it’s own Tune.’; 40 [decorative header] | ‘Slighted Nansy. | To the Tune of, The Kirk wad let me be.’; 42 [decorative rule] | ‘Lucky Nansy.’; 45 ‘A | Scots Cantata. | The Tune after an Italian Manner. | Compos’d by | Signior Lorenzo Bocchi.’; 47 [decorative header] | ‘The TOAST. | To the Tune of, Saw ye my Peggy.’; 49 [decorative header] | ‘Maggie’s Tocher. | To its ain Tune.’; 53 ‘A SONG. | To the Tune of Blink over the | Burn, sweet Bettie.’; 54 [decorative rule] | ‘A SONG. | To the Tune of The bonny | Gray-ey’d Morning.’; 56 ‘SONG. | To the Tune of the Broom of Cowden Knows.’; 57. ‘SONG. | Tune of Logan Water. | Vitas hinnuleo me similis, Chloe.’; 58 ‘A South Sea Sang. | Tune of, ---- For our lang biding here.’; 59 [decorative header] | Hap me with thy Petticoat.’; 61 [decorative header] | ‘Love inviting Reason. | A SONG to the Tune of, ---- Chami ma | chatle, ne duce skar mi.’; 64 ‘The Bob of Dunblane.’; 65 ‘SONG complaining of Ab- | sence. | To the Tune of ---- My Apron Deary.’ 67 [decorative header] | ‘SONG. | To the Tune of, I fixed my Fancy on her.’; 68 [decorative header] | ‘A SONG. | To the Tune of, I lo’d a bonny Lady.’; 70 [decorative header] | ‘The Rose in Yarrow. | To the Tune of Mary Scot.’; 72 ‘The Fair Penitent. | A SONG, ---- To its own Tune.’; 73 [decorative header] | ‘The last Time I came o’er the Moor.’; 75 [decorative rule] | ‘The Lass of Peatie’s Mill.’; 77 [decorative rule] | ‘GREEN SLEEVES.’; 79 [decorative header] | ‘The Yellowhair’d Laddie.’; 81 [decorative rule] | ‘NANNYO.’; 93 [decorative header] | ‘Bonny JEAN.’; 85 [decorative header] | ‘Throw the Wood Laddie.’; 87 [decorative header] | ‘Down the Burn Davie.’; 89 ‘SONG. | To the Tune of Gilder Roy.’; 90 [decorative rule] | ‘A SONG. | To the Tune of, The yellow hair’d Laddie.’; 93 770

Appendix 2

[decorative header] | ‘SONG. | To the Tune of, When she came ben she bobbed.’; 95 [decorative header] | ‘Dumbarton’s Drums.’; 97 [decorative header] | ‘Auld lang syne.’; 99 [decorative rule] | ‘The Lass of Livingston.’; 102 [decorative header] | ‘Peggy, I must love thee.’; 104 [decorative header] | ‘Bessy Bell and Mary Gray.’; 106 [decorative header] | ‘I’ll never leave Thee.’; 109 [decorative header] | ‘My Deary, if thou die.’; 111 [decorative header] | ‘My Jo Janet.’; 114 ‘SONG. | To the Tune of John Anderson my Jo.’; 115 ‘Auld Rob Moris.’; 117 [decorative header] | ‘SONG. | To the Tune of Come kiss with me, come clap with me, &c.’; 119 ‘SONG. | To the Tune of Rothes’s Lament; or, Pin- | ky-House.’; 121 [decorative header] | ‘The Young Laird and Edin- | burgh Katy.’; 123 ‘Katy’s Answer.’; 124 [decorative header] | ‘MARY SCOT.’; 125 [decorative rule] | ‘O’er BOGIE.’; 127 [decorative rule] | ‘O’er the Moor to Maggy.’; 129 [decorative header] | ‘Polwart on the GREEN.’; 130 [decorative rule] | ‘John Hay’s bonny Lassie.’; 133 [decorative header] | ‘Katharine Ogie’; 136 [decorative header] | ‘Ann thou were my ain thing.’; 139 [decorative rule] | ‘There’s my Tumb I’ll ne’er | beguile thee.’; 141 [decorative header] | ‘For the Love of JEAN.’; 143 [decorative header] | ‘SONG. | To the Tune of, Peggy, I must love thee.’; 145 [decorative header] | ‘Genty Tibby, and sonsy | Nelly. | To the Tune of Tibby Fowler in the Glen.’; 147 [decorative header] | ‘Up in the AIR.’; 149 [decorative header] | ‘Fy gar rub her o’er wi’ Strae.’; 151 ‘PATIE and PEGGIE.’; 153 ‘The Mill, Mill,—O,’; 155 [decorative header] | ‘Colin and Grisy parting. | To the Tune of Woe’s my Heart that we | should sunder.’; 157 [decorative header] | ‘The Gaberlunzie-Man.’; 161 [decorative rule] | ‘The CORDIAL. | To the Tune of, Where shall our Good- | man ly.’; 163 [decorative header] ‘Ew Boughts Marion.’; 165 [decorative header] | ‘The blythsom Bridal.’; 169 [decorative header] | ‘The Highland Laddie.’; 171 [decorative header] | ‘ALLANWATER. | Or, My Love Annie’s very bony.’; 173 [decorative header] | ‘The Collier’s bony Lassie.’; 175 771

The Tea-Table Miscellany

[decorative header] | ‘Where HELEN lies. | TO—— in Mourning.’; 177 [decorative header] | ‘SONG. | To the Tune of Gallowshiels.’; 179 [decorative header] | ‘CONTENTS.’ Consulted

Yale, Beinecke: IK R148723. In case, microfilm.

References Alexander Law, ‘The first edition of “The tea-table miscellany”’, The Bibliotheck; a Scottish Journal of Bibliography and Allied Topics, 5:6 (Stirling, Jan 1, 1969), 198-203. Notes

Law’s article corrects the long-held tradition that the 1724 (reissue) was the first printing.

ESTC No.

N63220 Reissue [v. 1] (1724)

Title-page

THE | Tea-Table | MISCELLANY. | [rule] | Behold, and listen, while the Fair | Breaks in sweet Sounds the willing Air; | And, with her own Breath, fans the Fire | Which her bright Eyes do first inspire: | What Reason can that Love controul, | Which more than one Way courts the Soul? | E. W.aller. | [rule] | [ornament] | [rule] | EDINBURGH: | Printed by Mr. Thomas Ruddiman, | for Allan Ramsay, at the Mercury, | opposite to the Cross-Well. 1724.

772

Appendix 2

Volume the Second (1726) Title-page

THE | Tea-Table, | MISCELLANY; | OR, A | Collection | OF | Scots Sangs. | [rule] | Volume the Second. | [rule] | She sung—the Youth Attention gave, | And Charms on Charms espies: | Then all in Raptures, falls a Slave, | Both to her Voice and Eyes. | [rule] | [ornament] | [rule] | EDINBURGH: | Printed for and sold by Allan Ramsay, | at his Shop at the East-end of the Lucken Booths, | by Mr. MacEuen near Templebar, | London; by the Booksellers of Newcastle, and | Mr. Carmichael in Glasgow. 1726.

Format

12⁰.

Contents

Pp. [ii], 1-[179]: [i] title-page; [ii] blank; 1 [decorative header] | ‘TO | CLARINDA, | A SONG, | To the Tune of, I wish my Love were in a | Mire.’; 3 [decorative header] | ‘A SONG. | Tune of Lochaber no more.’; 5 [decorative rule] | ‘The auld Goodman.’; 8 ‘SONG, To the Tune of Valiant Jocky. | On a beautiful, but very young Lady.’; 11 [decorative header] | ‘Lass with a Lump o’ Land.’; 13 [decorative header] | ‘THE | Shepherd Adonis.’; 16 [decorative header] | ‘The Complaint. | To B.I.G. | To the Tune of, When absent, &c.’; 18 [decorative header] | ‘The young Lass con- | tra auld Man.’; 20 [decorative header] | ‘Vertue and Wit, | The Preservatives of Love | and Beauty. | To the Tune of Gillikranky.’; 22 [decorative header] | ‘SONG. | To the Tune of The happy Clown.’; 25 [decorative header] | ‘Lady Anne Bothwel’s La- | ment.’; 30 [decorative header] | ‘SONG. | She raise and loot me in.’; 33 [decorative header] | ‘SONG. | If Love’s a sweet Passion.’; 35 [decorative header] | ‘John Ochiltree.’; 37 [decorative header] | ‘SONG. | To the Tune of, Jenny beguil’d the Webster.’; 39 [decorative header] | ‘SONG. | To the Tune of, | Wat ye wha I met Yestreen, &c.’; 41 [decorative header] | ‘A SONG. | To its own Tune.’; 44 [decorative header] | ‘SONG. | To the Tune of, I’ll never leave thee.’; 46 [decorative header] 773

The Tea-Table Miscellany

| ‘Sleepy Body, drowsy Body.’; 47 [decorative rule] | ‘General Lesly’s March to | Long-maston Moor.’; 49 [decorative header] | ‘SONG. | To the Tune of, I’ll gar ye be fain to | follow me.’; 51 [decorative rule] | ‘SONG. | To the Tune of’; 53 [decorative header] | ‘Corn Riggs are bony.’; 55 [decorative header] | ‘Cromlet’s Lilt.’; 58 [decorative header] | ‘SONG. | We’ll a’ to Kelso go.’; 61 [decorative header] | ‘William and Margaret. | An old BALLAD.’; 66 [decorative header] | ‘ODE. To Mris. A. R. | To the Tune of, Love’s Goddess in a | Myrtle Grove.’; 71 [decorative header] | ‘Horace, Book I. Ode II. | To W. D. | Tune of, Willy was a wanton Wag.’; 73 [decorative header] | ‘The Widow.’; 75 [decorative header] | ‘The Highland Lassie.’; 77 [decorative header] | ‘Jocky blyth and gay.’; 79 ‘Had away frae me, Donald.’; 80 ‘Her ANSWER.’; 83 [decorative header] | ‘Todlen Butt, and Todlen Ben.’; 85 [decorative header] | ‘The Auld Man’s | Best Argument. | To the Tune of, Widow are ye wawkin.’; 87 [decorative header] | ‘The premptor Lover, | To the Tune of, John Anderson my Jo.’; 89 [decorative header] | ‘What’s that to you. | To the Tune of, The glancing of her Apron.’; 92 [decorative header] | ‘SONG. | To the absent Florinda. | To the Tune of, Queen of Sheba’s March.’; 94 [decorative header] | ‘A Bacchanal SONG. | To the Tune of, Auld Sir Symon the King.’; 97 [decorative header] | ‘To Mris. A. C. | A SONG. | To the Tune of, All in the Downs.’; 99 [decorative rule] | ‘A Pastoral SONG. | To the Tune of, My Apron deary.’; 103 [decorative header] | ‘Love will find out the Way.’; 105 […] ‘SONG. To the Tune of | Throw the Wood Laddie.’; 109 [decorative header] | ‘Rob’s Jock. | A very auld Ballat.’; 113 [decorative rule] | ‘SONG. | To the Tune of, A Rock and a wee pickle | Tow.’; 115 [decorative rule] | ‘SONG. | To its ain Tune.’; 118 [decorative header] | ‘Waly, waly, gin Love be bony.’; 121 [decorative header] | ‘The Loving Lass and Spin- | ning-wheel.’; 124 [decorative header] | ‘SONG, | To the Tune of, Woes my Heart that we shou’d sunder.’; 126 [decorative header] | ‘O’er the Hills and 774

Appendix 2

| far away.’; 130 [decorative header] | ‘Jenny Nettles.’; 131 [decorative rule] | ‘Jocky’s fou and Jenny’s fain.’; 133 [decorative header] | ‘Leader Haughs and Yarrow.’; 138 [decorative header] | ‘For the Sake of Somebody.’; 140 [decorative header] | ‘Norland Jocky and Southland | Jenny.’; 142 [decorative header] | ‘THE | Auld Yellow Hair’d Ladie.’; 144 [decorative header] | ‘SONG, | To the Tune of Booth’s Minuet.’; 145 [decorative header] | ‘THE | Generous Gentleman. | A SANG to the Tune of, The bony Lass of Bank- | som.’; 147 [decorative rule] | ‘The Happy Clown.’; 150 [decorative header] | ‘Willy was a wanton Wag.’; 153 [decorative header] | ‘Clelia’s Reflections on her self | for slighting Philander’s Love. | To the Tune of The Gallant Shoe-maker.’; 156 ‘The Young Ladies Thanks, to the | Repenting Virgin, for her sea- | sonable Advice.’; 157 [decorative header] | ‘The Step Daughter’s Re- | life. | To the Tune of, The Kirk wad let me be.’; 160 [decorative header] | ‘Jeany, where has thou been.’; 162 [decorative header] | ‘SONG. | To the Tune, Last Time I came o’er the Moor.’; 164 [decorative header] | ‘The Cock Laird.’; 167 [decorative header] | ‘The Soger Laddie.’; 169 [decorative header] | ‘The Archers March.’; 174 [decorative header] | ‘CONTENTS.’; 178 ‘Advertisement.’; [179] blank. Consulted

Mellerstain House, facsimile at National Library of Scotland, Mf.2(5), microfilm.

References Burns Martin, Bibliography of Allan Ramsay (Glasgow: Jackson, Wylie and Co., 1931), p. 45 (item 91). Notes

Martin’s entry is minimal, as there was thought to be no copy extant to be used. The possibility of an extant copy (on which the NLS microfilm is based) is being investigated.

ESTC No.

Not entered.

775

The Tea-Table Miscellany

Vol. III. (1727) Title-page

THE | Tea-Table | MISCELLANY: | OR, A | COLLECTION | OF | Celebrated Songs. | [rule] | VOL. III. | [rule] | When we behold her angel Face, | Or when she sings with heavenly Grace, | In what we hear and what we see, | How ravishing’s the Harmony! | No Charms like Celia’s Voice surprise, | Except the Musick of her Eyes. | Lansdown. | [rule] | EDINBURGH: | Printed for, and sold by Allan Ramsay, | at Hawthornden and Ben Johnson’s Heads, the | East-end of the Luckenbooths; by Mrs. Long- | man and Osburn Paternoster-Row London, and | Mr. Bryson of Newcastle, &c. 1727.

Format

12⁰.

Contents

Pp. [i] + [1]-192: [i] blank page; [1] title-page; [2] blank page; 3 [decorative header] | ‘A Collection of cele- | brated SONGS.’ | [rule] | ‘Song I.’; 6 ‘Song II.’; 7 [decorative header] | ‘Song III.’; 9 ‘Song IV.’ | ‘Song V.’; 11 [decorative header] | Song VI.’; 13 [decorative header] | ‘Song VII.’; 16 ‘Song VIII.’; 18 [decorative rule] | ‘Song IX.’; 21 [decorative header] | ‘Song X.’; 22 [decorative rule] | ‘Song XI.’; 23 […] ‘Song XII.’; 24 [decorative header] | ‘Song XIII.’; 25 [decorative header] | ‘Song XIV.’; 28 [decorative header] | ‘Song XV.’; 30 ‘Song XVI.’; 33 [decorative rule] | ‘Song XVII.’; 35 [decorative header] | ‘Song XVIII.’; 36 [decorative rule] | ‘Song XIX.’; 37 [decorative header] | ‘Song XX.’; 40 [decorative header] | ‘Song XXI.’; 42 [decorative rule] | ‘Song XXII.’; 44 [decorative rule] | ‘Song XXIII.’; 46 ‘Song XXIV.’; 48 [decorative header] | ‘Song XXV.’; 49 [decorative header] | ‘Song XXVI.’; 52 [decorative rule] | ‘Song XXVII.’; 53 [decorative rule] | ‘Song XXVIII.’; 55 [decorative rule] | ‘Song XXIX.’; 57 [decorative rule] | ‘Song XXX.’; 59 [decorative header] | ‘Song XXXI.’; 60 [decorative header] | ‘Song XXXII.’; 61 [decorative header] | ‘Song XXXIII.’; 62 [decorative header] | 776

Appendix 2

‘Song XXXIV.’; 63 [decorative rule] | ‘Song XXXV.’; 65 [decorative header] | ‘Song XXXVI.’; 67 [decorative rule] | ‘Song XXXVII.’; 68 [decorative header] | ‘Song XXXVIII.’ | [decorative rule] | ‘Song XXXIX.’; 69 [decorative rule] | ‘Song XL.’; 70 [decorative header] | ‘Song XLI.’; 72 [decorative header] | ‘Song XLII.’; 73 [decorative header] | ‘Song XLIII.’; 77 [decorative header] | ‘Song XLIV.’; 81 [decorative rule] | ‘Song XLV.’; 86 [decorative header] | ‘Song XLVI.’; 88 [decorative rule] | ‘Song XLVII.’; 90 [decorative rule] | ‘Song XLVIII.’; 94 [decorative rule] | ‘Song XLIX.’; 96 [decorative rule] | ‘Song L.’; 97 [decorative header] | ‘Song LI.’; 98 [decorative rule] | ‘Song LII.’; 100 [decorative header] | ‘Song LIII.’; 101 [decorative header] | ‘Song LIV.’; 103 [decorative header] | ‘Song LV.’ | [decorative rule] | ‘Song LVI.’; 106 [decorative header] | ‘Song LVII.’; 109 [decorative header] | ‘Song LVIII.’; 110 [decorative rule] | ‘Song LIX.’; 111 [decorative rule] | ‘Song LX.’; 113 [decorative header] | ‘Song LXI. | The Parson among the Pease.’; 115 [decorative rule] | ‘Song LXII.’; 116 [decorative rule] | ‘LXIII.’; 117 [decorative rule] | ‘Song LXIV.’; 120 [decorative header] | ‘Song LXV.’; 121 [decorative header] | ‘Song LXVI.’; 124 [decorative header] | ‘Song LXVII.’; 125 [decorative header] | ‘Song LXVIII. | Women and Wine.’; 126 [decorative rule] | ‘Song LXIX.’; 128 [decorative rule] | ‘Song LXX.’; 129 [decorative rule] | ‘Song LXXI.’; 130 [decorative rule] | ‘Song LXXII.’; 133 [decorative header] | ‘Song LXXIII. | The tippling Philosophers.’; 137 [decorative rule] | ‘Song LXXIV. | Down among the dead Men.’; 139 [decorative rule] | ‘Song LXXV.’; 141 [decorative header] | ‘Song LXXVI.’; 142 [decorative header] | ‘Song LXXVII.’; 143 [decorative header] | ‘Song LXXVIII.’; 145 [decorative header] | ‘Song LXXIX.’; 146 [decorative header] | ‘Song LXXX.’; 147 [decorative rule] | ‘Song LXXXI.’; 148 [decorative rule] | ‘Song LXXXII.’; 149 [decorative rule] | ‘Song LXXXIII.’; 151 [decorative rule] | ‘Song LXXXIV.’; 153 [decorative header] | ‘Song LXXXV.’; 157 [decorative 777

The Tea-Table Miscellany

header] | ‘Song LXXXVI.’ | [decorative rule] | ‘Song LXXXVII.’; 159 ‘Song LXXXVIII.’; 160 [decorative header] | ‘Song LXXXIX.’; 161 [decorative rule] | ‘Song XC.’; 162 [decorative header] | ‘Song XCI.’; 163 [decorative rule] | ‘Song XCII.’; 165 ‘Song XCIII.’; 166 [decorative rule] | ‘Song XCIV.’; 167 [decorative rule] | ‘Song XCV.’; 168 [decorative rule] | ‘Song XCVI.’; 169 [decorative header] | ‘Song XCVII.’; 170 [decorative rule] | ‘Song XCVIII.’; 172 [decorative header] | ‘Song XCIX.’ | [decorative rule] | ‘Song C.’; 174 ‘Song CI.’ | [decorative rule] | ‘Song CII.’; 175 [decorative header] | ‘Song CIII.’; 176 [decorative header] | ‘Song CIV.’; 177 [decorative header] | ‘Song. CV.’; 180 [decorative header] | ‘Song CVI.’; 181 ‘Song CVII.’; 182 ‘Song CVIII.’; 183 [decorative rule] | ‘Song CIX.’; 184 [decorative rule] | ‘Song CX.’; 185 [decorative rule] | ‘Song CXI.’; 186 ‘Song CXII.’; 188 [decorative header] | ‘A TABLE of the Songs | in this Volume, found by | the Number of the Song.’ Consulted

Mellerstain House, facsimile at National Library of Scotland, Mf.2(5), microfilm.

References Burns Martin, Bibliography of Allan Ramsay (Glasgow: Jackson, Wylie and Co., 1931), p. 46 (item 96). Notes

p. 58 appears to carry a misprinted page number: ‘38’ or a reverse ‘5’ before the ‘8’. On p. 116, the title lacks the word ‘Song’, reading simply ‘LXIII.’

ESTC No.

N63219.

8 EDITIONS BETWEEN VOLS. III AND IV: The Tea-Table Miscellany: or, a Complete Collection of Scots Sangs [in 3 volumes] (Dublin: E. Smith, 1729) | ESTC T62905 | Dedication and Preface (Vol. I): ‘This Fifth Edition in four Years.’

778

Appendix 2

The Tea-Table Miscellany; or, Allan Ramsay’s Collection of Scots Sangs. Volume Second. The Fifth Edition. (Edinburgh: for Ramsay, 1729) | ESTC T179626 The Tea-Table Miscellany: Or, a Complete Collection of Scots Sangs. By Allan Ramsay. Being the Whole that are contain’d in his Three Volumes, just published. (Dublin: S. Powell for George Risk, 1729) | ESTC T179146 The Tea-Table Miscellany: Or, Allan Ramsay’s Collection of Scots Sangs. (London: J. Watson, 1730). | ESTC N13433 Ramsay writes to Andrew Millar, 12 Jan 1732, granting permission for the publication of TTM, ‘in what form you please’, for a fee of five pounds sterling. The Tea-Table Miscellany; Or, Allan Ramsay’s Collection of Scots Sangs. Volume first. [The Sixth Edition?] (Edinburgh: Allan Ramsay; Mr. Longman in London; Mr. Bryson, and Mr. Aikenhead in Newcastle; Mr. Carmichael in Glasgow; Mr. Scot in Inverness, and Mr. Beck in Perth, 1732) | ESCT N63217 | Not seen. The Tea-Table Miscellany: Or, A Collection of Scots Sangs. In Three Volumes. The Ninth Edition, Being the Compleatest and most Correct of any yet published By Allan Ramsay. (London: A. Millar, 1733) | ESTC T62726 The Tea-Table Miscellany: Or, A Collection of Scots Songs. The Tenth Edition. Being the Whole that are contain’d in the THREE VOLUMES, just Published. By Allan Ramsay. (Dublin: S. Powell, for George Risk, 1734) | ESTC T179623 The Tea-Table Miscellany; Or, Allan Ramsay’s Collection of Scots Sangs. Volume Second. The Sixth Tdition [sic]. (Edinburgh: Allan Ramsay; Mr. Bryson and Mr. Aikenhead in Newcastle, and Mr. Stalker in Glasgow, 1735) | ESTC N63218

779

The Tea-Table Miscellany

Vol. IV. (1737) Title-page

THE | Tea-Table | MISCELLANY: | OR, A | COLLECTION | Of Choice | SONGS, | Scots and English. | [rule] | Published by Allan Ramsay. | [rule] | VOL. IV. | [rule] | Anna with an Angel’s Air, | Sweet her Notes, her Face as fair; | Vassals and Kings | Feel, when she sings, | Charms of warbling Beauty near. | EDINBURGH: Printed for and sold by the Publisher, and | all the other Booksellers in Britain, 1737.

Format

12⁰.

Contents

Pp. [i] + [1]-214: [i] blank page; [1] title-page; [2] blank page; 3 [decorative header] | ‘Etrick Banks.’; 4 [decorative rule] | ‘The Birks of Invermay.’; 6 [decorative rule] | ‘Hero and Leander, | An old Ballad.’; 9 [decorative rule] | ‘Rare Willy drown’d in Yarrow.’; 10 [decorative rule] | ‘The King and the Miller.’; 12 ‘Tamo tanto.’ [decorative rule] | ‘The beautiful Singer.’; 13 [decorative rule] | ‘Sweet William’s Ghost.’; 17 ‘Great Lamentation for the | Loss of sweet Senisino.’; 19 [decorative rule] | ‘The Virgin’s Prayer.’; 20 ‘Ungrateful Nanny.’; 22 ‘The Scullion’s Complaint.’; 24 [decorative rule] | ‘The Hunter’s Song.’; 26 [decorative rule] | ‘The jolly Bender.’; 27 [decorative rule] | ‘The Haymaker’s Song.’; 29 ‘Watty and Madge, | In Imitation of William and Margaret.’; 32 [decorative rule] | ‘Celia in a Jessamine Bower.’; 34 ‘Were not my Heart light, I wad | die.’; 37 ‘Kind Robin lo’es me.’; 39 ‘O my heavy Heart! | Tune of, The Broom of Cowdenknows.’; 41 ‘Bellaspelling.’; 44 [decorative rule] | ‘The wandering Beauty.’; 45 [decorative rule] | ‘The sweet Temptation.’; 46 ‘Bonny Barbara Allan.’; 48 ‘The Toper’s Petition.’; 49 […] | ‘The Relief by the Bowl.’; 50 ‘On Masonry.’ | [decorative rule] | ‘The Coquet.’; 51 [decorative rule] | ‘Gently touch, &c.’; 52 […] | ‘IMITATED.’; 53 [decorative rule] | ‘The happy Beggars.’; 55 [decorative rule] | ‘Lucy and Colin.’; 58 [decorative rule] | ‘Dermet’s Cronnoch.’; 780

Appendix 2

60 ‘A Review of St. Paul’s Church, | Covent-Garden.’; 62 [decorative rule] | ‘Susan’s Complaint and Remedy.’; 65 ‘The Cobler.’; 67 ‘The bonny Earl of Murray.’; 68 [decorative rule] | ‘If e’er I do well, ’tis a Wonder.’; 71 ‘The Fumblers Rant.’; 73 [decorative rule] | ‘The Matron’s Wish.’; 76 [decorative rule] | ‘The free Mason’s Song.’; 79 ‘The Sailor’s Rant.’; 80 [decorative rule] | ‘A Love Song in the modern Taste, | by Dr. Swift.’; 82 [decorative rule] | ‘Silvia and the Flask.’; 84 ‘Love, Drink and Debt.’; 85 ‘The Farmer’s Son.’; 87 [decorative rule] | ‘The Angel Woman.’; 88 [decorative rule] | ‘Roger’s Courtship.’; 90 [decorative rule] | ‘Jump at a Crust.’; 93 [decorative rule] | ‘Merry Beggars.’; 95 ‘To Signora Cuzzoni.’ | [decorative rule] | ‘HAPPINESS. | Tune, To all you Ladies now at Land.’; 98 ‘Smirky Nan. | Tune, Nannio.’; 99 [decorative rule] | ‘Tarry Woo.’; 101 ‘On Henrietta’s Recovery. | Tune, My Deary if thou die.’; 102 ‘Hodge of the Mill and bu- | xome Nell.’; 104 [decorative rule] | ‘Buttery May.’; 105 [decorative rule] | ‘The wise Penitent. | Sung by Mr. Gay.’; 108 [decorative rule] | ‘Old Darby. | An Advice to Chloe.’; 110 [decorative rule] | ‘The modern Marriage Question.’; 111 ‘The Country Wake.’; 113 […] | ‘Oaths in fashion.’; 114 ‘The terrible Law.’ | [decorative rule] | ‘The Play of Love.’; 116 ‘Fanny fair.’; 117 ‘The Bottle preferr’d.’; 118 ‘Tippling John.’; 120 ‘Belinda.’; 121 ‘Beauty and Rigour.’; 122 ‘The Rival.’; 123 ‘Hunting Song going out.’; 124 […] | ‘The Return from the Chace.’; 125 […] | ‘The Girl that’s blyth and gay. | Tune, Black Jock.’; 126 ‘Cynthia’s Perplexity.’ | [decorative rule] | ‘Nought but Love.’; 128 [decorative rule] | ‘Tell me, my Heart.’; 130 ‘Cupid mistaken.’; 131 ‘Silvia to Alexis.’; 132 […] | ‘The serious Lover.’; 131 ‘The grateful Admirer.’ | [decorative rule] | ‘Celia and Sabina.’; 133 ‘The fair Warning.’ | [decorative rule] | ‘Petticoat wooing.’; 134 […] | ‘Colin’s Reply.’; 135 [decorative rule] | ‘The Country Lass’s Ambition.’; 137 ‘The following Song is said to be | made in Honour of our Sove- | reign Lady Mary Queen of | Scots.’; 139 ‘There Gowans are gay.’; 141 [decorative rule] | ‘Slighted Love sair to 781

The Tea-Table Miscellany

bide.’; 143 ‘The Invitation.’; 144 […] | ‘Cast away Care.’; 146 ‘The fairest of her Days.’; 147 [decorative rule] | ‘Lord Henry and Katharine.’; 150 [decorative rule] | ‘The Milking-Pail.’; 153 ‘Phillis despise not.’ | […] | ‘Drink while ye can.’; 154 [decorative rule] | ‘Meddlers out of Season.’; 156 ‘Complaint on Scorn.’; 157 ‘Love or Wine.’; 158 ‘Twenty one favourite SONGS, | in the Beggar’s Opera.’; 168 ‘Andro and his cutty Gun.’; 169 [decorative rule] | ‘Sailors Song.’; 170 [decorative rule] | ‘A hundred Years hence.’; 175 [decorative rule] | ‘Johny Faa, the Gypsie Laddie.’; 177 [decorative rule] | ‘Old Chiron.’; 178 [decorative rule] | ‘Bottle and Friend.’; 179 [decorative rule] | ‘Dunt, dunt, pittie, pattie. | Tune, Yellow-hair’d Laddie.’; 180 [decorative rule] | ‘Roger and Dolly.’; 181 [decorative rule] | ‘The Invocation.’; 182 [decorative rule] | ‘The Virgin’s Choice.’; 183 ‘Still he’s the Man.’; 184 [decorative rule] | ‘An old Catch.’; 185 ‘The Cobler’s Merits. | Tune, Charming Sally.’ | [decorative rule] | ‘The Cobler’s Happiness. | Tune, Come let us prepare.’; 186 [decorative rule] | ‘The honourable Support.’; 187 ‘Self, the prime Mover.’; 188 ‘The spotless Virgin. | [decorative rule] | ‘The Worth of Wine. | Tune, Let’s be jovial.’; 189 [decorative rule] | ‘Woman compar’d to China. | Tune, Pinks and Lillies.’; 190 [decorative rule] | ‘Slow Men of London.’; 191 [decorative rule] | ‘Follow your Leaders.’ | [decorative rule] | ‘The Pimp and Politician Paral- | lels. | Tune, ’Twas within a Furlong of Edinburgh | Town.’; 192 [decorative rule] | ‘Philander and Amoret.’; 194 ‘The Wit and the Beau. | Tune, Bright Aurelia.’; 195 ‘The Nurse’s Song. | Tune, Yellow Stockings.’; 197 ‘The Magpye.’; 200 ‘A good Excuse for Drinking.’ | [decorative rule] | ‘Mason’s Song. | Tune, Leave off your foolish Pratting.’; 202 [decorative rule] | ‘The frugal Maid.’; 203 [decorative rule] | ‘Damon’s Picture of Celia. | Tune, Down the Burn Davie.’; 206 [decorative header] | ‘The new Light.’; 207 [decorative rule] | ‘The Fickle fix’d.’; 209 ‘INDEX | For the fourth Volume.’ 782

Appendix 2

Consulted

Huntington Library, 82250 v.2.

References Burns Martin, Bibliography of Allan Ramsay (Glasgow: Jackson, Wylie and Co., 1931), p. 52 (item 121). ESTC No.

N46034.

4 LIFETIME EDITIONS AFTER VOL. IV: The Tea-Table Miscellany: Or, a Collection of Choice Songs, Scots and English. In Four Volumes. The Tenth Edition, Being the Compleatest and most Correct of any yet published By Allan Ramsay. (London: A Millar, 1740) | ESTC T147978 The Tea-Table Miscellany: Or, A Collection of Scots Sangs. By Allan Ramsay. The Twelfth Edition, With large Additions, not printed in any former Impression. (Dublin: S. Powell, for George Risk, 1740). | ESTC T173895 The Tea-Table Miscellany: Or, a Collection of Choice Songs, Scots and English. In Four Volumes. The Eleventh Edition, Being the Compleatest and most Correct of any yet published By Allan Ramsay. (London: A Millar, 1750) | ESTC N13434 The Tea-Table Miscellany: Or, a Collection of Choice Songs, Scots and English. In Four Volumes. The Twelfth Edition, Being the Compleatest and most Correct of any yet published By Allan Ramsay. (Glasgow: J. McCallum, 1753) | ESTC N13434

783

APPENDIX 3 TTM list of Persons Allan Ramsay (1684-1758): Author of: R1, R16, R18, R22, R23, R29, R30, R31, R32, R33, R41, R42, R44, R45, R51, R52, R53, R54, R55, R62, R63, R65, R66, R67, R68, R70, R71, R74, R76, R77, R78, R79, R81, R84, R86, R87 (TTM I: 36 songs); R90, R93, R97, R102, R103, R107, R109, R113, R115, R128, R129, R133, R142, R151, R154, R155, R156 (TTM II: 17 songs),R261 (TTM III: 1 song); R276, R284, R286, R288, R294, R307 (or Dubia), R308 (or Dubia), R312 (or Dubia), R317, R320 (or Dubia), R321, R323 (or Dubia), R325, R328 (or Dubia), R374 (or Dubia), R397 (or Dubia) (TTM IV: 15-16 songs). Editor/Dubia: R5, R6, R7, R8, R9, R13, R15, R17, R19, R20, R21, R24, R28, R35, R36, R38, R39, R40, R43, R48, R57, R58, R59, R65, R69, R72, R75, R82 (TTM I: 28 songs); R91, R96, R99, R108, R110 (originally by Hamilton); R111, R112, R114 (originally by Beaumont); R117, R118, R122, R123, R134 (originally by Parker); R135, R138, R139, R141, R143, R144, R145 (originally by Dryden); R146, R147, R148, R150, R153 (TTM II: 25 songs); R190, R209, R211, R212, R213, R220, R224 (or author), R228, R230, R231, R233, R247, R253, R255, R258, R263, R268 (TTM III: 17 songs); R267, R271, R272, R274, R275, R281, R287, R292, R293, R302, R306, R314, R333, R334 (or not by Ramsay), R355, R356, R359, R362, R363, R370, R371, R377, R385, R392 (or Swift), R393, R396, R397 (or author) (TTM IV: 24-27 songs). Akeroyd, Samuel (c1650-c1706): R377 (set) Aldritch, Bedford: R369 (set) Beaumont, Francis (1584-1616): R114 Birkhead, Matthew (d1722): R309 Bocchi, Lorenzo: R22 (set) Booth, Barton (1682-1733): R164 Bradley, Arthur: R297 Brome, Alexander (1620-66): R313 Brome, Richard (?1590-1652): R318 Carey, Henry (1687-1743): R170, R191, R198, R266, R277, R291, R316, R353 (probable) Centlivre, Susanna (c.1669-1723): R225 Cheeke, Josiah: R34 Chetwood, William (d1766): R295, R341 785

The Tea-Table Miscellany

Cibber, Colley (1671-1757): R378 Clarke, Jeremiah (1674-1707): R26, R259 Coffey, Charles (d1745): R341 (possible), R350, R380 (both probable), R381 Concanen, Matthew (1701-49): R221 Congreve, William (1670-1729): R195, R196, R250 (probable), R342, R348 Cooke, Thomas (1703-56): R375 (Original author) Crawford, Robert of Achnames (c1690-1733/35; probable/possible rather than certain in most cases): R2, R4, R37, R46, R50, R56, R85, R106 D’Urfey, Thomas (1653-1723): R100, R105, R136 (possible), R149, R152, R171 (probable), R172, R173, R174(probable), R184, R192, R194 (possible), R199, R200, R201, R202, R208, R217 (all probable); R219, R238 (probable), R264, R265, R361. DoDSLey, Richard (1703-64): R273 (author/editor) Donne, John (1572-1631): R158. Dryden, John (1631-1700): R145, R165, R179, R210, R243 (possible). Estcourt, Richard (1668-1712): R185 Etherege, Sir George (1636-92): R252, R337, R338, R339 (both probable) Farquhar, George (1677-1707): R222 Fielding, Henry (1707-54): R278 Fletcher, John (1579-1625): R193 Gay, John (1685-1732): R177, R326, R343, R388 (both possible) Gildon, Charles (c1665-1724): R166 (probable) Hamilton, Charles, Lord Binning (1697-1732): R279 Hamilton, William of Bangour (1704-54, (probable/possible rather than certain in most cases): R11, R14, R88, R110 Handel, Georg Friedrich (1685-1759): R177 (setting) Hippisley, John (1696-1748): R329, R330, R331 (probable) Hughes, John (1677-1720): R290 Jordan, Thomas (?1612-?1685): R370 Kenrick, David: R160 Leveridge, Richard (1670-1758): R158 (set and edited), R164 (music), R186, R204 (possible), R283, R332, R340, R394 (set). Lyttleton, George, 1st baron (1709-73): R344 (probable) MacGibbon, William (1686-1755). R53 (tune) Malloch/Mallet, David (c1705-65): R270 Mitchell, Joseph: R25 (probable) Montagu, Lady Mary Wortley (1689-1762): R351 Motteux, Peter (1663-1718): R204, R257 (possible), R259, R267. 786

Appendix 3

Parker, Martin (c1600-c1656): R134 Parnell, Thomas (1679-1718): R162, R315, R349 Philips, Ambrose (1674-1749): R89, R227, R246 (probable), R296, R319 Pix, Mary (1666-1709): R11 (in part) Prior, Matthew (1664-1721): R345 Purcell, Daniel (1664-1717): R201 (set) Purcell, Henry (1659-95), arranged/set: R175, R193, R195, R342, R373. Radcliffe, Edward (1655-1705): R245 Ramondon, Louis (1684-1715/18): R178, R259 (set) Reading, John (1685/6-1764): R198 (tune) Rich, John (1692-1761): R206 (possible) Robertson, Thomas of Downyhills: R104 Rowe, Nicholas (1674-1718): R176 Sackville, Charles, 6th Earl of Dorset (1638-1706): R215, R250 (possible), R251. Sedley,Sir Charles, 5th bart (1639-1701): R47, R197 (probable) Sempill, Francis (?1616-1682): R83 Settle, Elkanah (1648-1724): R101 Sheridan,Thomas (1687-1738): R289 Smith, Robert (c1648-75): R236 Southerne, Thomas (1660-1746): R95 Suckling, Sir John (1609-41): R181 Swift, Jonathan (1667-1745): R311, R392 (possible). Theobald, Lewis (1668-1744): R310 (possible) Tickell, Thomas (1685-1740): R300 Waller, Edmund (1606-87). Author of epigraph to TTM I, and of the first English poem celebrating the polite use of tea by Charles II’s Queen, Catherine of Braganza (1662). Ward, Ned (1667-1731): R229, R232 (possible) Watts, John: R157 Weldon, John (1676-1736): R189, R223 (setting) Wilmot, John, 2nd Earl of Rochester (1647-80): R237 Wise, Michael (1648-87): R372 (set) Withers, George (1588-1667): R248 Wotton, Sir Henry (1568-1639): R354 Wythens (née Taylor), Elizabeth (1638-1708): R235 Yonge, Sir William, 4th bart (1692-1755): R298, R352 Youll, Henry (fl. 1608): R357

787

APPENDIX 4 Variants in the second issue of TTM vol. 1 (1724) Alexander Law’s article on ‘The first edition of “The tea-table miscellany”’ (1969) updated the bibliographical record set by Burns Martin in 1931, after finding an edition in Yale dated 1723. His article then lists the variants between this first edition and the 1724 edition, which we use in the notes below. Included are variants in spelling, punctuation, capitalisation, and grammar. We do not include the line-break variants as described by Law. This is because inconsistent printing practices in this period of the eighteenth century would become unwieldy for our edition, and do not bear any significant relevance to the meaning of Ramsay’s text. The 1724 edition therefore varies from the 1723 as follows (by page): iii. Acceptance [not ‘Aↄceptance’] iv. rejoice [not ‘rejoyce’] 3. Traquhair [not ‘Traquair’] 10. surroud [not ‘surround’] 15. Waste [not ‘Waist’] 17. sick [not ‘sic’] 19. given [not ‘giv’n’] 23. Dear child how [not ‘Dear Child! How’] 38. Daffin [not ‘Dafine’]; untill [not ‘until’]; Wooer [not ‘Woer’] 40. Wooer [not ‘Woer’] 41. Baty [not ‘Bauty’] 42. Scene [not ‘Sence’] 42. And O, What’ll [not ‘And O what’ll’] 42. And O, And [not ‘And O and’] 44. Nodling [not ‘Nod’ling’] 47. blyth [not ‘blith’] 48. Hauses [not ‘Hawses’] 48. Toaster’s [not ‘Toster’s’] 50. hae [not ‘ha’e’] 51. hae [not ‘ha’e’] 59. charming [not ‘Charming’] 63. Sqirrels [not ‘Squirrels’] 66. Fair [not ‘fair’] 71. die [not ‘dye’]; faithfull [not ‘faithful’]; ne’er [not ‘ne’re’] 77. bonny [not ‘bony’] 789

The Tea-Table Miscellany

78. vittuous [not ‘virtuous’] 109. Lov’s [not ‘Love’s’] 122. have form’d [not ‘has form’d’] 123. yell [not ‘ye’ll’] 124. Alas [not ‘Alace’] 127. befall [not ‘befal’] 134. Boughting [not ‘Bughting’] 136. Ann [not ‘An’] 139. Thumb [not ‘Tumb’] 148. ye’er [not ‘y’er’] 150. Na-says [not ‘Nay-says’] 154. the Hand [not ‘th’Hand’] 158. Beaween [not ‘Between’]

790

GLOSSARY Aboon: above (Jamieson) Acre-sawin: acre sowing Aik: the oak (Jamieson) Aiten: oaten (Jamieson) Ajee: to one side, ajar (Jamieson) Alake: Scots form of ‘alack’ (Dictionaries of the Scots Language (DSL)) Ambry: A press in which the provision for the daily use of a family in the country is locked up (Jamieson) Anes: one time only (DSL) Ark: a large chest, especially one used for holding corn or meal (Jamieson) Armsfou: arms full/armful Ay: yes; an explanation of surprise or wonder (DSL) Bairn: A child (Jamieson) Balow: A lullaby, a term used by a nurse, when lulling her child (Jamieson) Ban (vb): to vow, to promise with oath(s); to curse; to swear (DSL) Bannock: A cake, baked of dough in a pretty wet state, and toasted on a girdle (Jamieson) Bap: A thick cake baked in the oven; A roll, a small loaf of wheaten bread, of an oblong form (Jamieson) Barkat: Tanned leather, Bark= to tan leather (Jamieson) Barley-Bree: malt liquor; whisky (DSL) Bauk/Bawk: One of the crossbeams in the roof of a house, which support and unite the rafters; the beam by which scales are suspended in a balance (Jamieson) Bauty: a hare, a rabbit; in contempt to a human being (DSL) Bawbie, Birle my Bawbie: a half-penny (Jamieson); I will contribute my share of the expence (Jamieson) Bear-meal: Bear= barley (Jamieson) Beck: A curtsy (Jamieson); also the verb ‘to curtsy’ Bedeen: Quickly, forthwith (Jamieson) Bedral: A person who is bedrid (Jamieson) Beet (vb): to bet, wager, risk (DSL) Beguess: at random (DSL) Ben, Butt and Ben: Towards the inner apartment of a house (Jamieson); a house containing two rooms (Jamieson) Bent: A coarse kind of grass, growing on hilly ground or on the seashore; the open fiend, the plain (Jamieson) 791

The Tea-Table Miscellany

Bide (vb): to await, suffer, endure; to continue in one state (Jamieson) Bigg (vb): To build (Jamieson) Bing (vb): To cringe (Jamieson) Birk: a birch (Jamieson) Birle (vb): the act of pouring out, or furnishing drink for guests (Jamieson) Blainshes: Payment of rent in kind. Blasint: Applied to skin stripped of its hair after being ‘barkit’ (DSL) Blate: bashful (Jamieson) Blather (vb): to talk nonsensically (Jamieson) Bleet: Modest, diffident, bashful, sheepish (DSL) Bleez (vb): to become a little sour; the state of one on whom intoxicating liquor begins to operate (Jamieson) Blinkit (vb): to blink Blutter: A rumbling noise; as that sometimes made by the intestines; apparently used to denote filth in a liquid state (Jamieson) Blyth: Joyous, cheerful, happy, glad, well-pleased (DSL) Bob (vb): to dance (Jamieson) Bodin: Prepared, provided, furnished (Jamieson) Bogie: an outhouse; a skin or leather sack (DSL) Bore: a chink, a crevice (DSL) Borrows-Town: A town possessing special privileges conferred by royal charter and having a municipal corporation (DSL) Bountith: Something given as a reward for service or good offices (Jamieson) Bowt: a bolt, a shaft, a thunderbolt (Jamieson) Brachen: the female fern (Jamieson) Brae: the brow of a hill; a hill or hillside; the high ground adjoining a riverbank (DSL) Brag (vb): to reproach, upbraid, defy (Jamieson) Brander: a gridiron (Jamieson) Branks: a sort of bridle; an iron bit used for torture; the pillory (Jamieson) Braw: fine, gaily dressed, handsome, pleasant, agreeable, worthy, excellent (Jamieson) Brecham: The collar of a working horse (Jamieson) Brent: high, straight, upright (Jamieson) Bridle-renzie: Brok: Fragments of any kind, especially of meat (Jamieson) Brose: A kind of pottage made by pouring water or broth on meal, which is stirred while the liquid is poured (Jamieson) Brou: an eyebrow (DSL) 792

Glossary

Buckie: Any spiral shell of whatever size; a perverse and refractory person is a ‘thrawn buckie’ (Jamieson) Bught, Bought: A sheep-fold; more strictly a small pen, usually put up in the corner of the fold, into which it was customary to drive ewes, when they were to be milked (Jamieson) Burn(y): Water, particularly that which is taken from a fountain or a well; a rivulet, a brook; the water used in brewing; urine (Jamieson) Burn-brae: See brae, third definition. Burnist: burnished (DSL) Busk (vb): To dress, to attire one’s self, to deck; to prepare, make ready; to tend, to direct one’s course (Jamieson) Busk (n): a bush (Jamieson) Cadells: eggs beaten up for culinary purposes; a hot drink (English ‘caudle’); a set of cherry stones in a game (four or two) (DSL) Cadge (vb): To toss, to drive (Jamieson); Cadgily= cheerfully (Jamieson) Cadgie: wanton; cheerful, sportive (Jamieson) Caff: Chaff (Jamieson) Canker (vb): To fret, to become peevish or ill-humoured (Jamieson) Canny: Cautious; prudent; attentive, wary, watchful (Jamieson) Cap: A wooden bowl for containing meat or drink (Jamieson) Carle: A man; a clown, a boor (Jamieson) Carlings: Pease birsled or broiled (Jamieson) Castock: The core or pith of a stalk of colewort or cabbage (Jamieson) Caul: a triangular-shaped cap (DSL) Cauller: Cool (Jamieson) Chap (vb): To strike (with a hammer, or any instrument of similar use); to strike hands, especially in concluding a bargain; to chop, to cut into small pieces; to fix upon any person or thing by selection; suddenly to embrace a proposal made in order to a bargain (Jamieson) Chappin: Chopin, a quart (Jamieson) Chew: the jowl (DSL) Clag (vb): to clog by adhesion (Jamieson) Clashes: Blows, strokes, heaps of heterogenous substances (Jamieson) Cleiro: a sharp noise, a shrill sound (DSL) Clout: a cuff, a blow (Jamieson) Cockernony: The gathering of a young woman’s hair, when it is wrapt up in a band or fillet (Jamieson). Used to imply public hair. Cod: A pillow (Jamieson) Co(a)g, cogue: A hollow wooden vessel of a circular form (Jamieson): vb= to empty into a wooden vessel (Jamieson)

793

The Tea-Table Miscellany

Cogue-fou: A full wooden vessel, made of staves and girded with metal bands, used in milking cows, carrying water, or in drinking or eating. One or two staves longer than the rest form the handle or handles (DSL) Colly: Collie-dog, vb= to abash, to silence in an argument (Jamieson) Coof: A silly dastardly fellow (Jamieson) Coost, Coost the Glamer: to cast, to enchant Coot: the ancle (Jamieson) Cot(t)ie: a little/short coat Cragy: rocky (Jamieson) Craig: a rock (Jamieson) Cramasie: cloth of crimson (Jamieson) Creepie: a low stool (Jamieson) Crishy: greasy; Creisch (vb), to grease (Jamieson) Cronnoch: a Coronach or Coronoch is a lament for the dead, a dirge (DSL) Crouse: brisk; apparently brave (Jamieson) Crowdie: meal and water in a cold state, stirred together, so as to form a thick gruel ; food of the porridge kind in general (Jamieson) Crowdy Mowdy: A mixture of oatmeal and cold water, etc. eaten raw. Sometimes also used of porridge or brose and hence of food in general (DSL) Curtchea: a kerchief, a woman’s cap (DSL) Cutty: short (Jamieson) Dafine/Daffin(e): folly in general; pastime, gaiety; excessive diversion; matrimonial intercourse; derangement, frenzy (Jamieson) Dale: a part, a portion (Jamieson) Darna/Daurna: dare not Dawt (vb): to dote upon, to fondle, caress (Jamieson) Dighted: clothed, arrayed, decked, adorned (DSL) Ding (vb): to exert one’s self; to beat; to strike by piercing; to scourge, to flog; to overcome; to excel, to discourage (Jamieson) Dink: neat, trim (Jamieson) Dit (vb): to close up (Jamieson) Dite (vb): to write (Jamieson) Docken: the dock, an herb (Jamieson) Dool: grief, sorrow, misery, suffering (DSL) Dorty: Pettish, saucy, malapert, applied to a female who is saucy to her suitors; applied to plants, when difficult to rear (Jamieson) Dosend: dozing Doughtna: unable or unfit to do something (DSL) Dow (vb): to thrive; to fade, wither, lose freshness (Jamieson) 794

Glossary

Dow: a dove (Jamieson) Dowie: dull (Jamieson) Draff: grains; any moral imperfection (Jamieson) Drammock: meal and water mixed in a raw state; any thing boiled to the state of pulp (Jamieson): Drant (vb): to drawl, to pass in a tedious way; drant (n)= a drawling enunciation (Jamieson) Dreeping-pan: pan for dripping Drow/uth: drought, thirst (Jamieson) Dulse: dull, heavy; also the fucus,a species of seaweed (Jamieson) Durk: a dagger (Jamieson) Dwam: a swoon, a sudden fit of sickness (Jamieson) Dwine: to pine; to fade, applied to nature; to dwindle (Jamieson) Eek: each (Jamieson) Een: eyes (Jamieson) Eens: even (DSL) Eild: old; vb= to wax old (Jamieson) Eith/Eithly: easy, easily (Jamieson) Elwand: an instrument for measuring (Jamieson); an ell is just over 94cm. Eye-brie: eyebrow (DSL) Fae: from (preposition); foe (noun) (DSL) Fadge: A large flat loaf or bannock, a flat wheaten loaf (Jamieson) Fain: Glad, pleased; happy, content; loving, affectionate; fond of (DSL) Farder: further (Jamieson) Farle: the fourth part of a thin cake, whether of flour or oatmeal;but now often used for a third (Jamieson) Farrer: further, more distant; farer (DSL) Fash (vb): to take trouble; to be weary of; to intermeddle, so as to subject one’s self to trouble (Jamieson) Faut: want, lack, need (often of food); harm, injury (DSL) Feck: A term denoting, both space and quantity or number; the greatest part (Jamieson) Feg: fig (DSL) Fendy: good at making shift (Jamieson) Fenzie: feigning (DSL) Fleegerie: a whim; toys, gewgaws (plural) (Jamieson) Flighteren: fluttering Flowk: a flounder (DSL) Fodgel: squat and plump (Jamieson) Fogie: mossy; dull, lumpish (Jamieson) 795

The Tea-Table Miscellany

Fother: food for cattle and horses; to feed cattle and horses with hay, straw; to supply fuel to a fire (DSL); a cart-load (Jamieson) Fou: full; saturated with food; drunk (Jamieson) Fowth/Fouth: abundance (Jamieson) Furlet: the fourth part of a boll of corn (Jamieson)- just over 145 litres Furm: a form (Jamieson) Fy: An exclamation to incite one to hurry; make haste!; indeed, certainly, assuredly (emphatic) (DSL) Gab: the mouth; the taste (Jamieson) Gabbock: a mouthful, morsel; some type of fish (DSL) Gaberlunzie: a wallet that hangs on the loins (Jamieson); used as a short form of Gaberlunzie-man, a beggar. Gang (vb): To go out, to proceed, to walk, to pass from one state to another; to have currency; n= a journey; as much as one carries at once; a passage (Jamieson) Gar (vb): to cause; to force (Jamieson) Garth: an inclosure; a garden (Jamieson) Gat: to beget,engender; to get, obtain, acquire or attain (DSL) Gate: a way (Jamieson) Gaud: a trick; a bad custom or habit (Jamieson) Gaunt: to yawn (DSL) Gawsy: jolly (Jamieson) Gear: warlike accoutrements; goods; booty; all kinds of tools for business; money (Jamieson) Geck (vb): to sport; to deride; to befool; to jilt; to toss the head disdainfully (Jamieson) Genty: neat, limber, elegantly formed (Jamieson) Gin: if (Jamieson) Girdle-cake: a cake cooked on a girdle, a circular plate of malleable or cast iron, for toasting cakes (Jamieson) Girn (vb): to grin; to snarl; to gape, applied to dress (Jamieson) Girn (n): A grin; a snare (Jamieson) Glaikit: light, giddy; foolish, rash; giddy, including the idea of coquetry (Jamieson) Glamer (also Glamour): the supposed influence of a charm on the eye, causing it to see objects differently from what they really are (Jamieson) Glent (vb): to glance; to pass suddenly; to peep out; to squint (Jamieson) Glent (n): a glance; a transient view; a moment (Jamieson) Glimmer: to blink, to wink, to look unsteadily (DSL) Gloom (vb): to frown; n= a frown (Jamieson) Glow (a)ming: evening, twilight, dusk (DSL) 796

Glossary

Glowran: staring with wide-open eyes, gazing (DSL) Gooly: a large knife, often one blunted by use (DSL) Gooshet: An ornamental pattern in silk thread on a stocking, a clock (DSL) Gowan: the generic name for daisy; singly, it denotes the mountain daisy (Jamieson) Gowd: gold Gowdspink: the goldfinch (DSL) Gowpings: gowp= a mouthful (Jamieson) Gowk: the cuckoo (Jamieson); proverbially, a fool. Graip: a dung fork (Jamieson) Gree: a step; degree, quality; the superiority; the prize; vogue, celebrity; humour; degree in measurement, degree of affinity (Jamieson) Green-sey: green woollen cloth, resembling serge, made by families for their own use (DSL) Grot: a groat (4d); a very small sum (DSL) Gryce: A pig, more esp. a young pig, a sucking pig (DSL) Guidman/Goodman: Used vocatively as a form of address between people of equal rank who are not on familiar terms; the master, head husband (DSL) Gutcher: a grandfather; a relation (DSL) Hacket-kail: raked or cut cabbage; see ‘hack’ (DSL) Haflens: partly (Jamieson) Hale: whole (Jamieson) Halucket: crazy, giddy, hare-brained (Jamieson) Hames: each of two curved pieces of wood or metal placed behind the outer rim of the collar of a draught-horse (DSL) Happer-ars’d: with bony, protruding hips (DSL) Hawick Gill: 10 fl oz imperial; 284 ml (Jamieson, DSL) Hawse (n): the throat (Jamieson) Hawse (vb): to hug, embrace, take in one’s arms (DSL) Hause-bane: collarbone Hazel-rung: a wooden spar or rail used mainly as a crossbar or spoke, or a plough stilt or stick made of hazel wood, or of hazel colouring (DSL) Heckle: a hackling-comb (Jamieson) Heeze: the act of lifting up; aid, furtherance; the act of swinging; denoting any thing that discomposes (Jamieson) Heeze (vb): to lift up (Jamieson) Heezy/Hissie: a hoist, heave, lift or jolt upwards; a drubbing, a rough handling (DSL) 797

The Tea-Table Miscellany

Heght: to promise, vow, undertake; as a noun, a heavy fall or a promise (DSL) Heugh: a crag, a ragged steep; a steep hill or bank, a glen with steep overhanging braes or sides (Jamieson) Hirdum-dirdum: uproar, noisy mirth or revelry (DSL) Hoboys: a performer upon the hautboy or oboe, specifically a member of the company of musicians employed by Edinburgh Town Council until the middle of the 19th c. as town waits (DSL) Hod’ling: hiding (DSL) Hooly: slow (Jamieson) How: hoe; although; the sound made by the owl (Jamieson) Howt: An exclamation used to express annoyance, disgust, incredulity or remonstrance or in dismissal of an opinion expressed by someone else, tut! fie! (DSL) Hund (vb): to chase, pursue, as by a dog (DSL) Iceshogles: icicles (DSL) I’se: I shall Ilk/Ilka: each, every; the same (Jamieson) Ill-fardly: ill-favouredly, unbecomingly (DSL) Ingle: fire (Jamieson) In-kneed: Having the knees turned inwards, knock-kneed (DSL) Jag: the best part of calf-leather (DSL) Jee (vb): to move, to stir; to move to one side (Jamieson) Jo: a sweetheart (Jamieson) Jog: prick, a jab with something sharp (DSL) Jouk: an evasive motion; a bow, a genuflexion; a slight curtsey; a trick (Jamieson) Jow (vb): to move from side to side; to jog on; to toll [a bell]; to move; to ring (Jamieson) Jow: a single stroke in tolling; a juggler (Jamieson) Kail-Yard: a kitchen-garden (Jamieson) Kairny: diminutive of a cairn, a small loose heap of stones (DSL) Kame: a comb; a low ridge; a camp, or fortress (Jamieson) Kaming-stock: in wool-carding: a frame in which one of the cards was fixed, while the operator held the other Kauk: chalk (DSL) Kebbuck: a cheese of a larger size (Jamieson) Keckle: to cackle, to laugh in a high-pitched or silly manner or with joy or excitement (DSL) Keek: a peep (Jamieson) Keeking-glass: a looking-glass (Jamieson) Keel: ruddle (Jamieson) 798

Glossary

Kent: a long staff used by shepherds for leaping over ditches or brooks (Jamieson) Kimmer: a godmother; a gossip or scandal-monger; a married woman; a midwife; a girl; a witch; a male companion or neighbour (DSL) Kirn: a churn; a mire (Jamieson) Kirtle, Kyrtle: ‘A body-garment for a man, a kind of coat or tunic reaching below the knees, worn alone or under a cloak or mantle; a woman’s frock or close gown, comprising bodice and skirt and worn under the gown or, in simple or informal attire, as the only upper garment ‘(DSL) Kist: a chest; a coffin (Jamieson) Know: a little hill (Jamieson) Kurchy: a covering for the head, handkerchief Ky: cows (Jamieson) Kyte: the belly, the stomach (Jamieson) Kyth (vb): To reveal, make manifest, show, prove; to show signs of (DSL) Kyth: Shew, appearance (Jamieson) Lane: lone, alone (Jamieson) Lang-kail: a variety of borecole, also called Great, or Scotch kail, with less wrinkled leaves than the ordinary borecole, and purplish in colour (DSL) Lave: the remainder (Jamieson) Lav’rock: the lark (Jamieson) Lawing (Lawing-free): a tavern reckoning (Jamieson) Led-sadle: ‘Leid’ is an extra weight added to an already heavy load, the last straw, too much of a good thing, so an overloaded saddle (DSL) Leis: a lease, tenancy (DSL) Lemmane: a sweetheart, male or female (Jamieson) Leugh: laugh(ed) (Jamieson) Lick: a blow; a wag (Jamieson) Light (n): light (DSL) Light (vb): to lighten, relieve of weight; to relieve, gladden, cheer (DSL) Lightly (vb): to make light of, scorn, belittle, slight, disparage (DSL) Lilting: the act of singing cheerfully (Jamieson) Link (vb): to walk smartly, to trip (Jamieson) Linkin: moving briskly Linksome: with the appearance of moving briskly Linnings: linens (DSL) Lintwhite: a linnet (Jamieson) Loden (vb): to burden, load, charge or freight (DSL) 799

The Tea-Table Miscellany

Loo: love; also the core or inner part of the horn of an animal; the ringed plover (DSL) Loun: a boy (Jamieson) Lucken: shut up, contracted; locked, bolted; the globe flower (Jamieson) Lug: the ear (Jamieson) Luggies: corn that grows mostly to the straw; a lodge hut (Jamieson) Lyart: having grey hairs intermixed; grey-haired in general (Jamieson) Lythy: thick, mellow (of soup); smooth and palatable to the taste (DSL) Maik: a match, or equal (Jamieson) Mainses: The home farm of an estate, cultivated for the proprietor, still surviving throughout Scotland as a farm name in the form ‘Mains of’ (DSL) Maksna: does not signify (Jamieson) Marrow: a companion; a married partner; one of a pair (Jamieson) Mauking: a hare (Jamieson) Maun: must (Jamieson) Mavis: the song-thrush (DSL) Meal-kail: a broth without meat (DSL) Meikle/Mikle/Muckle: great, respecting size; much; denoting quantity or extent; denoting pre-eminence (Jamieson) Mell: a maul; a blow with a maul (Jamieson) Mell (vb): to mix; to intermeddle; to be in a state of intimacy; to join in battle (Jamieson) Menzie: one family; a company; followers of a chieftain; an army in general; a multitude, applied to things (Jamieson) Milsie: milk-strainer (DSL) Minny: mother (Jamieson) Mint: an aim; an attempt (Jamieson) Misle-shin’d: having discoloured skin (cognate with English measles) (DSL) Mistane: to transgress, offend, do wrong; to take wrongfully; to misapprehend, misconstrue or misunderstand (DSL) Mool: noise, confusion, turmoil; mools= earth, soil of a grave (DSL) Moor-powt: the young of a game bird dwelling on a moor (DSL) Motie: mote= a little hill or barrow; a rising ground, a knoll (Jamieson), hence a diminutive amount. Mou: mouth; a large pile or heap of grain, hay, straw or similar dry materials, esp. a pile of unthreshed grain stored in a barn (DSL) Moup (vb): to nibble, to mump; to impair by degrees (Jamieson)

800

Glossary

Mowter: The duty, consisting of a proportion of the grain, exacted by the proprietor or tenant of a mill on all corn ground there (DSL) Mutch: a head-dress for a female (Jamieson) Nappy: brisk, rich, strong or heady liquor or ale; used also of slightly intoxicated persons (DSL) Niest: next (DSL) Niff-Naffin: to ninnaff is to trifle, to speak or act in a silly way (Jamieson) Nooked: having corners or angular projections (DSL) Nowt-seet: cattle-ground Ohon: alas (Jamieson) Our-shin’d: outshone Owrlay: a cravat (Jamieson) Owsen: oxen (Jamieson) Oxter: the armpit; used in a looser sense for the arm (Jamieson) Pack: intimate (Jamieson) Park: a wood; a pole, a perch (Jamieson) Partan: common sea crab (Jamieson) Pat: past of put (Jamieson) Pawky: sly, artful; wanton, applied to the eye (Jamieson) Pearlins: a species of thread lace (Jamieson) Peet-creel: an upright framework placed on top of a cart to hold peats (DSL) Pensand, pansand: thinking; pensive; (of persons) fastidious, sometimes to the point of conceit (DSL) Pickle: a grain of corn; a single seed; any minute particle; a small quantity; a few (Jamieson) Pint-stoup: a tankard or drinking vessel containing a Scots pint (1.696 litres) (DSL) Plaidy/ie: an outer loose weed of striped and variegated cloth (Jamieson) Pleen: to complain, grumble; a complaint, objection (DSL) Plinners: the iron instruments belonging to a plough (Jamieson) Pock: a pockmark; a simple type of bag or pouch (DSL) Pogue: from póg, a kiss Pow: the head (Jamieson) Powsowdie: sheepshead broth; milk and meal boiled together (Jamieson) Prie: to make trial of, have experience of, try out, sample (DSL); to taste another’s lips (Jamieson) Prig (vb): to haggle; to importune (Jamieson) Propine: a present; drink-money; the power of giving (Jamieson) Puddy: a kind of cloth (Jamieson) 801

The Tea-Table Miscellany

Quat: released from (Jamieson) Quey: a cow of two years old (Jamieson) Rantin: merry-making, boisterous (DSL) Ranty Taunty: a weed which grows among corn with a reddish leaf (Jamieson) Raploch Hodin: coarse woollen cloth, homespun, and not dyed (Jamieson). ‘Hodin’ indicates its grey colour. Rashes: rushes (Jamieson) Reave (vb): to rob (Jamieson) Redd: fierce, furious (Jamieson) Reek: smoke (DSL) Rew: repentance (Jamieson) Rew (vb): to repent; to have compassion for (Jamieson) Rid: severe (Jamieson) Rifart: a radish (Jamieson) Riggs: the backs of animals; ridges (Jamieson) Ringle-eyd: A circle of white round the pupil of the eye, a white or pale grey iris, a wall eye (DSL) Rock: having a great proportion of white in the eye (Jamieson) Row: to roll, wrap up, wind, twist or twine (DSL) Rowing: a flake of wool (Jamieson) Rowth: plenty (Jamieson) Rug (vb): to pull hastily or roughly; to tear; to spoil, to plunder (Jamieson) Runkled: wrinkled (Jamieson) Ruse: boast; vb= to extol (Jamieson) Sale: a palace; a hall, a chamber (Jamieson) Sa: so, consequently; in such a manner (Jamieson) Sark: a shirt (Jamieson) Scadlips: thin broth (Jamieson) Scoul: scowl (DSL) Scrape (vb): to express scorn (Jamieson) Scrapt: scraped; scratche;, drew together with the hands; amassed; bowed (DSL) Screen: a shawl, head-scarf (after Ramsay) (DSL) Shangy: thin, meagre; a shackle that runs on the stake to which a cow is bound in the byre (Jamieson) Shank(s): the leg; the trunk of a tree; the stalk of an herb; stockings (plural) (Jamieson) Sharny: bedaubed with cows’ dung (Jamieson) Shaw: a small wood, especially of natural growth, a thicket, coppice, grove (vb= to show) (DSL) 802

Glossary

Shoon, (Corkit shoon): shoes, those with cork heels being upmarket Sik/Sic: such (Jamieson) Sican: such kind of (Jamieson) Sicklike: of the same kind; in the same manner (Jamieson) Sinsyne: since (Jamieson) Skair: a share (Jamieson) Skaith: hurt, damage (Jamieson) Skink: strong soup made of cows’ hams (Jamieson) Skipt: slipped (DSL) Slee (1): sly; skilful, dexterous; ingenious (Jamieson) Slee (2): sloe Sliddry: slippery; escaping one’s grasp; deceitful; loose and flaccid; a term applied to food (Jamieson) Snishing: snuff (DSL) Snood: a fillet with which the hair of a young woman’s head is bound up (Jamieson) Snoters: snot; anything that has no value (Jamieson) Sonsy: lucky, fortunate; good-humoured, well-conditioned; having a pleasant look; plump, thriving; denoting fullness, conjoined with cordiality in the host (Jamieson) Soum: the relative proportion of cattle or sheep to pasture (Jamieson) Souple: the part of a flail which strikes the grain (Jamieson) Sowen: the paste employed by weavers for stiffening their yarn in working; sowens= flummery (Jamieson) Sowne-Pale: A container for Sowens Sow-libber: a gelder, one who castrates (DSL) Speer (vb): to ask (DSL) Speer: a hole in the wall of a house, through which the family received and answered the enquiries of strangers (Jamieson) Speet: spit, a roasting skewer (DSL) Spelding: a small fish split, and dried in the sun (Jamieson) Sprout: a child (DSL) Stack: a columnar rock (Jamieson) Starn: a star; as single grain, a particle; a small quantity (Jamieson) Steek (vb): to pierce with a sharp instrument; to stitch; to fix, to fasten (Jamieson) Steer (vb): to meddle with so as to injure; to give ground, a slight ploughing; to plough ground a second time, when it is to be ploughed thrice (Jamieson) Steer: stir, movement, activity, bustle, commotion, hubbub (DSL)

803

The Tea-Table Miscellany

Stegh (vb): to cram; to confine one with a great quantity of bodyclothes; to confine oneself in a very warm room; to indulge sloth in bed (Jamieson) Stenn (vb): Of persons: to leap, bound, spring up or forward; (noun= a long, firm dancing step, a stride, spring, jump or bound) (DSL) Stent: a valuation of property, in order to taxation; a taxation; a task (Jamieson) Stenzie (vb): to sting (Jamieson) Stenzie: stain, blemish, damage (DSL) Stint (vb): to stop (Jamieson) Stint (vb): to cease, leave off, desist; to restrict, keep short, limit; (n= a check or retardation in growth) (DSL) Stool: a long robe (DSL), the location of public repentance in the Kirk Stoup: stupid (Jamieson) Stown: stolen (Jamieson) Strae: a straw; a thing of no value (Jamieson) Swats: new ale (Jamieson) Sweer: a curse, imprecation, piece of profanity, swear-word (vb= to swear) (DSL) Swither: to be in a state of uncertainty of purpose, to be perplexed; a state of indecision or doubt (DSL) Sybow: the young or spring onion (DSL) Syne: afterwards; late (Jamieson) Tag: a latchet; Anything used for tying; a long and thin slice (Jamieson) Tangle: large; a tall, lank person; an icicle (Jamieson) Tansie: the flower tanacetum vulgare, the ragwort (DSL) Tappit Hen: a crested hen; a measure containing a quart (Jamieson). Also a Scots pint, 1.696 litres. Tedding: Tedd= ravelled, entangled (Jamieson) Tent: care, attention (Jamieson) Tenty: watchful, attentive; intent, keen (Jamieson) Theek (vb): to roof, thatch (DSL) Thegither: together (Jamieson) Thole (vb): to bear, to suffer; to bear with, not to oppose; to bear patiently; to restrain oneself (Jamieson) Thowless: Lacking energy or spirit, inactive, lethargic, listless, having little initiative or capability, ineffectual (DSL) Thrang: pressed (Jamieson) Thrawchuck: Thraw-Cruk is an instrument for twisting ropes of straw, hair, &c (Jamieson) Thripling: a ‘thripling-kame’ is a comb-like instrument for cleaning the seeds of flax from the stems, a rippling-comb (DSL) 804

Glossary

Tight: tied; prepared, girt for action (Jamieson) Tine (vb): to lose Tine: a prong, spike, forked stick for gathering nuts (DSL) Tinkler: An itinerant tinsmith and pedlar, a course foul-mouthed abusive person (DSL) Tippony: weak ale or beer sold at 2d the Scots pint, see Tappit Hen (DSL) Tirl (vb): to uncover; to pluck off expeditiously; applied to dress; to strip, applied to property (Jamieson) Tirl: a smart stroke; a touch, in the way of intermeddling; a dance; a gentle breeze (Jamieson) Titter: a state of restless uncertainty, a dither (DSL) Titty (1): diminutive of sister (Jamieson) Titty (2): coming in gusts; testy, ill-humoured (Jamieson) Tocher: the dowry brought by a wife (Jamieson) Todle (vb): to walk with short steps, in a tottering way; to purl, to move with a gentle noise (Jamieson) Toolie: a broil (Jamieson) Toom: empty (Jamieson) Treen: wooden (Jamieson) Trig: neat, trim (Jamieson) Trow (vb): to believe; to confide in; to make believe, often in sport (Jamieson) Trow: the wooden spout in which water is carried to a mill-wheel (Jamieson) Trunkies: luggage trunks; fish-boxes; lobster-pots (DSL) Tweel: The strong fabric produced by twilling (DSL) Unco: unknown; not acquainted, being in the state of a stranger;not domestic; so much changed as scarcely to be recognized; unusual, surprising; strange, as applied to country; distant, reserved in one’s manner towards another (Jamieson) Unco (adv): very (Jamieson) Vogie: vain; merry, cheeful (Jamieson) Wakrife: watchful (Jamieson) Walaways: alas, alack, welladay; a lamentation, an outcry of grief (DSL) Wald (vb): to wield, to manage; to govern; to possess (Jamieson) Wald: would (Jamieson) Wale (vb): to avail; to veil (Jamieson) Wale: the act of choosing; that which is chosen in preference to other objects; a person or thing that is excellent; a well; a veil (Jamieson) Waley: expressive of lamentation (Jamieson) 805

The Tea-Table Miscellany

Wame: the womb; the belly; the stomach (Jamieson) Wanton-waws: War (vb): to lay out as expense; to expend, to bestow; to waste, to squander (Jamieson) War: worse (Jamieson) Wat (vb): to know (Jamieson) Weapon-shaw: an exhibition of arms, made at certain times in every district (Jamieson) Wearyfou: causing pain or trouble (Jamieson) Wecht: an instrument for winnowing corn, made in the form of a sieve, but without holes; a sort of tambourine (Jamieson) Weir: war (Jamieson) Westlin: westwards (Jamieson) Whang: a thong; a slice (Jamieson) Whillywa: a person who deals in ambiguous promises (Jamieson) Whinger: a short hanger used as a knife at meals, and as a sword in broils; a weapon for secret deeds (Jamieson) Wistslade: Berwickshire placename; fair valley (see slade/slaid in DSL) Whoop: a whip, a blow with a whip, a movement like that of a whip (DSL) Whorl: a very small wheel; the fly of a spinning-rock, made of wood, sometimes of a hard stone (Jamieson) Wooden-cleugh: a wooded narrow gorge or chasm Whyte (vb): to cut with a knife (Jamieson) Wilk: the periwinkle mollusc and shell; figuratively of a woman with a sour face and disposition (DSL) Winnels: devices for winding yarn or thread on to bobbins preparatory to weaving (Jamieson) Withershins: anti-clockwise (DSL) Wor’d a Wi: wore it a while. Instant fashion Wylie: fine, beautiful, excellent; a pretty toy (DSL) Wyson (vb): to wither, to become dry and hard; to be parched, in consequence of thirst; to cause to fade or dry (Jamieson) Yad: an old mare (Jamieson) Yate: a gate (DSL) Yestreen: yesternight (Jamieson)

806

BIBLIOGRAPHY 1. PRIMARY MANUSCRIPT 1630. Poetical miscellany. Folger Shakespeare Library V.a.345. Digitised (https://luna.folger.edu/luna/servlet/s/4mab67). c.1690-1730. Poetical miscellany [manuscript]. Folger Shakespeare Library V.a.308. c.1700-1710. Poems on several occasions. Brotherton Collection Manuscript Verse BC MS Lt 52, Brotherton Library, Leeds. c.1730. Elizabeth Cochrane’s Songbook, Collection of Songs English and Scots. Harvard College Library MS Eng.512. 2.OTHER PRIMARY MS SOURCES Aberdeen University Library MS 795/2 MS 2422 British Library Add MSS 34204 MS Egerton 2023 MS b.310 Edinburgh City Archives Town Council Records SL1/1/47 pp 43-4 26 August 1719 Edinburgh University Library MS Laing National Archives of Scotland GD18/4567-4594 (Clerk of Penicuik papers relating to Aikman) GD/331/5/34 RH 10/42/2 RH 15/32/1-3 RH 15/10/41 RH 15/10/42/1 National Library of Scotland ACC 8575 ACC 9546 ACC 9800 Adv MS Ch.B. 2155 Adv. MSS 23.3.26 Adv MS 35414 MS 210 807

The Tea-Table Miscellany

MS 2233 MS 2618 MS 2914 MS 2968 MS 3134 MS 5308 MS 15972 MS 15973 MS 17604 MS Ry III.a.10 National Records of Scotland GD18 GD26/13/271 3. PRIMARY: PRINTED BOOKS (TEXT ONLY) 1620. A Description of Love. London: Edward Griffin. 1672. A Collection of Poems Written Upon Several Occasions by Several Persons. London: Hobart Kemp. 1672. Westminster-drollery, or, A Choice Collection of The Newest Songs & Poems Both At Court and Theaters. London: H. Brome. 1677. The Wits Academy or, the Muses Delight. London. 1682. Wit and Drollery. Jovial Poems. Corrected and Amended, with New Additions. London: Obadiah Blagrave. 1685. Miscellany, Being A Collection of Poems By Several Hands. London: J. Hindemarsh. 1689. The Muses’ Farewel to Popery and Slavery. London: N.R. H.F. and J.K. 1689. The Theatre of Complements. London: Abel Roper. 1692. The Scotch Presbyterian Eloquence. London: Randal Taylor. 1693. A Collection of Poems by Several Hands. Most of them written by Persons of Eminent Quality. London: T. Warren for Francis Saunders. 1693. Examen Poeticum: Being the Third Part of Miscellany Poems. London: R.E. for Jacob Tonson. 1694. The Annual Miscellany, for the Year 1694. London: R.E. for Jacob Tonson. 1697. State-poems. London: np. 1701. A Collection of Poems: viz. The Temple of Death: by the Marquis of Normanby. London: Daniel Brown; and Benjamin Tooke. 1704. Poetical Miscellanies: The Fifth Part. London: Jacob Tonson. 1708. 1694. The Annual Miscellany, for the Year 1694. […] The Second Edition. London: Jacob Tonson. 808

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1709. Poetical Miscellanies: The Sixth Part. Containing a Collection of Original Poems, With Several New Translations. London: Jacob Tonson. 1712. Useful Miscellanies. London: Bernard Lintott. 1714. Poetical Miscellanies, Consisting of Original Poems and Translations. By The Best Hands. Publish’d By Mr. Steele. London: Jacob Tonson. 1715. A New Academy of Complements; or, The Lover’s Secretary. London: Charles Bates and Arthur Bettesworth. 1720? THE | HARLOT Un-mask’d | To the Tune of, The King and the Miller. [London?], British Library C.116.i.4(22). 1727. A New Academy of Complements; or, The Lover’s Secretary. […] The Nineth Edition, with Additions. London: S. Bates and Arthur Bettesworth. 1717. A Collection of The Best English Poetry, By Several Hands. London: T[homas] Warner 1724-33. The Hive. A Collection of the Most Celebrated Songs of our Best English Poets. In four volumes. London. John Walthoe. 1724. Laugh and Be Fat: Or, An Antidote Against Melancholy. London: A. W. 1725? The Pink Garland. London: R. Raikes and W. Dicey. [1725]. A New Miscellany: Being a Collection of Pieces Of Poetry, From Bath, Tunbridge, Oxford, Epsom, And Other Places, In The Year 1725. Written Chiefly by Persons Of Quality. To Which Is Added, Grongar Hill, A Poem. London: printed for T. Warner. 1726. The Universal Mercury. London: J. Roberts. 1727. A Collection of Epigrams. London: J. Walthoe. 1727. A New Miscellany of Court Songs. London: A. Moore. 1728? Celia’s New Garland: Compos’d of Eight New Songs. London: for Edw. Midwinter. 1729? Robin’s Panegyrick. Or, the Norfolk Miscellany. London: T. Tims. 1729. The Triumphs of Bacchus: or, the Delights of the Bottle. London: J. Watson. 1729-1733. The Choice: Being A Collection of Two Hundred and Fifty Celebrated Songs. Volumes I-III. London: Weaver Bickerton, Thomas Astley, Stephen Austen and Robert Willock. 1731? The Beau’s Miscellany. Being A New and Curious Collection of Amorous Tales, Diverting Songs, and Entertaining Poems. London: A. Moore. 1731. POLITICAL and other pieces, in verse, connected with events from 1711 to 1731. British Library Add MS 32463. 809

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1731. The Flower-Piece: A Collection of Miscellany Poems by Several Hands. London: J. Walthoe. 1731. The Antient Constitutions of the Free and Accepted Masons. London: B. Creake and B. Cole. 1732. Count Piper’s Packet: Being A Choice and Curious Collection of Manuscript Papers, In Prose and Verse. London: T. Walton. 1733-35. The Bee Revived, Or, the Universal Weekly Pamphlet. London. 1734. The Vocal Miscellany. A Collection of Above Four Hundred Celebrated Songs. London: Joseph Hazard. 1734. A Prologue, and an Epilogue and Songs, Spoken and Sung to the Antient and Rt. Worshipful Society of Free-Masons, at the TheatreRoyal. London: George Faulkner. 1735. The Syren. Containing a Collection of Four Hundred and Twenty of the Most Celebrated English songs. London: J. Osborn. 1735. A Complete Collection of Old and New English and Scotch Songs. London: T. Boreman. 1736. A Complete Collection of Old and New English and Scotch Songs. London: J. Osborn. 1736. The Cupid. A Collection of Love Songs, in Twelve Parts. London: J. Chrichley. 1737. Bacchus and Venus. London: R. Montague. 1873. Catalogue of Prints and Drawings in the British Museum: Political and Personal Satires. London: British Museum. 1911 [1907]. The Spectator, ed. G. Gregory Smith, 8 vols. London: Everyman/Dent. 1971. Euing Collection of English Broadside Ballads in the Library of the University of Glasgow, intr. John Holloway. University of Glasgow. Addison, John. 1713. ‘More Rearings of the Lion.’ The Guardian, (124): 443-4. Retrieved from www.proquest.com/historical-periodicals/ more-rearings-lion/docview/5480669/se-2?accountid=14540. Aikin, John. 1778 [1774]. Essays on song-writing: with a Collection of such English songs as are most eminent for poetical merit, 3rd ed. Dublin: Thomas Armitage. Anon [Tytler], 1779. ‘A Dissertation on the Scottish Musick’, in James Arnot, History of Edinburgh (Edinburgh): 372-83 Boileau-Despréaux, Nicolas. 1712. The works of Monsieur Boileau. London: E. Sanger, and E. Curll. Buckingham, George Villiers. 1705. The Second Volume of Miscellaneons [sic] Works, written by George, late Duke of Buckingham. London: Sam. Briscoe. Brome, Alex. 1668. Songs and other Poems. The Third Edition. London: Henry Brome. 810

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Brown, Iain Gordon and Cheape, Hugh. 1996. Witness to Rebellion: John Maclean’s Journal of the ‘Forty-Five and the Penicuik Drawings. East Linton: Tuckwell Press/National Library of Scotland Bysshe, Edward. 1708. The Art of English Poetry. London: Sam. Buckley. Bysshe, Edward. 1714. The British Parnassus. London: J. Nutt. Carey, Henry. 1710. The Records of Love: Or, Weekly Amusements for the Fair Sex. London: J. Grantham. Carey, Henry. 1729. Poems on Several Occasions. The Third Edition. London: E. Say. Carolan, Nicholas (ed.), John and William Neal, 2010. A Collection of the Most Celebrated Irish Tunes Proper for the Violin, German Flute or Hautboys. Dublin: Folk Music Society of Ireland. Cave, Edward. 1736-1833. The Gentleman’s Magazine and Historical Chronicle. London: Chatto & Windus. Concanen, Matthew. 1722. Poems, Upon Several Occasions by the author of, The Match at Foot-ball. Dublin: A. Rhames, for E. Dobson. Concanen, Matthew. 1724. Miscellaneous Poems, Original and Translated, by Several Hands. London: John Peele. Concanen, Matthew. 1727. A Collection of Epigrams. To Which is Prefix’d, A Critical Dissertation on this Species of Poetry. London: J. Walthoe. Congreve, William. 1710. The Second Volume of Works by Mr. William Congreve. London: J. Tonson. Congreve, William. 1710. The Third Volume of Works by Mr. William Congreve. London: J. Tonson. Congreve, William. 1720. The Third Volume of Works by Mr. William Congreve. London: J. Tonson. Cooke, Thomas. 1730. The Bays Miscellany. London: A. Moore. Cotgrave, John. 1655. Wits Interpreter, The English Parnassus. London: N. Brooke. Donne, John. 1633. Poems. London: Printed by M.F. for John Marriot, and are to be sold at his shop in St Dunstans Church-yard in Fleetstreet. D’Urfey, Thomas. 1687. A Compleat Collection of Mr. D’Urfey’s Songs and Odes. London: Joseph Hindemarsh. Dryden, John. 1684. Miscellany Poems. London: Jacob Tonson. Dryden, John. 1701. Poems on Various Occasions; And Translations from Several Authors, London: Jacob Tonson. Farmer, Peter. 1730. A New Model for The Rebuilding Masonry on A Stronger Basis than the Former. London: J. Wilford. Gay, John. 1720. Poems on Several Occasions. London: Jacob Tonson, and Bernard Lintot. 811

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Greenwood, James. 1717. The Virgin Muse. Being A Collection of Poems from Our Most Celebrated English Poets. London: T. Varnam and J. Osborne. Hankins, David and James J. Caudle. 2006. The General Correspondence of James Boswell, 1757-1763, eds. New Haven: Yale and Edinburgh University Presses. Hill, Aaron. 1730. The Plain Dealer: Being Select Essays on Several Curious Subjects. LONDON: Printed for S. Richardson, and A. Wilde. Johnson, Richard. 1620. The Golden Garland of Princely Pleasures. London: A. Mathewes. [Lyttleton, George,] Tunbrigialia: or, Tunbridge Miscellanies, for the year 1733. London: J. Penn. Odell, Thomas. 1729. The Patron: or the Statesman’s Opera. Dublin: S. Powell. Pack, Richardson. 1726. Miscellaneous Works in Verse and Prose. Dublin: S. Powell. Parnell, Thomas. 1722. Poems on Several Occasions. Written by Dr. Thomas Parnell, Late Arch-Deacon of Clogher: and publish’d by Mr. Pope. London: B. Lintot. Pinkethman, William. 1721. The Second Part of Penkethman’s Jests. London: Printed for T. Warner. Pitcairne, Archibald. 2009. The Latin Poems. Eds. John and Winifred MacQueen. Tempe, AZ: Royal Van Gorcum. Playford, Henry. 1684. Wit and Mirth An Antidote Against Melancholy. London: J.P. for Henry Playford. Pope, Alexander. Miscellany Poems. London: Bernard Lintot. Purcell, Daniel. c.1705. Where oxen do low. A country dialogue made by mr. T. Durfey. Set by mr. D. Purcell. [Song from the bath or The Western lass. Also arranged for the flute]. [London]. Bodleian Library, University of Oxford (W) Vet. Mus. 1 c.118 (33). Prior, Matthew. 1709. Poems on Several Occasions. The second edition. London: Jacob Tonson. Rochester, John. 1714. The Works of John Earl of Rochester. London: Jacob Tonson. Rowlands, Samuel. 1663. A Crew of Kind London Gossips All Met to be Merry. London. Sackville, Charles. 1704. Poetical Miscellanies. The Fifth Part. London: Printed for Jacob Tonson. Scougal, Henry. 1714. The Compleat English Secretary and Newst Academy of Complements. London: C. Brown and T. Norris. Sedley, Charles. 1707. The Poetical Works of the Honourable Sir Charles Sedley Baronet. London: Sam Briscoe. 812

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Smith, William. 1735. A Pocket-Companion for Free-Masons. London: E. Rider. Socio, Carlo Monte. 1724. The New Metamorphosis Or, pleasant Transformation of the Golden Ass of Lucius Apuleius of Medaura. London: Sam Briscoe. Stafford, P. 1721. Poems on several occasions. By Mr. Stafford. London: printed for Thomas Atkins. Veel, Robert. 1672. New Court-Songs, and Poems. London: R. Pask. Walsh, William et al. 1721. The Grove; or a Collection of Original Poems, Translations, etc. London: W[illiam] Mears. Walsh, William. 1692. Letters and Poems, Amorous and Gallant. London: Jacob Tonson. Ward, Edward. 1707. The Diverting Music, or, the Universal Muse. London: Benjamin Braggs. Ward, Edward. 1708. The Wars of the Elements. London: John Morphew. Wither, George. 1620. The Works of Master George Wither, of LincolnsInne, Gntleman. London: John Beale. Wither, George. 1622. Fidelia. London: John Budge. Wotton, Henry. 1672. Reliquiae Wottonianae, or, A Collection of Lives, Letters, Poems. London: T. Roycroft. 4. BALLADS, BROADSIDES, AND SONG SHEETS ND. The Mistress to my Mind. Bodleian Library, University of Oxford Harding B 6(13). Digitised as part of the Broadside Ballads Online from the Bodleian Libraries project (http://ballads.bodleian.ox.ac. uk/view/edition/18972). ND. CHROMLETS LILT. National Library of Scotland Ry.III.a.10(58), EBBA 34288. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/34288). ND. Kind Robin lo’es me. Bodleian Library, University of Oxford Harding B 11(227). Digitised as part of the Broadside Ballads Online from the Bodleian Libraries project (http://ballads.bodleian.ox.ac. uk/search/roud/5523). ND. The Cobler’s End. A New Song. Bodleian Library, University of Oxford Johnson Ballads 2408. Digitised as part of the Broadside Ballads Online from the Bodleian Libraries project (http://ballads. bodleian.ox.ac.uk/view/edition/19894). ND. A Song for good Nurses. Hey, My Kitten. Brotherton Library, Leeds BC Lt/SON.

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1624-1680?. The lovely Northern Lasse, | Who in the Ditty here complaining, shewes | What harme she got milking her Daddies Ewes. London Printed for Fr. Coles, | in the Old Bayly. University of Glasgow Library Euing Ballads 166, EBBA 31921. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english. ucsb.edu/ballad/31921). 1624-1680? Truths Integrity: | OR, | A curious Northerne Ditty, called, Love Will Find Out the Way. | To a pleasant new Tune, Printed at London for F. Coules; | dwelling in the Old-Baily. British Library C.20.f.7.426-427, EBBA 30290. Digitised as part of the English Broadside Ballad Archive project project (https://ebba.english.ucsb. edu/ballad/30290). 1640? The Lovers Delight: or, A Pleasant Pastorall Sonnet To A New Court Tune. London: for Francis Coules British Library C.20.f.7.(198-199). 1640-1674 ? The Tragedy of Hero and Leander: | OR, | The Two Unfortunate Lovers. | Famous Leander for his love renown’d, | In crossing of the Hellespont was drown’d, | And Hero when his corps she once espy’d, | She leapt into the waves, and with him dy’d. London: Printed for R. Burton at the Horse shooe in West-smithfield, neer the Hospital-gate, University of Glasgow Library Euing Ballads 347, EBBA 32035. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/32035). 1655-1658? Truths Integrity, | OR, | A curious Northern Ditty Called, | Love Will Find Out the Way, To a pleasant tune, University of Glasgow Library Euing Ballads 358. EBBA 32055. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english. ucsb.edu/ballad/32055). 1662-1692 ? Loves Quintessence. | Or, The Frolick on Hackney Marsh. | A comly Nymph, upon a fragrant Plain, | Implor’d one hours pastime of her Swain | But he deny’d, until a piercing Dart | Created Love in him and smote his heart. | Then mutually they both imbrac’t each other, | And if their actions don’t, no more will I discover., London Printed for J. Conyers at the Black Raven in Duck Lane. Pepys Library, Magdalene College Pepys Ballads 3.273, EBBA 21287. Digitised as part of the English Broadside Ballad Archive project (https://ebba. english.ucsb.edu/ballad/21287). 1664-1706 ? THE | Jealous LOVER’s | Complaint: | OR, | His Torment for Love of | Fair Cloris. London: Printed for J. Blare at the Looking-Glass on London-Bridge. National Library of Scotland Crawford.EB.1339, EBBA 32836. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/32836). 814

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1664-1706 ? The Pensive Lover; | OR, | The Damosels Crosses Crown’d with Comfort. | She for a time had lost her Swain, | for which her Heart near broke; | Likewise she would her self have slain, | but Phaon stopt the Stroke. London: Printed for J. Blare, at the Looking-Glass on Lundon Bridge. National Library of Scotland Crawford.EB.923, EBBA 33419. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/33419). 1670? The MILKING PAIL. British Library C.121.g.9.(23.), EBBA 36843. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/36843). 1671-1704 ? The Languishing Young Man: | […] | To the Tune of, If Love’s a Sweet Passion, &c. Bodleian Library, University of Oxford Douce Ballads 1(114a). Digitised as part of the Broadside Ballads Online from the Bodleian Libraries project (http://ballads.bodleian.ox.ac. uk/view/edition/23496). 1674-1679 ? THE CARELESS GALLANT | OR, | A Farevvel to Sorrovv. | Whether these Lines do please, or give offence, | Or shall be damm’d as neither VVit nor Sence; | The Poet is for that in no suspence, | For ‘tis all one a hundred years hence. London: F. Coles, T. Vere, I. Wright and I Clarke. British Library C.40.m.11.(53.), EBBA 37585. Digitised as part of the English Broadside Ballad Archive project (https://ebba. english.ucsb.edu/ballad/33419). 1675-1696 ? The Father’s wholsome Admonition: | OR, | A Lumping Pennyworth of Good Counsel for Bad Husbands. Printed for P. Brooksby, J. Deacon, J. Blare, J. Back. National Library of Scotland Crawford.EB.855, EBBA 33496. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ ballad/33496). 1675-1696? Barbara Allen’s Cruelty, Printed for, P. Brooksby J. Deacon, J. Blare J. Back. National Library of Scotland, Crawford.eb.675. EBBA no.33316. Digitised as part of the Broadside Ballads Online from the Bodleian Libraries project (https://ebba.english.ucsb.edu/ ballad/33316). 1678? Strephon and Cloris: | OR, | The Coy Shepherd and Kind Shepherdess. […] | To a pleasant New Play-house Tune; Love will find out the way. Printed for I. Clarke, at the Horshooe, in Westsmithfield. British Library C.20.f.8.436, EBBA 30900. Digitised as part of the English Broadside Ballad Archive project (https://ebba. english.ucsb.edu/ballad/30900). 1680? The Conquering Virgin: or, The Maiden Triumph. London: Philip. Brooksby, at the Golden Ball in Pye-Corner. 815

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1683-1716? The West-Country Weaver: | CONTAINING | His Sorrowful Lamentation for the Hardship which he undergoes by a Proud Imperious | WIFE: Together, With his Resolution to reclaim Her by the Well-approved Oil of HOLLY. Printed for C. Bates, at the Bible and [?] | Pye-corner, British Library C.20.f.8.513, EBBA 31015. Digitised as part of the English Broadside Ballad Archive project (https://ebba. english.ucsb.edu/ballad/31015). 1684? Four of the choicest New Songs, as they are sung at Court; | Written by a person of Quality, named E.G. London: A. Chamberlain. British Library 1876.f.1.(26.). 1684-5. The Loves of Jockey and Jenny | OR, | The Scotch Wedding. | A most pleasant New Song. Printed for P. Brooksby, at the Golden-| Ball, in West-smithfield. Pepys Library, Magdalene College P e p y s Ballads 4.110, EBBA 21774. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/21774). 1685-8. THE | Bonny SCOT: | OR, | The Yielding LASS. London: Printed for P. Brooksby at the Golden Ball in Pye=Corner. Beinecke Rare Book and Manuscript Library 2000 Folio 6 53, EBBA 35729. Digitised as part of the English Broadside Ballad Archive project (https://ebba. english.ucsb.edu/ballad/35729). 1689. The Memorable BATTLE fought at | KILLY CRANKIE. | By Chief CLAVERS and his HIGHLAND MEN. British Library C.20.f.9.404, EBBA 31103. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/31103). 1689. THE BRAES O’ | KILLIECRANKIE. Bodleian Library, University of Oxford 2806 c.11(113). Digitised as part of the Broadside Ballads Online from the Bodleian Libraries project (http://ballads.bodleian. ox.ac.uk/view/edition/22757). 1689. The Subjects Satisfaction, | Being a new SONG of the Proclaiming King William and Queen Mary, on the | 13th. of this Instant February; to the great Joy and Comfort of the whole Kingdom. Printed for J. Deacon, in Guiltspur-street. Pepys Library, Magdalene College Pepys Ballads 2.270 , EBBA 20883. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ ballad/20883). 1689. The Loyal Subjects Free Choice: | OR, Their General Satisfaction in the Calling of a New | PARLIAMENT, | By King William’s Gracious Appointment, Whom God ever bless. Printed for P. Brooksby, I. Deacon, I. Blare, | and I. Back. Pepys Library, Magdalene College Pepys Ballads 2.266, EBBA 20879. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ ballad/20879). 816

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1689. The Virtue of a Protestant Orange: Being the Best Antidote Against Roman Poison. London. Houghton Library, Harvard University p EB65 A100 B675b. 1690?. A Delectable New BALLAD, INTITULED, | Leader=Haughs and Yarow. British Library – Roxburghe C.20.f.8.572, EBBA 31183. Digitised as part of the English Broadside Ballad Archive project (https://ebba. english.ucsb.edu/ballad/31183). 1690? Where Helen Lyes. National Library of Scotland RB.I.262(002), EBBA 34089. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/34089). 1690. THE | VVhipster of VVoodstreet, | OR, | A True Account of the Barbarous and Horrid Murther committed on the Body | of Mary Cox, late Servant in Woodstreet LONDON. Printed for W. Thackeray at the Angel in Duck-Lane; J. Millet at the Angel in | Little-Britain; and Alex. Milbourn at the Stationers-Arms in Green-Arbour- | Court in the Little-Old-Baily. Where any Chapman may be Furnished with | all Sorts of Small BOOKS. Pepys Library, Magdalene College Pepys Ballads 2.190, EBBA 20879 Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ ballad/20805). 1690? Teague and Sawney: | OR, | The Unfortunate Success of a DearJoys Devotion by St. | PATRICK’s Cross. | BEING | Transform’d into the Deel’s Whirlegig. Printed for C. G. Pepys Library, Magdalene College Pepys Ballads 5.270, EBBA 22106. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb. edu/ballad/22106). 1691? The Lunatick Lover: | OR, | The Young Man’s Call to Grim King of the Ghosts for Cure. Printed for P. Brooksby, at the Golden-Ball | in Pye=Corner. National Library of Scotland Crawford.EB.468. EBBA 33030, Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/33030). [1695]. The Court and Kingdom in Tears: OR, THE Sorrowful Subject’s Lamentation for the DEATH OF Her Royal Majesty Queen Mary. Bodleian Library, University of Oxford Firth c.23(47). Digitised as part of the Broadside Ballads Online from the Bodleian Libraries project (http://ballads.bodleian.ox.ac.uk/view/edition/10639). 1696. A | Ready Cure for Uneasie Minds, | FOR | That their MONY will not Pass. LONDON: Printed for J. Blare, at the Lookingglass on London-Bridge. Magdalene College, Pepys Library Pepys Ballads 5.135, EBBA 22402 Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ ballad/22402). 817

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1700?. An Excellent new ballad, | ENTITULED | LEADER-HAUGHS and YAROW, | To its own proper tune, National Library of Scotland Rosebery Ry.III.a.10(12). 1701?. ALLAN WATER: | OR, A | LOVER | IN | CAPTIVITY: | A NEW SONG:. National Library of Scotland – Rosebery Ry.III.a.10(55), EBBA 34284. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/34284). 1701? The new way of | JOCKY Blyth and Gay, | A Song much in Request. National Library of Scotland RB.I.262(084), EBBA 34187. Digitised as part of the English Broadside Ballad Archive project (https://ebba. english.ucsb.edu/ballad/34187). 1701? GILDEROY. National Library of Scotland RB.I.262(020), EBBA 34153. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/34153). 1701? An Excellent and proper New Ballad, Entitled, | OLD LONG SYNE, | Newly corrected and amended, with a large and new | Edition of several excellent Love Lines. National Library of Scotland Ry.III.a.10(70), EBBA 34302. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/34302). 1702-1712? An excellent New Song Entituled, the | New way of the Broom of Cowden | Knows. National Library of Scotland Ry.III.a.10(7), EBBA 34221. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/34221). 1705? Do Not Ask me Charming Phillis. [London]. British Library H.1601.(123.). 1705? The Innocent Maid’s Garland Compos’d of Five Excellent New Songs. London: Printed for J Walter, at the Golden-Ball in Pye-corner. Bodleian Library, University of Oxford Arch.A.f.71(14). 1705. A New SONG Set by Mr Barrett. Chetham’s Library H.P.1776-1777. 1708. Sung by Mrs Tofts, in the opera call’d the Tryumphs of love. Bodleian Library, University of Oxford Harding Mus.G.O. 18 (11). 1710? I would I were where HELEN lyes. British Library C.20.f.9.578, EBBA 31284. Digitised as part of the English Broadside Ballad Archive project (https://ebba.english.ucsb.edu/ballad/34221). 1710? Farewell my bonny witty pretty Moggy. A Scotch Song sung by Mr. Leveridge the words by Mr. Durfey. [London]. British Library H.1601. (154.). 1710? Love in the Groves. A Song. [London} British Library H.1601.(337.).

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INDEX of FIRST LINES Not all of Ramsay’s songs are titled and, as such, the editors have opted to produce an Index of First Lines, as opposed to an Index of Song Titles. The Index of First Lines is arranged alphabetically. Each song has been assigned an R number to help the reader find the song and its relevant note in the volume. A Cobler there was, and he liv’d in a Stall, R304 A Cock Laird fou cadgie, R154 A Fox may steal your Hens, Sir, R367.8 Tune also appears at R176 A Lovely Lass to a Friar came, R38 A Maid is like the golden Oar, R367.4 A Nymph of the Plain, R157 A Quire of bright Beauties, R210 A SOUR Reformation // Crawls out-thro’ the Nation, R268 A Southland Jenny that was right bony, R143 A trifling Song ye shall hear, R222 A Woman’s Ware, like China, R386 Tune also appears at R214 ADieu for a while my native green Plains, R109 ADieu ye pleasant Sports and Plays, R137 Tune also appears at R5, R79 Ah the Shepherd’s mournful Fate, R88 Ah why those Tears in Nelly’s Eyes, R87 Ah Chloe! thou Treasure, thou Joy of my Breast, R33 Tune also appears at R129 Ah! bright Bellinda, hither fly, R166 Ah! woes me, poor Willy cry’d, R321 Tune also appears at R43 Ah! Cloris, cou’d I now but sit, R47 Alexis shunn’d his fellow Swains, R180 ALexis, how artless a Lover!, R346 All in the Downs the Fleet was moor’d, R163 Tune also appears at R9, R128 ALL you that would refine your Blood, R289 Altho’ I be but a Country Lass, R134 831

The Tea-Table Miscellany Amongst the Willows on the Grass, R220 An I’ll awa to bony Tweed side, R113 And I’ll o’er the Moor to Maggy, R66 As after Noon, one Summer’s Day, R345 As charming Clara walk’d alone, R211 As Dolly was milking of the Cows, R375 AS down in the Meadows I chanced to pass, R303 AS early I walkt, on the first of sweet May, R131 Tune also appears at R45 As from a Rock past all Relief, R53 Tune also appears at R73 As I am a Friend, R317 AS I came in by Tiviot Side, R146 As I sat at my Spinning-wheel, R136 AS musing I rang’d in a Meadow alone, R277 As the Snow in Vallies lying, R249 AS tippling John was jogging on, R335 As walking forth to view the Plain, R69 As Silvia in a Forrest lay, R61 Asist your Vot’ry, friendly Nine, R397 Tune also appears at R46 At Polwart on the Green, R67 Tune also appears at R3 Auld Rob Moris that wins in yon Glen, R59 Awake, thou fairest Thing in Nature, R253 Away you Rover, R257 Bacchus is a Power divine, R234 BAcchus must now his Power resign, R282 Balow, my Boy, ly still and sleep, R99 Be wary, my Celia, when Celadon sues, R168 Beauty from Fancy takes its Arms, R92 Believe my Sighs, my Tears, my Dear, R347 BELINDA, with affected Mein, R260 Beneath a Beech’s grateful Shade, R73 Tune also appears at R53 Beneath a green Shade I fand a fair Maid, R78 832

Index of First Lines Blate Jonny faintly tell’d fair Jean his Mind, R22 Blest as th’immortal Gods is he, R227 BLEST as the immortal Gods is he, R89 Tune also appears at R13 Blyth Jocky young and gay, R119 Blyth, blyth, blyth was she, R368 Bright Cynthia’s Power divinely great, R34 Busk ye, busk, ye, my bony Bride, R110 By a murmuring Stream a fair Shepherdess lay, R16 By Mason’s Art, the aspiring Dome, R295 By smooth winding Tay a Swain was reclining, R68 By the delicious Warmness of thy Mouth, R77 BY the Side of a great Kitchin Fire, R280 Can Love be controul’d by Advice?, R367.7 Care away gae thou frae me, R358 Celestial Muses, tune your Lyres, R26 Tune also appears at R367.2 CELIA, let not Pride undo you, R189 Celia, now my Heart hath broke, R398 CELIA, too late you wou’d repent, R243 Come Carles a’ of Fumblers Ha’, R307 Come here’s to the Nymph that I love!, R127 Come let us prepare, R309 Come let’s ha’e mair Wine in, R23 Come, fill me a Bumper, my jolly brave Boys, R49 Come, Florinda, lovely Charmer, R126 COme Lads, ne’er plague your Heads, R364 Come, Love, let’s walk by yonder Spring, R357 COme, Neighbours, now we’ve made our Hay, R283 Confess thy Love, fair blushing Maid, R97 Tune also appears at R147 Cupid God of pleasing Anguish, R206 CUpid, ease a Love-sick Maid, R278 Custom prevailing so long ’mongst the Great, R330 CYnthia frowns whene’er I woo her, R342 DAMON, if you will believe me, R251 833

The Tea-Table Miscellany Daphnis stood pensive in the Shade, R326 Dear Chloe, while thus beyond Measure, R327 Dear Colin, prevent my warm Blushes, R351 Despairing beside a clear Stream, R176 Tune also appears at R367.8 DId ever Swain a Nymph adore, R279 Diogenes surly and proud, R229 Do not ask me, charming Phillis, R214 Tune also appears at R386 Dumbarton’s Drums beat bonny O, R50 Fair Amoret is gone astray, R250 Fair Iris and her Swain, R165 FAir, Sweet and Young, receive a Prize, R145 False tho’ she be to me and Love, R348 Farewell to Lochaber, and farewell my Jean, R90 Farewell, my bonny, bonny, witty, pretty Maggy, R184 Fie! Liza, scorn the little Arts, R167 Flutt’ring spread thy purple Pinions, R311 For the Sake of Some-body, R142 From grave Lessons and Restraint, R223 From rosy Bowers, where sleeps the God of Love, R192 From White’s and Will’s, R296 Fy let us a’ to the Bridal, R83 Gently stir and blow the Fire, R298 Gently touch the warbling Lyre, R297 Gi’e me a Lass with a Lump of Land, R93 Gin ye meet a bonny Lassie, R76 Go, go, go, go falsest of thy Sex begone, R259 Good Madam, when Ladies are willing, R352 Good People, draw near, R393 Happy the World in that blest Age, R328 Happy’s the Love which meets Return, R64 Tune also appears at R37 Hark how the Trumpet sounds to Battle, R247 Hark! away, ’tis the merry ton’d Horn, R339 834

Index of First Lines Harken and I will tell you how, R7 Having spent all my Time, R302 He that will not merry merry be, R231 He, who for ever, R258 HE. // Of all Comforts I miscarried, R202 HE. // Since Times are so bad, I must tell thee, sweet Heart, R200 Hear me, ye Nymphs, and every Swain, R2 Here are People and Sports, R204 Here’s a Health to the King, and a lasting Peace, R230 Hey! My Kitten, a Kitten, R392 Honest Man John Ochiltree, R102 How blest are beggar Lasses, R299 How blyth ilk Morn was I to see, R12 Tune also appears at R15, R27, R288 How happy a State does the Miller possess!, R273 How happy are we, // Who from thinking are free, R218 How happy are we, // Now the Wind is abaft, R369 How happy is the rural Clown, R147 Tune also appears at R98 How pleasant a Sailor’s Life passes, R310 How sweetly smells the Simmer green?, R1 I Am a poor Maiden forsaken, R396 I Had a heart, but now I heartless gae, R356 I Hate the coward tribes, R382 I Have a green Purse and a wee pickle Gowd, R133 I Have been in Love, and in Debt, and in Drink, R313 I Once was a Poet at London, R318 I Thank thee, my Friend, R312 I was anes a well tocher’d Lass, R151 Tune also appears at R20 I Will awa’ wi’ my Love, R65 If Heaven, its Blessings to augment, R323 Tune also appears at R56, R384 If Love a Virgin’s Heart invade, R367.3 If Love’s a sweet Passion, why does it torment?, R101 If Phillis denies me Relief, R366 835

The Tea-Table Miscellany If she be not kind as fair, R252 If you at an Office solicit your Due, R367.16 I’ll range around the shady Bowers, R190 I’ll sail upon the Dog-star, R238 I’ll sing you a Dittay, and warrant it true, R329 In ancient Times, in Britain’s Isle, R360 In January last, R105 In Pimps and Politicians, R389 In this Grove my Strephon walkt, R208 In vain, fond Youth, thy Tears give o’er, R36 In yonder Town there wons a May, R325 In April when Primroses paint the sweet Plain, R42 Tune also appears at R48, R144 In spite of Love, at Length I’ve found, R254 Is Hamilla then my own, R5 Tune also appears at R79, R137 It was in and about the Martinmas time, R292 It was the charming Month of May, R98 JAMES. // Prithee, Susan, what dost muse on, R239 Jocky fou, Jenny fain, R140 Jocky met with Jenny fair, R138 Tune also appears at R367.9 Jocky said to Jeany, Jeany, wilt thou do’t, R72 Jolly Mortals, fill your Glasses, R232 Kindly, kindly, thus, my Treasure, R267 Lassie, lend me your braw Hemp Heckle, R32 Last Sunday at Saint James’s Pray’rs, R174 Late in an Evening forth I went, R91 LEander on the Bay, R271 Leave kindred and Friends, sweet Betty, R25 Leave off your foolish Pratting, R186 LetMatters of State, R381 Let Soldiers fight for Prey or Praise, R183 Let us drink and be merry, dance, joke, and rejoice, R370 Let’s be jovial, fill our Glasses, R6 Tune also appears at R385 836

Index of First Lines Let’s drink, my Friends, while here we live, R363 Little Syrene of the Stage, R319 Look where my dear Hamilla smiles?, R17 Love never more shall give me Pain, R56 Tune also appears at R323, R384 Love, thou are the best of humane Joys, R175 Love’s Goddess in a Myrtle Grove, R44 Tune also appears at R115 Maiden fresh as a Rose, R173 Man may escape from Rope and Gun, R367.13 MArch, march, R108 May the Ambitious ever find, R242 My Cloe, why do ye slight me, R207 My Days been so wond’rous free, R162 My dear Mistress has a Heart, R237 My dearest Maid, since you desire, R320 My Friend and I, // We drank whole Piss-pots, R182 My Goddess Lydia, heavenly fair, R245 My Jeany and I have toil’d, R125 My Love was fickle once and changing, R399 My Mither’s ay glowran o’er me, R63 My Patie is a Lover gay, R111 My Soger Laddie, R155 My sweetest May, let Love incline thee, R71 My Jocky blyth what thou hast done, R60 Nansy’s to the Green Wood gane, R19 Now God be wi’ old Symon, R379 Now Spring begins her smiling Round, R115 Tune also appears at R44 Now the Sun’s gane out o’ Sight, R75 Now wat ye wha I met Yestreen, R62 Tune also appears at R104 O bell, thy Looks have kill’d my Heart, R30 O Come away, come away, R120 O Grant me, kind Bacchus, R293 O Had away, had away, R121 837

The Tea-Table Miscellany O Jeany, Jeany, where has thou been, R152 O Lovely Maid ! How dear’s thy Pow’r?, R13 Tune also appears at R89 O My Heart, my heavy, heavy Heart, R288 Tune also appears at R12, R15, R27 O Surprising lovely Fair!, R255 O Virgin kind! we canna tell, R150 O Waly, waly, up the Bank, R135 O Wha’s that at my Chamber Door?, R123 O Bessy Bell and Mary Gray, R54 O Sandy, why leaves thou thy Nelly to mourn?, R45 Tune also appears at R131 Of all the Birds, whose tuneful Throats, R104 Tune also appears at R62 Of all the Girls in our Town, R341 Of all the Girls that are so smart, R170 Of all the Torment, all the Care, R338 Of all the Trades from East to West, R380 Of Leister, fam’d for Maidens fair, R300 Of Race divine thou needs must be, R70 Oh! Happy, happy Grove, R263 Oh! lead me to some peaceful Gloom, R193 Oh! lead me to some peaceful Room, R194 Oh! The charming Month of May, R205 Old Chiron thus preach’d to his Pupil Achilles, R372 On a Bank beside a Willow, R179 On a Bank of Flowers, R261 On Etrick Banks, in a Summer’s Night, R269 Tune also appears at R84, R118, R371 On Whitsunday Morning, R374 One April Morn, when from the Sea, R219 One Day I heard Mary say, R106 Tune also appears at R55 One Evening as I lay, R213 One long Whitsun Holy day, R217 One Sunday after Mass, R301 838

Index of First Lines Our Polly is a sad Slut! nor heeds what we taught her, R367.6 Our selves, like the Great, to secure a Retreat, R367.20 Over the Mountains, R130 Pain’d with her slighting Jamie’s Love, R52 PHillis despite not your faithful Lover, R362 Phillis the fairest of Love’s Foes, R215 Pious Selinda goes to Prayers, R195 Pretty Parrot, say, when I was away, R203 Prithee, Billy, be’nt so silly, R266 Proud Woman, I scorn you, R334 Pure as the new-fallen Snow appears, R384 Tune also appears at R56, R323 Remember, Damon, you did tell, R178 Rob’s Jock cam to woo our Jenny, R132 Saw ye Jenny Nettles, R139 Saw ye the Nymph whom I adore?, R291 See, see, my Seraphina comes, R198 See, see, she wakes, Sabina wakes, R196 Selinda sure’s the brightest Thing, R221 SEND home my long stray’d Eyes to me, R158 Shall I, wasting in Despair, R248 SHE. // Oh Love! if a God thou wilt be, R172 SHE. // Pray now, John, let Jug prevail, R199 Should auld Acquaintance be forgot, R51 Tune also appears at R10 SInce all thy Vows, false Maid, R112 Since Drinking has Power to bring us Relief, R294 Since laws were made for ev’ry Degree, R367.21 Tune also appears at R41 Since we die by the Help of good Wine, R233 Singing charms she Blest above, R275 So much I love thee, O my Treasure!, R274 Some say Women are like Sea, R224 Somnolente, // Quaeso repente, R107 Sound, sound, the Musick sound it, R156 Stella and Flavia every Hour, R169 839

The Tea-Table Miscellany Subjected to the Pow’r of Love, R27 Tune also appears at R12, R15, R288 Sum up all the Delights, R373 Sweet are the Charms of her I love, R164 Sweet Nelly, my Heart’s Delight, R314 Sweet Sir, for your Courtesie, R57 Tarry Woo, tarry Woo, R322 Teach me, Chloe, how to prove, R15 Tune also appears at R12, R27, R288 Tell me, tell me, charming Creature, R35 Tell me, Hamilla, tell me why, R28 Ten Years, like Troy, my stubborn Heart, R160 The Carle he came o’er the Croft, R96 The Collier has a Daughter, R86 The first time at the Looking-glass, R367.14 The Gamesters and Lawyers are Jugglers alike, R367.12 The Graces and the wandering Loves, R290 The Gypsies came to our good Lord’s Gate, R371 Tune also appears at R84, R118, R269 The Lass of Peatie’s Mill, R40 The last Time I came o’er the Moor, R39 Tune also appears at R153 The Lawland Lads think they are fine, R84 Tune also appears at R118, R269, R371 The Lawland Maids gang trig and fine, R118 Tune also appears at R84, R269, R371 The Manners of the Great affect, R388 The Meal was dear short syne, R24 The Miser thus a Shilling sees, R367.10 The Modes of the Court so common are grown, R367.18 Tune also appears at R241 The Night her silent Sable wore, R100 The Nymph that undoes me is fair and unkind, R337 The Ordnance a-board, R185 The pauky auld Carle came o’er the Lee, R80 The Play of Love is now begun, R332 The Sages of old, R264 840

Index of First Lines The Shepherd Adonis, R94 THe Smiling morn, the breathing Spring, R270 The Sun was sunk beneath the Hill, R343 The sweet rosy Morn peeps over the Hills, R340 The terrible Law when it fastens its Paw, R331 The Widow can Bake, and the Widow can brew, R117 The World is always jarring, R383 The Yellow Hair’d Ladie sat down on yon Brae, R144 Tune also appears at R42, R48, R374 There came a Ghost to Marg’ret’s Door, R276 There Gowans are gay, my Joy, R355 THere was anes a May, and she loo’d na Men, R286 There were three Lads in our Town, R387 Thirsis, a young and am’rous Swain, R349 Tho Beauty, like the Rose, R3 Tune also appears at R67 Tho’ cruel you seem to my Pain, R191 Through all the Employments of Life, R367.1 Thus Gamesters united in Friendship are found, R367.17 TIBBY has a Store of Charms, R74 Tho’ for seven Years and mair Honour shou’d reave me, R55 Tune also appears at R106 ’Tis Wine that clears the Understanding, R385 Tune also appears at R6 ’TWas at the shining Mid-day Hour, R284 Tune also appears at R114 ’Tis I have seven braw new Gowns, R20 Tune also appears at R151 ’Tis not your Beauty, nor your Wit, R124 Tune also appears at R58 ’Tis Woman that seduces all Mankind, R367.2 Tune also appears at R26 To Fanny fair could I impart, R333 Transported with Pleasure, R209 ’Twas at the fearful Midnight Hour, R114 Related song at R284

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The Tea-Table Miscellany ’Twas Summer and the Day was fair, R37 Tune also appears at R64 ’Twas when the Seas were roaring, R177 Up Stairs, down Stairs, R103 Upbraid me not, capricious Fair, R394 Virgins are like the fair Flower in its Lustre, R367.5 Virgin’s, if e’er at last it prove, R377 We all to conquering Beauty bow, R265 We have no idle Pratting, R395 We’ll drink, and we’ll never have done, Boys, R187 Were I laid on Greenland’s Coast, R367.9 Tune also appears at R138 What Beauties does Flora disclose ?, R4 What Gudgeons are we Men!, R367.19 What means this Niceness now of late, R58 Tune also appears at R124 What Numbers shall the Muse repete?, R85 What tho’ they call me Country Lass?, R353 What Woman cou’d do, I have try’d to be free, R378 When absent from the Nymph I love, R95 When Beauty blazes heavenly bright, R128 Tune also appears at R9, R163 WHen betimes on the Morn to the Fields we repair, R281 When bright Aurelia tript the Plain, R256 When Chloe we ply, R216 When Delia on the Plain appears, R344 When Flow’ry Meadows deck the Year, R10 Tune also appears at R51 When gay Philander fell a Prize, R390 WHen I was young Lad, R306 When innocent Pastime our Pleasure did crown, R31 WHen I’ve a Saxpence under my Thumb, R122 When my Locks are grown hoary, R308 When Phoebus bright the Azure Skies, R141 WHen the bright God of Day, R285 WHen thy Beauty appears, R315 842

Index of First Lines When Trees did bud and Fields were green, R46 Tune also appears at R397 When we came to London Town, R29 When we meet again, Phely, R8 When you censure the age, R367.15 When, lovely Phillis, thou art kind, R240 Tune also appears at R367.18 Where Oxen do low, R201 Where wad bony Ann ly, R81 While Fops in saft Italian Verse, R21 WHile out Flocks are a feeding, R129 Tune also appears at R33 While silently I lov’d, nor dar’d, R262 While some for Pleasure pawn their Health, R43 Tune also appears at R321 While the Lover is thinking, R188 WHilst I alone your Soul possest, R287 Whilst I fondly view the Charmer, R159 Whilst I gaze on Chloe trembling, R161 Whoe’er beholds my Helen’s Face, R359 Why hangs that Cloud upon thy Brow?, R11 Why shou’d a foolish Marriage Vow, R236 Why so pale and wan, fond Lover?, R181 Why we love, and why we hate, R246 Why will Florella, when I gaze, R365 Will ye go to the Ew Boughts, Marion, R82 Willy ne’er enquire what End, R116 Tune also appears at R148 Willy was a wanton Wag, R148 Tune also appears at R116 Willy’s rare and Willy’s fair, R272 With broken Words and down-cast Eyes, R79 Tune also appears at R5, R137 With every Grace young Strephon chose, R391 Wou’d you chuse a Wife, R225 Would Fate to me Belinda give, R336 Would you have a young Virgin of fifteen Years?, R171 843

The Tea-Table Miscellany Ye Beaux of Pleasure, R212 Ye blythest Lads and Lassess gay, R153 Tune also appears at R39 Ye Gales that gently wave the Sea, R18 Ye Gods ! was Strephon’s Picture blest, R14 Ye Highlands and ye Lawlands, R305 Ye Nymphs and Silvian Gods, R361 Ye Powers that o’er Mankind preside, R376 Ye Powers! was Damon then so blest, R9 Tune also appears at R128, R163 Ye Shepherds and Nymphs that adorn the gay Plain, R48 Tune also appears at R42, R144 Ye Virgin Powers, defend my Heart, R235 Ye watchful Guardians of the Fair, R41 Tune also appears at R367.21 Yes I could love, if I could find, R226 Yes, all the World will sure agree, R244 You may cease to complain, R228 You meaner Beauties of the Night, R354 You that love Mirth, attend to my Song, R241

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