480 - home | the university of sheffield/file/hewinsballads.pdfthe wake of teddy roe in dublin, that...

480 (A) I want to go home to mamma!

Written & composed by Frank W. Egenon, And Sung with Great Success by Fred. Coyne. Music Published by Hopwood and Crew.

I once had a sweetheart, tho' her name it was Brown, she was most decidedly green,

(B) Nelly Ray.

481

482

483

484

485

Sung with success by Tom Bournley.

I love a little country queen, ...

[Wanting imprint] (628)

2 columns 211 x 130mm

Woodcut at head of item (A). (Girl with hands together, crying) 22 x 15mm Woodcut at head of item (B). (Girl, head and shoulders) 56 x 46mm Band of type ornaments between columns.

Country hireings.

Come all ye blooming country lads and listen unto me,

W. Pratt, Printer, 82, Digbeth, Birmingham.

1 column 200 x 76mm

[Text cut down slightly at right. Probably from a sheet originally containing two items]

The costermonger.

I'm pre[ t]ty well known here in town ...

Printed by T. Birt, wholesale and reta[i)l, 10, Great St Andrew-Street Seven Dials, London.

1 column 218 x 73mm

[Probably from a sheet originally containing two items]

The blue eye'd farmer's boy.

A farmer's lad at close of day, thro' the fields chanc'd to stray,

Printed by T. Birt, wholesale and retail, 10, Great St. Andrew-Street, Seven Dials, London. Country Orders punctually attended to. Every description of Printing on reasonable terms. Children's Books, Battledores, Pictures, &c.

1 column 206 x 82mm


Maiden's lamentation for her Georgy.

As I rode over London Bridge, ...

Printed by T. Birt, wholesale & retail, 10, Great St. Andrew Street Seven Dials, London. Country Orders punctually attended to. Every description of Printing on reasonable term [ s].

1 column 215 x 72mm


(A) Cheer boys, cheer

Cheer! boys, cheer! no more of idle sorrow,

(B) Gaily the troubadour touched his guitar.

Gaily the troubndour [sic] touched his guitar ...

(C) Woman rules the day.

Ye lords of the ereation [sic J , ... Ryle and Co, Printers, 2 & 3, Monmouth Court, Seven Dials.

2 columns 202 x lSOmm

Woodcut at head of item (A). (Galleons) 77 x 7Smm Woodcut with border of type ornaments at head of item (B). (Troubadour with guitar) 58 x 58mm

486 (A) The outlandish knight.

An outlandish knight came from the Northlands ...

(B) The wandering boy.

487

488

When the winter wields whistle along the wild moor,

W. S. Fortey. Steam Printer, 2 & 3, Monmouth-court, London.

2 columns 211 x lSOmm

Double rule between columns enclosing imprint, with ornamental urns (14 x lOmm) at head and foot.

Comic version of Alonzo the brave and the fair lm[ogine]

"Chant". Oh, I'm going to sing you a story, which I suppose you all know; ...

Bathgate, Printer, 192 Park-[lane, Liverpool].

2 columns 230 x 1S4mm

[Text defaced passim at right]

(A) Crafty ploughboy.

Please to draw near and the truth I'll declare, ...

(B) Little Jim, the carter lad.

489

490

491

My name is Jim the carter lad, a jolly cock am I, ...

John White, Printer, Rose Place, Liverpool.


Woodcut at head of item (B). (Carter) 23 x 44mm Type ornaments above and below imprints between titles and texts of items (A) and (B). Type ornaments between columns.

A sweet country life.

A sweet country life is both pleasant and charming,

Printed and sold by Jennings, 13, Water-lane, Fleet-street, London.

1 column 208 x 67mm

Woodcut at head. (Boy and girl dancing) 43 x 31mm


May morn. A new song,

Twas on one May morning as I was walking, ...

Printed and sold by]. Jennings, No.lS, Water-lane, Fleet-street.

1 column 212 x 69mm

Woodcut at head. (Astrologer with globes etc.) 56 x 63mm


The unhappy lass of Canterbury.

Young lovers all in town or city, ...

Printed by Jennings, Water-lane, Whitefriars, London. 1 column 206 x 63mm

Woodcut at head. (Man in chair with rabbit on knee; woman standing behind) 31 x 42mm

2


492 Young Mat Hyland

There was a lord lived in this town,

Printed for Wm. Armstrong, Bannastre st. Liverpool.

1 column 215 x 64mm

Woodcut at head. (Nobleman) 34 x 22mm


493 (A) Clar de kitchen.

In ole Kentuck, in the arternoon, ...

(B) Bannockburn, or Scots wha ha'e wi' Wallace bled.

494

495

496

Scots wha ha'e wi' Wallace bled, ...

Harkness, Printer, Church-street, Preston. ( 65)


Woodcut (defaced) at head of item (A). (Negro with banjo) 30 x 25mm Woodcut (slightly defaced) at head of item (B). (Seated king (?)with sword) 44 x 37mm

Mrs. Clark.

Tune - "Dolly Dobbs".

A married man now am I as you may plainly see,

Jackson & Son, [late]. Russell,] Printers, Moor-street, Birmingham.


Woodcut at head of first column. (Man being bitten by dog; another man with a knife in his belt, and a woman, looking on) 60 x 48mm

Fanny Blair.

Come all good people wheresoever you be, ...

Sold by]. Bentley, 48. Market St., Bradford (35)

1 column 203 x 67mm

Woodcut (defaced) at head. (Farm buildings) 40 x 49mm

[The woodcut originally extended across a two-column sheet. The second item has been excised]

(A) The wife's dream.

Now tell me, Mary, how it is,

(B) I remember, I remember.

I remember, I remember, ...

(C) The rose of Allandale.

The morn was fair, the skies were clear,

George Walker, Printer, Sadler-street, Durham. (44)

497


Border of woodcuts flanking item (A). (Five scenes illustrating text) 97 x 133mm (including text) Border of type ornaments.

(A) The slave chase.

"Set ev'ry stitch of canvas to woo the fresh'ning wind,

(B) Kathleen Mavourneen.

5

Kathleen Mavourneen, the grey dawn is breaking, ...

(C) The brave old oak.

A song to the oak, the brave old oak, ...

(D) The star of Glengary.

The red moon is up on the moss-covered mountain, ...

Walker, Printer, Durham. (57)


Woodcut at head of item (A). (Ships) 40 x 55mm Woodcut at head of item (C). (Deer under a tree) 42 x 42mm

498 (A) Forget not the soldier.

Forget not the soldier, who'll ne'er forget you, ...

(B) Merry maids of England.

Oh, the maids of merry England, so beautiful and fair, ...

(C) The return of the admiral.

499

How gallantly, how merrily we ride along the sea!

Walker, Printer, Durham. (59)


Woodcut at head of item (A). (Dragoon) 80 x 40mm Woodcut at head of item (B). (Admiral) 50 x 58mm

(A) Ellen Loraine.

When I parted from Erin, heart broken, to leave thee, ...

(B) Isle of beauty.

Shades of evening, close not o'er us, ...

(C) The old house at home.

500

Oh, the old house at home, where my forefathers dwelt, ...

Walker, Printer, Durham. (7 3)


Woodcut at head of item (A). (Cavalier and girl) 80 x 50mm Woodcut at head of item (B). (Ships) 40 x 55mm

(A) When we went out a gipsying.

In the days when we went a gipsying, ...

(B) Happy land.

501

Happy land! happy land! ...

Walker, Printer, Durham. ( 4)


Woodcut at head of item (B). (Suitor kneeling and kissing girl's hand) 71 x 50mm Border of type ornaments.

The world on credit.

Come all you brisk and jovial blades, ...

C. Croshaw, Printer, Coppergate, York.

1 column 203 x 73mm

Woodcut at head. (Fox) 10 x 40mm


6

502

503

504

505

The farmer's downfall.

You broken down farmer's [sic], give ear to my song,


1 column 192 x 7 3mm



Nancy the pride of the East,

One day as I chanc'd for to rove,

Printed and sold by J Pitts No 14, Gr[ea]t Andrew Stre[e]t, Seven Dials.

1 column 210 x S 7mm

Woodcut at head. (Crossed keys) 18 x 2Smm


Colin's ghost.

My daddy and mammy they liv'd in a cot ...

Printed and Sold by ]. Pitts, Great St. Andrew Street, Seven Dials

1 column 208 x S9mm

Woodcut at head. (Crossed keys) 18 x 2Smm


(A) Some,thing new starts every day.

Oh dear oh! the world quite strange is,

(B) Young Donald of Dundee

506

507

Young Donald is the blithest lad ...

Pitts, Printer, Wholesale Toy and Marble Warehouse, 6, Great St. Andrew Street, Seven Dials.


Band of type ornaments between columns.

[Before title of item (A). Liston's drolleries.-]

Molly Whan.

A story, a story, to you I'll relate ...

Printed and sold by]. Pitts 14 Great st. Andrew street 7 Dials

1 column 215 x 68mm

Panel of type ornaments at head.


Unfortunate Sally or Billy dont you cry for me

Now Sally, where are you going ? ...

E; Hodges, from Pitts's Printer, wholesale Toy and Marble warehouse, songs, Childrens Books, &c 81, Dudley st. 7 Dials, Country orders punctually attended to,


Woodcut between title and imprint at head of first column. (Two men talking to woman; baby in cot) 62 x 64mm Band of type ornaments between columns.

9

508 (A) The outlandish knight

An outlandish knight came from the No[r]thland[s],

(B) The wandering boy,

509

510

511

512

513

Written by Henry Kirk [sic] White and sung by Master Hyde, at the London Concert

When the winter winds whistle along the wild moor, ...

Pitts printer Wholesal~ Toy and Marble warehouse 6 Great st Andrew street 7 dials


Panel of type ornaments at head. Band of type ornaments between columns.

The valiant maid.

All you maids that love to play with Cupid's chain,

Printed at Pitts, Toy Warehouse 6, Great st. Andrew street 7 Dials

1 column 217 x 65mm

Ornamental device at head.


Lady who fell in love with a prentice boy,

Down in Cupid's garden for pleasure I did walk ...

Pitts Printer and Toy Warehouse, 6 Great st. Andrew street 7 dials

1 column 201 x 67mm

Panel of type ornaments at head.


The wounded farmer's son.

The farmer's son so sweet, ...

Printed and sold by]. Pitts, 14 Great st. Andrew street, seven dials

1 column 229 x 60mm

Woodcut at head. (Cameo of woman) 29 x 29mm


Mary Neil

Once I lovnd [sic] a damsel,

Pitt[s] Printer, Wholesale Toy and Marble Warehouse, 6, Great st Andrew steet 7 dials.

1 column 229 x 67mm

Woodcut at head. (Actor) 33 x 40mm


(A) Nothing

When rhyming & verses at first were in fashion ...

(B) The mountains high

One night upon my rambles from my true love again ...

E. Hodges, from Pitt's Toy and Marble Warehouse, 31, M[onmou]th Street, 7 Dials.


Woodcut flanked by type ornaments at head of item (B). (Crusader) 43 x 78mm Border of type ornaments surrounding title of item (A).

10

514

515

516

517

The wake of Teddy Roe

In Dublin, that city of riches and fame,

Pitts Printer Wholesale Toy & Marble Warehouse, 6, Great St. Andrew street



The sucking pig.

All you who love a bit of fun,

]. Catnach, Printer, 2, Monmouth-court, 7 Dials. Sold by Sharman, Cambridge and Bennett, Brighton.



Pat Doran's ass.

One Paddy Doyle liv'd near Killarney,

London: Printed at the "Catnach Press", by W. Fortey, Monmouth Court, Seven Dials. The Olde[st] and Cheapest House in the World for Ballads (4,000 sorts), Children's Books, Song Books &c.


Sweet silver light bonny moon.

(A) Maggie by my side.

The land of my home is flitting, flitting from my view ...

(B) Sweet silver light bonny moon.

As I came to my cot by the close of the day,

(C) Judy Mc.Carty.

Come all my hearty roving blads [sic], ...

T. Pearson, Printer, 6, Chadderton Street, Oldham Road, Manchester (104)


518 (A) The female cabin boy.

It's of a pretty female as you shall understand,

(B) Particular!

519

There's everything that man can wish ...

Printed & Sold Wholesale & Retail by [T. Pearson, 6, Chadderton] Street, Oldham Road, Manchester. (54)


Woodcut at head of item (A). (Elderly man and woman dancing to fiddler, with group of onlookers in background) 62 x 63mm

(A) Church & chapel

One morning early, as day was breaking all in the sweet charmnig [sic] month of May ...

(B) Lord Ullin's daughter.

A chieftain to the Highlands bound, ...

[Bebbing]ton, Printer, [26, Goul]den Street, Oldham Road, Manchester, s(o]ld [by]. Beaumont, 176, York Street, Leed]s. (352)


Woodcut at head of item (A). (Ornament with angels, harps and music) 42 x 60mm

13

520

521

[To left of first column, vertically] Pearson, Printer, 6, Chadderton St., Oldham Rd., Manche[s]ter.

A new comic alphabet on the times.

A stands for Arthur, he is to be wed they say,

H. Disley, Printer, 57, High-street, St. Giles


(A) My once happy home

Tune - "Prairie Flower".

In a snug rural cottage that stood nar [sic] the sea, ...

(B) The royal blackbird

522

Upon a fair morning for soft recreation, ...

H. Disley, Printer, 57, High-street, St. Giles.


(A) The drunkard's catechism.

Question. What is your name? ...

(B) The drunkard's looking glass.

523

524

What will a drunkard do for ale? ...

H. Disley, Printer, 57, High-street, St. Gi[les], L[ondon].

2(3) columns 224 x 157mm

[Item (A) is wholly in prose]

Strikes of 1872

0, here's a go, you all must know,

Disley, Printer, London.


Woodcut between title and first column. (Man at table with book) 59 x 60mm Band of type ornaments between columns.

(A) Five and twenty shillings we[ek]

It is of a tradesman and his wife,

(B) We may be happy yet.

525

526

Oh! smile as thou wert wont to smile,

H. Disley, Printer, No.57, High Str[eet], St. Giles, London- W.


[The title "We may be happy y[et]" also appears below the title of item (A) above the columns of text]

The strike of the laundresses [sic].

Come list you washerwomen, ...

Disley, Printer, High Street, St. Giles.


Eighteen shillings a week.

A man and his wife in ------- street,

H. Disley, Printer, 57, High-street, St. Giles.

14

527

528


Woodcut between title and imprint. (Woman holding cat and talking to man outside cottage door) 40 x42mm

The strike alphabet.

A stands for alphabet, I've turned it into rhyme,

Disley, Printer, High Street, St. Giles, London.


(A) One pound two.

Now Maggy dear, I do hear, you've been upon the spree,

(B) My bonny, blooming Highland Jane.

As I walked out one morning fair, ...

Henry Disley, Printer, No. 57, High Street, St. Giles, London.-W.C.


Woodcut between title and imprint of item (A). (Woman talking to man in chair) 33 x 40mm

529 (A) The old oak table.

I had knocked out the dust from my pipe t'other night,

(B) Fair Phoebe, and her dark-eyed sailor.

530

Its [sic] of a comely young lady fair, ...

London: - Printed and Published by H. Such, 123, Union Street, Borough.-S.E. (2)


Woodcut at head of item (A). (Coat of arms with motto Esto fideles) 35 x 50mm Woodcut at head of item (B). (Caricature of man with open box approaching cottage door) 35 x 47mm Band of type ornaments between columns. Bands of type ornaments above and below second imprint at head of text of item (B).

(A) The lover's parting.

Farewell my dearest Henry, since you to sea must go ...

(B) Loch-na-Garr

531

Away ye gay landscapes! ye garden [sic] of roses, ...

London: -H. Such, Machine Printer & Publisher, 177, Union Street, Boro'. S E (88)


Woodcut at head of item (A). (Lovers parting on sea-shore) 49 x 46mm Woodcut at head of item (B). (Bridge with silhouette of man) 19 x 57mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (B). Type ornaments flanking printer's number at foot of item (B).

(A) Murder of Maria Marten by W. Corder, at the Red Barn May 18th, 1824

Come all you thoughtless young inen, a warning take by me, ...

(B) Barney Buntline to Billy Bowline: or a sailor's consolation in a storm.

The wind came on a hurricane, ...

London: - Printed and Sold by H. Such, 123, Union Street, Boro' - S.E. (102)


Woodcut at head of item (A). (Thatched cottage) 39 x 54mm Woodcut at head of item (B). (Chinaman standing on sea-shore with pagoda in background, and ship at sea) 33 x 51mm

17

Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (B).

532 (A) Erin go bragh

My name is Pat Murphy I'll never deny,

(B) Tom Bowling.

533

Here a sheer hulk lies poor Tom Bowling, ...

London,-H.P. Such, Machine Printer, and Publisher, 177, Union Street, Borough. (148)


Woodcut at head of item (A). (Caricature of Irishman with shillelagh) 42 x 47mm Woodcut at head of item (B). (Ship) 45 x 65mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (A). Type ornaments flanking printer's number at foot of item (B).

(A) The golden glove.

A wealthy young squire of Tamworth we hear,

(B) The sailor's tear.

534

He leaped into the boat, ...

London: -H. Such, Printer & Publisher, 177, Union-Street Borough.-S.E. (165)


Woodcut at head of item (A). (Man standing in front of tree) 33 x 50mm Woodcut at head of item (B). (Sailor in boat; two women on shore) 44 x 67mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (B). Type ornaments flanking printer's number at foot of item (B).

(A) Willie drunk again.

Oh, Willie, you've come home, lad,

(B) The labouring man

535

You Englishmen of each degree, ...

H. Such, Machine Printer, 177, Union St. Boro'. (190)


Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (A). Type ornaments flanking printer's number at foot of item (B).

(A) The wealthy farmer's son

Come all you pretty maidens' [sic] fair, attend unto my song,

(B) Young Edward the gallant Hussar.

536

A damsel possessed of great beauty, ...

London: -H. Such, Printer and Publisher, 177, (late 123 ), Union street, Boro'.-SE. (239)


Woodcut at head of item (A). (Man with shepherd's crook talking to young woman) 48 x 60mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (A). Type ornaments flanking printer's number at foot of item (B).

(A) 'Twas within a mile o' Edinburgh town.

'Twas within a mile o' Edinburgh town,

18

(B) The China man with the monkey nose.

537

In China once there dwelt a great man,

London: -H. Such, Machine Printer, & Publisher, 177, Union Street, Borough,-S.E. (250)


Woodcut at head of item (A). (Cottage with animals) 32 x 38mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (A). Type ornaments flanking printer's number at foot of item (B).

(A) The storm.

Cease rude Boreas, blustering railer,

(B) Mary is her name.

538

They tell me she is gone away, ...

H. Such, Printer, 177, Union Street, Boro'. (325)


Woodcut at head of item (A). (Ship) 23 x 23mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (B). Type ornaments flanking printer's number at foot of second column.

(A) Gosport beach.

On Gosport beach I landed,

(B) Jolly young waterman

539

And did you not hear of a jolly young waterman,

H.P. Such, Machine Printer and Publisher, 177, Union Street, Borough, S.E. (397)


Woodcut at head of item (A). (Fisherman) 31 x 50mm Woodcut at head of item (B). (Sailor and girl on sea-shore, outside a cottage; ship out to sea) 55 x 71mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (B). Type ornaments flanking printer's number at foot of item (B).

(A) The robbers of the glen.

Stand! stranger! stand! your jewels give,

(B) The honest ploughman.

540

Come all you jolly husbandmen and listen to my song,

London: -H. Such, Printer & Publisher, 177, Union-street, Boro'.-S.E. (443)



(A) Old England what have you come to

One cold winter's morning as the day was dawning,

(B) Never mind what you do for a living

I've lived a few years in this valley of tears, ...

London: -H. Such, Printer & Publisher, 177, Union Street, Boro' - S E (444)


Woodcut at head of item (A). (Boy looking out to sea) 25 x 44mm

21

541


(A) Lord Bateman.

Lord Bateman he was a noble lord,

(B) I'll dream of thee no more

Oh! farewell, farewell'tor ever, ...

London: -H. Such, Machine Printer, & Publisher, 177, Union-street, Boro'.-S.E. (472)



542 (A) The Nightingale in the east

On a dark lonely night on the Crimea's dread shore,

(B) The drunkard's raggit wean.

543

A wee bit raggit laddie gangs wanderin' thro' the street,

London: -H. Such, Machine Printer & Publisher, 177, Union-street, Boro'. S.E. (480)


Woodcut at head of item (A). (Soldiers) 47 x 48mm Woodcut at head of item (B). (Children praying) 28 x 53mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (A). Type ornaments flanking printer's number at foot of item (B).

(A) Blue-eyed Mary.

As I walked out one fine morning,

(B) Bung your eye.

544

As a jolly exciseman was walking the street,

London: -H.P. Such, Champion Song Printer, Union Street, Boro', S E. (599)

2 columns 220 x 15 7mm

Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (A). Type ornaments flanking printer's number at foot of second column.

(A) O'Donnell Abu

Proudly the note of the trumpet is sounding,

(B) The orphan child.

545

The night was dark as I did ramble, ...

London: -H. Such, Machine Printer & Publisher, 177 Union Street, Borough. S.E. (659)


Woodcut at head of item (A). (Man climbing over rocks) 42 x 50mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at head of text of item (A). Type ornaments flanking printer's number at foot of item (B).

My Master & I.

Says the master to me, is it true? I am told,

H.P. Such, Printer & Publisher, Union St, Boro'


22

546

Woodcut between title and text. (Farmhand with scythe in cornfield) 61 x 64mm Band of type ornaments between columns. Bands of type ornaments above and below imprint at foot of second column.

Mary of the moor.

Twas one cold night when the wind,

London: -Printed and Published by H. Suc[h] 123, Union Street, Borough. Hawkers, Country Dealers, and the Trade, Supplied on the lowest terms.

1 column 232 x 68mm

Woodcut at head. (Representation of Elizabeth I (?)) 54 x 47mm


547/548 The shop walker

(A) Haven't we fought for you.

Sung by Pat Ricks. Written and Composed by Tom Maguire. Music published by C. Sheard & Co., 192, High Holborn, W.C.

I am a native of that land ...

(B) I saw him home.

Written, Composed & Sung by Austin Rudd. Music Published by R. Maynard, 346, Hackney Road, E.

Old Jenkins last night called on me, and said "lets both go on the spree,"

(C) Poor old Jim the jockey.

Written by Charles Osbourne [sic], Sung by Walter King. Music published by C. Sheard & Co., 192, High Holborn, W.C.

When I was a stable-boy, some years ago, ...

(D) Tom Bowling.

Here a sheer hulk lies poor Tom Bowling ...

(E) Three leaves of Shamrock.

Written by Tom McGuire. Music Published by Chas. Sheard & Co 192, High Holborn, W.C.

When leaving dear old Ireland in the merry month of June, ...

(F) The coster's friendly lead.

Written by C.D. Hickman. Sung by Charles Coborn. Music published by Chas. Sheard & Co., 192, High Holborn, W.C.

There was weepin', there was wailin' down our court the other day,

(G) I dreamt my little boy of thee.

I dreamt, my little boy, of thee,

(H) The shop walker.

Sung with the greatest possible success by Dan Leno. Words by Walter A. De Frere [sic]. Music by G. Le Brunn. Music Published by Chas. Sheard & Co 192, High Holborn, W.C.

I'm a most important man, the idol of our street, ...

(I) Listen with the right ear. A sequel to Wink the other eye.

Music published by C. Sheard & Co., 192, High Holborn, W.C. Written by George Ware, Sung by Miss Marie Lloyd.

You wink the other eye, when you don't wish to see,

(J) The skipper and his boy.

The sea ran high, and the wind was wild,

H.P. Such, Printer, 183, Union Street, Borough, S.E.

25

4 pp. 255 x 190mm

Band of type ornaments at foot of item (D).

[Title-page has overall title "The Shop walker", then a list of individual titles, but not in order]

549/550 The great 'bus strike!

(A) Parody on Sailing, sailing

Yah ho! my lads, the ocean's blue,

(B) Kate O'Connor. -

Kate O'Connor, how I love her, she is all the world to me,

(C) Little Minnie's prayer.

A fond wife and mother one evening sat ...

(D) Faded leaves.

Music Published by R. Maynard, Hackney Road, London, N.E. Sung by Alf Chester.

In the year '79, in her Majesty's service, ...

(E) On it like a bird.

Written and Composed by Sam Redfern. Music by R. Maynard, 346, Hackney Rd., London, E.

Some friends and I the other day espied a restaurant, and ...

(F) A mother's affection.

Through life we oft find many friends most steadfast, firm, and true,

(G) [You] never know what time m[a]y bring you to

A poor old man of seventy and his wife of sixty-two,

(H) The blind mother, or the sailor boy.

Air: - "The two orphans."

A mother fond has waited for many a day,

(I) Only to see her face.

Only to see her face again,

G) Omnibus strike.

Tune; Comrades.

Oh crikey what a tussle,

(K) Up in the mountains.

I'll sing you a song in a comical style,

[Wanting imprint]

4 pp. 260 x 192mm

[Title-page has overall title "The great 'bus strike!", then a list of individual titles, but not in order. Included is "Little footsteps gently falling", which does not occur on the sheet]

[Between items (I) and 0): Advertisement for Francis & Day's German Concertina Tutor]

[Third column of page 4: Two advertisements for [1], Maynard's New German Concertina Tutor; [2] Maynard's New Melodeon Tutor]

[Item (F) has first verse only]

[Following item 0). Chorus: - "The old man still watching and waiting at the door" etc., which does not relate to any of the songs printed on the sheet]

[The sheet is identical to 55 3 I 5 54]

5511552 Provincial songster.

(A) Comrades.

We in childhood played together,

26

(B) Thro' the streets.

Through the streets at midnight walking all alone,

(C) Come down and open the door, love.

I've been to a party, I've been to a ball, ...

(D) Oh, what an alteration!

Sung by Chas. Coborn. Music Published by Francis Bros. & Day 195, Oxford Street, W.

As everyones aware London's always in repair, 000

(E) In old Madrid.

Music by ).B. Cramer & Co., Regent Street, W.

Long years ago in old Madrid, 00.

(F) Hi, tiddley hi ti.

Music at Francis, Day & Hunter, London

I've had a fair Bank Holiday, 000

(G) The star of the sailor's home.

Cheer up my love the sailor cried 00.

[Wanting imprint]

4 pp. 258 x 188mm

Woodcut at foot of second column of item (C). (Man dancing outside cottage) 30 x 50mm Woodcut at foot of item (G). (Two-masted ship) 26 x 36mm Ornamental plume at foot of item (E). Band of type ornaments at foot of second column of item (D).

[Title-page has overall title "Provincial songster", then a list of individual titles, but not in order. Item (F) is featured as "Hi-tiddley-hi-ti. Or I'm all right" J

5531554 The great 'bus strike!

(A) Parody on Sailing, sailing

Yah ho! my lads, the ocean's blue, oo•

(B) Kate O'Connor.

Kate O'Connor, how I love her, she is all the world to me,

(C) Little Minnie's prayer.

A fond wife and mother one evening sat ...

(D) Faded leaves.

Music Published by R. Maynard, Hackney Road, London, N.E. Sung by Alf Chester.

In the year '79, in her Majesty's service, 000

(E) On it like a bird.

Written and Composed by Sam Redfern. Music by R. Maynard, 346, Hackney Rd., London, E.

Some friends and I the other day espied a restaurant, and 00.

(F) A mother's affection.

Through life we oft find many friends most steadfast, firm, and true,

(G) [You] never know what time m[a]y bring you to

A poor old man of seventy and his wife of sixty-two,

(H) The blind mother, or the sailor boy.

Air: - "The two orphans."

A mother fond has waited for many a day, 000

(I) Only to see her face.

Only to see her face again, 00.

29

0) Omnibus strike.

Tune; Comrades.

Oh crikey what a tussle,

(K) Up in the mountains.


[Wanting imprint]

4 pp. 260 x 192mm

[Title-page has overall title "The great 'bus strike!", then a list of individual titles, but not in order. Included is "Little footsteps gently falling", which does not occur on the sheet]

[Between items (I) and G): Advertisement for Francis & Day's German Concertina Tutor]

[Third column of page 4: Two advertisements for [ 1], Maynard's New German Concertina Tutor; [ 2] Maynard's New Melodeon Tutor]

[Item (F) has first verse only]

[Following item 0). Chorus: - "The old man still watching and waiting at the door" etc., which does not relate to any of the songs printed on the sheet]

[The sheet is identical to 549/550]

555/556 Get your hair cut!

(A) How Rafferty won the mile.

Music Published by Chas. Sheard & Co, 192, High Holborn, W.C. Sung by Walter Monroe. Written & Composed by Charles Osborne.

Bedad, me darlints! have ye heard ...

(B) Hitch on dem golden wings.

Music published by C. Sheard & Co., 192, High Holborn, W.C.

Ole Gabriel soon will toot his horn,

(C) Always show respect Joe.

Music published by C. Sheard & Co., 192, High Holborn, W.C.

Last night my childhood came to me, I saw it in a dream ...

(D) I lent ten pounds to Callaghan.

Written and Composed by F. Roberts. Music Published by C. Sheard and Co., 192, High Holborn, W.C.

Michael Callaghan had the brokers in, ...

(E) Ask a policeman.

Sung by James Fawn. Music Published by Francis Bros. & Day Oxford Street, W.

The police force is a noble band, ...

(F) Mrs. McCarthy's party.

Words and Music by Frank C. Turner. Music published by C. Sheard & Co., 192, High Holborn, W.C.

Mrs. McCarthy stout and hearty, ...

(G) I couldn't help but laugh.

Written and Sung by Ben Brown. Music published by C. Sheard & Co., 192, High Holborn, W.C.

When first I went to court my girl I felt so dreadful shy, ...

(H) Get your hair cut

Written and Composed by Geo. Beauchamp Chas. Osborne and Fred. Eplett. Music Published by Chas. Sheard & Co. 192, High Holborn, W.C. Sung by George Beauchamp.

It serves me right if ever I come, ...

30

(I) Oh! Jeremiah, don't you go to sea.

Written and Composed by Tom Maguire. Sung by Marie Lloyd. Music published by C. Sheard & Co., 192, High Holborn, W.C.

My Jerry was an errand boy, ...

0) Don't you believe it.

Sung by Miss Katie Lawrance. Music published by C. Sheard & Co., 192, High Holborn, W.C.

If a fellow says you're the best girl he's met, ...

(K) The old home down on the farm.

Written & Composed by Gustavus Dubois. Sung by HJ. Howard. Music Published by C. Sheard & Co., 192, High Holborn, W.C.

When a boy I used to dwell, ...


4 pp. 260 x 187mm

Band of type ornaments at foot of item (B). Band of type ornaments at foot of second column of item (E).

[Title-page has overall title "Get your hair cut!", then a list of individual titles, but not in order]

5571558 Just a song at twilight

(A) Up in the mountains.


(B) White wings.

Sail home! as straight as an arrow,

(C) The cottage by the sea.

Just one year ago to day love, ...

(D) The soldier brave, or that lonely Christmas night.

What joyous hearts anticipate, ...

(E) Call me back again.

You said goodbye the parting words were,

(F) My lad your mother's dead.

A soldier he returned again,

(G) Littl[e) blue haire[d boy]

He's gone from us for ever has [our little] blue eyed boy,

(H) All the world against her.

Beside a [st]ream [a) maiden [s)at, her eyes bedimmed with tears,

(I) Widow of Wicklow.

In the neatest of cabins, away on the hill-side,

0) Love's old sweet song.

Once in the dear old days beyond recall,

(K) The song that reached my heart.

I sat midst a mighty throng,

[Wanting imprint]

4 pp. 268 x 192mm

[Title-page has overall title "Just a song at twilight", then a list of individual titles (not in order) but not including item (A)J

33

559/560 Comin' thro' the dye

(A) Mary's a fairy.

Written & Composed by Frank Edgerton [sic]. Sung by Miss Milly Hilton [sic]. Music Published by C. Sheard & Co., 192, High Holborn, W.C.

You have all heard of angels, and darlings and doves, ...

(B) We've both been there before many a time.

Sung by Harry Freeman. Music Published by Francis & Day, 195, Oxford Street, W.

My pal Spifkins called on me ...

(C) Now or maybe never.

Music Published by Francis Bros. & Day Oxford Street, W.

That maxim old "Tis better late than never is a true one, ...

(D) The soldier's letter.

Written by Tom McGuire. Music Published by C. Sheard & Co., 192, High Holborn, W.C.

Far, far away on the banks of the Nile ...

(E) Her mother's at the bottom of it all.

Sung by Dan Leno. Music Published by C. Sheard, 192, High Holborn, W.

Once I was a gay young gusher, ...

(F) Home, sweet, sweet home.

Sung by Sam Redfern. Music published by C. Sheard, 192, High Holborn, W.C.

There was never a sweeter place they say than home, home sweet home.

(G) Annie Rooney's sister.

Music published by C. Sheard, 192, High Holborn, W.C.

They're both twin roses so blushing and bright, ...

(H) Coming thro' the dye.

Written by Charles Osborne. Sung by Herbert Campbell. Music published by C. Sheard & Co., 192, High Holborn, W.

If a body dyes a body, ...

(I) You'll remember me.

When other lips, and other hearts, ...

G) That's where you feel it the most.

Sung by Charles Bignell. Music Published by C. Sheard & Co. 192, High Holborn, W.C.

Appearances rarely act fairly & squarely, ...


4 pp. 257 x 190mm

[Title-page has overall title "Comin' thro' the dye", then a list of individual titles, but not in order]

5611562 Playmates

(A) A violet from mother's grave.

Scenes of my childhood arise before my gaze, ...

(B) Queen of my heart.

I stand at your threshold sighing, ...

(C) Where are those boys.

Sung by W. Bint. Music Published by Francis Bros. & Day Oxford Street, W.

When I went to school, a small lad about ten, ...

34

(D) A soldier & a man

[A s]oldier stood on the battle field,

(E) The ship wrecked sailor.

Air - Don't leave your mother.

The night was wrapped in darkness, a tempest raged at sea,

(F) The workhouse door

Air - Miss them when they're dead

One day while out walking not knowing where to go,

(G) A light in the window

There's an old fashioned homestead that stands by the sea, ...

(H) Playmates.

Composed by H. Dacre. Sung by Miss B. Bonehill. Music published by Francis, Day and Hunter, 196, Oxford Street, W.

Through the storms of life I've battled I have seen it's [sic] seamy side;

(I) Waiting at the ferry.

At the entrance to the ferry,

0) A flower from my angel mother's grave.

I've a casket at home, that is filled with precious gems,

(K) Don't leave your father boy

·563

564

Music published by Francis Bros. & Day 195, Oxford Street, W.

Ah! well do I remember now my little cottage home,

[Wanting imprint]

4 pp. 249 x 187mm

Woodcut at foot of item (D). (Cannon) 18 x 32mm Type ornaments at foot of item (B).

[Title-page has overall title "Playmates", then a list of individual titles, but not in order]

God bless the Earl of Shaftesbury

Now once I was a helpless child,

[Wanting imprint]

1 column 208 x 63mm

Woodcut at head. (Ship) 36 x 37mm Band of type ornaments (cut down) at extreme left.

[From a sheet originally containing two items]

Fifteen shillings a week (A) Mary Machree

The flower of the valley was Mary Machree,

(B) Fifteen shillings a [week]

A man and his wife in -------- street,

[Wanting imprint]


Band of type ornaments between columns. Bands of type ornaments above and below missing imprint between title and text of item (A).

37

565

566

567

568

569

570

Creep afore ye gang,

Creep awa' my bairnie, creep afore ye gang,

Printed and Sold Wholesale and Retali, [sic] [Wanting printer]

1 column 197 x 80mm

Woodcuts at head. (1) (Sea-birds ?) 22 x 19mm (2) (Ship) 25 x 22mm


A new song on the statutes.

You servant lads and lasses too ...


2 columns 220 x 15 7mm

Woodcut between title and text at head of first column. (Farmer and girl) 68 x 74mm Woodcut at foot of second column. (Ornamental dragon) 18 x 49mm

The way to live rent free. A dialogue between a landlord and his tenants.

Oh black Monday morning, I dread, I am sure; ...

Printed for the venders [sic]



A new song on the strike's [sic]

Come all you gallant Britons bold,

[Wanting imprint]

1 column 253 x 52mm

Woodcut at head. (Sailor) 28 x 22mm


The appeal of the unemployed.

Written and composed by George Allen, blacksmith.

Oh, list ye feeling Christians, ...

[Wanting imprint]


[Below text] Price one penny

[At the foot. Text beginning] "The bearers are a party of unemployed tradesmen" ... [and ending] ... "for which we return our most sincere and grateful thanks".

The rose of Ardee.

When first to this country a stranger I came,

[Harkness], Printer, [ 121, Church Street, Preston]. Sold by -------- [Bradford]; Stewart, Newcastle-upon-Tyne; [M-------], Halshaw Moor. (67)

1 column 215 x 62mm

Woodcut at head. (Girl with basket on head and pail in left hand) 56 x 47mm

[Much of the imprint has been defaced]


38

571

572

573

574

575

576

577

lover's complaint.

Abroad as I was walking for my recreation,

[Wanting imprint]

1 column 222 x 73mm

Woodcut at head. (Couple on seat beneath tree) 45 x 37mm


Dear woman's the joy of an Englishman's life.

Come all young men and young maidens around,


1 column 207 x 76mm


Adieu to Eaglesham.

Air - We must run our race.

Must I then bid adieu to the scenes of my youth,

[Wanting imprint]

1 column 217 x 76mm

[Between title and text. Text beginning] "This beautiful song is from the pen of a young man belonging to Eaglesham" ... [and ending] ... "and embraces one of the finest walks round all the greatest city in the west".

[At the foot. Advertisement (cut down) beginning] "The poet has many nic-nack bargains", ... [and ending] ... "by some unknown party, the Poet's"

Country hirings.

Come all you blooming country lads and listen unto me,

[Wanting imprint]

1 column 210 x 86mm

The labouring man.

You Englishmen of each d[e]gree,


1 column 210 x 57mm


The farmer's lamentation, but the poor's rejoicing, because the wheat is falling.

Good people all I pray attend ...

[Wanting imprint]

1 column 302 x 74mm

Woodcut at head. (Farmer with sheep) 3 7 x 42mm

(A) Ben the carpenter and Sally Brown.

Young Ben he was a nice young man,

(B) Scenes that are brightest.

Scenes that are brightest ...

[Wanting imprint]


41

578

Woodcut with ornamental border at head. (Girl playing mandolin) 112 x 90mm

[Probably from a sheet originally containing other items]

Off to old Ireland. (A) Going a bathing.

It was on one afternoon in the sultry month of June,

(B) Off to old Ireland.

579

I'm lately come in town, and for Ireland I am bound,

[Wanting imprint]



[King of th]e forest glade. (A) Pat Molloy.

I was just eghteen [sic] years of age, my mothe[r]s white-hair'd [boy],

(B) King of the forest glade.

580

581

582

583

Oh, I am a child of the forest wild,

[Wanting imprint]

1 column 220 x 83mm

[Overall title originally extended across a two-column sheet. The other items are missing]

Sledmere poachers.

Come all you gallant poaching lads and gang alang with me, ...

[Wanting imprint]

1 column 226 x 87mm

Woodcut at head. (Dead game) 39 x 57mm Band of type ornaments (cut down) at extreme right.

[From a sheet originally containing two items]

Country girls are you going to the fair.

As I was going to -------- fair, ...

[]. Paul] & Co., Printers, 2 and 3, Monmout[h] Court, Seven Dials.

1 column 221 x 68mm

Irish courtship, or go along out of that

On the other Sunday evening, as most of people do,

[Wanting imprint]

1 column 219 x 84mm

(A) The river Roe.

[As] I went out one evening, all in the month of June,

(B) The robber outwitted.

Come listen awhile and a st[o]ry I will [te]ll,

(C) Colleen dhas crutha na mho.

It was on a fine summer's morning,

[Wanting imprint]


42

584

Woodcut at head of item (A). (Adam, Eve and the serpent) 45 x 61mm Woodcut at head of item (C). (Cow in front of cottage) 29 x 51mm Type ornaments at head of item (B).

The world on credit

Come all you brisk and jovial blades, ...


1 column 203"" x 73mm



44

Index of Titles

The tides are arranged in alphabetical order under the first word not an article. The arrangement is wordby-word. Apostrophes are ignored.

In the case of confusingly long tides, cross-references are supplied.

Alternative tides are listed, with "see" references to the full form.

Where a ballad is also well-known by a tide other than that used on the original sheet, a "see" reference is given from the unused form.

Ballads which are identical or very similar in content, but occur under different tides, will be found under both forms of tide, with "see also" references to the other form.

Overall tides corresponding to individual ballad tides are listed independently.

Obvious printing errors and mis-spellings have been corrected, though genuinely-printed alternative spellings are preserved. This applies to all indexes.

Adieu to Eaglesham ........................................................ .

All the world against her .................................................... .

Alonzo the brave and the fair Imagine, Comic version of See: - Comic version of Alonzo the brave and the fair Imagine

Always show respect Joe ..................................................... .

Annie Rooney's sister ....................................................... .

Appeal of the unemployed, The ............................................. .

Ask a policeman ........................................................... .

Bannockburn; or, Scots wha ha'e wi' Wallace bled .............................. .

Barney Bun dine to Billy Bowline; or, A sailor's consolation in a storm .............. .

Ben the carpenter and Sally Brown ........................................... .

Billy don't you cry for me See: - Unfortunate Sally; or, Billy don't you cry for me

Blind mother, The; or, The Sailor boy ........................................ .

Blue eye'd farmer's boy, The ................................................. .

Blue-eyed Mary ............................................................ .

Brave old oak, The ......................................................... .

Bung your eye ............................................................. .

Call me back again ........................................................ .

Cheer boys, cheer ........................................................... .

China man with the monkey nose, The ................................ -....... .

Church & chapel .......................................................... .

Clar de kitchen ............................................................ .

Colin's ghost .............................................................. .

Colleen dhas crutha na mho ................................................. .

Come down and open the door, love .......................................... .

Comic version of Alonzo the brave and the fair Imagine ......................... .

45

573

557/558 (H)

555/556 (C).

5591560 (G)

569 555/556 (E)

493 (B)

531 (B)

577 (A)

549/550 (H) 553/554 (H)

483

543 (A)

497 (C)

543 (B)

557/558 (E)

485 (A)

536 (B)

519 (A)

493 (A)

504

583 (C)

5511552 (C)

487

Comin' thro' the dye (Overall title) ........................................... .

Coming thro' the dye ...................................................... .

Comrades ................................................................ .

Costermonger, The ......................................................... .

Coster's friendly lead, The .................................................. .

Cottage by the sea, The .................................................... .

Country girls are you going to the fair ........................................ .

Country hireings (hirings) ................................................... .

Crafty ploughboy, The ...................................................... . See also: - Robber outwitted, The

Creep afore ye gang ........................................................ .

Dear woman's the joy of an Englishman's life .................................. .

Don't leave your father boy .................................................. .

Don't you believe it ........................................................ .

Drunkard's catechism, The .................................................. .

Drunkard's looking glass, The ............................................... .

Drunkard's raggit wean, The ................................................. .

Eighteen shillings a week ................................................... .

Ellen Loraine ............................................................. · ·

Erin go bragh ............................................................. ·

Faded leaves ................................ · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·

Fair Phoebe, and her dark-eyed sailor ......................................... .

Faithless Sally Brown See: - Ben the carpenter and Sally Brown

False knight outwitted, The See: - Outlandish knight, The

Fanny Blair ............................................................... .

Farmer's downfall, The ...................................................... .

Farmer's lamentation, but the poor's rejoicing, because the wheat is falling, The ..... .

Farmer's son so sweet, A .................................................... . See: - Wounded farmer's son, The ......................................... .

Female cabin boy, The ...................................................... .

Fifteen shillings a week (Overall title) ......................................... .

Fifteen shillings a week ..................................................... .

Five and twenty shillings a week ............................................. .

Flower from my angel mother's grave, A ....................................... .

Forget not the soldier ....................................................... .

Gaily the troubadour touched his guitar ....................................... .

46

559/560

559/560 (H)

551/552 (A)

482

547/548 (F)

557/558 (C)

581

481 574

488 (A)

565

572 5611562 (K)

555/556 m 522 (A)

522 (B)

542 (B)

526

499 (A)

532 (A)

549/550 (D) 553/554 (D)

529 (B)

495

502

576

518 (A)

564

564 (B)

524 (A)

561/562 0) 498 (A)

485 (B)

Georgie See: - Maiden's lamentation for her Georgy

Get your hair cut (Overall title) .............................................. .

Get your hair cut .......................................................... .

Go along out of that See: - Irish courtship; or, Go along out of that

God bless the Earl of Shaftesbury ............................................ .

Going a bathing ........................................................... .

Golden glove, The ......................................................... .

Gosport beach ............................................................. .

Great 'bus strike, The (Overall title) .......................................... .

Happy land ............................................................... .

Haven't we fought for you ................................................... .

Henry and Maryanne See: - Lover's parting, The

555/556

555/556 (H)

563

578 (A)

533 (A)

538 (A)

549/550 553/554

500 (B)

547/548 (A)

Her mother's at the bottom of it all . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559/560 (E)

Hi tiddley hi ti, (or I'm all right) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5511552 (F)

Highwayman outwitted, The See: - Robber outwitted, The

Hitch on dem golden wings ................................................. .

Home, sweet, sweet home ................................................... .

Honest ploughman, The .................................................... .

How Rafferty won the mile .................................................. .

I couldn't help but laugh ................................................... .

I dreamt my little boy of thee ............................................... .

I lent ten pounds to Callaghan .............................................. .

I remember, I remember .................................................... .

I saw him home ........................................................... .

I want to go home to mamma! .............................................. .

I'll dream of thee no more .................................................. .

I'm all right See: - Hi tiddley hi ti, (or I'm all right)

In old Madrid ............................................................. .

Irish courtship; or, Go along out of that ....................................... .

Isle of beauty ............................................................. .

Jem the carter lad See: - Little Jim, the carter lad

Joe the carrier lad See: - Little Jim, the carter lad

Jolly young waterman ...................................................... .

Judy McCarty ............................................................. .

Just a song at twilight (Overall title) .......................................... .

47

555/556 (B)

559/560 (F)

539 (B)

555/556 (A)

555/556 (G)

547/548 (G)

555/556 (D)

496 (B)

547/548 (B)

480 (A)

541 (B)

5 51/5 52 (E)

582

499 (B)

538 (B)

517 (C)

557/558

Just a song at twilight See: - Love's old sweet song

Kate O'Connor ............................................................ .

Kathleen Mavourneen ...................................................... .

King of the forest glade- (Overall title) ........................................ .

King of the forest glade .................................................... .

Labouring man, The ....................................................... .

Lady who fell in love with a prentice boy ...................................... .

Light in the window, A ..................................................... .

Listen with the right ear. A sequel to Wink the other eye ........................ .

Liston's drolleries (Something new starts every day) See: - Something new starts every day

Little blue-haired boy ................... : .................................. .

Little Jim, the carter lad .................................................... .

Little Minnie's prayer ....................................................... .

Loch-na-Garr .............................................................. .

Lord Bateman ............................................................. .

Lord Ullin's daughter ....................................................... .

Lover's complaint .......................................................... .

Lover's parting, The ........................................................ .

Love's old sweet song ....................................................... .

Maggie by my side ......................................................... .

Maiden's lamentation for her Georgy .......................................... .

Mary is her name .......................................................... .

Mary Machree ............................................................. .

Mary Neil ................................................................ .

Mary of the (wild) moor .................................................... .

Mary's a fairy ............................................................. .

Mat Hyland See: - Young Mat Hyland

May Colvin See: - Outlandish knight, The

May morn ................................................................ .

Merry maids of England .................................................... .

Mrs. Clark ................................................................ .

Mrs. McCarthy's party ...................................................... .

Molly Whan .............................................................. .

Mother's affection, A ....................................................... .

Mountains high, The ....................................................... .

48

549/550 (B) 553/554 (B)

497 (B)

579

579 (B)

534 (B) 575

510

5611562 (G)

547/548 (I)

557/558 (G)

488 (B)

549/550 (C) 553/554 (C)

530 (B)

541 (A)

519 (B)

571 530 (A)

557/558 0)

517 (A)

484

537 (B)

564 (A)

512

546

559/560 (A)

490

498 (B)

494

555/556 (F)

506

549/550 (F) 553/554 (F)

513 (B)

Murder of Maria Marten by William Corder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531 (A)

My blackbird most royal See: - Royal blackbird, The

My bonny blooming Highland Jane ........................................... .

My lad your mother's dead .................................................. .

My master & I ............................................................ .

My once happy home ...................................................... .

Nancy the pride of the East ................................................. .

Nelly Ray .............................................................. ·, .. .

Never mind what you do for a living ......................................... .

New comic alphabet on the times, A ......................................... .

New song on the statutes, A ................................................ .

New song on the strikes, A .................................................. .

Nightingale in the East, The ................................................ .

Nothing .................................................................. .

Now or maybe never ....................................................... .

O'Donnell Abu ........................................................... .

Off to old Ireland (Overall title) ............................................. .

Off to old Ireland ......................................................... .

Oh! Jeremiah, don't you go to sea ............................................ .

Oh, what an alteration! ..................................................... .

Old England what have you come to .......................................... .

Old home down on the farm, The ........................................... .

Old house at home, The .................................................... .

Old oak table, The ........................................................ .

Omnibus strike ............................................................ .

On it like a bird ........................................................... .

One night upon my rambles See: - Mountains high, The

528 (B)

557/558 (F)

545

521 (A)

503

480 (B)

540 (B)

520

566

568

542 (A)

513 (A)

559/560 (C)

544 (A)

578

578 (B)

555/556 (I)

5511552 (D)

540 (A)

555/556 (K)

499 (C)

529 (A)

549/550 0) 553/554 0)

549/550 (E) 553/554 (E)

One pound two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528 (A)

Only to see her face. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549/550 (I) 553/554 (I)

Orphan child, The.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544 (B)

Outlandish knight, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 (A) 508

Parody on Sailing, sailing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549/550 (A) 553/554 (A)

Particular! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518 (B)

Pat Doran's ass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Pat Molloy................................................................. 579 (A)

49

Playmates (Overall title) .................................................... .

Playmates ................................................................ .

Poor old Jim the jockey ..................................................... .

Pretty girl milking her cow, The See: - Colleen dhas crutha na mho

Pretty Polly See: - Outlandish knight, The ............................................ .

Provincial songster (Overall title) ............................................. .

Queen of my heart ......................................................... .

Return of the admiral, The .................................................. .

River Roe, The ............................................................ .

Robber outwitted, The ..................................................... . See also: - Crafty ploughboy, The

Robbers of the glen ........................................................ .

Robert Bruce's march to Bannockburn See: - Bannockburn; or, Scots wha ha'e wi' Wallace bled

Rose of Allandale, The ..................................................... .

Rose of Ardee, The ........................................................ .

Royal blackbird, The ....................................................... .

Saddle to rags See: - Crafty ploughboy, The

Robber outwitted, The

Sailing, sailing, Parody on · See: - Parody on Sailing, sailing

Sailor boy, The See: - Blind mother, The; or, The sailor boy

Sailor's consolation in a storm, A See: - Barney Buntline to Billy Bowline; or, A sailor's consolation in a storm

Sailor's tear, The ........................................................... .

Scenes that are brightest .................................................... .

Scots wha ha'e wi' Wallace bled See: - Bannockburn; or, Scots wha ha'e wi' Wallace bled

Ship-wrecked sailor, The .................................................... .

Shooting of his dear See: - Molly Whan

Shop walker, The (Overall title) .............................................. .

Shop walker, The .......................................................... .

Silly old man, The See: - Crafty ploughboy, The


Skipper and his boy, The ................................................... .

Slave chase, The ........................................................... .

Sledmere poachers ......................................................... .

Soldier & a man, A ........................................................ .

50

561/562

5611562 (H)

547/548 (C)

551/552

561/562 (B)

498 (C)

583 (A)

583 (B)

539 (A)

496(C)

570

521 (B)

533 (B)

577 (B)

561/562 (E)

547/548

547/548 (H)

547/548 U)

497 (A)

580

561/562 (D)

Soldier brave, The; or, That lonely Christmas night ............................. .

Soldier's letter, The ........................................................ .

Something new starts every day .............................................. .

Song that reached my heart, The ............................................. .

Star of Glengary, The ...................................................... .

Star of the sailor's home, The ................................................ .

Storm, The ............................................................... .

Strike alphabet, The ....................................................... .

Strike of the laundresses .................................................... .

Strikes of 1872 ............................................................ .

Sucking pig, The .......................................................... .

Sweet country life, A ....................................................... .

Sweet silver light bonny moon (Overall title) ................................... .

Sweet silver light bonny moon ............................................... .

Tempest, The See: - Storm, The

That lonely Christmas night See: - Soldier brave, The; or, That lonely Christmas night

557/558 (D)

559/560 (D)

505 (A)

557/558 (K)

497 (D)

5511552 (G)

537 (A)

527

525

523

515

489

517

517 (B)

That's where you feel it the most. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559/560 0)

Three leaves of shamrock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (E)

Thro' the streets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5511552 (B)

Tom Bowling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532 (B)

Turkish lady, The See: - Lord Bateman

'Twas within a mile o' Edinburgh town ........................................ .

Unfortunate Sally; or, Billy don't you cry for me ................................ .

Unhappy lass of Canterbury, The ............................................. .

Up in the mountains ....................................................... .

Valiant maid, The ......................................................... .

Violet from mother's grave, A ............................................... .

Waiting at the ferry .................................................. -...... .

Wake of Teddy Roe, The .................................................... .

Wandering boy, The ........................................................ .

Way to live rent free, The ................................................... .

We may be happy yet ...................................................... .

Wealthy farmer's son, The ................................................... .

51

547/548 (D)

536 (A)

507

491

549/550 (K) 553/554 (K) 557/558 (A)

509

561/562 (A)

561/562 (I)

514

486 (B) 508

567

524 (B)

535 (A)

Well sold the cow See: - Crafty ploughboy, The


We've both been there before many a time

When we went out a gipsying ............................................... .

Where are those boys ....................................................... .

White wings .............................................................. .

Widow of Wicklow ... ·: . .................................................... .

Wife's dream, The ......................................................... .

Willie drunk again ......................................................... .

Wink the other eye, A sequel to See: - Listen with the right ear. A sequel to Wink the other eye

Within a mile of Edinbro' See: - 'Twas within a mile o' Edinburgh town

Woman rules the day ....................................................... .

Workhouse door, The ....................................................... .

World on credit, The ....................................................... .

Wounded farmer's son, The ................................................. .

Yorkshire bite, The See: - Crafty ploughboy, The


You never know what time may bring you to ................................... .

You'll remember me ....................................................... . Young Donald of Dundee ................................................... .

Young Edward the gallant Hussar ............................................ .

Young Mat Hyland ......................................................... .

Young Molly Ban See: - Molly Whan

52

559/560 (B)

500 (A)

5611562 (C)

557/558 (C)

557/558 (B)

496 (A)

534 (A)

485 (C)

561/562 (F)

501 584

511

549/550 (G) 553/554 (G)

559/560 (I)

505 (B)

535 (B)

492

Index of First Lines

The arrangement is alphabetical under the first word of the original.

Identical lines belonging to different ballads are distinguished by the addition of the ballad title.

A chieftain to the Highlands bound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519 (B)

A damsel possessed of great beauty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535 (B)

A farmer's lad at close of day, thro' the fields chanc'd to stray . . . . . . . . . . . . . . . . . . . . . 483

A fond wife and mother one evening sat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549/550 (C) 553/554 (C)

A man and his wife in - - - - - - - street (Eighteen shillings a week)

A man and his wife in - - - - - - - street (Fifteen shillings a week)

A married man now am I as you may plainly see ............................... .

A mother fond has waited for many a day ..................................... .

A poor old man of seventy and his wife of sixty-two ............................. .

A soldier he returned again ................................................. .

A soldier stood on the battle field ............................................ .

A song to the oak, the brave old oak ......................................... .

"A" stands for alphabet, I've turned it into rhyme .............................. .

"!\' stands for Arthur, he is to be wed they say ................................ .

A story, a story, to you I'll relate ............................................. .

A sweet country life is both pleasant and charming ............................. .

A wealthy young squire of Tamworth we hear .................................. .

A wee bit raggit laddie gangs wanderin' thro' the street .......................... .

Abroad as I was walking for my recreation ..................................... .

Ah! well do I remember now my little cottage home ............................ .

All you maids that love to play with Cupid's chain .............................. .

All you who love a bit of fun ................................................ .

An outlandish knight came from the Northlands ............................... .

And did you not hear of a jolly young waterman ............................... .

Appearances rarely act fairly & squarely ....................................... .

As a jolly exciseman was walking the street .................................... .

As everyone's aware London's always in repair ................................... .

As I came to my cot by the close of the day ................................... .

As I rode over London Bridge ........................................ ·- ...... .

As I walked out one fine morning ............................................ .

As I walked out one morning fair ............................................ .

As I was going to - - - - - - - fair ............................................. .

As I went out one evening, all in the month of June ............................ .

At the entrance to the ferry ................................................. .

Away ye gay landscapes! ye gardens of roses .................................... .

53

526

564 (B)

494

549/550 (H) 553/554 (H)

549/550 (G) 553/554 (G)

557/558 (F)

561/562 (D) ·

497 (C)

527

520

506

489

533 (A)

542 (B)

571 5611562 (K)

509

515

486 (A) 508

538 (B)

559/560 0)

543 (B)

5511552 (D)

517 (B)

484

543 (A)

528 (B)

581

583 (A)

561/562 (I)

530 (B)

Bedad, me darlints! have ye heard 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Beside a stream a maiden sat, her eyes bedimmed with tears 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Cease rude Boreas, blustering railer 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Cheer! boys, cheer! no more of idle sorrow 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Cheer up my love the sailor cried 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all good people wheresoever you be 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all my hearty roving blades 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all ye (you) blooming country lads and listen unto me 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all you brisk and jovial blades 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all you gallant Britons bold 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all you gallant poaching lads and gang alang with me 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all you jolly husbandmen and listen to my song 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all you pretty maidens fair, attend unto my song 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all you thoughtless young men, a warning take by me 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come all young men and young maidens around 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come list you washerwomen 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Come listen awhile and a story I will tell 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Creep awa' my bairnie, creep afore ye gang 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Down in Cupid's garden for pleasure I did walk 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Far, far away on the banks of the Nile 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Farewell my dearest Henry, since you to sea must go 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Forget not the soldier, who'll ne'er forget you 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Gaily the troubadour touched his guitar 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Good people all I pray attend 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Happy land! happy land! 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

He leaped into the boat 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Here a sheer hulk lies poor Tom Bowling 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

He's gone from us for ever has our little blue eyed boy 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

How gallantly, how merrily we ride along the sea! 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

I am a native of that land 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

I dreamt, my little boy, of thee 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

I had knocked out the dust from my pipe t'other night 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

I love a little country queen 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

I once had a sweetheart, tho' her name it was Brown, she was most decidedly green 0 0 0

54

555/556 (A)

557/558 (H)

537 (A)

485 (A)

5511552 (C)

495

517 (C)

481 574

501 584

568

580

539 (B)

535 (A)

531 (A)

572 525

583 (B)

565

510

559/560 (D)

530 (A)

498 (A)

485 (B)

576

500 (B)

533 (B)

532 (B) 547/548 (D)

557/558 (G)

498 (C)

547/548 (A)

547/548 (G)

529 (A)

480 (B)

480 (A)

I remember, I remember .................................................... .

I sat midst a mighty throng ................................................. .

I stand at your threshold sighing ............................................. .

I was just eighteen years of age, my mother's white-hair'd boy .................... .

If a body dyes a body ...................................................... .

If a fellow says you're the best girl he's met .................................... .

I'll sing you a song in a comical style ......................................... .

I'm a most important man, the idol of our street ............................... .

I'm lately come in town, and for Ireland I am bound ........................... .

I'm pretty well known here in town ........................................... .

In a snug rural cottage that stood near the sea ................................. .

In China once there dwelt a great man ........................................ .

In Dublin, that city of riches and fame ....................................... .

In ole Kentuck, in the arternoon ............................................. .

In the days when we went a gipsying ......................................... .

In the neatest of cabins, away on the hill-side .................................. .

In the year '79, in her Majesty's service ........................................ .

It is of a tradesman and his wife ............................................. .

It serves me right if ever I come .............................................. .

It was on a fine summer's morning ........................................... .

It was on one afternoon in the sultry month of June ............................ .

It's of a comely young lady fair .............................................. .

It's of a pretty female as you shall understand .................................. .

I've a casket at home, that is filled with precious gems .......................... .

I've been to a party, I've been to a ball ....................................... .

I've had a fair Bank Holiday ................................................. .

I've lived a few years in this valley of tears ..................................... .

Just one year ago to-day love ................................................ .

Kate O'Connor, how I love her, she is all the world to me ....................... .

Kathleen Mavourneen, the grey dawn is breaking ............................... .

Last night my childhood came to me, I saw it in a dream ........................ .

Long years ago in old Madrid ......................................... ~ ...... .

Lord Bateman he was a noble lord ............................................ .

Michael Callaghan had the brokers in ......................................... .

Mrs. McCarthy stout and hearty .............................................. .

Must I then bid adieu to the scenes of my youth

55

496 (B)

557/558 (K)

5611562 (B)

579 (A)

559/560 (H)

555/556 0)

549/550 (K) 553/554 (K) 557/558 (A)

547/548 (H)

578 (B)

482

521 (A)

536 (B)

514

493 (A)

500 (A)

557/558 (I)

549/550 (D) 553/554 (D)

524 (A)

555/556 (H)

583 (C)

578 (A)

529 (B)

518 (A)

5611562 0)

551/552 (C)

5511552 (F)

540 (B)

557/558 (C)

549/550 (B) 553/554 (B)

497 (B)

555/556 (C)

551/552 (E)

541 (A)

555/556 (D)

555/556 (F)

573

My daddy and mammy they liv'd in a cot ..................................... .

My Jerry was an errand boy .................................................. .

My name is Jim the carter lad, a jolly cock am I ................................ .

My name is Pat Murphy I'll never deny ........................................ .

My pal Spifkins called on me ................................................ .

-Now Maggy dear, I do hear, you've been upon the spree ......................... .

Now once I was a helpless child .............................................. .

Now Sally, where are you going? ............................................. .

Now tell me, Mary, how it is ................................................ .

0, here's a go, you all must know ............................................ .

Oh black Monday morning, I dread, I am sure ................................. .

Oh crikey what a tussle ..................................................... .

Oh dear, oh! the world quite strange is ....................................... .

Oh! farewell, farewell for ever ................................................ .

Oh, I am a child of the forest wild ........................................... .

Oh, I'm going to sing you a story, which I suppose you all know .................. .

Oh, list ye feeling Christians ................................................. .

Oh! smile as thou wert wont to smile ......................................... .

Oh, the maids of merry England, so beautiful and fair .......................... .

Oh, the old house at home, where my forefathers dwelt ......................... .

Oh, Willie, you've come home, lad ........................................... .

. Old Jenkins last night called on me, and said "let's both go on the spree" ......... .

Ole Gabriel soon will toot his horn ........................................... .

On a dark lonely night on the Crimea's dread shore ............................ .

On Gosport beach I landed ................................................. .

On the other Sunday evening, as most of people do ............................ .

Once I loved a damsel ...................................................... .

Once I was a gay young gusher .............................................. .

Once in the dear old days beyond recall ....................................... .

One cold winter's morning as the day was dawning ............................. .

One day as I chanc'd for to rove ............................................. .

One day while out walking not knowing where to go ............................ .

One morning early, as day was breaking all in the sweet charming month of May .... .

One night upon my rambles from my true love again ........................... .

One Paddy Doyle liv'd near Killarney ......................................... .

Only to see her face again ................................................... .

Please to draw near and the truth I'll declare .................................. .

Proudly the note of the trumpet is sounding ................................... .

56

504

555/556 (I)

488 (B)

532 (A)

559/560 (B)

528 (A)

563

507

496 (A)

523

567

549/550 U) 553/554 U) 505 (A)

541 (B)

579 (B)

487

569

524 (B)

498 (B)

499 (C)

534 (A)

547/548 (B)

555/556 (B)

542 (A)

538 (A)

582

512

559/560 (E)

557/558 U) 540 (A)

503

5611562 (F)

519 (A)

513 (B)

516

549/550 (I) 553/554 (I)

488 (A)

544 (A)

Sail home! as straight as an arrow ............................................ .

Says the master to me, is it true? I am told .................................... .

Scenes of my childhood arise before my gaze ................................... .

Scenes that are brightest .................................................... .

Scots wha ha'e wi' Wallace bled .............................................. .

Set ev'ry stitch of canvas to woo the fresh'ning wind ............................. .

Shades of evening, close not o'er us ........................................... .

Some friends and I the other day espied a restaurant, and ....................... .

Stand! stranger! stand! your jewels give ........................................ .

That maxim old '"Tis better late than never", is a true one ...................... .

The farmer's son so sweet ................................................... .

The flower of the valley was Mary Machree ..................................... .

The land of my home is flitting, flitting from my view .......................... .

The morn was fair, the skies were clear ........................................ .

The night was dark as I did ramble ........................................... .

The night was wrapped in darkness, a tempest raged at sea ...................... .

The police force is a noble band ............................................. .

The red moon is up on the moss-covered mountain ............................. .

The sea ran high, and the wind was wild ...................................... .

The wind came on a hurricane ............................................... .

There was. a lord lived in this town ........................................... .

There was never a sweeter place they say than home, home sweet home ............ .

There was weepin', there was wailin' down our court the other day ................ .

There's an old fashioned homestead that stands by the sea ....................... .

There's everything that man can wish ......................................... .

They tell me she is gone away ............................................... .

They're both twin roses so blushing and bright ................................. .

Through life we oft find many friends most steadfast, firm, and true .............. .

Through the storms of life I've battled, I have seen its seamy side ................. .

Through the streets at midnight, walking all alone .............................. .

'Twas on one May morning as I was walking ................................... .

'Twas one cold night when the wind .......................................... .

'Twas within a mile o' Edinburgh town ........................................ .

Upon a fair morning for soft recreation ........................................ .

We in childhood played together ............................................. .

What is your name? ........................................................ .

What joyous hearts anticipate ................................................ .

What will a drunkard do for ale? ............................................. .

When a boy I used to dwell ................................................. .

57

557/558 (B)

545

5611562 (A)

577 (B)

493 (B)

497 (A)

499 (B) 549/550 (E) 553/554 (E)

539 (A)

559/560 (C)

511

564 (A)

517 (A)

496 (C)

544 (B) 5611562 (E)

555/556 (E).

497 (D)

547/548 0)

531 (B)

492

559/560 (F)

547/548 (F)

561/562 (G)

518 (B)

537 (B) 559/560 (G)

549/550 (F) 553/554 (F)

5611562 (H)

5511552 (B) 490

546

536 (A)

521 (B)

5611562 (C)

522 (A)

557/558 (D)

522 (B)

555/556 (K)

When first I went to court my girl I felt so dreadful shy 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When first to this country a stranger I came 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When I parted from Erin, heart broken, to leave thee 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When I was a stable-boy, some years ago 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When I went to school, a small lad about ten 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When leaving dear old Ireland in the merry month of June 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When other lips, and other hearts 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When rhyming & verses at first were in fashion 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

When the winter winds whistle along the wild moor 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Yah hol my lads, the ocean's blue 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Ye lords of the creation 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

You broken down farmers, give ear to my song 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

You Englishmen of each degree 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

You have all heard of angels, and darlings and doves 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

You said good-bye, the parting words were 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

You servant lads and lasses too 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

You wink the other eye, when you don't wish to see 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Young Ben he was a nice young man 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Young Donald is the blithest lad 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Young lovers all in town or city 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

58

555/556 (G)

570

499 (A)

547/548 (C)

561/562 (C)

547/548 (E)

559/560 (I)

513 (A)

486 (B) 508

549/550 (A) 553/554 (A)

485 (C)

502

534 (B) 575

559/560 (A)

557/558 (E)

566

547/548 (I)

577 (A)

505 (B)

491

Index of Tunes

The title of the ballad to which the tune relates is given in parentheses.

Believe me if all those endearing young charms (Comic version of Alonzo the brave and the fair Imogine) ...................................................... .

Billy Taylor (Comic version of Alonzo the brave and the fair Imogine) ............. .

Comrades (Omnibus strike) .................................................. .

Dolly Dobbs (Mrs. Clark) ................................................... .

Don't leave your mother (The ship wrecked sailor) .............................. .

Down among the dead men (Comic version of Alonzo the brave and the fair Imogine)

Guaracha (Comic version of Alonzo the brave and the fair Imogine) ............... .

Kitty Clover (Comic version of Alonzo the brave and the fair Imogine) ............. .

Lord Lovel (Comic version of Alonzo the brave and the fair Imogine) .............. .

Lucy Long (Comic version of Alonzo the brave and the fair Imogine) .............. .

Mistletoe bough (Comic version of Alonzo the brave and the fair Imogine) ......... .

Miss them when they're dead (The workhouse door) ............................. .

Old English gentleman (Comic version of Alonzo the brave and the fair Imogine) ... .

Prairie flower (My once happy home) ......................................... .

Sonnambula, La (Comic version of Alonzo the brave and the fair Imogine) ......... .

Sprig of shillelah (Comic version of Alonzo the brave and the fair Imogine) ......... .

Two orphans, The (The blind mother; or, The sailor boy) ........................ .

We must run our race (Adieu to Eaglesham) ................................... .

59

487

487

549/550 0) 553/554 0)

494

5611562 (E)

487

487

487

487

487

487

561/562 (F)

487

521 (A)

487

487

549/550 (H) 553/554 (H)

573

Index to Writers, Composers and Arrangers

Where responsibility for authorship etc. has been traced from outside sources, it is indicated in the Notes to the ballads, and not in the descriptive listing. Such cases are distinguished here by the addition of "n."

to the ballad number.

Names of arrangers of traditional ballads appearing in the BBC Music Library Song Catalogue are included.

Writers etc. of songs mentioned incidentally in the Notes are not recorded.

Allen, George . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Baker, J.S. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 (B) n.

Balfe, Michael William . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524 (B) n. 559/560 (I)

Ballantine, James .......................................................... .

Baring-Gould, Sabine ...................................................... .

Bartholomew, M. . ......................................................... .

Bayford, D.E. . ............................................................ .

Bayly, Thomas Haynes ...................................................... .

Beauchamp, George ........................................................ .

Bingham, Clifton .......................................................... .

Blewitt, Jonathan .......................................................... .

· Broadwood, Lucy E. . ....................................................... .

Brown, Ben ............................................................... .

Bruton, J ................................................................. .

Bryant--- .......................................... · ... ··············

Bunn, Alfred ............................................................. .

Burns, Robert ............................................................. .

Byron, George Gordon, 6th.Lord ............................................. .

Campbell, Thomas ......................................................... .

Cellier, Alfred ............................................................. .

n.

565 n.

486 (A) n. 533 (A) n.

484 n.

583 (C) n.

485 (B) n. 499 (B) n.

555/556 (H)

551/552 (E) n. 557/558 0) n.

577 (A) n.

486 (A) n.

555/556 (G)

500 (B) n.

482 n.

524 (B) n. 577 (B) n.

493 (B) n.

530 (B) n.

519 (B) n.

561/562 (B) n.

Chorley, Henry Fothergill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (C) n.

Collinson, Francis M. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 (A) n. 488 (B) n.

Cook, Eliza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (D) n.

Crawford, Mrs. A.B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (B) n.

Crawford, Julia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (B) n.

Crawford, Louisa Macartney. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (B) n.

Crouch, Frederick Nicholls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (B) n.

60

Dacre, Harry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5611562 (H)

De Freece, Walter A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (H)

Diack, ]. Michael . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565 n.

Dibdin, Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532 (B) n. 538 (B) n. 547/548 (D) n.

Dubois, Gustavus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555/556 (K)

Durandeau, A.E. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555/556 (E) n.

D'Urfey, Thomas 536 (A) n.

Egerton, Frank W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480 (A) 559/560 (A)

Eplett, Fred. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555/556 (H)

Fitzgerald, Mrs. Edward.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 (B) n.

Foster, Stephen Collins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517 (A) n.

Gabriel, Virginia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 0) n. 561/562 (G) n.

Garland, J.W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561/562 (D) n.

Goss, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 n. 486 (A) n. 541 (A) n.

Graves, A.P. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583 (C) n.

Harroway, J. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 n.

Hendrickson, W............................................................. 557/558 (E) n.

Hickman, Charles D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (F)

Hood, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577 n.

Hook, James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536 (A) n.

Jefferys, Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 (C) n.

Jordan, Julian .............................................................. 557/558 (K) n.

Kidson, Frank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 (B) n. 533 (A) n. 535 (A) n. 538 (A) n. 541 (A) n.

61

Lawson, Malcolm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 (A) n.

Le Brunn, George.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (H) 547/548 (I) n. 551/552 (F) n. 559/560 (E) n.

Lewis, Matthew Gregory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 n.

Loder, Edward James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (C) n.

Lover, Samuel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506 n.

McCann, Michael Joseph..................................................... 544 (A) n.

McGlennon, Felix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5511552 (A) n.

Mackay, Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 (A) n.

Maguire, Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (A) 547/548 (E) 555/556 (I) 559/560 (D)

Maitland, J.A. Fuller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 (A) n.

Marks, Godfrey. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549/550 (A) n.

Mason, M.H. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489 n.

Moeran, Ernest John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506 n.

Moffat, Alfred Edward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 n. 529 (B) n. 533 (A) n. 535 (A) n. 538 (A) n. 541 (A) n.

Molloy, James L............................................................. 557/558 0) n.

Murray,). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551/552 (C) n.

Nelson, Sydney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 (C) n.

O'Neill, Norman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583 (C) n.

Osborne, Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (C) 555/556 (A) 555/556 (H) 559/560 (H)

Pinsuti, Ciro............................................................... 557/558 (B) n.

Praed, Winthrop Mackworth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 (B) n.

Ransford, Edwin............................................................ 500 (A) n.

Rawlings, Thomas A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499 (B) n.

62

Redfern, Sam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549/550 (E) 553/554 (E)

Rimbault, Edward Francis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500 (B) n.

Roberts, F. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555/556 (D)

Rogers, E.W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555/556 (E) n.

Rudd, Austin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (B)

Russell, Henry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 (A) n.

Sandberg, Carl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 (A) n.

Senior, Wilfrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 n.

Sharp, Cecil James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 n. 508 n. 533 (A) n. 541 (A) n. 548 (A) n.

Sporle, N.J. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 (D) n.

Stewart, James E. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549/550 (I) n.

Thomas, J.R................................................................ 557/558 (C) n.

Trotere, H... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5511552 (F) n.

Turner, Frank C. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555/556 (F)

Vaughan-Williams, Ralph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 n.

Vincent, Elmore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547/548 (E) n.

Wallace, William Vincent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577 (B) n.

Ware, George . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547 I 548 (I)

Whitaker, W.G. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 (A) n.

White, Henry Kirke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 (B) n. 508 (B)

Whitmore, Charles Shapland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499 (B) n.

Woodbury, Isaac Baker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499 (C) n.

63

Index of Performers Beauchamp, George 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 55 5 I 5 56 (H)

Bignell, Charles 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5591560 U)

Bint, Wo 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5611562 (C)

Bonehill, Bessie 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5611562 (H)

Bournley, Tom 0 0 0 0 0 0 0 0.: 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 480 (B)

Brown, Ben 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5551556 (G)

Campbell, Herbert 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5591560 (H)

Chester, Alfo 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5491550 (D) 5531554 (D)

Coborn, Charles 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5471548 (F) 5511552 (D)

Coyne, Fred 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 480 (A)

Fawn, James 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5551556 (E)

Freeman, Harry 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5591560 (B)

Howard, HJ. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5551556 (K)

Hyde - - - 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 508 (B)

Hylton, Millie 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 559/560 (A)

King, Walter 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5471548 (C)

Lawrance, Katie 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5551556 U)

Leno, Dan 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 54 7 I 548 (H) 5591560 (E)

Lloyd, Marie 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5471548 (I) 5551556 (I)

Monroe, Walter 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5551556 (A)

Redfern, Sam 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5591560 (F)

Ricks, Pat. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5471548 (A)

Rudd, Austin 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5471548 (B)

64

Index of Music Publishers Cramer, J.B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SS11SS2 (E)

Francis Bros. & Day (Francis, Day & Hunter) (Francis & Day). . . . . . . . . . . . . . . . . . . . . . SS11SS2 (D), (F) SSS/SS6 (E) SS9/S60 (B), (C) S6I/S62 (C), (H), (K)

Hopwood & Crew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480 (A)

Maynard, R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S47/S48 (B) S49/SSO (D), (E) SS3/SS4 (D), (E)

Sheard, Charles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S47 /S48 (A), (C), (E), (F), (H), (I) SSS/SS6 (A)-(D), (F)-(K) SS9/S60 (A), (D)(H), G)

Index of Retailers - - -, Halshaw Moor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S 70

Beaumont, John, I76, York Street, Leeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S19

Bennett-- -, Brighton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIS

Sharman - - -, Cambridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SIS

Stewart- - -, Newcastle-upon-Tyne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S70

65

Index of Printers Armstrong, William; Banastre Street, Liverpool ................................. .

Bathgate - - -; 192, Park Lane, Liverpool ................................... .

Bebbington - - -; 26, Goulden Street, Oldham Road, Manchester .............. .

Bentley,].; 48, Market Street, Bradford ........................................ .

Birt, Thomas; 10, Great St. Andrew Street, Seven Dials, London .................. .

Catnach, James; 2, Monmouth Court, Seven Dials, London ....................... .

Croshaw, C.; Coppergate, York ............................................... .

Disley, Henry; 57, High Street, St. Giles, London ............................... .

Fortey, William S.; 2 & 3, Monmouth Court, Seven Dials, London ................. .

Harkness, John; 121, Church Street, Preston .................................... .

Hodges, Elizabeth Mary; 81, Dudley Street, Seven Dials, London .................. .

Jackson & Son; Moor Street, Birmingham ...................................... .

Jennings, John; 13, Water Lane, Fleet Street, London ............................ .

Paul, James Henry; 2 & 3, Monmouth Court, Seven Dials, London ................ .

Pearson, T; 6, Chadderton Street, Oldham Road, Manchester ..................... .

Pitts, John, 14, Great St. Andrew Street, Seven Dials, London .................... .

Pratt, W.; 82, Digbeth, Birmingham .......................................... .

Ryle, Anne; 2 & 3, Monmouth Court, Seven Dials, London ...................... .

Such, Henry Parker; 123, Union Street, Borough, London ........................ .

Walker, George; Sadler Street, Durham ........................................ .

White, John; Rose Place, Liverpool ........................................... .

66

492

487

519

495

482-484

515

501, 502 584

520-528

486, 516

493,570

507, 513

494

489-491

581

517-519

503-506 508-512 514

481

485

529-546 547/548 555/556 559/560

496-500

488

Index of Names

This is not a subject index: simply a list of factual proper names occurring in the texts of the ballads. It is to some extent selective, in that I have almost always omitted broad headings such as "England", "Ireland", "london". Nicknames etc. have been converted to their correct form, and modern spellings preferred. Names implied only are not included. Finally, some explanatory descriptors and dates have been added where appropriate.

Alderney Dairy, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Aldershot, Hampshire 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Allandale, Tayside and Central, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Ardee, Louth, Republic of Ireland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0

Armagh, Northern Ireland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0. 0 0 0 0

Arthur, William Patrick Albert, Prince, Duke of Connaught and Strathearn (1850-1942)

Astley's, London (place of entertainment) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Ballantine, William, lawyer (1812-1887) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Bann, River, Antrim/Londonderry, Northern Ireland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Bannockburn, Central, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Barnet Fair, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Battersea, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Bedlam, London (lunatic asylum) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0

Beresford, Charles William de la Poer, 1st Baron, admiral (1846-1919) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Bermuda 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Birmingham 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Biscay, Bay of 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Black Watch Regiment 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0

Blackfriar's Bridge, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Blair, Fanny, supposed victim of Dennis Higgins 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Braemar, Grampian, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0

Broadhembury, Devon 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Bromhead, Gonville, lieutenant, Battle of Rorke's Drift, 1879 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Bruce, Henry Austin, 1st Baron Aberdare, politician (1815-1895) 0 0 0 0 0 0 0 0 0 0 0 0 •• 0 0 0 0 0 •

Bruce, Robert the, King of Scotland (1274-1329) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 •

Burdett-Coutts, Angela Georgina, Baroness, philanthropist (1814-1906) 0 0 0 0 0 0 0 0 0 0 0 0. 0 0

Cannon Brewery, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Canterbury 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ~ 0 0 0 0 0 0

Cart, River, Strathclyde, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Chalk Farm, London 0 • 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Chard, John Rouse Merriott, lieutenant, Battle of Rorke's Drift, 1879 (1847-1897) 0 0 0 0 0

Chatham, Kent 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Clifford, Sir Conyers, military commander (do1599) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

67

505 (A)

520

496(C)

570

495

520

494

520

544 (A)

493 (B)

559/560 (H)

549/550 (E) 553/554 (E)

491

547/548 (A)

559/560 (F)

540 (A)

518 (A)

547/548 (A)

538 (B)

495

530 (B)

484

549/550 (D) 553/554 (D)

520

493 (B)

563

505 (A)

491

573

482

549/550 (D) 553/554 (D)

538 (A)

544 (A)

Clyde, River, Strathclyde, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Coldbath Fields, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Collingwood, Cuthbert, 1st Baron, naval commander (1750-1810) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Congreve, Sir William, artillerist (1772-1828) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Corder, William, murderer of Maria Marten (1804-1828) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Cork, Republic of Irela!J.d 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Cotley Woodborough, Sledmere, Humberside 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Covent Garden, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Crimea 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Cuba 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Culloden, Highland, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Darner, miser 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Darlow - - -, radical 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Darwin, Charles, scientist (1809-1882) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Desmond, South Munster, Republic of Ireland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Devonshire family 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dilke, Sir Charles Wentworth, radical politician (1843-1911) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Donnybrook Fair, Dublin, Republic of Ireland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Drury Lane, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dublin 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dufferin and Ava, Frederick Temple Hamilton-Temple-Blackwood, Baron, diplomat and administrator (1826-1902) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Dundee 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Eaglesham, Strathclyde, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Edgware Road, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Edinburgh 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Edward II, King of England (1284-1327) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Edward VIII, King of England (1841-1910) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Egypt 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Fishstreet Hill, London 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Freischiitz, Der, opera by Weber, 1821 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Galway, Republic of Ireland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Gladstone, William Ewart, statesman (1809-1898) 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Glasgow 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 o 0 0 0 0 0 0

Glengary, Highland, Scotland 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

68

528 582

482

563

505 (A)

531 (A)

503 519 (A)

580

482

542 (A)

497 (A)

530 (B)

583 (C)

545

520

544 (A)

583 (C)

547/548 (I)

514 517 (C)

525 ·'

503 514

547/548 (A)

505 (B)

573

525

536 (A)

493 (B)

520 568

55 7/558 (D) 55 7/558 (F)

482

505 (A)

555/556 (F)

520

573

497 (D)

Goodwin Sands, English Channel ............................................ .

Gosport, Hampshire ........................................................ .

Goss, Joe, pugilist ......................................................... .

Greenwich, London ........................................................ .

Hampton Court Maze, London ............................................... .

Herefordshire ............................................................. .

Higgins, Dennis, supposed child molester ..................................... .

Hunt, Henry (Orator Hunt), radical politician (1773-1835) ........................ .

Huntingdonshire ........................................................... .

Hyde Park, London ........................................................ .

Hyde Park Corner, London .................................................. .

Ipswich .................................................................. .

Kent ......................................... ·····························

Kentucky ................................................................. .

Kilkenny, Republic of Ireland ................................................ .

Killarney, Republic of Ireland ................................................ .

Kinsale, Cork, Republic of Ireland ............................................ .

Kingston, Surrey ........................................................... .

Kirbyhill, Sledmere, Humberside ............................................. .

Knightsbridge, London ..................................................... .

Limerick, Republic of Ireland ................................................ .

Lochnagar, Grampian, Scotland .............................................. .

Lochgoin, Strathclyde, Scotland .............................................. .

Lochgyle, Strathclyde, Scotland ............................................... .

Lochsuilig, Republic of Ireland ............................................... .

Logan Water, Strathclyde, Scotland ........................................... .

London Bridge ............................................................ .

Lowe, Robert, Viscount Sherbrooke, politician {1811-1892) ......................... .

Lowrie, Dan, illusionist (?)

Mace, Jem, pugilist ........................................................ .

Madrid .............................................. ··· ... ················

Mallow, Cork, Republic of Ireland ............................................ .

Manchester ............................................................... .

Manen, Maria, victim of William Corder (d.1827) ............................... .

Martin, Richard, lawyer and humanitarian (1754-1834) ........................... .

69

549/550 (-) 553/554 (-)

538 (A)

568

520

559/560 (E)

488 (A)

495

505 (A)

545

494

505 (A)

531 (A)

480 (B)

493 (A)

503

516

503

525

580

505 (A)

503

530 (B)

573

519 (B)

544 (A)

497 (D)

484

520

487

568

5511552 (E)

578 (B)

540 (A)

531 (A)

505 (A)

Marwood, William, public executioner (1820-1883) .............................. .

Marylebone Fields, London .................................................. .

Mutton Hill, London ........................................................ .

Napoleon Bonaparte, Emperor of the French (1769-1821) ......................... .

Nelson, Horatio, Viscount, admiral (1758-1805) ................................. .

New South Wales .......................................................... .

New York ................................................................. .

Newcastle ................................................................. .

Nightingale, Florence, nurse (1820-1910) ....................................... .

Nile, River ................................................................ .

Norris, Sir John, military commander (1547?-1597) .............................. .

Northumberland ........................................................... .

O'Connell, Daniel, Irish political leader (1775-1847) ............................. .

Odger, George, trade unionist (1820-1877) ..................................... .

O'Donnell, Hugh Roe, Lord of Tyrconnell (1571?-1602) ........................... .

Old Street, London ........................................................ .

O'Neill, Hugh, Irish nobleman and soldier (1540?-1616) .......................... .

O'Neill, John, Irish landowner ............................................... .

Orton, Arthur, the Tichborne claimant (d.1898) ................................ .

Palestine ................................................................. .

Parkins Brewery, London (?) ................................................. .

Petticoat Lane, London ..................................................... .

Piccadilly, London .......................................................... .

Procter's Hill, London ...................................................... .

Ranelagh, London (place of entertainment) .................................... .

Reading .................................................................. .

Roberts, Sir Frederick, soldier (1832-1914) ...................................... .

Roe, River, Londonderry, Northern Ireland ..................................... .

Rorke's Drift, Battle of, Zulu War, 1879 ....................................... .

Russell, John, 1st Earl, statesman (1792-1878) ................................... .

Sadler's Wells, London ...................................................... .

Saimear, Republic of Ireland ................................................. .

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549/550 (A) 553/554 (A)

482

482

502 520 534 (B) 575

534 (B) 563 575

522 (A)

557/558 (I)

520 527

542 (A)

559/560 (D)

544 (A)

541 (A)

519 (A)

520

544 (A)

482

544 (A)

495

520

485 (B)

505 (A)

564 (B)

505 (A)

484

538 (B)

578 (A)

547/548 (A)

583 (A)

549/550 (D) 553/554 (D)

568

494

544 (A)

St. Giles in the Fields, London ............................................... .

St. James's Park, London .................................................... .

Seven Dials, London ........................................................ .

Shaftesbury, Anthony Ashley Cooper, 7th Earl, reformer and philanthropist (1801-1885)

Shandon Church, Cork, Republic of Ireland .................................... .

Shane's Castle, Armagh, Northern Ireland ..................................... .

Sheppard, John Uack), robber (1702-1724) ..................................... .

Slavin - - -, pugilist .................................................... .

Sledmere, Humberside ...................................................... .

Somers Town, London ...................................................... .

Spa Fields, London ......................................................... .

Stranfield (Stranford ?), Armagh, Northern Ireland ............................. .

Tamworth, Staffordshire ..................................................... .

Tattersall's, horse mart and turf accountants .................................... .

Tay, River, Tayside, Scotland ................................................. .

Taylor, Ben, trade unionist .................................................. .

Taylor, Henry, trade unionist ................................................. .

Thames, River ............................................................. .

Tichborne claimant (Arthur Orton) ........................................... .

Tipperary, Republic of Ireland ............................................... .

Turkey .... · ............................................................... .

Tuthill Fields, London ...................................................... .

Tweed, River, Scotland/England .............................................. .

24th Regiment ............................................................ .

Tyrconnell (Earldom), Ireland ................................................ .

Ulva, Island, Strathclyde, Scotland ............................................ .

Valmondi, illusionist (?) .................................................... .

Vauxhall Gardens, London (place of entertainment) ............................. .

Vernon - - -, squire, Armagh, Northern Ireland ............................. .

Victoria, Queen of England (1819-1901) ........................................ .

Wallace, Sir William, Scots patriot (1272?-1305) ................................. .

Warwickshire .............................................................. .

Waterford, Republic of Ireland ............................................... .

Waterloo, Battle of ......................................................... .

Wellington, Arthur Wellesley, 1st Duke of (1769-1852) ........................... .

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482

507

482

563

519 (A)

495

507

559/560 U)

580

494

482

495

533 (A)

520

505 (B)

545

545

520

520

555/556 (A) 578 (B)

541 (A)

482

528

549/550 (D) 553/554 (D)

544 (A)

519 (B)

505 (A)

538 (B)

495

520 527 547/548 (A)

493 (B)

527

503

534 (B) 575

534 (B) 575

Wexford, Republic of Ireland ................................................ .

Whitechapel Street, I.Dndon ................................................. .

Wicklow, Republic of Ireland ................................................ .

William III, King of England {1650-1702) ...................................... .

Wolseley, Garnet Joseph, 1st Viscount, soldier {1833-1913) ........................ .

-York ..................................................................... .

Yorkshire ................................................................. .

Yorkshire Stingo, I.Dndon (place of entertainment) .............................. .

Young, Brigham, leader of the Mormon sect {1801-1877) ......................... .

Zululand ................................................................. .

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5 78 (B)

532 (A)

557/558 (I)

520

547/548 (A)

579 (A)

488 (A) 583 (B)

494

520 527

549/550 (D) 553/554 (D)

Notes The notes are designed to place the ballads in an historical context, to explain the content where necessary, and to give information on authors, composers, performers, printers, etc.

They are by no means exhaustive, and the editor would welcome comments from readers concerning errors and omissions, or, indeed, any other relevant information.

The notes are prefixed where appropriate with references to corresponding ballads in the Firth Collection of Sheffield University Library, and by a listing of proper names mentioned in the text of the ballad.

For full references to works employed in the compilation of the notes, the reader is referred to the select bibliography.

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481

For song-sheets containing music-hall, concert-platform and parlour material, see 547/548 ff.

(A) Fred Coyne achieved popular acclaim with "The velocipede", concerning "a three-wheeler propelled from the front, with which he created a sensation by riding it on to the stage amid 'bursts of applause', according to the song-sheet cover." (Colin Macinnes: Sweet Saturday Night;* see also M. Willson Disher: Victorian Song).

The present song describes the artiste's difficult courtship of a mother-fixated young lady, who, however, after marriage, ceases to "want to go home to mamma".

Frank Egerton's other compositions include "Please, sir, I've lost my way"; "Have you see my Polly?"; and "Mary's a fairy", sung by Millie Hylton (see 559/560 (A)).

Hopwood & Crew, music publishers, were founded in 1860. In 1906, they merged with Eugene Ascherberg & Co. (established 1878), and others, to form Ascherberg, Hopwood & Crew. Their catalogue, based mainly on light music, included the operettas The Geisha, The Belle ofNew York, The Matd of the Mountains, and The last Waltz. The firm was taken over by Chappell in 1970. (The New Grove Dictionary of Music and Musicians).

(B) Proper names: Kent.

A contrast to (A), which has an air of comedy and raciness, Nelly Ray tells the story of the singer's meeting with a Kentish farmer's daughter as she drives the cattle home, and of a consequent proposal and marriage. The style is rural and ingenuous, suited rather to the parlour or the concert-platform than to the music-hall.

See also 574 and cf.566.

Hirings, or hiring fairs (also statute and mop fairs) were once annual events in most market towns throughout the country, taking place traditionally on Martinmas Day (November 11), but also occasionally at Whitsuntide and Candlemas. Men and women stood in line for inspection by the farmers, to be hired by the year as farm servants or labourers, sometimes wearing or carrying the marks of their trade (hence perhaps "mop"). When a bargain had been struck, the labourer received a token sum of money (originally a "fastening penny"), with which to enjoy the fun of the fair for the rest of the day.

Except in Wales, Scotland and parts of northern England, the farm servant category disappeared by the middle of the nineteenth century, to be replaced by outdoor labourers hired by the day or week. However, the hiring fair lingered on here and there with its original function until the First World War. Most fairs became purely social events, although much less bacchanalian in character than was the case before the religious revivals of the early 1800s.

*Reproduced by kind permission of Reg Davis-Poynter

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An interesting point is that whereas in days of plentiful labour the hiring served as an instrument for keeping wages low, by the end of the century it somewhat reduced the need, in certain areas such as Wales, for organised trade unions, by a<:ting as a meeting-place for agricultural labourers. (David W. Howell: Land and People in Nineteenth Century Wtlles).

Examples of the usage of the term "hiring(s)"- (for "Statute(s)" see notes on 566)- are: 1825. [John Trotter] Brockett [A Glossary of North Country Words in Use]. "Hiring, a fair or market at which country servants are hired". 1826 [-7] in [William J Hone, The Every-day Book, ii, 668. "The 'hirings' for farmers' servants half yearly at Whitsuntide and Martinmas". 1883. R[obert Williams] Buchanan. Annan Wtlter, v. "A couple of female farm servants had come in to the spring 'hiring'." 1883. T[homasJ Hardy in Long[mans] Mag[azineJ]uly 257. "Attending a wet hiring-fair at Candlemas, in search of a new master". 1892. Antiquary Jan 14. "The annual agricultural hiring-time in any district". 1897. Datfy News, 15 Oct. 8/7 "The largest hiring fair in Berkshire was held at Newbury yesterday". (A New English Dictionary on Histon"cal Pn"nciples).

The present ballad advises the servant men to "stand up for wages" but instead of developing a prototypical trade union theme, ends with an exhortation to cultivate the affections of the mistress of the farm whilst the master is away, thus at least ensuring preferential treatment at the table. The contrast between the farmer and his extravagantly-attired family dining on the best beef, and the ragged servants consuming a mess of leftovers, is well-expressed. The period could be the late 1830s.

See also Roy Palmer: A Touch on the Times (notes to "Country statutes").

The printer, William Pratt, produced broadsides (all songs) from c. 1850 to 1856. His output must have been considerable, but few examples remain. (Trevor Jones: Street Literature in Birmingham).

Proper names: Seven Dials; Covent Garden; Mutton-hill; Old-street; Fish-street-hill; Chalk-farm; Tuthillfields; Coldbath-fields; Spa-fields; St. Giles-in-the-fields; Mary-le-bonne-fields.

For notes on the costermonger see 547/548 (F).

This is a Cockney party-piece, comprising three sung verses alternating with monologues. It is liberally sprinkled with London place-names, and comically tells in the first person the story of the costermonger Noah, his sweetheart Sarah, and their famous vegetables. The piece appears in volume 1 of the Universal Songster (see Select Bibliography), where the suggested air is "Madam Fig's Gala", and the author is given as "Bryant".

Seven Dials was part of the St. Giles district, populated largely by Irish immigrants, and notorious for its crime and squalor. It was also the centre of the Victorian ballad-printing trade (see notes on John Pitts, 503). The name was taken from the sundials on a Doric pillar where seven roads met. This pillar was removed in 1774, and eventually re-erected on Weybridge Green.

Covent Garden market, between the Strand and Long Acre, was established in 1671. It assumed its supremacy over the Borough and St. Saviour's markets under the management of the Dukes of Bedford. The market area gradually encroached on the adjoining districts of Long Acre and St. Giles, and was finally transferred to Nine Elms in June 1975.

Mutton Hill does not appear in early- or mid-Victorian gazetteers. Mutton Lane in Clerkenwell ran from the north-west corner of Clerkenwell Green, leading into Vine Street and Hatton Wall. Mutton Lane in the Mile End Road area extended from Assembly Row to Redman's Row.

Old Street began at Goswell Street and extended eastwards to the City Road. Now in the St. Luke's district (E.C.1), it runs from 70 Goswell Road to 123 Shoreditch High Street (partly in Islington, partly in Hackney).

Fish Street Hill (containing The Monument) was once the main thoroughfare leading to the old London Bridge, parallel to Pudding Lane. A southwards continuation of Gracechurch Street, it is now in E.C.3 (City).

Chalk Farm (N.W.l) was a favourite recreation spot standing in some of the finest scenery (extending to Hampstead and Highgate) around London. The famous Tavern, once a farmhouse, was built in

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1853. The open country quickly disappeared in the mid-nineteenth century under acres of the new surburbia.

Tuthill (or, more commonly, Tothill) Fields, now in Westminster, S.W1, were on the nonh side ofMillbank Walk, by the Thames. The fields were well-known as the site of a House of Correction of the Middlesex Justices (rebuilt 1826-1834), also called Westminster Brideswell, which was demolished in 1884, becoming in turn the site of the new Westminster Cathedral.

Coldbath Fields (Clerkenwell, E.C.1) was the location of another prison, pulled down in 1877. The name derives from a well of cold water formerly situated in fields built over by the prison (1794). The postal headquarters of Mount Pleasant were constructed here.

Spa Fields (Islington) received their name from a celebrated mineral spring. Historically, the fields are best remembered for the political demonstration presided over by Orator Hunt in 1816.

St. Giles in the Fields (see also Seven Dials above) was commonly referred to as "Little Dublin". The overcrowded, dirty and dangerous slums, known as "rookeries", were probably the worst in London.

Marylebone Fields (see also Chalk Farm above) were as late as the 1830s regarded as something of a wilderness - remote, uninhabited, and much in favour as a venue for affairs of honour.

The printer, Thomas Birt, set up business at No. 39, Great St. Andrew Street, Seven Dials, in 1833, entering into competition with the famous Pitts in the area synonymous with balladry and street literature (see notes on 503). After 1841, the firm was taken over by his widow Mary, and in 1851 by her son George. (Leslie Shepard: john Pitts, Ballad Printer of Seven Dials).

A badly-printed country air about a girl who for three nights dreams of a handsome farmer's boy "with rosy cheeks, curly hair, eyes blue, skin fair". As she knits stockings in the fields, and sings of her dream, a boy conforming to her description hears her, introduces himself, declares his love, and, eventually, marries her.

Proper names: London Bridge; Broad Hembury; Prockter's Hill.

There are exhaustive notes on the original "Geordie" and its variants in Child: The English and Scottish Popular Ballads, Vol. 4, and, on the tunes, in Bronson: The Traditional Tunes of the Child Ballads, Vol. 3. See also Journal of the Folk-Song Society, passim.

The Scots "Geordie" is in most versions a person of quality whose life is redeemed by the payment of money by his wife who has ridden non-stop to Edinburgh. Geordie is in custody for the killing of Sir Charles Hay or some other person during a battle in the north. It has been suggested that the original was George Gordon, 4th Earl of Huntley (1514-1562).

There are two English ballads which have been thought to imitate the above. The first is "A lamentable new ditty, made upon the death of a worthy gentleman named George Stoole, dwelling sometimes on Gate-side Moore, and sometimes at New-Castle in Northumberland: with his penitent end. To a delicate Scottish Tune". (Roxburghe Collection, Vol. 1, 186, 187 ff; The Roxburghe Ballads (Ballad Society), Vol. 1, 5 74 ff). This was printed between 1607 and 1641. In it, Georgie writes to his lady bemoaning his follies, but swearing that he never stole ox nor cow, nor murdered anyone, but received fifty horses "of a merchant man of Gory", for which he has been condemned:_.. His life is not redeemed.

The second ballad is "The life and death of George of Oxford. To a pleasant tune, called Poor Georgy". (Roxburghe Collection, Vol. 4, 53 ff; The Roxburghe Ballads (Ballad Society), Vol. 7, 70 ff). This Georgy is a highwayman whose lady speeds to Newcastle to save him, offering gold to the judge, but in vain. He confesses to having stolen "the king's white steeds", which he sold in Bohemia, and is hanged in silken string, "the like was never any".

Child's opinion is that the Scots and English versions are independent, in spite of some similarities in cenain variants. The Scots ballads are proper stories, with a beginning, a middle and an end; whereas the English are, so to speak, endings only. "Geordie" is never a thief: "Georgy" or "Georgie" is. Child

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believes that here is a case of the introduction of a portion of one ballad into another (accidental in this instance), and accounted for by a "George" being the hero in each.

Whatever the answer, the basic theme of the non-Scots version, of which the present is an interesting enough example, is that of a young girl lamenting for her lover who has been convicted of stealing the king's deer (or horses). She pleads for his life, but vainly, and pledges that he shall be hung in a chain of gold or silk. In a few versions his life is spared.

The reference to the}- selling of the deer at Broad Hembury (now Broadhembury, Devon, five miles north-west of Honiton) places this variant in Bronson's Group B (mainly English southwestern). Many English versions have Bohemia. Bohemy or Boheeny: some of the American have Virginia or Virginny. The use of an actual location (Prockter's Hill) in the last verse is unusual. Another version has Shooter's Hill. Both were noted haunts of highwaymen on the way out of London.

Both varieties have been popular with musical arrangers. The BBC Music Library Song Catalogue lists the following: English (Version 1. "Come bridle me my milk-white steed" (Somerset)) - four arrangements by CJ. Sharp, one American variant by M. Bartholomew. (Version 2. "As I walked over London Bridge" (Cambridgeshire))- one by CJ. Sharp and Vaughan Williams, and a Nova Scotian variant by Wilfrid Senior; Scots ("There was a battle in the north") - four arrangements by John Goss, and one by Alfred Moffat.

(A) The lyrics to "Cheer, boys, cheer" were written by Charles Mackay, and the music was composed by Henry Russell. Mackay (born Perth, 1814), journalist, poet and songwriter, was editor of the Glasgow Argus from 1844 to 1847, during which office he collected together previously published verses under the title Voices from the Crowd (1846), some of which were set to music by Russell, with almost instant success.

In 1848 Mackay joined the Illustrated London News, of which he also became editor (185 . .?-1859). He there initiated a series of issues of musical supplements, each containing an original song written by himself to an old English melody especially arranged by Sir Henry Bishop. Songs by Charles Mackay was published in 185 5 and reissued the following year as Songs for Music. In 185 7 and 1858 he toured the United States and Canada, and later, during the American Civil War, he was special correspondent for The Times in New York. Later years in England were devoted to "wayward and eccentric excursions into Celtic philology", but he also edited A Thousand and One Gems of English Poetry (1867), and A Thousand and One Gems of English Prose (1872).

As well as "Cheer, boys, cheer", the combination of Mackay and Russell produced "To the West", "There's a good time coming, boys", and "The ship on fire" - all tremendously popular throughout the Englishspeaking world. Mackay was also the author of other successful songs involving different composers. Perhaps the most durable work of his has been "There's a land, a dear land", set to music by Frances Allitsen. Mackay died in London in 1889. (Dictionary a/National Biography; Harold Simpson: A Century of Ballads, 1810-1910).

Henry Russell (born Sheerness, 1812, died London, 1900) was one of the most prolific of Victorian popular composers. After a musical childhood in England, and further study in Italy, he was for a short time chorus-master at Her Majesty's Theatre. In 1834 he travelled to Canada in search of fame and fortune, inaugurating the one-man entertainments which made his name. For seven years he toured in North America, singing his own compositions and enjoying an unprecedented success. Returning to England, he made his London debut in March 1842, and repeated the triumphs of the American tour, but sailed again for the United States in 1843. The following year he came home permanently to England, remaining active as a singer and composer for the rest of his life.

More than eight hundred songs have been credited to Russell, though a figure of two or three hundred may be more realistic. As regards presentation, his forte was the dramatic intensity displayed in songs selected for their simplicity and mass appeal, and which "had a purpose". He accumulated little wealth from the sale of his compositions: for "Cheer, boys, cheer", described in the press as "an anthem of optimism", and reputedly sung by English soldiers embarking for the Crimea, he received just £3 in these pre-royalty days, though over 400,000 copies were eventually sold.

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Russell's other songs include "Woodman spare that tree" (words by George Pope Morris); "The old armchair" (words by Eliza Cook); "The ivy green" (words by Dickens); "A life on the ocean wave" (words by Epps Sargent, and chosen in 1888 as the march of the Royal Marines); and three purpose songs- "The maniac"; "The gambler's wife"; and "The slave ship". (Dictionary of National Biography; The New Grove Dictionary of Music and Musicians; Harold Simpson: A Century of Ballads, 1810-1910; M. Willson Disher: Victon(m Song).

(B) Proper names: Palestine.

The words and music of "Gaily the troubadour" (from Welcome me Home) were the work of Thomas Haynes Bayly (born in Bath, 1797, died in London, 1839), who displayed an early talent for literary composition, but proposed a career in the Church. Three years at Oxford were followed by travels in Scotland and Ireland, where he achieved his first successes as a balladist. By 1824, Bayly had decided to forgo the Church and concentrate on writing. Not only popular ballads, but also novels and dramas added to his reputation and fortune. However, in 1831, he lost some money through bad investments, and began to suffer from intense depression. Ill-health did not prevent a period of writing for the stage, but a rapid deterioration of his condition led to an early death at the age of forty two.

Bayly is still remembered as the author and occasional composer of some of the finest light ballads of the early nineteenth century. Apart from his first major lyric achievement ''I'd be a butterfly", he wrote the words and music of "We met - 'twas in a crowd"; and the words of "Oh no, we never mention her", "Isle of beauty" (see 499 (B)), "She wore a wreath of roses", "The mistletoe bough", and "Why don't the men propose?". (Dictionary of National Biography; Harold Simpson: A Century of Ballads, 1810-1910).

(C) A badly-printed two-verse fill-in. I cannot trace the author.

When james Catnach, doyen of ballad printers (see 515 ), retired from his business at 2/3, Monmouth Court in 1838, he left it to his sister, Mrs Anne Ryle, with James Paul as manager. When Catnach died in 1841, Paul and Mrs Ryle formed a partnership under the name of Ryle & Paul, subsequently ]. Paul & Co. This was dissolved in 1845, and the business continued as Ryle & Co. until 1859, when it became the property ofW.S. Fortey (see 486). (Charles Hindley: The Life and Times ofjames Catnach; Leslie Shepard: john Pitts, Ballad Pn.nter of Seven Dials).

See also 508.

(A) "This is the common English stall copy of a ballad of which there are a variety of versions, for an account of which, and of the presumed origin of the story, the reader is referred to the notes on the Water o' Wearie's Well, in the Scottish Traditional Versions of Ancient Ballads, published by the Percy Society. By the term "outlandish" is signified an inhabitant of that portion of the border which was formerly known by the name of "the Debateable Land", a district which though claimed by both England and Scotland, could not be said to belong to either country. The people on each side of the border applied the term "outlandish" to the Debateable residents. The tune to "The Outlandish Knight" has never been printed; it is peculiar to the ballad, and, from its popularity, is well known." (Robert Bell: Ancient Poems, Ballads and Songs of the Peasantry of England).

The ballad group ("Lady Isobel and the Elf-knight") to which "The outlandish knight" belongs has probably more circulation than any other, being widespread in both southern and northern Europe. The variations of both text and tune are astonishing, but a basic story is more or less common to the versions known as "The outlandish knight", "May Colvin", and "The false knight outwitted". In the present ballad, a knight entices a king's daughter to ride away with him, taking some of her parents' gold, along with two horses. They come to a lonely place by the sea, where the knight asks the girl to dismount, and informs her that he has drowned six girls here already, and that she is to be the seventh. He then tells her to remove her silken gown and stays, and her Holland smock, as they are too good to rot in the sea. The girl begs him to turn aside while she undresses, then gets behind him and pushes him into the water. The knight shouts for help and promises to marry her; but she rides away with a taunt, leading his horse as well, and reaches her father's house before daybreak. The pet parrot asks what she has been doing, but is promised a golden cage if he tells no tales. Her father

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hears the bird and asks why he is talking so early, whereupon the parrot replies that he is afraid because the cat has climbed into the window. The ballad ends with a reiteration of the promise of a golden cage.

For comprehensive notes on the textual variants, the reader is referred to Child: The English and Scottish Popular Ballads, Vol. 1, pp.22-62, and on the tunes, to Bronson: The Traditional Tunes of the Chzfd Ballads, Vol. 1, pp.39-100. See also A.L. Lloyd: Folk Song in England.

The following arrangements are listed in the BBC Music Library Song Catalogue: Version 1 (Somerset) "An outlandish knight came from the northland" - four by CJ. Sharp, one by]. Goss; Version 2 (North country) "An outlandish .knight from the northlands" - two by W.G. Whitaker; Version 3 "Pretty Polly" -one by]. Goss, one by C. Sandburg; Version 4 "An outlandish knight" -one by S. Baring-Gould and CJ. Sharp; Version 5 (Scottish) "May Colvin" - one by M. Lawson; Version 6 (Somerset) "An outlandish knight" - one by Lucy Broadwood and ].A. Fuller Maitland; Version 7 (from the ms. of Baring-Gould) - one by]. Goss; Version 8 (American) "Hush, hush my pretty Polly dear" - one by]. Goss.

(B) See also Firth G 72 (B).

For notes see 508 (B).

William Samuel Fortey took over the business of John Pitts in or about 1849, and also acquired, after the retirement of Anne Ryle, the former stock of Catnach. Fortey took advantage of new methods in printing technology to proliferate his output of popular literature, and may well be regarded as the last of the ballad printers proper. He died on April14, 1901, and his stock of ballads and other ephemera came up for auction in the December of 1906, still containing the remains of the Pitts and Catnach equipment. (Leslie Shepard: john Pitts, Ballad Printer of Seven Dials).

For the original ballad, see Firth C 25.

Proper names: Dan Lowrie.

The practice of printing comic versions of "traditional" or "heroic" ballads increased considerably during the middle years of the nineteenth century, testifying in part to the assiduous dissemination of the originals by printers such as Pitts and Catnach. In the present example, the effect is heightened by the use of a different tune for each verse. For some other examples, and an exposition of the genre, see J.S. Bratton: The Victorian Popular Ballad.

"Alonzo the brave and the fair Imagine" was the work of Matthew Gregory "Monk" Lewis, born in London in 1775. Educated at Westminster and Christ Church, he travelled to Weimar in 1792, where he met Goethe, and began to study German. In 1794 he was appointed attache to the British Embassy at the Hague. Here, under the influence of The Mysteries of Udolpho, he composed Ambrosio, or the Monk, first published in 1795. In spite, or because, of adverse criticism of its indecency - the second edition was expurgated- the book met with instant and overwhelming success, and obtained for the author entry into the homes of the nobility and even royalty. Many other works, including dramas, translations, Gothic romances, and ballads (to which he always wrote the music), continued to pour from his pen: he met Byron and Shelley, and influenced the earlier writings of Scott. In 1812 he inherited two plantations in Jamaica, and it was whilst sailing home to England after his second visit there in 1818 that he died of yellow fever. (Dictionary of National Biography).

The Monk reads rather strangely today. Lewis has won a higher critical acclaim with his journal of a Wt!st Indian Proprietor, published posthumously. In his romances there is however a strain of selfmockery which is particularly evident in "Alonzo", one of the ballads to be found in The Monk. A note by the author leads the reader to a parody by him on the original, entitled "Giles Jollup the Grave and Brown Sally Green", itself inspired by another parody which appeared in the newspapers under the title "Pil-Garlic the Brave and Brown Celestine", and in his Tales of Terror (1800), Lewis reinforces the joke by printing "Giles Jollup" immediately after "Alonzo".

The ballad is a variant of the widespread traditional theme of the spectre lover. Imagine, or Imogen, is betrothed to Alonzo, but marries someone else during his absence in the wars. Alonzo's ghost appears to the bride at the wedding feast, rebukes her for her infidelity, and carries her off with him to the grave.

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489

490

There is a musical arrangement of the original by]. Harroway.

See also Firth F 41 (B), F 44 (B), and cf.583 (B).

Proper names: Herefordshire; Yorkshire.

(A) This theme is very common, and there are many variants, including "The crafty farmer", "The highwayman outwitted", "The Yorkshire bite", "Saddle to rags", "The silly old man", and "Well sold the cow". There are also innumerable local intrusions, as here, where the farmer lives in Herefordshire and the ploughboy comes from Yorkshire. The basic story is of someone (farmer, farmer's daughter, ploughboy) who falls in with a highwayman, turns the tables on him, and arrives home to discover a large sum of money in the saddlebags of the robber's horse. In the present version, the Yorkshire farm-hand, John, is sent by his master to the local fair to sell a cow. Having sold it, he resorts to an ale-house where the landlady sews up the proceeds in the lining of his coat. They are seen by a highwayman who, when the boy leaves the inn, follows him and offers a lift on his horse. In a remote lane, the robber demands the money, which the boy pulls from the lining and throws into the long grass. When the man jumps from his horse to collect it, the boy rides away, and eventually arrives at his master's farm where he explains what has happened. Not only are they in possession of a good horse, a bridle, and a saddle: when they open the saddlebags, they find two hundred pounds in silver and gold, as well as two brace of pistols. The delighted farmer presents the ploughboy with three shares of the money in recognition of his bravery and ingenuity.

"It may be worth mentioning that the deed of 'The Crafty Ploughboy' who stole the highwayman's horse ... is an actual fact, for the incident was given in full (at the time of its occurrence) in 'The Universal Museum for February 1766' " (Journal of the Folk-Song Society, Vol. 1, 1899/1904, pp.236-237).

See also Child: The English and Scottish Popular Ballads, Vol. 5, pp.128-131; and Bronson: The Traditional Tunes of the Chtfd Ballads, Vol. 4, pp.282-302.

There is a musical arrangement of this version by Francis M. Collinson.

(B) This song, with minor changes, has survived as ''Joe the carrier lad" (arr. Francis M. Collinson). There is an American variant, '')em the carter lad", with music by J.S. Baker. The theme is a very simple one of rustic contentment and honesty.

A traditional English country ballad extolling the virtues of a rural life.

There is an arrangement by M.H. Mason in Nursery Rhymes and Country Songs.

John Jennings of Water Lane was one of the printers who often produced work for John Pitts under the imprint of the latter.

The "token" theme occurs again and again in balladry. The story common to the majority of versions is that of a young girl pining for her lover who has gone to sea, or to fight in a foreign war, or has simply forsaken her. The lover reappears, but is unknown to the girl until he produces his half of a ring or token divided between them on parting. There is often some teasing of the girl before the identification takes place; but she is always assumed to have been faithful, and the invariable ending is a blissful reconciliation followed by a happy wedding. The archetypal ballad of the genre is "Fair Phoebe and her dark-eyed sailor" (see 529 (B)), which enjoyed great success after it was printed by Catnach in the 1830s. The present version is very straightforward: for more elaborate examples, see 529 (B), 530 (A) ("The lover's parting"), 535 (A) ("The wealthy farmer's son"), 538 (A) ("Gosport Beach"), and 543 (A) ("Blue-eyed Mary"). Cf. also 510.

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Proper names: Canterbury; Bedlam.

A lament by a young girl of Canterbury for her soldier sweetheart killed in a foreign war. The girl herself has been confined to the lunatic asylum. It is possible that the piece dates from the Napoleonic War period, but it may be earlier.

Bedlam (Bethlehem) began as a priory outside Bishopsgate in 124 7, and first received lunatics in 13 77. It was given to the Gity of London by Henry VIII in 1547, transferred to Moorfields in 1676, and to Lambeth in 1815. By this time all madhouses were known generically by the name.

Cf. Firth F 11 (B).

A lord's daughter falls in love with Mat Hyland, one of her father's servants. The father is enraged, and threatens the boy with transportation, whereupon the girl visits Mat secretly, swears her love, gives him fifty pounds in gold, and urges him to escape. Her father is so overwhelmed by this action that he gives his permission for the boy to be brought home, and for the marriage of the couple.

The theme of a rich lady marrying a poor man is of course very common. This version is possibly eighteenth century Irish in origin.

(A) Proper names: Kentuck[y]; Wurginy [Virginia].

Black minstrel troupes established themselves in England during the 1840s, and occupied a significant place in the history of nineteenth century song. They were acceptable both to working-class patrons of the halls, and to middle-class concert-goers (who were quick to identify with a feeling of outrage against slavery, if not always realising that the black-faced performers of sentimental or comic southern ditties were usually white underneath). A later cult of solo artistes culminated in Eugene Stratton (1861-1918), whose voice left much to be desired, but whose performances were assured of success, the songs being written by Leslie Stuart, composer of "Lily of Laguna", and "Little Dolly Daydream". The minstrel act lived on through G.H. Elliott, who was still singing in the 1950s. (Colin Macinnes: Sweet Saturday Night; ].S. Bratton: The Victorian Popular Ballad).

(B) See also Firth G 73 (V).

Proper names: Wallace; Bruce; Edward [II].

One of Burns' best-known poems, and a great favourite with Victorian ballad-printers.

Bannockburn is a village near Stirling on the River Forth, where Robert the Bruce defeated the English army of Edward II in 1314. Burns was always aroused to patriotic fervour by the Scottish fight for independence, and he visited the site of the battle on August 26, 1787, when he was twenty eight. In September 1793 his friend the amateur musician George Thomson received a letter from the poet which shows that Burns had been inspired to write the piece by his admiration for the old air "Hey tutti taitie", there being a tradition that the army of Bruce sang it as a marching song at the battle. Thomson admired the words but not the tune. He suggested instead the air "Lewie Gordon", which necessitated a weakening addition to every fourth line - for example, in the present version, the third verse ends with "Traitor, coward, turn and flee", in place of "Let him turn and flee". Burns made the alterations (though resisting others), and copies were sent out to a wide circle of friends: he also approved publication in the Morning Chronicle (May 8, 1794). Eventually, Thomson admitted that he had made an error of judgement, and in 1802 reprinted the original words to the tune "Hey tutti taitie".

The correct title is "Robert Bruce's march to Bannockburn - To its ain tune".

For detailed notes on the song and its changes, see James Kinsley, ed. The Poems and Songs ofRobert Burns.

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For James Harkness, the printer, see also 5 70.

Proper names: Somers-town; [Yorkshire] Stingo; [Hyde] Park; Astley's; Sadler's Wells.

A comical cautionary tale of a Londoner who courts and marries a virago who within a week or so of the wedding effects his imprisonment on false charges of assault. When he returns home, he finds a lodger has moved in. The lodger rapidly becomes the object of Mrs Clark's affections, receiving all the best food and drink, spending all the husband's money, and generally taking over the establishment. The sorry story ends with the lodger's departure, along with that of Mrs Clark, and the contents of the house - excepting the baby, who is left with the narrator.

Somers Town is the triangular area between the Hampstead, Pancras and Euston Roads. A rural locality up to the end of the eighteenth century, when it was colonised by foreign (mainly French) workers, it was by 1825 absorbed into the urban sprawl spreading outwards from the centre of London to Kemish Town and Camden Town.

The Yorkshire Stingo was on the south side of Marylebone Road, in the area between the bottom of Lisson Grove and the top of Oxford and Cambridge Terraces, nearly opposite Chapel Street. In the early part of the nineteenth century it was a country inn with a tea-garden and bowling-green attached. From here on July 4, 1829, the first London omnibuses ran. "Stingo" was strong ale or beer, so-called probably because of its "bite". It was by no means confined to Yorkshire, although that particular brew was perhaps celebrated more than any other.

Hyde Park in the 1830s was, as it is now, a favourite spot for recreation, with bands, shows and fairs of various kinds.

Astley's (opened 1770) in Westminster Bridge Road, Lambeth, was founded and developed by Philip Astley (1742-1814), an ex-sergeant-major who had served in the Seven Years War and was a wonder with horses. The theatre burned down in 1794, and again in 1803 and 1841, when it was rebuilt to contain an audience of 4,000. It eventually became The Theatre Royal, Westminster. In its day, Astley's was the centre of equestrianism and circus entertainment in London, patronised by the Prince of Wales and many of the nobility. There is an evocative portrait by Dickens in Sketches by Boz, Vol. 1, 1835.

Sadler's Wells was built on the site of mineral springs in Finsbury in 1683. When paid attendance to the springs declined, a type of music-hall entertainment was provided, and under the direction of James Miles, this became the main attraction. In 1765 a proper theatre was erected, which became famous for burlettas, interludes and pantomime. In 1844, the establishment was taken over by Samuel Phelps, who began to offer productions of Shakespeare; but after his retirement the West End theatre boom forced custom away. The theatre became successively a skating-rink, pickle factory, low melodrama hall, music-hall and cinema. The new Sadler's Wells, opened in 1931 under the direction of Lilian Baylis, grew into the leading opera and ballet house of today.

The Jackson family of primers changed their premises a number of times. They appear to have acquired the business of the Russells at some stage, and even many years later were issuing ballads with the imprint legend "late Russell". (Trevor Jones: Street Literature in Birmingham).

See also Firth B 155 (A), C 123 (A), G 73 (N).

Proper names: Armagh; Stranfield; Dennis Higgins; Fanny Blair; John Neaf; Shan[e]'s Castle; Squire Vernon.

The story of Dennis Higgins (elsewhere Hegan etc.) of Stranfield (or Stranford) in Armagh, who was, seemingly falsely, accused of having had sexual relations with eleven year old Fanny Blair, and hanged protesting his innocence. This version is true to the original story in that it does not spare the reader from the girl's real age or from the nature of the supposed misdeed. Other versions put Fanny's age at eighteen, and make the accusation one of robbery. Cf. the arrangements by CJ. Sharp. (A.L. Lloyd: Folk Song in England).

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Shane's Castle, in the parish of Drummaul, Antrim, was the seat of the noble O'Neill family.

A good example of the ornate broadside song-sheet from a very competent provincial printer.

(A) A wife dreams that her drunkard husband is dead. On waking to find him alive, she resolves to bear her misfortunes and try to change his ways. The woodcuts accompanying this temperance song admirably illustrate the text - a not too common occurrence in Victorian balladry.

(B) This is not to be confused with Thomas Hood's poem of the same name, though it is very similar in style. The words were written in June 1833 by Winthrop Mackworth Praed (1802-1839), who was in fact an admirer and emulator of Hood. Born in London, Praed was educated at Eton, where he showed a talent for poetry and distinguished himself as editor of the Etonian. He entered 'frinity College, Cambridge, in 1821, and made his mark as a classicist. In 1829 he was called to the Bar, and in 1830 entered Parliament as a Conservative. Disfranchised in 1832, he stood unsuccessfully for St. Ives, Cornwall. In 1834, he was returned as member for Great Yarmouth, but retired in 1837 and died of consumption in 1839.

Praed's verse is light and refined: his satire would have been more effective if it had been more bitter. The collected poems appeared posthumously in America, with an authorised version published in England in 1864. His prose essays were issued in 1887, and the political poems in 1888. (Dictionary of National Biography).

Praed's particular friend and flatterer was the volatile Edward Marlborough Fitzgerald, whom he first encountered at Cambridge. The two continued to meet in London. Fitzgerald married in 1832, and the following year Praed and the Fitzgeralds were lodging together at No. 1, Parliament Place. It was in order to publicise the amateur musical talents of Mrs Fitzgerald that Praed held a party there in June 1833. At this social gathering, the present song received its first airing, with music by the young lady, and became a great success.

(C) See also Firth B 47 (A).

Proper names: Allandale.

A very popular song with words by Charles Jefferys (1807-1865), and music by Sidney Nelson (1800-1862). Of Jefferys, very little is recorded, except that he formed with Nelson about the year 1840 a publishing partnership which was dissolved in 1843. Nelson himself was a prolific composer of songs and instrumental pieces. Like many others in his field, he spent some time touring in North America and Australia before returning to England to settle down. (Dictionary of National Biography; The New Grove Dictionary of Music and Musicians).

The printing firm of George Walker developed in Durham in the early years of the century to become a strong competitor to the London giants of Catnach and Pitts. Walker is especially noteworthy for his issues of contemporary songs, and for the high standards which he maintained in the production of his printed works.

(A) Proper names: Cuba.

"This fine ballad is probably mid-Victorian. It refers to one of the numerous occasions when British warships in this period stopped slave ships on the high seas and freed their human cargoes". (V. de Sola Pinto and A.E. Rodney, eds. The Common Muse).*

(B) The music to "Kathleen Mavourneen" was by Frederick Nicholls Crouch (1808-1896), who reputedly himself gave the first public performance. He established his reputation with this song, although he composed scores of others, almost all now forgotten.

*Reprinted by kind permission of the editors and Chatto & Windus Ltd.

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After a musical upbringing in London, Crouch moved to Plymouth in 1832, and in 1849 emigrated to America, where he stayed for the rest of his life. This piece became one of the top ten favourites of the nineteenth century. Its popularity may be illustrated by the story that the publisher D'Almaine made from it in excess of £15,000. It was originally purchased from Crouch for £10. (The New Grove Dictionary of Music and Musicians; Harold Simpson: A Century of Ballads, 1810-1910).

The words were for a long time attributed to Mrs Julia Crawford of Ireland, but it is likely that they were in fact the work of Louisa Macartney, or Mrs A.B. Crawford.

(C) The words were by Henry Fothergill Chorley, born in Blackley Hurst, Lancashire, in 1809, who began his career proper in 1830 as a freelance journalist for The Athenaeum, after some years spent in Liverpool where he had shown an aptitude for music and literature. He joined the permanent staff of The Athenaeum in 1833, and on arriving in London, immersed himself in writing and musical criticism. He became a friend of the Brownings, Mendelssohn, Sydney Smith and Dickens (this song, incidentally, is very reminiscent of "The ivy green"); and established an international reputation as a music journalist with the publication of Music and Manners in France and Germany (1841), and Thirty Years' Musical Recollections (1862). As a writer, his output was large, but has left little impression. As a music critic, he is honest and lively, if sometimes (with hindsight) misguided. Chorley died in London on February 16, 1872. (Dictionary of National Biography; The New Grove Dictionary of Music and Musicians).

The music to "The brave old oak" was composed by Edward James Loder (born Bath, 1813, died London, 1865 ). After an auspicious musical training in Germany, he became involved in the production of several operas, but chiefly occupied himself in the composition of material more guaranteed to procure a livelihood - hence his contract with D'Almaine & Co., whereby he was required to write one song a week. Various low-key dramatic works were followed by a return to serious opera (1846), when he was appointed musical director of the Princess's Theatre. Five years later, Loder was engaged as director of the Theatre Royal in Manchester. In 1856 he fell ill with a cerebral disease, and produced nothing further.

As a ballad composer, he was the equal of any. This song was very popular in America, and was often performed by Henry Russell, who also made some arrangements. (Dictionary of National Biography; The New Grove Dictionary of Music and Musicians).

(D) Proper names: Glengary; [River] Logan.

The words are by Eliza Cook; the music by N J. Sporle.

Eliza Cook (born London 1818, died Wimbledon 1889) was wholly self-educated, and already writing poems, including the present one, in her girlhood. Around the middle of the 1830s she was submitting many verses anonymously to various magazines, concentrating on the Weekly Dispatch. It was in the pages of this paper, in May 1837, that her best-known poem, "The old armchair", first appeared. A request for her identity led to a financial reward and a regular engagement to contribute to the journal. Her first collection of poems had been issued in 1835 (Lays of a Wtid Harp). In 1838, Melaia and other Poems was published in England and America with much success. Eliza Cook's journal was founded in 1849, and proved popular with that section of the middle classes to whom her poetry had appealed, but her lack of journalistic ability, and ill-health, led to its discontinuation in 1854. Later efforts in the poetical field were not a success. (Dictionary of National Biography).

Three patriotic parlour-style songs, none of which are recorded in the larger anthologies.

(A) The pledge of a soldier to his loved one at home that he will never forget her, even in death.

(B) A panegyric on the young ladies of England.

(C) See also Firth B 197 (A), F 1 (A).

The story of an admiral who dies at sea.

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(A) See also Firth C 99 (C).

An Irish song lamenting the faithlessness of a sweetheart left behind in Erin.

(B) See also Firth B 121 (B).

Once one of the three most popular poems of Thomas Haynes Bayly (see notes on 485 (B)), "Isle of beauty" is now prill€ipally remembered for its penultimate line "Absence makes the heart grow fonder".

There is some confusion concerning the composer, one candidate being Thomas A. Rawlings, the other Major Charles Shapland Whitmore. Either Whitmore was the true composer, and Rawlings merely the arranger, or there are two completely separate versions. (The New Grove Dictionary of Music and Musicians; Minnie E. Sears, ed. Song Index). From entries in the National Union Catalog, it would appear that Whitmore (1805-1877) was indeed the person responsible for the melody, and that Rawlings wrote the "symphonies and accompaniments for pianoforte".

Rawlings (1775-1850) was celebrated as a violinist and cellist. He composed a large number of pieces for piano, as well as writing songs, in the earlier part of his life.

(C) "The old house at home" was written and set to music by Edward]. Loder (see notes on 497 (C)). Loder deliberately introduced some of the songs written for D'Almaine the publisher into an opera libretto, Francis I, which played at Drury Lane in 1838. The production as a whole was not a success, but this song caught the popular fancy.

(A) See also Firth B 197 (B).

The words to this well-liked mid-Victorian song were written by Edwin Ransford (1805-1876), actor, vocalist and composer. After many appearances in various London theatres, he retired from the stage in 1838. For the next seven years he sang in concerts; then produced a series of popular musical entertainments in which he was the chief performer. These included Illustrations of Gypsy Life and Character, Tales of the Sea, and Songs of Dibdin. Ransford also became known as a composer, with more than flfty pieces to his credit. (See Jane Jack and Margaret Smith, eds. jane Eyre. Oxford, Clarendon Press, 1969. Notes to p.20, on p.583). (Dictionary a/National Biography; Sir George Grove: A Dictionary of Music and Musicians.)

(B) The lyrics were by James Bruton (1815-1867), author of a series of successful one-act farces.

The music was written by Edward Francis Rimbault (1816-1876), a leading Victorian musicologist who did much to further the advance of this virtually untouched subject by his efforts in the co-founding of the Musical Antiquarian Society and the Percy Society; his work as a member of the Handel Society; his many teaching activities; and his writings and editings in the fleld of early music. His own musical compositions, which include an operetta, some incidental music, and a drama, are few and unimportant. (Dictionary of National Biography; The New Grove Dictionary of Music and Musicians).

In Roy Palmer: A Touch on the Times, pp.318-320, there is printed a parody with the same title, and the comment: "Happy land was rather a vapid but successful song, which expressed what we have come to regard as a typically Victorian optimism ... It was parodied by an entertainer called Prest, and sung "at the London concerts". The parody is a bitter reminder of that part of society which beneflted least from Victorian progress".*

*Reprinted by kind permission of Penguin Books Ltd.

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See also 5 84.

An interesting unemployment song complaining about the effects of the trade slump, and advocating in a tongue-in-cheek style the use of the credit system. No doubt it was written during the post-Napoleonic War depression, c.1820.

Proper names: Old Boney [Napoleon Bonaparte].

A sarcastic lament for the English farmer, who has done so well "for twenty years past" (that is, during the Napoleonic Wars), but is now suffering under swingeing rent increases.

The French Wars had the effect of enriching the farmers, as British fleets increasingly commanded the seas, and trade consequently expanded. In spite of bad harvests, the farmers grew richer as the poor grew poorer because of high prices. After 1815, however, the landlords put up farm rents, and agricultural activity declined, forcing many occupiers to move out at a loss.

The last line, "And their friend, poor Old Boney, is gone dead at last", dates the piece at 1821 or later.

Proper names: Cork; Kingsail; Limerick; Kilkenny; Dublin; Waterford.

An Irish lament of unrequited love, cognate with another song titled "Nancy the pride of the West",

John Pitts (1765-1844) was a central figure of the nineteenth century ballad trade in the Seven Dials area of London. He originally worked for John Marshall, but set up his own business in 1802 at No. 14, Great St. Andrew Street, then a locality teeming with Irish immigrants, criminals, gin-peddlers and general dealers of every kind. In 1819 he moved to No. 6, where he established the famous "Toy and Marble Warehouse". By this time, Pitts was being outstripped in many respects by the other star of Seven Dials, James Catnach: the rivalry between the two is amusingly expressed in Charles Hindley's The Life and Times ofjames Catnach (see notes on 515). Failing sight and eventual blindness marred Pitts' later years, although he outlived his old rival, dying on April 15, 1844.

Pitts was in every sense a key person in the spread of popular literature of the time, and has been described as the link between the eighteenth century chapbook printer and the ballad revival of the nineteenth century. He reissued many old ballads, and collected a large number of folk-songs from the local Irish population. For a complete biography, see Leslie Shepard: john Pitts, Ballad Printer of Seven Dials.

"Probably a concert piece". Uohn Holloway and Joan Black, eds. Later English Broadside Ballads [Vol. 1 J).

A young country girl in the habit of riding to market is perturbed by rumours of a ghost in the neighbourhood. Her curiosity leads her to discover that the "ghost" is in fact Colin the shepherd, with whom she establishes a close amatory rapport.

(A) Proper names: Alderney Dairy; Orator Hunt; Congreve; Valmondi; Der Freischutz; Mr Martin; Parkins; Piccadilly; Hyde Park; Knightsbridge; Cannon Brewhouse.

This is a tour-de-force crammed with topical references to (among others) steam, nouveaux riches, the milk trade, hairdressing, politicians, taxes, portable lighters, laughing-gas, the German Gothic school, animal welfare and town planning. The particular mention of Orator Hunt and his trade as a blacking manufacturer would seem to set the time of the ballad at 1833-1834, though other references suggest an earlier date.

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Liston's Drollen'es was a small collection of topical ballads published in 1826.

The first stanza refers to "sharps" (con-men) and "flats" (dupes) in connection with the selling of shares and the sinking funds; and the second to the introduction of the steam-laundry. It was not until the lifting of the heavy tax on soap in 1852 that this industry was able to afford to make use of the technological advances in the washing process.

Verse three relates to the watering of milk and the adulteration of hair grease.

Although the practic~l application of steam engines had begun with James Watt's modification of a Newcomen design in 1765, it was not until the next century that the development of the water-tube boiler made it possible for widespread use of this revolutionary means of power. Stephenson's "Rocket" successfully ran in 1829; steamboats were operated in America between 1803 and 1807; coal-burning steam-powered coaches were used on the roads in and around London from 1824; and in 1829 the first steam-driven fire pumps were developed in London.

After a conservative upbringing, Henry "Orator" Hunt (1773-1835) became a respectable farmer, but began to embrace radical policies following a short term of imprisonment in 1800. He was a strong advocate of Corn-Law repeal, parliamentary reform, and women's rights. On November 15, 1816, he was the leading speaker at the Spa Fields meeting. Another speech on the occasion of the Peterloo massacre in 1819 led to his being jailed for three years, and a period of inaction followed. In 1831 he took his seat as member for Preston, but lost it in 1833, whereupon he quitted politics and devoted himself to the business of blacking manufacture. It was whilst travelling for orders that he died on February 15, 1835.

In the sixth and seventh verses there are references to various alterations in the tax rates on spirits, windows, carts and carriages, and hemp.

Davy's safety lamp was invented in 1815, and in general use two or three years later. The original rockets of Sir William Congreve (1772-1828) were tested during the Napoleonic Wars with little effect. Congreve was also responsible for the introduction of a friction match which could safely be carried in the pocket. These later became known popularly as "Congreve rockets". Laughing-gas (nitrous oxide), so called for the exhilarating sensation produced on inhalation, was discovered by Joseph Priestley iq 1772 and recommended as an anaesthetic by Sir Humphrey Davy in 1802. It became widely used in dentistry and minor operative work. The railway boom proper began with the opening of the Liverpool and Manchester Railway on September 15, 1830.

In the tenth verse, the author makes allusion to the influence on contemporary life of the German Gothic school. Goethe's Faust, Part 1, had been published in 1808, and Part 2 was issued in 1832. Carl Maria von Weber's opera Der Freischutz, also concerning a man who sells his soul to the Devil, was first performed in Berlin in 1821. "Varney the Vampire" appeared in the cheap sensational literature of the day.

Richard "Humanity" Martin (1754-1834) inherited vast estates in Connemara, and was thus entitled to a seat in parliament. It was his personal friend George IV who first gave him his nickname. Martin was well-known for his love of animals, and succeeded in bringing into law an act "to prevent the cruel and improper treatment of cattle", which was the first ever enactment for the protection of the rights of animals. Martin was also one of the founders of the R.S.P.C.A.

(B) Proper names: Dundee; Tay.

A Scots song of a girl determined to marry young Donald in spite of her mother's objections.

This is a variant of the Irish ballad "Young Molly Ban", also known as "Molly Van was a-walking", "Molly Bawn", "Molly Bond", "Polly Vaughn", "The fowler", and "The shooting of his dear". The basic theme is that of a young man who accidentally shoots dead his sweetheart as she shelters underneath a tree with her white apron tied around her, having mistaken her for a swan. The girl's ghost appears at his trial, or elsewhere, exonerating him.

For an exposition of the classical mythological origins, the reader is referred to A.L. Lloyd: Folk-Song in England, pp.159-160. In]ournal of the Folk-Song Society, Vol. 2, 1905J.l906, p.60, CJ. Sharp makes the following comments on "The shooting ofhis dear": "The supernatural element enters so rarely

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into the English Ballad that one is inclined to see in its occurrence an indication of Celtic origin. In the present case this suspicion is perhaps strengthened by the presence of certain Irisp characteristics in the tune.

The incidents related in the song are a strange admixture of fancy with matter of fact. I would hazard a suggestion that the ballad is the survival of a genuine piece of Celtic or, still more probably, of Norse imagination, and that the efforts made to account for the tragedy without resorting to the supernatural (e.g. the white apron, shower of rain, etc.) and of course the mention of the Assizes, are the work of a more modern and less imaginative generation of singers.''

For more detailed notes on the ballad and its variants, see journal of the Folk-Song Society, Vol. 7, 1922/1926, pp.17 ff.

Samuel Lover (1797-1868) composed a musical version entitled "Molly Bawn" in his opera II Paddy Whack in Italia, which has been variously arranged. There is a version of "The shooting of his dear" in EJ. Moeran's Folk Songs of Norfolk. (The New Grove Dictionary of Music and Musicians).

[The sheet gives an example of Pitts' early tinted paper, and of the use of the long "s". "Either these sheets were printed by somebody else, or Pitts had an old stock (perhaps printed years earlier by the Evanses, whose type and format they resemble) and merely added his own imprint and reissued these sheets in the 1820s." (Leslie Shepard:] john Pitts, Ballad Pn.nter of Seven Dials).*

Proper names: StJames's Park; Jack Sheppard.

The serio-comic cautionary tale of Sally, who prefers her soldier cousin Joe to honest Billy. She eventually finds herself with a baby, and commits suicide in a water-butt. ·

StJames's Park, along with other royal parks, became a venue for many Londoners who were obliged to live further afield as the open spaces in the poorer districts were increasingly covered over with bricks and mortar. The park was replanned and replanted in the late 1830s.

The third verse begins: "We are going to the play tonight, Jack Sheppard for to see". John Sheppard, born in 1702, criminal and escapist extraordinary, was finally hanged at Tyburn on November 16, 1724. His exploits made him a popular hero: several plays were produced in celebration of his career, and ballad-mongers sang his praises everywhere. Harrison Ainsworth's eponymous romance first appeared in Bentley's magazine in 1840. (Dictionary of National Biography).

Elizabeth Mary Ann Hodges was the housekeeper of John Pitts, and as well as a bequest of nineteen guineas in his will, she inherited a share of the goods and chattels, including some of the stock of sheets. Mrs Hodges set up business as a printer and continued as such for a number of years in Monmouth Street (re-named Dudley Street in 1845), before moving to 26, Grafton Street, Soho, where she remained for six years (1855-1861). (Leslie Shepard: john Pitts, Ballad Pn"nter of Seven Dials).

Cf. 486.

(A) See notes on 486 (A). See also Leslie Shepard: john Pitts, Ballad Printer of Seven Dials, for a facsimile illustration of the sheet (with a slightly different ornamental block) and of pages from William Hone's The Table Book, 1827, Vol. 1, including a letter relating to the "discovery" of the ballad.

(B) A sad story of an orphan.

Henry Kirke White (1785-1806) received an elementary education in Nottingham, and was eventually apprenticed to a firm of lawyers. He had already developed a taste for literature, and furthered his education by learning Latin and Greek. A strong evangelical strain led him at this time towards a desire to enter Cambridge and take holy orders. Meanwhile, his poetic talents culminated in Clifton Grove, a Sketch in verse, with Other Poems (1803 ), which was met with little enthusiasm by the critics. However, the volume came to the notice of Southey, who seems to have exaggerated its merits, and began to

*Reprinted by kind permission of the Private Libraries Association.

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interest himself in White's career. White subsequently entered Cambridge, where he distinguished himself in the classics. His health, however, already weak, deteriorated with overwork, and he died from consumption in his college rooms on October 19, 1806. In spite of the approbation of Southey, who edited White's manuscripts for publication, and of Byron, his poetry is now considered to display an immaturity of thought and a lack of originality. (Dictionary of National Biography).

Written pre-1815, a:s it contains references to the French Wars and to press-gangs.

The girl's true-love Willy is pressed into service, and so she disguises herself as a nobleman, claims custody of Willy on charges of robbery, and then reveals herself to him when they are safely away from the ship.

The ballad contains the motifs of "rescuer disguised gains custody of prisoner" and "lover in disguise abducts beloved". Oohn Holloway and Joan Black, eds. Later English Broadside Ballads, Vol. 2).

Another romantic story with the well-worn theme of rich girl falling in love with poor boy. The youth is banished to foreign parts by the girl's parents, but finds employment with a merchant and makes a large fortune by staking his wages in a lottery. On his return to England, he is at first rejected by his loved one until he shows her a ring which she gave to him on parting.

There are affinities here with others in the group of "token" ballads, for which see the notes on 490.

A very simple story with an unusual metre.

Unlike the previous ballad, where the penniless youth amasses a fortune, these verses feed the fantasies of those males who feel that the impossible dream of being adopted by a well-to-do young heiress is not so impossible after all.

The song was also known as "A farmer's son so sweet". "Probably this pretty little ballad has drifted from the play-house or Vauxhall Gardens concerts of the eighteenth century. It is certainly not a folksong, although four collectors have met with it in different parts of the South of England ... There are broadside versions of the words." (Notes by Lucy E. Broad wood in journal of the Folk-Song Society, Vol. 5, 1914/1917, pp. 195-196). The broadside text is fuller than the version given by Broadwood, and than the other arrangements of the song made by Baring-Gould and Sharp.

See also Folk Music journal, Vol. 3, 1975-1979.

Cf. Firth C 72, G72 (B).

An Irish love song of the kind often printed by Pitts, and probably collected from the immigrants living in the St Giles area.

(A) See also Firth B 75 (A).

A philosophical musing on the many aspects of "nothingness", and the futility of existence.

(B) Yet another example of an Irish ballad from the Pitts' stable; ("Rine" is a corruption of "Ryan"). For the melody seejournal of the Folk-Song Society, Vol. 1, 1899/1904, p.271, under the title "One night upon my rambles". See also John Holloway and Joan Black, eds. Later English Broadside Ballads, Vol. 1, pp.183-184.

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517

See also Firth B 93 (B), C 40.

Proper names: Dublin, Donnybrook Fair.

A favourite Irish comic song, in the form of dialogue alternating with sung verses.

Donnybrook, now one of the south-eastern suburbs of Dublin, was in the early nineteenth century a village noted for its August fair, first held in the time of King John. The invariable atmosphere of drunken revelry and rioting led to the use of the name proverbially to signify any disorderly gathering.

Another example of Pitts' tinted paper, and the use of the long "s".

A comic story of a parson and a pig. Probably written in the late eighteenth century.

James Catnach (born 1792) began his trade as a printer at No. 2, Monmouth Court, in 1813, making use of the old press of his father, who had been a printer in Alnwick, Newcastle and London. He soon became a serious rival to Pitts, who had been established in the Seven Dials area since 1803 (see notes on 503 ). Catnach's speciality was the immediate issuing of broadsides on topical themes, particularly those relating to murder and other crimes of violence. He used a much finer quality of paper and type than the rest of the printers, and this had the beneficial effect of forcing Pitts ;md others to follow suit.

The rivalry between Catnach and Pitts continued throughout the 1820s and often reached comic proportions. In the 1830s fierce competition from newcomers such as Thomas Birt persuaded Catnach, whose health was failing, to retire and hand over the business to his sister, Mrs Anne Ryle (see notes on 485 ). He died in 1841. (Charles Hindley: The Life and Times of james Catnach; Dictionary of National Biography; Leslie Shepard: john Pitts, Ballad Printer of Seven Dials).

Another comic Irish ballad featuring a predatory donkey.

A trade announcement (c.1859) informs the public that William Fortey has acquired the business of Anne Ryle (late Catnach) and the premises at 2 and 3 Monmouth Court (see also notes on 486).

Three love songs - the first two of the sentimental popular variety; the third, in contrast, a light-hearted Irish "standard".

(A) The music was written by Stephen Collins Foster (1826-1864), the well-known American composer of romantic ballads and minstrel songs. Amongst his finest in the former group are "Old folks at home", "Beautiful dreamer", and "Jeanie with the light brown hair"; and in the latter "Oh! Susanna", "Camptown races", and "Massa's in the cold ground". In 1850 Foster contracted with the Christy Minstrels to give them an exclusive right to the first performance of all his new songs. This meant that most of the two hundred or so that Foster actually wrote between 1844 and his death were ensured of an extremely large audience. (The New Grove Dictionary of Music and Musicians).

(B) See also Firth B 101 (A).

(C) Proper names: Donnybrook Fair.

For notes on Donnybrook, see 514.

The printer, Pearson, of Manchester, bought up the business of John and J.O. Bebbington (see notes on 519), and continued to print until 1872 or after. His comprehensive catalogue offered over 2000 ballads, together with "Song books, Dream Books, Peace Eggs, Fortune Telling Books, Children's Books - Shops and Hawkers supplied, also the original Champion Prize Medal Song Book, Published Monthly."

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(A) Cf. Firth 181 (B).

Proper names: Bay of Biscay.

A very popular racy tale of a girl who dresses up in male clothing and signs on for a year's sailing as the captain's cabin boy. The captain soon discovers her true sex, and nine months later is duly presented with a baby.

(B) A comic parlour or early music-hall song.

(A) Proper names: Cork; Shandon Church; Daniel [O'Connell].

A pro-Catholic Irish song with a very ragged metre, exhorting "salvation for all true believers of the Church of Rome". It consists of a dialogue between "a chapel founded by Father Mathew", and Shandon Church - or rather, mostly of a monologue on some historical anti-Catholic events in Ireland and elsewhere.

Shandon Church (StAnn's) in Cork was built in 1722 on the site of an older church destroyed in the rebellion of 1690-1691.

The Father Mathew Memorial Chapel, also called the Church of the Holy Trinity, was founded in 1834.

(B) Proper names: Lochgyle; Ulva's Isle.

"Lord Ullin's daughter" was written by Thomas Campbell (born in Glasgow 1777, died Boulogne, 1844), classicist, scholar, rector of Glasgow University, and lawyer manque. He turned to literature initially in order to supplement a meagre income: his first major success was the "Pleasures of hope", published in 1799. In 1800 and 1801, he travelled on the Continent, producing some ofhisbest minor work during a winter stay in Altona - notably "The exile of Erin", and "Ye mariners of England". His most influential poem, "Hohenlinden", was published during an unsettled time following his return to Scotland in 1801. Family and business affairs began to occupy him to a great extent, but in 1809 he issued "Gertrude of Wyoming" and "O'Connor's child". Subsequently, his literary work began to suffer, though he did complete, in 1819, Specimens of the British Poets, a task he had commenced in 1804. After this, he achieved very little, issuing chiefly minor works which did nothing at all to enhance his reputation.

This has been called "the inimitable ballad". The first sketch was written in his youth (c.1797) and the poem appealed greatly to later readers of the Victorian era.

The firm of John andJ.O. Bebbington flourished in Manchester from 1856 to 1861, when it appears to have been sold out to T. Pearson (see notes on 517).

Proper names: Arthur [Prince, Duke of Connaught]; [Henry Austin] Bruce; [Charles] Darwin; Edward [VIII, as Prince of Wales]; Aldershot; Greenwich; Gladstone; King Billy [William III?]; [Robert] Lowe; Napoleon; [George] Odger; Tattersall's; Queen [Victoria]; Tichborne [claimant]; [William] Ballantyne; Newcastle; [Brigham] Young.

A favourite device in topical ballads was the use of the alphabet to highlight social and economic conditions and political events. (See also 527: "The strike alphabet"). There is a very similar version to this in Roy Palmer's: A Touch on the Times, pp.270-272, with the comment: "These political alphabets were not uncommon in the nineteenth century. They were ephemeral, because the events they dealt with were quickly out of date. This one provides an interesting picture of radical, working-class opinion in 1873 or 1874."*


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Arthur William, Duke of Connaught (1850-1942), third son of Queen Victoria, eventually became engaged to Princess Louise Margaret of Prussia in 1878, and married her the following year.

Henry Austin Bruce, first Baron Aberdare (1815-1895 ), joined Gladstone's cabinet as Home Secretary in 1869. His tenure was identified largely with the reform of the licensing hours, in which he attempted to strike a middle way between the temperance movements and the brewery interest. An introduction in 1871 of a measure to reduce the number of outlets for the trade was withdrawn, but in 1872 it passed into law in a modified form. Licensing powers were committed to the care of the magistrates, and opening-hours were reduced. The storm raised by all this contributed greatly to the fall of the Liberals in 187 4.

Charles Darwin's The Descent of Man was published in 1871, and caused little less of an uproar than that effected by The Ong,in of Species. It contained his postulation of the derivation of the human race from a "hairy quadrumanous animal" belonging to the anthropoids.

Albert Edward, (1841-1910), eldest son of Victoria, commanded his regiment, the lOth Hussars, in some autumn military manoeuvres in the country around Aldershot in the September of 1871. These lasted for three weeks or so, and contained battles on a grand scale. The whole episode was made much of by the press.

Greenwich dockyard was closed in 1871 by Gladstone as part of his measures to reduce public expenditure.

"King Billy" I take to be William III (1650-1702), who campaigned against the French on behalf of England from May 1689 onwards.

Robert Lowe, Viscount Sherbrooke, (1811-1892), was first admitted to Gladstone's cabinet in 1868 as Chancellor of the Exchequer. In the budget of 1871, he proposed a tax of a halfpenny on every box of lucifer matches (an idea borrowed from the United States). This caused the incensed East-End match makers to organise a procession to Westminster Hall - a demonstration sufficient to effect a withdrawal of the proposition.

George Odger (1820-1877) became a prominent member of the shoemakers' union in London, and won agood deal of support from the workers on the occasion of a building trades lock-out in 1859. He was also a leading figure in the London Tiades Council from its formation in 1860, becoming secretary in 1862. His policy was one of political action, involving marches and highly volatile meetings in support of various causes. He made five unsuccessful attempts to enter Parliament as an independent Labour candidate between 1868 and 1874.

Tattersall's was the sporting rendezvous and horse-mart deriving its name from Richard Tattersall (1724-1795 ), stud-groom to the second Duke of Kingston. In 1766 he purchased a ninety nine year lease on some buildings near Hyde Park Corner and set up as a horse auctioneer. He later invested in a stud-farm, and opened up a club which became the centre for the regulation of betting on the turf. In 1865 the business was moved by his son to Albert Gate on Knightsbridge Green.

The betting bill of Lord Morley sought to "make the receiver of a deposit on a bet liable to punishment", which would have had the effect of virtually abolishing the class of commission agents, whether or not they kept premises for the purpose, and the tipsters as well. The measure was passed through the Lords without opposition and reached a second reading in the Commons in July 1871, after which it foundered.

Queen Victoria caused a good deal of ill-feeling amongst her subjects by retiring into seclusion after the death of Albert in 1861.

Following the death of Sir Alfred Joseph Doughty-Tichborne in 1866, an ex-Wapping butcher from New South Wales named Arthur Orton came forward to claim the baronetcy in the guise of Roger Charles Tichborne, who had been lost at sea off America in 1854. After a trial to assert the claim lasting 103 days, the case fell through in March 1872. Orton served ten years for perjury and made a confession before he died in 1895.

The name of William Ballantine (1812-1887) was particularly associated with the Tichborne case in its earlier stages. Ballantine had been made a serjeant-at-law in 1856, and excercised his talents in the courts to great effect during the succeeding years. In 1871 he undertook the cause of Orton, but very skilfully extricated himself before his client's case became hopeless.

The engineers' strike in the north-east (1871) led to the introduction of the nine-hour working day (see notes on 527).

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Brigham Young (1801-1877) was the leader of the Mormon Sect, which advocated polygamy. He died leaving seventeen wives and fifty-six children.

Henry Disley first worked for James Catnach, and is mentioned as an apprentice at No. 40, Great St. Andrew Street, in 1844. He later flourished particularly as a printer of criminal causes celebres in the 1860s and 1870s, but also issued a number of topical social ballads such as this and some of the following.

(A) A very gloomy ballad concerning the death of a young wife who leaves behind three children to her husband's care. It displays that peculiar mixture of morbidity, sentimentality and philosophy so loved by the Victorians.

(B) See also Firth B 117 (B), F 22 (B), F 23 (B), F 43 (A).

Also known as "My blackbird most royal". The "blackbird" is a young man of singular virtue who has left his former lover in England.

Two temperance pieces, the first in prose, the second in verse.

(A) A serio-comic religious catechism, with articles of faith and a version of the ten commandments (e.g. "Six days shalt thou drink, and spend all thy money ... ").

(B) Describes the lengths to which a drunkard will go to satisfy his craving.

The temperance movements of the nineteenth century had gained strength through the efforts of Joseph Livesey of Preston, who drew up a pledge of total abstinence in 1832 (see also 534 (A)). In the next few decades the word was diligently spread by women's organisations, friendly societies and the Bands of Hope.

A call for "nine bob a day" and no work for the working-class: a frivolous song on the wave of strikes in 1872.

This was a heady time for the workers. The Trade-Union Act of 1871 had virtually legalised the unions; a National Agricultural Union had been formed; and the nine-hour day had been won by the Tyneside engineers. These successes encouraged labourers throughout the country to fight for improved conditions. (See also notes on 527, 545 etc.).

Cf. 526, 528 (A), 564 (B).

(A) "Where the money goes": a favourite topic in balladry, the wife recounting to her husband at his request exactly how his earnings are expended.

An almost identical version is to be found in Roy Palmer: A Touch on the Times, pp.186-187. "The ballad ... probably gives the budget of a skilled worker, whose earnings (with the addition, possibly, of those of his wife and children), totalled at least thirty shillings a week. .. The ballad appears to have been enormously popular. It was issued by at least four different London printers and also by others in provincial centres ... There are numerous, earlier versions in which the budgets total15s., 16s., £1.1s. and £1.2s., so apparently the ballad was updated periodically to keep abreast of the rising cost of living."*

As Mr Palmer also says, the items do not add up exactly to the specified five and twenty shillings; and there are items which are not priced at all. Nevertheless, this is an interesting account of a weekly budget c.l850.


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527

For a more detailed description, see the article by Mr Palmer in Folk Review, December 1972.

(B) This is a product of the team of Michael William Balfe and Alfred Bunn.

Balfe (1808-1870), born in Dublin, came from a musical family, and grew up to be a competent violinist. He arrived in London in 1823 to study composition under Charles Edward Horn, and subsequently spent some time in Europe, where his singing voice found favour with audiences in Paris and elsewhere, though he did nothing during the period to further his reputation as a composer. In 1833 he returned to England, and was commissioned to write an opera for the opening of the new Lyceum Theatre. The Siege of Rochelle was in fact first produced instead by Bunn at Drury Lane, to great applause, in October 1835. Balfe's career as the most successful composer of English operas was thus launched, and over the next twenty years he wrote the music for more than thirty, including Falstaff (1838), commissioned by the Italian Opera, The Bohemian Girl (1843 ), The Daughter of St Mark (1844), and The Rose of Casttfe (1857).

Balfe's genius lay in the use he made of simple, sentimental ballads as the foci of the opera. Victorian audiences could not get enough of songs such as "I dreamt that I dwelt in marble halls" and "When other lips", from The Bohemian Girl; "The light of other days", from The Maid of Artozs; and the present ballad (from The Daughter of St Mark). Of the non-dramatic songs, his most popular were "By Killarney's lakes", "Come into the garden, Maud" (words by Tennyson), and "Excelsior" (words by Longfellow). (Dictionary a/National Biography; The New Grove Dictionary of Music and Musicians; Harold Simpson: A Century of Ballads, 1810-1910).

In William Alexander Barrett: Balfe, his Life and Work, the following passage occurs: "The fascinating phrases of this last song [We may be happy yet] will perhaps never fail in their attraction. It is stated that the melody as it now stands was an afterthought. At the last rehearsals the original melody to the same words was found to be unsuitable for Harrison's [the tenor's] voice. The knowledge of stage effect which had beforetime prompted Balfe to substitute a fresh finale for that which he had written for his Maid of Artois, told him that the song would "go for nothing" as it stood. Harrison also felt this though he did not trouble the composer with the expression of his thoughts, as the melody pleased him. He was therefore not unprepared for a change when Haywood St Leger, Balfe's faithful satellite, roused him at his lodgings in Margaret Street, Cavendish Square, just as he was retiring to bed late at night with the announcement "We may be happy yet". Divining the full meaning which those mysterious words implied, Harrison closed his window, hastily dressed himself, and let the welcome messenger in. They tried the song together, and such an impression did it make upon the singer's mind, that it was sung over and over again "waking the echoes with a strain they were destined to repeat, Heaven knows how often". "

Alfred Bunn (1796?-1860) became joint manager of Drury Lane and Covent Garden in 1833. He distinguished himself by bringing out the principal operas of Balfe, and personally supplied the libretto in many cases. His verses were not at all polished, but Balfe seemed to pay little attention to this. Quite often, the tune was written before the text. (See also 577 (B)). (Dictionary of National Biography; M. Willson Disher: Victorian Song).

Proper names: Edgware Road; Drury Lane; Kingston on Thames.

The strikes actually concerned the washerwomen- the poorly-paid drudges who worked for the laundresses - who included many immigrant Irish girls. They toiled in dreadful conditions for very long hours with little reward. The ballad probably dates from the 1860s.

See also 524 (A), 528 (A), 564 (B).

For notes see 524 (A).

Proper names: Warwickshire; Newcastle; [Queen] Victoria; [Brigham] Young.

See 520 for notes on the use of the alphabet.

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This ballad was written in 1872 ( cf. 52 3 ). The "Warwickshire labourers" were the agricultural workers whose action led to the formation of the National Agricultural Labourers' Union. From February 12 onwards, a number of meetings had been held near Stratford and Leamington which resulted in demands for a rise in wages and a cut in working hours. When the farmers laughed off the demands, the labourers of Welles bourne struck. On March 29 the Warwickshire Agricultural Labourers' Union was founded in Leamington: and a letter circulated nationally gave notice of the formation of a National Union, which actually came into being on May 29. (R. & E. Frow and Michael Katanka: Stnkes: a Documentary History). (See also 545).

The engineers of the ~orth-east went on strike in 1871 in support of the nine-hour day, and achieved their aim with comparatively little trouble. The Nine Hours League had been formed locally some time earlier, but had attracted the minimum of practical aid from the unions, and hardly any intervention from the government. However, the men did receive a great deal of encouragement from the general public; and many employers granted the conditions without the need for industrial action. In the rest of the country there was much rejoicing over this highly significant victory, and a crop of ballads was produced thereby. (For a complete history of the Tyneside strikes, see E. Allen & others: The NorthEast Engineers' Stn.kes of 1871: The Nine Hours League).

(A) Cf. 524, 526, 564 (B).

For notes see 524.

(B) Proper names: Tweed; Clyde.

A sentimental, even morbid, song about a lovely Scots maiden who dies, leaving her husband with a baby boy.

(A) This ballad could have appealed only to the Victorians. An oak table traces its history and foresees a fate of being broken up and used as kindling. The owner promises to cherish it for as long as he lives. There is a Dickensian feel to the piece- cf. the talking chair of "The Bagman's Story" in Pickwick Papers.

(B) See also Firth B 17 (B), and cf. 490, 530 (A), 535 (A), 538 (A), 543 (A).

A "token" ballad (see 490). A young girl has sworn to remain true to her sweetheart who has been at sea for two years. They have each retained the half of a golden ring to prove their love. The girl meets a sailor who makes advances to her, but she spurns him, whereupon he shows her his half of the ring, and declares his identity.

There is a musical arrangement of this variant by Kidson and Moffat.

Henry Parker Such was one of the true successors of Pitts and Catnach. His family business was founded in 1849 and continued through the music-hall era until 1917. Most of his earlier output consisted of country-style folk-songs, but in his later years he concentrated almost exclusively on the issuing of songs from the halls. (See 547-562).

(A) See also Firth F 32 (C).

Yet another "token" ballad (see notes on 490 etc.), also known as "Henry and Maryanne". In this version, there is no matching up of the two halves of the ring on the sailor's return: he simply leaves his ship and rejoins his sweeheart.

(B) Proper names: Loch-na-Garr; Culloden; Braemar.

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The words to "Loch-na-Garr" were by Lord Byron. "Lachin y Gair, or, as it is pronounced in the Erse, Loch na Garr, towers pre-eminent in the northern Highlands, near Invercauld. One of our modern tourists mentions it as the highest mountain, perhaps, in Great Britain. Be this as it may, it is certainly one of the most sublime and picturesque amongst our "Caledonian Alps". Its appearance is of a dusky hue, but the summit is the seat of eternal snows. Near Lachin y Gair I spent some of the early part of my life, the recollection of which has given birth to the following stanzas." (Prefixed to the poem in Hours of Idleness and Poems Original and Translated.)

The poem was written early in 1807 when Byron was in the process of putting together Hours of Idleness. It seems that while he was a pupil at Aberdeen Grammar Scho.ol, he was sent for a holiday to the valley of the Dee, where he spent many hours riding in the hills. Loch-na-Garr was one of the peaks visible in the distance.

Regarding the tune, see journal of the Folk-Song Society, Vol. 5, 1914/1917, pp.49-50. "See Old Irish Folk Music and Songs, No. 96, for Dr. Joyce's version of the air. He states that Byron's words are often sung to it by the Limerick people, and compares it with "The bunch of green Rushes that grew at the Brim" (Moore's "This Life is all chequered"). The Irish air has nothing in common with that usually associated with Byron's verses in early nineteenth century song-books such as Smith's Scottish Minstrel, etc. The words are on a broadside issued by Such."

(A) See also Firth C 60 (A).

Proper names: Maria Marten; William Corder; Ipswich.

This is probably the best-selling crime ballad of all time. The sale of execution sheets about Corder reached something in the region of 1,500,000 copies.

The literature on the Red Barn murder is prolific. Briefly, Corder, having fathered a child on Maria, arranged to meet her at the Red Barn, near Polstead in Suffolk, with a view to marrying her the next day in Ipswich. Corder paid subsequent visits to Maria's parents, assuring them of her good health. However, about a year later, her remains were found at the barn, after a search made at the instigation of Maria's mother, who claimed to have had a dream telling her of her daughter's death and the location of the grave. Maria had been shot and stabbed. Corder initially protested his innocence, but confessed to the crime in the interval between his trial and execution. (Dictionary of National Biography).

The interest generated was unparalleled. The Catnach Press worked day and night to satisfy the public demand for broadsides. (For a full account see Charles Hindley: The Lifo and Times of james Catnach; where there is a facsimile of the sheet containing the confession of Corder, with a description of the execution, and these verses, which are said to have been composed by Catnach himself).

The date given in the title is incorrect. The murder took place on May 18, 1827, and the execution on August 11, 1828.

(B) A Dibdin-like song of two sailors in a storm speculating on the dangers which city-dwellers have to face.

(A) Proper names: Whitechapel-street.

A swaggering song of an Irishman challenged by a London policeman whom he kills before making his escape. There was a very strong anti-Irish feeling in England after the 1848 rebellion.

Another version has as its anti-hero one Duncan Campbell, who deals in a similar fashion with a policeman in the streets of Edinburgh, after the latter has accused him of being an Irishman on the run. Gohn Ord, ed. The Bothy Songs ... )

(B) The words and music of this famous song were written by Charles Dibdin (born Southampton, 1745, died London, 1814). Of all the talents that Dibdin displayed during his life as dramatist, poet,

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singer, entertainer and actor, the one which stood pre-eminent was his ability to compose a nautical ballad. In his earlier days, he made his mark as a singer: when he moved to london, at about the age of fourteen, he became known as an instrumentalist before writing an operetta, The Shepherd's Artifice, produced at Covent Garden in 1762, in which he himself sang the leading pan. From this time on, he was embroiled in the world of the theatre, acting and composing, and although his unfortunate manner in dealing with his colleagues caused many problems, he brought to the stage a new dimension by his collaboration with Isaac Bickerstaffe, which resulted in such comic operas as Love in the City and Lionel and Clarissa.

Probably his first sea:."""song was "Blow high, blow low" from The Seraglio (1776), written during a dreadful passage from Calais. Altogether he composed about a hundred, and of all these "Tom Bowling" has been the most popular. It was written on the death of his elder brother Thomas, a sea-captain, and first performed in The Oddities, table entertainments produced at the Lyceum in 1788-1789. In general, the sea-songs are splendid pieces: it is said that they persuaded more men into the navy than the pressgangs ever did, and they were constantly sung by the sailors during their long days at sea. (Dictionary of National Biography; The New Grove Dictionary of Music and Musicians; Harold Simpson: A Century of Ballads, 1810-1910).

For another Dibdin song see 538 (B).


Proper names: Tamworth.

A well-known amatory ballad concerning a nobleman's daughter who, couned by a wealthy young squire, falls in love with the farmer who has been chosen to give her away. The lady resons to the stratagem of dressing as a man and hunting with dog and gun in the fields near the farmer's house. On their meeting she discovers that the farmer (who does not recognise her) loves her too. She then gives him a glove flowered with gold, saying that she found it in a field. When she arrives home, she issues a proclamation to the effect that whoever returns the glove shall be her husband. The farmer duly returns it, and they marry, whereupon she tells him of her earlier disguise.

"This is a very popular ballad, and sung in every part of England. It is traditionally reponed to be founded on an incident which occurred in the reign of Elizabeth. It has been published in the broadside form from the commencement of the eighteenth century, but is no doubt much older..." (Bell: Ancient Poems, Ballads and Songs of the Peasantry of England).

Arrangements of the song have been made by Baring-Gould and Sharp, and by Kidson and Moffat.

(B) A sailor leaves his wife and family and goes off to fight the enemy at sea. An undistinguished Victorian ballad with none of the qualities of a Dibdin product.

(A) A rousing temperance song certainly not written before 1833, as the use of the word "teetotal" (which occurs in the refrain) is unrecorded before this. It is said that Richard Turner, a follower of Joseph Livesey, the early temperance campaigner, first used the term at a meeting in Preston.

The song follows the standard pattern of the wife's complaining of her drunken husband's neglect of his family, and the lack of food and money in the house.

(B) See also 5 75.

A panegyric on the working-classes. The chorus reads: "Old England's often led the van, I But not without the labouring man." The writer dwells on the contribution made by the workers to the war effon.

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This is a folk-song, traditionally from Sussex, with many variants. It has yet another "token" theme - the young man returning from sea meets his old sweetheart who does not recognise him until he produces the half of a ring broken between them on parting. (See notes on 490 etc.).

For the tune, see journal of the Folk-Song Society, Vol. 1, 1899/1904, pp.l58-159, Vol. 4, 1910/1913, p.86, and Vol. 7, 1922/1926, pp.12-13.

(B) See also Firth B 5 (B).

A girl persuades her soldier lover to forsake war and marry her.

(A) Proper names: Edinburgh.

Also known as "Within a mile of Edinboro' "

The words are by Thomas D'Urfey, the music by James Hook. D'Urfey was born in 1653. His first play was produced in 1676, and thereafter he wrote a series of popular comedies, containing some sparkling songs set to music by such as Purcell, Farmer and Blow. The songs greatly enhanced his reputation, and encouraged him to publish A New Collection of Songs and Poems in 1683. A republication of the songs with music followed, and in 1719 the original of the present ballad, entitled "Twas within a furlong of Edinburgh town" first appeared in a further collection called Wit and Mirth; or Ptfls to Purge Melancholy. It had been sung in a play by Thomas Scott in 1696 (The Mock Mamage), and the melody attributed to both Purcell and Jeremiah Clarke. Many of D'Urfey's poems remained in favour in Scotland for long after his death in 1723 in the belief that they were native airs. (Dictionary of National Biography; Cyrus Lawrence Day: The Songs of Thomas D'Urfey).

The setting by Hook was first sung c.1780. Hook (1746-1827) was active in many fields, and had a particular flair for popular melodies, which led to such tunes as "Lucy Gray of Allendale" and "The lass of Richmond Hill". "He was fond of using the pseudo-Scottish idiom popular throughout the country, and in his capable hands it could achieve a wistful charm which led some of his tunes to be mistaken for genuine folktunes, as for example "Within a Mile of Edinboro' Town", which has appeared in more than one collection of Scottish national airs." (The New Grove Dictionary of Music and Musictans ).*

(B) A comic song with a nonsense chorus of the kind appreciated in the music-halls.

(A) See also Firth B 152.

Also occasionally known as "The tempest", or "Cease, rude Boreas". The lyrics are by George Alexander Stevens (1710-1784), who began his career as a strolling player. As an actor he received no recognition at all; but he did establish somewhat of a reputation as a wit by reason of the publication of a few dismal comic pieces for the stage.

Of the handful of songs that Stevens composed, "The storm" is the only one which can be said to contain any merit. It was written to the old air "Come and listen to my ditty; or The sailor's complaint". (Dictionary of National Biography; W. Chappell, ed. A Collection of N7Jtional English Airs).

(B) A sentimental "fill-in" about a lost love.

*Reprinted from the article by Charles Cudworth, by kind permission of Macmillan Publishers Ltd., London.

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538

539

5:40

541

(A) See also Firth C 104 (2), G 73 (1).

Proper names: Gosport; Chatham.

A popular ballad with a "token" theme (see 490 etc.), involving a sailor and a rich merchant's daughter. The style is very lively and the effect is heightened by the metre and the language.

(B) Proper names: Blackfriar's Bridge; Ranelagh; Vauxhall.

Written by Charles Dibdin (see notes on 532 (B)).

Ranelagh was an amusement area standing on the site which today forms part of the gardens of Chelsea Hospital. It took its name from the first Earl ofRanelagh, Richard Jones, who built a house with grounds there in 1690. In its heyday, from 1742 to 1803, Ranelagh, with its concerts and masquerades, rivalled Vauxhall as a place of entertainment. Its speciality was the Rotunda, containing private refreshment rooms and a promenade.

Vauxhall Gardens provided music, fireworks, exhibitions, food and drink over a period of almost two hundred years. There are numerous references in literature to its attractions - not always of a complimentary nature, as Vauxhall was a rendezvous for courtesans and rakes as well as respectable pleasure-seeking Londoners.

(A) A swashbuckling song about a former landowner turned brigand, typical of the drawing-room repertoire.

(B) A traditional piece consisting of the lament of a ninety-year-old one-time agricultural worker, musing on the old days of farming, and anticipating his end in a "Whig Bastille" (i.e. the workhouse), Probably dating from the late 1830s, as the "Bastilles" were established by the New Poor Law of 1834.

(A) Proper names: Manchester; Birmingham.

A most pessimistic song on the depressed state of the country, possibly written during the 1870s, when an agricultural slump was accompanied by a recession in the manufacturing industries, hitherto unchallenged, but now affected by the new competition from Germany and the United States.

(B) In strict contrast to the above, a Victorian anthem of optimism, advising the listener to take whatever comes and make the most of it.

(A) See also Firth B 80, E 67, E 68 (A).

Proper names: Turkey; Northumberland.

"This is a ludicrously corrupt abridgement of the ballad of Lord Beichan ... The following grotesque version [which differs little from the present version] was published several years ago by Tilt, London, and also, according to the title-page, by Mustapha Syried, Constantinople under the title of The loving ballad of Lord Bateman. It is, however, the only ancient form in which the ballad is sung in the South of England, but it is totally different to the Northern tune, which has never been published." (Robert Bell: Ancient Poems, Ballads and Songs of the Peasantry of England).

"The subject of the ballad is found under different names in many Scotch and English versions, of which the best known is that entitled Lord Bateman. Jamieson thinks that Beichan is a corruption of Buchan, a common Border sir-name". (Bell: Early Ballads ... ).

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542

543

544

The literature of this "heroic" ballad is exhaustive. See in particular journal of the Folk-Song Society, Vol. 1, 1899/1904, pp.240-241; Vol. 3, 1908/1909, pp. 192-200; and Vol. 7, 1922/1926, p.315; Bronson: The Traditional Tunes of the Chzid Ballads, Vol. 1, pp. 409-465; Vol. 4, pp.465-467; Child: English and Scottish Popular Ballads, Vol. 1, pp.454-483; Vol. 2, p.508; and Vol. 5, p.218; English and Scottish Ballads, Vol. 4, pp.1-9, 253-260.

All in all, one of the most widespread and popular ballads ever, with variants in many countries, universally containing the basic story of a nobleman captured in Turkey and set free by the captor's daughter. After seven years, she comes to England in order to marry him, but finds that he is already wedded to a local girl. Beichan willingly disencumbers himself from his new bride and takes the Turkish maiden to the altar.

The generic title of the original group is "Young Beichan": variants of the name include "Bichen", and "Bekie", which is close enough to "Beket" to have suggested that the hero's story may be based on the adventures of Gilbert Beket, father of StThomas (see Child, Vol. 1, pp.457-459). As to the spread of the ballad, there are listed in Child examples from Scandinavia, Spain and Italy.

There are musical arrangements by (notably) CJ. Sharp (one based on a Somerset version); one called "The Turkish lady" (Sussex) by Kidson and Moffat, and one by]. Goss.

(B) An insipid love-song from the parlour repertory.

(A) Proper names: Crimea; [Florence] Nightingale.

The Crimean War was declared in March 1854. Florence Nightingale made her initial offer to go out to Scutari after the Battle of the Alma in September. She left England in October with thirty eight nurses, and arrived in time to receive the wounded from Inkerman (November 5 ). Having revolutionised the sanitary conditions in the hospital wards and brought altogether a new concept to nursing practice, she arrived back in England in August 1856, continuing her mission by writing extensively on hospital reform, involving herself in the administration of various nursing societies, and being instrumental in the founding of the International Red Cross. (Dictionary of National Biography).

(B) A Scots temperance song, concerning a little boy neglected by his drunken parents. ("Raggit wean" = "ragged child".). Presumably written by a Scot for Scots, as the dialect would have been incomprehensible to a Southerner.

(A) See also Firth B 123 (B), F 10 (A), F 11 (A), F 33 (D).

A very popular traditional country love-song exhibiting another variation of the "token" theme. The young man leaves temporarily for the sea and returns to marry his girl. On this occasion the ring is given by him before his departure without breaking it. (See notes on 490 etc.)

(B) A comic tale of a young girl who manages to off-load her unwanted baby on an unsuspecting customsofficer who believes that her basket in fact contains bottles of gin.

"Bung one's eye. To drink heartily: mid-C.l8-early 19. Hence, to drink a dram: late C.18-early 19. i.e. till one's eyes close." (Partridge: The Routledge Dictionary of Historical Slang.)*

Cf. "Bung-eyed": "drunk", and Scottish "bung" = "tipsy".

(A) Proper names: O'Donnell; Loc Suilig; Saimear; [River] Bann; Desmond; O'Neil; Norris; Clifford.

Written by Michael Joseph McCann to celebrate the rising of O'Neill and O'Donnell against the English in the 1590s.

*Reprinted by kind permission of Routledge & Kegan Paul PLC.

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545

546

The English Tudors embarked on a policy of systematic control of Ireland: negotiatory tactics begun by Henry VIII (who became king of that country in 1541) were continued by Edward, Mary and Elizabeth. By 1587, Elizabeth had largely brought under her rule the whole ofLeinster, Munster and Connaught. The subjugation of Ulster proved much more difficult; the Gaelic lords mistrusted all conciliatory effons made by the English, including a settlement within their boundaries in 1591. The leading spirit in the North was Hugh O'Neill, Earl of Tyrone (c.1540-1616), a very competent general who harried the English with native mercenaries called bonnachts. In spite of increased English assaults on O'Neill's armies, little headway was being made in the colonisation of Ulster, when in 1600 the Spaniards landed at Kinsale in the South. O'Neill marched to meet them, gathering others on the way, but the Irish were unused to formal battles, and Lord Deputy Mountjoy won an overwhelming victory. In due course Ulster itself was overrun, and O'Neill formally submitted in 1603.

Marching with him to Kinsale was a contingent under the command of Hugh Roe O'Donnell, Lord of Tyrconnel (15 71-1602), who had done his own share of harassing the English and Anglo-Irish, and had been with O'Neill at the successful battle of Yellow Ford in 1597. After the Kinsale defeat he escaped to Spain, and died there in 1602.

Sir Conyers Clifford (d.1599) was appointed president of the province of Connaught in 1597. On a diversionary foray into Ulster in August 1599, on the orders of the Earl of Essex, he was attacked by a force of Irish rebels, and killed in the battle that followed.

Sir John Norris (c.1547-1597), after many continental campaigns, went to Ireland in May 1595 specifically to deal with Hugh O'Neill. It was believed that his reputation alone would quell the rebel forces: but following some preliminary skirmishes on paper, and two years of desultory negotiations, he was recalled, dying in Mallow, however, before he could return home.

(B) A melodramatic story about an orphan child taken in by a "good old English farmer".

Proper names: Ben Taylor; Mr Darlow; Huntingdonshire; Mr [Henry] Taylor.

This is a belligerent song of the 1870s concerning an agricultural labourer whose master accuses him of belonging to a union.

The Warwickshire Agricultural Labourers' Union was formed in March 1872, largely through the effons of Joseph Arch of Barford, a Methodist lay preacher. The movement spread over the Midlands and the South, and became the basis of the National Agricultural Labourers' Union. (See notes on 527).

The chorus runs: "You stingy old farmers,/ The men you have scorned,/ And you wish that Ben Taylor/ Had never been born". This could refer either to the unionist William Benjamin Taylor of Norfolk, or Benjamin Taylor, leader of the Peterborough District Union.

Mr Darlow, "a draper and grocer in Huntingdonshire", apparently gave moral support to the farm workers and had some effect in forcing the farmers to raise wages.

A Mr Taylor referred to in the last verse- "the head of the labourers' union I'm told" -must be Henry Taylor, a carpenter who was made secretary of the Union because of his former experience.

See also Firth B 36 (B), D 39 (Ah).

A popular Victorian ballad (also known as "Mary of the wild moor") of a girl with a young child refused entry by her father on a cold winter's night. The mother dies from exposure, and the baby and the father follow soon after.

547-562 These eight song-sheets of four pages each consist of three with the imprint of H.P. Such, and five of similar format but without imprint. The two identical sheets entitled "The great 'bus strike!" contain advertisements relating to Francis Bros. and Day, and may have been produced by this company, or

100

on its behalf by Such. The sheets date from the late 1880s or early 1890s.

The eighty two songs are a mixture of music-hall proper, sometimes with the names of composers, lyric writers and artistes, and drawing-room, both comic and sentimental-tragic. By this time, the broadside trade had more or less given way in the face of the production of "songsters", of which these are unsophisticated examples. Fortey and Such competed with each other in the printing and selling of music-hall songs to a more up-market audience than had been catered for by the broadsides (although ballad-style imitations still continued to appear) and the song-sheet, from humble beginnings, progressed to the coloured and decorative booklets of the turn of the century, before yielding place to the individual sheet with both words and music. O.S. Bratton: The Victorian Popular Ballad; Harold Simpson: A Century of Ballads, 1810-1910; and any of the excellent books on the history of the British music-hall).

547/548 (A) Proper names: Black Watch [Regiment]; Lord Dufferin; Lord Wolseley; Charley Beresford; Sir Frederick Roberts; [Queen] Victoria.

A plea for recognition of the· contribution to the British war effort made by the Irish (and the Scots). Dufferin, Wolseley, Beresford and Roberts are cited as Irish-born heroes who fought for England.

Frederick Temple Hamilton-Temple-Blackwood, First Marquis of Dufferin and Ava (1826-1902), was in fact born in Florence, although his forbears were Irish. He enjoyed a long and distinguished career as an administrator and diplomat.

GarnetJoseph (Viscount) Wolseley (1833-1913), was born in County Dublin. He served in the Burma War of 1852-1853, in the Crimea, and in India, China, Canada and South Africa. In 1882 he was appointed commander-in-chief of the expedition to Egypt; in 1884 of the operations in the Sudan; and from 1890 to 1895 of the forces in Ireland, and subsequently of the entire army.

Charles William de la Poer Beresford, First Baron (1846-1919), was born in Offaly. He entered the Navy in 1859, and served in the Nile expedition of 1884. From 1886 to 1888 he was a lord of the Admiralty; from 1905 to 1907 commander of the Mediterranean fleet; and from 1907 to 1909 of the Channel fleet.

Frederick Sleigh Roberts, First Earl Roberts, of Kandahar, Pretoria and Waterford (1832-1914), was born in Cawnpore, the son of a Waterford man. He took part in the Indian campaign and the Afghan War of 1878, and relieved Kandahar in 1880. In 1885 he was made commander-in-chief of the forces in India. Ten years later Roberts, as field-marshal, succeeded Wolseley as commander-in-chief in Ireland. He afterwards won recognition in the Boer War.

For other songs by Tom Maguire, see 547/548 (E), 555/556 (I), and 559/560 (D).

The firm of Charles Sheard played a leading part in the publication of popular music in late Victorian and early Edwardian times.

(B) A comic drunkard's song featuring a pub-crawl, and the usual meeting with a policeman and eventual return to a large and angry wife.

Another piece by Austin Rudd (in collaboration with Fred Eplett, for whom see 555/556 (H)) rejoiced in the title "The old man laughed with a ha! ha! ha!".

(C) A sad story of an honest jockey who dies after winning an important race which rescues the fortunes of his titled boss. In three verses only, the song manages skilfully to pack!n a wealth of detail about the jockey himself who refuses to be "got at", the rakish lord who has been "carrying on" and has squandered his wealth, and the race won by Jim, on a rank outsider, "for her ladyship's sake".

Charles Osborne wrote a number of songs popular enough a hundred years ago, but scarcely remembered today: for instance; "And the verdict was - ", "For old times' sake", "Kate O'Grady", "The naval exhibition", and "Welcome the exile home".

(D) For notes on Charles Dibdin and "Tom Bowling" see 532 (B).

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(E) A sentimental Irish ballad of a girl who proffers three leaves of shamrock to a compatriot about to emigrate, so that he might give them to her brother, along with the sad news of the family's eviction and their mother's death.

The music was composed by Elmore Vincent.

(F) "Friendly lead. An entertainment organised to assist an unlucky, esp. an imprisoned man - or his wife and children: from ca.1870; orig. c[ant]." (Eric Partridge: The Routledge Dictionary of Historical Slang).* ,...

In this case a party is held at the "Pig and Omnibus" in order to cheer up poor old Jim O'Dalley, who has just been widowed. As in an earlier example of coster song (482), the piece relies heavily on the spoken sections which are full of seemingly meaningless detail and snatches of Cockney dialogue. The costermonger song was a notable feature of the Victorian music-hall scene, and was perfected in the 1870s by Albert Chevalier and Gus Elan. For a resume of the genre, see J.S. Bratton: The Victorian Popular Ballad.

Charles Coborn was born Colin Whitton McCallum in 1852. He attempted unsuccessfully to make his name in London in the role later assumed by Harry Lauder. His first triumph under his new name was "Two lovely black eyes", and he followed this up with "The man who broke the bank at Monte Carlo". In the 1880s he worked principally as a coster comedian. (Colin Mcinnes: Sweet Saturday Night; M. Willson Disher: Winkles and Champagne).

(G) A very sentimental and paternal ballad guaranteed to produce a tearful reaction in the audience.

(H) Dan Leno (christened George Galvin) was born in St Pancras in 1860. His career began at the age of four, when he was singing and dancing in public houses. At eighteen he had won local recognition as a clog-dancer. Ten years later he joined the Drury Lane Theatre as a pantomimist, in which sphere he proved the perfect foil to Herbert Campbell: (Leno was small and thin, Campbell large and fat). Leno's speciality was his dame parts, containing a matchless blend in delivery of Cockney wit and sentiment, together with exquisite timing. The words of most of the songs he performed are quite undistinguished - on paper at least. He relied greatly on the patter interspersed with the verses, as in the present song, which contains a good deal of banter with various supposed female customers. His singing voice, in any case, left much to be desired. Leno died in 1904, three months after Herbert Campbell (for whom see 559/560 (H)). (Colin Mcinnes: Sweet Saturday Night; M. Willson Disher: Winkles and Champagne).

George Le Brunn composed the music for many successful songs, including "Oh Mr. Porter", "It's a great big shame", and "If it wasn't for the 'ouses in between". With Edgar Bateman as lyricist, he made up one of the most fruitful of music-hall writing teams, producing wonderful songs for a variety of artistes in different styles. Other performers of his work were Marie Lloyd and Gus Elan.

(I) Marie Lloyd, born Matilda Alice Victoria Wood, in Hoxton, 1870, first appeared under her stage name in June 188~. She rose dramatically to stardom after playing the halls in Ireland, and was soon appearing in London as many as five times in a night. Tours all over the world followed, and she remained queen of the stage up to her death in 1922.

Her material, which relied heavily on innuendo, was never purely vulgar. She continued the tradition of Bessie Bellwood as the bad (but not very bad) girl who could deliver even a perfectly straight song in a specially meaningful way. (Colin Mcinnes: Sweet Saturday Night; M. Willson Disher: Winkles and Champagne; ].S. Bratton: The Victorian Popular Ballad).

"Wink the other eye" was composed by George Le Brunn. This sequel is by George Ware, who was also responsible for a Marie Lloyd "special" - "The boy in the gallery".

U) A maudlin parlour ballad about a captain and his son drowned in a storm.

The music was written by Virginia Gabriel (1825-1877). (See notes on 561/562 (G)).

*Reprinted by kind permission of Routledge & Kegan Paul PLC.

102

549/550 This and the identical sheet 553/554 contain fewer of the more professional types of song evident elsewhere. The last page has advertisements for "New Edition of Francis & Day's German Concertina Tutor. Price 6d. Post Free, 7 Stamps. Francis Bros. & Day, Blenheim House, Oxford Street, W." (for notes on the firm see 5511552 (D)); and for "Maynard's New German Concertina Tutor, and Budget of Popular Comic Songs, Ballads, Dance Music, &c. (Words and Music) [with contents] Price 6d." [etc.], and "Maynard's New Melodeon Tutor" [again with list of contents].

(A) The original, also known as "Sailing", and "Y'heave ho" was written by Godfrey Marks. The very fact of a parody would have confirmed its popularity, even if this had not been proved by its appearance in a number of contemporary anthologies. Another of Marks' successes was "Little painted doll".

(B) A comic love-song which may be reasonably accurately dated by the use in it of the word "mash" (to court or ogle), first recorded in 1882, and not in general use until a few years later.

(C) A typical temperance song, in which the drunken father hears the prayer of his little daughter: "Please father don't drink any more", and reforms. In accordance with the dictates of Victorian sentiment, an unhappy ending nevertheless ensues, as little Minnie dies.

(D) Proper names: 24th Regiment; Rorke's Drift; Chard; Bromhead.

A poignant tale of a hero killed in action, still wearing the faded leaves given to him as a keepsake by his sweetheart. The author has used an actual historical event to highlight the fictional story of true love.

The Zulu Wars were the result of some years of mistrust and suspicion on the part of the Zulu leader Cetawayo and the inroads made by the Boers into African territory, together with the indecision displayed· by the British administration in Natal. Cetawayo made a series of violatory forays into land under British rule, and was presented with an ultimatum for disarmament. This was not met, and war was declared on January 11, 1879. On the 22nd, 800 men were wiped out by the Zulus at Isandhlwana: the Africans then a.dvanced on the border garrison of Rorke's Drift, where B Company 2 of the 24th Regiment was stationed, under Lieutenant Bromhead. At the time of the Zulu attack, Lieutenant John Rouse Merriott Chard was in command of the post. The garrison was safely held throughout the night by eighty men, against an enemy force of 3000. Chard was later awarded the Victoria Cross, and the incident roused tremendous enthusiasm in England.

(E) A comic song of little merit.

(F) The first verse only has been printed, and there is no trace of the chorus.

(G) This is a harrowing story of an old couple who, after sacrificing everything for their son, are rejected by him and forced to live in the workhouse.

(H) Another maudlin song, this time of a mother pining for her son who has gone away to sea. She finally learns that he is dead.

(I) The music to "Only to see her face" (the words to which are in a different class from others on this sheet) was composed by James E. Stewart.

0) A strike song (not wholly serious in its presentation), presumably relating to the great omnibus strike proclaimed on Sunday, June 7, 1891. The men were protesting about low pay and long hours - there was evidence that many were forced to work for between fifteen and nineteen hours a day. After a week of chaos, the lack of strike funds and irreconcilable internal dissensions brought the dispute to a close. The concession of a twelve-hour day was, however, won.

(K) See also 553/554 (K), 557/558 (A).

A nonsense song containing a variety of verbal dexterities.

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5511552 (A) An immensely popular ballad with words and music by Felix McGlennon, a prolific composer whose output also included: "As the church bells chime", "He's in regular employment now", "Humpyumpy-ay", "In the morning", "Motherland! or Australia will be there", "The ship I love", "Sons of the sea", "The temperance brigade", "The vulgar boy", and "You fancy yourselves, you do!". "Comrades" was made famous by the singing of Tom Costello (1863-1943 ), a Birmingham man whose speciality was the manly "heroic" ballad, though (to prove his versatility) he is best remembered for his rendition of "At Trinity Church I met my doom". It was considered to be a mark of Costello's ability that he could project the sentiment of "Comrades" without making it cloying.

McGlennon's next best-loved ballad was probably "The ship I love", the saga of a gallant captain in the merchant navy, heartily performed by Arthur Reece. (Colin Mcinnes: Sweet Saturday Night).

(B) An interesting song. The narrator is returning home late at night from a party, and witnesses various distressing scenes of poverty and despair - a starving mother and her children; a drunk; a woman killed in a fire; and an unemployed man who has known much better days. The tone is philanthropic as well as philosophical, and also rather self-congratulatory.

(C) This might have been written for any one of the great male music-hall performers. It employs the technique of dialogue interspersed with sung verses, and would have suited particularly Charles Coborn or Dan Leno. The music was written by S. Murray.

(D) For notes on Charles Coborn see 547/548 (F).

The firm of Francis Bros. & Day was originally founded by William and James Francis and David Day in 1877, as W. & ]. Francis and Day. A move from 195, Oxford Street to Charing Cross Road took place in 1897, when they became the first music publishers in the area later to be known as "Tin Pan Alley". They were the pioneers of cheap mass-produced editions of songs in sheet form, and were also notable for their great interest in the publication of songs from the halls. In 1900 the name of the firm changed to Francis, Day and Hunter. (The New Grove Dictionary of Music and Musicians).

(E) Proper names: Madrid.

Composed by Henry Trotere, b.1855, and in fact his first success. He scribbled the tune in between performances of the orchestra at the Royal Aquarium, having it in mind as a possibility for a Spanish 'cello solo. Later, thinking that it would make a good song, he sent it to Clifton Bingham, who supplied the lyrics. "Madrid" proved to be one of the best-selling ballads of the time. Other popular works of Trotere's were: "Asthore", "For your dear sake", "Home at last", "In your dear eyes", "Roses, roses everywhere", and "Within your heart".

Bingham is best remembered for ':Just a song at twilight" ("Love's old sweet song") (see 557/558 U)). although he wrote the words for many more successful tunes, including: "The scent of the mignonette", "The dear homeland", "The promise of life", "Dear heart", and "The abbot of Guise". He was associated particularly with the work of the composers Edwin Greene and Edwin St Quentin. (Harold Simpson: A Century of Ballads, 1810-1910).

The firm of Cramer was established in 1824 as Cramer, Addison & Beale, when the renowned pianist and composer Johann Baptist Cramer (1771-1858) joined the partnership of Robert Addison and Thomas Frederick Beale. It flourished as a publisher of piano music. In 1844 Addison retired and was succeeded by William Chappell, and the name of the concern became Cramer, Beale & Chappell, or Cramer, Beale & Co. Eventually it was continued by George Wood as Cramer & Co., and finally became J.B. Cramer & Co. A very large number of popular ballads appeared under the imprint.

(F) The music was written by George Le Brunn (see notes on 547/548 (H)). The song was sung "with great success" by Charles Godfrey (1851-1900), known principally for his dramatic and patriotic sketches of the Crimean War, etc. This "rollicking tipsy serenade" was, however, probably one of his best performances. (Colin Mcinnes: Sweet Saturday Night).

(G) A sea-song with a happy ending. The sailor completes a successful tour of duty, and returns to his sweetheart in England.

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5531554 Identical in every way to 549/550.

5551556 (A) Proper names: Tipperary.

A stereotyped comical Irish song by Charles Osborne (see notes on 547/548 (C)).

(B) A negro spiritual with an authentic ring which suggests that it may have been part of the repertoire of a well-established minstrel troupe.

(C) Sentimental and moralising though it is, there is a professionalism about the style in which the story is evolved. A young boy makes fun of an old man, but is told by his mother to show respect for age because "before you know it lad, you'll find your hair is turning grey".

(D) Another comic Irish song by an "unknown" writer.

(E) Properly "Ask a p'liceman": music by A.E. Durandeau, lyrics by E.W. Rogers. Durandeau composed little else that is remembered today. Two other songs of his popular at the time were ''Johnny get a van", and "Pass by". Rogers was better known as a composer; some thirty songs are credited to him, including the music-hall favourites "Following in father's footsteps" and "The Lambeth walk", as well as "The soldiers of the King", "Three little words (I love you)", and "You and I and all of us" (arranged by Durandeau).

James Fawn (1849-1923) the "prince of the red-nosed comedians", started his professional career as a low-comedy actor, but then turned to the music-hall, forming a double act with Arthur Roberts: (they also appeared in pantomime). Fawn became a soloist on the halls when Roberts broke up the act. He sang this particular song for over thirty years: often thought of as a tribute to the London "bobby", it actually embodies the working-man's sardonic outlook on the police force and its activities. (Colin Mcinnes: Sweet Saturday Night).

(F) Proper names: Galway.

The third Irish comic piece of the sheet, somewhat in the style of "McNamara's band".

(G) Written for the stage by music-hall comedian Ben Brown (1848-1911), of the double act Brown and Newland (and later the trio Brown, Newland and Leclerq), famous for their solemnly funny sketches.

(H) For notes on Charles Osborne see 547/548 (C).

George Beauchamp was born in 1863, and was first seen in public with a company touring the provinces and presenting Shakespearian and other dramatic excerpts. In 1886 he was appearing in America as a comic singer, but the acclaim he won there was not forthcoming on his return to England, and he sailed again for North America and a further tour of the concert halls. Although his success in England had been somewhat delayed, he eventually became an established star in his role as a singer of character songs. Beauchamp is best remembered as the original perpetrator of the classic "She was one of the early birds and I was one of the worms". (Roy Busby: British Music Hall).

Fred Eplett is probably best known for the music of '"E dunno where 'e are", made famous by Gus Elan; a story of a working-class Londoner who comes into "a little bit o' splosh" and forgets his former mates. He also scored "The bore o' Befnal Green", and "What do they mean by 'Ta-ra-ra-boom'?". Eplett made arrangements of a number of other tunes by various composers.

(I) For Tom Maguire see also 54 7 I 548 (A) etc.

For general notes on Marie Lloyd, see 547/548 (1).

Marie spent most of 1891 rushing from theatre to theatre in London, consolidating her new position in the halls. It was at the Oxford that she scored an enormous hit with this particular song.

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0) Katie Lawrance made a fortune from "Daisy Bell" (Daisy, Daisy, give me your answer, do), which was a raging success in England and America before conquering the rest of the world. In spite of this, she died in poverty in 1915. None of her other songs is now remembered, though the Victorians thought highly of "She looked a perfect lady", and "Rosey-Posey".

(K) A nostalgic yearning for a rural childhood.

557/558 (A) See also 549/550 (K), 553/554 (K).

(B) An undistinguished "sailing home" song by Ciro Pinsuti (1829-1888), who is credited with some twenty or so others, the most popular being "The bugler", "The last watch", "I fear no foe", and "Sleep on, dear love". (Harold Simpson: A Century of Ballads, 1810-1910).

(C) A riches-to-rags girl laments the death of her husband, lost at sea.

The music was by J.R. Thomas (1829-1896), a prolific composer with over thirty songs to his credit, including "Eileen Alannah" (which caused a sensation in the drawing-rooms of the 1880s), "Annie of the vale", "Beautiful isle of the sea", "Down by the river side I stray", "Little Willie's grave", "Must we then meet as strangers", "The rose of Killarney", and 'Tis but a little faded flower".

(D) Proper names: Egypt.

A young girl cries for her soldier sweetheart, killed in Egypt on Christmas night.

There was a total of 10,000 British troops stationed in Egypt by September 1882. They were there as a result of the rebellion of Orabi against the Khedive and the Anglo-French administrative rule. The outright British occupation began with the bombardment of Alexandria on July 11, 1882, and lasted until well into the twentieth century. The expedition gave rise to quite a number of jingoistic songs.

(E) A lament for a lost love.

The music was by W. Hendrickson.

(F) Proper names: Egypt.

A soldier returns from the Egyptian war to find that his old mother has died.

(G) A parody on ''Little blue-eyed boy''. Quite ahead of its time in the application of bizarre humour: e.g. "He's gone for ever more at the age of ninety four/ There was nothing in this world his life could save/ So I'm going to the brickfield to fulfil his last request,/ That's to plant a bunch of turnips on his grave".

(H) A truly Victorian saga of a well-born maiden deceived by her lover, cast out from her parents' home, and left to wander with her illegitimate child.

(I) Proper names: Wicklow; New York.

An Irish ballad of a mother waiting for her son who has made his fortune in New York. There are references to the wealth and freedom of America and, in contrast, the "rack-renting" landlords and evictions in Ireland.

0) Pride of place on this sheet is given to one of the world's best-loved songs.

The words were by Clifton Bingham (see notes on 551/552 (E)), who wrote them at four o'clock on a February morning in 1882. Three composers were interested in the setting of the lyrics, but only one was sufficiently keen to send a telegram requesting a meeting, and so the job was given to him.

This man was James Lyman Molloy (183 7 -1907), in certain respects the greatest of all Victorian popular

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composers, some of whose meticulously-worked tunes are in the concert repertoire to this day. Of all the titles to his account, the following are outstanding: "Bantry Bay", "The clang of the wooden shoon", "Darby and Joan" (number one in the 1880s, but later overshadowed by the present song), "Home, dearie, home", "The King's highway", "London Bridge", "Our last waltz", "Rose-Marie", "The three beggars", "To-morrow will be Friday", and "The vagabond". (Harold Simpson: A Century of Ballads, 1810-1910).

(K) A song of "home sweet home" (which is in fact its alternative title).

The music was by Julian Jordan.

559/560 (A) For Frank Egerton see also 480 (A).

Milly Hilton (or, more correctly, Millie Hylton) specialised in male impersonations ala Bessie Bonehill (see 561/562 (H)), thus carrying on the tradition which culminated in the acts of Vesta Tilley, Ella Shields and Hetty King.

(B) An out-and-out drinking song very similar to 547/548 (B).

(C) A song of duty ("Work, then, work! there's nothing gained by sighing") guaranteed to make a strong appeal to the middle classes of the late nineteenth century.

(D) Proper names: Nile.

For Tom Maguire see also 547/548 (A), 547/548 (E), 555/556 (1).

Yet another reference to the Egyptian campaign of 1882 (see 55 7 I 5 58 (D)). A young Irish soldier hears that his mother, evicted from her cottage by a land-agent, has been offered shelter by a friendly neighbour.

(E) Proper names: Hampton Court.

The music was by George Le Brunn (see notes on 547/548 (H)), and the piece provided another opportunity for Leno's speciality of interface with the audience by means of a dialogue section. A rousing chorus: "All through the woman with a coal black eye" helps to make this a good example of the music-hall "standard".

(F) Proper names: Bermuda.

For Sam Redfern see also 549/550 (E).

A sarcastic song about the joys of domesticity.

(G) Presumably a sequel to "Annie Rooney" (music by Charles Williams).

(H) Proper names: Barnet Fair.

For Charles Osborne see notes on 547/548 (C).

A very funny song to the tune (obviously) of "Comin' thro' the rye". One of Herbert Campbell's character solos of the 1880s. -

Campbell (1844-1904) began his career with a minstrel troupe, but graduated to solo performances in the role of the music-hall fat man. He was happiest in the world of the pantomime: his famous double act with Dan Leno was initiated in 1891. Later, Campbell, Leno and Harry Randall went into music-hall management, but following a number of successful years they were forced out by competition by the variety combines. The Campbell-Leno duo last performed on Boxing Day 1903 at Drury Lane. (Roy Busby: British Music Hall).

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(I) A song of unrequited love from The Bohemian Girl, by Balfe (see notes on 524 (B)).

0) Proper names: Slavin.

Charles Bignell was a minor performer on the halls who also composed a couple of parodies entitled "The minstrel boy" and "Ta-ra-ra-boom".

Joe Slavin was one of the contemporary boxing fraternity.

5611562 This sheet consists of unalloyed sentimentality. The songs are of little interest with the exception of (B) and (H).

(A) The singer is bemoaning the passing away of his entire family. His sole comfon is a violet plucked in childhood from his mother's grave.

(B) A sad tale of unrequited love.

The song is from the operetta Dorothy (1886), written by Alfred Cellier (1844-1891), which also contained the popular "Be wise in time". Cellier was known as an organist before his aspirations led him to become a theatrical composer. He held various musical appointments both in London and the provinces, and was closely associated with D'Oyly Cane and Sullivan. His first comic opera was The Sultan of Mocha (1874) and this was followed by The Tower oflnndon (1875) and Nell Gwynne (1876), of which Dorothy was a reworking.

"Queen of my heart" was always linked with Hayden Coffin, whose performance drew large crowds wherever he appeared. The song was originally called "Old dreams", and had been published with different words seven years before Dorothy.

Cellier has inevitably been compared with Sullivan, but he lacked the dramatic power which made the latter so successful. (Harold Simpson: A Century ofBallads, 1810-1910; The New Grove Dictionary of Music and Musicians).

(C) A somewhat mediocre offering in the "Comrades" vein from a not too well-known music-hall personality, whose sole venture into composing produced a song entitled "I'll tell your mother what you've done".

(D) Music by J.W. Garland.

(E) A sailor dies in a storm with a prayer for his mother on his lips.

(F) The workhouse theme is here carried to extremes. The narrator meets in succession, outside the workhouse door, a young boy; an old married couple; a girl with an illegitimate baby; a soldier with one arm and one leg; and an old woman spurned by her nine sons. Numbers one, three, four and five all die in his arms whilst he speculates on the terrible nature of the system.

In 1834, the Poor Law Amendment Act ushered in a new system to supplant the old method of parish relief. Three commissioners were employed to group the parishes into unions where workhouses might be established. No relief for the able-bodied was allowed except within the workhouse, where conditions were deliberately made harsh; and married couples were forcibly separated. It was over a hundred years before the workhouse lost its stigma.

(G) The well-tried theme of a mother keeping a light in her window for her sailor son.

The music was probably by Virginia Gabriel (1825-1877), also known for "Only", "Nightfall at sea", "Happy days", "My secret", and "Somebody's darling". (See also 547/548 0)).

(H) Harry Dacre is chiefly remembered for his composition (words and music) of "Daisy Bell" (Daisy, Daisy, give me your answer do) (see also 555/556 0)). Other pieces of his written for the halls and elsewhere include "As your hair grows whiter", "I can't think of nuthin' else", "I want to see the old

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home again", ''I'll be your sweetheart", "The lads in navy blue", "Old church bells", "Pa and rna", and "Then he died!".

Bessie Bonehill was the precursor of Ella Shields and Hetty King - the pretty and utterly feminine chanteuse who dressed as a man, and sang heroic and patriotic songs in the character of a soldier or a sailor. (Colin Macinnes: Sweet Saturday Night).

(I) Another version of the "aged mother awaiting son" theme.

0) Cf. (A) for the sentiment.

(K) This rises to new heights of pathos. The narrator, entreated by his now dead mother to keep his father from the workhouse, returns home after some years abroad to find the old man also dead.

Proper names: Earl of Shaftesbury; Miss Burdett C[o)utts; [Cuthbert] Collingwood [First Baron]; [Admiral Horatio] Nelson.

A particularly badly-printed and somewhat sarcastic hymn of praise to Shaftesbury and his ragged schools, and to the shoeblack brigades of Baroness Burdett-Coutts.

Anthony Ashley Cooper, Seventh Earl of Shaftesbury (1801-1885 ), factory reformer and philanthropist, championed numerous causes connected with social reform from the very beginning of his entry into Parliament in 1826. The voluntary schools known as "ragged Schools" had been originated by John Pounds in 1818, with the aim of providing a basic education for the thousands of slum children ~ "street Arabs" -too dirty and ragged to attend the National Schools. By the time that Shaftesbury had become recognised as the spokesman in Parliament on the education of the poor (c.1840), there were upwards of ten thousand children in attendance, many of them in the north of England and Scotland (where the institutions were known as "industrial feeding schools").

Shaftesbury was instrumental in forming the Ragged School Union, with himself as chairman, a post he held for thirty nine years. During his tenure of the office, as many as 300,000 children were brought into the system. Whilst it may be true that the organisation and method of this system would be regarded with suspicion today, there is no doubt that a beneficial influence on children who would otherwise have remained completely ignorant did in fact result from Shaftesbury's administration and financial aid. (Dictionary of National Biography) (See also Eliza Cook: A Song for the Ragged Schools, etc.).

Baroness Angela Georgina Burdett-Coutts (1814-1906) inherited a vast fortune which she proceeded to use in philanthropic pursuits. Her special interest was always the care of poor and neglected children. On the advice of Charles Dickens, she subsidised from its foundation in 1844 the Ragged School Union, and actively aided the "shoeblack brigades" established in London c.1851 to provide employment for boys from these schools. Her energetic activities in the cause of social reform continued until her death at the age of ninety two. (Dictionary of National Biography) (See also Charles Dickens the younger: Dickens's Dictionary of London, 1879).

(A) A rather trivial tale of an Irish beauty who was happy until the day she fell in love, but now laments on the shore for her sweetheart who has sailed away to foreign parts.

(B) Proper names: Petticoat Lane.

See notes on 524 and cf. 526 and 528 (A).

Sound advice in Scots dialect to a "wee bairn".

The words were written by James Ballantine, born in Edinburgh in 1808. There is no record of his enjoying any formal education, and his first employment was in the house-painting trade. He then began to learn drawing at the Trustees' Gallery under Sir William Allan, and soon became recognised

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as one of the revivalists of the art of glass-painting, on which subject he wrote and lectured, later receiving the honour of an appointment to execute the stained-glass windows for the House of Lords.

In the literary sphere, he was known as the author of several popular works such as The Gaberlunzie 's Wallet (1841), The Mzller of Deanhaugh (1845 ), and One Hundred Songs with Music (1865 ); and he published a volume of verses on his eventual retirement to Jamaica. Many of his Scots songs (including the present one) remained in currency for many years. (Dictionary of National Biography).

The verse was set to Illusic (but not in Ballantine's lifetime) by John Michael Diack (1869-1946), a prolific composer; the author of several works on composition and style; and a devotee of the traditional in music. "Creep afore ye gang" formed part of his suite of Scottish Nursery Songs.

See 481 for notes on the "hirings".

This is largely presented in a rollicking, fun-of-the-fair manner, full of bucolic merriment and innuendo, with just a touch here and there of the more serious business of wages and possible strike action.

A statute fair was one legalised by statute as opposed to custom or habit, but was virtually the same sort of gathering as a hiring-fair, held annually in certain towns and villages for the purpose of hiring farm-servants.

Examples of the usage are: 1600. Deloney: Thomas of Reading, Wks. 223, "I heare that at the Statute, folkes do come of purpose to hire servants". 1763. Bickerstaff: Love in Vzllage. l.vi. "You must know there is a statute, a fair for hiring servants, held upon my green today". 1897. Sheffield Chron[ic/e]. 16 Dec. 9 Ashbourne Statutes. - "The Annual Statutes fair for hiring farm servants was held yesterday." (A New English Dictionary on Historical Principles).

Mostly in dialogue form, but with a few rhyming verses interspersed. An example of the socio-political broadside, here aimed at the greedy and uncaring landlord and his efforts to extract rents.

Proper names: Earl Russell; Prince of Wales; Jemmy Mace; [Joe] Goss.

As so often with broadsides of this period (1860s) dealing with serious social or economic topics, the tone is jocular for the most part, and there are the usual references to persons in high places, or at least in the public eye - a device designed to heighten the comic effect.

John Russell, First Earl Russell (1792-1878), was Prime Minister during the Whig government of 1846-1852. He was created Earl in 1861, and again filled the premiership on the death of Palmerston in 1865.

The Prince of Wales: Edward, later King Edward VII (1841-1910). There is here a facetious allusion to his wife, Her Royal Highness Princess Alexandra, eldest daughter of King Christian IX of Denmark, whom he married in 1863.

'Jemmy" Mace Oames Mace, 1831-1910) was one of the foremost pugilists of the age. Two years after his first important match, in Suffolk, he was fighting in London, and soon improved to become middleweight champion on January 20, 1860. On September 1 of that year he beat Joe Goss for the first time, and also won decisively on the occasion of their second meeting on August 6, 1866.

In his fights with Goss "he maintained the old traditions of the ring, and remained incorruptible at a time when boxing was on its decline". Mace went to America in 1868, returning finally to England to keep a public house. Poverty eventually forced him to join a travelling show and tour the country exhibiting his remaining talents as a sparring-partner. (Dictionary of National Biography).

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A good example of the appeal to "feeling Christians", quite common in the nineteenth century in times of trade slumps. This one was probably issued in the 1880s.

See also Firth B 56 (B), C 127 (B).

Proper names: Ardee.

A popular traditional Irish song, lamenting the loss to another man of lovely Mary.

Ardee is a town on the River Dee, W.Coumy Louth, Republic of Ireland.

The printer's name and address have been scratched out, though he can still be identified as Harkness, 121, Church Street, Preston, one of the most successful of the provincial ballad primers.

The names of the vendors have also been erased, with the exception of "Stewart, Newcastle-upon-Tyne".

Another traditional ballad of the countryside, with the theme of a young girl dying of a broken heart for her lover whom she supposes to have been killed in the wars. He does in fact return, too late, and himself dies. The song ends with a wish: "May peace with all nations soon be concluded/ And gram every soldier may safely return."

The ballad dates from the Napoleonic War period. The long "s" is used ( cf. the Pitts ballads, 506 etc.).

A genuinely appreciative song in praise of the English wife, and commiserating with the lot of the bachelor. Probably dating from the 1840s.

Proper names: Eaglesham; River Cart; Lochgoin.

The effusions of a young poet from a well-known beauty-spot near Glasgow. The preface is worth quoting in full: "This beautiful song is from the pen of a young man belonging to Eaglesham. This being his first outburst in the poetical world, he trusts the public will grant him their favour. If this song takes the fancy of the world, the youth promises many more. To those who have not seen Eaglesham, the Poet says you cannot go too soon to behold its many charms. It stands nine miles south of Glasgow, and embraces one of the finest walks round all the greatest city in the west."

Eaglesham, formerly in south-east Renfrewshire, now in the Strathclyde region, lies about four miles south-west of East Kilbride. White Cart Water winds for five miles north-westwards all along the northeastern border of the parish. Loch Goin, now a reservoir, lies to the south-west. The moors nearby often figured in the history of the Covenant, and two of the martyrs lie in the parish churchyard. The tenant of the manor at this time was John Howie, well-known for his help in sheltering and feeding Covenanters on the run.

The postscript, unfortunately cut off at an interesting point, reads: "The Poet has many nic-nack bargains, which he is selling from [his] Box, at prices quite a treat. In consequence of his being [com]pelled to move at Whitsunday, his Box being very ungentle[man]ly taken over his head by some unknown party, the Poet's ... "

Identical to 481, q.v. for notes.

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Proper names: Buonaparte; Nelson; Wellington; Waterloo.

Identical to 534 (B), q.v. for notes.

A Napoleonic War ballad. For notes on the farmers and the price of wheat, see 502.

A gleeful, even sneering tone is evident here: the farmers "look as pale as death", "must leave off drinking wine"; and""their wives are admonished: "pull off your furbelows,/ Nor dress yourselves like painted shows,/ Put on your Iinsey-woolsey cloaths,/ You'll not mind wheat a falling." The fifth verse begins: "The French war, sir, they did not mind,/ But now the Spaniards have them join'd ... ".Napoleon realised the impossibility of invading England, and turned to the idea of inducing capitulation by stifling the British economy. He intended to close all of Europe to British merchandise, thereby bringing about a revolt of the unemployed which would force the government to sue for peace. Rigorous enforcement of the blockade on British goods had to be made throughout Europe if there was to be any hope of success. Portugal showed itself very reluctant to join in: when Charles IV of Spain allowed the French armies to cross his kingdom in their march to compel the Portuguese to comply with Napoleon's wishes, insurrections broke out in northern Spain. In April 1808, Napoleon obtained the abdication of Charles and his successor Ferdinand VII, whereupon revolts spread through the whole of the country, as the Spaniards refused to accept Joseph Bonaparte as their new king. The subsequent defeats in the Iberian peninsula at the hands of the English were a major blow to the Emperor's pride.

(A) Written by Thomas Hood (1799-1845), poet and humorist. Hood's first success was as sub-editor of the London Magazine (1822). His friendship with John Hamilton Reynolds encouraged his poetic talents, but his poems, even when published (anonymously) in book form in 1827, met with apathy. However, Odes and Addresses to Great People, issued in 1825, went through three editions. In 1826 the first series of Whims and Oddities appeared, with a second series following in 1827. In 1829 Hood edited The Gem, and from 1830 to 1839 he single-handedly produced his Comic Annuals. Money troubles forced him to live abroad from 1835 until 1840, when the generosity of friends enabled him to return to England. In 1841 he began to edit The New Monthly Magazine, which lasted for two years. A personal venture, Hood's Monthly Magazine, was embarked upon in 1844. (Dictionary of National Biography).

The present song originally appeared in the London Magazine in March 1822, as "Faithless Sally Brown", with the following introduction: "We cannot sufficiently express our gratitude to Common Sense, jun., of Leeds, for the patience and skill with which he has attempted to couch the Eyes of Lion's Head. Will Common Sense, jun. frankly tell us, (in a frank if he pleases), what we are to think of the following ballad?~'.

Reprinting the song in Whims and Oddities, Hood prefaced it thus: "The Ballad of "Sally Brown and Ben the carpenter". 'I have never been vainer of any verses than of my part in the following Ballad. Dr. Watts, among evangelical nurses, has an enviable renown- and Campbell's Ballads enjoy a snug genteel popularity. "Sally Brown" has been favoured, perhaps, with as wide a patronage as the Moral Songs, though its circle may not have been of so select a class as the friends of "Hohenlinden". But I do not desire to see it amongst what are called Elegant Extracts. The lamented Emery, - drest as Tom Tug, sang it at his last mortal benefit at Covent Garden; - and, ever since, it has been a great favourite with the watermen of the Thames, who time their oars to it, as the wherrymen of Venice time theirs to the tunes of Tasso. With the watermen, it went naturally to Vauxhall: - and over land, to Sadler's Wells. The Guards - not the mail coach, but the Life Guards, - picked it out from a fluttering hundred of others - all going to one air - against the dead wall at Knightsbridge. Cheap printers of Shoe Lane, and Cow Cross, (all pirates!) disputed about the copyright, and published their own editions, - and, in the mean time, the Authors, to have made bread of their song (it was poor old Homer's hard ancient case!) must have sung it about the streets. Such is the lot of literature! the profits of "Sally Brown" were divided by the Ballad Mongers: - it has cost, but has never brought me, a half-penny."

The ballad was set to "Wapping Time" by Jonathan Blewitt, about 1829, as No. 2 of The Ballad Singer. Blewitt (1780?-185 3) was chiefly known for his production of pantomime music for the London theatres, and was at several times director of Sadler's Wells, Vauxhall, the Tivoli Gardens etc. He also wrote

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upwards of two thousand pieces of vocal music, most of them comic songs. (Dictionary of National Biography).

(B) Words by Alfred Bunn; music by W.V. Wallace.

William Vincent Wallace (1812-1865) was born in Waterford, and received a musical upbringing in Ireland. Married in 1831, he emigrated with his family in 1835 to Tasmania, later moving to Sydney, where he was lionised as the first outstanding instrumentalist to visit Australia .. He departed in mysterious circumstances in 1838, and made for Chile, spending the next few years giving concerts in South and Central America. In 1841, he turned up in New Orleans, then in Philadelphia and Boston, and finally in New York, where he repeated his Australian triumphs. At last he returned to Europe, making appearances in Germany and Holland before settling in London, where he gave his first performance on May 1845. Soon afterwards, he was introduced to the librettist Edward Fitzball, who was much impressed by Wallace's talents. The two worked together on the opera Maritana, performed under the direction of Alfred Bunn (see notes on 524) at Drury Lane on November 15. It was an immediate success, not only with the public, but with the press too. The prophecy was that "Scenes that are brightest", one of the highlights from the opera, would be heard "in the gilded drawing-room, and under the blue canopy of the skies with the barrel-organ". Bunn seems to have gained the credit for the lyrics.

This huge success was never repeated. Later operas were failures: but Maritana alone would have been sufficient to secure Wallace's reputation in the world of serious music, as well as providing the Victorian middle-class household with a wealth of song to rival that bestowed by Balfe. (Harold Simpson: A Century of Ballads, 1810-1910; The New Grove Dictionary of Music and Musicians).

(A) Proper names: Reading.

A long narrative comic piece for the parlour or the public-house, concerning a disastrous day's bathing expedition by a Londoner to his sweetheart's near Reading. Mid-century or later.

(B) Proper names: Mallow; Wexford; Tipperary.

A traditional song of return from exile.

(A) Proper names: York.

An Irish traditional air. The hero makes good in England and the United States, and returns to Ireland and the arms of his mother and girl friend.

(B) A mock-ballad in the "Robin Hood in the greenwood" mode, suitable for drawing-room tenors.

Proper names: Sledmere; Cotley Woodboro'; Kirbyhill.

This could well have been sung to the tune of "The Lincolnshire poacher". The content is very localised: several topographical names occur. (See Roger Renwick: English Folk Poetry).

Sledmere, formerly in the East Riding of Yorkshire, now in Humberside, lies seven miles north-west of Driffield, in the heart of the Wolds. Sledmere House was the seat of the Sykes family, who revolutionised agriculture and forestry in the area during the eighteenth and nineteenth centuries.

Obviously sung to the tune of "Here we go round the mulberry bush".

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This song was probably printed by James Paul, who managed the Catnach Press along with Anne Ryle from 1838 until 1845 (see notes on 485 ).

Proper names: [River] Clyde.

A traditional Irish ballad describing the courtship of the female (Scots?) narrator by Micky Brady.

Cf. Firth F 41 (A-C), F 44 (A-C).

This sheet approximates closely to those produced by W. Birmingham of 92, Thomas Street, Dublin.

(A) See also Firth F 18 (E), F 41 (A), F 44 (A), F 50 (D).

Proper names: River Roe.

An Irish traditional ballad of a nobleman's son who meets a lovely serving-maid near the river, and makes her his wife.

The River Roe (Londonderry) rises in the Sperrin Mountains and flows into Loch Foyle.

(B) See also Firth F 41 (B), F 44 (B).

Proper names: Yorkshire.

For notes on the ballad see 488 (A).

(C) See also Firth F 41 (C), F 44 (C).

Proper names: Darner; Devonshire [family].

Also known as "The pretty girl milking her cow", "Who's the pretty girl milking her cow?", "Die schone Kuhmagd" etc. The Gaelic would transliterate better as "Cailln deas cn1idhte na mb6".

For tunes etc., see journal of the Folk-Song Society etc. passim.

A much-recorded Irish folk-song. Among the arrangements are: "It was on a fine summer's morning" (D.E. Bayford); "The gold rain of eve was descending" (A.P. Graves); and "I wandered in lonely Dunkerron" (from "Echoes of Erin" by Norman O'Neill).

The wealth of Darner was a proverbial expression in Ireland, and referred to an early eighteenth century miser who lived in Munster Uournal of the Folk-Song Society , Vol. 7, 1922).

Identical to 501, q.v. for notes.

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