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thering, or confluence, of the people towards the place of sport,) the poet proceeds
Ane young man stert into that steid,
As cant as ony colt,
With ane bow and ane bolt;
The weather is fair and smolt;
Of Peblis to the Play. Another allusion occurs in the twenty-fifth stanza :
He fippilit like ane fatherless foal,
And said, Be still, my sweit thing.
I may nocht rest for greiting.
To mak her blythe that meiting:
Of Peblis to the Play. It is thus established, that songs were common mat
peasantry in the earlier half of the fifteenth century; and also that there were, in particular, two songs, now lost, one beginning, “ There fure ane man to the holt," and another, “ There shall be mirth at our meeting yet.”
But by far the most valuable illustration of the state of song about the era of King James, [1424–37,] is to be found in a ludicrous vernacular poem, called Cockelby's Sow, which is known, from internal and external evidence, to have been written before the middle of the fifteenth century, although the earliest copy of it is in the Bannatyne Manuscript, dated only 1568. Cockelby's Sow, in language, and style of description, makes a much nearer approach to the mo• Went.
+ Wood. b
dern productions of the Scottish muse, than any other work produced before the days of Semple and Ramsay. On this account, and as it describes a scene of coarse rustic festivity, there is the strongest probability that the names of tunes contained in the following extract, refer expressly to those ballads and songs which were popular at the time when the poem was composed.
And his cousin Copyn Cull
Treysbank and Terway,
Than all arrayit in a ring,
“ Of the airs mentioned in this poem,” says Mr Leyden, in bis Notes to “ The Complaynt of Scotland,” “ I suspect Twysbank to be the appropriate tune of a song preserved in the Bannatyne MS., which com
When Tayis bank wes blomit brycht. Owirfute and Orliance are mentioned, in a curious poem on the ? Laying of a Ghaist,' in the Bannatyne MS., which begins
Listis, lordis, I sall you tell. Lutecok is mentioned in Mr Constable's Cantus of the end of the 17th century, as likewise My deir derling, which is there termed. My dayes darling.""
I may further venture to express a conjecture, that Trolly lolly is the same song with Trollee lollee lemman-dow, which is mentioned in the Complaynt of Scotland, 1549, and also with that wbich Mr Ritson has printed in his “ Ancient Songs,” under the title of Trolley lollee. Cok craw thou qll day, may be the same with the well-known song called “ Saw ye my
Father ?” in which a lover, entering his mistress's bower, gives direction to the cock, as follows:
Flee up, flee up, my bonnie gray cock,
And craw when it is day;
And your wings o' the siller gray. Upwards of half a century elapses after the period of Cockelby's Sow, before any other traces of the existence of song are to be found in authentic memoirs. The prologues to Gawin Douglas's translation of Vir. gil, written at latest in 1513, contain the names or first lines of a few, as follow :
On salt stremis walk Dorida and Thetis,
“ The ship sails ower the saut faem,
My heart is lent upon sae gude a wicht.” In the same prologue-the twelfth,- another oc
our awin native bird, gentil dow, Singand on her kynd, “ I come hither to wow." Could this be a primitive version of the well-known song, “ Rob's Jock cam to woo our Jenny,” which was
• Probably songs with which the ring dance was accompanied.
+ Rounds is one of the denominations of song enumerated by Fabyan, in regard to a transaction already mentioned.
written down in the Bannatyne manuscript anno 1568, or of, “ I hae laid a herring in saut ?"
Allusion is made, in the thirteenth prologue, to a song which is fortunately preserved :
Thereto thir birdis singis in their schawis,
song here mentioned must unquestionably be the same with one which is found in a collection of musi. cal pieces written about the year 1500, out of compliment to Elizabeth, daughter of Edward IV.,
and sort of Henry VII., and which is preserved in the Fairfax Ms.
This day day dawes,
And I must home gone.
And ever she sang,
This fragment is extremely valuable, as proving that, at the commencement of the sixteenth century, there were songs common to the literate classes of both nations. Its tune, at least, seems to have continued a favourite in Scotland, for a long period after the days of Gawin Douglas, Bishop of Dunkeld. Dunbarthe cleverest of all the old Scottish poets-who flourished
Elizabeth was herself called the White Rose, because she represented the House of York, whose cognizance it was, and might be said metaphorically to have added that flower to the Red Rose of the House of Lancaster, borne by her husband.