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APPENDIX. |
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then lost the other), and I translated a considerable portion of its contents. Within the ewer was written, " Lady Katharine Boyd aught this book," but I did not observe a date of any kind, There may be " 1692" somewhere within it, but that can have no reference to the time of the writing. " Alas ! that I came o'er the moor," appears there under the name of Ramsay's song, " The last time I came over the moor," and that alone would disprove the date of 1692. The manuscript contains a hundred and twelve tunes, of which the tenth is " New Hilland Laddie," and the fifteenth, " God save the King."
p. 153. Tub British Grenadiers.—The words of this song cannot be older than 1678, when the " Grenadier Company" was first formed, or later than the reign of Queen Anne, when grenadiers ceased to carry hand-grenades.
p. 157. Pavan.—" Instrumental players play the Pavan faster," says Thoinot Arbeau, "and call it the Passamezzo"—Anglice, the Passing Measures' Pavan.
Puttenham says, " Songs, for secret recreation and pastime in chambers, with com.' pany or alone, were the ordinary musickes amorous; such as might be sung with voice, or to the lute, citheron, or harpe ; or daunced by measures—as the Italian pavan and galliard are at these daies in Princes' courts, and other places of honourable or civil assembly." {Art of Poesie, p. 37, reprint.) Pavana, according to Italian writers, was derived from Paduana,—and not from Paw, a peacock, as I have stated, taking Hawkins for my authority.
p. 164. Death and the Lady.—This ballad is mentioned by Oliver Goldsmith in his fourth essay :—" Every man had his song, and he saw no reason why he should not be heard as well as any of the rest: one begged to be heard while he gave Death and the Lady in high taste," &c.
p. 171. The Gipsies' Round.—Perhaps the words of this round are in Middleton's play, The Spanish Gipsy. (Dyce's Middleton, iv. 141.) They suit the tune :—
" Trip it, trip it, gipsies fine, Shew tricks and lofty capers," &c.
p. 171. Guy of Warwick.—Old Puttenham says, in his Art of Poesie, "And we ourselves, who composed this treatise, have written for pleasure a little brief Romance or Historical Ditty, in the English tong, of the Isle of Great Britain; in short and long metres, and by breaches or divisions, to he more commodiously sung to the liarpe in places of assembly where the company shall be desirous to hear of old adventures and valiaunces of noble knights in times past—as are those of King Arthur and his knights of the round table,—Sir Bevis, of Southampton—Guy of Warrvicke—and others like." (Haslewood's reprint, p. 33-4.)
p. 173. Loth to depart.—These words (by Dr. Donne) were also set by Orlando Gibbons. In his copy, they commence differently :—" Ah! dear heart, why do you rise ? "
p. 178. Crimson Velvet.—The ballad of Constance of Cleveland, here printed with the tune, was entered at Stationers' Hall, on the 11th of June, 1603, to William White, as " Of the fayre Lady Constance of Cleveland and of her disloyall Knight;" together with eight other ballads. |
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