ADDITIONS AND CORRECTIONS[126]

P. 1. Rawlinson MS. D. 328, fol. 174 b., Bodleian Library.

I was unaware of the existence of this very important copy until it was pointed out to me by my friend Professor Theodor Vetter, of Zürich, to whom I have been in other ways greatly indebted. It is from a book acquired by Walter Pollard, of Plymouth, in the 23d year of Henry VI, 1444-5, and the handwriting is thought to authorize the conclusion that the verses were copied into the book not long after. The parties are the fiend and a maid, as inC,D, which are hereby evinced to be earlier thanA,B. The “good ending” ofA,B, is manifestly a modern perversion, and the reply to the last question inA,D, ‘The Devil is worse than eer woman was,’ gains greatly in point when we understand who the so-called knight really is. We observe that in the fifteenth century version, 12, the fiend threatens rather than promises that the maid shall be his: and so inE, V, 205.

Interdiabolus et virgo.

1Wol ȝe herea wonder thyngeBetwyxt a maydandþe fovle fende?2Thys spake þe fend to þe mayd:‘Beleue on me, mayd, to day.3‘Mayd, mote y thi leman be,Wyssedom y wolleteche the:4‘All þe wyssedom off the world,Hyf þou wolt be trueandforward holde.5‘What ys hyer þan ys [þe] tre?What ys dypper þan ys the see?6‘What ys scharpper þan ys þe þorne?What ys loder þan ys þe horne?7‘What [ys] longger þan ys þe way?What is rader þan ys þe day?8‘What [ys] bether than is þe bred?What ys scharpper than ys þe dede?9‘What ys grennerþan ys þe wode?What ys swetterþan ys þe note?10‘What ys swifterþan ys the wynd?What ys recherþan ys þe kynge?11‘What ys ȝeluerþan ys þe wex?What [ys] softerþan ys þe flex?12‘But þou now answery me,Thu schalt for soþe my leman be.’13‘Ihesu, for þy myld myȝth,As thu art kyngeand knyȝt,14‘Lene me wisdome to answere hereryȝth,And schylde me fram the fovle wyȝth!15‘Heweneys heyer than ys the tre,Helle ys dypper þan ys the see.16‘Hongyr ys scharpperthan [ys] þe thorne,Þonder ys lodder than ys þe horne.17‘Loukyngeys longerthan ys þe way,Syn ys rader þan ys the day.18‘Godys flesse ys beturþan ys the brede,Payne ys strengerþan ys þe dede.19‘Gras ys grennerþan ys þe wode.Loue ys swetterþan ys the notte.20‘Þowt ys swifterþan ys the wynde,Ihesusys recher þan ys the kynge.21‘Safer is ȝeluerthan ys the wexs,Selke ys softerþan ys the flex.22‘Now, thu fende,styl thu be;Nelleich speke no morewiththe!

1Wol ȝe herea wonder thyngeBetwyxt a maydandþe fovle fende?

Wol ȝe herea wonder thynge

Betwyxt a maydandþe fovle fende?

2Thys spake þe fend to þe mayd:‘Beleue on me, mayd, to day.

Thys spake þe fend to þe mayd:

‘Beleue on me, mayd, to day.

3‘Mayd, mote y thi leman be,Wyssedom y wolleteche the:

‘Mayd, mote y thi leman be,

Wyssedom y wolleteche the:

4‘All þe wyssedom off the world,Hyf þou wolt be trueandforward holde.

‘All þe wyssedom off the world,

Hyf þou wolt be trueandforward holde.

5‘What ys hyer þan ys [þe] tre?What ys dypper þan ys the see?

‘What ys hyer þan ys [þe] tre?

What ys dypper þan ys the see?

6‘What ys scharpper þan ys þe þorne?What ys loder þan ys þe horne?

‘What ys scharpper þan ys þe þorne?

What ys loder þan ys þe horne?

7‘What [ys] longger þan ys þe way?What is rader þan ys þe day?

‘What [ys] longger þan ys þe way?

What is rader þan ys þe day?

8‘What [ys] bether than is þe bred?What ys scharpper than ys þe dede?

‘What [ys] bether than is þe bred?

What ys scharpper than ys þe dede?

9‘What ys grennerþan ys þe wode?What ys swetterþan ys þe note?

‘What ys grennerþan ys þe wode?

What ys swetterþan ys þe note?

10‘What ys swifterþan ys the wynd?What ys recherþan ys þe kynge?

‘What ys swifterþan ys the wynd?

What ys recherþan ys þe kynge?

11‘What ys ȝeluerþan ys þe wex?What [ys] softerþan ys þe flex?

‘What ys ȝeluerþan ys þe wex?

What [ys] softerþan ys þe flex?

12‘But þou now answery me,Thu schalt for soþe my leman be.’

‘But þou now answery me,

Thu schalt for soþe my leman be.’

13‘Ihesu, for þy myld myȝth,As thu art kyngeand knyȝt,

‘Ihesu, for þy myld myȝth,

As thu art kyngeand knyȝt,

14‘Lene me wisdome to answere hereryȝth,And schylde me fram the fovle wyȝth!

‘Lene me wisdome to answere hereryȝth,

And schylde me fram the fovle wyȝth!

15‘Heweneys heyer than ys the tre,Helle ys dypper þan ys the see.

‘Heweneys heyer than ys the tre,

Helle ys dypper þan ys the see.

16‘Hongyr ys scharpperthan [ys] þe thorne,Þonder ys lodder than ys þe horne.

‘Hongyr ys scharpperthan [ys] þe thorne,

Þonder ys lodder than ys þe horne.

17‘Loukyngeys longerthan ys þe way,Syn ys rader þan ys the day.

‘Loukyngeys longerthan ys þe way,

Syn ys rader þan ys the day.

18‘Godys flesse ys beturþan ys the brede,Payne ys strengerþan ys þe dede.

‘Godys flesse ys beturþan ys the brede,

Payne ys strengerþan ys þe dede.

19‘Gras ys grennerþan ys þe wode.Loue ys swetterþan ys the notte.

‘Gras ys grennerþan ys þe wode.

Loue ys swetterþan ys the notte.

20‘Þowt ys swifterþan ys the wynde,Ihesusys recher þan ys the kynge.

‘Þowt ys swifterþan ys the wynde,

Ihesusys recher þan ys the kynge.

21‘Safer is ȝeluerthan ys the wexs,Selke ys softerþan ys the flex.

‘Safer is ȝeluerthan ys the wexs,

Selke ys softerþan ys the flex.

22‘Now, thu fende,styl thu be;Nelleich speke no morewiththe!

‘Now, thu fende,styl thu be;

Nelleich speke no morewiththe!

22. Be leue.

31. the leman.

32. theche.

132. knyȝtseems to be altered toknyt.

142. fold: cf. 12.

192. lowe.

Pollardeis written in the left margin of 221. andWALTERVS POLLARDbelow the last line of the piece.

[‘Inter Diabolus et Virgo’ is printed by Dr Furnivall in Englische Studien, XXIII, 444, 445, March, 1897.]

P. 2 f., 484 a, II, 495 a, IV, 439 a. Slavic riddle-ballads. Add: Romanov, I, 420, No 163 (White Russian).

P. 7. Of the custom of a maid’s making a shirt for her betrothed, see L. Pineau in Revue des Traditions Populaires, XI, 68. A man’s asking a maid to sew him a shirt is equivalent to asking for her love, and her consent to sew the shirt to an acceptance of the suitor. See, for examples, Grundtvig, III, 918. When the Elf in ‘Elveskud,’D9, Grundtvig, II, 116, offers to give Ole a shirt of silk, it is meant as a love-token; Ole replies that his true love had already given him one. The shirt demanded by the Elfin Knight may be fairly understood to have this significance, as Grundtvig has suggested. So, possibly, in ‘Clerk Colvill,’ No 42,A5, I, 387, considering the relation of ‘Clerk Colvill’ and ‘Elveskud.’ We have silken sarks sewn by a lady’s hand in several other ballads which pass as simple credentials; as in ‘Johnie Scot,’ No 99,A12, 13,D6,E2,H4, 5, II, 379, 385, 389; etc. Here they may have been given originally in troth-plight: but not in ‘Child Maurice,’ No 83,D7,F9, II, 269, 272.

7, 8, 484 a, II, 495 a, III, 496 a, IV, 439 a, V, 205 b. Add: ‘Les Conditions impossibles,’ Beauquier, Chansons p. recueillies en Franche-Comté, p. 133.

White Russian.Šejn, Materialy, I,I, 494, No 608 (shirt, etc.).Croatian, Marjanović, ‘Dar i uzdarje,’ p. 200, No 46.

8 ff. Questions and tasks offset by other questions and requisitions in the Babylonian Talmud. See Singer, Sagengeschichtliche Parallelen aus dem babylonischen Talmud, Zeitschrift des Vereins für Volkskunde, II, 296.

11, note *, 12. The story of the two mares is No 48 of R. Schmidt’s translation of the Çukasaptati, p. 68 ff.; that of the staff of which the two ends were to be distinguished, No 49, p. 70 f. The Clever Wench (daughter of a minister) appears in No 52, p. 73 ff., with some diversities from the tale noted at p. 12 b, 2d paragraph. More as to the Clever Wench in R. Köhler’s notes to L. Gonzenbach’s Sicilianische Märchen, now published by J. Bolte in Zeitschrift des Vereins für Volkskunde, VI, 59. [See also Radloff, Proben der Volkslitteratur der nördlichen türkischen Stämme, VI, 191-202.]

17 f., 484 f., II, 495 f., IV, 439 f., V, 206. The Journal of American Folk-Lore, VII, 228 f., gives the following version, contributed by Miss Gertrude Decrow of Boston, in whose family the song has been traditional.

1As I walked out in yonder dell,Let ev’ry rose grow merry in timeI met a fair damsel, her name it was Nell,I said, ‘Will you be a true lover of mine?2‘I want you to make me a cambric shirtWithout any seam or needlework,And then you shall be, etc.3‘I want you to wash it on yonder hill,Where dew never was nor rain never fell.4‘I want you to dry it on yonder thorn,Where tree never blossomed since Adam was born.’5‘And since you have asked three questions of me,Let ev’ry rose grow merry in timeNow and I will ask as many of thee,And then I will be a true lover of thine.6‘I want you to buy me an acre of landBetween the salt sea and the sea-sand,And then, etc.7‘I want you to plough it with an ox’s horn,And plant it all over with one kernel of corn.8‘I want you to hoe it with a peacock’s feather,And thrash it all out with the sting of an adder,And then,’ etc.

1As I walked out in yonder dell,Let ev’ry rose grow merry in timeI met a fair damsel, her name it was Nell,I said, ‘Will you be a true lover of mine?

As I walked out in yonder dell,

Let ev’ry rose grow merry in time

I met a fair damsel, her name it was Nell,

I said, ‘Will you be a true lover of mine?

2‘I want you to make me a cambric shirtWithout any seam or needlework,And then you shall be, etc.

‘I want you to make me a cambric shirt

Without any seam or needlework,

And then you shall be, etc.

3‘I want you to wash it on yonder hill,Where dew never was nor rain never fell.

‘I want you to wash it on yonder hill,

Where dew never was nor rain never fell.

4‘I want you to dry it on yonder thorn,Where tree never blossomed since Adam was born.’

‘I want you to dry it on yonder thorn,

Where tree never blossomed since Adam was born.’

5‘And since you have asked three questions of me,Let ev’ry rose grow merry in timeNow and I will ask as many of thee,And then I will be a true lover of thine.

‘And since you have asked three questions of me,

Let ev’ry rose grow merry in time

Now and I will ask as many of thee,

And then I will be a true lover of thine.

6‘I want you to buy me an acre of landBetween the salt sea and the sea-sand,And then, etc.

‘I want you to buy me an acre of land

Between the salt sea and the sea-sand,

And then, etc.

7‘I want you to plough it with an ox’s horn,And plant it all over with one kernel of corn.

‘I want you to plough it with an ox’s horn,

And plant it all over with one kernel of corn.

8‘I want you to hoe it with a peacock’s feather,And thrash it all out with the sting of an adder,And then,’ etc.

‘I want you to hoe it with a peacock’s feather,

And thrash it all out with the sting of an adder,

And then,’ etc.

19J.At p. 229 of the same are these stanzas from a version contributed by Mrs. Sarah Bridge Farmer, as learned from an elderly lady born in Beverly, Massachusetts.

Can’t you show me the way to Cape Ann?Parsley and sage, rosemary and thymeRemember me to a young woman that’s there,In token she’s been a true lover of mine.

Can’t you show me the way to Cape Ann?

Parsley and sage, rosemary and thyme

Remember me to a young woman that’s there,

In token she’s been a true lover of mine.

(“The requirements which follow are identical with those of the previous version. There is an additional stanza:”—)

And when he has done, and finished his work,If he’ll come unto me, he shall have his shirt,And then he shall be, etc.

And when he has done, and finished his work,

If he’ll come unto me, he shall have his shirt,

And then he shall be, etc.

The copy in The Denham Tracts, II, 358, from D. D. Dixon’s tractate on The Vale of Whittingham, Newcastle-upon-Tyne, 1887, has been given from elsewhere at II, 495.

P. 25,B. Een Liedeken van den Heere van Haelewyn, with trifling verbal differences from Hoffmann’s text, in Oude Liedekens in Bladeren, L. van Paemel, No 25. The copy in Nederlandsch Liederboek, Gent, 1892, II, 1, No 44, ‘Van Heer Halewijn,’ is Willems’s.

27 a, 32 a, 37 b, 487 b. Lausen des Kopfes durch das Mädchen: notes by R. Köhler to L. Gonzenbach’s Sicilianische Märchen, now published by J. Bolte, Zeitschrift des Vereins für Volkskunde, VI, 62. [Cf. Georgeakis et Pineau, Folk-lore de Lesbos, p. 257.]

29-37, 486 a, III, 497 a, IV, 441 a, V, 206 f.GG,HH,’Der Ritter im Walde,’ Herrmann u. Pogatschnigg, Deutsche V.-L. aus Kärnten, Salon-Ausgabe, p. 33; ‘Es ritt ein Räuber wohl über den Rhein,’ Wolfram, Nassauische Volkslieder, p. 61, No 33, resembleN-R: Liedlein von dreierlei Stimmen; eleven (two) warning doves, three cries, to father, mother, brother; huntsman-brother rescues sister and disposes of the knight or robber.

Böhme, in his edition of Erk’s Deutscher Liederhort, I, 118-146, 1893, prints twenty German versions under numbers 41, 42. Of these 41i, 42k, 42iare of oral derivation, and 42his from Erk’s papers. Böhme notes two other copies taken down from singing, and one in MS., which he does not give. Judging by what has been given, what has been withheld must be of trifling value.

486 a, V, 207 a,DD. So ‘Als die wunderschöne Anna auf dem Brautstuhle sass,’ Wolfram, p. 66 f., No 39 a; and No 39 b, which is even worse preserved. Again, ‘Die wunderschöne Anna auf dem Rheinsteine,’ K. Becker, Rheinischer Volksliederborn, p. 20, No 17.

37 f.,A. Add: ‘Der Reiter u. die Kaiserstochter,’K. Becker, Rheinischer Volksliederborn, p. 15, No 12.

41-44, III, 497 b, V, 207 a. Pair (or one of a pair) riding a long way without speaking. Add: ‘Los dos hermanos,’ Milá, Romancerillo catalan, 2d ed., p. 234, No 250: “Siete leguas caminaron, palabra no se decian.” Add also: Afzelius (1880), I, 21, st. 22.

42 a, 488 a. SixRutheniancopies (in two of which the girl is a Jewess), Kolberg, Pokucie, II, 20-25, Nos 21-26.White Russianversions of the ballad of the Jewess in Šejn, I, I, 490 f., Nos 604, 605; Romanov, I,II, 199, No 46.

P. 50, note ‖; IV, 441 b. Leprosy cured by (children’s) blood. See G. Rua, Novelle del “Mambriano,” pp. 84, 88 ff. The story about Constantine’s leprosy (Reali di Francia, lib. 1, c. 1) occurs also in Higden’s Polychronicon, Lumby, V, 122 ff., and in Gower, Confessio Amantis, bk.II, Pauli, I, 266 ff. See also Ben Jonson, Discoveries, ed. Schelling, p. 35 (G. L. K. and W. P. Few). [See Prym u. Socin, Kurdische Sammlungen, pp. 35, 36. H. von Wlislocki, M. u. S. der Bukowinaer u. Siebenbürger Armenier, pp. 60, 61. The latter gives a number of references for the story about Constantine. Cf. also Dames, Balochi Tales, No 2, in Folk-Lore, III, 518.]

IV, 441 b, 3d paragraph. Another ballad (White Russian) in which the girl is burned, Šejn, Materialy, I,I, 492, No 606.

57.D awas derived “from the housekeeper at Methven.” Sharpe’s Ballad Book, ed. 1880, p. 130.

IV, 442 a, 1st paragraph. Both hands are of the 18th century.

P. 67. What is said of thebilwizmust be understood of the original conception. Grimm notes that this sprite, and others, lose their friendly character in later days and come to be regarded as purely malicious. See also E. Mogk in Paul’s Grundriss der germ. Philologie, I, 1019.

72. Splendid ships. See also Richard Coer de Lion, 60-72, Weber’s Metrical Romances, II, 5 f.; Mélusine, II, 438 f.

Some of the French ships prepared for the invasion of England in 1386 had the masts from foot to cap covered with leaves of fine gold: Froissart, ed. Buchon, X, 169. King Henry the Eighth in 1544 passed the seas in a ship with sails of cloth of gold: Lord Herbert of Cherbury, Life and Raigne of King Henry the Eighth, 1649, p. 513. When Thomas Cavendish went up the Thames in 1589, his seamen and soldiers were clothed in silk, his sails were of damask, “his top-masts cloth of gold.” Birch, Memoirs of the Reign of Q. Elizabeth, 1754, I, 57.

P. 82 ff. Hindering childbirth. Notes by R. Köhler to Laura Gonzenbach’s Sicilianische Märchen, now published by J. Bolte, Zeitschrift des Vereins für Volkskunde, VI, 63.

[P. 95 f, 489 b, III, 498 a, IV, 443 a. Death-naming, etc. See also W. R. Paton, Holy Names of the Eleusinian Priests, International Folk-lore Congress, 1891, Papers and Transactions, p. 202 ff.]

96 f., 489 f, II, 498, III, 498, IV, 443, V, 207.

Swedish.Cf. Kristensen, Jyske Folkeminder, XI, 293.

Romaic.See Ζωγραρεῖος Ἀγών, p. 170, No 321. [Georgeakis et Pineau, Folk-lore de Lesbos, pp. 208, 221.]

Italo-Albanian.De Grazia, Canti pop. albanesi, p. 102, No 11.

[Turkish.Sora Chenim went down into the graveof Täji Pascha, which opened to receive her. The “black heathen” ordered one of his slaves to slay him and bury him between the two. “Da wuchs Täji Pascha als eine Pappel aus dem Boden hervor, Sora Chenim wuchs als ein Rosenstrauch hervor. Zwischen diesen Beiden wuchs der schwarze Heide als ein Dornbusch hervor,” etc. Radloff, Proben der Volkslitteratur der nördlichen türkischen Stämme, VI, 246.]

100. Looking over the left shoulder. I, 100 f.,A21,B4; 103,E1; 464, 21; 490, 14 (left collar-bane); 492, 3; III, 259, 20; 263, 20; 264, 24; 339, 7; 368, 11; 369, 13; 413, 37; 465, 35; 488, 32; 13, 13; 15, 18; 17, 8; 18, 4; 20, 6; 52, 5; 135, 24; 445, 11; 518, 9; 519, 10; 520, 9. [In IV, 11, 21, it is the right shoulder.]

At I, 464, III, 259, 263 f., 339, 368 f, 413, IV, 135, the person looking over the left shoulder is angry, vexed, or grieved; in the other cases, no particular state of feeling is to be remarked. Undoubtedly the look over the left shoulder had originally more significance, since, under certain conditions, it gave the power of seeing spectres, or future events (but looking over the right shoulder had much the same effect). See A. Kuhn, Sagen, u. s. w., aus Westfalen, I, 187, No 206, and his references; and especially Bolte, in Zeitschrift des Vereins für Volkskunde, VI, 205-07 (using R. Köhler’s notes). After sowing hemp-seed in the Hallowe’en rite, you look over your left shoulder to see your destined lass or lad. See note to Burns’s Hallowe’en, st. 16.

P. 124 a, 4th paragraph. The ballad in Schlegel’s Reisen is simply a threnody in Esthonian marriage ceremonies over the carrying away of the bride to her husband’s house, and is not to the point.

125, 493 b, II, 498 b, III, 499 a, IV, 447 b, V, 208 b. ‘L’os qui chante:’ M. Eugène Monseur has continued his study of this tale in Bulletin de Folklore, I, 39-51, 89-149, II, 219-41, 245-51. See also Bugiel in Wisła, VII, 339-61, 557-80, 665-85.

[See also ‘Die Geschichte von zwei Freunden,’ Socin u. Stumme, Dialekt der Ho͜uwāra des Wād Sūs in Marokko, pp. 53, 115, Abhandlungen der Phil.-hist. Classe der K. Sächs. Gesellschaft der Wissenschaften, XV.]

[On disclosure by musical instruments see Revue Celtique, II, 199; Hartland, Legend of Perseus, I, 193. F. N. Robinson.]

126 a. [For a parallel to the South African tale see Jacottet, Contes pop. des Bassoutos, p. 52.]

126 b.Cis also translated by H. Schubart in Arnim’s Tröst Einsamkeit, 1808, p. 146.

P. 144 a. For ‘Frau von Weissenburg,’ ‘Frau von der Löwenburg,’ ‘Junker Hans Steutlinger,’ see Erk, ed. Böhme, Nos. 102, 103, I, 360 ff.

144 b, 2d paragraph, V, 208 b. Add: ‘Le Testament du Chien,’ Bédier, Les Fabliaux, 2d ed., p. 473; ‘Testament de la vieille Jument,’ ‘de la vieille Truie,’ ‘de la Chèvre,’ Luzel, Chansons pop. de la Basse-Bretagne, II, 88-97. ‘The Robin’s Last Will,’ Miss M. H. Mason’s Nursery Rhymes and Country Songs, p. 41.

P. 153 a.German.Two other copies in Böhme’s Erk, No 190 b, I, 582.

[154 a; IV, 449 b.Danish.‘Den forgivne Datter,’ Grundtvig-Olrik, No 341, Ridderviser, I, 146 ff., two versions:A=Kristensen, Jyske Folkeminder, No 92, X, 358;B, that communicated to Professor Child by Professor Grundtvig and mentioned in I, 154. Olrik mentions 7Swedishcopies, 5 of them unprinted.]

156 a, III, 499 b, V, 208 b. ‘Donna Lombarda.’ See Archivio, X, 380. [See also ‘Utro Fæstemø vil forgive sin Fæstemand,’ in the Grundtvig-Olrik collection, No 345, Ridderviser I, 165 ff., 3 versionsA-C(A,B, from MS. sources going back in part to the 16th century;C, from oral tradition, printed by Kristensen, Jyske Folkeminder, No 19, I, 49, No 56, X, 234). Olrik, in an elaborate introduction, studies the relations of the Danish ballad (which is found also in Norse, Bugge’s MS. collections, No. 221) to ‘Donna Lombarda’ and to the history of the sixth century Lombard queen Rosemunda. He opposes the views of Gaston Paris, Journal des Savants, 1889, pp. 616 ff., and holds that ‘Donna Lombarda,’ ‘Utro Fæstemø,’ (his No 345), ‘Giftblandersken’ (his No 344), ‘Fru Gundela’ (see above I, 156 b), and the Slavic ballads of the sister who poisons her brother at the instigation of her lover, are all derived from thesagaof Rosemunda. He even regards ‘Old Robin of Portingale,’ No 80, II, 240, as related to the ‘Utro Fæstemø.’ See below, p. 295.]

156 b, 499 a, II, 499 a, III, 499. The ballad of the maid who poisons her brother and is rejected by the man she expects to win in Lithuanian, Bartsch, Dainu Balsai, I, 172 ff., No 123 a, b. More ballads of poisoning, sister poisoning brother at the instance of her lover, girl poisoning her lover, and at col. 306 one resembling Lord Randal, Herrmann, Ethnologische Mitteilungen aus Ungarn, I, cols 292-308 (with an extensive bibliography). Herrmann’s collections upon this theme are continued from cols 89-95, 203-11. [Cf. the Danish ballad ‘Tule Slet, Ove Knar og Fru Magnild,’ Grundtvig-Olrik, No. 350, Ridderviser, I, 186, where, however, the murderess uses a knife.]

157. Compare, for dialogue and repetition, the Catalan ballad ‘El Conde Arnau,’ Milá, Romancerillo, No 78, p. 67; where, however, the first half of the third line is also regularly repeated in the fourth.

‘¿Tota sola feu la vetlla, muller lleyal?¿Tota sola feu la vetlla, viudeta igual?’‘No la faig yo tota sola, Comte l’Arnau,No la faig yo tota sola, valga ’m Deu, val!’

‘¿Tota sola feu la vetlla, muller lleyal?

¿Tota sola feu la vetlla, viudeta igual?’

‘No la faig yo tota sola, Comte l’Arnau,

No la faig yo tota sola, valga ’m Deu, val!’

157 b.Ais translated by Professor Emilio Teza. ‘L’Avvelenatrice, Canzone Boema,’ Padova, 1891, p. 12. [Atti e Memorie della R. Accademia di Scienze, Lettere ed Arti in Padova, Nuova Serie, VII, 234.]

P. 167, 501 b, III, 499 b, V, 209 b. ‘Svend i Rosensgaard’ is No 340 in the Grundtvig-Olrik collection of Danish ballads, Ridderviser, I, 142. Danish versions are limited to three, of which the second is a fragment and the third a copy from Norway in all but pure Danish. Of Swedish versions eleven are enumerated, besides a half-comic copy from a manuscript of 1640, or older, which is spun out to 33 stanzas. As before remarked, a palpable tendency to parody is visible in some of the Scandinavian specimens.

P. 170, 501 b, II, 499 a, III, 499 f., IV, 450 a, V, 209 b. ‘Hr. Truelses Døtre’ is No 338 of the Danish ballads in the continuation of Grundtvig’s collection by Dr. Axel Olrik, Danske Ridderviser, 1895, I, 114, where the ballad is subjected to a minute study. The existence of a ballad is mentioned in 1624, and indicated as early as 1598. There are Danish, Swedish, and Icelandic versions of the 17th century, and numerous later copies, Danish, Swedish, Norwegian, and Färöe: Danish, in all, 10, one of the 17th century; Swedish 12, 4 of the 17th century; Norwegian 6; Färöe 4. Five of the Norwegian copies take the direction of the Icelandic and Färöe in the treatment of the story. Two varieties of the ballad may be specially distinguished: one in which we have the miracle of a light burning or a fountain (fountains) springing over the place where the maids were murdered (called by Olrik the legendary form), the other in which the career and fate of the sons are made prominent. The “legendary” versions are the older. In these the maids are regarded as martyrs, and popular religious observances in connection with the miraculous fountains and in commemoration of the murdered maids have been kept up into the present century. The story is localized in not less than thirteen Danish accounts and others in Sweden.

II, 499 a, III, 500, V, 209 b. Add to the French ballads a copy, which has lost still more of the characteristic traits, obtained by M. Couraye du Parc in Basse-Normandie: Études romanes dédiées à Gaston Paris, 1891, p. 47, No 10.

II, 499 a. A Ruthenian story like that of the Great Russian ballad in Kolberg, Pokucie, II, 30, No 33.

Pp. 181, 502 a.German.Add: Böhme, Erk’s Liederhort, I, 592 f., ‘Der Reiter und seine Geliebte,’ No 194 b, from Erk’s papers, c, from oral tradition (fragments). Böckel, ‘Das Begräbniss im Walde,’ p. 33, No 47. ‘Es gingen zwei Liebchen durch einen grünen Wald,’ Wolfram, p. 89, No 63.

[P. 188 b. ‘Horn Child.’ See the edition by J. Caro, in Englische Studien, XII, 323 ff.]

190 a. Hereward will not drink unless the princess presents the cup: very like Horn here. Michel, Chroniques Anglo-Normandes, II, 18 f.

191, note *. Blonde of Oxford (Jehan et Blonde). See Suchier’s edition, Œuvres poétiques de Philippe de Remi, Sire de Beaumanoir, II, 89, 99, 103.

193 a. That Horn Child, though much more modern in its present form than the Gest, “would seem to have been formed on a still older model” was suggested by T. Wright in 1835, and was the opinion of J. Grimm and of Ferdinand Wolf. Wolf maintains that Horn Child was the work of a popular jongleur, or vagrant minstrel, and that for this reason Chaucer put it among the “romances of prys,” which are mentioned in Sir Thopas. Anyway, this must have been the form of the story which was known to Chaucer. Wolf, Ueber die Lais, p. 217 f.

195 a (3). Oude Liedekens in Bladeren, L. van Paemel, No 28==Hoffmann, No 2.

199 a. Albanian. De Grazie, Canti p. albanesi, p. 118.

199 a, note *. Ring in betrothal. So in Twelfth Night, IV, 3, as Prior remarks, II, 277,aproposof ‘Axel and Walborg’, st. 44.

201, note. These talismans also in India: Tawney’s Kathá-Sarit-Ságara, II, 161.

502 b, 5th paragraph, III, 501 b, IV, 450 b. Add: Kolberg, Lud, IV, 23, No 146; VI, 166 f., No 332; XII, 115-118, Nos 221-224 (jumps seven tables and touches the eighth); XVI, 271, No 438; XVI, 272, No 440; Valjavec, p. 300, No 17; Kolberg, Mazowsze, II, 109, No 251. A soldier comes back after seven years’ absence to his “widow;” drops ring into cup, and is recognized as her husband. Lud, XXI, 61, No 123.

P. 219 b, 504 a, II, 500 a, IV, 451 a, V, 212 a. Add:T, Wolfram, p. 90, No 64, ‘Es hütet ein Schäfer an jenem Rain,’ ‘Die Rabenmutter;’ Böhme’s edition of Erk’s Liederhort, I, 636, No 212 e; and to the literature several items at p. 637.

219 b, III, 502 b. Similar Slavic ballads: Polish, Kolberg, Lud, IV, 52, No 220; XII, 308 f., Nos 611, 612; XVII, 9, No 17; XVIII, 188, No 346; XXI,85, No 179; XXII, 160, No 284; Kolberg, Mazowsze, II, 160, No 352; IV, 366, No 436.

P. 220.C, sts 9, 10, 11 are in Motherwell’s MS., p. 183, written in pencil.

P. 228 b, 2d paragraph. The Finnish ballad was first printed by C. A. Gottlund, Otava, 1832, II, 9 (Rolland, Chansons Populaires, VI, 47-50, with a translation).

230 f., III, 502 b, IV, 451 b. White Russian versions, Šejn, II, 607 ff., Nos 12-16, ‘Pesn’ o grěšnoj děvě, Song of the sinful girl,’ five copies, the third imperfect. Jesus sends the girl to church, in the first the earth comes up seven cubits, the lights go out, etc.; she shrives herself, and things are as before. In the other copies she crumbles to dust. Polish (with variations), Kolberg, Lud; XII, 309, No 613; XIX, 187, No 658; XX, 101, No 37; XXI, 86, No 180; XXII, 161 f., Nos 285, 286; Kolberg, Mazowsze, I, 142, No 46; IV, 367, No 437; Siarkowski, in Zbiór wiadomości, IV, 94, No 18.

231 a. Legend of the Magdalen unmixed.Italian, Archivio, XIV, 211 f., ‘Maria Maddalena,’ two copies, fragmentary. In the second, Maria asks the master of a vessel to take her in; a tempest arises; the dona pecatrice, lest the vessel should founder on her account, with many people aboard, throws herself into the sea, is swallowed by a whale, and not disgorged for three-and-thirty years.

P. 236 a, last paragraph. Here, and in other places in volumes I, II, Catalan is treated as if it were a dialect of Spanish. The corrections required are as follows: I, 236 a, last paragraph, 384 a, 2d par., 505 a, 2d par.; II, 174 a, 2d par., 347 a, 2d par., 512 a, No 72, readCatalanforSpanish, and I, 384 a, 2d par., dropK. I, 462 a, 3d par., readCatalanforC. II, 69 a, 7th line, 113 b, 11th line, 158, 2d par., readSpanish and Catalan, and at the last place insertCatalanbefore the 3d and 4th citations and transfer them to the end.

237, III, 502 b. The Breton story with the miraculous sustentation of the maid (but without the marvel of the capon): Böhme’s Erk, I, 637 ff., No 213 a, ‘Die Weismutter,’ b, ‘Die unschuldig gehangene und gerettete Dienstmagd,’ and note to b; Wolfram, p. 38, No 10, ‘Zu Frankfurt steht ein Wirtshaus.’

240 f., 505 f., II, 501 b, IV, 451 f. Joie des Bestes. Add: Marin, Cantos Populares, I, 61, No 124; Iglesia, El Idioma Gallego (‘a maldicion d’a ovella’), cf. II, 8, note †, III, 174, both cited by Munthe.

240, 241, 505 b, II, 501 b, III, 502 b, IV, 452 a, V, 212 a. A roast pheasant gets feathers and flies away in attestation of a tale: M. Wardrop, Georgian Folk-tales, p. 10 f., No 2. G. L. K.

Fish flying out of the pan. See Wesselofsky, Archiv f. slavische Philologie, VI, 574.

241 b. Herod’s questions. Compare Bergström and Nordlander, 98, 3; Pidal, p. 128.

[P. 243 b. Trinity College MS. B, 14, 39, has been recovered, and Professor Skeat has had the kindness to furnish a copy of the ballad. Wright’s text proves to be in all essentials accurate; but, on account of the age and great interest of the poem, Professor Skeat’s copy is here reproduced. The ballad has no title in the MS.

Hit wes upon a scereþorsday þat vre louerd aros.ful milde were þe wordes he spec to iudas.iudas þou most to iurselem oure mete for to bugge.þritti platen of seluerþou bere up oþi rugge.þou comest fer iþe brode stret fer iþe brode strete.5summe of þine tunesmen þer þou meist i mete.imette wid is soster þe swikele wimon.iudas þou were wrþe me stende the wid ston..íí.for the false prophete þat tou bileuest upon.Be stille leue soster þin herte þe to breke.10wiste min louerd crist ful wel he wolde be wreke.Iudas go þou on þe roc heie up on þe ston.lei þin heued i my barm slep þou þe anon.Sone so iudas of slepe was awake.þritti platen of seluerfrom hym weren itake.15He drou hym selue bi þe cop þat al it lauede ablode.þe iewes out of iurselem awenden he were wode.Foret hym com þe riche ieu þat heiste pilatus.wolte sulle þi louerd þat hette iesus.I nul sulle my louerd for nones cunnes eiste.20bote hit be for þe þritti platen. þat he me bi taiste.Wolte sulle þi lord crist for enes cunnes golde.Nay bote hit be for þe platen. þat he habben wolde.In him com ur lord * gon as is postles seten at mete.Wou sitte yepostles ant wi nule ye ete..íí.25ic am iboust ant isold to day for oure mete.Vp stod him iudas lord am i þatI nas neueroþe stude þer me þe euel spec.Vp him stod peter ant spec wid al is miste.þau pilatus him come wid ten hundred cnistes..íí.30yet ic wolde louerd for þi loue fiste.Still þou be peter. wel i þe i cnowe.þou wolt fur sake me þrien. ar þe coc him crowe.33

Hit wes upon a scereþorsday þat vre louerd aros.

ful milde were þe wordes he spec to iudas.

iudas þou most to iurselem oure mete for to bugge.

þritti platen of seluerþou bere up oþi rugge.

þou comest fer iþe brode stret fer iþe brode strete.5

summe of þine tunesmen þer þou meist i mete.

imette wid is soster þe swikele wimon.

iudas þou were wrþe me stende the wid ston..íí.

for the false prophete þat tou bileuest upon.

Be stille leue soster þin herte þe to breke.10

wiste min louerd crist ful wel he wolde be wreke.

Iudas go þou on þe roc heie up on þe ston.

lei þin heued i my barm slep þou þe anon.

Sone so iudas of slepe was awake.

þritti platen of seluerfrom hym weren itake.15

He drou hym selue bi þe cop þat al it lauede ablode.

þe iewes out of iurselem awenden he were wode.

Foret hym com þe riche ieu þat heiste pilatus.

wolte sulle þi louerd þat hette iesus.

I nul sulle my louerd for nones cunnes eiste.20

bote hit be for þe þritti platen. þat he me bi taiste.

Wolte sulle þi lord crist for enes cunnes golde.

Nay bote hit be for þe platen. þat he habben wolde.

In him com ur lord * gon as is postles seten at mete.

Wou sitte yepostles ant wi nule ye ete..íí.25

ic am iboust ant isold to day for oure mete.

Vp stod him iudas lord am i þat

I nas neueroþe stude þer me þe euel spec.

Vp him stod peter ant spec wid al is miste.

þau pilatus him come wid ten hundred cnistes..íí.30

yet ic wolde louerd for þi loue fiste.

Still þou be peter. wel i þe i cnowe.

þou wolt fur sake me þrien. ar þe coc him crowe.33

V. 24, *. The wordc’sthas here been erased, and shouldnotbe inserted. Skeat.

V. 27. Blank space. Read ‘frek’(=man). Skeat.

The MS. has íí at end of ll. 8, 25, 30. This means that there are heretwosecond lines, i. e., that three lines rime together. Skeat. The long f’s of the MS. are printed s.]

P. 250, 506 a, II, 502 a, III, 503 a. Add the Croatian ballad, ‘Ive umira za Marom,’ Hrvatske Narodne Pjesme iz “Naše Sloge,” II. Diel, 15, No 11.

[P. 261 f. On the Gaelic ballad in the Dean of Lismore’s Book see the elaborate article by Professor Ludw. Chr. Stern, Die gälische Ballade vom Mantel in Macgregors Liederbuche, Zeitschrift für celtische Philologie, I, 294 ff. The text is given according to the edition of Alexander Cameron, Reliquiae Celticae, I, 76, with another copy from a 1628 MS. in the Franciscan Convent at Dublin. Stern’s translation clears up some points, and brings out one striking similarity between the Gaelic and the English ballad. When MacReith’s wife tried on the mantle, “er passte ihr, beides an Fuss und Hand, bis auf die Gabel ihrer kleinen Finger und Zehen.” She explains this failure of the mantel to cover her completely: “‘Einen Kuss bekam ich verstohlen von O’Duibhnes Sohne Diarmaid; der Mantel würde bis auf den Boden reichen, wenn es nicht der allein wäre.’” Compare sts 28-30 of ‘The Boy and the Mantle.’ This similarity, in a feature unknown to other versions of the story, coupled with the form ‘Craddocke’ in the English ballad (a form which “nur aus dem welschen Caradawc entstanden sein kann”) convinces Stern that ‘The Boy and the Mantle,’ and probably also the Gaelic ballad, are derived directly from Welsh tradition, independently of the Old French versions, which, however, he thinks also go back ultimately to Wales (p. 310). I am indebted to Dr F. N. Robinson for calling my attention to Stern’s article. G. L. K.]

268 ff., 507 a, II, 502 a, III, 503, IV, 454 a, V, 212 f. Tests of chastity. “The jacinth stone will not be worne on the finger of an adulterer, nor the olive grow if planted by one that leadeth his life in unlawful lusts.” Greene, Never too late, Pt. II, 1590, Works, ed. Grosart, VIII, 141. A note on the general subject in G. Rua, Novelle del “Mambriano,” pp. 66 f., 73-83. G. L. K. [See also Zupitza, Herrig’s Archiv f. das Studium der neueren Sprachen, LXXXII, 201; Nyrop, Dania, I, 13, n. 2; Feilberg, Dania, I, 154; ‘La Mensuration du Cou,’ Perdrizet and Gaidoz, Mélusine, VI, 225 ff.]

270 a, 1st paragraph. The Shukasaptati story at p. 29 f. of R. Schmidt’s translation.

P. 284. Sts 17, 18. Compare Carle of Carlile, vv. 143 ff., Percy MS., Hales and Furnivall, III, 282.

P. 288 ff., II, 289 b, III, 454 a. Mr. Whitley Stokes has pointed out that the incident of a hag turning into a beautiful woman after a man has bedded with her occurs in the Book of Ballymote, an Irish MS. of about 1400, and elsewhere and earlier in Irish story, as in the Book of Leinster, a MS. of the middle of the twelfth century. The Academy, XLI, 399 (1892). It is singular that the sovereignty in the first tale is the sovereignty of Erin, with which the disenchanted hag rewards her deliverer, and not the sovereignty over woman’s will which is the solution of the riddle in the ballad. See also the remarks of Mr. Alfred Nutt in the same volume, p. 425 (and, again, Academy, October 19, 1889, p. 255), who, while denying the necessity for any continental derivation of the hideous woman, suggests that Rosette in Gautier’s Conte du Graal, vv. 25380-744, furnishes a more likely origin for her than Chrétien’s damoisele, since it does not appear that the latter is under spells, and spells which are loosed by the action of a hero. [See also O’Grady, Silva Gadelica, p. 328 ff.; translation, p. 370 ff. F. N. Robinson.]

289 b. Gromere Gromorson (Grummore Gummursum) and Gromore somyr Ioure, in Malory’s Morte Darthur, ed. Sommer, 256, 258, 799.

P. 290, note †, IV, 454 a. “La nuit si jolie fille, le jour si jolie biche:” Pineau, Le Folk-lore du Poitou, p. 391. [A raven by day, a woman by night: von Wlislocki, M. u. S. der Bukowinaer u. Siebenbürger Armenier, p. 75. On transformations of all kinds, see S. Prato, Bulletin de Folklore, 1892, p. 316 ff.]

298, II, 502 b, IV, 454 a. A man marries a snake. At midnight it becomes a woman, and it keeps that form thereafter: J. Krainz, Mythen u. Sagen aus dem steirischen Hochlande. No. 147, p. 194. A snake (enchanted man) marries a girl, and is thereby freed: Brüder Zingerle, Tirols Volksdichtungen, II, 173 ff.; cf. II, 317. G. L. K.

P. 300. I have serious doubts whether this offensive ballad has not been made too important; whether, notwithstanding the points noted at p. 301, it is anything more than a variety of ‘The Queen of all Sluts.’

305 b.A101.lauchtyin Sharpe with a line drawn in ink through l (probably by the editor, as this is a presentation copy).

V, 213 a. Since we have Pitcairn’s copy only in Sharpe’s handwriting, we cannot determine which of the two made the changes.

P. 307 f, II, 502 b, III, 504 a. Disenchantment; kissing a serpent. A remarkable case alleged to have occurred at Cesena in 1464: [Angelo de Tummulillis, Notabilia Temporum, ed. Corvisieri, 1890, p. 124 ff.;] Giornale Storico della Letteratura Italiana, XVII, 161. G. L. K. On the whole subject see R. Köhler’s notes in Mennung, Der Bel Inconnu, p. 20; S. Prato’s notes, Bulletin de Folklore, 1892, p. 333 f. [W. H. Schofield, Studies on the Libeaus Desconus, in Studies and Notes in Philology and Literature published under the direction of the Modern Language Departments of Harvard University, IV, 199 ff.]

P. 316 a. Näktergalsvisan, Bohlin, in Nyare Bidrag till Kännedom om de Svenska Landsmålen, II, 10, Folk-toner från Jämtland, pp. 5, 6.

P. 319, note ‡. Dr. W. H. Schofield has furnished me with an abstract of the Visions d’Oger le Dannoys au royaulme de Fairie (which book after all is in the Paris library). There is nothing in the Visions which throws further light on the relation of the stories of Thomas Rhymer and of Ogier.

320, note ‡. Bells. See R. Köhler, Zeitschr. des Vereins f. Volkskunde, VI, 60.

321, note ‡. The duration of paradisiac bliss exceeds three hundred years in some accounts. Three hundred years seem but three days in the Italian legend of three monks, Graf, Miti, Leggende, etc., 1892, I, 87 f., and in that of the young prince who invites an angel to his wedding, Graf, 90 ff., after the Latin text published by Schwarzer, Zeitschrift für deutsche Philologie, XIII, 338-51, 1881. (R. Köhler pointed out in the same journal, XIV, 96 ff., that an abstract of the story had been given in Vulpius’s Curiositäten, I, 179 ff., as early as 1811.) In the lai of Guingamor, printed by M. Gaston Paris in Romania, VIII, 50 ff., 1879, three hundred years pass as three days. In both the last, the eating of earthly food brings an immediate decrepitude, followed by speedy death in the case of the prince. [See also W. Hertz, Spielmannsbuch, p. 318 f.]

[P. 339 b, II, 505 b, III, 505 b. Fairy salve. Kirk’s Invisible Commonwealth, ed. Lang, pp. 13, 34; Denham Tracts, II, 138 f.]

340 a, II, 505 b, III, 505 b, IV, 455 b. Sleeping under trees: ympe tree. Bugge, Arkiv för nordisk Filologi, VII, 104, refers to Liebrecht, Gervasius von Tilbury, p. 117, and to W. Hertz, Spielmannsbuch, p. 322.

P. 358 b, II, 505 f., III, 505 f., IV, 459 a, V, 215 b. Mortal midwives for fairies, etc.: Wucke, Sagen der mittleren Werra, II, 25; Gebhart, Oesterreichisches Sagenbuch, p. 208; Baader, Neugesammelte Volkssagen, No 95, p. 68. G. L. K.

[Kirk’s Secret Commonwealth, ed. Lang, p. 13; Denham Tracts, II, 138.]

[P. 372 b. Der Ritter von Staufenberg. See the edition by Edward Schröder: Zwei altdeutsche Rittermären, Moriz von Craon, Peter von Staufenberg. Berlin, 1894. Schröder dates the composition of the poem about 1310 (p. LI). He shows that Schott’s edition, which Culemann followed, was a reprint of one printed by Prüss in 1483 at the earliest, but thinks that it followed that of Prüss at no long interval (p. XXXIV). Cf. also Schorbach, Zeitschr. f. deutsches Altertum, XL, 123 ff.]

374-78. The mother’s attempt to conceal the death of her son from his wife occurs also in ‘Ebbe Tygesøns Dødsridt’ and ‘Hr. Magnuses Dødsridt,’ Olrik, Danske Ridderviser, Nos 320, 321, and Swedish copies of the former; borrowed no doubt from ‘Elveskud.’

380, II, 506 a, III, 506 a, IV, 459 a, V, 216 a. Add:XX, ‘La Mort de Jean Renaud,’ Beauquier, Chansons p. recueillies en Franche-comté, p. 152.

[P. 393 a, III, 506 b, IV, 459 b. With the Italian ballad cf. ‘Quarante ans j’ai travaillé,’ Georgeakis et Pineau, Folk-lore de Lesbos, p. 246.]

393 f., 506. Jäger-Romanze in Böhme, Altdeutsches Liederbuch, No 437, from Melchior Franck, Fasciculus Quodlibeticus, Nürnberg, 1611, No 6: slightly different, no disposition to kill the maid. Three copies of this all but inevitable ballad in Blätter für Pommersche Volkskunde, II. Jahrgang, p. 77 f., ‘Jägerslied;’ and more might be added.

[P. 400.Greek.Cf. ‘Les Transformations,’ Georgeakis et Pineau, Folk-lore de Lesbos, p. 210 ff. (no mention of the Turk’s transforming himself).]

401.Polish.Add: Kolberg, Lud, XXI, 27, No 50; XXII, 102, No 157; Kolberg, Mazowsze, II, 54 f., Nos 131, 132; III, 247, 321; IV, 274, No 240.

401 b, II, 506 b, III, 506 f., IV, 459 b, V, 216 a. Transformationsduring flight. Add R. Köhler’s notes to L. Gonzenbach’s Sicilianische Märchen, now published by J. Bolte, Zeitschrift des Vereins für Volkskunde, VI, 65.

The incidents of the flight of the girl and her lover, the pursuit and the transformations, and of the Devil outwitted by his pupil are discussed by G. Rua, Novelle del “Mambriano” del Cicco da Ferrara, p. 95. See also M. Wardrop, Georgian Tales, p. 4, No. 1. G. L. K.

[P. 405 ff., II, 506 f., IV, 459 b, V, 216 a. A Christian ascetic has taken up his abode in a hogshead, on which he has written, “If thou art wise, live as I live!” The sultan puts three questions to him: How far is it to heaven? At how much do you value me? Which is the best religion? The penalty for failure to solve them is to be dragged at the tail of the sultan’s horse. The answers are: A day’s journey; twenty-nine silver pieces; neither of the two religions is the better, for the two are God’s eyes, one of which is as dear to him as the other. Von Wlislocki, M. u. S. der Bukowinaer u. Siebenbürger Armenier, ‘Der weise Mann,’ No 30, p. 83 ff.]

[P. 417 a, II, 507 b, III, 507 a, IV, 459 b, V, 216 a. Heads on stakes. See W. H. Schofield, in the (Harvard) Studies and Notes in Philology and Literature, IV, 175 ff.]

418 a, II, 507 b. See Stiefel, Ueber die Quelle der Turandot-Dichtung Heinz des Kellners, in Zeitschr. f. vergleichende Litteraturgeschichte, N. F., VIII, 257 ff.

P. 426. Add: ‘La fille damnée,’ Daymard, p. 178; ‘La sposa morta,’ Archivio, VIII, 274; the “romance” in Ballesteros, Cancionero popular gallego, III, 256; see also the “romance” ‘Bernal Francez’ from Algarve in Encyclopedia Republicana, Lisbon, 1882, p. 156.

P. 435, V, 217. Communicated by Mr J. K. Hudson of Manchester. Sung after a St George play regularly acted on All Souls’ Day at a village a few miles from Chester, and written down for Mr Hudson by one of the performers, a lad of sixteen. The play was introduced by a song called Souling (similar to a Stephening, see I, 234), and followed by two songs, of which this is the last, the whole dramatic company singing.

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