1 10 4 https://scottishchapbooks.lib.uoguelph.ca/files/original/489b8282b5c8d9cc17ae751b5ab89528.pdf a2dfedc6fb070b93456089682c942124 PDF Text Text Seven POPULAR SONGS. OF THE MOST THE BRIDAL RING. WHAT ARE YOU GOING TO STAND. THE LASSIES OF SCOTLAND. THE MACGREGOR'S G A T H E R I N G FAREWELL TO THE MOUNTAIN THE BANKS OF THE BLUE MOZELLE. 'TWAS MERRY IN THE HALL. GLASGOW: PRINTED FOR THE BOOKSELLERS. 45 �THE BRIDAL RING, I dream'd last night ofurrearlierdays. Ere I sigh'd for a sword and a feather ; As we danc'd on the hill in the moon's pale rays, Hand in hand together. I thought that you gave me again that kiss; More sweet than the perfume of Spring, When I press'd on yourfingerlove's pure golden pledge, The Bridal Ring, the Bridal Ring. I dreamt I heard thee in the bugle's sound, And at once was forc'd to sever, When I fell on the heath with my last dead wound, Lost to thee for ever. I thought that you gave me again that kiss, Imperiled like a flower in Spring, 'Neath its warmth I awoke, on this dear hand I press'd The Bridal Ring, the Bridal Ring. WHAT ARE YOU GOING TO STAND. Queer scenes now are all the go, You cannot say I'm wrong; And there is one I'd have you know I've work'd into a song. �3 Go where I will—in every street, I'm shook, Sirs, by the hand, No matter who it is I meet, What are you going to stand? One morning I'd been to get some cash, From a swell at the west end ; Resolv'd I was to cut a dash, When I met with a friend. I told him of the errand I'd been, When he takes me by the hand, I'm glad to hear't, my boy, says he What are you going to stand.? Says I, I doesn't mind a drop, My spirits for to rouse ; So then we toddles into a shop Near to Somerset house, Inside a lot began to shout, As if t had been a plan ; It is not often we get you out, Now what are you going to stand ? I spent, Sirs, very, near a crown, My cash was getting shorter, For the liquor it went rolling down, As though it had been water. A wench began my arm to shake, I could her hide have tann'd, When she said, for old acquaintance sake, What are you going to stand ? �Thinks I, egad, this will not do, So I bolted from the lot; But run against a man I knew, Ere a hundred yards I got; I told him of the crew I'd met, Says he I understand ; Now you've escaped from such a lot, What are you going to stand ? My song I'll now conclude in this, You'll all agree I think, My friends, that this is quite the March Of Intellect for Drink. When the landlord he puts out their light, I'll take him by the hand, You've had a very good room, my boy, to-night. What are you going to stand ? THE LASSIES OF SCOTLAND. The lassies of Scotland are bonny and free, The maidens of Erin are fair, The sweet girls of Britain are lovely to see, And let them deny it who dare ; But the fairest of lassies That all those surpasses, Is Jeannie, the Maid of the Moor. Is Jeannie, lovely Jeannie, the maid of the Moor. The lassies of Scotland are tender and true, The maidens of Erin are kind, �5 The sweet girls of Britain can monarch's subdue, And lovely in person and mind; Yet the fairest of lassies, That all those surpasses, Is Jeannie the maid of the moor, Is Jeannie, lovely Jeannie, the maid of the moor. The lassies of Scotland are fam'd far and near, The maidens of Erin breath love, The sweet girls of Britain to Briton's are dear, And soft as the down of the dove. Still the fairest of lassies, That all those surpasses, Is Jeannie the maid of the moor, Is Jeannie, lovely Jeannie, the maid of the moor, THE BANKS OF THE BLUE MOZELLE. When the glow-worms glide the elfin flower, That clings round my ruin'd shrine ; When first we met, when first we lov'd, And I confessed thee mine ; 'Tis there I fly to meet thee still, At the sound of the Vesper Bell, In the starry light of a summer's night, On the Banks of the blue Mozelle. On the Banks of the blue Mozelle. If the cares of life should shade thy brow, Yes, yes in our native bowers, My lute and harp might best accord, To tell of happier hours. �6 'Tis there I'd soothe thy grief to rest, Each sigh of sorrow quell, In a starry light of a summer's night, On the Banks of the blue Mozelle, On the Banks of the blue Mozelle, FAREWELL TO THE MOUNTAIN. Farewell to the mountain, And sun-lighted vale, The moss-border'd streamlets, And sun-lighted vale. All so bright, all so fair. Here a seraph might dwell, 'Tis too lovely for me. Farewell! Oh, Farewell! Farewell, for how sweetly Each sound meets mine ear ; The wild bee and butterfly, They may rest here. Hark, hark, they are hum, How it blends with the deep convent bell, 'Tis too lovely for me, Farewell,—Oh, Farewell. THE MACGREGOR'S GATHERING. The moon's on the lake, and the mist's on the brae, And the clan has a name that is nameless by day ; Our signal for fight, which from monarchs we drew, Must be heard but by night in our vengeful haloo ; Then haloo, haloo, haloo, Gregalach. �7 If they rob us of name and pursue us with beagles, Give their roofs to the flames; and their flesh to the eagles, Then gather, gather, gather, Gregalach. While there's leaves in the forest, and foam on the river, Macgregor, despite them, shallflourishfor ever. Glenorchy's proud mountain, Colchurn and her towers, Glenstrae and Glenlyon no longer are ours We're landless, landless, landless, Gregalach. Through the depths of Loch Katrine the steed shall career, O'er the peak of Benlontond the galley shall steer, And the rocks of Craig Royston like icicles melt, Ere our wrongs be forgot, or our vengeance unfelt, Then vengeance, vengeance, vengeance, Gregalach. 'TWAS MERRY IN THE HALL. Now ancient English melodies Are banish'd out of doors, And nothing's heard in modern days, But Signoras and Signors. Such airs I hate, Like a pig in a gate, Give me the good old strain, When 'twas merry in the hall, The beards wagged all, We shall never see the like again, We shall never see the like again. �8 On beds of down our dandies lay, And waste the cheerful morn, While our squires of old would rouse the day To the sound of the bugle horn. And their wives took care The feast to prepare ; For when they left the plain, Oh, 'twas merry in the hall, The beards wagged all, We shall never see the like again, We shall never see the like again. 'Twas then the Christmas tale was told, Of goblin, ghost, or fairy, And they cheer'd the hearts of the tenants old With a cup of good canary ; And they each took a smack At the cold black jack, Till the fire burn'd in their brain ;— Oh, 'twas merry in the hall, The beards wagged all— May we all see the like again, May we all see the like again. � https://scottishchapbooks.lib.uoguelph.ca/files/original/7118ed69970a9dd3bd99240406167e92.jpg 9906b8cba7bc4cbb704252440d53794a Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 3257 Width 1772 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut on title-page portraying a young woman (milkmaid?) wearing a hat and carrying two buckets slung over hoops encircling her skirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut 038: Title-page illustration of a milkmaid carrying two buckets. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seven of the most popular songs. The bridal ring. What are you going to stand. The lassies of Scotland. The MacGregor's gathering. Farewell to the mountain. The banks of the Blue Mozelle. 'Twas merry in the hall. Subject The topic of the resource Courtship and Marriage Highlands War Chapbooks - Scotland - Glasgow Description An account of the resource '45' is printed at the foot of the title page Undivided: single sheet Woodcut #38: Illustration on title-page of a milkmaid carrying two buckets. Date A point or period of time associated with an event in the lifecycle of the resource 1840-1850 per University of Glasgow Union Catalogue of Scottish Chapbooks Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9923413893505154">s0159b30</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Somerset House, Westminster, London, England Glen Orchy, Scotland Glen Lyon, Scotland Ben Lomond Mountain, Scotland Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The bridal ring. What are you going to stand. The lassies of Scotland. The MacGregor's gathering. Farewell to the mountain. . The banks of the Blue Mozelle. 'Twas merry in the hall Extent The size or duration of the resource. 8 pages 16 cm Abstract A summary of the resource. A collection of popular ballads and songs on a variety of themes, including: a young soldier dreams of dancing with his betrothed and being killed in battle; a song about the hijinks that ensue one evening when a young man is convinced to spend all his money on alcohol; a description of the beauty of the lassies of Scotland, Ireland, Britain, all of which are eclipsed by the beauty of Jennie of the Moor; a musician describes the beauty of meeting his love at night on the banks of the Mozelle; an ode and farewell to the beauty of the singer’s native landscape; a call to unite and avenge the persecution of the Clan MacGregor; and a song reminiscing on the merry singing, drinking, storytelling, and celebration of Christmases past. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. University of Glasgow Union Catalogue of Scottish Chapbooks <a href="http://www.lib.uoguelph.ca/find/find-type-resource/archival-special-collections/scottish-studies">http://special.lib.gla.ac.uk/chapbooks/search/searchb.cfm</a> Contributor An entity responsible for making contributions to the resource Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada Format The file format, physical medium, or dimensions of the resource JPEGs and PDF derived from master file, which was scanned from the original book in 24-bit color at 600 dpi in TIFF format using an Epson Expression 10000XL scanner. Rights Information about rights held in and over the resource In public domain; For higher quality reproductions, contact Archival & Special Collections, University of Guelph. libaspc@uoguelph.ca 519-824-4120, Ext. 53413 Publisher An entity responsible for making the resource available Glasgow: Printed for the Booksellers Type The nature or genre of the resource ballads & songs Source A related resource from which the described resource is derived Archival & Special Collections, University of Guelph Library, Guelph, Ontario # of Woodcuts: 1 Bib Context: title-page Chapbook Date: 1841-1850 Chapbook Publisher - Glasgow: Printed for the Booksellers Fashion (Clothing): bonnet Fashion (Clothing): working class Fashion: bonnet Gender: woman/women Object: bucket(s) Occupation: farmer Outdoor Scene https://scottishchapbooks.lib.uoguelph.ca/files/original/05451c43c9847df44ada62b92cc23c3e.pdf 3fe467eeca355b5e6209480f2ef3fe96 PDF Text Text SEVEN Popular Songs. THE LILY OF FRANCE. BLUE BONNETS OYER THE BORDER. THE LIGHT OF OTHER DAYS. WHEN BLESS'D W I T H LOVE AND JUDY MAGRATH. THE BLOOM IS ON THE RYE. RORY O'MORE. GLASGOW: PRINTED FOR THE BOOKSELLERS. 41. YOU. �SONGS. BLUE BONNETS OVER THE BORDER. March, march, Ettrick and Teviotdale, Why, my lads, dinna ye march forward in order ? March, march, Eskdale and Liddesdale, All the blue bonnets are bound for the border. Many a banner spread, flutters above your head, Many a crest that is famous in story ; Mount and make ready then, sons of the mountain glen, Fight for your queen, and the old Scottish glory. Come from the hills where your hirsels are grazing, Come from the glen of the buck and the roe ; Come to the crag where the beacon is blazing, Come with the buckler, the lance, and the bow. Trumpets are sounding, war-steeds are bounding, Stand to your arms, and march in good order ; England shall many a day tell of the bloody fray, When the blue bonnetf pame over the border. �3 WHEN BLESS'D W I T H LOVE AND YOU When first I saw jour charming face, And heard your soothing tongue, Your image in my heart did place, And sung the cheerful song ; Compos'd of love in every strain—My ardent passion knew, And thought myself a happy swain, When bless'd with love and you. When bless'd,&c. And when I met you in the grove, Your eyes beam'd brightest fire, Which spoke the kindest notes of love, That kindled with desire. 'Twas then I felt love's keenest pain, Which ne'er before I knew, Yet thought I was a happy swain, When bless'd with love and you. When bless'd, &c. And as along the banks we stray'd, I ask'd if you'd be mine ? When thus replied the generous maid, For ever I am thine! The which did banish all my pain, My cares and troubles too, And I am now a happy swain, Being bless'd with love and you. Being bless'd, &c. �JUDY MAGRATH. O Judy Magrath, I am dying for you, You're rich to the taste as a fine Irish stew, Your locks are as bright as the priest's sandy wig, You're tender and fair as a young sucking pig; By Cupid's big dart (to complain is no use) I'm run through the heart like the spit through a goose. O Judy Magrath, won't you pity my grief, I'm roasted with love like a sirloin of beef; When basting your mutton, or making a pie, Your grace makes me just like a bellows to sigh ; But vinegar looks to my sighs you oppose, Your words are like mustard, they bite off my nose. O Judy, &c, O Judy Magrath, you are cruel in troth, Of love shall I never be tasting the broth, My courage when up, och! ye soon can put down, The coal-scuttle isn't more black than your frown ; In vain at your feet I am dying all day, You're deaf as a sauce-pan to all I can say. THE BLOOM IS ON THE RYE. My pretty Jane, my pretty Jane! A h ! never, never look so shy, But meet me, meet me in the evening, While the bloom is on the rye. O �The spring is waning fast, my love, The corn is in the ear The summer nights are coming, love, The moon shines bright and clear. Then pretty Jane, my dearest Jane! A h ! never, never look so shy, But meet me, meet me in the evening, While the bloom is on the rye. But name the day, the wedding day, And I will buy the ring ; The lads and maids in favours white, And village bells—the village bells shall ring The spring is waning fast, my love, The corn is in the ear, The summer nights are coming, love, The moon shines bright and clear. Then pretty Jane, my dearest Jane! Ah! never, never look so shy, But meet me, meet me in the evening, While the bloom is on the rye. THE LILY OF FRANCE. Let the lily of France in luxuriance wave, Let the shamrock of Erin its beauty maintain, Let the rose of fair England still wave its perfume, But the thistle of Scotland will dearest remain. To Scotia her thistle, her broad waving thistle, The evergreen thistle will dearest remain. �'Twas the badge that our fathers triumphantly wore, When they follow'd their sovereigns to vanquish the Dane ; The emblem in battle our Wallace aye bore, Then the thistle of Scotland must dearest remain. To Scotia her thistle, &c. It blooms on our mountains, it blooms in the vale, It blooms in the winter, in snow, and in rain ; The type of her sons when rude seasons assail— To Scotia her thistle will dearest remain. To Scotia her thistle, &c. THE LIGHT OF OTHER DAYS. The light of other days is faded, And all their glory's past, For grief with heavy wing hath shaded The hopes too bright to last; The world which morning's mantle clouded, Shines forth with purer rays ; But the heart ne'er feels, in sorrow shrouded, The light of other days. But the heart ne'er feels, in sorrow shrouded, The light of other days. The leaf, which autumn tempests wither, The birds, which then take wing, When winter's winds are past, come hither To welcome back the spring ; �The very ivy on the ruin, Its gloomful life displays ; But the heart alone sees no renewing The light of other days. But the heart alone sees no renewing The light of other days. RORY O'MORE. Young Rory O'More courted Kathleen Bawn, He was bold as a hawk, and she, soft as the dawn, He wish'd in his heart pretty Kathleen to please, And he thought the best way to do that was to teaze ; " Now, Rory be aisy," sweet Kathleen would cry, Reproof on her lip, but a smile in her eye, With your tricks I don't know, in troth, what I'm about, Faith, you've teaz'd till I've put on my cloak inside out; " Oh ! jewel," says Rory, "that same is the way You've thrated my heart for this many a day, And 'tis plaz'd that I am, and why not, to be sure ? For 'tis all for good luck," says bold Rory O'More. " Indeed then," says Kathleen, "don't think of the like, For I half gave a promise to soothering Mike, The ground that I walk on, he loves, I'll be bound," "Faith," says Rory, " I ' d rather love you than the ground," �8 " Now, Rory, I'll cry, if you don't let me go; Sure I dream every night that I'm hating you s o ! " " Oh!" says Rory, " that same I'm delighted to hear. For dhrames always go by conthrairies, my dear; Oh! jewel, keep dhraming that same till you die, And bright morning will give dirty night the black lie, And 'tis plaz'd that I am, and why not, to be sure? Since 'tis all for good luck," says bold Rory O'More. Arrah Kathleen, my darlint, you've teaz'd me enough, And I've thrash'd for your sake Dinny Grimes and Jim Duff, And I've made myself, drinking your health, quite a baste, So I think, after that, I may talk to the priest:" Then Rory, the rogue, stole his arm round her neck, So soft and so white, without freckle or speck, And he look'd in her eyes, that were beaming with light, And he kiss'd her sweet lips—don't you think he was right? " Now Rory, leave off, Sir—you'll hug me no more, That's eight times to-day that you've kiss'd me before," " Then here goes another," says he, " t o make sure, For there's luck in odd numbers," says Rory O'More. � https://scottishchapbooks.lib.uoguelph.ca/files/original/b0ad331d7cf9bd6367a71c7d25c3c940.jpg 2d9dbf3405a500f9323d353d629c9bf4 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 3135 Width 1942 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut on title-page portraying a young woman (milkmaid?) wearing a hat and carrying two buckets slung over hoops encircling her skirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut 038: Title-page illustration of a milkmaid carrying two buckets. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seven popular songs. The lily of France. Blue bonnets over the border. The light of other days. When bless'd with love and you. Judy Magrath. The bloom is on the rye. Rory O'More. Subject The topic of the resource Courtship and Marriage War Chapbooks - Scotland - Glasgow Food Description An account of the resource '41' is printed at the bottom of the title page Woodcut #38: Illustration on title-page of a milkmaid carrying two buckets Date A point or period of time associated with an event in the lifecycle of the resource 1840-1850 per National Library of Scotland Language A language of the resource English Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9923413923505154">s0159b31</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The lily of France. Blue bonnets over the border. The light of other days. When bless'd with love and you. Judy Magrath. The bloom is on the rye. Rory O'More. Extent The size or duration of the resource. 8 pages 16 cm Abstract A summary of the resource. A collection of songs and ballads on a variety of themes, including: a call to young Scots men to join the militia and fight in defense of Queen and Scotland; a young man woos his love and is overjoyed to hear her acceptance of his proposal; the beauty of Judy Magrath is humorously compared to various food items as a description of her appeal to her lover; a love song asking a lover to meet following the seasons when the bloom is on the rye; a comparison of the various flowers and emblems of France, Ireland, Britain and Scotland, describing with nationalistic pride the virtues of the Scottish thistle and history; a sad lament for days and joys past, compared to the fading of leaves and in the face of winter; and an Irish rogue shows his affection by teasing, fighting, drinking, and kissing. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. National Library of Scotland<a href="http://www.lib.uoguelph.ca/find/find-type-resource/archival-special-collections/scottish-studies"> http://www.nls.uk/</a> Contributor An entity responsible for making contributions to the resource Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada Format The file format, physical medium, or dimensions of the resource JPEGs and PDF derived from master file, which was scanned from the original book in 24-bit color at 600 dpi in TIFF format using an Epson Expression 10000XL scanner. Rights Information about rights held in and over the resource In public domain; For higher quality reproductions, contact Archival & Special Collections, University of Guelph. libaspc@uoguelph.ca 519-824-4120, Ext. 53413 Publisher An entity responsible for making the resource available Glasgow: Printed for the Booksellers Source A related resource from which the described resource is derived Archival & Special Collections, University of Guelph Library, Guelph, Ontario Type The nature or genre of the resource ballads & songs # of Woodcuts: 1 Bib Context: title-page Chapbook Date: 1841-1850 Chapbook Publisher - Glasgow: Printed for the Booksellers Fashion (Clothing): bonnet Fashion (Clothing): working class Gender: woman/women Object: bucket(s) Occupation: farmer Outdoor Scene https://scottishchapbooks.lib.uoguelph.ca/files/original/9f3769a40cf9e66bb98504a5a0f8fa43.jpg 1bcaa185d936cbc7c3570ff4efdd503d Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 3172 Width 1919 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut on title-page portraying a young woman (milkmaid?) wearing a hat and carrying two buckets slung over hoops encircling her skirt https://scottishchapbooks.lib.uoguelph.ca/files/original/e4f5e3a27490ddb74496a0cc6c26cb7f.pdf 09d4a0a0e0a394d46e85b2b8ee3240f4 PDF Text Text F I V E SONGS. THE PECK 0' MAUT. 'TIS THE LAST ROSE OF SUMMER. TO MARY IN HEAVEN. THE HIGHLAND LADDIE. THE CONFESSION. GLASGOW: PRINTED FOR THE BOOKSELLERS. 64. �J3©fioa srwrt S O N G S , .TTJAM '0 yIOHH d i l l THE PECK 0 ' MAUT. O- WiHte hrew\itif pedc o' ltiatifc'* And Rab and Allan came to pree ; Three btythfef-HeirtV flight, Ye wadna found in Christendie. We are na fo'u, we're no that fou, But just a drapyie in oui;,e'e ; The efrdk'trtny ci-aw, tli'e (lay may daw', But aye we'll taste the barley bree. Here are we met, three merry boys, Three merry boys I trow are we ; And mony a night wcVe merry been, And mony mair we hope to be. We are na fou, &c. ||L . \ It is tt^ TfaooM I ken her horn, Thai • blinking in the lift sae hie; s She shines sae bright to wyb us hame, But by nay sooth she'll wait a wee. We are na fou, &c. Wha ffet sjiall rise to gang awa, A cucKola, coward loon is he ; Wha first beside his chaij* §hall fa', He is the king'iMfthg*m Three! in. wtvm '•% id J - >w �3 ADDITIONAL VERSES. Thus Willie, Ral), and Allan sang, Thus paas'd the night wi' mirth and glee, And aye the oh or tis a' night lang, Was, " As we're now, we hope to be." And ay they tog, " we are hi a fou, But just a drappie in eure'e,; The cock may craw, the day may daw', But aye we ll taste the barley bree. That time for them the cock did craw, The harbinger of morn to be ; That time for them the day did c.aw', Wi' gowden tint o'er tower and tree. And aye they sang, &c. That time for them the moon's pale horn Did wax and wain o'er land and sea, But now has dawn'd tlie hapless morn, That gilds the graves o* a' the three. Nae mair they sing, " We are na fou, Nae mair the drappie's in their e'e, Nor cock does craw, nor day does daw', Nae mair they'll taste the barley bree/? Thus Learning makes for Willie main, For Robin, Poesy wipes her -e'e, And Science wails for Allan gane, Since death's dark house hauds a' the three. �4 Then Britons mourn for genius rare, A' victims o' the barley bree, And ban the bree that cou'dna spare The youthfu' lives o1 a' the three. TIS THE LAST ROSE OF S U M M E R 'Tis the last rose of summer, Left blooming alone ; All her lovely companion Are faded and gone ; No flower of her kindred, No rose-bud is nigh, To reflect back her blushes,. Or give sigh for sigh! I'll not leave thee, thou lone one, To pine on the stem, Since the lovely are sleeping, Go, sleep thou with them ; Thus kindly I scatter Thy leaves o'er the bed Where thy mates of the garden Lie scentless and dead. So soon may I follow When friendships decay, And from love's shining circle The gems drop away! When true hearts lie wither'd, And fond ones are flown, 0 ! who could inhabit This bleak world alone. �5 TO MARY IN HEAVEN. Thou lingering star, with less'ning ray, That lov'st to greet the early morn, A.^ain thou usher st in the day My Marv from my soul was torn. 0 mary, dear departed shade! Where is thy place of blissful rest ? thou thy lover lowly laid ? Hear'st thou the groans that rend his breast That sacred hour can I forgot ! Can I forget the hallowed grove, Where by the winding Ayr we met, To live one day of parting love! Eternity will not efface Those records dear of transports past,— Thy image at our last embrace-;— Ah! little thought we 'twas our last! Ayr, gurgling, kiss'd his pebbled shore, Oerhung with wild woods, thick'ning, green The fragrant birch, and hawthorn hoar, Twin'd am'rous round the raptur'd scene. The flowers sprang wanton to be prest, The birds sing love on every spray, Till too, too soon, the glowing west Proclaim'd the speed of winged day. Still o'er these scenes my mem'ry wakes, And fondly broods with miser care: Time but the impression stronger makes, As streams their channels deeper wear. �6 My Mary, dear departed shade! Where is thy pl$u?e, of blissful rest? Seest thou thy lover lowly laid ? Hear'st thou the groans that rend his breast? THE HIGHLAND LADDIE. The Lawland lads think they are fine, But 0 ! they're vain and idle gaudy ; tlow much unlike the gracefu' mien, And manly looks of my Highland laddie. 0 my bonriie Highland laddie, My handsome, charming Highland laddie ; May heaven still guard, and love reward, The lawland lass and her Highland laddie. If I were free at will to choose, To be the wealthiest Lawland lady, I'd tak young Donald without trews, With bonnet blue, and belted plaidie. 0 my honnie, &c. The brawest bean in burrows town, In a' his airs, wi' art made ready, Ccmpar'd to him, he's but a clown, He's finer far in's tartan plaidiq. 0 my bonnie,, &€.• O'er benty hill wi' him PM run, And leave my Lawland kin and daddie ; �7 Frae winter's cauld and summer's sun, He'll screen me wi' his tartan plaidie. 0 my bonnie, &c. A painted room, and silken bed, May please a Lawland laird and lady ; But I can kiss, and be as glad, Behind a bush in's tartan plaidie. 0 my bofmie, &c. Few compliments between us pass ; I ca' him my dear Highland laddie, And he ca's me his Lawland lass, Syne rows me in beneath his plaidie. 0 my bonnio, &e. Nae' greater joy I'll e'er pretend, Than th&t his love prove true and steady, Like mine to him, which ne'er shall end, While Heav'n preserves my Highland laddie. 0 my bonnie, &e. THE CONFESSION. With sorrow and repentance true, Father, I trembling Come to you ; I know I've too indulgent been To one, but oh! forgive the sin. To one whom still I love, tho' he Ungrateful proves, and false to me ; Then let me on my knees confess How I've been tempted to transgress. �Oh! rev'rend father, if you knew The charms of him, alas! untrue ; 0 had you heard the false one swear 1 was the fairest of the fair ; You could not, holy Sir, refuse So slight a weakness to excuse ; He swore my eyes were loveliness, Ah! let me then my fault confess. To grief, eternal grief a prey, His name is all my heart can say ; When bath'd in sad repentant tears, Still to my mind his name appears ; Yes, 'tis that name, that name alone, Which bends me now before thy throne Alcander—but I can't express, Oh ! Father, must I then confess ? Ah ! tell him, should he come to you, Should he, like me, for mercy sue ; Of all the crimes by heav'n accurst, Tell him inconstancy's the worst; Tell him that he who's false in love, Can ne'er hope pity from above ; Tell him that I alone can bless, And send him to me to confess. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut 038: Title-page illustration of a milkmaid carrying two buckets. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Five songs. The peck o' maut. 'Tis the last rose of summer. To Mary in heaven. The Highland laddie. The confession. Date A point or period of time associated with an event in the lifecycle of the resource 1840-1850 per University of Glasgow Union Catalogue of Scottish Chapbooks Language A language of the resource English Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9943830863505154">s0615b46</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The peck o' maut. 'Tis the last rose of summer. To Mary in heaven. The Highland laddie. The confession. Extent The size or duration of the resource. 8 pages 14 cm Description An account of the resource Woodcut #38: Illustration on title-page of a milkmaid carrying two buckets '64' is printed at the bottom of the title page Accrual Method The method by which items are added to a collection. Purchased through the Jane Grier Family Trust. 2012. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. University of Glasgow Union Catalogue of Scottish Chapbooks <a href="%20University%20of%20Glasgow%20Union%20Catalogue%20of%20Scottish%20Chapbooks%20%20http%3A//special.lib.gla.ac.uk/chapbooks/search/">http://special.lib.gla.ac.uk/chapbooks/search/</a> Contributor An entity responsible for making contributions to the resource Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada Format The file format, physical medium, or dimensions of the resource JPEGs and PDF derived from master file, which was scanned from the original book in 24-bit color at 600 dpi in TIFF format using an Epson Expression 10000XL scanner. Rights Information about rights held in and over the resource In the public domain; For higher quality reproductions, contact Archival & Special Collections, University of Guelph. libaspc@uoguelph.ca 519-824-4120, Ext. 53413 Publisher An entity responsible for making the resource available Glasgow: Printed for the Booksellers Type The nature or genre of the resource ballads & songs Subject The topic of the resource Chapbooks - Scotland - Glasgow Courtship and Marriage Highlands Source A related resource from which the described resource is derived Archival & Special Collections, University of Guelph Library, Guelph, Ontario # of Woodcuts: 1 Bib Context: title-page Chapbook Date: 1841-1850 Chapbook Publisher - Glasgow: Printed for the Booksellers Fashion (Clothing): bonnet Fashion (Clothing): working class Gender: woman/women Object: bucket(s) Occupation: farmer Outdoor Scene https://scottishchapbooks.lib.uoguelph.ca/files/original/bd7dc0d946e2ca5c31a92ea651392cd3.jpg 18d07eccb1ae26b069b0573232a390eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut on title-page portraying a young woman (milkmaid?) wearing a hat and carrying two buckets slung over hoops encircling her skirt https://scottishchapbooks.lib.uoguelph.ca/files/original/ae7dcca0e12e93b94a03ed32b6960ad5.pdf bb21e82f7fe6864b49627a8896069158 PDF Text Text FOUR FAVOURITE WILLIAM AND GO, Y A R R O W SONGS MARGARET. FLOWER. ROBIN" A N D ' A N N A . COULD A M A N B E SECURE. te boaia bud Oil i gnmoqo JauL Md evoi ok PRINTED FOR TIIE BOOKSELLERS. • iaoxlo )d ,fi)[ rjty; .oLeq W 1 3 eaoi 9 d l .oiitil oiatodf boib �HrJOr>I 8BHQ8 ITIflUOYA SONftS WILLIAM AND MARGARET. 'Twas at the silent solemn hour, When night and morning meet; In glided Margaret's grimly ghost, And stood at William s feet. Her face was like an April morn Clad in a wintry cloud, And clay-cold was her lily hand That held her sable shroud. So shall the fairest face appear, When youth and years are flown Such is the robe that kings must wear. When death has reft their crown. _ * Her bloom was like the springing flower That sips the silver dew ; The rose was budded in her cheek, Just opening to the view. But love had, like the canker-worm, Consum'd her early prime, The rose grew pale, and left her cheek; She died before her time. �" Awake!" she cried, " thy true love calls, Come from her midnight grave : Now let thy pity hear the maid Thy love refus'd to save. This is the dumb and dreary hour When injured ghosts complain, When yawning graves give up their dead ; T o haunt the faithless swain. Bethink thee, William! of thy fault, Thy pledge and broken oath ; And give me back my maiden vow, And give me back my troth. Why did you promise love to me, And not that promise keep ? Why did you swear my eyes were bright, Yet leave those eyes to weep ? How could you say my face was fair, And yet that face forsake ? How could you win my virgin heart, Yet leave that heart to break ? Why did you say my lip was sweet, Arid made the scarlet pale ? And why did I, young witless maid! Believe the flattering tale ? That face, alas! no more is fair, Those lips no longer red! �4 Dark are my eyes, now clos'd in death, And every charm is fled. The hungry worm my sister is, This winding-sheet I wear ; And cold and weary lasts our night, Till the last morn appear. But, hark! the cock has warn'd me hence A long and late adieu! Come see, false man! how low she lies Who died for love of you.' 4 The lark sung loud, the morning smil'd With beams of rosy red; Pale William quak'd in every limb, And, raving, left his bed. A i&iit.nyvi $ h»n Kif/. He hied him to the fatal place Where Margaret's body lay, And stretch'd him on the green-grass turf That wrapt her breathless clay. m M '- ; miii 19Y Dili? And thrice he call'd on Margaret's name, And thrice he wept full sore ; Then laid his cheek to her cold grave, And word spake never more. GO, Y A R R O W FLOWER, Go, Yarrow flow'r, thou slialt be blest To lie on beauteous Marv's breast; �Go, Yarrow flow'r so sweetly smelling, Is there on earth so soft a dwelling ? Go, lovely flow'r, thou prettiest flow'r That ever smil'd in Yarrow bow'r ; Go, daughter of the dewy morning, With Alves' blush the fields adorning. Go, lovely rose ! what dost thou here, Ling'ring away thy short-liv'd year, Vainly shining, idly blooming, Thy unenjoyed sweets consuming ? Yain is thy radiant garlies hue, No hand to pull, no eye to view; What are thy charms, no heart desiring? What profits beauty, none admiring. Go, Yarrow flow'r, to Yarrow maid, And, on her panting bosom laid, There, all thy native form confessing; The charm of beauty is possessing. Come, Yarrow maid, from Yarrow field; What pleasure can the desert yield ? Come to my breast, O! all excelling, Is there on earth so kind a dwelling ? Come, my dear maid ? thou prettiest maid That ever smil'd in Yarrow shade: Come, sister of the dewy morning, With Alves' blush the dance adorning. Come, lovely maid ! love calls thee here ; Linger no more thy fleeting year, Vainly shining, idly blooming, Thy unenjoyed sheets consuming. �Vain is thy radiant garlies hue, No hand to press, no eye to view ; What are thy charms, no heart desiring; What profits beauty, none admiring ? Come, Yarrow maid, with Yarrow rose, Thy maiden graces all disclose; Come, blest by all, to all a blessing, The charm of beauty is possessing. ROBIN AND ANNA. She listens ; — " 'Tis the wind," she cries ; The moon, that rose so full and bright, Is now o'ercast: she looks, she sighs, She fears 'twill be a stormy night. Not long was Anna wed. Her mate, A fisherman, was out at sea ; The night is dark, the hour is late, The wind is high—and where is lie? " Oh ! who would love, Oh ! who would wed A wandering fisherman, to be A wretched, lonely wife, and dread Each breath that blows, when he's at sea ! w Not long was Anna wed. One pledge Of tender love her bo*om bore^; The storm comes down! the billows rage, Its father is not yet on shore. �" Oh! who would think her portion bless'd A wandering seaman's wife to be, To hug the infant to her breast, Whose father's on a stormy sea!" The thunder bursts! the lightning falls ! The easement rattles with the rain, And, as the gusty tempest bawls, The little cottage quakes again!— She doesn't speak ; she doesn't sigh! She gazes on her infant dear— A smile lights up the cherub's eye, Which dims' its mother's with a tear \ " Oh! who would be a seaman's wife! Oh! who would bear a seaman's child; To tremble for her husband's life, To weep—because her infant smil'd!" Ne'er hadst thou born a seaman's boy— Ne'er had thy husband left the shore— Thou ne'er hadst felt the frantic joy, To see—thy Robin at the door! To press his weather-beaten cheek, To kiss it dry and warm again, To weep the joy thou couldst not speak— So pleasure's in the debt of pain! Thy cheerful fire, thy plain repast. Thy little couch of love I ween, �8 Were ten times sweeter than the last—* And not a cloud that night was seen I A happy pair ; the pains you know, Still hand in hand with pleasure come ; For often does the tempest blow, And Robm still is safe at home. COULD A M A N BE SECURE. Could a. man be secure, Tba^ his Ufe would, endure As of old for a thousand long <years, What arts might he know, What acts might he do, And all without hurry or care, But we that ,h ave but span - long lives The.tfiicke'r must lay on the pleasure') And since time will not stay, We'll add the night unto the, day, And thus well fill the measures. ftd* jlol bdmi 'is* on uodT 'i^ojb exit iii nf/JoR -,'dt- ~\»om o'F femfo nei^orJ-teiltow id ><. • <q o T .- • • itfoq' Jon teMtroo rrofli oT ! ami to ido/« -i-li in ^eiUrcJsolq <>8 • a •h{ Y.l) ,<vu\ InllO-jLiD 7J T vol ' k tfwoz d v i l viCT � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut 038: Title-page illustration of a milkmaid carrying two buckets. Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Four Favourite Songs. William and Margaret. Go, Yarrow Flower. Robin and Anna. Could a man be secure. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. William and Margaret Go, Yarrow Flower Robin and Anna Could a man be secure Extent The size or duration of the resource. 8 pages 16 cm Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9923316943505154">s0424b15</a> Description An account of the resource 10 printed at the foot of title page Woodcut #38: Illustration on title-page of a milkmaid carrying two buckets Contributor An entity responsible for making contributions to the resource Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada Rights Information about rights held in and over the resource In the public domain; For high quality reproductions, contact Archival & Special Collections, University of Guelph. libaspc@uoguelph.ca, 519-824-4120, Ext. 53413 Date A point or period of time associated with an event in the lifecycle of the resource 1840-1850 per National Library of Scotland Format The file format, physical medium, or dimensions of the resource JPEGs and PDF derived from master file, which was scanned from the original book in 24-bit color at 600 dpi in TIFF format using an Epson Expression 10000XL scanner. Publisher An entity responsible for making the resource available Glasgow: Printed for the Booksellers Source A related resource from which the described resource is derived Archival & Special Collections, University of Guelph Library, Guelph, Ontario Type The nature or genre of the resource ballads & songs Subject The topic of the resource Chapbooks - Scotland - Glasgow Courtship and Marriage