28 10 639 https://scottishchapbooks.lib.uoguelph.ca/files/original/0977280aa37df45a20b2fd87f9c063f1.pdf 6a2df9d035265f57cc9faa23dd95f3ee PDF Text Text Seven Favourite SONGS. A Scots Sang. The Song of the Olden Time, Candran Side. Roy's Wife. The bonnie wee Wife. Tweedside. Rule Britannia. NEWTON-STEWART: Printed and Sold, Wholesale aND Retail, by J. M'Nairn. �A SCOTS SANG. I ha'e lost my love, an' I dinna ken how, I hae lost my love, an' I carena ; For laith will I be just to ly down and dee, And to sit down and greet wad be bairnly, But a screed o' ill nature I canna weel help, At having been guidit unfairly ; An' weel wad I like to gi'e women a skelp, An' yerk their sweet haffets fu' yarely. O ! plague on the limmers, sae sly and demure, As pauky as de'ils wi' their smiling ; As fickle as winter, in sunshine and shower, The hearts of a mankind beguiling ; As sour as December, as, soothing as May, To suit their ain ends never doubt them ; Their ill fauts I couldna tell ower in a day, But their beauty's the warst thing about them ! Ay, that's what sets, up the hale warld in a lowe— Makes kingdoms to rise and expire ; Man's might is nae mair than a flaughten o' tow, Opposed to a bleeze o' reid fire ! �3 ' T w a s woman at first made creation to bend And of nature's prime lord made the pillow! An' 'tis her that will bring this ill warld to an end— An' that will be seen and heard tell o ' ! THE SONG OF THE OLDEN TIME. There's a song of the olden time, Falling sad o'er the ear, Like the dream of some village chime. Which in youth we loved to hear. And even amidst the grand and gay, When music tries her gentlest art, I never hear so sweet a lay, Or one that hangs so round my heart. As that song of the olden time, Falling sad o'er the ear, Like the dream of some village chime, Which in youth we loved to hear. And when all of this lifeisg o n e - - Even the hope lingering now, Like the last of the leaves left on Autumn's sear and faded bough — 'Twill seem as still those friends were near Who loved me in youth's early day, �If in that partinghourIhear The samesweetnotes---anddieaway To that song of the olden time BreathedlikeHope'sfarewellstrain, To say in some brighter clime Life and youth will shine again. CANDRAN SIDE. I like to gang by Candran side, For Johnnie meets me there. Fain would I be my Johnnie's bride ? This wish is a' my care: But that I darena tell the l a d - - He would think me owre fain ; For mither frets and dadie threats If I but name't to them. Whene'er I cross the door at e'en, There's fifty things to do,— The ewes to blight, the cogs to clean, The ale to warm or brew. A' wark is mine since Johnne came; And sneered at ilka turn: Sare, They're happiest whenIm o u r n . sare I mane, yet a' in vain, �5 Yestreen he passed attrystin'time, Then out to him I flew; He tauld me that his heart was mine, And I am sure 'tis true, Sae I'll be true to ilka vow, Let mither flyte or fling ; In Johnnie's ha' ere beltin blaw, I'llwearthe bridal ring. ROY'S w i f e . Roy's wife of Aldivalloch;, Roy's wife of Aldivalloch, Wat ye how she cheated me As I came o'er the braes of Balloch! She vow'd, she swore she wad be mine ; She said she lo'ed. me best of onie ; But ah ! the fickle faithless quean, She's ta'en the carle and left her Johnie. Roy'swife,&c. Oh!she was a cantie quean, [walloch ; Weel could she dance the Highland walHow happy I, had she been mine, Or I'd been Roy of Aldivalloch! Roy's wife, &c. �6 Herhair'ssaefair,hereen'ssaeclear, Her wee bit mou's sae sweet and bonnie, To me she ever will be dear, Though she's for ever left her Johnie. Roy's wife &c. T H E BONNIE W E E WIFE. She is a winsome Wee thing, She is a handsome we thing, She is a bonnie wee thing, This sweet wee wife o' mine. I never saw a fairer, i never lo'ed a dearer, And neist my heart I'll wear her, For fear my jewel tine. She is a winsome wee thing, She is a handsome wee thing, She is a bonnie wee thing, This sweet wee Wife o' mine, The warld's wrack we share o't, The warstle and the pare o't. Wi' her I'll blythley bear it, And think my lot divine. �7 TWEEDSIDE. What beauties does Flora disclose ! How sweet are her smiles upon Tweed! Yet Mary still sweeter than those ; Both nature and fancy exceed, No daisy, nor sweet blushing rose, Not all the gay flowers of the field, Not Tweed gliding gently through those, Such beauty and pleasure does yield. The warblers are heard in the grove, The linnet, the lark and the thrush, The blackbird and sweet cooing dove, With music enchant every bush. Come let us go forth to the mead, Let us see how the primroses spring ; We'll lodge in some village an Tweed, And love while the feather'd folks sing. How does my love pass the long day ? Does Mary not tend a few sheep ? Do they never carelessly stray, While happily she lies asleep ? Tweed's murmurs should lull her to rest? Kind nature indulging my bliss, To ease the soft pain of my breast, I'd steal an ambrosial kiss. �8 'Tis she does the virgins excel ; No beauty with her may compare ; Love's graces around her do dwell She's fairest where thousands are fair. Say, charmer, where do thy flocks stray? Oh ! tell me at noon where they feed ; Shall I seek them on sweet, winding Tay, Or pleasanter banks of the Tweed ! R U L E BRITANNIA. When Britan first at heaven's command, Arose from out the azure main, This was the charter of the land, And guardian angels sung this strain :— Rule, Britannia, Britannia, rule the Britons never shall be slaves. T h e Muses, still with freedom found, Shall to the happy coasts repair. Blestisle!with matchless beauties crowned And manly hearts to guard thy fair. Rule, Britannia, Britannia, rule the waves; Britons never shall be slaves. ; � https://scottishchapbooks.lib.uoguelph.ca/files/original/ea59eecbcc83b51b248ae1c798a24c02.jpg 8b7873d53512487f2ce8db0efb8b9f98 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 3308 Width 1837 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 Favourite Songs. A Scots Sang. The Song of the Olden Time. Candran Side. Roy's Wife. The bonnie wee Wife. Tweedside. Rule Britannia. Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9953134473505154">s0100b01</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. A Scots Sang. The Song of the Olden Time. Candran Side. Roy's Wife. The bonnie wee Wife. Tweedside. Rule Britannia. Date A point or period of time associated with an event in the lifecycle of the resource [1820-1837?] per National Library of Scotland Extent The size or duration of the resource. 8 pages Is Part Of A related resource in which the described resource is physically or logically included. Chapbook #53 in a bound collection of 77 chapbooks Description An account of the resource Woodcut image of three men trying to rescue a another man falling out of a tree on the title-page. 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 title="http://special.lib.gla.ac.uk/chapbooks/search/" href="http://special.lib.gla.ac.uk/chapbooks/search/" target="_blank" rel="noopener">http://special.lib.gla.ac.uk/chapbooks/search/</a> National Library of Scotland <a title="http://www.nls.uk/" href="http://www.nls.uk/" target="_blank" rel="noopener">http://www.nls.uk/</a> Subject The topic of the resource Chapbooks--Scotland--Newton-Stewart Songs Ballads 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 Newton-Stewart: Printed and sold wholesale and retail by J. McNairn https://scottishchapbooks.lib.uoguelph.ca/files/original/bc46489e9069c431e7adefa37fe1414d.pdf 5ecc71819c9218d85f44a514446fe0b3 PDF Text Text SEVEN FAVOURITE SONGS. Blink bonniely, thou E'ening Star. The Despairing Goatherd. See the Moon o'er cloudless Jura. I gaed a waefu' gate yestreen. The Maid of Arundel. Sweet Evening Bells. Life let us cherish. NEWTON-STEWART: Printed for the Booksellers, by J. M ' N A I R N . �BLINK BONNIELY, T H O U E'ENING S T A R . Blink bonniely, thou e'ening Star, Thou tell'st me o' my tryst yestreen, But sweeter were the blinks o' love, That sparkled in twa smiling e'en. Beside the widely wimpling burn, Reflecting back thy golden beam, I woo'd my faithful Emma's heart, Hope long had nurs'd the flattering dream. Blink bonniely thou E'ening Star, Thou tell'st me o' my tryst yestreen? The witness of our faithful vows, Upon the sedgy banks sae green. Love ay will twine its bonnie bower, A fragrant bower for ever green, And days o' love and saft delight Will tell me o' my tryst yestreen. �6 The fickle maid is chang'd, Regardless of her vow. The fleeting joys of love, &c. LIEE L E T U S C H E R I S H . l i f e let us cherish while yet the taper glows, And the fresh flow'ret pluck 'ere it close, Why are we fond of toil and care ? Why choose the rankling thorn to wear? And heedless by the lily stray, Which blossoms in our way. When clouds obscure the atmosphere, And forked lightenings rend the air, The sun resumes his silver crest, And smiles adown the west. The genial seasons soon are o'er, The let us, e'er we quit this shore, Contentment Seek, it is our zest, Thesunshineofthebreast. �4 Soft dying on the breezy swell, That fans the shades of ArundeL SEE T H E M O O N O'ER C L O U D L E S S J U R A . See the moon o'er cloudless Jura Shining in the lake below; See the distant mountain towering Like a pyramid of snow. Scenes of grandeur—scenes of childhood— Scenes so dear to love and me! Let us rove by bower and wildwood; All is lovelier when, with thee. On Leman's breast the winds are sighing, All is silent in the grove, And the flowers with dew drops glistening, Sparkle like the eye of l o v e . Night so calm, so clear and cloudless; Blessed night to love and me ! Let us rove by bower and fountain, All is lonelier when with thee. �5 THE D E S P A I R I N G GOATHERD. The fleeting joys of love But one short moment last; In pains do constant prove, Till life's last moment's past. For Sylvia, cruel fair The pride of all the vale, I've left my goats, and kids, To stray o'er hill and dale: But she, ungrateful maid ! Heeds not thy tender sighs; My proffer'd love she scorns, And to another flies. The fleeting joys oflove,&c. The maiden oft would vow Her flame should ardent burn, While this pure stream should flow, My fondness she'd return : My passion's still the same, The water still does flow: ! �6 T H E M A I D OF A R U N D E L . Thou fairest of the fairest maids, In Arundel's embowering shades, When beauty smiles in all her charms, And love's delighted bosom warms. With her I woo each sylvan scene, Of fragrant bower and arbour green, While smiling hopes our cares dispel, W e bless the shades of Arundel. When twilight steals along the wold, And wandering shepherds leave the fold, To woo the bower the scented grove, Again my lovely Rosalie, With bounding heart I fly to thee, Love's dear and fond delights to tell, Amid the shades of Arundel. As wandering in the castle mound, Or moving I feel the festive round, the power of love divine, Bright beaming in those eyes of thine. And sweeten is thine artless tale, Than midnight song of Nightingale, �7 Away with every toil and care. And cease the rankling thorn to wear. With manful hearts life's conflict meet, Till death sounds the retreat. I GAED A WAEFU' G A T E YESTREEN. I gaed a waefu gate yestreen, A gate, I fear, I'll dearly rue; I gat my death frae twa sweet een, Twa lovely een o' bonnie blue. 'Twas not her golden ringlets bright, Her lips like roses wat wi' dew. Her heaving bosom lily white, It was her een sae bonny blue. She talked she spiled, my heart she wiled, She charmed my soul, I wistna how ; And aye the stound, the deadly wound, Cam frae her een sae bonnie blue. But spare to speak, and spare to speed, Shell aiblins listen to my vow; �8 Should she refuse, I'll lay my dead To her twa een sae bonnie blue. S W E E T E V E N I N G BELLS. Sweet evening bells, sweet evening bells, How many a tale your music tells, Of youth and home, and that sweet time. When last I heard your soothing chime ! These joyous hours are past away. And many a heart that then was gay, Within the tomb now darkly dwells, And hears no more these evening bells. And so 'twill be when I am gone, Your evening chime will still ring on. And other bards shall wake these dells, And sing your praise, sweet evening bells. � https://scottishchapbooks.lib.uoguelph.ca/files/original/6575a923180154824ff5571409ee7eb3.jpg c1b39410d4e679863dcf9666f53afea6 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 3015 Width 1714 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 Favourite Songs. Blink bonniely, thou E'ening Star. The Despairing Goatherd. See the Moon o'er cloudless Jura. I gaed a waefu' gate yestreen. The Maid of Arundel. Sweet Evening Bells. Life let us cherish. Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9953134473505154">s0100b01</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Blink bonniely, thou E'ening Star. The Despairing Goatherd. See the Moon o'er cloudless Jura. I gaed a waefu' gate yestreen. The Maid of Arundel. Sweet Evening Bells. Life let us cherish. Date A point or period of time associated with an event in the lifecycle of the resource [1820-1837?] per National Library of Scotland Extent The size or duration of the resource. 8 pages Is Part Of A related resource in which the described resource is physically or logically included. Chapbook #9 in a bound collection of 77 chapbooks Description An account of the resource Woodcut image on the title-page. Subject The topic of the resource Chapbooks--Scotland--Newton-Stewart Contributor An entity responsible for making contributions to the resource Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada Is Referenced By A related resource that references, cites, or otherwise points to the described resource. National Library of Scotland <a title="http://www.nls.uk/" href="http://www.nls.uk/" target="_blank" rel="noopener">http://www.nls.uk/</a> 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 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 Newton-Stewart: Printed for the Booksellers, by J. McNairn 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/ed845cc4df02326c5e5afb3e80b15b61.jpg 6763a8a6373fad237b1f4bd775d2a12f 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 3308 Width 1774 https://scottishchapbooks.lib.uoguelph.ca/files/original/5da8c700e5af6c0283d505a0ee83a559.pdf f704d838f5258e07703d2c3aa95693c3 PDF Text Text SFVEN POPULAR SONGS; TO THE VOICE OE LOVE, LfeADfeR HAUGHS AND YARROW. HAPPY PAIR A Duet, THE MORNING FRESH. " TO CHLOE. HAD I A CAVE, . ?AND MAGGY LAUDER. LISTEN Falkirk—Printed by R. Tayloiyl82S. �LISTEN TO THE VOICE OF LOVE. © rjf-thx, lik.fi-ri to the voica of lovp, iWfatis me Daphne to tl)<6 .grave : The primrose sweet bedecks th4 iVdv, The. t«nefiil'birds mVirtTtd rote/; To softcr joys .let spjeudotif yield, O' listen, listen to the voice of love. Where flowers their b!odiM%' sweets exhajef My Daphne fondly let us stray? Wkere whispVing love breaths forth bis tal% And shepherds sirig their artless lay: 0 listen, listen to the voice of love, He calls me Daphne to the grove, Coine 'share"witK me the sweets of s pring Aiu* leave the town's tumultuous noit-e; The happy swains all cheerful sing, And echo still repeats their joys ; Then liken, listen to the voice of "%ve, He calls me Daphne U the grove. > LB ADER-ll AUGHS AND YARROW, The morn was lair salt was the asr, All nature's sweets, were springing * buds did bow with silver dew, Tea .thousand birds were smghig - �Wken O the bent with blythe content; R Young Jamie sang his marrow, Nae bonnier lass e're trod the grass, On L^ader-haughs and Yarrow, lh*w sweet her face, where every, grase In heav'nly beauty's pruned & Her smiling een, and comely roein, That nae per lection wanted. Ill never fret, nor ban my fate, " But bless my bomkie raaiTow; , If her dear simile my doubts beguile, Mv mind shall ken nae sorrow. Yet though she's fair, and has full fchar* 0f every charm enchanting. Each good tun s ill, andrsoou will kill Poor me,if'love be wanting O bonny lass! have but the grace v To liiiiik ere ye gae further, Your joys maunflifc,if you commit The crying sin of murder. My wand'ring gaist will ne'er gefrestj And day and night affright yet But if ye re kind. with joy 1 til miruh I M study to delight ve. l O ur year ^ around with love thus crowm^, From all things joy shall borrow; Thus noaie shall be more blestiBan we, Da Legder-ittr.gh« kvti Yarrow, �Loaf* ersqpfal&'mgSower thine 'aid, Unveil the liases blushing- shah And gjve them sweet delist delight, Arid rive them sweet dclmfet TO CIILOE. O lovelyffi&K-,how dear thy power, At mice ! love, at onfce adore ; "With.wonder are mv thoughts potest, . While softest'love inspires my breast, Thlv tendefclook, these eyes of mine, Confess their am'rous master thine; These eyes with Strephoirs passion play, First make me love and then betray. Yes, charming victor, 1 am thine* Poor as it is, this heart of mine Was never to another's pow'r, Was never piere'd by love before. In thee I've treasur'd up my joy, Thou can's* give bliss, or bliss destroy; uind thus I've bound myself to love, While bliss, or misery, can move. O ! should I ne'er possess tliy cliams, Ne'er meet my eomibrt in thy a m i , �Lean ereiyfoldingflowerthine aid, UnveE 1 the liases blushing sha<fe And give them sweet delight delight, Arid give thera sweet delight TO CHLOE. O lovely mas-, how dear thypower, At mice ! love, at onfce adore; With, wonder are my thoughts posset, While softest love inspires my breast, TIIIK tender look, these eyes of mine, Confess tlieir am crous master thine; 111 eee eyes with Strephoirs passion play, First make me love and then betray. Yes, charming victor, 1 am thine, Poor as it is* this heart of mine Was never to another's pow'r, Was never piire'd by love before. In thee Tve treasur'd up my joy, Thou can's* give bliss, or bliss destroy; Jfod thus I've bound myself to love, While bliss, or misery, can move. O ! should I ne*er possess thy charms, Ne'er meet my eeraiort in thy a m i , �O meihH tlnnksTmy love o' my beauty, Acdmeude'thinks my love o' my'J:in, But little thinks my love, I ken brawly, Mv tocher's the jew*" tfiat lias charms for him It's a for:the apple hevl nourish the tree, lt>s a for the honey he'd cherish the bee, My laddie's sae meiklein love wi the tochbr Ife canna hae love to spare to me. Your proffer o' love's an airle penny. My 'tocher's the bargain ye wad buy, But gin ye be crafty I am eunnm, '$ae- ye wiani tlier your fortune maun fry, ; Ye're like to the timmer o' yon rotton woad, Ye're 1 ike to the bark o' yon rotten tree, Ye'H'slip frae me like a knotless thread, And yell crack your credit wi' mas than mi HAD I A CAVE. ©h had l a cave on some wild distant shore, Where the winds howl to the waves dashing There would I weep my woes, £i*oar There seek my lost repose, ,i Till grief my eyes should close, Ne'er to wake more. �Fakes t o f woman kind, canst thou declare, AH thy fond vows, fleeting as air, To thy new lover hie, Laugh o'er thy perjury, Then m thy bosom try, What peace Is there. MAGGY LAUDER. Wha wi^l na be in love, * Wi' bonny Maggy Lauder,, A piper met her gmm tr fife. And spier'd what wast they ett'd^lm* li^ht scornfully she answered fam Begoue yeu hallansh&ker, Jog on your gate, you bladders fete My name is Maggy Lauder. Maggy quoth he ami by my bags, Fm fklgihg fain to see the : S5t down fey me'my bonny bird* In throth I \nnr.& steer £ W For I'm a pip-.' to my trade, My name is .Rob the Ranter, ^ The lasses loup as they were &art. When I blaw up my chanter. Piper trioth Meg hae you you r bag%. Or is your drone in ^rder, �8 If you be Eol> Fve hmvxi of yon, LIT a you upon the border, Tha lasses a' baith far. ^nd near. Have -beard of Rob the Ranter, III shake my foot wi' right gwtoiffili, Gif you'll blaw up your chants. Then to his bags he flew wi' About the drone he twisted, Meg up and VvalJop'd oer the green,, For brawly could she frisk it. Weel done quoth lie play up q troth 4he, Weel bob'd quoth Hob tke Renter, ?Tis worth my while to play indeed, When I hae sic a dancer. Weel hae you play'd your part <p*&th Your cheeks are like the crimson, There's sane in Scotland plays sjas iTiBfeh Since we lost flabby Simpson. I've lived in Fife baith maid and wife, These ten years and a qrarter, ©in you should ocme to A uster 'fair, Speer ye for Maggy I^atoter, � 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; Viz. Listen to the Voice Of Love, Leader Haughs and Yarrow. Happy Pair A Duet. The Morning fresh. To Chloe. Had I a cave. and Maggy Lauder. Date A point or period of time associated with an event in the lifecycle of the resource 1825 Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9953134473505154">s0100b01</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Listen to the Voice Of Love, Leader Haughs and Yarrow. Happy Pair A Duet. The Morning fresh. To Chloe. Had I a cave. Maggy Lauder. Extent The size or duration of the resource. 8 pages Description An account of the resource Woodcut image of a woman standing in field, circles in each corner of page on the title-page. Is Referenced By A related resource that references, cites, or otherwise points to the described resource. National Library of Scotland<a title="National Library of Scotland" href="http://www.nls.uk/" target="_blank" rel="noopener"> http://www.nls.uk/</a> Is Part Of A related resource in which the described resource is physically or logically included. Chapbook #72 in a bound collection of chapbooks 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 Falkirk: R. Taylor, Printers https://scottishchapbooks.lib.uoguelph.ca/files/original/de6c55515960d4832b54ce8e3331f4fa.pdf a8e75c1b8173676f578bd6c6e7002544 PDF Text Text S SONGS: E V E N POPULAR Viz. THIS NIGHT THE HEATH, &c. MARY's DREAM. T H E L A S T R O S E OF SUMMER. LASS GIN YE LOe ME TEll ME NOW, AND WE'RE A NODDIN. ROY'S WIFE. THE M E E T I N G O F T H E W A T E R S . Falkirk—-Printed in the year 1826, �2 LOVEandthee,Mary. The heath this night must be my bed, The brachen curtain for my head, Mylulabyythe warders tread, Far, far, from loveandtheMary. To-morrow eve, more stilly laid, My couch may be my bloody plaid, My vesper song, thy wail sweet maid! It will not waken me Mary. Imaynot,darenot,fancy now The grief that clouds thy lovely I row, I dare not think upon thy vow, And all it promisedMEMary. No fond regret must Norman know, When bursts Clan-alpine on the foe, His heart must be like bended bow, His foot like arrow free Mary, A time will come with feeling fraught, For if I full in battle fought, Thy haples lover's dying thought, Shall Be a thought on the Mary. And if returned from conquered foes, How blythly will the evening close, my young bride and me Mary. How sweet the linnet sing repose, To �There is not in this wide world a valey so sweet, As that vale in whose bosom the Bright waters meet. Oh ! tho last rays of feeling and life must depart. Ere the bloom of that valey shall fade from my (heart ? Yet it was not that nature had shed o'er the scene, Her purest of crystal and brighest of green; Twas not the soft magic of streamlet or hill, Oh! no—it was somethingm o r eexquisitestill, Twas that friends the beloved of my bosom were near, (dear, Who made every dear scene of enchantment more And who felt how the best charms of nature improve, When weseethem reflect'd from looks that we love Sweet vale of ovcea ! how calm could I rest, In thy bosom of shade with the friends I love best, Where the storms which we feel in this cold world seall cease, AndONhearts like thy waters be mingled in peace �4 Roy's Wife. AsIcam'o'erthebraeso'Balloch. She vow'd, she swore she was be mine, She said she loe'd me best of ony; Butah!thesaucyficklequean, Roy's wife, &c. Her hair saefairhere'ensaeclear, Her wee bit mou sae sweet and bonnie, Tomesheeverwillbedear, Thoshe'sforeverleftherJohnie; Roy's wife, &c. But Oshewasacantyquean, An' weel could dance the highland lloch How happy I had she been mine, OrI'dbeenRoyofAlnivalloch Roy's wife, &c. Roy's Wife of Aldivalloc Roy's Wife of Aldivalloc Wat ye how she cheate �MARY'S DREAM. Themoonhadclim'dthehighesthill, That rises o'er the source of Lee, And thoughts eastern summitsleep When Mary laid her down to sea; Her from the on Sandy far at shed, 'O! Mary weep no more for me.' She from her pillow gently raised, Her head to ask who theremightbe, And saw young Sandy thiv'ring stand, With pallidcheekandhollowe'e, So, Mary dear cold is my clay, It lies beneath a stormy sea. far, far, from thee I sleep in death. So, Mary weep no more for me. Three stormy nights and stormy days. We toss'd upon the raging main. And long we strove our bark to save, Butallourstrivingwasinvain. Even then, when horror chill'd my blood, My heart was filled with love for thee: The storm is past and I at rest, So, Mary weep no more for me. When soft and low a voice �Omaidendear!thyselfprepare, We soon shall meet upon that shore, Where love is free from doubt or care, AndthenandIshallpartnomore, Lud crow'd the cock the shadow find, ' NomoreofSandycouldiesee, But soft the passing spirit said, "O Mary! weep no more for me." THE LAST ROSE OF SUMMER. 'Tis the last rose of summer left blooming alone, All her lovely companions are faded and gone Noflowerofherkindrednorose-budisnigh, Toreflectbackherblushesorgivesighfor sigh. I'll not leave thee thou lone one to pine on the stem, (with them Since the lovely are sleeping— go sleep thou Thus kindly I'll scatter thyleaveso'er the bed Where thy mates of the gardes lie scentless and dead, So soon may Ifollowwhenfriendshipsdecay, And from loev'sshiningcirclethegems drop away, �When true hearts lie withr'd and fond ones are flown, O who would inhabit this bleak world alone. I'haelaidaherrin'insant, Lass gin ye loe me tell me now, I hae brew'daforpeto'maut, And I canna come ilka day to woo. Ihaeacalfwillsoonbeacow, Lass, gin ye loe me tell me now, Ihaeapicwillsoonbeasow, And I canna come ilka day to woo. I've a house on yonder muir, Lass gin ye loe me tell me now, Threesparrowsmaydanceonthefloor. < And Icannacomeilkadaytowoo, IhaeahutandIhaeabon, Lass gin ye loe me tak me now, I hae three chickens and a fat hen, And I canna comeonymairtowoo. I've a hen wi' a hapity leg, Lass gin ye loe me tell me now, Which ilka day lays me an egg, And I dinna comeilkadaytowoo. �I hae a kebbuck upon the shed, I downa eat it a myself, And I winna come ony mair to woo. And We're a Noddin. And we're anoddin,nidnidnoddin, And we're anoddinatourhouseathame. Whenthedame'sawa'tisthetimetowoo, For the ladslikelassesandlassesladstoo, Katesitsintheneukwiherladdiesaetrue, And the carle take ye a' for yer'e a noddin too, And we're a'noddin,&c. Andhowdy'ekimmerandhowd'yethrive? How many bairns hae ye? quo kimmer I hae five, And are they aathame?Ona,na,na. Fortawo'themareganewi'Williefarawa', And we're a' noddin, &c. � https://scottishchapbooks.lib.uoguelph.ca/files/original/56f7b37f41ef1dbd5d17b9f7c19b43ef.jpg ff1bbe6f729cb9765d00722ff497ed38 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 2954 Width 1715 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: Viz. This Night the Heath, &amp;c Mary's Dream. The Last Rose of Summer. Lass Gin Ye Loe Me Tell Me Now. And We're a Noddin. Roy's Wife. The Meeting of the Waters. Date A point or period of time associated with an event in the lifecycle of the resource 1826 Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9953134473505154">s0100b01</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. This Night the Heath, Mary's Dream. The Last Rose of Summer. Lass Gin Ye Loe Me Tell Me Now. And We're a Noddin. Roy's Wife. The Meeting of the Waters. Extent The size or duration of the resource. 8 pages Description An account of the resource Woodcut image of a man with a hat standing on hill on the title-page. Subject The topic of the resource Chapbooks-Scotland-Falkirk Songs Ballads Is Referenced By A related resource that references, cites, or otherwise points to the described resource. National Library of Scotland <a title="National Library of Scotland" href="http://www.nls.uk/" target="_blank" rel="noopener">http://www.nls.uk/</a> Is Part Of A related resource in which the described resource is physically or logically included. Chapbook #41 in a bound collection of 77 chapbooks 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 Falkirk: [No publisher] 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/8a9f5d3e0f6c03194c3da3aeae369baf.pdf b88d1b1de3612a40840f810c1b577f6d https://scottishchapbooks.lib.uoguelph.ca/files/original/441fb6132fb4c4eaac6175ff670e4ba7.jpg d9a77ee8fc9d5cdd4b1dcbc59166cb77 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 3139 Width 1841 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 Select Songs. Willie brew'd a peck o' maut. This is no my ain Lassie. Willie Wastle. The Day returns. Hey for a lass wi' a tocher. I gaed a waefu' gate yestreen. I hae a wife o' my ain. Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9953134473505154">s0100b01</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Willie brew'd a peck o' maut. This is no my ain Lassie. Willie Wastle. The Day returns. Hey for a lass wi' a tocher. I gaed a waefu' gate yestreen. I hae a wife o' my ain. Date A point or period of time associated with an event in the lifecycle of the resource [1815-1825] per National Library of Scotland Extent The size or duration of the resource. 8 pages Description An account of the resource Woodcut image on the title-page. Subject The topic of the resource Chapbooks-Scotland-Edinburgh Songs Ballads Is Referenced By A related resource that references, cites, or otherwise points to the described resource. National Library of Scotland <a title="National Library of Scotland" href="http://www.nls.uk/" target="_blank" rel="noopener">http://www.nls.uk/</a> Is Part Of A related resource in which the described resource is physically or logically included. Chapbook #40 in a bound collection of 77 chapbooks 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 Edinburgh: Printed for the Bookseller https://scottishchapbooks.lib.uoguelph.ca/files/original/3821074f58788f8b0249e7c09e4d097d.pdf 434e6b1a2cbe5fa0a58db6a87dfa1981 PDF Text Text SBVJBN JOCK 0 ' HAZELDEAN. THIS IS NO MY AIN LASSIE. LOGAN WATER. BANKS OF ALLAN WATER. SOMEBODY. T H E Y ' R E A' TEASING ME. TO ALL YOU LADIES. GLASGOW: PRINTED FOR THE BOOKSELLERS. �SONG'S JOCK 0 \ H A Z E u m m . 4iWfiy weep ye by the1 title, lady? Why w.epp ye by .the tide ? M -ared'ye-to my youngest Sony And rye (shall be his bride,. And ye shall be his bride, lady, Sa© comely to be seen :" But aye she loot the tears clown fa* ¥w Jock o? Hazeldean. " Mow let this wilful grief be done, And dry that cheek so pale ; Young Frank.is chief of Errington, And Lord of Langley dale. His,.step-is-first in peaceful ha5, . His sword in ; battle keen But sjjr ihe loot the tears down fa? Wm lock o' Hazeldean. A ciiaxn 4f gold ye shall not lack, JSfor braid to bind .your hair, Nor mettl'd hound, nor managed hawk, Nor palfrey fresh an d fair. si �3 And you the foremost o' them a* Shall ride, our foremost queen :>r But aye she loot the:tears down fa* For Jock o' Hazeldean. The kirk w&s cleck'd at morning tide,, The tapers glimmer'd fair, The priest and bridegroom, wait the Bride* And dame and knight are there. % They sought her baith by bower and The lady was not seen ; She's o'er the border and awa, "Wi' Jock o' Ilazeldean. THIS IS NO MY AI1SF LASSIE. This is ho my ain lassie, Fair though the lassie be ; 0 well ken I mine ain lassie, Kind lore is in her. ee. I see a form, I see a face, Ye weel may wi' the fairest place; It wants to me the witching grace, The kind love that's in her ee. 0 this is no, &c. She's bonny, blooming, fresh and tall, And lang has had my heart: in thrall, And aye it charms my very sauI; The kind love that's in her ee. 0 this is no, &c. �4 A tliief sae pawkie is my Jean, To steal a blink by a' unseen ; But gleg as light are lovers' een, When kind love is in the ee. 0 this is no, &c. It may escape the courtly sparks. It may escape the learned clerks ; But weel the watching lover marks The kind love that's in her ee 0 this is no, &e. SOMEBODY. My heart is lair, I darena tell, My heart is sair for somebody, I could wake a winter night, For the sake o' somebody. Och hon, for somebody ! Och hey, for somebody I could range the world around, For the sake o' somebody. Ye pow'rs that smile on virtuous lov 0, sweetly smile on somebody : Frae ilka clanger keep him free, And send me safe my somebody Och hon, for somebodj 1 Och hey, for somebody I 1 wad do, what wad I not, For the sake o' somebody �LOGAN W A T E R . O Logan, sweetly didst thou glide, That day I was my Willie's bride: And years sinsyne hae o'er us run, Like Logan to the summer sun. | But now thy flow'ry banks appear Like drumlie winter, dark and drear, While my dear lad maun face his &tes, Far far frae me and Logan braes. Again the merry month of May, Has made our hills and valleys gay, The birds rejoice in leafy bowers, The bees hum round the breathing flowers Blythe morning lifts his rosy eye, And evening tears are tears of joy ; My soul, delightless, a' surveys, While Willie's far frae Logan braes. Within yon milk-white hawthorn bush, Amang her nestlings sits the thrush, Her faithfu' mate will share her toil, Or wi' his song her cares beguile ; J j But I wi' my sweet nurslings here, Nae mate to help, nae mate to cheer, Pass widow'd nights and joyless days, While Willie's far frae Logan braes. O, wae upon you men o' state, That brethren rouse to deadly hate! As ye make mony a fond heart mourn, Sae may it on your heads return. �6 How can your flinty hearts enjoy, The widow's tear, the orphan's cry? But soon may peace bring happy^ days, And Willie frame to Logan braes ! BANKS OF A L L A N WATER. On the banks of Allan water, When the sweet spring time did fall, Was the miller's lovely daughter, Fairest of-, them, all. For h;s bride a soldier sought Iier, And a winning tongue had Be ; On the banks of Allan water, None so gay as she. Oil the banks of Allan water, When brown autumn spreads his store, There I saw the miller's daughter; But she smiled no more. For the summer grief had; brought her, And her soldier false was he : On the banks of Allkn water, None so sad as she< On the banks of Allan water, When the winter snow fell fast. Still was seen the miller's daughter, Chilling blew the blast. But the miller's lovely daughter, Both from cold and care was free— Qm the banks of Allan water, .There a corse lay she. �7 THEY'RE A' TEASING ME. 0 wha-islie I loe sae weel? Wha was my heart an'a;*, (3 wha as 'he ? 'tis mir to 'tell He's o'er'the seasawa', There's Charlie he'sa sodger lad, And. Davie'Myfhe is he, And Willie in his tartan plaid, They're a'teasing me. 0 they're a' tease teasing, They're a' teasing me. They're a' tease teasing, 0 they're a teasing me. There VGarl fe chief o' Daftue glen, < And he has land and store, With flowfrymead, and shady fen, And siller o'er and o'er. irry thee And thou my ain true bride shall be, AncI Queen o' Daftne ha !!? 0 they 're .a' tease, &c. But irhen my Jamie comes again, Young1 Carl will then descry, That siller is but Jempty gain, To hearts nae gowcl can buy, My Jamie's brave,, my Jamie's braw, My Jamie's a' to nie, And tho' his siller store be sma' 1 1 Yet his I ' " �TO ALL YOU LADIES, To all you laclies now at land, We men at sea indite, But first would have you understand TIow hard it is to write. The Muses now, and Neptune too, We must implore to write to you, 1T0 write to you, With a fal, lal, lal, la, la, la, la, With a fa With a fa, &c. Injustice you cannot refuse To think of our distress, When we, for hopes of honour, lose Our certain happiness ; All these designs are but to prove Ourselves more worthy of your love, More worthy of your love. With a fal, &c. Arid now we've told you all our loves, And likewise all our fears ; In hopes this declaration moves Some pity for our tears ; Let's hear of no inconstancy, We have enough of that at sea, Of that at sea. With a fal, &c, � https://scottishchapbooks.lib.uoguelph.ca/files/original/60aa6d750ba38ad86ae11fc9db6780ee.jpg 1ffcbd2042986e1e2b1aee8429700826 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 082: Title-page illustration of a young woman carrying a basket and balancing a bird cage on her head. Outdoor scene. 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 Sentimental Songs. Jock O' Hazeldean. This is no my ain Lassie. Logan Water. Banks of Allan Water. Somebody. They're a ' Teasing Me. To all you ladies. Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9943895763505154">s0615b51</a> 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 Description An account of the resource 69 at bottom of title-page Extent The size or duration of the resource. 8 pages 14 cm Is Referenced By A related resource that references, cites, or otherwise points to the described resource. <p dir="ltr"><span><a title="University of Glasgow Union Catalogue of Scottish Chapbooks" href="http://special.lib.gla.ac.uk/chapbooks/search/">University of Glasgow Union Catalogue of Scottish Chapbooks</a><br /></span></p> <a title="National Library of Scotland" href="http://www.nls.uk/">National Library of Scotland&nbsp;</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Jock O' Hazeldean. This is no my ain Lassie. Logan Water. Banks of Allan Water. Somebody. They're a ' Teasing Me. To all you ladies. Subject The topic of the resource Courtship and Marriage Chapbooks - Scotland - Glasgow 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 Accrual Method The method by which items are added to a collection. Purchased through Jane Grier Family Trust. 2012. 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 # of Woodcuts: 1 Activity: walking Animal: bird(s) Architecture: fence Bib Context: title-page Chapbook Date: 1841-1850 Chapbook Genre: ballads & songs Chapbook Publisher - Glasgow: Printed for the Booksellers Fashion (Clothing): working class Gender: woman/women Nature: tree(s) Object: basket(s) Outdoor Scene https://scottishchapbooks.lib.uoguelph.ca/files/original/ccddcd6238aa600b316b7cbbc1f29221.pdf 55d43066f9838a506d16837028aa7dbb PDF Text Text The wealth of the Cottage is love. Behave yourseU afore folk. My Henry is gone. Hey the bonny breast-knots. Say, my heart, why wildly beating. Ye shall walk in silk attire. The kiss, dear Maid. KILMARNOCK: PRINTED FOR THE BOOKSELLERS. �2 THE W E A L T H OF T H E IS LOVE. COTTAGE A BLESSING unknown to ambition and pride. That fortune can never abate, T o wealth and to splendour tho* often denied^ Yet on poverty deigns to await. That blessing, ye powers! O be it my lot! The choicest, best gift from above, Deep fix'd in my heart, shall be never forgot— The wealth of the cottage is love. Whate'er my condition, why should I repine, By poverty never distressed ? Exulting I felt what a treasure was mine— A treasure enshrin'd in my breast. That blessing , ye powers ! still be it my lot The choicest, best gift from above, Still fix'd in my heart, shall be never forgot— That the wealth of the cottage is love. B E H A V E Y O U R S E L ' AFORE F O L I C BEHAVE yoursel* afore folk, Behave yourseP afore folk, And dirma be sae rude to me, And kiss me sae afore folk. IT wadna gi'e me muckle p<\ia, Gin we were seen and heard by naue^ �s To tak a kiss, or grant you ane; Eut gudesake no afore folk. Behave yourseP afore folk, Behave yourseP afore folk, Wliate'er ye 4o when out o* view, Be cautious aye afore folk. Consider, lad, how folk will crack, And what a great affair they'll rnak9 0 ' m e t h i n g but a simple smack, Thai's gi'en, or ta'en before folk. Behave yourseP afore folk, Behave yourseP aiore folk, Nor gPe the tongue o' auld or young Occasion to come o'er folk. It's no thro' hatred o' a kiss, That I sae plainly tell you this, But, losh, I tak? k sair amiss J o be sae ie?zed afore folk. Behave yourseP afore folk, Behave yourseP afore folk, When we're our line ye may tak* ane. But feint a ane afore folk. Fm sure to you Fve been as free As ony modest lass can be* But yet it does na do to see, Sic freedom os?d afore folk, Behave yourseP afore felk, Behave yourseP afore folk ; I'll ne'er submit again to it* So mind you that afore folk. �4 Y o u tell me that my face is f a i r It may be sae, I dinna care, But ne'er again gar't blush sae sair5 Af> ye ha'e done afore folk. Behave yourseP afore folk 5 Behave yourseP afore f o l k ; N o r heat my cheeks wi' your mad freaks^ But aye be douce afore folk. Y e tell me that my lips are sweet, Sic tales I doubt are deceit; A t ony rate it's haridy meet, T o pree these sweets afore folk, . Behave yourseP afore folk, Behave yourself afore folk ; Gin that's the case, there's time and place, But surely no afore folk, But gin ye really do insist, T h a t I should suffer to be kiss'd, Gae get a licence frae the priest, A n d mak' me yours afore folk. Behave yourseP afore folk, Behave ycursei' afore f o l k ; A n d when we're ane baith flesh and bane, Y e may tak* t e n — a f o r e folk. M Y H E N R Y IS G O N E . G green, are the groves where with Henry I stray'd! i And bright are the hills all around* 11 �5 The fields and the vallies are gaily array:M, And fresh -flowrets enamel the ground. CHORUS. But my Henry is gone, and left me forlorn, T o deplore the most faithless of m e n ; T h e flowers of hope from my bosom are torn, And they never shall blossom again, They never shall blossom again. The birds sing as sweetly on ev'ry green thorn* i h e brook steals as soft through the grove, The son shines as bright^ and as sweet smiles the mom, As they did when I roam'd with my love. But my Henry is gone, &c» H E Y T H E BONNIE BREAST-KNOTS* Hey the bonnie* ho the bonnie. Hey the bonnie breast-knots; Blythe and merry were they a' When they put on their breast-knots. There was a bridle in this town, And till't the lasses a' were boun', Wi* mankie facings on thsir gown, And some of them had breast-knots. Singing, hey the bonnie, &c. �6 A t nine o'clock the lads convene, Some clad in blue some clad in green, W r shinin' buckles in their sheen, And flowers upon their waistcoats* Out cam the wives a* wi* a phrase, And wish'*! the lasses happy days, And muckle thought they o' their claise/ Especially the breast-knots. Singing, hey the bonnie, See. SAY, MY HEART, WHY BEATING ? WILDLY Say, my heart, why wildly beating ? Dost thou such emotion prove ? Canst thou, when thy lover meeting, Fear his truth or doubt his love? No, fondly no, my bosom sighs. No, gently no, my heart replies. T h e n fond heart be silent ever— Be thy wild emotion o ' e r ; For with doubt and fearing, never bhali thou throb—no, no* no, never more. Light of life and life's b^st blessing, Is the love that meets return. Shall I, that rich boon possessing, E'er the matchless blessing spurn i �No, fondly no, my bosom sighs* No, gently no, my heart replies. Then be joy my inmate ever. Since each anxious dread is o'er ; For with fear and doubting, never Shall it throb—no* no* no, never more. AND YE SHALL W A L K ATTIRE. IN SILK AND ye shall walk in silk attire* And siller hae to spare, Gin ye'l! consent to be my bride, Nor think on Donald nvair. 0 wha would buy a silken gowm WY a poor broken heart ? Or what's to me a siller crown, Gin frae my love I part ? And ye shall walk, &c. 1 wadna walk in silk attire, Nor braid wi* gems my hair, Gin he whose faith is pledg'd wi* mine* Were wrang'd and grieving sair. From infancy he lov'd me stil!, And still my heart shall prove How weel it can those vows fulfil* Which first repaid his love* I wadna walk, �T H E KISS, D E A R MAID, T h e kiss» dear maid, thy lip has left Shall never part from mine, Till happier hours rest on the gift, Untainted back to thine. T h e parting glance which fondly beams* An equal love may s e e ; T h e tear that from thy eyelid streams Can weep no change in me. I ask no pledge to make me blest, In gazing when alone ; Nor one memorial for a breast, W h o s e thoughts are all thine own. By day or night, in weal or woe. That heart no longer free, Must bear the love it cannot show. And silent ache for thee. UN IS. � https://scottishchapbooks.lib.uoguelph.ca/files/original/9047cc4914f23cc96685c46ee6457b74.jpg 93edc2a179824d932c6bcf4bd09aef89 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 4212 Width 2412 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 man wearing a hat and coat with walking stick in front of a small house 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 035:Title-page illustration of a man with a walking stick standing in front of a cottage. 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 Songs. The wealth of the Cottage is love. Behave yoursel' afore folk. My Henry is gone. Hey the bonny breast-knots. Say, my heart, why wildly beating. Ye shall walk in silk attire. The Kiss, dear Maid. Identifier An unambiguous reference to the resource within a given context <a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9953133903505154">s0499b33</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The wealth of the Cottage is love. Behave yoursel' afore folk. Hey the bonny breast-knots. Say, my heart, why wildly beating. Ye shall walk in silk attire. The Kiss, dear Maid. My Henry is gone. Extent The size or duration of the resource. 8 pages Is Part Of A related resource in which the described resource is physically or logically included. Chapbook #32 in a bound collection of 40 chapbooks Subject The topic of the resource Chapbooks--Scotland--Kilmarnock Courtship and Marriage 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 Language A language of the resource English Type The nature or genre of the resource ballads & songs 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 Kilmarnock: Printed for the Booksellers Date A point or period of time associated with an event in the lifecycle of the resource c. 1811-1820 based on similar woodcut illustrations in chapbooks by same publisher in NLS collections. Description An account of the resource Woodcut #35: Illustration on title-page of a man wearing a hat and coat with walking stick standing in front of a small house https://scottishchapbooks.lib.uoguelph.ca/files/original/dcf233037728291f04dd07ce45977b8e.jpg e032cd5f215a3c5868cd9af5be706f64 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 23: Portrait on title-page of a man wearing a wig and dressed in a coat and lace collar https://scottishchapbooks.lib.uoguelph.ca/files/original/52b2c2fd983f5a48d3333959f46694f8.pdf 80d09d1efcf76d928d3a64cfe5800caa PDF Text Text �f 1 w* B« <i|i *f§ i t ;. me ; • • • i * * t ; vj \ �SINS AND SORROWS SPREAD BEFORE GOD. JOB xxiii. 3, 4. Oh that I knew where I might find him! that 1 might come even to his seat! I would order my cause before him, and fill my mouth with arguments. T H E R E is such a thing as converse with God in prayer, and it is the life and pleasure of a pious soul; without it we are no Christians; and he that practises it most, is the best follower of Christ, for our Lord spent much time in converse with his heavenly Father. This is the balm that eases the most raging pains of the mind, when the wounded conscience comes to the mercy-seat, and finds pardon and peace there. This is the cordial that revives and exalts our natures, when the spirit, broken with sorrows and almost fainting with death, draws near to the almighty Physician, and is healed and refreshed. TH® mercy-seat in heaven is our surest and sweetest refuge in ever hour of distress and darkness oi\ earth; this is our daily support and relief while �4 we are passing through a world of temptations and hardships in the way to the promised land. " It is good for us to draw near to God." Psal. Lxxiii. 28. And yet so much is human nature sunk down and fallen from God, that even his own children are ready to indulge a neglect of converse with him, if their souls are not always upon the watch But let it be remembered here, that so much as we abate of this divine entertainment among the vanities or amusements of the world, the businesses or burdens of life; so much we lose of the glory and joy of religion, and deprive our souls of the comfort that God invites us to receive. Job was encompassed with sorrows all around, and his friends had censured him as a vile hypocrite, and a great sinner, because he was so terribly afflicted by the hand of G o d : whither should he run now but to his heavenly Father, and tell him of all his sufferings ? From the practice of this holy man, I thought we might have sufficient warrant to draw this inference, viz. that when a saint gets near to God in prayer, he tells him all his circumstances, and pleads for help. And this is the doctrine which 1 am endeavouring now to improve. O if I could but come near him; I would spread all my concerns before his eye, and I would plead with him for relief; I would fill my mouth with arguments. �5 Four things I proposed in the prosecution of this doctrine. I. T o consider what it is for a soul to get near to God in prayer. I I . What particular subjects doth a soul, thus brought near to the mercy-seat, converse with God about. I I I . Why he cnuses to tell ail his circumstances and his sorrows to God, when he is thus near him. I V . How he pleads for relief. I. We have already considered what it is for a soul to get near to the seat of God, and what are the usual attendants of such a privilege. At such a season the holy soul will have an awful and adoring sense of the majesty of God, a becoming fear of his terrors, and some sweeter taste of his love. There will be a divine hatred of every sin, and a sensible virtue and influence proceeding from a present God, to resist every temptation ; there will be a spiritual and heavenly temper diffusing itself through the whole soul, and ail the powers of i t ; a fixedness of heart without wTandering; and a liveliness without tiring ; no weariness is felt in the spirit at such a season, even though the flesh may be ready to faint under the overpowering sweetness; then the soul with freedom opens itself before the eye of God, and melts and flow in divine language, �6 whether it complain or rejoice. But I have finished this head, and repeat no more. I I . What are some of the particular circumitances or subjects of complaint, that a saint brings to God when he comes near to him. In general, a saint, when he is near to God, has all the fulness of his heart breaking out into holy language; he pours out his whole self before his God and his Father; all the infinite affairs that relate to the flesh and spirit, to this life and that which is to come; all things in heaven, and all things on earth, created or uncreated, may, at one time or other, be the subjects of converse between God and a holy soul. When the question is asked by a carnal man, " What can a Christian talk with God so long and so often about ?" The Christian, in a divine frame, answers, " He that hath matter enough for converse with God, to wear out time, and to fill up e t e r n i t y I t may as well be asked on the other side, What has he not to say ? What is there that relates to God, or to himself, to the upper, or the lower world, that he may not at some time say to his God? But I must confine myself from wandering in so large a field, that I may comport with the design of my text. Though a good man, in devout prayer often spreads his hopes and his joys before the Lord as well as his sorrows, fear, and dis- �7 tresses; yet I shall at present endeavour to set forth only the mournful and complaining representations of his circumstances that he makes before the throne of God. 1. If I could but come near the mercy-seat, I would confess how great my sins are, and I would pray for pardoning grace. I would say, " How vile I am by n a t u r e I would count my original descent from Adam the great transgressor, and humble myself at the foot of a holy God, because I am the descent of such a sinner. I would tell him how much viler I have made myself by practice: " I have been an enemy in my mind by nature, and guilty of many wicked works, whereby I have farther estranged myself from him." I would tell my God how multiplied rny transgressions have been before 1 knew him, and how aggravated they have been since I have been acquainted with him. I would acquaint him with the frequency of my returning guilt, how I have sinned against mercies, against reproofs, against warnings received often from his word, and often from his providence. I may appeal to the souls of many present, whether they have not had the greatest freedom of confession of their sins when they have been nearest to God, even though he be a God of holiness. At other times they have not only been averse to confess to any friend, but eren �8 unwilling to talk over to themselves the aggravation of their iniquities, or to mention them in prayer; but when they are brought thus near the throne of God, they unbosom themselves befor© him, they pour out their sins and their tears together, with a sweet and mournful satisfaction. " I behold (says the saint) the great atonement, the blood of Jesus, and therefore I may venture to confess my great iniquities, for the satisfaction is equal to them all. VVLen I behold God upon his seat, I behold the Lamb in the midst of the throne as it had been slain, and he is my Peace-maker. I see his all-sufficient sacrifice, his atoning blood, his perfect, his justifying righteousness." The soul then answers the call of God with great readiness, when God says in Isaiah i, 18. " Come let us reason together; though your sins have been as scarlet, they shall be as wool." " I am ready (says the soul) to enter into such reasonings ; I am ready to confess before thee, that my sins are ail crimson and scarlet, but there is cleansing blood with thy Son. Blood that has washed the garments of a thousand sinners, and made them as white as snow; and it has the same virtue still to wash mine too;. I trust in it, and rejoice when I behold that blood sprinkled upon the mercy-seat, and therefore I grow confident in hope, and draw yet nearer to God, a reconciled God, since his throne �has the memorials of a (needing sacrifice upon it." 2. If I could get nearer the seat of God 1 would tell him how many my enemies are, and how strong; how malicious, and how full of rage. And I would beg strength against them, and victory over them. I would say as David, 44 Many there be that hate me, many there be that rise up against me, and many there be that say of my soul, There is no help for him -n God ; but thou, 0 God, art my glory, my shield, and the lifter up of my head," Psal. iii. Then, says the soul, 1 would complain to God of all my indwelling corruptions, of the body of death that dwells in me, or in which I dwell; and say; " O wretched man that I am, who shall deliver me!" I would tell him then of the secret working of pride in my heart, though I long to be humble; of the rising of ambition in my soul, though I would willingly maintain .a middle state amongst men, and not aim and aspire to be great. I would acquaint him of the vanity of my own mind, though 1 am perpetually endeavouring to subdue it. I would tell him, with tears, of my sinful passions, of my anger and impatience, and the workings of envy and revenge in me; of the perpetual stirrings of disorderly appetites, whereby I am led away from my G o d ; I would tell him of the hardness of my heart, and the obstinacy of my temper, I would �10 open before his eyes all the vices of my constitution ; all those sacred seeds of iniquity that are ever budding and blossoming to bring forth fruit to death. These things are fit to mourn before the Lord, when the soul is come near to his seat. I would complain of this sore enemy, the world, that is perpetually besetting me, that strikes upon all my senses, that by the ears, and the eyes, and all the outward faculties, draws my heart away from God my best friend. I would tell him of the rage of Satan, that watchful and malicious adversary; that I cannot engage in any duty of worship but he is ready to throw in some foolish or vain suggestion to divert me; and 1 would look forward, and point to my last enemy, death, and beg the presence of my God with me, when I walk through the dark valley; " Lord, when I enter into that conflict, assist me, that I may fear no evil, but be made more than a conqueror through him that has loved me." 3. I would tell him what darkness I labour under, either in respect of faith or practice. If I am perplexed in my mind, and entangled about any of the doctrines of the gospel, I would tell them my God what my entanglements are, where the difficulty lies; and I would beg, that by his Spirit and his word, he would solve the controversy, and set his own truth before me in his own divine light. And then in point of practice, �11 what darkness lies upon the spirit at such a time, is revealed before G o d : u My way is hedged up, I know not what path to chuse; it is very hard for me to find out duty; show me, O Lord, the way wherein I should walk, and mark out my path plain for me. 4. I would mourn, and tell him how little converse I have with himself, how much he is hidden from me; I would complain to him, how far off I am from him the most part of my life, how few are tne hours of my communion with him, how short is the visit, how much his face is concealed from me, and how far my heart i3 divided from him. A soul then says, " Surely there is too great a distance between me and my God, my heavenly Father;" and cries out with bitterness, " Why is God so far from me, and why is my heart so far from God ? How often do I wait upon him in his own sanctuary, and among his saints, but I am not favoured with a sight of his power and glory there! And how often do I seek him in my secret retirements, but I find him not I I would tell him how often I read his promises in the gospel, and taste no sweetness; I go frequently to those wells of consolation and they seem to be dry ; then I turn my face, and go away ashamed." 5. I would tell him too of my temporal troubles, if I get near to God, because they unfit me �12 for Lis service, ihey make me uncapable of honouring him in the world, and render me unfit for enjoying him in his ordinances; I would tell him how they damp my zeal, how they bow my spirit down, and make me go mourning all the day long5 to the dishonour of Christianity, which is a dispensation of grace and joy. Thus I might complain before God of pains, of weakness, of sickness, of the disorders of my flesh ; I might complain there too of the weakness of all my powers, the want of memory, the scatterings and confusions that are upon my thoughts, the wanderings of my fancy, and the unhappy influence that a feeble and diseased body has upon the mind : " O my God, how am I divided from thee by dwelling in such a tabernacle ! Still patching up a tottering cottage, and wasting my best hours in a painful attendance on the infirmities of the flesh!" I might then take the liberty of spreading before my God all the sorrows and vexations of life, that unhinge my soul from its centre, that throw it off from my guard, and hurry and expose me to daily temptations. I might cornplain of my reproaches from friends and ene* mies; because these, many times, wear out the spirit and unfit it for acts of lively worship. These are my weekly sorrows and groans, these are my daily fears and troubles; and these shall �13 be spread before the eyes of my God, in the happy hour when I get near him. Lastly, I would not go away without a word of pity and complaint concerning my relations, my friends and acquaintance, that are afar off from God. I would put in one word of petition for them that are careless unconcerned for themselves; I WDuld weep a little at the seat of God for them: I would leave a tear or two at the throne of rnercy, for my dearest relatives in the flesh, for children, brothers or sisters, that they may be brought near to God, in the bonds of the Spirit. Then would I remember my friends in Christ, my brethren and kindred in the gospel; such as labour under heavy burdens, languish under various infirmities of life, or groan under the power of strong temptations. When God indulges me the favour of his ear, I would spread their wants and sorrows before him, together with my own, and make supplication for all the saints. I would leave a petition at the mercyseat for my native country, that knowledge and holiness may overspread the nation ; that our king may be a nursing-father to the church, and our princes may be blessings to the land. And while I send up my request for the British Islands, I would breathe out many a sigh for Zion, that she may be the joy of the whole earth.—I proceed now to. �14 III. The third head of inquiry, which is this: Why does a saint, when he gets near to God delight to tell hiir all his circumstances, and all his sorrows ? In general I might say this, because it is so seldom, at least in our day, that a saint gets very near to God; therefore when he finds that happy minute, he says to his God all he wants to say; he tells him all his heart; he pours out all his wants before him ; because these seasons are very few. It is but here and there an extraordinary Christian, who maintains constant nearness to God; the best complain of too much distance and estrangement. But to descend to particulars. 1. He is our chief friend, and it is an ease to the soul to vent itself in the bosom of a friend, when we are in his company. More especially as it was in the ease of Job, when other friends failed him when he began to tell them some of his sorrows, and withal maintained his own integrity ; they w7ould not believe him, but became his troublers instead of his comforters; My friends, scorn me," saith Job, ch. xvi. 20, but mine eye pours out tears to God. I go to my best friend, my friend in heaven, when my friends here on earth neglect me. Man is a sociable creature, and our joys and our sorrows are made to be communicated,, that �15 hereby we may double the one and alleviate the other. There is scarce any piece of human nature, be it ever so stupid, but feels some satisfaction in the pleasure of a friend, in communicating the troubles and the pleasures that it feels; but those that have God for their highest and best friend, they love to be often exercising such acts of friendship with him, and rather with him than with any friend besides, rather with him than all besides him. This is the noblest and highest friendship; all condescension and compassion on the one side, and all infirmity and dependance on the other! and yet both joined is mutual satisfaction. Amazing grace of God to man ! The Christian rejoices in this admirable divine indulgence, and delights in all opportunities to employ and improve it. Besides, this is the way to maintain the vigour of piety, and keep all the springs of divine love ever open and flowing in his own heart; therefore he makes many a visit to the mercy-seat, and takes occasion from every troublesome occurence in life, to betake himself to his knees, and improves every sorrow he meets on earth, to increase his acquaintance with heaven. He delights to talk all his grievances over with his God. Hannah, the mother of Samuel, is a blessed example of this practice, 1 Sam. i. 10. When she was in bitterness of soul, by reason of �16 a sore atfliction, and the teazing humour of hei rival, she prayed to the Lord, and wept sore J and when she had left her sorrows at the mercyseat, she went away, and did eat, and her countenance was no more sad, ver. 18. So saith the Christian, " I commit my sorrows to my God, he is my best friend, and I go away, and am no more sad f I have poured out my cares into his ear, and cast my burdens upon him, and I leave them there in peace " 2. The saint knows God will understand him right, and will judge right concerning his case and his meaning. Though the expression (it may be) are very imperfect, below the common language of men, and propriety of speech, yet God knows the meaning of the soul, and he knows the mind of hi5 Spirit, Rom. viii. The friends of Job perverted his sense; therefore he turns aside to God, for he knows God would understand him. It is a very great advantage, when we spread our concerns before another person, to be well assured that person will take us right, will take in our meaning fully, and judge aright concerning our cause. Now we may be assured of this when we speak to our God; he knows our thoughts afar, off, and all our circumstances, better infinitely than we can tell him. These our poor imperfect expressions of our wants, shall be no hinderance to his full sup- �17 plies, nor any bar to his exercise of friendship toward us. 3. A saint pours out his soul before God, because he is sure of secrecy there. How many things are there transacted between God and a holy soul, that he could never publish to the world ! and many things also that concern his conduct in life, his embarassment of spirit, his difficulties,, his follies, or the obstinacy, guilt, or follies of his friends or relatives, which prudence or shame forbid him to tell his fellow creatures: and yet he wants to spread them all before God his best friend, God his dearest relative, the friend nearest to his heart. There may be many circumstances and cases in life, especially in the spiritual life, which one Christian could hardly communicate to another, though under the strictest bonds and ties of natural, and civil, and sacred relation ; though we may communicate these very affairs, these secret concerns, with our God, and unburden our souls of every care, without the least public notice. We cannot be perfect secure of this with regard to any creature; for when we have experienced the faithfulness of a friend many years, he may possibly be at last unfaithful: unfaithfulness is mingled with our nature since the fall, and it ii impossible any person can be infallibly secure from it. Psal. lxii. 9# Meu of low degree are vanity, �18 and great men are a lie; but we may leave our case with our God, as secure as though we had communicated it to none: nay, we may be easily secure and free in speaking, because God knows all before-hand. Our complaint adds nothing to his knowledge, although it eases our souls, and gives us sweet satisfaction in having such a friend to speak to. 4. A saint believes the equity, faithfulness, and the love of God; therefore he spreads his case before him. His equity, that the judge of all the earth will do right; the righteous may plead with him. His faithfulness, that he will fulfil all his promises; and his love, that he will take compassion on those who are afflicted; he will be tender to those who are miserable. David takes occasion from this to address God under his sufferings and sorrows: Psal. lxii. 1, 2. 66 He is my rock, and my salvation, and my defence; I shall not be moved; therefore my soul waits upon God; my refuge is in him; he is a God that hears prayer, therefore unto him shall all flesh come," Psal. lxv. 1. God will not account our complaints troublesome, though they be never so often repeated; whereas men are quickly wearied with the importunities of those who are poor and needy. Great men are ready to shut their doors against those who come too often for relief; but God delights to hear often from his people, and �19 to have them ask continually at his door for mercy. Though he has almighty power with him, saith Job, yet he will not plead against me with his great power; no, but he would put strength in me; he would teach me how I should answer him; how I should answer his justice, by appeals to his mercy; and how I should speak prevailingly before him. 5. Lastly, A saint tells God all his circumstances and sorrows at such a season, because he hopes for relief from him, and from him only; for it is impossible creatures can give relief under any trouble, unless God make them instruments of relief. And there are some troubles in which creatures cannot be our helpers, but our help must come only from God, and that in a more immediate way. Whatsoever be our distress, whether it arise from past guilt and the torments of an anxious and troubled conscience, or whether it arise from the working of indwelling sin, the strength of temptation, or the violence of temporal afflictions, still God is able and willing to give relief. " Call upon me (saith the Lord) in the day of trouble, I will deliver thee, and thou shalt glorify me;" Psal. 1. 12* And he hath never said to the seed of Jacob, seek ye my face in vain, Isa. xlv. 19. IV. The fourth general head of discourse �20 which I proposed, is to shew how a saint, near the mercyseat, pleads with God for relief. Holy Job tells us in this text, that if he was got near to the seat of God, he would fill his mouth with arguments. Not as though he would"inform God of the necessity, or the justice of his cause, beyond what he knew before; no, this is impossible; he that teacheth man all things, shall he not know? Psal. xciv. 9, 10. He who orders all the circumstances of our lives, and every stroke of his own rod, can he be unacquainted with any thing that relates to our sorrows ? Nor can we use arguments with God to awaken his ear, or move his compassion, as though he had neglected us or forgotten our distress; for all things are for ever naked and open before the eyes of him with whom we have to do. The shepherd of Israel cannot slumber ; nor does his mercy want our awakenings. But in this sort of expressions, the great God condescends to talk, and to transact affairs with us, and permits us to treat with him in a way suited to our weakness; he would have us plead and argue with him, that we may show how deep a sense we have of our own wants, and how entirely we depend on his mercy. Since we cannot converse wkh him in a way equal to his own majesty and Godhead he stoops to talk with us �21 in such a way as is most agreeable to our state, and most easy to our apprehension, he speaks such language as we can understand, and invites us to humble conference with him in the same way. Come, says God to his people, by Isaiah his prophet, Come now, and let us reason together, Isa. i. 18. And he often in holy scripture, represents himself as moved and influenced by the prayers and pleadings of his afflicted saints; and he has ordained before hand, that the day when he prepares their hearts to pray, shall be the day when his ear shall hear the desire of the humble, and shall be the season of their deliverence, Psal. x. 17. If you inquire, how a Christian pleads with his God, and whence does he borrow his arguments ; I answer, that according to the various sorrows and difficulties which attend him, so various may his pleadings be for the removal of them. There is not a circumstance which belongs to his affliction, but he may draw some argument from it to plead for mercy ; there is not one attribute of the divine nature, but he may use it with holy skill, and thereby plead for grace; there is not one relation in which God stands to his people, nor one promise of his covenant, but may at some time or other afford an argument in prayer. But the strongest and iweetest argument that, a Christian knows, b the �22 name and mediation of Jesus Christ his Lord. It is for the sake of Christ, who has purchased all the blessings of the covenant, that a saint hopes to receive them; and for the sake of Christ, he pleads that God would bestow them. But having treated largely oil this subject, it remains that I make a few useful reflections on the whole foregoing discourse. R E F L E C T I O N I. a dull and uncomfortable thing is religion without drawing near to God 1 for this is the very business for which religion is designed ; the end and aim of religion is getting nigh to God ; if it attain not this end it is nothing. O the madness of hypocrites, who satisfy them selves to toil in long forms of worship, and appear perpetually in the shapes of religion, but unconcerned whether they ever get near to God by it or no! They lose the end and design for which religion was made. What if we know all the doctrines of the gospel; what if we can talk rationally about natural religion; what if we can deduce one truth from another, so as to spread a whole scheme of godliness before the eyes or ears of those we converse with; what if we can prove all the points of Christianity, and give uncontestable arguments for the belief of them; yet we have 110 religion if our souls never get near to God by them. A saint thinks it a very melanWHAT �23 choly thing when he is at a distance from God, and cannot tell God his wants and sorrows. Though he be never so much studied in divinity, and the deep things of God, yet if God be not with him, if he does not come near to his mercyseat, so as to converse with him as his friend, the soul is concerned and grieved, and never rests till this distance be removed. It is to little purpose all these forms are maintained, if we have not the substance and the powrer of godliness; if our God be not near us, if we never get near to God. R E F L E C T I O N II. How happy are we under the gospel, above aL ages and nations besides us, and before us! For we have advantages of getting near to God, beyond what any other religion has ; above what the heathen world ever enjoyed; for their light of nature could never show them the throne of grace; above what the ancient petriarchs had, though God same down in visible shapes, and revealed and discovered himself to them as a man or an angel; above what the Jews had, though God dwelt among them in visible glory in the holy of holies. The people were kept at a distance, and the high-priest was to come thither but once a-year; and their veil, and smokes, and shadows, did, as it were, conceal God from them, although they were types of a future Messiah; and «yen their Shekinah itself, or cloud of glory, �21 gave them no spiritual idea or notion of Godhead, though it was a shining emblem of God dwelling among them. R E F L E C T I O N III. Lastly, That future state of glory must be blessed indeed where we shall be ever near to God, even to his seat, and have no sorrows to tell him of. If it be so delightful a thing to come near the seat of God here upon earth, to mourn before him, and to tell him all our circumstances, and all our sorrows, how pleasurable a blessedness must that of heaven be, where we shall be ever rejoicing before him, as Christ Jesus was before the world was made, rejoicing daily before him; and our delight shall be with that God who created the sons of men; where we shall be for ever telling him of our joys, and our pleasures, with humble adoration of his grace, and everlasting gratitude. O that I could raise your souls, and mine, to blessed breathings after this felicity, by such representations ! But how infinitely short must the brightest descriptions fall of this state and place ! May you and I, who speak and hear this, may every soul of us be made thus happy one day, and learn the extent and glory of this blessedness, by sweet and everlasting experience. Amen. FINIS. � 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 023: Title-page illustration in triple ruled border of a portrait of a man in a wig and dressed in a coat with a lace collar. 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 Sins and Sorrows spread before God: a sermon, by the Rev. Isaac Watts. Extent The size or duration of the resource. 24 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/alma9935661163505154">s0587b42</a> Description An account of the resource 99 printed at the foot of the title page Woodcut #23: Portrait on title-page of a man wearing a wig and dressed in a coat and lace collar 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 Subject The topic of the resource Chapbooks - Scotland - Glasgow Religion and Morals Type The nature or genre of the resource sermon Creator An entity primarily responsible for making the resource Watts, Isaac, 1674-1748 # of Woodcuts: 1 Bib Context: title-page Chapbook Date: 1841-1850 Chapbook Genre: religion & morals Chapbook Genre: sermon Chapbook Publisher - Glasgow: Printed for the Booksellers Fashion (Clothing): religious Gender: man/men occupation: clergy Portrait: Isaac Watts