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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 140: Interior page illustration on top half of first page in double ruled square border portraying a woman sitting in a chair holding a book surrounded by six children in a living room. "
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
The Rise of Learning or Groundwork of Science
Publisher
An entity responsible for making the resource available
Glasgow: J. Lumsden & Son
Extent
The size or duration of the resource.
48 pages; 35 woodcut images
10 cm
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9951651593505154">s0031Ab029</a>
Subject
The topic of the resource
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
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Groundwork of Science
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.
Date
A point or period of time associated with an event in the lifecycle of the resource
1810
Source
A related resource from which the described resource is derived
Archival & Special Collections, University of Guelph Library, Guelph, Ontario
# of Woodcuts: 35
Activity: reading
Architecture: door(s)
Architecture: house
Architecture: window(s)
Bib Context: text
Chapbook Date: 1810
Chapbook Genre: children's book
Fashion (Clothing): bonnet (women)
Fashion (Clothing): children's clothes
Fashion (Clothing): dress
Fashion (Clothing): upper class
Furniture: chair(s)
Furniture: table(s)
Gender: boy(s)
Gender: girl(s)
Gender: woman/women
Glasgow: J. Lumsden & Son
Indoor Scene
Object: book(s)
Object: curtain(s)
Object: painting(s)
Occupation: Teacher(s)
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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 53_a: Frontispiece illustration in a single ruled frame of a woman wearing a bonnet sitting in a chair surrounded by four children who are looking towards her; one child appears through an open door.
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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 053_a: Frontispiece illustration in a single ruled frame of a woman wearing a bonnet sitting in a chair surrounded by four children who are looking towards her; one child appears through an open door.
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
The Rise of Learning, or Ground-Work of Science, Showing how Good Boys and Girls, By attending to the Rules contained in this Book, and obeying their Parents and Guardians, may acquire Wisdom, Riches, and Honour
Date
A point or period of time associated with an event in the lifecycle of the resource
1819
Extent
The size or duration of the resource.
48 pages, including pastedown wrappers : illustrations
11 cm
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9951097463505154">s0037Ab003</a>
Description
An account of the resource
This title was also issued by the Glasgow firm of James Lumsden & Sons.
Woodcut #53_a: Frontispiece illustration in a single ruled frame of a woman wearing a bonnet sitting in a chair surrounded by four children who are looking towards her; one child appears through an open door.
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
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
Edinburgh: Caw & Elder
Subject
The topic of the resource
alphabet books
Chapbooks - Scotland - Edinburgh
Children's books
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
children's instruction book
# of Woodcuts: 35
Architecture: window(s)
Bib Context: frontispiece
Chapbook Date: 1811-1820
Chapbook Genre: children's instruction book
Chapbook Publisher - Edinburgh: Caw & Elder
Fashion (Clothing): upper class
Furniture: chair(s)
Furniture: table(s)
Gender: boy(s)
Gender: girl(s)
Gender: woman/women
Indoor Scene
Object: book(s)
Object: painting(s)
-
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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 man wearing a top hat with arm linked to a woman holding a parasol; building, wall, and trees in background (blue tint)
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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 portrays an older man with a hat, pointy nose and chin, a hunched back outside a home and is holding canes; Circle frame
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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 portrays a sunset/sunrise coming over hills/mountain, a cottage is set near a body of water; circle frame
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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 portrays a bird nest with four baby birds with mouths open
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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 bird perched on a tree branch
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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 portrays an outdoor scene; older man with bent knees, hunched back, pointy nose and chin holding a cane is talking to a young man with a top hat
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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 portrays an indoor scene where four children are interacting with various mathematical and geographical tools such as a globe
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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 portrays an indoor scene where a man is sitting on a chair reading to a young child who is sitting on his lap. The room has a window with sun shining through, and a table in front of the two figures.
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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 portrays a man sowing seed by hand
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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 portrays a woman grabbing wheat from ground; text explains it is a woman gathering corn that was dropped by the reaper
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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 portrays a beehive sitting on a bench with flora around it; Bees are flying around hive.
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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 portrays a still life of a flower arrangement in vase
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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 portrays an indoor scene of a woman sitting on a chair with hands reaching out to a baby in a bassinet
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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 portrays a young woman who is downcast/sad, her elbow rests on a table and her face rests on her hand, a large vessel is also on the table; on blue paper
Dublin Core
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Title
A name given to the resource
Woodcut 015_a: Title-page illustration in single ruled octangular border of a well dressed man with his arm linked to a well dressed woman who is holding a parasol They are standing in front of a building. Printed on blue paper.
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
Familiar Objects Described
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
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9951097683505154">s0037Ab006</a>
Extent
The size or duration of the resource.
16 pages
10 cm
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.
Date
A point or period of time associated with an event in the lifecycle of the resource
ca.1830
Subject
The topic of the resource
Chapbooks - Scotland - Edinburgh
Source
A related resource from which the described resource is derived
Archival & Special Collections, University of Guelph Library, Guelph, Ontario
Publisher
An entity responsible for making the resource available
Edinburgh: Oliver and Boyd
Type
The nature or genre of the resource
children's instruction book
Architecture: fence
Architecture: house
Bib Context: title-page
Chapbook Date: 1821-1830
Chapbook Genre: children's instruction book
Chapbook Publisher - Edinburgh: Oliver & Boyd
Fashion (Clothing): bonnet
Fashion (Clothing): bonnet (women)
Fashion (Clothing): breeches
Fashion (Clothing): cape
Fashion (Clothing): coat
Fashion (Clothing): dress
Fashion (Clothing): jacket
Fashion (Clothing): pants
Fashion (Clothing): scarves
Fashion (Clothing): top hat
Fashion (Clothing): upper class
Fashion (Clothing): waist coat
Gender: man/men
Gender: woman/women
Nature: tree(s)
Object: umbrella(s)
Outdoor Scene
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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 127_a: Frontispiece illustration in single ruled oval border within a single ruled rectangular border of a seated woman holding a small book. There are three children on her right and two on her left. Interior scene showing a window partially draped with curtains.
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
A New Lottery Book, On a Plan Entirely New : Designed to allure Little Ones into a Knowledge of their Letters, &c. by way of Diversion
Date
A point or period of time associated with an event in the lifecycle of the resource
1817
Extent
The size or duration of the resource.
48 pages, including pastedown wrappers : woodcut illustrations and frontispiece
10 cm
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9951097593505154">s0037Ab0004</a>
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 2017
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
Edinburgh: Caw & Elder
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
children's instruction book
alphabet book
Subject
The topic of the resource
Chapbooks - Scotland - Edinburgh
# of woodcuts: 29
Activity: reading
Archictecture: window(s)
Bib Context: frontispiece
Chapbook Date: 1811-1820
Chapbook Genre: alphabet book
Fashion (Clothing): dress
Gender: boy(s)
Gender: girl(s)
Gender: woman/women
Indoor Scene
Object: book(s)
Object: curtain(s)
Occupation: Teacher(s)
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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 cover of a cat standing upright in fancy dress and hat chasing an old woman dressed similarly in an interior scene (green tint)
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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 017_a: Cover illustration in single ruled octangular border of a cat standing upright in fancy clothes with an umbrella chasing an old woman dressed similarly in an interior scene. Printed on green paper.
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
The Droll Adventures of Old Dame Trott and her Wonderful Cat
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1820
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9950420743505154">s0037Ab001</a>
Subject
The topic of the resource
Chapbooks - Scotland - Edinburgh
Wit and Humor
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
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
Edinburgh: Oliver and Boyd
Extent
The size or duration of the resource.
34 pages
14 cm
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
fairytale/folk lore
# of Woodcuts: 17
Animal: cat(s)
Bib Context: title-page
Chapbook Date: 1811-1820
Chapbook Genre: fairytale/folk tale
Chapbook Genre: wit & humor
Chapbook Publisher - Edinburgh: Oliver & Boyd
Fashion (Clothing): bonnet (women)
Fashion (Clothing): dress
Fashion (Clothing): upper class
Gender: woman/women
Indoor Scene
Object: cane(s)
Object: umbrella(s)
-
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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
Illustration on title-page of a woman praying before an altar on top of which is an open book
https://scottishchapbooks.lib.uoguelph.ca/files/original/b27b59778afb179513e79310cc45164a.pdf
e7f0df7c8cbbbcc3735327527f6bf980
PDF Text
Text
Fair Margaret's Misfortunes
T o which arc added,
A Cogie of Ale.
The weary pund o' Tow.
Song in Rosina.
EDINBURGH—
rRINTXD FOR TH6 BOOKSELLERS.
�fair Margarets misfortunes.
As it fell out upon a day,
two lovers they sat upon a hill:
They sat together a long summed day,
and could not take their fill.
1 see no harm hy you Marjaret,
and you sec none by me;
Before to morrow at eight clock,
a rich we J ding you shall sot*
Fair Margaret sat in her bower window
a combing of her hair ;
There 6he ip>M sweet William and bri If,
as they were a riding near.
©own the laid her iv.ry comb,
and up she bound her hair,
She went away forth from the bower,
and never more e&jse there.
Whc-n day was gone, and night was iiosae,
and all m:n frst asleep,
There came the spirit of Pair Margaret,
and stood at WillismVbed-feet.
�God give you joy, you true lovers,
in bride-bed fast asleep,
Lo 1 I a« going to my green-gTais grove,
an] I am is my winding sheet
When Jay was come aad ni^ht was gone,
and all men wak'd from sleep.
Sweet Wilium to his lady said,
my dear, I've cause to weep.
I dream'd a dream my dear Lidy
such dreams are never good s
I dream'd thy bow'r was full of red swfne,
and thy bride-bed ful of blood*
Such dreams such dreams, my honoured Sir,
they never do prjve good ;
To dretaa my bower was full of red swin?,
and my bri'le-bed full of blood.
He called up his merry men ail,
by one by two and by three,
Saying, I'll away to fair Margaret's bower,
by the have of ray fair lady.
And when he came to fair Margaret's bo*er,
he knocked at t'.e ring:
�4
So ready were the seven bn tbren
to let 8wetf William in,
Then he turned up the winding s^eet,
pray let me set the dead
Methinks she looks both pale anl wan,
she ba4 lost her cherry reJ.
I will do more for the«, Margtiet,
th»n any of thy kio,
For \ will kisa thy psle wan lips,
though a w$iie I cannot win.
With that Uspokt the seven brethren,
making most piteous moan,
You may go kiss your jolly brow* dame,
and let our sister alone.
If I do kiss my jolly brown dame,
I da but what is right,
For I made DO VOW to your sister dear,
by day nor yet by eight.
Fray tel/ me then how much you'll deal
oi white bread and of wine,
So mnc i as is dealt at he,; funeral to-iay,
t;-mcrrcw shall be desit ss mine.
l
�5
Fair Margaret dy'd to-day to-day,
•weet William hp dy d the morrow;
Fair Margaret dy d for pure true love,
•weet William ha dy d for aorro*.
Margaret wai buried in the totrtr chancel,
and Williaai in the higher
Out of her breast there «pr**g,
and out of hie a briar.
N
%
They greJ* a« high a« the church top,
'till they could grow no Hghsr ;
A*d there grew in a True-lover'a knot,
that mado all people admire.
Then came the clerk of the pariah,
as you this truth ahall hear,
And by misfortunes cut them dowa,
or they had BOW b2en there.
A COGIE OF ALE.
A C O G I E of ale, and a pickle alt meal,
And a dainty wee drappie o' whisky,
Was our forefather'* dose to swell down'thiir brcie
Aod make them blytje cheery, and frisky.
�6
Then hey for the cogie and bey for the ale,
Acd hey for the whisky and bey for the mt*l,
When m:Vd a' thtgitler they do unco weel;
TG> &&k a cbicld cheery and brisk ay,
As I view our Scots lads in their kilts cod cotkad*6,
A' blofimiig tnii fresh as a rose, man;
I ifeink wi znysel 0* the meal and the ale,
Aod the frui's o* our Scottish kail brose maa;
Ttien hey for the co^ie. &J.
x
Whoa our brave Htghlaad blades, wf tkeir clay*
mores and plaids,
In the field, drive like #be*p a1 our fres, fttaa,
"Fheir courage andpow'r, spring frae thif, to besurt,
They're the noblt effrcU of the bro*e, wan,
T£en hey fop the cogie, &c.
t
Tut your spindle-shack'd sparks, wha but ill »et
their sarks,
And ycur pale-vbaged milksops, and beaua, t&aa.
I think when I see them 'twei^e kindneal to gi'e
them,
& A cogie of *le aa3 pf brose man.
Then h*y for the co^ie,
�t h e w e a r y PUND 0 ' TOIV.
The weary pun& the weary punl>
The weary pnnd o' tow;
I think my wife will and her life
Before she spin her tow,
I bought m? wife a staae o' lint,
as good as e'er did grow,
And a that she has made o' tint
Is ae puir puud o tow.
The-e sat a bottle in a nook
Ayont the ingle low,
And ay she took the ither souk
to drouk the stourie tow.
Quoth I, for shame, ye dirty dame,
Gae 6pin your tap o* tow:
She took the rock, and w: knock,
She brak it o'er my pow.
At last her feet, (I fang to tee't)
Gaed foremost o'er a knowe;
And ere I wed another j&de,
I'll wallop in a tow.
9
x
�?
SONG IN R3S1M
When William at eve meets me dowa at the »til<%
UQW gwtet is the nightingale^ song,
Of the day I forget all the labour and toil
whilst the mo< n plays yon branches ameeg.
By her beams without blushing I hear hitt complain
and believe every word of his seng:
You know tot bow sweet Hi* to love the dear swab),
whilst the moon plays yon branches among.
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 025: Title-page illustration in a single ruled border of a woman praying before an altar on top of which is a book.
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
Fair Margaret's Misfortunes; to which are added, A Cogie of Ale. The weary pund o' Tow. Song in Rosina.
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
A Cogie of Ale
The weary pund o' Tow
Song in Rosina
Extent
The size or duration of the resource.
8 pages
16 cm
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9934220883505154">s0585b51</a>
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
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.
Date
A point or period of time associated with an event in the lifecycle of the resource
1815-1825?
Publisher
An entity responsible for making the resource available
Edinburgh: Printed for the Bookseller
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 - Edinburgh
Courtship and Marriage
Alcohol
Type
The nature or genre of the resource
ballads & songs
Description
An account of the resource
Woodcut #25: Illustration on title-page of a woman
praying before an altar on top of which is an
open book.
Activity: praying
Architecture: window(s)
Bib Context: title-page
Chapbook Date: 1811-1820
Chapbook Date: 1821-1830
Fashion (Clothing): upper class
Furniture: altar
Gender: woman/women
Indoor Scene
Object: book(s)
-
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1aa74bfb5336955e60672ed35121e86c
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 portraying a young woman with a basket on her lap, sittting in front of a door
https://scottishchapbooks.lib.uoguelph.ca/files/original/f239a56263af9e6aa2f25ec2c6ba5a2d.pdf
7372e7aa4e6d63af37b79c5e0e298b96
PDF Text
Text
WITH THE
BY
WILLIAM
SEQUEL.
F0BBES,
A.M.
LATE SCHOOLMASTER AT PETERCOULTER.
�PREFACE.
If this offend when ye peruse,
Pray, reader, let this me excuse,
Myself I only here accuse,
Who am the cause,
That e'er ye had this piece of news
To split your jaws.
For had I right the gully guided,
And wi' a wife mysel' provided,
To keep me frae that wrae betide it,
That's kent to'a',
I'd stay'd at hame, or near beside i t ;
Now that's awa'.
B e wiser then, and do what's right,
And mind your business wi' might,
Lest unexpected gloomy night,
Should you surround
An' mingle a' your pleasure bright,
Wi'grief profound.
And, bonny lasses, mind this rhyme,
As true as three and sax mak nine,
If ye commit ye ken what crime,
And turn unweel,
There'll something wamble in your wamo
Just like an eel.
�THE
DOMINIE DEPOSED.
P A R T I.
SOME Dominies are sae bias'd,
That o'er the dyke themsells tliey east,
They drink an' rant, an' live sae fast,
This drives them on,
To draw a weapon at the last,
That sticks Mess John.
Thus going on from day to day,
Neglecting still to watch and pray,
And teach the little anes A, B, C,
An* Pater No^tpr,
Quite ither thoughts our Lettergae,
Begins to foster.
For, laying by baitli fear and shame,
They slily venture on that game,
All Fours, I think, they call't by name,
Baitli auld an' rife.
Than in the play, Mess John is slain
Wi' his ain knife.
�4
'Tis kind, therefore, I wimia strive
My doughty deeds here to descrive,
A lightsome life still did I thrive,
Did never itch,
By out an' in abouts to drive,
For to mak rich.
I ne'er laid money up in store,
Into a hole behind the door,
A shilling, penny, less or more,
I aye did scatter,
'Tis just, now, I should drink, therefore,
Sma* beer or water.
I never sooner siller got,
But a' my pouches it would plot,
And scorch them fair, it was sae hot;
Then to get clear
Of it, I swill'd it down my throat,
In ale or beer.
Thus, a' my failing was my glass,
An* anes to please a bonny lass,
I, like a silly amorous ass,
Drew forth my gully,
An' through an' through at the first pas*,
Ran Mr. Willy.
Sae far this mad, though merry fit,
I was sair vexed, and forced to flit,
They plagu'd me sae wi' pay and sit,
Quo* they, You thief,
How durst you try to steal a bit
Forbidden beef?
�0 then, I liumbly plead that vos,
Would make it your continual rnos>
Wi' hearts sincere an' open o$,
You'd often pray,
A tali malo libera nos,
0 Dominie•
For, hark, I'll tell you what they think,
Since I left handling pen an' ink:
Wae worth that weary soup o' drink
He lik'd sae weel,
He drank it a', left not a clink
His throat to swill.
He lik'd, still sitting 011 his doup,
To view the pint or cutty stoup,
And sometimes lasses overcoup,
Upo' their keels,
This made the lad at length to loup,
And tak his heels.
Then was it not a grand presumption,
To ca' him doctor 0' the function ?
He dealt too much in barley-unction
For his profession :
He never took a good injunction
Frae kirk or session.
An' to attend, he was not willing,
His school, sae lang's he had a shilling,
But lov'd to be where there was filling
Good punch or ale,
For him to rise was just like killing
Or first to fail.
�His fishing-wand, his sneeshing box,
A fowling piece, to shoot muir cocks,
An' hunting hare through craigs and rocks,
This was his game,
Still left the young anes, so the fox
Might worry them.
When he committed a' these tricks,
For which he weel deserv'd his licks,
Wi' red-coats he did intermix,
When he foresaw
The punishment the kirk inflicts
On fowks that fa'.
Then to his thrift he bade adieu,
When wi* his tail he stopp'd his mou\
He changed his coat to red and blue,
An' like a sot
Did the poor Clerk convert into
A Royal Scot.
An' now fowks use me at their wills,
My name is blawn out o'er the hills,
At banquets, feasts, a' mouths it fills,
'Twixt each, Here's £' thee,
'Tis sore traduc'd at kilns and mills,
And common smithy.
Then, Dominies, I you beseech,
Keep very far from Bacchus' reach,
He drown'd a' my cares to preach,
Wi' his ma't-bree,
I've wore sair banes by mony a bleech
0' his tap-tree.
�If venus does possess your mind,
Her antics ten times warse ye'll find,
For to ill tricks she's sae inclin'd,
For praticks past,
She blew me here before the wind:
Cauld be her cast.
Within years less than half a dizen,
She made poor Maggy lie in jizen,
When little Jock brake out of prison,
On gude yule-day,
This of my quiet cut the wisen,
Whan he wan gae.
Let readers then tak better heed,
For fear they kiss mair than they read,
In case they wear the sacken weed,
For fornication,
Or leave the priest-craft shot to dead
For procreation.
The maist o* them, like blind an' lame,
Have nae aversion to the game,
But better 'twere to tak her hame,
Their pot to cook,
An* teach his boys to write a theme,
And mind their book.
Then may they sit at liame, an* please,
Themselves wi' gathering in their fees,
While I must face mine enemies,
Or shaw my dock:
There's odds 'twixt handling pens wi* ease
An' a firelock.
�Sae shall they never mount the stool,
Whereon the lasses greet an' howl,
Tho' deil a tear, scarce fair or foul,
Comes o'er their cheeks ;
Their mind's not there, 'tis spinning wool,
Or mending breeks.
The Kirk then pardons no such prots,
They must tell down good five pounds scots,
Though they should pledge their petticoats,
An' gae arse bare ;
The least price there is twenty groats,
An' prigging fair.
If then the lad does not her wed,
Poor Meg some feigned tears maun slied.
Her minny crooks her mou' and dad,
They fart an' fling ;
" 0 wow that e'er I made the bed,"
Then does she sing.
Thus for her Maidenhead she moans,
Bewailing what is past;
Her pitcher's dash'd against the stones,
And broken at the last,
P A R T II.
A' Maids, therefore, I do bemoan,
Betwixt the rivers Dee and Don,
If anes they get a taste o' yon,
Though by the laird,
The toy-mutch maun then gae on,
Nae mair bare-hair'd
�Yet wanton Venus, that she-b—h,
Does a' our senses sae bewitch,
An* fires our blood wi' sic an itch,
That aftentimes,
There is nae help but to commit,
Some Ill-far'd crimes.
Yet some they are sae very willing,
At ony time they'll tak> a shilling,
But he that learnt them first that spelling,
Or Meg or Nell,
Be sure, to him they'll lay an egg in ;
This some can tell,
Unthinking things ! it is their creed,
If some sic things be done wi' speed,
They're safe, 'tis help in time o' need,
Nae after-claps :
Tho' nine months aft brings quick or dead,
Into their laps.
Experience thus makes me speak,
I ance was hooked wi' the cleek,
I almost had beshit my breek,
When Maggy told,
That by her saul, not e'en a week
Young Jack would hold.
She was sae stiff she cou'd not loot;
Your pranks she says, are now found out,
The kirk and you maun hae a bout ;
111 mat you fare,
'Tis a' your ain, you need na doubt
Ilk hilt an hair.
�10
Alas that e'er I saw your face,
I can nae langer hide the case ;
Had I foreseen this sad disgrace,
Nae man nor you,
Shou'd e'er hae met me in yon place,
Or kiss'd my mou\
0 Dominie, you're dispossest,
Ye hae defil'd your holy nest,
The warld sees ye hae transgrest,
I'm at my time,
Ye dare nae mair, now do your best,
Let gae the rhyme.
Ohon! how weel I might liae kent,
When first to you I gae consent,
Wi' me to mak your merriment,
How a' would be :
Alas ! that e'er my loom I lent,
That day to thee.
Wae to the night I first began
To mix my moggans wi' thee man :
'Tis needless now to curse or ban,
But deil hae me,
Ye'll pay an' sit, for sit ye can,
An' that ye'll see.
1 heard her as I heard her not,
But time and place had quite forgot,
I guess'd Young Jack fell to my lot;
For I could tell,
It was too short her petticoat,
By half an ell.
�11
Wi' blubber'd cheeks, and watry nose,
Her weary story she did close ;
I said the best, and aff she goes
Just like a thief,
An' took a glass to interpose,
'Twixt mirth and grief.
Yet would hae gi'en my ha'f year's fee,
Had Maggy then been jesting me,
Had tartan purry, meal an' bree,
Or buttr'y brose,
Been kilting up her petticoats
Aboon her hose.
But time that tries such praticks past,
Brought me out o'er the coals fu' fast;
Poor Maggy took a sudden blast,
And o'er did tumble,
For something in her wame at last
Began to rumble.
Our folk ca'd it the windy gravel,
That grips the guts beneath the navel,
But laith was she for to unravel
Their gross mistake,
Weel kend she, that she was in travail,
Wi' little Jack.
But, to put matters out of doubt,
Young John within would fain been out,
An' but an' ben made sic a rout
Wi* hands and feet,
That she began twa-fauld about
The house to creep.
�12
Then dool an' sorrow interveen'd ;
For Jack nae langer could be screen'd,
My lass upon her breast she lean'd,
An' gae a skirl.
The canny wives came there conveen'd,
An' in a whirl.
They wrought together in a crowd ;
By this time I was under cloud ;
Yet bye and bye I understood,
They made one more,
For Jack he tun'd his pipe, and loud
Wi' cries did roar.
Wi' that they blam'd the Session-Clark ;
Where is the lown hid in the dark ?
For he's the father o' this wark :
Swear to his mitlier,
He's just as like him as ae lark
Is like anitlier.
About me then there was a din,
They sought me out through thick an' thin,
Wi' deil hae her, an deil liae him,
He's o'er the dyke ;
Our Dominie lias now dung in
His arse a pike.
Ye may weel judge I was right sweer,
This uncouth meeting to draw near,
Yet forc'd I was then to appear,
Altho' perplex'd;
But listen how, and ye shall hear,
The hags me vex'cl
�The carlings Maggy had sae cleuked,
Before young Jack was rightly hooked,
They made lier twice as little booked,
But to gae on,
0 then ! how like a fool I looked,
When I saw John.
The Cummer then came to me bent,
And gravely, did my son present ;
She bade me kiss him, be content,
Then wish'd me joy ;
An' tauld it was—what luck had sent,
A. waly boy.
In ilka member, litli an' lim',
Its mouth, its nose, its cheeks, its chin,
'Tis a' like daddy, just like him,
His very self,
Though it look'd cankered sour and grim,
Like ony elf.
Then whisp'ring now to me she harked,
Indeed your hips they should be yarked,
Nae mair Mess John, nor dare ye Clarkit,
Faith ye hae ca'd
Your hogs into a bonny markit,
Indeed my lad.
But tell me, man, (I should say master,)
What muckle deil in your way chas'd her ?
Lowns ba-ith ! but I think I hae plac'd her,
Now on her side,
My coming here has not disgrac'd her,
At the Yule-tide.
�14
An' for yoursell, ye dare na look
Hereafter ever on a book,
Your mou' about the psalms to crook ;
Ye've play'd the fool,
Anither now your post maun bruik,
An' you the stool.
She bann'd her saul, and then she blest it,
That in the Kirk-books it would be lifted,
An' thus the weary wife insisted,
Our Lettergae
Will sit whar he will not be pish't at
By dogs some day.
She wrung her hands until they cracked.
An' sadly me she sham'd an' lacked—
Ah, man ! the Priest, how will he tak' it,
Whan he hears tell,
How Maggy's mitten ye hae glacket,
Ye ken yoursell.
The Session-Clark to play such prankies,
Ye'll stan' I fear upon your shankies,
An' maybe slaver in the brankies ;
It could na miss,
But lifting o' the killimankies,
Would turn to this.
A toothless Howdy, auld and teugh,
Says, Cummer husht, we hae eneugh,
Thirsh mony ane has touch'd the pleugh,
As gude ash he,
An' yetsh gane backlensh o'er the heugli,
Shae let him be.
�15
Hesh no, quoth she, though lie'sh be lear'd,
That ye ken what, they hae crept near't,
Far you an I hash aft-times heard
O' nine or ten,
Wha thush the clergy hath beshmear'd
Wi' their ain pen.
The auld mou d wives thus did me taunt,
Though a' was true, I must needs grant.
But ae thing maistly made me faint,
Poor Meg lay still,
An' look'd as loesome as a saint
That kend nae ill.
Then a* the giglets young and gaudy,
Sware by their sauls, I might be wady.
For getting sic a lusty lacldy,
Sae like mysell;
An' made me blush wi' speaking baudy,
'Bout what befel.
Thus auld an' young their verdict had,
'Bout Maggy's being brought to bed,
I thought my fill, yet little said,
Or had to say,
To reap the fruit o' sic a trade,
On gude-yule day.
What sometimes in the mou is sweet,
Turns bitter in the wame ;
I grumbled sair to get the geetf
At sic a merry time.
P A R T III.
ISTow Maggy's twasome in a swoon,
A counsel held condemns the loon,
�16
The cushle mushle thus gaed roun',
Our bonny Clark,
He'll get the dud an* sarken gown,
That ugly sark.
Consider, sirs, now this his crime,
'Tis no like hers, or yours, or mine,
He's just next thing to a divine,
An' vow, 'tis odd,
Sic men should a* their senses tine,
An' fear o' God.
'Tis strange what mak's kirk folk sae stupit,
To mak or meddle wi' the fuca'it,
Or mint to preach in sic a pu'pit,
The senseless fools,
Far better for them hunt the tyouchot,
Or teach their schools.
They hunt about frae house to house,
Just as a tailor hunts a louse,
Still girding at the barley-juice
An' aft get drunk,
They plump into some open sluice,
Where a' is sunk.
A plague upo' that oil o' ma't,
That weary drink is a' their fau't,
It made our Dominie to hal't ;
The text fulfil,
Which bids cast out the sa'rless sa't,
On the dunghill.
�17
They are sae fed, they lie sae saft,
They are sae hain'd, they grow sae daft;
This breeds ill wiles, ye ken fu' aft
In the black coat,
Till poor Mess John, and the priest-craft,
Gaes to the pot.
I tald them then, it was but wicked
To add affliction to the afflicted,
But to it they were sae addicted,
They said therefore :
The clout about me should be pricked,
At the kirk-door.
But yet not kirk nor consterie,
Quoth they, can ask the taudy fee,
Tell them in words just twa or three,
The deil a plack,
For tarry-breeks should ay gae free,
An' he's the Clark.
I then was dumb! how I was griey'd !
What would I gi'en to be reliev'd!
They us'd me waur than I had thiev'd,
Some strain'd their lungs,
An' very loud they me mischiev'd
Wi' their ill tongues.
Had you been there to hear and see
The manner how they guided me,
An' greater penance wha could dree !
A Lettergae,
Wi' sic a pack confin'd to be,
On gude Yule-day.
�18
Young Jack wi' skirls he pierc'd the skie
I pray VI that death might close his eyes,
But did not meet with that surprise,
To my regret,
Sae had nae help, but up an' cries
llet drinks to get.
This laid their din ; the drink was stale,
An' to't they gaed wi* tooth an' nail,
An' wives whase rotten tusks did fail
Wi' bread an' cheese,
They birl'd fu' fast at butter'd ale,
To gie them ease.
They ca' upon me, then dadda,
Come, tune your fiddle, play us a
Jigg or hornpipe, nae mair SOL F A ,
My bonny cock ;
The kirk an' you maun pluck a craw
About young Jock.
Flay up, Sae merry as we hae been,
Or, Wat ye wha we met yestreen,
Or, Lass will ye lend me your leam i
Or, Soups o' brandy,
Or, Gin the kirk wad let's alane,
Or, Houghmagandy.
Sic tunes as these, yea, three or four,
They call'd for, ill mat they cour,
Play, cries the cummer, wi' a glour,
The wanton toudy,
Wha' did the Dominie ding o'er,
Just heels o'er goudy.
�19
O' music I had little skill,
But as I could, I played my till,
It was my best to shaw good will ;
Yet a' my drift,
Was best how I might win the hill
The wives to shift.
Sae leaving them to drink het ale,
I slipt awa', an' let them rail:
Then running till my breath did fail,
I was right glad
Frae kirk and wives to tak' leg bail,—
Nae doubt they said.
The Lettergae has plaid the fool,
Jnd shifted the repenting-stool,
To kirk and session bids good-day,
Hell o'er the hills and far away.
THE
SEQUEL.
Now, loving friends I liae you left,
Ye ken I neither stole nor reft,
But when I found myself infeft,
In a young Jack,
I did resolve to change the haft
For that mis tak'.
An' reasons mae I had anew,
For I had neither horse nor cow ;
My stock took wings an aff it flew,
Sae a' was gone,
An' deil a flee had I was new
Except young John.
�20
Too aft my thirsty throat to cool,
I went to visit the punch bowl,
Which makes me now wear reddish wool
Instead o' black ;
Or I must foot the cutty stool
Wi' deil a plaek.
The chappen-stoup, the pint an' gill,
Too aft I caused for to fill,
A y loving those wha would sit still,
An' wet the mouth,
Ne'er minding that the T u l l o - h i l l ,
Leads people south.
0 but that loving laird Kings wells
My blessings flow where his foot swells,
Lang life to him whate'er befals,
God be his guide,
He's cured a thousand thirsty sauls,
An' mine beside.
O had I but thae days again,
Which I sae freely spent in vain,
I'd strive some better for to ken,
What future chance
Should bla^ me here out o'er the main,
An' sae near France.
But since that ills maun ay befall
The ehiel that will be prodigal;
When wasted to the very spaul
He turns his tusk,
For want o' comfort to his saul,
On hungry husk.
�21
Now since I'm aff sae mony a mile,
There's naething got without some toil,
I'll wait ; cross fortune yet may smile,
Come want, come wealth,
I'll tak' a pint in the mean while,
To Heilden's health.
Sae, for a time, friends fare ye weel,
My pot companions, true and leel,
I wish ye all a merry yule,
Much mirth and glee
Nae mair young Jacks into the creel
That day for me.
Some other Yule may yet cast up,
When we again shall meet,
To drown our sorroivs in a cup,
In case we live to see't.
E L E G Y ON M A G G Y JOHNSTON,
Who died Anno Domini, 1711
Reeky mourn in sable hue,
Let foutli o' tears dreep like May dew,
To bra' tippeny bid adieu,
Which we wi' greed,
Bended as fast as she could brew,
But now she's dead.
Auld
�22
To tell the truth now, Maggy dang,
0* customers she had a bang ;
For lairds an' sutors a' did tlirang
To drink bedeen :
The barn an'yard was aft sae tlirang,
We took the green.
An' there by dizens we lay down,
Syne sweetly ca'd the healths aroun',
To bonny lasses, black or brown,
As we lo'ed best;
In bumpers we dull cares did drown,
An' took our rest.
When in our pouch we fand some clinks,
An' took a turn o'er Bruntsfield Links,
Aften in Maggy's, at Hay-jinks,
We guzzl'd scuds,
Till we could scarce, wi' liale-out drinks
Cast alf our duds.
We drank an' drew, an' fill'd again,
O wow ! but we were blythe an' fain :
When ony had their count mistane,
O it was nice,
To hear us a' cry pick your bane,
An' spell your dice.
Fou close we us'd to drink an' rant,
Until we baith did glowr and gaunt,
An' pish, an' spue, an' yesk, an' maunt,
Riglit swash I trow,
Then aff auld stories we did chaunt,
Whan we were fou.
�23
Whan we were wearied at the gouff,
Then Maggy Johnston's was our houff,
Now a' our gamesters may sit douff,
Wi' hearts like lead.
Death wi' his rung reach'd her a youlf^
An' sae she's dead.
Maun we be forc'd thy skill to tine,
For which we will right sair repine ?
Or hast thou left to bairns o' thine,
The pauky knack,
0 brewing ale amaist like wine,
That gar'd us crack ?
Sae brawly did a pease-scon toast,
Biz i' the quaff, and flee the frost,
There we gat fu' wi' little cost,
An' muckle speed ;
Now wae worth death, our sport's a' lost,
Since Maggy's dead.
Ae summer night I was sae fu',
Amarig the riggs I gaed to spew,
Syne down on a green bank I trow,
I took a nap,
An* sought a night balillilu,
As soun's a tap.
An' whan the dawn began to glow,
1 hirsled up my dizzy pow,
Frae 'mang the corn like worry-kow,
Wi' banes fu' sair,
An' kend nae mail* than if a yow,
How I came there.
�24
Some said it was the pith o* broom,
That she stow'd in her masking loom,
"Which in our heads rais'd sic a foom,
Or some wild seed,
Which aft the chappen-stoup did toom,
But fill'd our head.
But now sinec 'tis sae that we must,
Not in the best ale put our trust,
But when we're auld return to dust,
Without remead;
Why should we tak' it in disgust,
Since Maggy's dead.
0' wardly comforts she was rife,
An' liv'd a lang and hearty life,
Right free o' care, or toil, or strife,
Till she was stale ;
An' kend to be a canny wife
At brewing ale.
Then farewell Maggy, douce and fell,
0' brewers a' ye bore the bell ;
Let a' your gossips yelp and yell,
An' without feed,
Guess whither ye're in heaven or hell,
They're sure ye're dead.
riNis.
�
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Woodcut 037: Title-page illustration of a young woman with a basket on her lap sitting in front of a door.
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The Dominie Deposed, with the sequel. To which is added, Maggy Johnston's Elegy.
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Maggy Johnston's Elegy
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24 pages
15 cm
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<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9923301223505154">s0425b16</a>
Description
An account of the resource
141 printed at foot of title page
Woodcut # Illustration of a young woman with a basket on her lap, sitting in front of a door.
Contributor
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Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada
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In the public domain; For high quality reproductions, contact Archival & Special Collections, University of Guelph. libaspc@uoguelph.ca, 519-824-4120, Ext. 53413
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1840-1850 per National Library of Scotland
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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.
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Glasgow: Printed for the Booksellers
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Archival & Special Collections, University of Guelph Library, Guelph, Ontario
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Chapbooks - Scotland - Glasgow
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elegy
Architecture: door(s)
Bib Context: title-page
Chapbook Date: 1841-1850
Chapbook Genre: elegy
Chapbook Publisher - Glasgow: Printed for the Booksellers
Fashion (Clothing): working class
Gender: woman/women
Object: basket(s)
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PDF Text
Text
THE LAIRD OF COCKPEN.
THE LASS OF ARRANTEENIE.
MIRREN GIBE'S PUBLIC HOUSE.
JACK'S THE LAD.
GLASGOW:
m,
PRINTED FOR THE BOOKSELLERS.
�SONGS
THE LAIRD OF COCK-PEN.
Tlie Laird o' Cockpen lie's proud an' lie's great,
His mind is ta'en up wi' the things o' the state,
He wanted a wife his braw house to keep,
But favour wi' wooin' was fasliious to seek.
13 01111 by the dyke-side a lady did dwell;
At his table-liead he thocht she'd look well;
M'Clish's ae dochter o' Claverseha' Lee ;
A pennyless lass wi' a lang pedigree.
His wig was weel-powder'd, as guid as when new,
His waistcoat was white, his coat it was blue,
He put 011 a ring, a sword and cock'd hat,
And wha could refuse the Laird wi' a' that.
He took the grey mare, and rade cannily,
An' rapped at the yett o' Claverseha' Lee,
Gae tell Mistress Jean to come speedily ben,
She's wanted to speak to the Laird o' Cockpen.
Mistress Jean was making the elder-flower wine,—
And what brings the Laird at sic a like time,
�3
She put aff her apron, an' on her silk gown,
Her mutch wi' red ribbons, and ran awa down.
An* when she came down, she bowed fu' low,
An* what was his errand he soon let her know,
Amaz'd was the Laird when the lady said—na ;
And wi' a laigh courtesy she turn'd awa.
Diunfounder'd he Y/as—he nae sigh did gie ;
He mounted his mare and rade cannily;
An' aften he thoclit as he gaed through the glen,
She's daft to refuse the Laird o' Cockpen.
Near to the house amang the lang trees,
There he did meet sweet Jeanie Greenlees ;
At his table she sits like a white-tappit hen,
And mickle thinks she o' the Laird o' Cockpen.
THE LASS OF ARRANTEEME.
Far lone amang the Highland hills,
'Midst Nature's wildest grandeur,
By rocky dens and woody glens
With weary steps I wander.
The langsome way, the darksome day,
The mountain mist sae rainy,
Are nought to me, when gaun to thee—
Sweet lass of Arranteenie.
�4
Yon mossy rose-bud clown the howe,
Just op'ning fresh and bonnie,
Blinks sweetly 'neath the hazel bough,
And's scarcely seen by ony.
Sae sweet amidst her native hills,
Obscurely blooms my Jeanie,
Mair fair and gay than rosy May—
The flower of Arranteenie,
Now from the mountain's lofty brow
I view the distant ocean,
There ay'rice guides the bounding prow,
Ambition courts promotion.
Let fortune pour her golden store,
Her laurel'd favours many,
Give me but this, my soul's first wish,
The lass of Arranteenie.
MIRREN GIBB'S PUBLIC HOUSE.
Last Monday night at sax o'clock,
To Mirren Gibb's I went, man,
To meet wi' some auld cronies there,
It was my hale intent, man.
So clown we sat and pried the vill,
Syne I pu'd out my sneeshin' mill,
An' took a pinch wi' right good-will,
O' beggar's brown, the best in town,
Then sent it roun' about the room,
To gie ilka ane a scent, man.
�%
The sneeshin' mill—the cap gaed round,
The joke, the crack an' a', man,
'Bout markets, trade, and politics,
To wear the time awa, man.
Ye never saw a blither set
0' queer auld-fashion'd bodies met,
For fient a grain o' pride nor pet,
Nor eating care got footing there ;
But friendship rare, aye found sincere,
And hearts without a flaw, man.
To cringing corn tiers kings may blaw
How rich they are and great, man.
But we outstrip their kingships far
Wi' a' their regal state, man.
For Lucky's swats sae brisk and fell,
An' T 's snuff sae sharp and snell,
Garr'd ilk ane quite forget himsel';
Made young the auld, inflam'd the cauld,
And fir'd the saul with projects bauld,
That clar'cl the power o' fate, man.
But what are a' sic mighty schemes
When ance the spell is broke, man,
A set o' maut inspired whims
That end in perfect smoke, man.
An' what like some disaster keen
Can chase the glamour frae our een,
And bring us to oursel's again ;
As was the fate o' this auld pate,
When that night late I took the gate
As croupe as onv cock, man.
�6
For sad misluck, without my hat,
I doiting cam' awa, man ;
An' when I down the Dry gate cam,
The win' began to blaw, man.
When I cam to the Drygate Brig,
It whipt awa my good brown wig,
That whirl'd like ony whirligig,
As up it flew out o' my view,
While I stood glowring, waefu* blue,
Wi' wide-extended jaw, man.
When I began to grape fort syne,
Thrang poutering wi' my staff, man,
I coupet owre a muckle stane,
And skail'd my pickle snuff, man.
My staff out o' my hand did jump.
And hit my snout a dreadfu' thump,
Which rais'd a most confoundet lump ;
But whaur it flew I never knew,
Yet sair I rue the mark sae blue,
It looks sae fleesome wauf, man,
Now wad ye profit by my loss,
Then tak' advice frae me, man,
And ne'er let common sense tak' wing
On fumes o' barley bree, man.
For drink can heeze a man sae high,
As gar his head maist touch the sky,
But down he tumbles by and bye,
Wi' sic a thud 'mang stanes and mud,
That aft it's good if dirt and blood
Be a' he has to dree, man.
�JACKS THE LAD.
Our ship's a-port, so here I be,
With heart as light as cork, d'ye see ;
'Pon larboard quarter Poll is jigging,
Dress'd all in her Sunday rigging—
Wench and fiddle always make a sailor glad ;
Old Nipperkin, the landlord, keeps the grog afloat,
Kindly is the liquor handed down each other throat;
For if ever sailor took delight in
Swigging, kissing, dancing, fighting,
Dam'me! I make bold to say that Jack's the lad.
With my tol de rol, &c.
Clieerly, my lads, ye know Jack Spry,
So full of romps and rigs that I—D'ye hear the merry fiddle going ?
Sblood! it sets me off a-toeing.
That's he—Catgut, College Hornpipe, brisk old
dad!
Now for a reel—Sir David Hunter Blair—that's
Scotch ;
Or Langolee, or anything but French or Dutch;
For if ever fellow took delight in
Swigging, kissing, dancing, fighting,
Dam'me! I make bold to say that Jack's the lad.
With my tol de rol, &c.
My locker's rich—the devil's mite!
Why, here's a pretty rig!—Yes—I'm right;
An old friend, like a blubbering ninny
Look'd distress'd like—got my guinea.
�8
Can't help snivelling, somehow, when I see folks
sad ;
But howsomever, should I've luck to fall once more
Longside a Mounseer, homeward bound, he'll pay the
score ;
For if ever fellow took delight in
Swigging, kissing, dancing, fighting,
Dam'me! I make bold to say that Jack's the lad.
With my tol de rol, &c.
Huzza!—a gun!—the signal's made ;
All hands on board—the anchor's weigh'd ;
Lord! how the girls in scores are flyingFore and aft, all sobbing, crying;
Thoughts of parting makes them all run roaring
mad;
But honour bids her gallant sons to glory go,
So off again we scud to lick the saucy foe ;
For if ever fellow took delight in
Swigging, kissing, dancing, fighting,
Dam'me! I make bold to say that Jack's the lad.
With my tol de rol, &c.
�
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Four Excellent Songs. The Laird of Cockpen. The Lass of Arranteenie. Mirren Gibb's Public House. Jack's the Lad.
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
The Laird of Cockpen
The Lass of Arranteenie.
Mirren Gibb's Public House
Jack's the Lad
Extent
The size or duration of the resource.
8 pages
16 cm
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9923316913505154">s0424b13</a>
Description
An account of the resource
62 printed at the foot of title page
Contributor
An entity responsible for making contributions to the resource
Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada
Rights
Information about rights held in and over the resource
In the public domain; For high quality reproductions, contact Archival & Special Collections, University of Guelph. libaspc@uoguelph.ca, 519-824-4120, Ext. 53413
Date
A point or period of time associated with an event in the lifecycle of the resource
1840-1850 per National Library of Scotland
Format
The file format, physical medium, or dimensions of the resource
JPEGs and PDF derived from master file, which was scanned from the original book in 24-bit color at 600 dpi in TIFF format using an Epson Expression 10000XL scanner.
Publisher
An entity responsible for making the resource available
Glasgow: Printed for the Booksellers
Source
A related resource from which the described resource is derived
Archival & Special Collections, University of Guelph Library, Guelph, Ontario
Type
The nature or genre of the resource
ballads & songs
Subject
The topic of the resource
Chapbooks - Scotland - Glasgow
# of Woodcuts: 1
Bib Context: title-page
Chapbook Date: 1841-1850
Chapbook Genre: ballads & songs
Chapbook Publisher - Glasgow: Printed for the Booksellers
Fashion (Clothing): bonnet (women)
Gender: woman/women
Nature: ocean/sea
Nature: river/lake
Object: basket(s)
Outdoor Scene
Tools: net(s)
Transportation: ship/boat(s)
-
https://scottishchapbooks.lib.uoguelph.ca/files/original/b1685e9ba97b673ff35429fb2e042744.jpg
4fde162cab5051d0a7a216d371e5aef6
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
Illustration on title-page of a young woman in profile
sitting with hands crossed on lap, gazing downwards.
https://scottishchapbooks.lib.uoguelph.ca/files/original/f063fbc13f66ac992cbb9911f766af94.pdf
e9556fdd350c0082e8b26c1aea66fc6e
PDF Text
Text
GLASGOW PEGGY;
TO WHICH IS ADDED
THE FAVOURITE BALLAD OF
THE DROWNED
LOVERS.
GLASGOW:
PRINTED FOR THE BOOKSELLERS.
74.
�GLASGOW PEGGY
A
B O N N I E laddie brisk and gay,
A handsome youth sae brisk and gaddie;
And he is on to Glasgow town,
To steal awa' his bonnie Peggy.
When he came into Glasgow town*
Upon her father's green sae steady ;
" C o m e forth, come forth, old man," he says,
44 For I am come for bonnie Peggy."
Out it spake her father then,
" Begone from me, ye Highland laddie ;
There's nane in a' the west country
Dare steal from me my bonnie Peggy."
I've ten young men all at my back,
That ance to me were baith true and steady;
If ance I call, they'll soon be nigh,
And bring to me my bonnie P e g g y . "
w
Out it spake her mother then,
Dear but she spake wond'rous saucy;
Says, " Ye may steal my cow or ewe,
But I'll keep sight o' my am lassie."
�3
" Hold your tongue, old woman," lie says,
" Ye think your wit it is fu ready ;
For cow nor ewe I ever stole,
But I will steal your bonnie Peggy."
f
Then all liis men they boldly came,
That was to him baith true and steady;
And through the ha' they quickly went,
And forth they carried bonnie Peggy.
Her father gae mony shout and cry.
Her mother cursed, the Highland laddie
But he heard tliem as he heard them not,
But-fix'd his eye on bonnie Peggy.
He set her on his milk-white steed,
And he liimsel' on his grey naigie,
Still along the way they rode,
And he's awa' wi' bonnie Peggy.
**
Says, " I would gi'e baith cow and ewe,
And sae would I this tartan plaidie,
That I was far into the north,
And alang wi' me my bonnie Peggy."
As they rode down yon pleasant glen,
For trees and brambles were right mony
There they met the Earl o' Hume,
And his young son, were riding bonnie.
Then out it spake the young Earl Hume,
Dear but he spake wond'rous gaudie ;
" Ijai wae to see sae fair a dame
Riding alang wi' a Highland laddie."
�4
" Hold your tongue, ye young Earl Hume,
0 dear but you do speak right gaudie ;
There's nae a lord in a* the south,
Dare e'er compete wi' a Highland laddie/'
Then he rade five miles through the north,
Through mony hills sae rough and scroggie,
Till they came down to a low glen,
And he lay down wi' bonnie Peggy.
Then he enclosed her in his arms,
And row'd her in his tartan plaidie ;
" There are blankets ^and sheets in my father's house,
How have I lien down wi' a Highland laddie! "
Says he, " There are sheep in my father's fauld,
And every year their wool is ready ;
By the same our debts we pay,
Although I be but a Highland laddie.
" There are fifty cows in my father's byre,
That all are tyed to the stakes, and ready;
Five thousand pounds I ha'e ilk year,
Although I be but a Highland laddie.
" My father has fifty well shod horse,
Besides your steed and my grey naigie ;
I'm Donald o' the Isle o' Sky,
W h y may not you be ca'd a lady ?
* See ye not yon fine castle,
On yonder hill that stands sae gaudie ;
And there we'll win this very night,
Where ye'll enjoy your Highland laddie."
4
�THE DROWNED
LOVERS
stands in his stable door,
And clapping at his steed ;
And looking o'er his white fingers
His nose began to bleed.
WILLIE
Gi'e-corn to my horse, mother,
And meat to my young man ;
And I'll awa' to Meggie's bower,
I'll win ere she lie down."
44
O bide this night wi* me, Willie,
0 bide this night wi' me ;
The best an' cock o' a' the reesfc
At your supper shall be."
44
*4 A' your cocks, and a* your reests,
1 value not a prin ;
For I'll awa' to Meggie's bower,
I'll win ere she lie down."
" Stay this night wi' me, Willie,
0 stay this night wi' m e ;
The best an' sheep in a' the flock
At your supper shall b e . "
A ' your sheep, and a' your flocks,
1 value not a prin ;
For I'll awa' to Meggie's bower,
I'll win ere she lie down."
44
" 0 an' ye gang to
Sae sair against
The deepest pot in
My malison ye's
Meggie's bower,
my will;
Clyde's water.
feel.
�6
" The gude steed that I ride upon,
Cost me thrice thretty pound ;
And I'll put trust in his swift feet,
T o ha'e me safe to land."
\r
As he rade ower yon high, high hill,
And down yon dowie den,
The noise that was in Clyde's water
Would fear'd live huner men.
" O roaring Clyde, ye roar ower loud,
Your streams seem wond'rous Strang,
Make me your wreck as I come back,
But spare me as I gang."
Then he is on to Meggie's bower,
And tirled at the pin ;
44 O sleep ye, wake ye, Meggie," he said,
44 Ye'll open, lat me come i n . "
" O wha is this at my bower door,
That calls me by my name ? "
44 It is your first love, sweet Willie,
-This night newly come hame."
I ha'e few lovers thereout, thereout,
A s few ha'e I therein ;
The best an' love that ever I had,
Was here ju-st late yestreen."
44
The warstan stable in a' your stables,
For my puir steed to stand ;
The warstan bower in a' your bowers,
For me to lie therein:
My boots are fu' o' Clyde's water,
I'm shivering at the chin."
44
�7
" My barns are fu' o' corn, Willie,
My stables are fu' o' h a y ;
My bowers are fu' o' gentlemen,
They'll nae remove till day."
" O fare-ye-well, my fause Meggie,
0 farewell, and adieu ; *
I've gotten my mither's malison,
This night coming to you."
As he rode ower yon high, high hill,
And down yon dowie den ;
The rushing that was in Clyde's water,
Took Willie's cane frae him.
He lean'd him ower his saddle bow,
To patch his cane again ;
The rushing that was in Clyde's water,
Took Willio's hat frae him.
He lean'd himto'er his saddle bow,
To catch his hat through force.;
The rushing; that was in Clyde's water.
Took Willie frae his horse.
His britlier stood upo' the bank,
Says, " Fye, man, will ye drown?
Ye'11 turn ve to your high horse head,
And learn how to sowni."
" How can I turn to my horse head,
And learn how to sovvm ?
I've gotten my mither's malison,
It's here that I maun drown!"
The very hour this young m?n sank
Into the pot sae deep,
�8
Up waken'd his love, Meggie,
Out o' her drowsy sleep.
" C o m e here, come here,,my mither dear,
And read this dreary dream ;
I dream'd my love was at our yates,
And nane wad let him in."
Lye still, I s t i l l now, my Meggie,
Lye still and tak' your rest;
Sin your true love was at our yates,
It's but twa quarters past."
44
Nimbly, nimbly, raise she up,
And nimbly pat she on ;
And the higher that the lady cried,
The louder blew the win'.
The first an* step that she stepp'd in,
She stepped to the queet:
" Ohon, alas ! " said that lady,
" This water's wondrous deep."
The next an' step that she wade in,
She wadit to the knee ;
Says she, 44 1 could wade farther in,
If I my love could see."
The next an' step that she wade in,
She wadit to the chin ;
The deepest pot in Clyde's water
She got sweet Willie in.
" You've had a cruel mither, Willie,
And I have had anither;
But we shall sleep in Clyde's water,
Like sister an' like brither."
�
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 070: Title-page illustration of a young woman in profile sitting with her hands crossed on her lap and gazing downwards.
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
Glasgow Peggy; to which is added the favourite ballad of the drowned lovers.
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
the favourite ballad of the drowned lovers.
Extent
The size or duration of the resource.
8 pages
16 cm
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9923323403505154">s0411b21</a>
Description
An account of the resource
74 printed at foot of title page
Woodcut #70: Illustration on title-page of a young woman in profile sitting with hands crossed on lap, gazing downwards.
Contributor
An entity responsible for making contributions to the resource
Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada
Rights
Information about rights held in and over the resource
In the public domain; For high quality reproductions, contact Archival & Special Collections, University of Guelph. libaspc@uoguelph.ca, 519-824-4120, Ext. 53413
Date
A point or period of time associated with an event in the lifecycle of the resource
1840-1850 per National Library of Scotland
Format
The file format, physical medium, or dimensions of the resource
JPEGs and PDF derived from master file, which was scanned from the original book in 24-bit color at 600 dpi in TIFF format using an Epson Expression 10000XL scanner.
Publisher
An entity responsible for making the resource available
Glasgow: Printed for the Booksellers
Source
A related resource from which the described resource is derived
Archival & Special Collections, University of Guelph Library, Guelph, Ontario
Type
The nature or genre of the resource
ballads & songs
Subject
The topic of the resource
Chapbooks - Scotland - Glasgow
Courtship and Marriage
# of Woodcuts: 1
Bib Context: title-page
Chapbook Date: 1841-1850
Chapbook Genre: ballads & songs
Chapbook Publisher - Glasgow: Printed for the Booksellers
Gender: woman/women
-
https://scottishchapbooks.lib.uoguelph.ca/files/original/74126c72dd8e019e8929639a84342b97.jpg
b4ca622ade21429384eb6e0c68f354ba
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
Illustration on title- page a woman in conversation with a
man in front of building.
https://scottishchapbooks.lib.uoguelph.ca/files/original/44fbe0b77ea97939b7cfacf7bf3ff73c.pdf
76eb4ef55ec8a0930bcb4db70ec46b9e
PDF Text
Text
KATHARINE 0G1E,
T o which is added,
JOHN ANDEUSON, MY
JO,
JEAN ANDERSON,-MY
JO,
M A 11 I A
GLASGOW:
JVWistitd and Sold, Wholesale and Retail,
by R , Hutchison, Bookseller,
19. Soltoarket.
�fi •
K A T H A R I N E OGIEL
'
As walking forth to view the plaiDy
Upon a. morning early,
While J^lpy's sweet 6Ceiy; did efceer my braiw,
From flowers which grew so rarely;
1 chanced to nwret a pretty mak],
V
She shined though it Mas fo#ie:
1 jtsk^d her name^ sweet Sir, she said,
My oame is K<|fch'rinc Ogic.
V I stood Awhile, and did admire,
To
a j*ymph so stately;
brisk iw air tjicre did appear
1,0 a country it aid so neatly:—
gijcfr i>atVa! sweetness ihe displayed,
Like lilies in a bogie;
Ifeifta's self ww ne'er arrayed
Like this same Kath'i ine Ogie.
[Pfl^*. ...
4
w #Hiou flaw'r of females, beauty's quem>
' j : •. W h o secsAbeP.fcurp tppst prize theo;
Though thou art drest i« robes but me&v,
Yet these cannot disguise thee:
T h y "handsome
graceful l#ok,
Excels each clownish togie;
Tbou'rt match for4, tSlrd^or lord, or duke,
My charming JCath'rijpe Ogie.
>r
;
�O ! wcte I bnt some shepherd strain,
To feed my flock beside thee:
At bughting-time to leave the plain,
In flwlking to abide thlft;
I'd think myself a happier man,
With Kate, my clufb, and dogie,
Than he that hugs his thousands ten,
Ha<l I but Kath'rine Ogie.
Then I'd despise th' imperial throno,
And statesmen's dgng'rous stations,
I'd be no king, I ' d wear ik> crown,
I'd smile at co*Kjto*ring nations,
M^rht I caress, and still possess
This lass of whom I'm vogie;
For they arc toys, and still look lesd,
Compared with Kath'rine Ogie.
h fear the gods have not decreed
£or me so fine a creature,
Whose beauty rare makes her exceed
All other works in nature*
Clouds of de-pair surround my love,
That are both dark and foggie;
Pitv my case, ye powers above!
Else I die for Kath'rine Ogie.
J O H N ANDERSON, MY JO.
John Anderson, my jo, John,
When we were first acquent,
�4
Your locks were like the ravert,
Your bonnif brow was brent;
But now your head's turned bald, John,
Your locks are like the anow,
Yet, blessings on your frosty pow,
John Anderson, tny jo.
John Anderson, my jo, John,
When uature first began
To try her cannie hand, John,
Her master-work was man:
And you amang them a' John,
Sae trig frae tap to toe,
She proved to be nae journey-work,
John Anderson, my jo.
John A-nderson, my jo, John,
Ye were my first conceit,
And ye need na think it strange, John,
Though I ca' ye trim and neat;
Though some folks say ye're ait* J, John,
1 never think you so,
But I think ye're aye the same to rive,
JoIih Anderson, my jo.
J.>hn Anderson, my jo, John,
We've seen *ur bairns' bairns,
And yet, my dear John Anderson,
- I'm hnppy in your arms;
And sue are ye in mine John,
X'ni suie ye'il ne'er say no,
�S
Ffcougfi the days are gane that we ha*e
J dim Anderson, my jo,
Jplta Andersou, my jo, John,
What pleasure does it gie,
To see sae many sprouts John,
spring up 'tween you and me;
And ilka lad and lass, John,
In our footsteps to go,
Makes perfect heaven here on earttr,
John Anderson, my jo.
John Anderson, my jo, John,
Frae year to year we've past,
And soon that year maun come, J;ohn,
Will bring us to our last;
But let na that affright us, Johti,
Our hearts were ne'er our foe,
While in innocent delight we lived,
John Anderson, my jo.
John Anderson, my jo, John,
We clamb the hill thc^ithcr,
And money a can tie dkyi John, V 1
We've had wltli ail6 aiiithef;
Now we maun totter df>wn, JohtJ,
But hand in hand \4'l\
And we'll sleep the^nHher'ut the fwofj
Jtdjp Andersoj^ my jo.
j a w p i i i iat3 c r w < w
>
'
�6
1
J&AN A N D E R S O N , M Y JO.
W U t f Nature first b ^ n n , Jean,
Ta try her Dannie hand,
It*s true she first made manx Jwti,
And ga'e him great commanA;
But iiaethin^ wad consent him, Jcart,
Though king of a* below,
Till Heaven in pity sent him, Jefctt,
1ft"hat niaisi he wished—a jo!
'Bhough some may say Tm auld, Je'an,
And say the same of thee,
ISVer fret to hear it tauld, Jean,
You still look young to. me:
Ami weel t mind the day, Jean,
Yonr breast was white as snotv,
And waist sae jimp ane might it spa ft,
Jerfft Anderson, my jo! '
Our bonnie bairns' bairns, Jean,
With rapture do I see,
Come todlin to the fire-side,
Or ?it upon my knee;
I f there k pleasure hcje, Jean,
Or happiness helow,
Tbi* surely maup be likest it,
Jean Anderson, my jo.
Though age has sillafred oWre my pow
Siupe we were first acquent,
�7
And changed njy flossy raveti loek>,
It's left us still content;
Aad eild ne'er conies &anp, JeaTL
But aft brings mony a wo,
Yet wu'vpnae e^usefor sic.jcoinpl^n^
Jean Anderson, my jo.
In innocence we've spent our
And pleasant looks the past;
Nae anxious thoughts alarm u^
Wc'er chqarful t;o the last:
Till Death knock at pur door, Jean,
Aud wnrn us With to go,
Contented we will
and love,
Jean Anderson, my jo,
ltf* now a
Ipng time, Jc&nf
Since you arid I begun
To ftptachel up life's hill, Jean,
Our race is nearly run;
W e baith hae done our best, Jean,
Our sun is wearing low:
Sae let ns quietly sink to rest,
Jean Anderson, my jo.
'Twas near a thicket's caloi retrcr**,
Under a poplar tree,
Maria chose her lonely seat,
To mourn her sorrows frrq.
�8
Wef ioyplj form wa^ tweet to view,
As dawn at opening d^y;
'
liui, ah ! she mourn'd her love aot tme,
Am! wept her cares away.
T he iirook flmvM gently at her fef!,
ID murmurs smooth aloiiir; "
Her pipe, which once she tun'd so
ill
c
.
Had now forgot its song.
N® more tP chai m, the va)e «he trie*,
For gnet%jis fill'd her breast;
Fled are the joys
us'd to prize,
Arid fled with them licr rest.
Poor hepless maid ! who can bebo&l
Thy anguish so severe,1
(>r hear thy lovq-lorn story told.
Without a pilying leor !
Maria, hapless maid, adieu !
Thy Sorrows soon must cease;
£0011 heaven will take a maid so tru*
To everlasting pcaee.
tflNIS.
it** Tjfano! nod
^ffeiic. i3ft ciuoia t>i
�
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 072: Title-page illustration in a single ruled rectangular border of a woman in conversation with a man standing in front of building.
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
Katherine Ogie, to which is added, John Anderson, my jo, Jean Anderson, my jo, Maria.
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
John Anderson, my jo, Jean Anderson, my jo, Maria.
Date
A point or period of time associated with an event in the lifecycle of the resource
1829
Extent
The size or duration of the resource.
8 pages
16 cm
Identifier
An unambiguous reference to the resource within a given context
<a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9923346353505154">s0361b07</a>
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
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: R. Hutchinson, Bookseller
Source
A related resource from which the described resource is derived
Archival & Special Collections, University of Guelph Library, Guelph, Ontario
Description
An account of the resource
Woodcut #72: Illustration on title- page a woman in conversation with a man in front of building.
Type
The nature or genre of the resource
ballads & songs
Subject
The topic of the resource
Chapbooks - Scotland - Glasgow
Courtship and Marriage
# of Woodcuts: 1
Architecture: window(s)
Bib Context: title-page
Chapbook Date: 1821-1830
Chapbook Publisher - Glasgow: R. Hutchinson
Gender: man/men
Gender: woman/women
Nature: tree(s)
Outdoor Scene