and note upon it. Brief references must suffice for annotation here.
See Mallory’s “_Morte d’Arthur_,” the French _Lancelot du Lac_, and
_Sir Tristram_. Three MSS., the Auchinlech, Cambridge University, and
Caius College, preserve the romance of _Sir Bevis of Hamptoun_, with
his slaying the wild boar; his sword _Morglay_ is often mentioned, like
Arthur’s _Excalibur_: Ascapard, the thirty-feet-long giant, who after a
fierce battle becomes page to Sir Bevis. Caius Coll. MS. and others have
the story _Richard Cœur de Leon_, but the street-ballad served equally to
keep alive his fame among the populace, _Coll. Old. Bds._ iii. 17. Wm.
Ellis gives abstracts of romances on Arthur, Guy of Warwick, Sir Bevis,
Richard Lion-heart, Sir Eglamour of Artoys, Sir Isumbras, the Seven
Wise Masters, Charlemagne and Roland, &c., in his _Spec. Early English
Metrical Romances_; of which J. O. Halliwell writes, in 1848:—“Ellis did
for ancient romance what Percy had previously accomplished for early
poetry.” In passing, we must not neglect to express the debt of gratitude
due to the managers of the _E. E. Text Soc._, for giving scholarly and
trustworthy prints of so many MSS., hitherto almost beyond reach. For
_Orlando Inamorato_ and _Orlando Furioso_ we must go to Boiardo and
Ariosto, or the translators, Sir John Harrington and W. Stewart Rose.
Dunlop’s _Hist. of Fiction_ gives a slight notice of some of this
ballad’s heroes, including _Huon_ of Bordeaux, the French _Livre de
Jason_, Prince of the Myrmidons, the _Vie de Hercule_, the _Cléopâtre_,
&c. Valentine and Orson is said to have been written in the reign of
Charles VIII., and first printed at Lyons in 1495. SS. David, James, and
Patrick, with the rest of the Seven Champions, like the Four Sons of
Aymon, are of easy access. Cp. Warton.
ARTHUR O’BRADLEY.
(_Merry Droll., Com._, pp. 312, 395; _Antidote ag. Mel._, 16).
Here is the five years’ earlier Song of “Arthur o’ Bradley,” (_vide
ante_, pp. 166-175) never before reprinted, we believe, and not mentioned
by J. P. Collier, W. Chappell, &c., when they referred to “Saw ye not
Pierce the Piper” of _Antidote_ and _M. D., C._, 1661. But ours is the
earliest-known complete version [before 1642?]:—
A SONG. [p. 81.]
All you that desire to merry be,
Come listen unto me,
And a story I shall tell,
Which of a Wedding befell,
Between _Arthur_ of _Bradley_
And _Winifred_ of _Madly_.
As _Arthur_ upon a day
Met _Winifred_ on the way,
He took her by the hand,
Desiring her to stand,
Saying I must to thee recite
A matter of [great] weight,
Of Love, that conquers Kings,
In grieved hearts so rings,
And if thou dost love thy Mother,
Love him that can love no other.
_Which is oh brave ~Arthur~_, &c.
For in the month of May,
Maidens they will say,
A May-pole we must have, [∴ date before 1642.]
Your helping hand we crave.
And when it is set in the earth,
The maids bring Sullybubs forth; [Syllabubs]
Not one will touch a sup,
Till I begin a cup.
For I am the end of all
Of them, both great and small.
Then tell me yea, or nay,
For I can no longer stay.
_With oh brave ~Arthur~_, &c.
Why truly _Arthur_[,] quoth she,
If you so minded be,
My good will I grant to you,
Or anything I can do.
One thing I will compell,
So ask my mothers good will.
Then from thee I never will flye,
Unto the day I do dye.
Then homeward they went with speed,
Where the mother they met indeed.
Well met fair Dame, quoth _Arthur_,
To move you I am come hither,
For I am come to crave, [p. 83.]
Your daughter for to have,
For I mean to make her my wife,
And to live with her all my life.
_With oh brave ~Arthur~_, &c.
The old woman shreek’d and cry’d,
And took her daughter aside,
How now daughter, quoth she,
Are you so forward indeed,
As for to marry he,
Without consent of me?
Thou never saw’st thirteen year,
Nor art not able I fear,
To take any over-sight,
To rule a mans house aright:
Why truly mother, quoth she,
You are mistaken in me;
If time do not decrease,
I am fifteen yeares at least.
_With oh brave ~Arthur~_, &c.
Then _Arthur_ to them did walk,
And broke them of their talk.
I tell you Dame, quoth he,
I can have as good as thee;
For when death my father did call,
He then did leave me all
His barrels and his brooms,
And a dozen of wo[o]den spoones,
Dishes six or seven,
Besides an old spade, even
A brasse pot and whimble,
A pack-needle and thimble,
A pudding prick and reele,
And my mothers own sitting wheele;
And also there fell to my lot
A goodly mustard pot.
_With O brave_ Arthur, &c.
The old woman made a reply,
With courteous modesty,
If needs it must so be,
To the match I will agree.
For [when] death doth me call,
I then will leave her all;
For I have an earthen flaggon,
Besides a three-quart noggin,
With spickets and fossets five,
Besides an old bee-hive;
A wooden ladle and maile,
And a goodly old clouting paile;
Of a chaff bed I am well sped,
And there the Bride shall be wed,
And every night shall wear
A bolster stufft with haire,
A blanket for the Bride,
And a winding sheet beside,
And hemp, if he will it break, [p. 85.]
New curtaines for to make.
To make all [well] too, I have
Stories gay and brave.
Of all the world so fine,
With oh brave eyes of mine,
_With oh brave ~Arthur~_, &c.
When _Arthur_ his wench obtained,
And all his suits had gained,
A joyfull man was he,
As any that you could see.
Then homeward he went with speed,
Till he met with her indeed.
Two neighbours then did take
To bid guests for his sake;
For dishes and all such ware,
You need not take any care.
_With oh brave ~Arthur~_, &c.
To the Church they went apace,
And wisht they might have grace,
After the Parson to say,
And not stumble by the way;
For that was all their doubt,
That either of them should be out.
And when that they were wed,
And each of them well sped,
The Bridegroom home he ran,
And after him his man, [p. 86.]
And after him the Bride,
Full joyfull at the tyde,
As she was plac’d betwixt
Two yeomen of the Guests,
And he was neat and fine,
For he thought him at that time
Sufficient in every thing,
To wait upon a King.
But at the doore he did not miss
To give her a smacking kiss.
_With oh brave ~Arthur~_, &c.
To dinner they quickly gat,
The Bride betwixt them sat,
The Cook to the Dresser did call,
The young men then run all,
And thought great dignity
To carry up Furmety.
Then came leaping _Lewis_,
And he call’d hard for Brewis;
Stay, quoth _Davy Rudding_,
Thou go’st too fast with th’ pudding.
Then came _Sampson Seal_,
And he carry’d Mutton and Veal;
The old woman scolds full fast,
To the Cook she makes great hast,
And him she did controul,
And swore that the Porridge was cold.
_With oh brave_, &c.
My Masters a while be brief,
Who taketh up the Beef?
Then came _William Dickins_, [p. 87.]
And carries the Snipes & Chickens.
_Bartholomew_ brought up the Mustard,
_Caster_ he carry’d the Custard.
In comes _Roger Boore_,
He carry’d up Rabbets before:
Quoth _Roger_, I’le give thee a Cake,
If thou wilt carry the Drake.
[1] Speak not more nor less,
Nor of the greatest mess,
Nor how the Bride did carve,
Nor how the Groom did serve
_With oh brave ~Arthur~_, &c.
But when that they had din’d,
Then every man had wine;
The maids they stood aloof,
While the young men made a proof.
Who had the nimblest heele,
Or who could dance so well,
Till _Hob_ of the hill fell over, [? oe’r]
And over him three or four.
Up he got at last,
And forward about he past;
At _Rowland_ he kicks and grins,
And he [? hit] _William_ ore the shins;
He takes not any offence,
But fleeres upon his wench.
The Piper he play’d [a] Fadding,
And they ran all a gadding.
_With oh brave ~Arthur [o’ Bradley]~_, &c.
(“_Wits Merriment_,” 1656, pp. 81-7.)
The often mentioned “Arthur o’ Bradley’s Wedding,” a modern version
attributed to Mr. Taylor, the actor and singer, is given, not only in
_Songs and Ballads of the Peasantry_, &c., (p. 139 of R. Bell’s Annot.
ed.), collected by J. H. Dixon; but also in Berger’s _Red, White, and
Blue Monster Songbook_, p. 394, where the music arranged by S. Hale is
stated to be “at Walker’s.”
Pages 326, 402. _Why should we not laugh?_
The reference to “Goldsmith’s Hall” (see p. 363), where a Roundhead
Committee sate in 1647, and later, for the spoliation of Royalists’
estates, levying of fines and acceptance of “Compounders” money, dates
the song.
Pages 328, 402. _Now we are met._
If we are to reckon the “twelve years together by the ears” from January
4, 1641-2, the abortive attempt of Charles I. to arrest at the House “the
Five Members” (Pym, Hampden, Haslerig, Denzil Holles, and Strode), we
may guess the date of this ballad to be 1653-4. Verse 14 mentions Oliver
breaking the Long Parliament (20th April, 1653); and verses 15, 16 refer
to the Little, or “Barebones Parliament” July 4, to 2nd December, 1653,
(when power was resigned into the hands of Cromwell). Shortly after this,
but certainly before Sept. 3rd, 1654 (when the next Parliament, more
impracticable and persecuting, met), must be the true date of the ballad.
“_Robin_ the Fool” is “Robin Wisdom,” Robert Andrews. “_Fair_” is Thomas
Lord Fairfax the “Croysado-General.” “Cowardly W——” is probably Philip,
Lord Wharton, a Puritan, and Derby-House committee-man; of inferior
renown to Atkins in unsavoury matters; but whose own regiment ran away
at Edgehill: Wharton then took refuge in a saw-pit. President _Bradshaw_
died 22nd Nov., 1659. Dr. Isaac DORISLAUS, Professor of History at
Cambridge, and of Gresham College, apostatized from Charles I., and was
sent as agent by the Commons to the Hague, where he was in June, 1649,
assassinated by some cavaliers, falsely reported to be commissioned by
the gallant Montrose (see the ballad “What though lamented, curst,” &c.,
in King’s Pamphlets, Brit. Mus.).
“_Askew_,” is “one Ascham a Scholar, who had been concerned in drawing
up the King’s Tryal, and had written a book,” &c., (Clarendon, iii. 369,
1720). This Anthony Ascham, sent as Envoy to Spain from the Parliament in
1649, was slain at Madrid by some Irish officers, (Rapin:) of whom only
one, a Protestant, was executed. See _Harl. Misc._ vi. 236-47. All which
helped to cause the war with Spain in 1656.
Harry Marten’s evil repute as to women, and lawyer Oliver St. John’s
building his house with stones plundered from Peterborough Cathedral,
were common topics. “The women’s war,” often referred to as the “bodkin
and thimble army,” of 1647, was so called because the “Silly women,”
influenced by those who “crept into their houses,” gave up their rings,
silver bodkins, spoons and thimbles for support of Parliamentary troops.
Page 332, line 2.
We should for _Our_ read _Only_.
Page 348, line 10. “Old Lilly.”
An allusion to William Lilly’s predictive almanacks, shewing that this
Catch was not much earlier in date than Hilton’s book, 1652. Lilly was
the original of Butler’s “Cunning man, hight Sidrophel” in _Hudibras_,
Part 2nd, Canto 3. Compare note, p. 353.
Page 361 (Appendix), line 5.
For misprint _alterem_, read _alteram_.
Page 394 (Appendix), _New England, &c._
References should be added to the _Rump_ Coll., 1662, i. 95, and _Loyal
Songs_, 1731, i. 92. “Isaack,” is probably Isaac Pennington. Hampden and
others were meditating this _journey to New England_, until stopped, most
injudiciously, by an order in Council, dated April 6, 1638.
We here give our additional Note, on the “Sessions of the Poets,”
reserved from p. 376.
§ 3.—SESSIONS OF POETS.
We believe that Sir John Suckling’s Poem, sometimes called “A Sessions
of Wit,” was written in 1636-7; almost certainly before the death of
Ben Jonson (6th August, 1637). Among its predecessors were Richard
Barnfield’s “Remembrance of some English Poets,” 1598 (given in present
volume, p. 273); and Michael Drayton’s “Censure of the Poets,” being
a Letter in couplets, addressed to his friend Henry Reynolds; and the
striking lines, “On the Time-Poets,” pp. 5-7 of _Choyce Drollery_, 1656.
The latter we have seen to be anonymous; but they were not impossibly by
that very Henry Reynolds, friend of Drayton; although of this authorship
no evidence has yet arisen. Of George Daniel’s unprinted “Vindication of
Poesie,” 1636-47, we have given specimens on pp. 272, 280-1, and 331-2.
Later than Suckling (who died in 1642), another author gave in print
“The Great Assizes Holden in Parnassus by Apollo and his Assessors:”
at which Sessions are arraigned Mercurius Britannicus, &c., Feb. 11th,
1644-5. This has been attributed to George Wither; most erroneously, as
we believe. The mis-appropriation has arisen, probably, from the fact of
Wither’s name being earliest on the roll of Jurymen summoned:
“_Hee, who was called first in all the List,_
_~George Withers~ hight, entitled Satyrist;_
_Then ~Cary~, ~May~, and ~Davenant~ were called forth,_
_Renowned Poets all, and men of worth,_
_If wit may passe for worth: Then ~Sylvester~,_
_~Sands~, ~Drayton~, ~Beaumont~, ~Fletcher~, ~Massinger~,_
_~Shakespeare~, and ~Heywood~, Poets good and free,_
_Dramatick writers all, but the first three:_
_These were empanell’d all, and being sworne_
_A just and perfect verdict to return_,” _&c._ (p. 9.)
George Wither was quite capable of placing himself first on the list, in
such a manner, we admit; but it is incredible to us that, if he had been
the author, he could have described himself so insultingly as we find in
the following lines, and elsewhere:—
“_he did protest_
_That ~Wither~ was a cruell Satyrist;_
_And guilty of the same offence and crime,_
_Whereof he was accused at this time:_
_Therefore for him hee thought it fitter farre,_
_To stand as a Delinquent at the barre,_
_Then to bee now empanell’d in a Jury._
_~George Withers~ then, with a Poetick fury,_
_Began to bluster, but ~Apollo’s~ frowne_
_Made him forbeare, and lay his choler downe._”
(_Ibid_, p. 11.)
Two much more sparkling and interesting “Sessions of Poets” afterwards
appeared, to the tune of Ben Jonson’s “Cook Laurel.” The first of these
begins:—
“_~Apollo~, concern’d to see the Transgressions_
_Our paltry Poets do daily commit,_
_Gave orders once more to summon a Sessions,_
_Severely to punish th’ Abuses of Wit._
_~Will d’Avenant~ would fain have been Steward o’ the Court,_
_To have fin’d and amerc’d each man at his will;_
_But ~Apollo~, it seems, had heard a Report,_
_That his choice of new Plays did show h’ had no skill._
_Besides, some Criticks had ow’d him a spite,_
_And a little before had made the God fret,_
_By letting him know the Laureat did write_
_That damnable Farce, ‘~The House to be Let~.’_
_Intelligence was brought, the Court being set_
_That a Play Tripartite was very near made;_
_Where malicious ~Matt. Clifford~, and spirituall ~Spratt~,_
_Were join’d with their Duke, a Peer of the Trade,” &c._
The author did not avow himself. It must have been written, we hold,
in 1664-5. The second is variously attributed to John Wilmot, Earl of
Rochester, and to George Villiers, Duke of Buckingham, being printed in
the works of both. It begins:—
“_Since the Sons of the Muses grew num’rous and loud,_
_For th’ appeasing so factious and clam’rous a crowd,_
_~Apollo~ thought fit in so weighty a cause,_
_T’ establish a government, leader, and laws,” &c._
Assembled near Parnassus, Dryden, Etherege, Wycherley, Shadwell, Nat
Lee, Settle, Otway, Crowne, Mrs. Aphra Behn, Rawlins, Tom D’Urfey, and
Betterton, are in the other verses sketched with point and vivacity; but
in malicious satire. It was probably written in 1677. Clever as are these
two later “Sessions,” they do not equal Suckling’s, in genial spirit and
unforced cheerfulness.
We need not here linger over the whimsical Trial of Tom D’Urfey and
Tom Brown (who squabbled between themselves, by the bye), in a still
later “Sessions of the Poets Holden at the foot of Parnassus Hill,
July the 9th, 1696: London, printed for E. Whitlock, near Stationers’
Hall, 1696”:—a mirthful squib, which does not lay claim to be called
poetry. Nor need we do more than mention “A Trip to _Parnassus_; or, the
Judgment of _Apollo_ on Dramatic Authors and Performers. A Poem. London,
1788”—which deals with the two George Colmans, Macklin, Macnally, Lewis,
&c. Coming to our own century, it is enough to particularize Leigh Hunt’s
“Feast of the Poets;” printed in his “Reflector,” December, 1811, and
afterwards much altered, generally with improvement (especially in the
exclusion of the spiteful attack on Walter Scott). It begins—_“’Tother
day as Apollo sat pitching his darts,” &c._ In 1837 Leigh Hunt wrote
another such versical review, viz., “Blue-Stocking Revels; or, The Feast
of the Violets.” This was on the numerous “poetesses,” but it cannot
be deemed successful. Far superior to it is the clever and interesting
“Fable for Critics,” since written by James Russell Lowell in America.
Both as regards its own merit, and as being the parent of many others
(none of which has surpassed, or even equalled it), Sir John Suckling’s
“Sessions of Poets” must always remain famous. We have not space
remaining at command to annotate it with the fulness it deserves.
ADDITIONS AND CORRECTIONS.
The type-ornaments in _Choyce Drollery_ reprint are merely substitutes
for the ruder originals, and are not in _fac-simile_, as were the Initial
Letters on pages 5 and 7 of our _Merry Drollery, Compleat_ reprint.
Page 42, line 6, “a Lockeram Band:” Lockram, a cheap sort of linen, see
J. O. Halliwell’s valuable _Dictionary of Archaic and Provincial Words_,
p. 525, edit. 1874. To this, and to the same author’s 1876 edition of
Archdeacon _Nares Glossary_, we refer readers for other words.
Page 73-77, 297, _Marchpine_, or _Marchpane_, biscuits often made
in fantastic figures of birds or flowers, of sweetened almonds, &c.
_Scettuall_, or _Setiwall_, the Garden Valerian. _Bausons_, i.e. badgers.
_Cockers_; boots. Verse fifth omitted from _Choyce Drollery_, runs:—
“Her features all as fresh above,
As is the grass that grows by _Dove_,
And lythe as lass of _Kent_;
Her skin as soft as _Lemster_ wool,
As white as snow on _Peakish Hull_,
Or Swan that swims in _Trent_.”
A few typographical errors crept into sheet G (owing to an accident
in the Editor’s final collation with original). P. 81, line 2, read
_Blacke_; line 20, Shaft; p. 85, line 3, Unlesse; p. 86, line 5,
Physitian; line 17, that Lawyer’s; p. 87, line 9, That wil stick to
the Laws; p. 88, line 8, O that’s a companion; p. 90, first line,
_basenesse_; line 23, nature; p. 91, line 13, add a comma after the word
blot; p. 94, line 13, Scepter; p. 96, line 10, Of this; p. 97, line 15,
For feare; p. 99, line 6, add a comma; p. 100, line 13, finde. These are
all _single-letter_ misprints.
Page 269, line 14, for _encreasing_, read _encreaseth_; and end line 28
with a comma.
I. H. in line 35, are the initials of the author, “Iohn Higins.”
Page 270, line 9, add the words—“It is by Sir Wm. Davenant, and entitled
‘The Dying Lover.’”
Page 275, penultimate line, read _Poet-Beadle_. P. 277, l. 17, for 1698
read 1598.
Page 281, line 20, for _liveth_, read _lives_; _claime_.
Page 289, after line 35, add—“Page 45, ‘_As I went to_ Totnam.’ This is
given with the music, in Tom D’Urfey’s _Pills to purge Melancholy_, p.
180, of 1700 and 1719 (vol. iv.) editions; beginning ‘As I came from
_Tottingham_.’ The tune is named ‘Abroad as I was walking.’ Page 52, _He
that a Tinker_; Music by Dr. Jn. Wilson.”
Page 330, after line 10, add—“_Fly, boy, fly_: Music by Simon Ives, in
Playford’s _Select Ayres_, 1659, p. 90.”
The date of “The Zealous Puritan,” _M. D. C._, p. 95, was 1639. “He that
intends,” &c., _Ibid._, p. 342, is the _Vituperium Uxoris_, by John
Cleveland, written before 1658 (_Poems_, 1661, p. 169).
“Love should take no wrong,” in _Westminster-Drollery_, 1671, i. 90,
dates back seventy years, to 1601: with music by Robert Jones, in his
Second Book of Songs, Song 5.
Introduction to Merry Drollery (our second volume) p. xxii. lines 20,
21. Since writing the above, we have had the pleasure of reading the
excellent “Memoir of Barbara, Duchess of Cleveland,” and the “Althorp
Memoirs,” by G. Steinman Steinman, Esq., F. S. A., (printed for Private
Circulation, 1871, 1869); by the former work, p. 22, we are led to
discredit Mrs. Jameson’s assertion that the night of May 29, 1660, was
spent by Charles II. in the house of Sir Samuel Morland at Vauxhall.
“This knight and friend of the King’s _may_ have had a residence in
the parish of Lambeth before the Restoration, but as he was an Under
Secretary of State at the time, it is more probable that he lived in
London; and _as he did not obtain from the Crown a lease of Vauxhall
mansion and grounds until April 19, 1675_, the foundations of a very
improbable story, whoever originated it, are considerably shaken.” Mr.
Steinman inclines to believe the real place of meeting was Whitehall. He
has given a list of Charles II.’s male companions in the Court at Bruges,
with short biographies, in the _Archæologia_, xxxv. pp. 335-349. We knew
not of this list when writing our Introduction to _Choyce Drollery_.
[Illustration: The Phœnix (emblematical of the Restoration) is adapted
from Spenser’s Works, 1611.]
TABLE OF FIRST LINES
In “Merry Drollery,” 1661, 1670, 1691
(_Now first added._)
[The Songs and Poems _peculiar to the first edition_, 1661 (having been
afterwards omitted), are here distinguished by being printed in Roman
type. They are all contained _in the present volume_. Those that were
added, in the later editions only, have no number attached to them in
our first column of pages, viz. for 1661. The third edition, in 1691,
was no more than a re-issue of the 1670 edition, with a fresh title-page
to disguise it, in pretence of novelty (see p. 345, _ante_). The outside
column refers to our Reprint of the “Drolleries;” but where the middle
column is blank, as shewing the song was not repeated in 1670 and 1691,
our Reprint-page belongs to the _present volume_. The “Reserved Pieces,”
given only in Supplement, bear the letter “R” (for the extra sheet,
signed R*).—ED.]
FIRST LINES. [In Editions] 1661 1670 1875
_A Brewer may be a Burgess_ ii. 70 252 252
_A fig for Care, why should we_ 217 217
_A Fox, a Fox, up gallants_ 29 38 38
_A Maiden of late, whose name_ 160 170 170
_A Pox on the Jaylor, and on his_ 289 289
A Puritan of late 2 195
_A Session was held the other day_ 68 72 72
_A Story strange I will you tell_ ii. 12 200 200
A young man of late 27 201
_A young man that’s in love_ 34 42 42
A young man walking all alone 32 204
_After so many sad mishaps_ 112 118 118
_After the pains of a desperate Lover_ 171 171
_Ah, ah, come see what’s_ 30 40 40
_All in the Land of ~Essex~_ 48 56 56
_Am I mad, O noble ~Festus~?_ ii. 50 234 234
_~Amarillis~ told her swain_ 8 10
Among the Purifidian sect ii. 103 243
_Are you grown so melancholy?_ ii. 101 286 286
_Aske me no more why there appears_ 62 70 70
_~Bacchus~ I am, come from_ 61 69 69
_Be merry in sorrow_ 1^b 6 8
_Be not thou so foolish nice_ 61 69 69
_Blind Fortune, if thou want’st_ 163 172 172
_Bring forth your Cunny-skins_ ii. 8 196 196
_But since it was lately enacted_ ii. 24 212 212
_Call for the Master, oh, this_ 9 11
_Call ~George~ again, boy_ ii. 118 304 304
_Calm was the evening, and clear_ 220 220
_Calm was the evening, and clear_ 292 292
_Cast your caps and cares aside_ 87 92 92
_Come, Drawer, and fill us about_ ii. 80 263 263
Come, Drawer, some wine ii. 29 237
_Come, Drawer, turn about the b._ ii. 86 268 268
_Come, Drawer, come, fill us_ ii. 3 190 190
_Come, faith, let’s frolick_ ii. 65 246 246
Come, hither, my own sweet ii. 106 247
_Come, Imp Royal, come away_ ii. 45 231 231
_Come, ~Jack~, let’s drink a pot of Ale_ 45 52 52
_Come, let us drink, the time invites_ 93 97 97
_Come, let’s purge our brains_ 114 121 121
_Come, my dainty Doxies, my Dove_ ii. 44 230 230
_Come, my ~Daphne~, come away_ 86 91 91
_Come, my delicate, bonny sweet_ 23 34 34
_Cook ~Laurel~ would needs have_ ii. 26 214 14
Discoveries of late have been ii. 33 R^f
_Doctors, lay by your irkesome_ 41 48 48
Fair Lady, for your New Year’s ii. 81 R^n
_Fetch me ~Ben Johnson’s~ scull_ 293 293
From _Essex_ Anabaptist Laws ii. 38 241
_From hunger and cold, who lives_ ii. 9 197 197
_From ~Mahomet~ and Paganisme_ 164 174 174
_From the fair ~Lavinian~ shore_ 291 291
_From what you call’t Town_ 191 182 182
Full forty times over I have, &c. ii. 61 R^i
_Gather your rosebuds while_ ii. 11 199 199
_Go, you tame Gallants_ ii. 57 242 242
_God bless my good Lord Bishop_ 166 176 176
_Good Lord, what a pass is this_ 75 79 79
_Had she not care enough_ 211 211
_Hang Chastity! it is_ 88 220
_Have you observed the Wench_ ii. 141 332 332
He is a fond Lover, that doateth ii. 62 R^l
_He that a happy life would lead_ ii. 147 339 339
_He that intends to take a wife_ ii. 153 342 342
_Heard you not lately of a man_ 169 180 180
_Here’s a health unto his Majesty_ 212 212
Hey, ho, have at all! 168 R^e
_Hold, quaff no more_ ii. 19 210 210
_How happy is the Prisoner_ 101 107 107
_How poor is his spirit_ ii. 48 232 232
_I am a bonny ~Scot~, Sir_ 119 127 127
_I am a Rogue, and a stout one_ ii. 16 204 204
_I came unto a Puritan to woo_ 73 77 77
_I doat, I doat, but am a sot_ ii. 53 237 237
I dreamt my Love lay in her bed 11 197
_I have reason to fly thee_ ii. 97 281 281
_I have the fairest Non-perel_ ii. 99 283 283
I loved a maid—she loved not me ii. 151 R^p
_I marvel, ~Dick~, that having been_ 46 54 54
I mean to speak of _England’s_ 85 218
_I met with the Divel in the shape_ 103 109 109
_I pray thee, Drunkard, get thee_ ii. 119 306 306
_I tell thee, ~Kit~, where I have been_ 317 317
I went from _England_ into _France_ 64 213
If any one do want a House ii. 64 R^m
_If any so wise is, that Sack_ ii. 157 348 348
_If every woman were served in her_ 80 85 85
_If none be offended with the scent_ ii. 77 259 259
If that you will hear of a ditty ii. 149 253
_If thou wilt know how to chuse_ 21 32 32
If you will give ear ii. 46 R^g
_I’ll go no more to the Old Exchange_ 126 134 134
_I’ll sing you a sonnet, that ne’er_ 66 66
_I’ll tell thee, ~Dick~, where I have_ 97 101 101
_I’ll tell you a story, that never w. t._ 123 131 131
_In Eighty-eight, e’er I was born_ 77 82 82
_In the merry month of ~May~_ 99 99
_It chanced not long ago, as I was_ ii. 82 264 264
It was a man, and a jolly old man 95 222
_Ladies, I do here present you_ ii. 55 240 240
_Lay by your pleading, Law_ 118 125 125
_Lay by your pleading, Love lies a_ ii. 4 191 191
_Let dogs and divels die_ 31 41 41
_Let Souldiers fight for praise_ ii. 31 218 218
_Let the Trumpet sound_ ii. 142 333 333
_Let’s call, and drink the cellar dry_ 130 138 138
Listen, lordings, to my story ii. 32 240
Mine own sweet honey bird 153 R^c
_My bretheren all attend_ 91 95 95
_My Lodging is on the cold ground_ 290 290
_My Masters, give audience_ ii. 91 275 275
_My Mistris is a shittle-cock_ 51 60 60
_My Mistris is in Musick_ 154 163 163
_My Mistris, whom in heart_ 107 113 113
_Nay, out upon this fooling_ 79 84 84
_Nay, prithee, don’t fly me_ 25 36 36
_Ne’er trouble thy self at the times_ 219 219
_Nick Culpepper_ and _William Lilly_ 56 190
_No man Love’s fiery passion_ ii. 1 187 187
_No sooner were the doubtful people_ ii. 58 243 243
_Now, gentlemen, if you will hear_ 18 29 29
_Now I am married, Sir ~John~_ ii. 96 280 280
_Now, I confess, I am in love_ 1 5 7
Now _Lambert’s_ sunk, and gallant 12 198
_Now thanks to the Powers below_ 156 166 166
_Now that the Spring has filled_ ii. 110 296 296
_Now we are met in a knot_ ii. 138 328 328
O that I could by any Chymick ii. 31 239
_O the wily, wily Fox_ ii. 114 300 300
_Of all the Crafts that I do know_ 7 17 17
_Of all the rare juices_ 178 178
_Of all the Recreations, which_ 146 146
_Of all the Sciences beneath the Sun_ ii. 129 319 319
_Of all the Sports the world doth_ ii. 111 296 296
_Of all the Trades that ever I see_ ii. 40 225 225
_Of an old Souldier of the Queen’s_ 20 31 31
_~Oliver~, ~Oliver~, take up thy Crown_ ii. 72 254 254
_Once was I sad, till I grew to be_ 2^b 10 12
_Pox take you, Mistris, I’ll be gone_ ii. 118 304 304
_Pray, why should any man_ ii. 87 270 270
Riding to _London_, in _Dunstable_ 14 200
_Room for a Gamester_ ii. 10 197 197
_Room for the best Poets heroick!_ 96 100 100
_Saw you not ~Pierce~ the piper_ ii. 124 312 312
_She lay all naked in her bed_ ii. 115 300 300
She lay up to the navel bare ii. 116 R^o
_She that will eat her breakfast_ ii. 120 308 308
_Shew a room, shew a room_ ii. 145 337 337
_Sir ~Eglamore~, that valiant knight_ ii. 75 257 257
_Some Christian people all give ear_ 81 87 87
_Some wives are good, and some_ 302 302
_Stay, shut the gate!_ ii. 18 207 207
_Sublimest discretions have club’d_ 287 287
_The Aphorisms of ~Galen~_ ii. 94 277 277
_The best of Poets write of F._ 141 153 153
_The Hunt is up, the Hunt is up_ 20 30 30
_The Proctors are two, and no more_ 105 111 111
_The Spring is coming on_ 40 47 47
_The thirsty Earth drinks up_ 22 22
_The ~Turk~ in linnen wraps_ 13 25 25
_The Wise Men were but seven_ 232 232
_The World’s a bubble, and the life_ 104 110 110
_There dwelt a Maid in the C. g._ 37 46 46
_There is a certain idle kind of cr._ 140 152 152
_There was a jovial Tinker_ 17 27 27
There was a Lady in this land 134 223
_There was an old man had an acre_ 44 52 52
There was three birds that built 139 R^a
_There was three Cooks in C_ ii. 129 318 318
_There’s a lusty liquor which_ 132 140 140
_There’s many a blinking verse_ ii. 35 221 221
_Three merry Boys came out_ 220 220
_Three merry Lads met at the Rose_ 143 143
_’Tis not the Silver nor Gold_ 109 115 115
_To friend and to foe_ 38 23 23
_Tobacco that is wither’d quite_ 16 26 26
_~Tom~ and ~Will~ were Shepherd_ 149 149
Upon a certain time 146 R^b
Upon a Summer’s day 148 230
_Wake all you Dead, what ho!_ 151 151
_Walking abroad in the m._ 76 81 81
_We Seamen are the honest boys_ 152 162 162
_What an Ass is he, Waits, &c._ ii. 90 273 273
_What Fortune had I, poor Maid_ ii. 152 341 341
_What is that you call a Maid._ ii. 68 249 249
_What though the ill times do run_ 116 124 124
What though the times produce 161 R^d
_When blind god ~Cupid~, all in an_ ii. 2 188 188
_When first ~Mardike~ was made_ 4 12 12
_When first the ~Scottish~war_ 89 93 93
_When I a Lady do intend to flatter_ ii. 158 348 348
_When I do travel in the night_ ii. 73 255 255
_When I’se came first to ~London~_ ii. 133 323 323
_When ~Phœbus~ had drest_ ii. 69 250 250
_When the chill ~Charokoe~ blows_ 155 164 164
_White bears have lately come_ 149 159 159
_Why should a man care_ ii. 146 337 337
_Why should we boast of_ Arthur ii. 122 309 309
_Why should we not laugh_ ii. 136 326 326
_Will you hear a strange thing_ 53 62 62
You Gods, that rule upon ii. 21 233
_You talk of ~New England~_ ii. 84 266 266
You that in love do mean to sport ii. 22 235
First Lines of the “Antidote” Songs:
GIVEN IN THIS VOLUME (AND NOT IN _M. D. C._).
[Present Reprint,] Page
_A Man of ~Wales~, a little before ~Easter~_ 157
_An old house end_ 153
_Bring out the [c]old Chyne_ 146
_Come, come away to the Tavern, I say_ 150
_Come hither, thou merriest of all the Nine_ 133
_Come, let us cast dice who shall drink_ 151
_Drink, drink, all you that think_ 158
_Fly boy, fly boy, to the cellar’s bottom_ 157
_Good ~Symon~, how comes it_ 154
_Hang Sorrow, and cast away Care_ 152
_Hang the ~Presbyter’s~ Gill_ 144
_He that a Tinker, a tinker will be_ 52
_In love? away! you do me wrong_ 147
_I’s not come here to tauke of ~Prut~_ 141
_Jog on, jog on the foot-path-way_ 156
_Let’s cast away Care_ 152
_Mongst all the pleasant juices_ 150
_My Lady and her Maid_ 152
_Never let a man take heavily_ 151
_Not drunken nor sober_ 113
_Of all the birds that ever I see_ 155
_Old Poets ~Hypocrin~ admire_ 143
_Once I a curious eye did fix_ 139
_The parcht earth drinks the rain_ 157
_The wit hath long beholden been_ 135
_There was an old man at ~Walton~ Cross_ 151
_This Ale, my bonny lads_ 155
_’Tis Wine that inspires_ 145
_Welcome, welcome, again to thy wit_ 159
_What are we met? Come, let’s see_ 156
_Why should we boast of ~Arthur~_ 129
_Wilt thou be fat? I’ll tell thee how_ 154
_Wilt thou lend me thy mare_ 153
_With an old song made by an old a. p._ 125
_You merry Poets, old boyes_ 149
_Your mare is lame, she halts outright_ 153
Here the Editor closes his willing toil, (after having added a _Table
of First Lines_, and a _Finale_,) and offers a completed work to the
friendly acceptance of Readers. They are no vague abstractions to him,
but a crowd of well-distinguished faces, many among them being renowned
scholars and genial critics. To approach them at all might be deemed
temerity, were it not that such men are the least to be feared by an
honest worker. On the other hand, it were easy for ill-natured persons
to insinuate accusations against any one who meddles with Re-prints of
_Facetiæ_. Blots and stains are upon such old books, which he has made no
attempt to disguise or palliate. Let them bear their own blame. There are
dullards and bigots in the world, nevertheless, who decry all antiquarian
and historical research. A defence is unnecessary: “Let them rave!”
_Fama di loro il mondo esser non lassa,_
_Misericordia e giustizia gli sdegna,_
_Non ragioniam di lor, ma guarda e passa._
He thanks those who heartily welcomed the earlier Volumes, and trusts
that no unworthy successor is to be found in the present Conclusion,
which holds many rare verses. Hereafter may ensue another meeting. Our
olden Dramatists and Poets open their cellars, full of such vintage as
Dan Phœbus had warmed. Leaving these “_Drolleries of the Restoration_”
behind him, as a Nest-Egg, the Editor bids his Readers cheerfully
_FAREWELL!_
FINALE.
_“Laudator temporis acti” cantat_:—
1.
Closed now the book, untrimmed the lamp,
Flung wide the lattice-shutter;
The night-breeze strikes in, chill and damp,
The fir-trees moan and mutter:
Lo, dawn is near! pale Student, thou
No count of time hast reckon’d;
Go, seek a rest for weary brow
From dreams of Charles the Second.
2.
Sad grows the world: those hours are past
When, jovially convivial,
Choice Spirits met, and round them cast
Such glow as made cares trivial;
When nights prolonged through following days
Found night still closing o’er us,
While Youth and Age exchanged their lays,
Or intertwined in chorus.
3.
Our gravest Pundits of the Bench,
Most reverend Sirs of Pulpit,
Smiled at the praise of some coy wench,
Or—if too warm—could gulp it.
Loyal to King, faithful to Church,
And firm to Constitution,
No friend, no foe they left in lurch,
Or sneaked to Revolution.
4.
There, many a sage Physician told
Fresh facts of healing knowledge;
There, the dazed Bookworm could grow bold,
And speak of pranks at College:
There, weary Pamphleteers forgot
Faction, debates, and readers,
But helped to drain the clinking-pot
With punning Special-pleaders.
5.
How oft some warrior, famed abroad
For valour in campaigning,
Exchanged the thrust with foes he awed
For hob-a-nob Champaigning!
While some Old Salt, an Admiral
And Circumnavigator,
Joined in the revel at our call,
Nor sheer’d-off three days later.
6.
Who lives to thrill with jest and song,
Like those whose memories haunt us?—
Who never knew a night too long,
Or head-ache that could daunt us.
The weaklings of a later day
Win neither Mirth nor Thinking;
They mix, and spoil, both work and play:
They’ve lost the art of Drinking!
7.
For me, I lonely grow, and shy,
No one seems worth my courting;
Though girls have still a laughing eye,
And tempt to May-day sporting:
For sillier youth, or richer Lord,
Or some staid prig, and colder,
“Neat-handed Phillis” spreads the board,
And Chloe bares her shoulder.
8.
In days gone by, light grew the task,
For holidays were glorious;
It was the _talk_ sublimed the flask,
That now is deemed uproarious.
We’ve so much Methodistic cant,
Abstainers’ Total drivel,
And, worse, Utilitarian rant—
One scarcely can keep civil.
9.
Our politics are insincere,
For Statesmen cog and shuffle;
They hit not from the shoulder clear,
But dodge, and spar with muffle.
How Bench and Bar sink steeped in mire,
Avails not here recording:
While Prelates cannot now look higher
Than to mere self-rewarding.
10.
Friends of old days, ’tis well you died
Before, like me, you sickened
Amid the rottenness and pride
That in this world have quickened:
You passed, ere yet your hopes grew dim,
While Love and Friendship warmed you:
I look but to th’ horizon’s rim,
For all that erst had charmed you.
11.
Not here, amid a lower crew,
I seek to fill your places;
For men no more have hearts as true,
Nor maids,—though fair their faces.
My thoughts flit back to earlier days,
Where Pleasure’s finger beckon’d,
Cheered with the Beauty, Love, and Lays
That warmed our Charles the Second.
J. W. E.
_Biblioth. Ashmol., Cantium_, 1876.
[End of “The ‘Drolleries’ of the Restoration.”]
Drollery Reprints.
_Uniform with “Choice Drollery.”_
Published at 10s. 6d. to Subscribers, _now raised_ to 21s; large paper,
published at £1 1s, _now raised_ to £2 2s.
A RE-PRINT
OF THE
Westminster Drollery,
1671, 1672.
To those who are already acquainted with the two parts of the
_Westminster Drollery_, published in 1671 and 1672, it must have appeared
strange that no attempt has hitherto been made to bring these delightful
volumes within reach of the students of our early literature. The
originals are of extreme rarity, a perfect copy seldom being attainable
at any public sale, and then fetching a price that makes a book-hunter
almost despair of its acquisition. So great a favourite was it in the
Cavalier times, that most copies have been literally worn to pieces in
the hands of its many admirers, as they chanted forth a merry stave
from the pages. _There is no collection of songs surpassing it in the
language_, and as representative of the lyrics of the first twelve years
after the Restoration it is unequalled: by far the greater number are
elsewhere unattainable.
The WESTMINSTER DROLLERIES are reprinted with the utmost fidelity, page
for page, and line for line, not a word being altered, or a single letter
departing from the original spelling.
DROLLERY RE-PRINTS.
NOW READY.
“_Merry Drollery, Complete_,”
1661, 1691.
MERRY DROLLERY, COMPLETE is not only amusing, but as an historical
document is of great value. It is here reproduced, with the utmost
exactitude, for students of our old literature, from the edition of
1691. The few rectifications of a corrupt text are invariably held
within square brackets, when not reserved for the Appendix of Notes,
Illustrations, and Emendations. Thirty-four Songs, additional, that
appeared only in the 1661 edition, will be given separately; the
intermediate edition of 1670 being also collated. A special Introduction
has been prefixed, drawing attention to the political events of the time
referred to, and some account of the authors of the Songs in this _Merry
Drollery_.
The work is quite distinct in character from the _Westminster
Drolleries_, 1671-72, but forms an indispensable companion to that
ten-years-later volume. Twenty-five songs and poems, that had not
appeared in the 1661 edition, were added to the after editions of
_Merry Drollery_; but without important change to the book. It was
essentially an offspring of the Restoration, the year 1660-61, and it
thus gives us a genuine record of the Cavaliers in their festivity.
Whatever is offensive, therefore, is still of historical importance.
Even the bitterness of sarcasm against the Rump Parliament, under whose
rule so many families had long groaned; the personal invective, and
unsparing ridicule of leading Republicans and Puritans; were such as not
unnaturally had found favour during the recent Civil War and Usurpation.
The preponderance of Songs in praise of Sack and loose revelry is not
without significance. A few pieces of coarse humour, _double entendre_,
and breaches of decorum attest the fact that already among the Cavaliers
were spread immorality and licentiousness. The fault of an impaired
discipline had home evil fruit, beyond defeat in the field and exile from
positions of power. Mockery and impurity had been welcomed as allies,
during the warfare against bigotry, hypocrisy, and selfish ambition.
We find, it is true, few of the sweeter graces of poetry in _Choice
Drollery_ and in _Merry Drollery_; but, instead, much that helps us to
a sounder understanding of the social, military, and political life of
those disturbed times immediately preceding the Restoration.
Of the more than two hundred pieces, contained in _Merry Drollery_,
fully a third are elsewhere unattainable, and the rest are scarce. Among
the numerous attractions we may mention the rare Song of “Love lies a
bleeding” (p. 191), an earnest protest against the evils of the day; the
revelations of intolerant military violence, such as The Power of the
Sword (125), Mardyke (12), Pym’s Anarchy (70), The Scotch War (93), The
New Medley of the Country-man, Citizen, and Soldier (182), The Rebel
Red-Coat (190), and “Cromwell’s Coronation” (254), with the masterly
description of Oliver’s Routing the Rump (62). Several Anti-Puritan Songs
about New England are here, and provincial descriptions of London (95,
275, 323). Rollicking staves meet us, as from the Vagabond (204), The
Tinker of Turvey (27), The Jovial Loyallist, with the Answer to it, in a
nobler strain, by one who sees the ruinous vileness of debauchery (pp.
207, 209); and a multitude of Bacchanalian Catches. The two songs on
the Blacksmith (225, 319), and both of those on The Brewer (221, 252),
referring to Cromwell, are here; as well as the ferocious exultation over
the Regicides in a dialogue betwixt Tower-hill and Tyburn (131). More
than a few of the spirited Mad-songs were favourites. Nor are absent
such ditties as tell of gallantry, though few are of refined affection
and exalted heroism. The absurd impossibilities of a Medicine for the
Quartan Ague (277, cf. 170), the sly humour of the delightful “How
to woo a Zealous Lady” (77), the stately description of a Cock-fight
(242), the Praise of Chocolate (48), the Power of Money (115), and
the innocent merriment of rare Arthur o’ Bradley’s Wedding (312), are
certain to please. Added, are some of the choicest poems by Suckling,
Cartwright, Ben Jonson, Alexander Brome, Fletcher, D’Avenant, Dryden,
Bishop Corbet, and others. “The Cavalier’s Complaint,” with the Answer
to it, has true dramatic force. The character of a Mistress (60), shows
one of the seductive Dalilahs who were ever ready to betray. The lampoons
on D’Avenant’s “Gondibert” (100, 118) are memorials of unscrupulous
ridicule from malicious wits. “News, that’s No News” (159), with the
grave buffoonery of “The Bow Goose” (153), and the account of a Fire on
London Bridge (87), in the manner of pious ballad-mongers (the original
of our modern “Three Children Sliding on the Ice”), are enough to make
Heraclitus laugh. Some of the dialogues, such as “Resolved not to Part”
(113), “The Bull’s Feather” (i.e. the Horn, p. 264), and that between
a Hare and the hounds that are chasing him (296), lend variety to the
volume; which contains, moreover, some whimsical stories in verse,
(one being “A Merry Song” of a Husbandman whose wife gets him off a
bad bargain, p. 17: compare p. 200), told in a manner that would have
delighted Mat Prior in later days.
It is printed on Ribbed Toned paper, and the Impression is limited to 400
copies, fcap. 8vo. 10s. 6d.; and 50 copies large paper, demy 8vo. 21s.
Subscribers’ names should be sent at once to the Publisher,
ROBERT ROBERTS, BOSTON, LINCOLNSHIRE.
_Every copy is numbered and sent out in the order
of Subscription._
☞ This series of Re-prints from the rare _Drolleries_ is now completed
in Three Volumes (of which the first published was the _Westminster
Drollery_): that number being sufficient to afford a correct picture
of the times preceding and following the Restoration 1660, without
repetition. The third volume contains “_Choice Drollery_,” 1656, and
all of the “_Antidote against Melancholy_,” 1661, which has not been
already included in the two previous volumes; with separate Notes, and
Illustrations drawn from other contemporary Drolleries.
_OPINIONS OF THE PRESS, &c._
“Strafford Lodge, Oatlands Park,
Surrey, Feb. 4, 1875.
DEAR SIR,
I received the “Westminster Drolleries” yesterday evening. I have spent
nearly the whole of this day in reading it. I can but give unqualified
praise to the editor, both for his extensive knowledge and for his
admirable style. The printing and the paper do great credit to your
press.... I enclose a post-office order to pay for my copy.
Yours truly,
WM. CHAPPELL.”
Mr. Robert Roberts.
* * * * *
_From J. O. Halliwell, Esqre._
“No. 11, Tregunter Road, West Brompton,
London, S. W.,
25th Feby. 1875.
DEAR SIR,
I am charmed with the edition of the “Westminster Drollery.” One half
of the reprints of the present day are rendered nearly useless to exact
students either by alterations or omissions, or by attempts to make
eclectic texts out of more than one edition. By all means let us have
introductions and notes, especially when as good as Mr. Ebsworth’s, but
it is essential for objects of reference that one edition only of the old
text be accurately reproduced. The book is certainly admirably edited.
Yours truly,
J. O. PHILLIPPS.”
To Mr. R. Roberts.
* * * * *
_From F. J. Furnivall, Esq._
“3, St. George’s Square, Primrose Hill, London, N.W.,
2nd February, 1875.
MY DEAR SIR,
I have received the handsome large paper copy of your “Westminster
Drolleries.” I am very glad to see that the book is really _edited_, and
that well, by a man so thoroughly up in the subject as Mr. Ebsworth.
Truly yours,
F. J. F.”
* * * * *
_From the Editor of the “Fuller’s Worthies Library,” “Wordsworth’s Prose
Works,” &c._
“Park View, Blackburn,
Lancashire, 13th July, 1875.
DEAR SIR,
I got the “Westminster Drolleries” _at once_, and I will see after the
“Merry Drollery” when published.
Go on and prosper. Mr. Ebsworth is a splendid fellow, evidently.
Yours,
A. B. GROSART.”
* * * * *
J. P. COLLIER, Esqre., has also written warmly commending the work, in
private letters to the Editor, which he holds in especial honour.
* * * * *
_From the “Academy” July 10th, 1875._
“It would be a curious though perhaps an unprofitable speculation, how
far the ‘Conservative reaction’ has been reflected in our literature....
Reprints are an important part of modern literature, and in them there is
a perceptible relaxation of severity. Their interest is no longer mainly
philological. Of late, the Restoration has been the favourite period for
revival. Its dramatists are marching down upon us from Edinburgh, and the
invasion is seconded by a royalist movement in Lincolnshire. A Boston
publisher has begun a series of drolleries—intended, not for the general
public, but for those students who can afford to pay handsomely for their
predilection for the byways of letters.
“The Introduction is delightful reading, with quaint fancies here
and there, as in the ‘imagined limbo of unfinished books.’ ... There
is truth and pathos in his excuses for the royalist versifiers who
‘snatched hastily, recklessly, at such pleasures as came within their
reach, heedless of price or consequences.’ We may not admit that they
were ‘outcasts without degradation,’ but we can hardly help allowing
that ‘there is a manhood visible in their failures, a generosity in
their profusion and unrest. They are not stainless, but they affect no
concealment of faults. Our heart goes to the losing side, even when the
loss has been in great part deserved.’ ... The fact is, that in his
contemplation of the follies and vices of ‘that very distant time’ he
loses all apprehension of their grosser elements, and retains only an
appreciation of their wit, their elegance, and their vivacity. Without
offence be it said, in Lancelot’s phrase, ‘he does something smack,
something grow to; he has a kind of taste,’—and so have we too, as we
read him. These trite and ticklish themes he touches with so charming
a liberality that his generous allowance is contagious. We feel in
thoroughly honest company, and are ready to be heartily charitable along
with him. For his is no unworthy tolerance of vice, still less any desire
to polish its hardness into such factitious brilliancy as glistens in
Grammont. It is a manly pity for human weakness, and an unwillingness
to see, much less to pry into, human depravity. ‘It would have been a
joy for us to know that these songs were wholly speck must go hungry
through many an orchard, even unobjectionable; but he who waits to eat
of fruit without past the apples of the Hesperides.’ ... The little book
is well worth the attention of any one desirous to have a bird’s-eye
view of the Restoration ‘Society.’ Its scope is far wider than its
title would indicate. The ‘Drolleries’ include not only the rollicking
rouse of the staggering blades who ‘love their humour well, boys,’ the
burlesque of the Olympian revels in ‘Hunting the Hare,’ the wild vagary
of Tom of Bedlam, and the gibes of the Benedicks of that day against the
holy estate, but lays of a delicate and airy beauty, a dirge or two of
exquisite pathos, homely ditties awaking patriotic memories of the Armada
and the Low Country wars, and ‘loyal cantons’ sung to the praise and
glory of King Charles. The ‘late and true story of a furious scold’ might
have enriched the budget of Autolycus, and Feste would have found here a
store of ‘love-songs,’ and a few ‘songs of good life.’ The collection is
of course highly miscellaneous. After the stately measure may come a jig
with homely ‘duck and nod,’ or even a dissonant strain from the ‘riot and
ill-managed merriment’ of Comus,
‘Midnight shout, and revelry,
Tipsy dance, and jollity.’”
_From the “Bookseller,” March, 1875._
“If we wish to read the history of public opinion we must read the songs
of the times: and those who help us to do this confer a real favour. Mr.
Thomas Wright has done enormous service in this way by his collections of
political songs. Mr. Chappell has done better by giving us the music with
them; but much remains to be done. On examining the volume before us, we
are surprised to find so many really beautiful pieces, and so few of the
coarse and vulgar. Even the latter will compare favourably with the songs
in vogue amongst the fast men in the early part of the present century.
The “_Westminster Drolleries_” consist of two collections of poems
and songs sung at Court and theatres, the first published in 1671,
and the second in 1672. Now for the first time reprinted. The editor,
Mr. J. Woodfall Ebsworth, has prefaced the volume with an interesting
introduction ... and, in an appendix of nearly eighty pages at the end,
has collected a considerable amount of bibliographical and anecdotical
literature. Altogether, _we think this may be pronounced the best edited
of all the reprints of old literature_, which are now pretty numerous. A
word of commendation must also be given to Mr. Roberts, of Boston, the
publisher and printer—the volume is a credit to his press, and could have
been produced in its all but perfect condition only by the most careful
attention and watchful oversight.”
_From the “Athenæum,” April 10th, 1875._
“Mr. Ebsworth has, we think, made out a fair case in his Introduction
for reprinting the volume without excision. The book is not intended
_virginibus puerisque_, but to convey to grown men a sufficient idea
of the manners and ideas which pervaded all classes in society at the
time of the reaction from the Puritan domination.... Mr. Ebsworth’s
Introduction is well written. He speaks with zest of the pleasant aspects
of the Restoration period, and has some words of praise to bestow upon
the ‘Merry Monarch’ himself.... Let us add that his own “Prelude,” “Entr’
Acte,” and “Finale” are fair specimens of versification.”
FOOTNOTES
[1] ELIZABETH CROMWELL.—A contemporary writes, “How many of the
Royalist prisoners got she not freed? How many did she not save
from death whom the Laws had condemned? How many persecuted
Christians hath she not snatched out of the hands of the
tormentors; quite contrary unto that [daughter of] Herodias who
could do anything with her [step] father? She imployed her Prayers
even with Tears to spare such men whose ill fortune had designed
them to suffer,” &c. (S. Carrington’s _History of the Life and
Death of His most Serene Highness OLIVER, Late Lord Protector_.
1659. p. 264.)
Elizabeth Cromwell, here contrasted with Salome, more resembled the
Celia of _As you Like It_, in that she, through prizing truth and
justice, showed loving care of those whom her father treated as
enemies.
By the way, our initial-letter W. on opening page 11 (representing
Salome receiving from the Σπεκουλάτωρ, sent by Herod, the head
of S. John the Baptist)—is copied from the Address to the Reader
prefixed to Part II. of _Merry Drollery_, 1661. _Vide postea_, p.
232.
Our initial letters in M. D., C., pp. 3, 5, are in _fac simile_ of
the original.
[2] Cromwell “seemed much afflicted at the death of his Friend
the Earl of _Warwick_; with whom he had a fast friendship, though
neither their humours, nor their natures, were like. And the Heir
of that House, who had married his youngest Daughter [Frances],
died about the same time [or, rather, two months earlier]; so that
all his relation to, or confidence in that Family was at an end;
the other branches of it abhorring his Alliance. His domestick
delights were lessened every day; he plainly discovered that his
son [in-law, who had married Mary Cromwell,] Falconbridge’s heart
was set upon an Interest destructive to his, and grew to hate him
perfectly. _But that which chiefly broke his Peace was the death
of his daughter [Elizabeth] Claypole_; who had been always his
greatest joy, and who, in her sickness, which was of a nature the
Physicians knew not how to deal with, had several Conferences
with him, which exceedingly perplexed him. Though no body was
near enough to hear the particulars, yet her often mentioning,
in the pains she endured, the blood her Father had spilt, made
people conclude, that she had presented his worst Actions to his
consideration. And though he never made the least show of remorse
for any of those Actions, it is very certain, that _either what she
said, or her death_, affected him wonderfully.” (Clarendon’s _Hist.
of the Rebellion_. Book xv., p. 647, edit. 1720.)
[3] John Cleveland wrote a satirical address to Mr. Hammond,
the Puritan preacher of Beudley, who had exerted himself “for
the Pulling down of the Maypole.” It begins, in mock praise,
“The mighty zeal which thou hast put on,” &c.; and is printed in
_Parnassus Biceps_, 1656, p. 18; and among “_J. Cleveland Revived:
Poems_,” 1662, p. 96.
[4] Here the thought is enveloped amid tender fancies. Compare the
more passionate and solemn earnestness of the loyal churchman,
Henry King, Bishop of Chichester, in his poem of _The Exequy_,
addressed “To his never-to-be-forgotten Friend,” wherein he says:—
“Sleep on, my Love, in thy cold bed,
Never to be disquieted!
My last good-night! Thou wilt not wake,
Till I thy fate shall overtake;
Till age, or grief, or sickness, must
Marry my body to that dust
It so much loves; and fill the room
My heart keeps empty in thy Tomb.
_Stay for me there; I will not faile_
_To meet thee in that hollow Vale._
And think not much of my delay;
I am already on the way,
And follow thee with all the speed
Desire can make, or sorrows breed,” &c.
[5] For special reasons, the Editor felt it nearly impossible
to avoid the omission of a few letters in one of the most
objectionable of these pieces, the twelfth in order, of _Choyce
Drollery_. He mentions this at once, because he holds to his
confirmed opinion that in Reprints of scarce and valuable
historical memorials _no tampering with the original is
permissible_. (But see Appendix, Part IV. and pp. 230, 288.) He
incurs blame from judicious antiquaries by even this small and
acknowledged violation of exactitude. Probably, he might have
given pleasure to the general public if he had omitted much more,
not thirty letters only, but entire poems or songs; as the books
deserved in punishment. But he leaves others to produce expurgated
editions, suitable for unlearned triflers. Any reader can here
erase from the Reprint what offends his individual taste (as we
know that Ann, Countess of Strafford, cut out the poem of “Woman”
from our copy of Dryden’s _Miscellany Poems_, Pt. 6, 1709). _No
Editor has any business to thus mutilate every printed copy._
[6] _H_aut _goust._
[7] Prefixed to “The Ex-Ale-tation of Ale” is given a Table of
Contents (on page 112), enlarged from the one in the original
“_Antidote against Melancholy, made up in Pills_,” 1661, by
references to such pages of “_Merry Drollery, Compleat_,” 1670,
1691, as bear songs or poems in common with the “_Antidote_.”
[8] _George Thomason._ It was in 1640 that this bookseller
commenced systematically to preserve a copy of every pamphlet,
broadside, and printed book connected with the political
disturbances. Until after the Restoration in 1660, he continued his
valuable collection, so far as possible without omission, but not
without danger and interruption. In his will he speaks of it as
“not to be paralleled,” and it was intact at Oxford when he died
in 1666. Charles II. had too many feminine claimants on his money
and time to allow him to purchase the invaluable series of printed
documents, as it had been desired that he should do. The sum of
£4,000 was refused for this collection of 30,000 pamphlets, bound
in 2,000 volumes; but, after several changes of ownership, they
were ultimately purchased by King George the Third, for only three
or four hundred pounds, and were presented by him to the nation.
They are in the British Museum, known as the King’s Pamphlets, and
the _Antidote against Melancholy_ is among the small quartos. See
Isaac D’Israeli’s _Amenities of Literature_, for an interesting
account of the difficulties and perils attending their collection:
article _Pamphlets_, pp. 685-691, edition 1868.
[9] J. P. Collier, in his invaluable “_Bibliographical and Critical
Account of the Rarest Books in the English Language_,” 1865,
acknowledges, in reference to “_An Antidote against Melancholy_,”
that “We are without information by whom this collection of Poems,
Ballads, Songs, and Catches was made; but Thomas Durfey, about
sixty years afterwards, imitated the title, when he called his six
volumes ‘_Wit and Mirth, or Pills to Purge Melancholy_,’ 8vo.,
1719-20.” (_Bibliog. & Crit. Account_, vol. i. p. 26.) Again,
“If N. D., whose initials are at the end of the rhyming address
‘to the Reader,’ were the person who made the selection, we are
without any other clue to his name. There is no ground for imputing
it to Thomas Jordan, excepting that he was accustomed to deal in
productions of this class; but the songs and ballads he printed
were usually of his own composition, and not the works of anterior
versifyers.” (_Ibid._, i. 27.)
[10] It was a week of supreme rejoicing and frollic, being five
days before the Coronation of Charles II. in Westminster Abbey,
April 23rd. On the 19th were the ceremonies of the Knights of the
Bath, at the Painted Chamber, and in the Chapel at Whitehall.
On the 22nd, Charles went from the Tower to Whitehall, through
well-built triumphal arches, and amid enthusiasm.
[11] These are the Blacksmith, the Brewer, Suckling’s Parley
between two West Countrymen concerning a Wedding, St. George and
the Dragon, the Gelding of the Devil, the Old and Young Courtier,
the Welchman’s Praise of Wales, Ben Jonson’s Cook Lorrel, “Fetch me
Ben Jonson’s scull,” a Combat of Cocks, “Am I mad, O noble Festus?”
“Old Poets Hypocrin admire,” and “’Tis Wine that inspires.” The
Catches are “Drink, drink, all you that think;” “If any so wise
is,” “What are we met?” and “The thirsty earth drinks up the rain.”
[12] _Ball at Court._—“31st. [December, 1662.] Mr. Povy and I to
White Hall; he taking me thither on purpose to carry me into the
ball this night before the King. He brought me first to the Duke
[of York]’s chamber, where I saw him and the Duchesse at supper;
and thence into the room where the ball was to be; crammed with
fine ladies, the greatest of the Court. By and by, comes the King
and Queene, the Duke and Duchesse, and all the great ones; and
after seating themselves, the King takes out the Duchesse of York;
and the Duke, the Duchesse of Buckingham; the Duke of Monmouth, my
Lady Castlemaine; and so other lords other ladies: and they danced
the Brantle [? _Braule_]. After that the King led a lady a single
Coranto; and then the rest of the lords, one after another, other
ladies: very noble it was, and great pleasure to see. Then to
country dances; the King leading the first, which he called for,
which was, says he, ‘Cuckolds all awry [a-row],’ the old dance
of England. Of the ladies that danced, the Duke of Monmouth’s
mistress, and my Lady Castlemaine, and a daughter of Sir Harry
de Vicke’s, were the best. The manner was, when the King dances,
all the ladies in the room, and the Queene herself, stand up: and
indeed he dances rarely, and much better than the Duke of York.
Having staid here as long as I thought fit, to my infinite content,
it being the greatest pleasure I could wish now to see at Court, I
went home, leaving them dancing.”—(_Diary of Samuel Pepys, Esq.,
F.R.S., Secretary to the Admiralty, &c._)
[13] [In margin, a later-inserted line reads:
“_~Godolphin~, ~Cartwright~, ~Beaumont~, ~Montague~._”]
Transcriber’s Note
In a book of this kind, it can be hard to tell when something is a
misprint or misspelling, and for the most part this e-text errs on
the side of caution and preserves the original printing with all its
inconsistencies. Only the following probable errors have been corrected.
We do not have the _Supplement_ containing the songs the editor thought
too immodest to include.
Page 4, duplicate word “him” removed (Oh do not censure him for
this)
Page 14, duplicate word “am” removed (And all shall say when I
am dead)
Page 40, stanza number “3.” added
Page 46, “Aed” changed to “And” (And took her up with speed)
Page 79, “tewelfth” changed to “twelfth” (On the twelfth day
all in the morn)
Page 101, “keeep” changed to “keep” (I keep my horse)
Page 102, “Gysie” changed to “Gypsie” (No Gypsie nor no
Blackamore)
Page 108, “befitingly” changed to “befittingly” (befittingly in
his notes and comments)
Page 125, “and” changed to “an” (With an old Lady whose anger)
Page 168, “stifly” changed to “stiffly” (dancing somewhat
stiffly)
Page 189, the original page number [p. 121] has been added in
what seems closest to the correct place.
Pages 240 and 243, reference to “p. 213” changed to “p. 230”,
where the matter referenced will actually be found; it is the
paragraph starting “[A song follows, beginning”
Page 241, “domine” changed to “Domine” in second verse (Libera
nos Domine)
Page 244, duplicate word “as” removed (As big as Estriges)
Page 284, “8th.” changed to “9th.” (Verse 9th. _Gondomar_ was)
Page 330, “encouragment” changed to “encouragement”
(encouragement is given to gambling)
Page 360, “Collectiom” changed to “Collection” (In Pepy’s
Collection, vol. i.)
Page 364, “sheephcrd” changed to “sheepherd” (A silly poor
sheepherd was folding his sheep)
Page 384, “fify” changed to “fifty” (Nineteen of these
fifty-one surrendered)
Page 384, “refering” changed to “referring” (dozens of ballads
referring to)
Page 387, “Viotcria” changed to “Victoria” (was opened by Queen
Victoria)
Page 397, “trustworty” changed to “trustworthy” (trustworthy
prints of so many MSS.)
Evident errors such as u for n were changed without further note.
End of Project Gutenberg's Choyce Drollery: Songs and Sonnets, by Various