that James I., among his other compositions, wrote a pleasant and
skilful song, “At Beltayn,” which, since the original was inaccessible,
certain persons had sought to counterfeit. It happens that the opening
stanza of “Peblis to the Play” begins with “At Beltane.” This, with the
fact of the poem’s mention in “Christis Kirk,” forms the chief plea
for attributing “Peblis to the Play” to James I. Next, the earliest
known copy of “Christis Kirk,” that in the Bannatyne MS. (1568),
is subscribed “Quod K. James the First.” This is the only external
evidence for ascribing the poem to that monarch. On the other hand,
by those who dispute the authorship of James I., the slightness of
Mair’s evidence regarding “Peblis to the Play,” and the presumption of
Bannatyne’s blundering regarding “Christis Kirk,” have been dwelt upon.
“At Beltayn,” it is remarked, was in the sixteenth century, by Mair’s
own statement, a hackneyed opening to a poem; while, as for Bannatyne’s
colophon, it is pointed out that in the title of the next poem but one
in his collection he writes “James the Fyift,” or as some read it,
“the Fyrst,” in mistake for James the Fourth, and he may have made a
similar error in regard to “Christis Kirk.” In support of this view it
is asserted[746] that by common tradition, previous to the discovery
of the Bannatyne MS., these poems were invariably attributed to James
V.; and this assertion is supported by the usage of the early writers,
Dempster in the beginning of the seventeenth century, Bishop Gibson
in 1691, and James Watson in 1706. The authority of these writers,
however, no less than that of common tradition, has in turn been
questioned by the supporters of the claim of James I.,[747] and it has
been pointed out that in Maitland’s MS. (1585) no name is appended to
“Peblis to the Play,” an omission which, it is suggested, could hardly
have occurred had Maitland known James V. to be the author. But again,
in support of James V. it may reasonably be urged that the important
poem of “Christis Kirk” is mentioned in their histories neither by
Mair nor by Bellenden when dealing with James I.; that that king is
not even mentioned among the makars by Dunbar in his famous “Lament”;
that none of the four poems is to be found in the MS. of John Asloan,
written before James V.’s time, in 1515; and that while Lyndsay in his
earlier composition, the prologue to the “Papyngo,” in 1530,[748] makes
no mention of James I. as a reputed author, in 1538, in his “Justyng
betuix Watsoun and Barbour,” he pays “Christis Kirk” the compliment of
copying several conspicuous expressions,[749] the natural inference
being that “Christis Kirk” was not composed before the former year. On
the whole, therefore, the external evidence may be considered almost
evenly balanced. The internal evidence is somewhat more delicate.
[746] Sibbald’s _Chronicle of Scottish Poetry_.
[747] Irving’s _History of Scottish Poetry_, p. 145.
[748] The failure of Dunbar, Asloan, and Lyndsay to mention James
I. upon the strength of “The Kingis Quair” may be accounted for by
the situation of that poem, the only copy now known to exist being
that contained in the Selden MS. in the Bodleian Library at Oxford.
No such argument can account for the overlooking of popular pieces
like “Christis Kirk” and “Peblis to the Play” had they been then in
existence.
[749] In “Christis Kirk” occur the expressions--
“His lymmis wes lyk twa rokkis; ...
Ran vpoun vtheris lyk rammis; ...
Bet on with barrow trammis;”
and in “The Justyng” we find--
“Quod Jhone, ‘Howbeit thou thinkis my leggis lyke rokkis ...
Yit, thocht thy braunis be lyk twa barrow-trammis,
Defend thee, man!’ Than ran thay to, lyk rammis.”
The familiarity with peasant manners and character which both poems
display had been made much of as an argument. This, however, can be
held to prove nothing, since both James I. and James V. are said to
have had the habit of wandering among their subjects in disguise.
Neither can the language of the compositions be taken as of much
account. The more antique words, as in the expressions, “Ye sall
pay _at_ ye aucht,” “He hydis _tyt_,” and “On thame _swyth_,” are
paralleled by James V.’s contemporaries, Douglas and Lyndsay, and
probably lingered late in the use of the common people whom the
poems describe; while, on the other hand, more modern words, like
“ane,” “quha” (in the sense of “who”),[750] “began,” and “happenis”
(halfpence), which might be used to support the claims of James V., may
be accounted for by changes introduced in transcription. An ingenious
argument has been adduced from the use, or rather misuse of archery
in “Christis Kirk.”[751] James I., it appears, upon his return from
captivity, made a law compelling the constant practice of the bow; and
it has been suggested that that king, wishing to fortify the statutes
of law by the aid of ridicule, wrote the poem as a satire upon the
clumsiness of the Scottish peasantry in the use of the weapon. The
same critics aver further that archery had become obsolete in the time
of James V., hagbut and arquebus having taken its place. The argument,
however, appears somewhat conjectural. According to Barbour’s _Bruce_
the bow was one of the chief Scottish weapons of war from the earliest
times, and an island in Loch Lomond still bears the yew-trees said
to have been planted by King Robert for its supply; while so late as
the time of Queen Mary the bow remained a favourite weapon in the
field of sport, if not in the field of battle.[752] A serious obstacle
in the way of attributing these poems to James I. has been pointed
out by Professor Skeat in the lateness of their style and metre. He
remarks, as an instance, that in stanza 19 of “Peblis to the Play” we
find _stokks_ rhymed with _ox_, whereas in the time of James I. the
plural of _stok_ was _stokkis_.[753] Further, he remarks, “It will be
found by no means easy to point out any undoubted example of the use
of the rollicking metre (of these poems) anterior to the year 1450;
whereas James I. died in 1437.” Another point might be made of the fact
that poems of this burlesque description seem to have been greatly
in vogue about James V.’s time. It is enough to cite “The Tournament
of Tottenham” printed by Percy, Dunbar’s “Justis betuix the Tailyour
and the Sowtar,” Lyndsay’s “Justing betuix James Watsoun and Jhone
Barbour,” and Scot’s “Justing at the Drum.” The most cogent argument,
however, should naturally be one derived from the general tone of the
poems. On this point one writer, Guest, in his _English Rhythms_, has
said, “One can hardly suppose those critics serious who attribute
this song (‘Christis Kirk’) to the moral and sententious James I.”;
and Professor Skeat has added that “while there is no resemblance to
‘The Kingis Quair’ discoverable (in these poems), there is a marked
dissimilarity in the tone, in the vocabulary, and in the metre.” On
the other hand, it is to be observed that the style and strain of
humour, both of “Peblis to the Play” and of “Christis Kirk,” resemble
as closely as possible those of “The Gaberlunzieman” and “The Jolly
Beggar,” which have always been attributed to James V., while they are
also in entire keeping with what is known of the actual humour and
temper of that king.
[750] See Murray’s _Dialect of the Southern Counties of Scotland_, pp.
56 and 69.
[751] Rogers’ _Poetical Remains of King James I._, 1873.
[752] In 1526-27, according to the Treasurer’s Accounts, £13 6s. 8d.
was paid “to Johne Murray the Kingis barbour, for corsbowis, windaiss,
and ganzies” (crossbows, pulleys, and arrows). And Alexander Scot in
his poem “Of May,” _circa_ 1550, describes the merry gathering of
archers “To schute at buttis, at bankis, and brais.”
[753] Introduction to _The Kingis Quair_, Scottish Text Society,
1883-84.
Absolute proof of the authorship, it must be admitted, is wanting, but
upon the whole the available evidence appears to favour James V.; the
majority of the critics, from Warton and Ritson to Stopford Brooke,
have favoured this view; and, to quote Sibbald, “it appears safer in
this instance to trust to vulgar tradition than to the _ipse dixit_
of Bannatyne, who seems to have had but an indistinct notion of our
different kings of the name of James.”
The earliest and best copy of “Christis Kirk on the Grene” is that
contained in Bannatyne’s MS., now made available by the Hunterian
Club. The poem is also contained in the Maitland MS., from which it
was printed by Pinkerton in his _Ancient Scottish Poems_ (Appendix
II., 444). “Peblis to the Play” is also contained in the Maitland
folio, and was printed from it by Pinkerton in his _Select Scottish
Ballads_ in 1783. Of both poems there have been many other editions.
Most of these, however, contain texts very much corrupted, and none
of the editors except Pinkerton appears to have seen the Maitland MS.
“The Gaberlunzieman” and “The Jolly Beggar” have shared the haphazard
fortune of their sister compositions, and in their case it is more
difficult to ascertain a standard text. All four pieces are printed in
the Perth edition of “The Works of James I.”, 1786, though the editor
mentions that “The Gaberlunzieman” and “The Jolly Beggar” are commonly
ascribed to James V. In the present volume “The Gaberlunzieman” follows
the text given in Percy’s _Reliques of Ancient English Poetry_, while
“The Jolly Beggar” follows that in Ritson’s _Scottish Songs_.
“Christis Kirk” has for several hundred years been one of the most
popular of Scottish poems. Dr. Irving cites as a proof of its fame and
popularity in the eighteenth century the lines of Pope:
One likes no language but the Faery Queen;
A Scot will fight for Christ’s Kirk o’ the Green.
As an illustration of ancient rustic humour and a description of
low manners in its time it remains perhaps the best thing in the
language. The only composition which competes with it for the first
place in its class is the “Jolly Beggars” of Robert Burns. The two
additional cantos which Allan Ramsay wrote for it in no way approach
the spontaneity and boisterous energy of the original poem.
“Peblis to the Play” deals with a similar subject in similar manner,
and has generally been considered to possess less merit than “Christis
Kirk.” It certainly falls short of the riotous uproar of its companion
piece, and beats the air throughout with a gentler wing; but its
touches describing traits of rustic character are not less deft, the
humour is here and there of a tenderer sort, and the subject displays
more variety. The poem presents an admirable picture of the day’s
enjoyment of rustic lads and lasses at a country fair, and is not the
less artistic for its touch of rustic pathos near the end.
“The Gaberlunzieman” and “The Jolly Beggar” are said by tradition to
celebrate two of James V.’s own adventures with country girls. It
must be acknowledged that they are quite in keeping with the legends
current regarding the too gallant monarch. One such tradition, recorded
by Percy, narrates how the king used to visit a smith’s daughter at
Niddry, near Edinburgh; but it is not known whether the intrigue with
her had any connection with either of the poems. Whatever the facts of
the case, the two compositions remain unsurpassed examples of a certain
typical, pawky vein of Scottish humour. “The Jolly Beggar,” besides,
contains in burlesque miniature all the essentials of a romantic drama.
Upon the strength of these four compositions a place may be claimed
for James V. in the first rank of the writers of humorous pastoral
poetry--poetry which finds its inspiration in the actual common
life of the people. In this department the king has been rivalled,
though hardly surpassed, only by the inspired peasant, Burns himself.
Regarding the vitality of his work a trenchant remark has recently been
made by one of the foremost critics of the day.[754] “While much of the
contemporary and earlier poetry of Scotland,” he says, “is now read
only as an historical illustration of the development of literature,
that of James V., if he really wrote the gay pieces attributed to him,
is read for its native merit.”
[754] In _The Daily News_, March 19, 1892.
PEBLIS TO THE PLAY.
At Beltane,[755] quhen ilk bodie bownis[756]
To Peblis to the play,
To heir the singin’ and the soundis,
The solace, suth to say;
Be firth[757] and forrest furth they found[758],
Thay graythit[759] tham full gay;
God wait that wald thay do that stound[760],
For it was thair feist day,
Thay said,
Of Peblis to the play.
All the wenchis of the west
War up or the cok crew;
For reiling[761] thair micht na man rest,
For garray and for glew[762].
Ane said “My curches[763] ar nocht prest!”
Than answerit Meg full blew[764],
“To get an hude I hald it best.”
“Be Goddis saull that is true!”
Quod scho[765],
Of Peblis to the play.
She tuik the tippet[766] be the end;
To lat it hing scho leit not[767].
Quod he, “Thy bak sall beir ane bend[768];”
“In faith,” quod she, “we meit not!”
Scho was so guckit and so gend[769]
That day ane byt scho eit nocht.
Than spak hir fallowis that hir kend[770],
“Be still, my joy, and greit not[771],
Now,
Of Peblis to the play!”
“Evir, allace!” than said scho,
“Am I nocht cleirlie tynt[772]?
I dar nocht cum yon mercat[773] to,
I am so evvil sone-brint[774].
Amang you merchands my dudds do[775],
Marie; I sall anis mynt[776]
Stand of far and keik[777] thaim to,
As I at hame was wont,”
Quod scho,
Of Peblis to the play.
Hop, calye, and cardronow[778]
Gaderit out thik-fald[779];
With “hey and how rohumbelow”
The young folk were full bald.
The bagpipe blew, and thai out-threw[780]
Out of the townis untald[781].
Lord, sic ane schout was thame amang
Quhen thai were ower the wald[782],
Thair west,
Of Peblis to the play!
Ane young man stert in-to that steid[783]
Als cant[784] as ony colt,
Ane birken hat upon his heid,
With ane bow and ane bolt;
Said “Mirrie madinis, think not lang[785],
The wedder is fair and smolt[786]:”
He cleikit up ane hie ruf sang[787];
“Thair fure[788] ane man to the holt[789],”
Quod he,
Of Peblis to the play.
Thay had nocht gane half of the gait[790]
Quhen the madinis come upon thame;
Ilk ane man gaif his consait[791]
How at[792] thai wald dispone[793] thame.
Ane said, “The fairest fallis me;
Tak ye the laif[794] and fone[795] thame.”
Ane-uther said “Wys lat me be!
On, Twedell syd, and on thame
Swyth[796]!
Of Peblis to the play.”
Than he to-ga and scho to-ga[797],
And never ane bad abyd you.
Ane winklot[798] fell, and her taill up,
“Wow,” quod Malkin[799], “hyd yow!
Quhat neidis you to maik it sua[800]?
Yon man will not ourryd[801] you.”
“Ar ye owr gude[802],” quod scho, “I say,
To lat thame gang[803] besyd yow,
Yonder,
Of Peblis to the play?”
Than thai come to the townis end
Withouttin more delai,
He befoir, and scho befoir,
To see quha was maist gay.
All that luikit thame upon
Leuche[804] fast at thair array:
Sum said that thai were merkat folk,
Sum said the Quene of May
Was cumit[805]
Of Peblis to the play.
Than thai to the taverne hous
With meikle oly[806] prance;
Ane spak wi’ wourdis wonder crous[807]
“A done[808] with ane mischance!”
“Braid up the burde,” he hydis tyt[809],
“We ar all in ane trance[810].
Se that our napre be quhyt[811],
For we will dyn and daunce
Thair out,
Of Peblis to the play.”
Ay as the gudwyf[812] brocht in,
Ane scorit upon the wauch[813].
Ane bad pay, ane-ither said “Nay,
Byd quhill we rakin our lauch[814].”
The gud-wyf said, “Have ye na dreid;
Ye sall pay at ye aucht[815].”
Ane young man start upon his feit,
And he began to lauche[816],
For heydin[817]
Of Peblis to the play.
He gat ane trincheour in his hand
And he began to compt;
“Ilk man twa and are happenie[818]!
To pay thus we war wount.”
Ane-uther stert upon his feit,
And said “Thow art our blunt[819]
To tak sic office upoun hand!
Be God thow servite ane dunt[820]
Of me,
Of Peblis to the play.”
“Ane dunt,” quod he, “quhat dewil is that?
Be God, yow dar not du’d!”
He stert till ane broggit stauf[821],
Wincheand as he war woode[822].
All that hous was in an reirde[823]:
Ane cryit, “The halie rude!
Help us, Lord, upon this erde[824],
That thair be spilt na blude
Heirin,
Of Peblis to the play!”
Thay thrang out at the dure at anis,
Withouttin ony reddin[825].
Gilbert in ane gutter glayde[826]--
He gat na better beddin.
Thair wes not ane of thame that day
Wald do ane-utheris biddin:
Thairby lay thre and threttie-sum[827]
Thrunland[828] in ane midding
Off draff[829],
Of Peblis to the play.
Ane cadgear on the mercat gait[830]
Hard thame bargane[831] begin;
He gaiff ane schout, his wyff came out;
Scantlie scho micht ourhye[832] him.[833]
* * * * *
He held, scho drew, for dust that day
Micht na man se ane styme[834]
To red[835] thame
Of Peblis to the play.
He stert to his greit gray meir,
And of he tumblit the creilis.
“Alace!” quod scho, “hald our gude-man!”
And on hir knees scho kneilis.
“Abyd,” quod scho; “Why, nay,” quod he;
In-till his stirrapis he lap[836];
The girding[837] brak, and he flew of,
And upstart bayth his heilis
At anis[838],
Of Peblis to the play.
His wyf came out, and gaif ane schout
And be the fute scho gat him;
All bedirtin[839] drew him out;
“Lord God, richt weil that sat[840] him!”
He said, “Quhare is yon cubroun[841] knaif?”
Quod scho, “I reid[842] ye, lat him
Gang hame his gaites[843].” “Be God,” quod he,
“I sall anis have at him
Yit,
Of Peblis to the play.”
“Ye fylit[844] me, fy for schame!” quod scho;
“Se as[845] ye have drest[846] me!
How feil ye, schir?” “As my girdin brak,
Quhat meikle[847] devil may lest[848] me.
I wait[849] weil quhat; it wes
My awin gray meir that kest me,
Or gif I wes forfochtin[850] faynt,
And syn[851] lay doun to rest me
Yonder,
Of Peblis to the play.”
Be that[852] the bargane was all playit;
The stringis stert out of thair nokks[853];
Sevin-sum that the tulye[854] maid
Lay gruffling[855] in the stokks.
John Jacksoun of the nether warde
Had lever have giffin[856] an ox
Or[857] he had cuming in that cumpanie,
He sware be Goddis lockkis
And mannis bayth,
Of Peblis to the play.
With that Will Swane come sueitand out,
Ane meikle miller man;
“Gif I sall dance have donn[858], lat se,
Blaw up the bagpyp than!
The schamou’s dance[859] I mon begin
I trow it sall not pane.”
So hevelie he hockit[860] about,
To see him, Lord, as[861] thai ran
That tyd,
Of Peblis to the play!
Thay gadderit out of the toun[862],
And neirar him thai dreuche;
Ane bade gif the daunsaris rowme;
Will Swane makis wounder teuche[863].
Than all the wenschis Te he! thai playit;
But, Lord, as Will Young leuche[864]!
“Gude gossip, come hyn your gaitis[865],
For we have daunsit aneuche[866]
At anis
At Peblis at the play.”
Sa ferslie fyr-heit[867] wes the day
His face began to frekill.
Than Tisbe[868] tuik him by the hand,
Wes new cuming fra the Seckill.
“Allace!” quod scho, “quhat sall I do?
And our doure hes na stekill[869]!”
And scho to-ga[870] as hir taill brynt,
And all the cairlis to kekill[871]
At hir,
Of Peblis to the play.
The pyper said, “Now I begin
To tyre for playing to,
Bot yit I have gottin naething
For all my pyping to you.
Thre happenis for half ane day,
And that will not undo you;
And gif ye will gif me richt nocht[872]
The meikill devill gang wi’ you!”
Quod he,
Of Peblis to the play.
Be that the daunsing wes all done,
Thair leif tuik les and mair;
Quhen the winklottis and the wawarris twynit[873]
To se it was hart sair.
Wat Atkin said to fair Ales[874],
“My bird[875], now I will fayr.”
The dewil a wourde that scho might speik,
Bot swownit that sweit of swair[876]
For kyndnes,
Of Peblis to the play.
He sippilit[877] lyk ane faderles fole;
“And be still, my sweit thing!”
“Be the halyrud of Peblis
I may nocht rest for greting[878].”
He quhissillit and he pypit bayth
To mak hir blyth that meiting:
“My hony part, how sayis the sang,
‘Thair sall be mirth at our meting
Yit,’
Of Peblis to the play.”
Be that the sone was settand schaftis,
And neir done wes the day.
Thair men micht heir schriken of chaftis[879]
Quhen that thai went thair way.
Had thair bein mair made of this sang
Mair suld I to yow say.
At Beltane ilka bodie bownd
To Peblis to the play.
[755] Beltane, believed to be from the Gaelic Beal-tein, or Baal
fire, was the great Druid festival of the first of May. The sports of
Beltane, it appears, were celebrated at Peebles till a recent date,
when a market was established, known as the Beltane Fair.
[756] when each person sets forth.
[757] By outland.
[758] went.
[759] clad.
[760] time, occasion.
[761] turmoil.
[762] For preparation and sport.
[763] kerchiefs.
[764] gloomy.
[765] Said she.
[766] collarette.
[767] permitted not.
[768] band, ribbon.
[769] so foolish and playful.
[770] knew
[771] weep not.
[772] lost.
[773] market.
[774] so badly sunburnt.
[775] carry my rags, _i.e._ woven cloth.
[776] shall once venture.
[777] look by stealth.
[778] Man, woman, and prentice-lad (Hob, caile, curdower).
[779] Gathered out thick-fold.
[780] thronged out.
[781] steadings unnumbered.
[782] over the plain.
[783] started in that place.
[784] lively.
[785] become not weary.
[786] clear, mild.
[787] raised a high rough song.
[788] fared.
[789] wood.
[790] way.
[791] conceit, opinion.
[792] that.
[793] dispose of.
[794] remainder.
[795] play the fool with.
[796] Swiftly.
[797] encountered.
[798] young woman.
[799] maukin, a little maid.
[800] to play the mate so.
[801] override.
[802] too good.
[803] go.
[804] Laughed.
[805] Was come.
[806] jollity.
[807] words wondrous brave.
[808] Have done (?).
[809] “Set up the board,” he calls soon.
[810] dance, party.
[811] napery be white.
[812] good woman, hostess.
[813] wall.
[814] Wait till we reckon our lawing (bill).
[815] that ye owe.
[816] laugh.
[817] scorn.
[818] twopence half-penny.
[819] over stupid.
[820] deserved a blow.
[821] pointed staff.
[822] Wincing as he were mad.
[823] uproar.
[824] earth.
[825] clearance, settlement.
[826] slid.
[827] Thirty-three lay there.
[828] Tumbling about.
[829] distiller’s waste.
[830] A hawker on the market street.
[831] debate, battle.
[832] overtake.
[833] Two lines of the stanza have here apparently been lost.
[834] glimpse.
[835] separate.
[836] leaped.
[837] girthing.
[838] At once.
[839] dirtied.
[840] became.
[841] low-born.
[842] counsel.
[843] Go home his ways.
[844] defiled.
[845] See how.
[846] treated.
[847] great.
[848] hinder.
[849] know.
[850] fatigued.
[851] then.
[852] By the time that.
[853] notches (of bows).
[854] broil.
[855] grovelling.
[856] Had rather given.
[857] Ere.
[858] favourite.
[859] a dance now unknown.
[860] jerked, rocked.
[861] how.
[862] dwelling.
[863] performs wondrous long.
[864] laughed.
[865] hence your ways.
[866] enough.
[867] So fiercely fire-hot.
[868] Tibbie, Isabella.
[869] latch.
[870] encountered.
[871] all the men to cackle.
[872] quite nothing.
[873] the wenches and wooers parted.
[874] Alison.
[875] damsel.
[876] swooned that sweet one of the glen foot.
[877] sipped, uttered a sipping sound.
[878] weeping.
[879] shock of lips, _i.e._ osculation.
CHRYSTIS KIRK ON THE GRENE.[880]
Was nevir in Scotland hard nor sene
Sic dansing nor deray[881],
Nowthir at Falkland on the grene
Nor Peblis at the play,
As wes of wowaris[882], as I wene[883],
At Chryst kirk on ane day.
Thair come our kitteis[884] weschin clene
In thair new kirtillis of gray,
Full gay,
At Chrystis kirk of the grene.
To dans thir damysellis thame dicht[885],
Thir lassis licht of laitis[886],
Thair gluvis wes of the raffell[887] rycht,
Thair schone wes of the straitis[888];
Thair kirtillis wer of lynkome[889] licht,
Weill prest with mony plaitis.
Thay wer so nyss[890] quhen men thame nicht[891]
Thay squeilit lyk ony gaitis[892],
So lowd,
At Chrystis kirk of the grene that day.
Of all thir madynis myld as meid
Wes nane so gympt[893] as Gillie;
As ony ross hir rude[894] wes reid,
Hir lyre[895] wes lyk the lillie;
Fow[896] yellow yellow wes hir heid,
Bot scho of lufe wes sillie[897];
Thocht all hir kin had sworn hir deid[898]
Scho wald haif bot sweit Willie
Allone,
At Chrystis kirk of the grene.
Scho skornit Jok and skraipit[899] at him,
And mvrionit him with mokkis[900];
He wald haif luvit, scho wald nocht lat him,
For all his yallow loikkis:
He chereist hir, scho bad ga chat him[901];
Scho compt[902] him nocht twa clokkis[903];
So schamefully his schort goun set him,
His lymmis wes lyk twa rokkis[904],
Scho said,
At Chrystis kirk of the grene.