The Gentle Shepherd 9781474479080

Table of contents :
CONTENTS
ACKNOWLEDGEMENTS
ABBREVIATIONS
GENERAL EDITOR’S PREFACE
ALLAN RAMSAY (c. 1684–1758)
TEXT
INTRODUCTION TO THE TEXT
The Gentle Shepherd (1725)
The Gentle Shepherd (1729)
NOTES
MUSIC
INTRODUCTION TO THE MUSIC
SOURCES FOR THE MUSIC
THE MUSIC
GLOSSARY
BIBLIOGRAPHY

Citation preview

THE EDINBURGH EDITION OF THE COLLECTED WORKS OF ALLAN RAMSAY THE GENTLE SHEPHERD

The Edinburgh Edition of the Collected Works of Allan Ramsay

General Editor Murray Pittock Available The Gentle Shepherd Steve Newman and David McGuinness (eds.) Forthcoming The Poems of Allan Ramsay Rhona Brown (ed.) The Tea-Table Miscellany Murray Pittock, Brianna E. Robertson-Kirkland and David McGuinness (eds.) The Prose of Allan Ramsay Rhona Brown and Craig Lamont (eds.) The Ever Green Murray Pittock and James J. Caudle (eds.)

THE EDINBURGH EDITION of

THE COLLECTED WORKS of ALLAN RAMSAY General Editor Murray Pittock

THE GENTLE SHEPHERD Edited by Steve Newman & David McGuinness

Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © editorial matter and organisation Murray Pittock, David McGuinness and Steve Newman, 2022 © Ramsay biography Rhona Brown, 2022 © the text in this edition Edinburgh University Press, 2022 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Constantia by Craig Lamont, and Brianna E. Robertson-Kirkland printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 7907 3 (hardback) ISBN 978 1 4744 7908 0 (webready PDF) ISBN 978 1 4744 7909 7 (epub) The right of David McGuinness and Steve Newman to be identified as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498).

CONTENTS

Acknowledgements i Abbreviations v General Editor’s Preface vii Biography of Allan Ramsay xix TEXT Introduction 1 The Gentle Shepherd (1725) 55 The Gentle Shepherd (1729) 129 Notes 221 MUSIC Introduction 385 Sources 390 Music in The Gentle Shepherd 425 Glossary 561 Bibliography 583

ACKNOWLEDGEMENTS

Over the seven years this project has unfolded, starting with a conference funded by the Royal Society for Edinburgh, we have been extremely fortunate in the large group of people and institutions who have helped us. Our two Research Associates on The Collected Works of Allan Ramsay, Drs Craig Lamont and Brianna Robertson-Kirkland have been tireless in identifying and locating sources, preparing transcriptions, and often travelling to photograph the originals themselves. Their organisation of what became a vast store of data, and their eagerness to find answers to difficult questions at high speed, made the editorial part of the process very much simpler than it could otherwise have become. They were undaunted by multiple requests for margin shots of manuscripts, even as the COVID pandemic was making access to the relevant archives more difficult. They were also invaluable collaborators in thinking through key issues of interpretation and presentation, including their typesetting of the manuscript. None of that work would in turn have been possible without the professionalism and expertise of the library staff in many institutions who have catalogued and cared for the historical artefacts in their care, and in many cases have implemented digitisation programmes to allow scholars access to their material online. In addition to the libraries listed on p. 390, thanks are due to the staff at the following, with special gratitude to the people listed after each institution: the University of Glasgow Library (Robert MacLean and Fiona Neale); the National Library of Scotland (Almut Boehme, Suzy Pope, and Ralph McLean); Edinburgh University Library (Stephen Willis); Edinburgh Public Library (Anne Morrison); the John Rylands Research Institute and Library (Julia Ramwell); the Mitchell Library (Isobell Maclellan), the Huntington Library (Lisa Caprino), the Houghton Library (Emily Walhout), and Charles Library at Temple University (Kristina DeVoe). Thanks also to the National Library of Scotland, Edinburgh University Library, the Huntington Library, and the John Rylands Research Institute and Library for permission to quote from and reproduce material. David would like to thank the many scholars who were generi

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ous with their knowledge and information on the musical sources, some in response to our questions, and others contributing via social media or chance conversations about something quite different. Thanks in particular to Warwick Edwards, Karen McAulay, John Purser, Sandrine Pasquier, Aaron McGregor, Aaron T. Pratt, Ross W. Duffin, Kirsteen McCue, and Maximilien Brisson. Steve would like to thank those who shared their expertise and insight on textual, theatrical, and visual sources and the various historical contexts over the course of many conversations over email and at conferences, including Leith Davis, Berta Joncus, Sandro Jung, Kirsteen McCue, Carol McGuirk, Joe Rock, Richard Sher, Janet Sorensen, Patrick Scott, Jeff Strabone, and Ronnie Young. Particular thanks to Helen Smailes for bringing to Steve’s attention many useful textual and visual sources. Our work has also been helped by many kind people in ‘Ramsay Country’—that is, the lovely terrain in and around the Pentland Hills that inspired The Gentle Shepherd, especially John Kennedy, proprietor of Newhall Estate, who graciously allowed us to tour the grounds; Dean Woodhouse, intrepid photographer; and Rosemary Brown, hospitable proprietor of the Allan Ramsay Hotel, the site of the Allan Ramsay Festivals since 2016. Steve’s work would not have been possible without the generous financial support of Temple University, especially the Office of the Provost, which provided Summer research grants, and the Dean of the College of Liberal Arts, which provided a grant for visiting various archives. Like the other volumes in The Collected Works, this volume is profoundly indebted to the Arts and Humanities Research Council for its support. Along the way to this edition, we were fortunate to find venues to present our initial findings. Thanks to the editors of The Scottish Literary Review, Margery Palmer McCulloch and Sarah Dunnigan, and Studies in Scottish Literature, Tony Jarrells and Patrick Scott. Thanks to Michelle Houston at Edinburgh University Press, for her help in shepherding this edition through the editorial process; and to the Editorial Board of The Collected Works for their support throughout. When Steve would write emails, he would do so to ‘The Ramsay Team,’ and that was true to the experience of working with the extraordinarily talented, generous, and good-humoured group charged with editing The Collected Works. In addition to Craig and Brianna, we ii

Acknowledgements

thank Rhona Brown, James J. Caudle and, above all, Murray Pittock, the guiding spirit behind this entire project. We look forward to our future work as these other volumes make their way toward publication. Finally, we thank our families for their forbearance and support during the long span of research and writing. David is very thankful as always to Helen, Robbie and Susie; Steve wishes to thank Sasha and Talia Newman and especially Keely McCarthy, my partner in all things.

Steve Newman & David McGuinness Temple University & University of Glasgow

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ABBREVIATIONS BL

British Library

D1

Manuscript ‘Draft 1’ of The Gentle Shepherd (EUL MS Laing.II.212*, ff. 50-51)

D2

Manuscript ‘Draft 2’ of The Gentle Shepherd (EUL MS Laing.II.212*, ff. 38-48)

D3

Manuscript ‘Draft 3’ of The Gentle Shepherd (EUL MS Laing.II.212*, ff. 1-35)

EUL Edinburgh University Library GS

The Gentle Shepherd

IELM Index of English Literary Manuscripts entry for Ramsay (see Goodridge 1998) k-s

key signature

LH

left hand

MS

manuscript

MSS manuscripts NLS

National Library of Scotland

OED The Oxford English Dictionary RH

right hand

STS

The Works of Allan Ramsay, 6 vols., ed. Burns Martin, John W. Oliver, Alexander M. Kinghorn, and Alexander Law. Edinburgh: Scottish Text Society, 1944-74.

t-s

time signature

TTM The Tea-Table Miscellany

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GENERAL EDITOR’S PREFACE

The Collected Works of Allan Ramsay is an international project which brings the works of this foundationally important poet, dramatist, song collector, theatre owner, cultural leader in art and music, and innovative cultural entrepreneur in many spheres from language to libraries, into print as a whole for the first time. There has only ever been one previous edition of Ramsay’s work, produced for the Scottish Text Society (STS) in six volumes. Volumes I (1944) and II (1953) were edited by Burns Martin and John Walter Oliver; Volume III (1961), IV (1970), V (1972) and VI (1974) were all edited by Alexander Kinghorn and Alexander Law. The STS edition thus lacked a consistent editorial team; it also lacks consistency in editorial policy and teamwork: for example, Martin and Oliver ‘never met’ and both died in the 1950s (STS VI: vii). As has long been recognized, the STS edition lacks the fidelity and scrutiny appropriate to a textual edition. The Index for English Literary Manuscripts entry on Ramsay, published in 1992, notes the serious limitations and inadequacy of STS as a scholarly text in uncompromising terms: ‘…deeply flawed as a scholarly edition. It is badly organised; its transcription of MSS…is unacceptably inaccurate; its contents pages, titling, indexes and apparatus are variously inadequate, inconsistent and error-ridden’ (IELM II: 3, 172). Moreover, the STS edition is extremely rare (even the British Library lacks two volumes) and large areas of Ramsay’s oeuvre (including the critically important Ever Green and Tea-Table Miscellany) were simply not included in it at all, despite its claim to incorporate his ‘entire writings’ (STS VI: vii). On the other hand, some work transparently not by Ramsay, such as The Journal of the Easy Club, was included, despite the original MS of the Journal not being available. Other than this edition, the only Ramsay in print was a 1985 anthology based on STS done for Scottish Academic Press, which has been unavailable for many years. Ramsay has undoubtedly been short-changed by British literary history, suffering from the triple disadvantage of being a patriotically Scottish literary figure, a perceived avatar of Burns and - perhaps most seriously - a fox rather than a hedgehog: someone good at many things, not known above all for one, and thus a source of the mixture vii

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of egalitarianism and jealousy which leads human beings to be reluctant to countenance giving anyone credit in multiple spheres. Yet this is undoubtedly what Ramsay deserves. I have long been interested in his multiple talents: initially appointed as the Research Associate on Ramsay by the Index of English Literary Manuscripts in 1988, I subsequently wrote on him at length in various publications, including The Invention of Scotland (1991, 2014, 2016); Poetry and Jacobite Politics in Eighteenth-Century Britain and Ireland (1994, 2006); Scottish and Irish Romanticism (2008, 2011) and Enlightenment in a Smart City (2019) as well as contributing his biography to the Oxford DNB. In 2015, the Royal Society of Edinburgh awarded me a two year grant on Allan Ramsay and the Enlightenment in Edinburgh, which gave rise to initial website resources including an interactive map of central Edinburgh, a tourist trail and the development of the annual Allan Ramsay Festival in Ramsay Country in the Scottish Borders.1 In 2017, the Arts and Humanities Research Council made a £1M award to support a collected Ramsay edition in five volumes, under contract with Edinburgh University Press. The team include myself as general editor and co-editor of The Tea-Table Miscellany and The Ever Green; Rhona Brown (Glasgow) as editor of Poems and co-editor of Prose; David McGuinness (Glasgow) as co-editor of The Gentle Shepherd and Tea-Table Miscellany; Steve Newman (Temple) as co-editor of The Gentle Shepherd; Craig Lamont (Glasgow) as Research Associate and co-editor of Prose; Brianna Robertson-Kirkland (Glasgow/Royal Conservatoire of Scotland) as Research Associate in Music and co-editor of The Tea-Table Miscellany; and James J. Caudle (Glasgow), the former Associate Editor of the Yale Boswell, as Research Associate and co-editor of The Ever Green. Daniel Szechi (University of Manchester) is also part of the core edition team, and there is also a Knowledge Exchange team, consisting of Lucinda Lax and Helen Smailes (National Gallery of Scotland (NGS)), Jennifer Melville (National Trust for Scotland (NTS)) and Ralph McLean (National Library of Scotland (NLS)). The NGS have incorporated images of Ramsay’s work as well as paintings by his son (Allan Ramsay (1713–84)) into the layout of the ‘Edinburgh’s Enlightenment 1680-1750’ website at the University of Glasgow: https://www.gla.ac.uk/schools/critical/research/ researchcentresandnetworks/robertburnsstudies/edinburghenlightenment/ introductionguide.

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new Scottish Gallery and associated collections; the NLS held an exhibition on Ramsay in 20202 and the NTS have redeveloped Gladstone’s Land, only about 200m from Ramsay’s Gusepye House on the Castlehill and his shop on the Lawnmarket. Gladstone’s Land was a building Ramsay knew well. In addition, Rosemary Brown, the landlady of the Allan Ramsay Hotel in Carlops, has hosted the Allan Ramsay Festival, supported by Pub is the Hub UK, Stewart’s Brewery, Cockburn’s of Leith, John Kennedy of Newhall, who has embedded a ‘Gentle Shepherd’ theme in his Newhall wedding venue, and Sir Robert and Lady Clerk of Penicuik. The Ramsay Edition also supported the installation of a Historic Environment Scotland plaque, unveiled in 2016 by Christine Graham MSP, to mark the Hotel’s central position role in Ramsay Country. The legend – supplied by the General Editor – reads ‘Allan Ramsay/ 1684–1758/ Founding Father of Scottish Romanticism/ & Modern Scottish Poetry /Author of the Pastoral Drama/The Gentle Shepherd/Set Near This Place’. A short biography of Ramsay by Dr Rhona Brown precedes each volume of this edition. Within the life outlined there, Ramsay’s achievements were such as to rehabilitate Scots as a poetic language and to make the tradition which succeeded him possible. What was the nature of that achievement? First, his range as a poet is remarkable. His conception of Scots as ‘Doric’ and his championing - particularly in The Gentle Shepherd - of Scotland as a real location for pastoral, a pastoral nation which was substantive and not imaginary, derived from a powerful reinterpretation of the ‘Doric lay’ of Lycidas and its ‘Sicilian Muse’ (Theocritus) as not an imaginary zone for classical rhetoric but one reflective of the language and society of a modern country, Scotland, and one whose pastoral operetta is specifically located within a relatively small area of rural Lothian farmland. In 1713, Basil Kennet had compared Scots song to Theocritus in his Idylls of Theocritus and this was a connexion which Ramsay pursued. In this context, Ramsay pioneered the use of the term ‘Doric’ to describe Scots, in so doing claiming the relation of Scots to English as that of two variants, rather than presenting Scots as a variation from the National Library of Scotland: NLS website: https://www.nls.uk/exhibitions/ treasures/allan-ramsay. 2

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standard. ‘Doric’ pastoral and ‘Attic’ urbanity were two linguistic approaches to reality, and both deserved their place. In The Ever Green (1724), Ramsay appealed for a return to Scottish tradition which he exemplified in the collecting, editing and composing of work in Middle Scots that followed, and which served to curate if not create a tradition of poetry in Scots reaching back centuries. Like the Attic, the Doric too was not merely a mode of expression, but was art and part of a literary tradition. Ramsay’s friend Sir John Clerk of Penicuik had claimed that ‘Middle Scots was “genuine Saxon” in its purest form’ and The Ever Green was Ramsay’s exemplification of that position through the demonstration and creation of a literary tradition. Just as Scots had – as Ramsay had argued in the Preface to his 1721 Poems – a greater range in vocabulary than English, it was also possessed of a discrete history and grammatical integrity as a language expressive of a national culture, one he pronounced defiantly to be still ‘Ever Green’. Ramsay followed Thomas Ruddiman (1674–1757), the protégé of his friend Archibald Pitcairne, in producing a glossary for his Scots, one which on occasion bowdlerized the meaning of the earthier Doric for a polite audience (Duncan 1965, 170-71; Pittock 2019, 167). Ramsay thus reached a wider audience in Scots, something that had barely been done before. Building on the controversy between Pope and Ambrose Philips as to the extent that pastoral should represent what Wordsworth was to call ‘the real language of men’, in the 1800 Preface to Lyrical Ballads, Ramsay found a route to ground this language in the vernacular (using for example some 1500 Scots words) and simultaneously render it polite by the use of conventional high cultural genres, English-Scots rhyme words to guide the reader and a glossary of Scots, presented on occasion in bowdlerized form. In so doing he blended Addison’s aesthetic commitment to ‘a taste for polite writing’ (Spectator, 7 May 1711) with the English author’s ‘delight in hearing the songs and fables that...are most in vogue among the common people’ (Spectator, 21 May 1711). In promoting Poems (published in two volumes in quarto in 1721 and 1728), Ramsay acquired a stupendous and (until now) unexamined list of subscribers for work in Scots to a British audience. The current author and Daniel Szechi are currently working on an article on the prosopography of the subscription list. The Preface to Ramsay’s 1721 Poems explicitly states the naturalness of Scots to both Ramsay as an individual and to the wider x

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community (‘That I have exprest my Thought in my native Dialect, was not only my Inclination, but the Desire of my best and wisest Friends’) and the supremacy of Scots over English, ‘our Tongue by far the completest’). The social status of Ramsay’s subscription list no doubt helped to bolster the appeal to ‘Friends’ to imply that this was a judgement of no cosy coterie, but of the best judges. Yet while some of the poems are fully Scots, others are hardly so and yet others are barely Scots at all in their language. The duodecimo Tea-Table Miscellany which followed from 1723 might hint in its format at the air of the autochthonous and informal, but this was misleading: for the ‘Scots Sangs’ of its tradition were extensively culled from the London prints and stage, and very few of them were Scots in the later volumes in particular. Yet at the same time, Ramsay presented Scots song for the first time as having a history, a suitable subject for future Museums and Relics, and the expression of a genuine tradition. Ever since Ramsay wrote, it has been assumed that Scottish song is possessed of such a tradition. Originally apprenticed as a wigmaker (and a speedily successful one, judging by the 1711-12 stent roll assessments), Ramsay went on to be a dealer and auctioneer in coins, books, pictures, medals, watches, clocks, rugs, jewels, silver plate and arms.3 A member of the Music Club by 1720, Ramsay supplied it with sheet music, thus expanding his commercial base. Through his contacts there and its successor Musical Society, Ramsay found a way to situate his ‘native’ song collection within the increasingly mixed and hybridized repertoire of Scots song. The Musical Society (1728) included several subscribers to Ramsay’s Poems, and ordered music from Ramsay’s shop. Within the new European market for music, Ramsay was collecting and republishing the acceptably cosmopolitan under the guise of its being an access point to the native and autochthonous, and Scottish literature has benefited from his intervention here ever since, even though a chimera called ‘the folk tradition’ has long stood in for the realities of early modern print transmission from multiple sources. The Caledonian Mercury, 25 November 1736 announcing the 20 January 1737 Auction of valuable Books and other articles as well as Ramsay’s Scots Proverbs, ‘just published’ (the normal date of publication for these is given as 1737, which may suggest that their release was held back until the date of the auction).

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In 1725, Ramsay created the first effective subscription library in the British Isles, probably based on an innovative reinterpretation of the booksellers’ practice of renting out expensive and slow moving stock: one of the few surviving bookseller’s day books from the era shows Ramsay renting out such stock in 1715 (Pittock 2019, 240-41). When his library opened, for the price of 10s a year Ramsay also opened reading to whole new markets, not least women, and this drew the wrath of some, such as Robert Wodrow (1679–1734), the Covenanter apologist whose phrase ‘the Killing Times’ became widely accepted as a description of the conflict between religious zealots and the state under the later Stuarts. In 1729 Ramsay co-founded the Academy of St Luke, the first art school in Scotland, with the goal of furthering his son’s career and perhaps also that of arresting the declining number of painters in Scotland since the Union. In 1736–7, he attempted to found a permanent theatre for Edinburgh at Carrubber’s Close, building on his work leading the City’s ‘Company of Comedians’ in 1732. It was a location for what may have been another Ramsay innovation in the shape of the development of season tickets and ‘early bird’ booking discounts. These sought to mitigate the risk that audiences would stay away from a play on its first night(s) to see what the reaction of others was, and thus inadvertently collapse the production. The city authorities - in general more the friends of Wodrow’s religious outlook than Ramsay’s moderate and Enlightened Presbyterianism - suppressed the theatre through a more zealous application of the 1737 Licensing Act than that practised in some English cities. Finally closed in 1739, Ramsay’s theatre was subsequently converted into a chapel. Ramsay was concerned by the cost of his failed theatrical experiment, as well he might be, having spent a considerable amount of money in the 1730s to build the Guse Pye, his house on Castlehill which now forms the core of Ramsay Garden. His house and shop in the Lawnmarket, bought for £570 in 1725, was for a number of years ‘the rendezvous for the wits of the city’, forming one of the early core locales of the Enlightenment, together with taverns like Don’s and Balfour’s (Bushnell 1957, 16, 40; Pittock 2019, 87 and passim). Ramsay’s achievements were commemorated in his own lifetime. In 1741, the Allan Ramsay Library in Leadhills was founded by the local miners and senior staff in the lead mine and from the town including James Stirling FRS, the formidable mathematician who since 1734 had managed the Scots Mining Company, his Jacobitism xii

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disqualifying him from more elite pursuits. There were at least two plans to commemorate Ramsay in Edinburgh with a monument in Canongate Kirkyard or via a statue ‘for the roof of the Ragged School in Ramsay Lane’, but these came to nothing (Andrew 2016, 65). The poet was however commemorated on the Scott Monument and the Usher Hall, and most prominently by Sir John Steell’s 1865 statue on Princes Street, Edinburgh, itself based on the 1729 sketch of the poet by his son (Scotsman, 24 November 1855). The statue itself stands directly in front of Ramsay Garden, the development designed by Sir Patrick Geddes (1854–1932) round Ramsay’s house at Ramsay Lodge during 1890–93 in tribute to his predecessor as Enlightenment polymath. Used as a residence of the University of Edinburgh, in the Ramsay Lodge area the house rules were to be drawn up by the students themselves. The painter John Duncan (1866–1945) provided murals for the interior and later became the main illustrator for Geddes’ journal The Evergreen (1895–97), which was itself a tribute to Allan Ramsay’s volume of the same name, which had helped to create a national tradition for form and vocabulary in Scots writing. The new edition sets out to foreground the work of the poet as never before, while its accompanying monograph, Enlightenment in a Smart City (2019), explores Ramsay’s work as a cultural entrepreneur and its effect on the Scottish Enlightenment. But there has of course also been a considerable scholarly response to Ramsay since his death in 1758, some of which is captured in the Bibliography and Reception sections of the project website; Rhona Brown’s ‘Allan Ramsay and Robert Fergusson’ (Oxford Bibliographies Online, 2012) is currently the best available general bibliography, though a good deal of new research on Ramsay has come into print in recent years, including special editions of the Scottish Literary Review (10: 1, 2018) and Studies in Scottish Literature (46: 2, 2020). Ramsay’s writing went through numerous editions, not least the Tea-Table Miscellany and The Gentle Shepherd, which appeared with illustrations by David Allan in 1788. In 1799, Joseph Ritson proposed an edition of Ramsay’s works as ‘the untutored child of nature & of genius’, an interesting persistence of the Miltonic characterization of Shakespeare from L’Allegro, which Henry Mackenzie had recently applied to Burns (Bronson 1938, I: 232). In the late 1840s the prolific Victorian editor, Alexander Grosart, considered producing an edition of Ramsay, which was never completed. A Selected Ramsay was produced by J. Logie Robertson in 1887, and a xiii

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short and inaccurate biography by Oliphant Smeaton in 1896 in the Famous Scots series. Ramsay was frequently aligned with Burns as a founding father of Scottish poetry: at the Newcastle Burns Centenary celebrations in 1859 for example, a whole exhibition room was given over to Fergusson, Ramsay and Burns. The full Textual Policy of the edition is available on our website.4 With regard to the Poems (1721 and 1728, incorporating earlier collections), Ever Green (1724) and the Tea-table Miscellany (TTM, 1723, 1726, 1730, 1737), each major collection of Ramsay’s will appear separately as first issued, with miscellaneous printed poems or songs not included in collections of poems or those which appeared in print separately appearing in the edition following on from the main print collections. This Uncollected section will be listed by the date of appearance where possible, and miscellaneous MS poems which did not appear in print in Ramsay’s lifetime under his name and are not in his hand will normally appear in Dubia. Where - as in the case of Poems and the Miscellany - there are multiple volumes to accommodate, chronological and volume integrity will be preserved where these were present in the original publication of history. The recreation of the experience of the volume as it initially appeared will be paramount, which will involve the reproduction of the 1725 Gentle Shepherd text in the Poems of 1728, although major textual issues and annotation and above all its musical notes will in large part be reserved to the Gentle Shepherd volume (which will include both the 1725 and 1729 texts) to reduce duplication. Notes on Ramsay’s poems and songs follow a first collection basis: the Note will normally be most detailed in the volume in which the text first appeared. In the case of material in the edition which did not appear under Ramsay’s name in print in Ramsay’s lifetime (for example letters or newly identified contributions to periodicals), the original MS or periodical publication text will be the copytext. In all these cases the text will be edited completely afresh, and there will be no dependence on previous printings. If there is more than one surviving MS, then the chronologically prior MS will be used with collated variants from the other MS recorded in the Notes. Collations note redactions and University of Glasgow: https://www.gla.ac.uk/schools/critical/research/ researchcentresandnetworks/robertburnsstudies/edinburghenlightenment/ theeditorialteam.

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cancellations as well as substantive and accidental changes. In cases where two or more MSS exist and neither/none can be shown to be chronologically prior, both or all will normally be printed. Obituaries, Elegies and Poems on Ramsay may appear in the Reception area of the website, except where Ramsay answers or initiates an exchange himself or where such poems are included in his texts, in which case they may be incorporated into the edition. In terms of collation, the following will be collated and will appear as a unified entry in the Notes, where textual variants (including accidentals) will precede Notes on the text or issues to be glossed or interpreted: • • •

All MS variants in Ramsay’s hand including accidentals Published variants prior to the first collected edition authorized by Ramsay or likely to have been so authorized as above In the case of Christ’s Kirk and other poetry where Ramsay used e.g. the Bannatyne MS but which were not in the first instance by Ramsay, a summary of major textual changes undertaken by Ramsay.

The ‘1720’ Poems, which exists in several inconsistent copies, some of which include material dated later than 1720, will be discarded. The evidence that these were pirated gatherings of previously (and sometimes subsequently!) printed material is too strong, both in terms of the inconsistency of surviving copies with each other, and the sheer unlikelihood that Ramsay would have authorized an edition of his poems without subscription months before he unveiled one with a pan British subscription list drawn from the highest ranks of society. When there is more than one impression of the first edition, where possible the text printed for Ramsay to sell in his shop should have precedence: in determining this case, his relationship with both the engraver Richard Cooper (1701–64) and the printer and grammarian Thomas Ruddiman (1674–1757) is understood as central. Substantive changes in subsequent published editions which Ramsay was clearly engaged in in Ramsay’s lifetime will be recorded in the Notes as will marginalia by his son and Shenstone (this only applies in the case of the Gentle Shepherd) and himself, together with variant MS readings if applicable. A modern print glossary will also be provided in each volume, based on Ramsay’s Glossary where possible, with definitions from Jamieson’s Dictionary or (in the event xv

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of no Jamieson’s entry) the Dictionary of the Scots Language for comparison. Where there are extensive musicological notes there will be a separate Music bibliography which utilizes musicological bibliographical conventions. With regard to music, detailed consideration will be given to sources of tunes from before the first appearance of the copytext; other sources no later than 1758 may appear in the Notes by way of providing supporting context when they shed light on the earlier history of the tune, or when no sources prior to the publication of the copytext are extant. Small variances between readings will be described in the critical commentary, and significantly diverse readings, whether in musical style or content, will be presented in full. What follows will do for Allan Ramsay what has never been done, which is to take him seriously as an editor and literary innovator as well as an author: and it will help him reclaim the central place in the development of the literature of Scotland which is his due. This edition will provide both a comprehensive and a new Ramsay: innovative, experimental, dynamic and central to the intellectual life of Edinburgh and Scotland. It will also offer a comprehensive archaeology of the origins of his music and verse which will render his Scottishness a visibly relational artifact, strongly embedded in English and metropolitan song and the language of politeness, while in return exposing that very audience to hundreds of Scots words and many double entendres of language and reference with their roots in Scots. Ramsay will be displayed as the man who brought a new dimension of cosmopolitan engagement to Scottish writing and song under the guise of defending its native traditions, and in doing so, strengthened them and gave them a place in the British imaginary. The Collected Edition of the Works of Allan Ramsay will present the artfulness of the collector, editor, author and cultural entrepreneur as never before. Murray Pittock University of Glasgow

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Allan Ramsay, 1684–1758. Poet (1729) by Allan Ramsay the younger (1713–84) National Galleries of Scotland

ALLAN RAMSAY (c. 1684–1758)

Poet, playwright, song-collector, antiquarian, editor, bookseller and early Enlightenment entrepreneur Allan Ramsay was born on 15 October, probably in 1684, at Leadhills, Lanarkshire, to John Ramsay (c.1660–1685) and Alice Bower (d.1700). When his father, a superintendent of the lead mines on the Hope family estate, died in Ramsay’s infancy, his mother married local bonnet laird Andrew Crichton. Ramsay was probably educated at the parish school of Crawfordmuir until the time of his mother’s death, when he was in his mid-teens. In early 1701, Ramsay moved to Edinburgh to undertake an apprenticeship in wig-making. He received back his indentures from his employer around 1709, opened his own periwig business, and was appointed a burgess of the city on 19 July 1710. Ramsay’s move to Edinburgh developed his intense interest in the literature of Scotland, both past and present, and Jacobite satirist, Latinist and physician Archibald Pitcairne (1652–1713) was a significant early influence. The style of The Assembly and Babel, Pitcairne’s satires on the Presbyterian church, would help Ramsay hone his own poetic voice even if he did not share Pitcairne’s anti-Presbyterian sentiment. Furthermore, Pitcairne’s protégé, the printer and classical scholar Thomas Ruddiman (1674–1757), would become Ramsay’s chief publisher. James Watson’s Choice Collection of Comic and Serious Scots Poems, both Ancient and Modern (1706, 1709, 1711) was an influential favourite, which introduced Ramsay to enduring Scottish literary forms, metres and styles, as well as the ways in which the Scottish canon could be anthologised. Contained within Watson’s Collection is William Hamilton of Gilbertfield’s (1665?–1751) ‘The Dying Words of Bonny Heck, A Famous Grey-Hound in the Shire of Fife’. This text, with its mock-tragic comedy and Standard Habbie verse form – named after Robert Sempill of Beltrees’s (1595?–1663?) poem ‘The Life and Death of Habbie Simson, the Piper of Kilbarchan’ – helped Ramsay to crystallise his own literary style and Scots vernacular poetic mode. His early publication, the ‘Elegy on Maggy Johnston’, which borrows tone and form from Sempill and Hamilton, was probably written in 1711. Around this time too, Ramsay plunged himself into the cultural and literary life of Edinburgh. He was a founding member of xix

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the city’s Easy Club, which was established in May 1712 and modelled on the London Spectator Club formed by contemporary poets Joseph Addison (1672–1719) and Richard Steele (1672–1729). Early eighteenth-century Edinburgh was awash with gentleman’s clubs, and the Easy Club was part of the city’s convivial scene. Its members were principally young men keen to develop their credentials as ‘gentlemen’, and the Club provided an ‘easy’ and sympathetic space in which to share and discuss literary compositions. One of Ramsay’s earliest published works, ‘A Poem to the Memory of the Famous Archibald Pitcairn’, was printed by the Club probably in late 1713, following Pitcairne’s death on 20 October and around the time when Ramsay was elected as the Club’s Praeses, or President. Pitcairne’s death may also have prompted an Easy Club decision to adjust their convention of referring to themselves and each other by pseudonyms when in attendance at the Club. Following Pitcairne’s death, and at the time when Ramsay was about to take the chair, members ‘unanimously resolv’d in warm expressions by each that none of this club shall have English but Scots patrons’. Ramsay’s club pseudonym therefore changed from Isaac Bickerstaff – after Steele’s fictitious editor of The Tatler – to Gavin Douglas (c.1474–1522), Bishop of Dunkeld, poet and translator, known for his Eneados, a Scots translation of Virgil’s Aeneid, which had been republished in an influential edition by Thomas Ruddiman in 1710. Ramsay was appointed Easy Club Poet Laureate in early 1715, and the society was dissolved in the same year. The Easy Club has been associated with Jacobitism and anti-Unionism, both of which are seen clearly in Ramsay’s ‘Poem to Pitcairne’, which portrays ‘those who their Country Sold’ in 1707 floating in ‘a Pool of Boyling Gold’ in the afterlife. Perhaps due to the increasing danger associated with professing Jacobite convictions, Ramsay never republished the poem in his lifetime, and it was not rediscovered until 1979. In the same year as the Easy Club’s foundation, in December 1712, Ramsay married Christian Ross (d.1743), the daughter of writer (solicitor) Robert Ross and Elizabeth Archibald. Ramsay and Ross had many children, but only four survived into adulthood: three daughters, Janet, Catherine and Anne, who were bequeathed their father’s shop, and eldest son Allan Ramsay junior (1713–84), a prominent portrait painter who became official painter to George III in 1760. Throughout the 1710s, Ramsay continued to establish his literary reputation by releasing individual poems in broadside and chapxx

Biography of Allan Ramsay

book formats. He published his Christ’s Kirk on the Green, which features an edited transcription of the original text in the Bannatyne Manuscript as well as stanzas of his own composition, for the first time in 1718. In the same year, he issued a collection of Scots Songs. By the end of the decade, Ramsay had abandoned wig-making and entered business as a bookseller and dealer in prints at Edinburgh. A ‘gather-up’ edition of Ramsay’s work to date was published in Edinburgh in 1720. However, recent research has cast doubt on whether Ramsay authorised this publication: in 1719, he made a complaint to the Edinburgh Town Council that his works were being pirated and, at the time of the ‘gather-up’s’ publication, he was preparing a subscribers’ edition of his Poems, which would be released in 1721. Given Ramsay’s entrepreneurial instincts, it is unlikely that he would have authorised the release of a poor-quality volume which had the potential to hurt the sales of his subscribers’ edition, about to be published in prestigious format by the influential Ruddiman. The subscribers’ edition of Ramsay’s Poems was a success, earning its author 400 guineas. In the early 1720s, Ramsay published a collection of Fables and Tales (1722), which features Scots translations of the fables of La Motte and La Fontaine and, in the same year, an anonymous dramatic poem entitled A Tale of Three Bonnets, which satirises those Scots who had taken Scotland into Union with England in 1707. His The Fair Assembly (1723) defends a local dancing assembly which had been targeted and denounced by Presbyterian commentators as profane and licentious. In 1723, Ramsay published the first volume of his The Tea-Table Miscellany: A Collection of Scots Songs (1723, 1726, 1727, 1737), an anthology of both contemporary and older songs in Scots and traditional ballads in which Ramsay worked as collector, editor and lyricist. An edition of his poem Health was published in 1724, alongside poems in tribute to the Royal Company of Archers, of which he had become a member that summer. In the same year, Ramsay enlarged on the success of his Christ’s Kirk on the Green, which had gone through at least five editions – some of which were authorised and some unauthorised – by publishing The Ever Green: being a Collection of Scots Poems, Wrote by the Ingenious before 1600. Ramsay treats the Bannatyne texts in the same way as he had approached the songs for The Tea-Table Miscellany: he regularly adapted the older texts he collected, adjusting them for his early-Enlightenment audience, and added work of his own: in The Ever Green, ‘The Vision’, which was probably written xxi

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by Ramsay, is presented in a faux-medieval style. Ramsay’s interest in drama was evident from an early stage, in his composition of masques, dramatic dialogues and, later, prologues and epilogues for the theatre. In 1725, he published an early version of his pastoral play, The Gentle Shepherd, which took his fame to new heights with its instant popularity. Based on earlier pastoral poems Patie and Roger (1720) and Jenny and Meggy (1723), The Gentle Shepherd sets the pastoral drama in the countryside outside Edinburgh, puts Scots vernacular in the characters’ mouths, and explores Jacobite themes of exile and return through the character of Sir William Worthy. Throughout the 1720s, Ramsay developed The Gentle Shepherd by incorporating songs into the drama, first by referring readers to specific songs in The Tea-Table Miscellany, and finally printing the songs alongside the play’s dialogue in the edition of 1734. By this time, The Gentle Shepherd was a fully-developed ballad opera in the style of John Gay’s The Beggar’s Opera (1728). It enjoyed enormous success, being performed hundreds of times throughout Britain in the eighteenth and nineteenth centuries. In 1728, Ramsay released a second subscription volume of Poems which reveals the extent and prestige of his patronage networks at this time. As with Poems (1721), Ramsay’s subscribers included numerous prominent aristocrats, merchants and literary figures, such as Alexander Pope (1688–1744) and William Somerville (1675–1742). It is likely that Ramsay formed a friendship with poet and playwright John Gay (1685–1732) through their shared patronage by the Duke and Duchess of Queensberry: Ramsay was introduced to Gay’s work by the Duchess, and the two poets almost certainly met and conducted an epistolary relationship. Ramsay cemented his position as editor and gatekeeper of Scottish culture in the ensuing decade, issuing an additional anthology of fables in 1730, and A Collection of Scots Proverbs in 1737. At this point, and with his literary fame assured, Ramsay developed significant cultural initiatives alongside his editing, writing and bookselling. In around 1725, Ramsay moved his shop to the Luckenbooths, a prime position in central Edinburgh, where he opened the first circulating library in Britain. In the late 1720s, he published the anonymous Defence of Dramatic Entertainments, a prose piece which defends the theatre and actors in the context of virulent Presbyterian hostility to drama, before establishing his own theatre in Edinburgh’s xxii

Biography of Allan Ramsay

Carrubber’s Close, which opened in November 1736. Ramsay staged numerous plays and pioneered the use of the season ticket, before a government statute was passed in 1737 which banned the staging of plays outside London except when the king was in residence. Ramsay battled to preserve his theatre, but was forced to close its doors in 1739. A decade earlier, Ramsay was one of the founders, perhaps with the assistance of his artist friend John Smibert (1688–1751), of the Academy of St Luke, an art academy for local painters including his own son, Allan, which was functional until the mid-1730s. By now, Ramsay had reduced his bookselling duties and turned his attention to the construction of a villa on Edinburgh’s Castle Hill, known colloquially as the ‘Goose Pie’ due to its octagonal shape, thereafter sharing the house with his wife Christian and son Allan. At the Jacobite Uprising of 1745, Ramsay, now widowed, left the city and stayed away for the duration of the action, probably lodging with his friend and patron Sir John Clerk of Penicuik; his house was nevertheless used as a base by the Jacobite army in his absence. Indeed, a portrait of Charles Edward Stuart, painted in Edinburgh by Ramsay’s son Allan Ramsay junior in late 1745, has recently been rediscovered and acquired by the Scottish National Portrait Gallery. Ramsay finally retired in 1755 at around the age of seventy-one, when his health had begun to decline. He died on 7 January 1758, and is buried in Edinburgh’s Greyfriars Kirkyard. In 1759, Ramsay’s name was inscribed on the obelisk built by Sir James Clerk on the Penicuik estate around 1756. In 1846, Ramsay’s image was included in the Scott Monument on Edinburgh’s Princes Street, and his own statue, on the corner of Princes Street Gardens and The Mound, was unveiled in 1865.

Rhona Brown University of Glasgow

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INTRODUCTION TO THE TEXT

Encountering The Gentle Shepherd in 1791 From its publication in 1725, The Gentle Shepherd (hereafter, GS) was a major commercial and, for the most part, a critical success. Over 100 imprints appeared before 1800; it was ‘translated’ into English 5 times in the eighteenth century alone; and it was performed on stages ranging from London to Edinburgh to Scarborough to New York to Alexandria, Virginia. Its songs were separately printed and reprinted, and it inspired a wide range of visual representations. To get a clearer sense of the text’s reach and the discussions around it, let us consider one year—1791—from the history of its reception. It has not been chosen at random; 1791 was a relatively good year for mentions of and access to GS, but it is not too far from the norm for the play’s reception in the eighteenth century, and its ubiquity almost 70 years after its appearance gives some sense of its vitality. On April 14, 1791, Robert Cumming delivered an essay in verse at the Pantheon—an Edinburgh debating society—in response to the question, ‘Whether have the Exertions of Allan Ramsay or Robert Ferguson [sic] done most Honour to Scottish Poetry.’1 In a footnote at the start, he acknowledges, with bracing honesty, that ‘The Author of this Essay, when speaking of Allan Ramsay, alludes to his Gentle Shepherd, as he is unacquainted with his other works’ (1n.). The forthcoming volumes of The Works of Allan Ramsay will show how wrongheaded it is to take GS for the whole of Ramsay. Still, in the spirit of Ramsay’s own insights into the relationship between wealth and literacy, Cumming may be forgiven for not being familiar with Ramsay’s other works, since, as a staymaker, his income was limited, though there were accessible versions of The Tea-Table Miscellany, The Tale of Three Bonnets and Proverbs available in the decade before, further

The Pantheon is identified by William Creech, magistrate, man of letters, and publisher of Hugh Blair, James Beattie, and other important Scottish authors who earned Burns’ ire for being late in settling his accounts, in Edinburgh Fugitive Pieces (Edinburgh: William Creech, 1791), 45n. 1

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The Gentle Shepherd

belying the insufficiency of GS to stand for the whole of Ramsay.2 Whatever his essay’s faults, it remains useful for revealing the significance of GS for Scottish literature as a whole at the time. In blank verse without a trace of Scots (though he does append a Scots eclogue, ‘Willie and Jamie’), Cumming awards Ramsay the laurel over Fergusson, praising Ramsay’s ‘Scottish verse’ (2) as the equal of Theocritus and Virgil, vividly ‘paint[ing] the rural scene,’ and bringing to life ‘manly freedom,’ ‘exalted friendship,’ ‘purest love,’ and, preserving the classic unities, skillfully unfolds the plot (2-4). So, here, in a debating society that carries on the legacy of the civic life of Edinburgh that Ramsay himself helped to found,3 GS is crowned as the summa of Scots poetry. That this happens during Robert Burns’ lifetime, after he bursts on the literary scene but before he becomes BURNS, is a reminder that we should beware of false teleologies even as we might recognize the later view that presents Ramsay primarily as Burns’ precursor as part of a Scottish Enlightenment logic of improvement that Ramsay also helped to found. The ubiquity and importance of GS are indicated by a range of other texts from 1791. Not all of them, however, are as enthusiastic as Cumming. Among the literary opinions of the recently-deceased Adam Smith recorded in The Bee, an Edinburgh periodical edited by James Anderson, is this: He did not much admire the Gentle Shepherd. He preferred the Pastor Fido, of which he spoke with rapture, and the Eclogues of Virgil. I pled as well as I could for Allan Ramsay, because I regard him as the single unaffected poet whom we have had since Buchanan. . . .He answered: ‘It is the duty of a poet to write like a gentleman. I dislike that homely stile, which some think fit to call the language of nature and simplicity, and so forth. In Percy’s reliques too, a few tolerable pieces are buried under a heap of rubbish. You have read perhaps Adam Bell Clym, of the Cleugh, and Wiliam of Cloudeslie’. I answered yes. ‘Well then,’ said he, ‘do you think that was worth printing.’ (Amicus 1791, 6) Cumming’s profession is identified in a tipped-in addition on the title page of his Poems on several occasions. To which is added, The history of Mr Wallace. A novel. (Edinburgh: Printed for the author, 1791). 3 For an overview and analysis of the emergence of Edinburgh during Ramsay’s era from a fresh perspective, see Murray Pittock, Enlightenment in a Smart City: Edinburgh's Civic Development, 1660–1750 (Edinburgh: Edinburgh University Press, 2019). 2

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Introduction to the Text

The interlocutor, Amicus, tries to construct a Scottish poetic tradition linking Ramsay to George Buchanan (1506–82), the great historian and Latinist (who also wrote in Scots), joined by their lack of affectation. Smith will have none of this. Whatever he thinks of Buchanan, he accuses Ramsay of failing in his ‘duty to write like a gentleman,’ his annoyance moving him to forget that in The Theory of Moral Sentiments he separates that ‘the rules critics lay down for the attainment of what is sublime and elegant in composition’ from those pertaining to justice (Smith 1982, 175) and thus there is, strictly speaking, no ‘duty to write like a gentleman.’ He refuses to class GS among the pastoral accomplishments of Virgil’s Eclogues or Giovanni Battista Guarini’s Il Pastor Fido (1590), consigning it instead to the inferior world of the Ballad Revival exemplified by Thomas Percy’s Reliques of Ancient English Poetry (1765). The Robin Hood ballad of ‘Adam Bell’ is evidence of the worthlessness of the great majority of texts that adhere to the affectedly unaffected ‘language of nature and simplicity,’ which in Ramsay’s case seems to be indicated by his writing in Scots but is not limited to that unfortunate choice. By implying these texts were not ‘worth printing,’ Smith suggests that their ‘homely’ style means that if they ever had been printed in the first place in humbler forms like the broadside, they certainly do not merit re-printing for an elite audience. As he argues some decades before in his Lectures on Rhetoric and Belles Lettres, Scots poems like ‘The Cherry and the Slae’ and ‘Lochaber No More,’ which he may probably knew from Ramsay’s own The Ever Green and Tea-Table Miscellany are evidence of a more primitive moment prior to the development of prose (Smith 1985, 136). There is no ‘tollerable prose’ in Scots (136); and Smith’s own prose is in an English scrupulously free of so-called Scotticisms. To imitate such a style now, Smith contends, is an anachronistic sin against the canons of genteel taste. Smith, whose tastes incline toward the neo-classical (Labio 2013, 122), prefers his pastorals with the more elegant sheen of Virgil or Pastor Fido, a text that, as will be discussed below, Ramsay specifically had in mind when composing GS. Smith is not the only eminent author whose dismissal of GS is reported in 1791. In James Boswell’s Life of Dr. Johnson, he tries to convince his friend that the play, ‘in the Scottish dialect, [is] the best pastoral that had ever been written; not only abounding with beautiful rural imagery, and just and pleasing sentiments, but being a real picture of manners; and I offered to teach Dr. Johnson to understand 3

The Gentle Shepherd

it. ‘No, Sir, (said he,) I won’t learn it. You shall retain your superiority by my not knowing it’ (397). Johnson is willing to forego Boswell’s tutelage even though doing so leaves him an inferior position, an unusual admission for the Great Cham, very much the senior partner in the relationship. But this seems to be a price he is willing to pay to avoid having to learn anything in Scots or from Scots. Together, then, these two negative comments underscore some key elements of Ramsay’s play and its reception, which will be addressed below: the centrality of pastoral; the claims for it as ‘a real picture of manners’ as well as aesthetically valuable; and the reaction its ‘realism,’ whether in its use of Scots or its ‘homely stile’ (not unrelated to Scots), inspires in the midst of Anglocentric canons of taste embraced by authorities in Scotland as well as England. A sign of that Anglocentrism is that Boswell would feel the need to volunteer to teach Johnson how to read the play; while there are certainly many words, phrases, and expressions unknown to someone ignorant of Scots, and its identity is bound up in its use of Scots, an English reader should not have that much difficulty in grasping it, especially given the glossary that was typically included. Yet, however influential Smith and Johnson may be, the weight of critical and popular opinion in 1791 is more on the side of Amicus and Boswell. In The Bee alone, two favorable mentions appear. First, ‘On the English Drama’ attributed to the well-known jurist Lord Gardenstone, declares that ‘[t]his excellent piece does honour to North Britain. There is no pastoral in the English language comparable to it; and I believe there is none in any language superior to it’ (‘Remarks’ 1791, 156). Note that there is no distinction here made among the various forms of English, a mutual intelligibility underlined by calling Scotland ‘North Britain.’ Then, ‘Strictures on Scottish Poetry, Particularly that of Allan Ramsay,’ begins by lamenting the ‘incessant chorus of verses in the Scottish dialect’ found so frequently of late, not because of an objection to Scots as such but because the misguided authors mar their works by seeking out the most obscure and local phrases (Thunderproof 1791, 54). Ramsay, however, is exempt from this censure, and, as Rhona Brown points out is praised for his study of Dryden, which suggests that English models are good ones for Scottish writers (R. Brown 2018, 102). Because of Ramsay’s ‘dexterity’ in selecting Scots phrases, ‘solid good sense . . . nervous elegance’ and other qualities, GS is universally cherished in Scotland: 4

Introduction to the Text From the chemist and astronomer, to the girl at her spinning-wheel, his eloquence kindles every heart and irresistibly command our tears. It is true that we have here no bawdry, no jealous alderman cuckolded, no amorous suicide, no wire-drawn soliloquy, no pedantic, ill-jointed epithet, no raving despot, such as never existed but in the frenzy of a modern playwright. But the Gentle Shepherd does not rest its reputation on the caprice of a theatrical audience. Were all the copies of Ramsay’s comedy annihilated, the grateful memories of his countrymen would eagerly supply the loss. Many of his readers have almost the whole poem by heart; and what other Scottish author can pretend to such universal admiration? (Thunderproof 1791, 56)

If Smith wonders whether GS was worth printing, the author, Timothy Thunderproof, a pseudonym for the radical author James Thomson Callender (R. Brown 2018, 102), argues that even if all the copies were annihilated, it could easily be restored.4 Published the day before in London is a parody of Boswell that imagines a similar annihilation and then restoration of Ramsay’s works through the love of GS.5 Titled ‘Supplement to the Life of Johnson,’ it revolves around a visit to Allan Ramsay fils, the eminent portrait painter, and pokes gentle fun at Johnson’s having an opinion about everything, including why maid servants are paid less, as well as at Boswell’s consciousness of his dress and bibulousness. At Ramsay’s Dr. Johnson seems to have taken the trouble to learn to read the play, praising it as ‘the best Pastoral in any language’ (‘Supplement’ 1791, 1). However, Boswell’s ‘extacy’ at this ‘unexpected, and, let me add, just compliment to the Poetry of my native country’ is short-lived, as his That the author claims to be from Laurencekirk, the town founded by Gardenstone, is not surprising since Callender found a patron in Gardenstone prior to his being convinced to incriminate Callender after the success of his radical pamphlet, The Political Progress of Great Britain (Durey 2004). The earliest example I have found of the claim of laboring class people having GS committed to memory is from Lady Mary Walker, Memoirs of the Marchioness of Louvoi (1777), in which a character refers to ‘a Scotch girl who lives with us, who had the beautiful pastoral of the Gentle Shepherd by heart’ (3:52). 5 In a personal communication, James J. Caudle reports that this piece was published in the Morning Chronicle on September 20, 1791, the day before ‘Strictures on Scottish Poetry’ appears in The Bee. The copy of the ‘Supplement’ I have consulted is a reprint the next day in The Kingston Advertiser. 4

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host ‘received this high tribute to the memory of his father with frigid indifference . . .and, at one time, had thoughts of buying up all the copies and committing them to the flames’ (1). This shocking aggression against his father’s work elicits a tart reply from ‘Lady (then Mrs.) Strange’: ‘Sir, the thing is impossible; were all the Copies of the Gentle Shepherd, at this instant, in the fire, I have it every word by heart, and shall publish a New Edition of it as often as the old is destroyed. I hope, however, added she, I shall live to see a fop of yours possessed of as much wit as his grandfather; in which case, the first thing he will employ himself about, the moment your breath is out, will be in buying up and burning the whole of your Hanoverian works; which, let me tell you, Sir, are a disgrace to your family.’ (1)

Of course, this is all in keeping with the parodic cast of the piece. While Ramsay’s lament in a manuscript biography over his father’s transformation of GS into a ballad opera as a concession to the ‘vitiated taste’ of the public (STS IV: 72) might indicate some embarrassment at some aspects of his father’s work, there is no record of his wishing to burn it in toto. Then we have the Scottish chauvinism of Boswell and Lady Strange, and her Jacobitism seems a bit outdated for a dinner that must have occurred some decades past the ’45. Still, the ferocity of the attack on the son’s selling out to Englishness and the counterpoised devotion to GS are revealing. The readers of this piece might have seen the play for themselves just a few days later, at a performance during off-season at the Haymarket on September 26, 1791 of ‘The Original Scots Musical Pastoral’ (Hogan 1968, 5: 2: 1393), including a performance of ‘The Cries of Edinburgh’ by Ralph Shaw, who played Glaud, part of a ‘group of Caledonians’ who appeared ‘year by year at times when the Haymarket was normally dark.’ (Highfill 1973-1993). This description is noteworthy because it distinguishes this performance from the much more frequently staged version, the 1781 adaptation by Richard Tickell (text) and Thomas Linley (music) into a two-act afterpiece. Theatre-goers seeking that version need have waited only a few months, as there is a December 12th performance as the afterpiece to Douglas at the Haymarket, where Shaw again gave ‘The Cries of Edinburgh’ (Hogan 1968, 5: 2: 1411-12). In fact, 1791 comes after the heyday of Tickell-Linley in London, but London was not the only location where GS is staged. 6

Introduction to the Text

On March 24, 1791, what is probably the Tickell-Linley afterpiece (the audience is promised the well-known overture) was performed after The Belles’ Stratagem at the Theatre Royal in York (‘Theatre-Royal’ 1791). Still further afield from London, The Old American Company performed the Tickell-Linley afterpiece in Philadelphia on June 17, 18, and 20, highlighting that it will include ‘the Overture and Accompaniment, as performed at the Theatre Royal, Drury Lane’ (‘Mrs Hamilton’s Night’ 1791). These performances remind us that GS is a dramatic text that before 1800 was performed over 200 times at venues across the British Isles and colonies and also that music and song were central to its identity and popularity. Or, if in or near Edinburgh, those seeking GS could have purchased yet another edition, published by J(ohn) Stewart, one of over 100 published before 1800. This one is a reprint of the 1758 edition by John Robertson, significant for including for the first time notated music in the body of the play as well as the first engravings in an edition of the play that picture the action therein. As Richard Altick observes, after 1750, ‘there are more than forty paintings depicted scenes or characters from GS or one of the adaptations—more than came from the entire works of Chaucer, Defoe, Swift, Richardson, or Fielding, and as many as were drawn from Bunyan or Pope’ (Altick 1985, 387-88). The rich visual history of GS, which includes contributions from both English and Scottish painters and engravers, is another important element of the text’s history that again shows its remarkable reach. Alternatively, readers who believed that a lack of Scots would prevent them from grasping the play might have sought out Margaret Turner’s translation into English after reading an account of it in The Monthly Review of October 1791. This follows a recent Englishing by Cornelius Vanderstrop (1777), and the reviewer notes that ‘to those who understand its national phraseology, the peculiar spirit evaporates by a translation into English, as some wines are flattened by decanting’ (‘Art. XII’ 1791, 170). Still, Turner is commended for her ‘tender hand’ and ‘gentle’ ‘touches,’ in converting Scots to English and in some instances for improving on Ramsay. One such instance is when she turns Peggy’s admission that she will with Pleasure, mount my Bridal Bed; Where on my Patie’s Breast I’ll lean my Head. There we may kiss, as lang as Kissing’s good; And what we do, there’s nane dare call it rude. (I.2.244-47) 7

The Gentle Shepherd

into something considerably less carnal: ‘When I shall lay aside my maiden art,/And give him love for love with all my heart’ (171). This ‘fits’ the play ‘for passing the Tweed’ (171), thereby pointing up the enduring sense in England of Scotland as less-refined and earthier, even as this figures into the interest it stimulates.6

The Gentle Shepherd Now: The Need for a Scholarly Edition This excursus through the various manifestations of GS in 1791 illustrates the enduring importance and vitality of the play, as well as some of the salient genres and issues that inform discourse around it, and points to the rationale for a proper scholarly edition. Unfortunately, the prior attempt from the Scottish Text Society (1944-74), though it has many virtues, does not meet that standard. As John Goodridge observes, the play’s ‘various components and stages are scattered through all six volumes of Works’ (Goodridge 1998, 175), with each having ‘its own separate apparatus’; moreover, ‘the early drafts have a brief introductory note only; and the additional songs have no apparatus’ (175). The representations of the early drafts (Edinburgh University Library Laing MS 212*) that do exist fall far short of approximating their actual state in terms of cancellations and emendations. Moreover, they are not collated with the printed text that the editors selected, which is the one printed as part of 1728 Poems; this means that they miss almost of all of the major changes between the text’s drafts and its printing. The editors restrict themselves instead to collating 1728 with the fair copy and the 1725 and 1726 editions. Choosing 1728 is understandable as a matter of efficiency, avoiding the re-printing of the original 1725 text, but it obscures the publication history, both the initial printing and the revision of the text into a ballad opera in 1729 with the addition of 17 songs. To acknowledge that transformation, the editors use the 1734 edition to indicate where and how the songs are included. This has some justification as the first edition with some evidence of authorial intent that includes the new songs directly in the text. However, they overlook the editorial ambiguities left by the complex process expertly traced by Goodridge through which Ramsay For a reading attentive to the complexities of Turner’s adaptation, see Davis 2002. 6

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Introduction to the Text

sometimes writes some entirely new songs but usually fashions them out of bits of existing text but then in the editions from 1729 to his death, inconsistently indicating whether and how the songs are supposed to be performed in lieu of or alongside of pre-existent text (180). Given this, there is no compelling reason to choose 1734 over some later edition. There are other problems with the presentation in STS, including: • The collations of the 1728 play seem to be restricted to changes in phrasing and spelling and the addition of lines that the editors find significant, though they provide no clear rationale. Moreover, there are many substantive changes that are not noted, and accidentals are almost entirely ignored. • It overlooks the prior publication of the song at the end of II.iv, ‘By the delicious warmness of thy mouth’ as ‘Patie and Peggie’ in the 1721 Poems (287-88) and Bauldy’s song as ‘For the Love of Jean’ in TTM (1723), 141-42. • It does not include the MS. drafts of the added songs in Huntington HM MS 1489 and Rylands Eng MS 748; the editors seem unaware of the existence of these drafts. • There is no attention given to the tunes and modes of musical performance that are essential to understanding the play in its fullness. This edition seeks to rectify these problems and address other issues. It uses 1725 and 1729 as copytexts, since they are the first authorized editions of the original and ballad opera versions of the play. The former is fully collated against all extant manuscripts, as well as prior printings; the latter is collated against 1725, 1726, and 1728, as well as the MS. drafts of the new songs. While there is no definitive resolution possible to the ambiguity over how the new songs are to be integrated, our aim in this edition has been to acknowledge Ramsay’s approach in 1729 as he refers the reader to their presence in The Tea-Table Miscellany, a smart marketing move if not entirely convenient for the reader. To make things more convenient, the appropriate excerpts from TTM have been included alongside the playtext where a song is indicated, including a modified version of Ramsay’s directions in GS 1729. The rich musical contexts are also established and explained; the rationale for this is provided in the Introduction to the Music. 9

The Gentle Shepherd

The Genesis of the Texts Happily, we have a remarkable amount of evidence for how Ramsay comes to construct the play; it is a rare text from any era that has four surviving drafts. The first evidence of his turning his hand to it comes in a letter of April 8, 1724: ‘I am this vacation going through with a dramatic pastoral, which I design to carry the length of 5 Acts, in verse a’ the gate, and if I succeed according to my plan, I hope to cope with the authors of Pastor Fido and Aminta’ (STS IV: 73). The effects of his effort can be found in the early drafts gathered in the Laing Manuscripts in Edinburgh University Library. The earliest draft describes the news of the return of Sir William Worthy (who has the more Scottish name, Sir Colin Macandre, in these earlier manuscripts) in II.1. The second draft carries the action of the play to the love pledge between Jenny and Roger in III.3. The third draft takes us to end of the play, adding at the end of Act II, Scene 4 the song, ‘Patie and Pegie: A Sang,’ initially published in 1721 Poems, though it does not include the concluding song, ‘Corn Riggs are Bonny.’ The next stage of composition is the fair copy, in the possession of the National Library of Scotland (MS 15972). Its completion precisely dated by Ramsay at 29 April 1725 at 11:00 p.m., it adds prologues before each scene and integrates what is now Act I, revising ‘Patie and Roger’ (first published in 1720 and republished in the 1721 Poems) as scene 1 and ‘Jenny and Meggy: A Pastoral, Being a Sequel to Patie and Roger’ (1723) as scene 2, and adds ‘Corn Riggs are Bonny’ to conclude the play. Dedicated to and presented to Susanna, Countess of Eglinton, it adorns the beginning of most scenes with sketches of faces and dragons (faces crop up in the body of the play, too), increasing its sense that it is a unique copy and a gift and as if it were modeled on an illuminated manuscript. Finally, the play is advertised in The Caledonian Mercury of June 21, 1725: ‘Just Published, and Sold by Allan Ramsay, at his shop South-side of the Crosswell, The GENTLE SHEPHERD: A Scots Pastoral Comedy. Price One Shilling’ (‘Advertisement’ 1725). Collating the various drafts allows us to see what Ramsay adds, deletes, and amends as he revises the play. The collation for 1725 reveals that nearly every one of the 2010 lines of the play undergoes some sort of revision, often significant revisions in multiple drafts, as Ramsay moves toward the copytext. The next stage is the second edition of 1726. One key addition at this point is a dedicatory poem by William Hamilton of Bangour (1704–54) to the Countess of Eglinton. 10

Introduction to the Text

There are also a couple of significant textual changes, among them cutting Mause’s revelation of Peggy’s gentle birth (II.3.619-27) and most of the lines of Bauldy’s song (IV.1.1258-71).7 The version published in the 1728 Poems does not include any major changes to the text; using 1729 as a basis of comparison, Ramsay makes many more alterations to spelling, punctuation, and typography to this edition than to 1725 and 1726, perhaps to render it uniform with the rest of the volume.8 As for the 1729 text, there are no major changes, except the engraving by Richard Cooper, and, of course, the addition of 17 songs. As mentioned above, Goodridge has reconstructed Ramsay’s process in detail, the Roman numerals corresponding to the ‘Sang’ number Ramsay assigns to them in the 1729 edition: Ramsay used three methods to create . . . twenty numbered songs. Firstly, he converted existing songs. Five songs were present in the first edition, though they were not numbered, and only one, ‘Corn Riggs are Bonny,’ had a tune. Of the five, ‘Mause Sings’ (II.3.541-48) and ‘Pegie Sings’ (II.4.727-52) were numbered and given tunes to become, respectively, IX and XII. The other three, ‘Auld Lang Syne’, ‘Bauldy’s Song’ and ‘Corn Riggs are Bonny’ were not formalised into songs in the 1728-9 conversion of the play . . . Secondly, he wrote five new songs: I, IV, V, VII and VIII. Thirdly, he built thirteen songs (II, III, VI, X, and XII-XX) from existing text, by either paraphrasing or expanding on lines already present.9 (178)

When Goodridge claims that ‘Auld Lang Syne’ was among the five songs present in 1725, he refers to his discovery in the Rylands MS of this line: ‘41 Air 9th Auld Lang Syne’ (f.2V), with 41 corresponding to the page number in the 1725 edition. But although this indicates that Ramsay considered treating Sir William’s prophecy (III.2.917-32) as a song, he did not do so in the 1729 edition, and the stage direction in 1729 says that Sir William ‘starts up and speaks,’ in contrast to ‘sings’ in Citations are from the 1725 copytext. There are almost twice as many changes unique to 1728 as in 1725 and 1726 combined. Moreover, 1725 and 1726 have many more alterations in common than 1728 does with either 1725 or 1726. While the sheer number of alterations does not in itself speak to how substantive those variations are, the two do correlate in this case. 9 The line numbers for the first two songs have been converted to the continuous lineation used in this edition. 7

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the other four. Ramsay unfortunately does not provide, as he does with the fair copy, a date for these rough-and-ready manuscripts. We know, however, that the songs are part of a new edition of The Tea-Table Miscellany, ‘with large Additions,’ advertised in The Caledonian Mercury (‘Advertisement’ 1729). It is uncertain whether the 1729 edition of GS was through the press before or after this; no advertisement survives, but the internal textual evidence suggests it had been printed. In GS 1729, the note reads, ‘The proper Places of the Songs printed in the Second Volume of the Tea-table Miscellany, made for the Pastoral when acted by some young Gentlemen, are all noted at the Foot of the Page’ (xii). This use of ‘printed’ suggests that The Tea-Table Miscellany already exists with the songs, although it may just be that Ramsay is projecting forward to the printing of the text. However, the note in the songbook reads, ‘The following SONGS to be sung in their proper Places on the acting of the Gentle Shepherd, at each the Page marked where they come in’ (Ramsay 1729, 169). The page numbers indicate that Ramsay must have had a printed copy of 1729 before him, because they correspond to it and not to the first or second editions. This raises the question of why Ramsay didn’t simply include the songs in the text of the play. Perhaps doing so would have required too much effort in re-setting the text, the sort of decision often made within the contingencies and urgencies of publication. But, then, the new songs are the only major addition to it and likely the occasion for issuing the new edition in the first place. The other explanation is in keeping with Ramsay’s commercial canniness; by directing the reader of GS to The Tea-Table Miscellany, Ramsay is looking to boost sales. The songs do appear in the text of the 1730 edition; but this is a London imprint, and there is no evidence that Ramsay had anything to do with it. The 1734 edition, as has been noted, does include the text of the songs. Prior to that, however, the only place that a reader could have found the song texts in an edition authorized by Ramsay would have been in The Tea-Table Miscellany.

The Eighteenth-Century Debate Over Pastoral To begin grasping the various meanings of GS, a good place to start is with Ramsay’s subtitle, A Scots Pastoral Comedy, revised from ‘A Dramatick Pastoral’ (D3 EUL f.1R) and ‘A Pastoral Comedie’ (NLS f.7). 12

Introduction to the Text

Each of the terms, ‘Scots,’ ‘pastoral,’ and ‘comedy,’ indicates how he intervenes into the debates over pastoral in his time by localizing it in Scottish history, landscape, and language, and by doing so in dramatic form—more specifically, by staging a comic outcome to the conflicts the play explicitly and tacitly acknowledges. In the dedication to the Countess of Eglinton, Ramsay points to elements of that debate, which ran particularly hot in the prior decade, saying that if ‘my Patroness says the Shepherds speak as they ought, and that there are several natural Flowers that beautify the rural Wild’, he will feel safe from ‘aukward Censure’ (ll. 6-9). The splits over Ramsay’s accomplishment in 1791 are continuous with the questions implicit here: How ‘ought’ shepherds to speak, and what is the proper relationship between the ‘natural’ and the aesthetic (‘flowers’) in ‘the rural Wild’? These questions were at the heart of the so-called ‘Pastoral War,’ which transported to British terrain the conflict between René Rapin and Bernard de Fontenelle, arrayed on one side figures like Sir William Temple, William Congreve, and, most influentially, Alexander Pope, and on the other Joseph Addison, Thomas Tickell, and John Dennis (Congleton 1952, 75-95). The former argued that pastoral has always been and should remain a representation of shepherds from an unspecified Golden Age. The latter held that, since ‘poetry being imitation, and that imitation being the best which deceives most easily, it follows that we must take up the customs which are most familiar or universally known’ (Tickell qtd. in Congleton 1952, 88). This means that for English readers, pastoral should include English place names and personal names, flora, fauna, and superstitions. Anticipating Adam Smith’s criticism of Ramsay decades later, Pope famously responds in Guardian 40 by taking on the voice of his opponents to reveal the absurdity of their position as he sees it. Juxtaposing the pastorals of Ambrose Philips, praised by Addison and Tickell, with his own, he reveals that his opponents’ call for verisimilitude leads only to inanity, violating their own rules (e. g., Philips laughably places wolves in England and mixes flowers out of season), and, above all, to a crudeness courted by trying to approximate the speech of actual shepherds—exemplified by their recourse to non-standard dialects, like the Welsh-tinged English of Spenser’s ‘September’ in The Shepheardes Calender (1579) and the Somersetshire lingo of a ‘pastoral ballad’ of Pope’s own spoofing invention (The Guardian 1714, 240-42). John Gay carries this line of critique further in The Shepherd’s Week 13

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(1714), which mimics the apparatus of Spenser’s Calender, its shrinking of the year to a week part of the fun it has in picturing ‘real’ shepherds, though there is in Gay an affection for the energies of rustic life not found in Pope. A related ironic turn on pastoral ‘realism’ can be found in the sub-genre of the ‘town eclogue,’ as Jonathan Swift, Lady Mary Wortley Montagu, and others satirizing the excesses and corruptions of the sophisticated urban audience who were the actual writers and readers of pastoral. The most famous work in this vein is a text we will return to later, Gay’s The Beggar’s Opera (1728), sparked in part by Swift’s suggestion he write a ‘Newgate pastoral.’ Ramsay engages in these contests from early in his poetic career. In ‘Richy and Sandy’ (1719) the first of his poems published in London, he has ‘Richy’ Steele and ‘Sandy’ Pope lament in Scots the loss of Addison, ‘thereby staking a claim in the newly united kingdom for Scotland as a terrain for pastoral and for Scottish writers as pastoralists’ (Pittock 2007, 333). But if here Ramsay seems to adhere to the strategic realism of pastoral that Addison recommends, he is also ‘undercutting Addison’s standard of polite speech through the determinedly rustic Scots of the shepherds’ (333), and there may be something of a joke at Pope’s expense by having him speak in a non-standard form of English. If in ‘Richy and Sandy’ he plays with the self-consciously literary artifice of pastoral by dressing up Steele and Pope in rustic garb, he also experiments with a vein of pastoral closer to ‘the literary currency of the street’ in ‘Patie and Roger’ (1720) and ‘Jenny and Meggy’ (1723), his take on the tide of Scottish pastoral broadsides that also has an affiliation with ‘political pastoral related to the Stuarts’ (333). The complexity of Ramsay’s position in the national literary networks of his time and his intervention in them can be seen in his dedication of ‘Patie and Roger’ to Josiah Burchett, British naval official (and naval historian) and a Whig MP, who contributes his own English ‘explanation’ of the poem. It can be seen further in the notes he provides to ‘Patie and Roger’ upon its reprinting in his 1721 Poems, as he defines terms from Scottish folklore like ‘elf-shot’ and ‘shellycoat,’ from Scottish husbandry like ‘hauslock woo,’ and Scots phrases like ‘never fash your thumb.’ In that same volume, he locates himself within the debates over pastoral more firmly in his defense of Scots: ‘The Scotticisms, which perhaps may offend some over-nice Ear, give new Life and Grace to the Poetry, and become their Place as well the Doric Dialect of Theocritus, so much admired by the best Judges’ (Ramsay 14

Introduction to the Text

1721, vii). Although Cumming conflates the two in his 1791 appreciation, Theocritus is typically claimed for the ‘realistic’ side in the dispute over pastoral, the more polished and urbane eclogues of Virgil by the ‘neoclassicists.’ As Murray Pittock has argued, ‘It was nonetheless a stroke of genius on Ramsay’s part to convert the idea of the “rusticity of the Doric” in the English debate into a defensive characterisation of Scots as a Doric tongue in comparison to ‘Attic’ English, in so doing transferring “the oral language to his writings”’ (Pittock 2019, 169). When Ramsay comes to publish GS in 1725, re-purposing ‘Patie and Roger’ and ‘Jenny and Meggy’ as the first two scenes, he draws his epigraph from ‘December’ in Spenser’s Shepheardes Calender. That text, as we have seen, is drafted to support the ‘realist’ position, and the passage Ramsay selects also points to the sophistication and particularity of his take on ‘realistic’ pastoral: The Gentle Shepherd sat besides a spring, All in the Shadow of a bushy Brier, That Colin hight, which well cou’d pipe and sing, For he of Tityrus his Songs did lere.

‘Tityrus’ points to a genealogy of literary transmission, referring not only to one of the two shepherds in Virgil’s first eclogue, perhaps indicating that Ramsay is not doctrinaire when it comes to the Virgil/ Theocritus binary, but also, in Spenser’s prior usage, to Geoffrey Chaucer, who is called in ‘June’ ‘the God of Shepherds’ (Spenser 1715, 4:1077).10 The epigraph thus situates Ramsay as part of a long pastoral genealogy that extends back to the roots of English verse as it was understood in his time, and in which he again insists on a place for Scotland and Scots. The mediations of pastoral as a genre are underscored by the phrase that justifies the epigraph, ‘[t]he gentle shepherd.’ The term points to what would seem to be a paradox: If pastoral is about the lives of shepherds, who are generally assumed to be outside of the sphere of gentility, how can we have a gentle shepherd? As William Empson points out in his still-stimulating Some Versions of Pastoral, there is a well-constituted tradition of ‘covert pastoral’ (Empson This edition has been chosen because it is the one that Ramsay uses, as revealed by the page number he attaches to the epigraph. 10

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1974, 6), in which a shepherd turns out to be an aristocrat in disguise, though the shepherd may not know his/her origins. This, in turn, points to the fundamental structure of pastoral, the gap between the rustic world it pictures on one hand, and its production and intended audience on the other–it is ‘about’ that group called ‘the people’ but neither ‘by’ nor ‘for’ them (6). That is, pastoral is typically written by and consumed by people from the Court, the Town, or other polite space. Ramsay thus signals that he is well aware that pastoral ‘realism,’ despite its opponents’ critiques, is not naïve. It is rather a highly self-conscious and heavily mediated literary practice, as with the mock-learned disquisitions from E. K., the commentator written into Spenser’s text. Yet when Ramsay begins writing new material for GS in the Summer of 1724, he also indicates that he is going to take ‘realistic’ pastoral in innovative directions. It is not only that he writes in ‘Doric’ Scots, though that is important; he also heightens the verisimilitude of the text, what Boswell praises as its ‘real picture of manners,’ by situating it in a particular historical moment—The Restoration—and in a particular place—the Pentland Hills, a few miles outside of Edinburgh. In doing so, he applies subtle pressure on the givens of status/class, literacy, religion and folk belief, and gender and sexuality as pastoral normally constructs them, intersecting in the nexus of what a ‘gentle shepherd’ is. Before digging into how these topics play out, Ramsay’s innovativeness can be indicated more broadly by briefly comparing his play to the models he himself invokes, the pastoral dramas by Tasso (Aminta) and Guarini (Il Pastor Fido, favored by Smith). Nigel Leask helpfully summarizes their signal differences: As Alexander Fraser Tytler noted in 1800, Ramsay successfully domesticated and vernacularized sixteenth‐century Italian pastoral dramas such as Tasso's Aminta and Guarini's Pastor Fido, idealized romances set in an Arcadian golden age for the delectation of a courtly audience. Tytler admired the degree to which (to a greater extent than the Italians) ‘the persons of the Scotish pastoral are the actual inhabitants of the country where the scene is laid; their manners are drawn from nature with a faithful pencil’. Despite his worries (shared by Hugh Blair, James Beattie, and other Scottish critics) that Ramsay's use of the ‘obsolete’ Scottish dialect limited the poetic range and audience

16

Introduction to the Text of his pastoral drama, he proceeded to a detailed comparison of Ramsay with Tasso and Guarini, largely in favour of the former (Leask 2010, 60-61).

Ramsay has thus transformed the genre of the pastoral drama by bending it in a more ‘realistic’ direction. The specifics of that transformation now need to be unpacked.

Pastoral Improvement and Its Discontents11 Ramsay’s first addition to the two pastoral dialogues pictures one older shepherd telling another that he has important news that ‘will afford us joy’: The Cromwellians who have been persecuting them have been overthrown and their laird will be returning. Ramsay thereby takes the unique step of situating his pastoral within a specific historical moment in Scottish history—the Restoration—and in a place where the return of the Stuarts is cause for celebration (unlike, say, in the Convenanting regions of Galloway). Overleaf is the first page of the first draft. As Symon adds: Now Cromwells Dead they say & ane Ca’d Monk Has playd the Rumple a Right slee begunk the Kings come hame and ilka things in tune and Halbert says well See our Master Soon (D1 EUL, f.50V)

Symon and Glaud then plan a feast to celebrate the laird’s return, replete with ‘a Bow of Maut,’ ‘two Wathers,’ ‘A Furlet of good Cakes,’ a ‘Haggies’ and other rustic delicacies (II.i. 451-61). However, this return to a happier day is also an origin story for a prophetic look forward. When Sir William arrives at the start of Act

The following discussions on pastoral improvement and the Tickell-Linley adaptation are revisions of material from ‘’Some Pastoral Improvement’ in The Gentle Shepherd’: Mediation, Re-mediation, and Minority,’ in ‘Allan Ramsay’s Future,’ a special issue of Studies in Scottish Literature 46:2 (2020) 77-102, used with permission. For other incisive readings of GS as pastoral, see Crawford 1979, esp. 70-96; McGuirk 1981; Freeman 1984; and Zenzinger 1998.

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f. 50R ‘draft 1’ Laing.II.212*, University of Edinburgh (see p. 71)

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III, alone and disguised as a spaeman, or fortune-teller, he surveys his ruined estate, and pledges that he will repair ‘all that Nature, all that Art makes sweet’ (III.i.774). That renewal depends on elevating his son Patie, the ‘gentle shepherd’ of the play (or, at least, one of them), whose identity Sir William reveals through a ‘prophecy’ he confirms when he unmasks himself shortly thereafter. This is followed by a plan to provide Patie the necessary polish through travel. The importance of this point is indicated by the fact that Ramsay adds it in the fair copy, in the midst of already-drafted material: ‘But from his rustic Business and Love,/I must in haste my Patrick soon remove,/To Courts and Camps that may his Soul improve’ (III.iv.1201-3). This also, as Sir William suggests, breaks the bonds of his ‘rustic Love’ with Peggy, but then she is revealed to be of gentle blood, too—his first cousin, in fact. This allows Sir William to set aside his plan to send Patie away, as he blesses the gentle pair, in a passage that undergoes heavy revision in D3 EUL: ‘I give you both my Blessing, may your Love/Produce a happy Race, and still improve.’ (V.iii.1887-88). The repetition of ‘improve’ registers how Ramsay’s own historical moment shapes his representation of 1660, for it points to the discourses of improvement taking root in the 1720s within the elite circles Ramsay frequents. It also indicates how Ramsay’s revision of pastoral anticipates the intertwining of literary form and the Enlightenment enthusiasm for new approaches to farming and other modernising efforts that Leask has analysed in Burns’ era. There are many passages in GS that provide in unusual detail the mundane practices of agricultural life, from young women laundering clothes (I.2) to farmhands carting manure (II.2.554) to the number of goats, cows, and lambs offered as a dowry (III.2.831-840). This adds specificity to Ramsay’s pastoral ‘realism,’ but underneath what may seem to be a timeless if localized tableau of rustic life is a keen interest in new approaches to the economy. Ramsay attests to his interest in various schemes for modernising the Scottish economy early in his poetic career, as in ‘The Prospect of Plenty: A Poem on the North-Sea Fishery’ (1720). However, the effort closest to GS is the Society for Improving in the Knowledge of Agriculture, founded in 1723; one of their meetings is advertised in The Caledonian Mercury on June 9, 1724, as Ramsay is composing GS, and one of its founding members is his most important patron and friend, Sir John Clerk of Penicuik. Ramsay’s interest in the Society is 19

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reflected in a fragment, ‘The Pleasures of Improvement in Agriculture (c.1723).’12 In a prefatory note, he tells his ‘Honourable & Ingenious’ audience that he plans to begin with an excerpt from Sir David Lyndsay’s Dreme (1528) and its detailed description of the misgovernment of Scotland. Although the excerpt is not extant in the manuscript, the allusion points to Ramsay’s aim of uniting a deeper Scottish past with a call for improvement now. The poem begins instead by situating itself more on the Golden Age/neo-classical side of pastoral by invoking Virgil and Rapin, but he then turns again to the more ‘realistic’ side. For where they sang ‘upon the Banks of Tyber & the Sein,’ Ramsay is ‘beneath a Hathorn father North’ (f.61R). He then admits that while Scotland to date has focused more on ‘martial toil’ than agricultural improvement, this will now change thanks to the efforts of the Society, and he cites the work of its first president, Thomas Hope of Rankeillor, in transforming the marsh south of Edinburgh into what is now known as the Meadows but was long referred to as Hope Park (f.61V, 63R). Ramsay emphasizes the aesthetic gains of this transformation as a respite from economic striving—‘in these sweet walks beneath the Blooming Shade/the Citizen shall drop the cares of trade’—but the poem ends with a paean to the economic benefits of improvement: Rowse evry Lazy Laird of each wide field that unmanurd not half their Product yeild shew them the proper season soils and art how they may Plenty to their Lands impart Treeple their Rents encrease the farmers store Without the Purchase of one Acre more. (f.63R)

But if the compounding magic of improvement is also part of the pastoral imagination of GS, Ramsay knows it does not come without a cost. He is not an uncritical cheerleader for the transformations of the economy. His poems on The South Sea Bubble, as I have argued elsewhere, may be less strident than many others but are hardly uncritical (Newman 2012). There is, moreover, a more specific concern around agricultural improvement that irrupts during the drafting of GS not discussed by prior commentators—the agitation by the GalloThanks to Craig Lamont for sharing his transcription of the copytext, BL Egerton MS. 2023, ff. 61-3; this text will be included in the forthcoming Poems, ed., Rhona Brown, in the Collected Works of Allan Ramsay.

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way Levellers. The first published report comes from The Caledonian Mercury on April 27, 1724: We are credibly informed from Galloway and other Places in the West, That a certain Mountain Preacher, in a Discourse he had in that District to many Days ago, among other things, so bitterly inveighed against the Heritors and others of that Country, for their laudable Frugality in Inclosures, &c. and (as he term’d it) making Commonty Property, that next morning several hundred arm’d Devotees, big with that Levelling Tenet, in a few Hours rid themselves of that Grievance, to the great Detriment of the Gentlemen in the Neighbourhood. Had our Religioso been as solicitous in enforcing the Doctrines of Love and Peace, and of suffering (even Injuries) rather than Sin, ‘tis a Question if his Rhetoric had so readily obtain’d.

In the midst of his sneering, the author does lay out the key claims of those who organized in groups as large as 2000, many of them armed, to overthrow dikes to protest the displacement of tenants by the enclosure of large swathes of common land for parks to graze cattle. Over the next months, the Levellers are cited in no fewer than 11 issues of The Caledonian Mercury: they ‘continue in their Insolence’; ‘dragoons are sent to the West, the better to level the Levellers’; but they continue their depredations at night to ‘bring all to a beloved Parity’ (‘Edinburgh May 14’ 1724; ‘Edinburgh June 2’ 1724; ‘Edinburgh June 16’ 1724). It is likely that Ramsay would have read at least some of these issues; he frequently advertised his work in the paper, and, on May 28, the publisher, William Rolland, scornfully rejects a satirical poem, ‘A Letter to Allan Ramsay, Occasioned by a Former One.’ The Caledonian Mercury would not have been his only potential source of news about this unrest. Clerk of Penicuik, who reports on the depopulation in the region due to enclosure as far back as 1721, receives a letter on May 3rd from his brother-in-law, the Earl of Galloway, that fears ‘the whole gentlemen of Galloway will be overthrown’ if the government does not authorize troops; Clerk’s brother, James, sends him on May 13th an extensive eye-witness account of the Levellers overthrowing seven miles of Basil Hamilton’s dikes; his brother on June 3rd reports more depredations (qtd. in Prevost 1967). Then there are the many texts by the Levellers and their allies in which they articulate their case against enclosures as contrary to Scriptural injunctions to pursue ‘the greater Good of Humane society,’ not only causing great suffering among the peasantry but also providing a convenient place 21

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for possible Jacobite invaders (‘News’ 1724, 1). Protesting their absolute loyalty to the King, one author explicitly presents their current sufferings as a repetition of ‘the great Persecution’ they suffered under Charles II and James II as a result of ‘a great Part of the Commonality being very zealous in adhering to Presbyterian Principles’ (4). These sources provide a picture, however distorted in the main by elite fear and indignation, of a well-organized, articulate, and disruptive representation of past and present counter to Ramsay’s— vociferously anti-Jacobite and skeptical of the morality and the economic consequences of improvement. This is not, of course, to claim that Ramsay sets the play during the Restoration because of the Galloway Levellers. The attractions of the Restoration are broad and deep. They allow him to tell a Jacobitical story of return, not as a political rebellion against the Hanoverian dynasty established after the death of Anne but as a counter to a brutal and unscrupulous power grab conducted against a rightful, organic order personified by Sir William Worthy. Ramsay’s desire to avoid commenting too directly on present political matters is indicated by his removing the descriptors ‘Royalist’ from Symon’s description in the D2 EUL dramatis personae and ‘Whigish’ from Glaud’s (f. 36V). On the other hand, it also means that all of Sir William’s tenants are loyal; and there is another, crucial political upside to setting the play during the Restoration: It allows him the freedom of the counterfactual to imagine that the Act of Union never happened because it would not have yet occurred, with a just and forward-thinking laird bringing the improvements that the Union has thus far failed to deliver. But the sense that even within the distancing allowed by pastoral history still haunts the landscape is revealed in a revision Ramsay makes in D3 EUL, among the most substantial additions. In response to Symon’s proclamation that ‘[t]hey that Hag-raid us till our guts did grane’ will now be replaced by ‘good Sir Colin [who] sall enjoy is ain,’ Ramsay adds: Glaud and may he Lang for never did he stent us in our Thriving rising with a Racket rent or Grum’led to see us thrive or shor’d to raise our Mailen when we Pat on Sundays Claise

Symon Nor wad he Lang with Proud and Sausy air 22

Introduction to the Text allow our Lyart Nodles to be bare ‘Put on your Bonnet Symon tak a Seat ‘how’s a’ at hame? —hows Elspa? —how does Kate? ‘how sells Black Catle? —what gies Woo the year and sic like Kindly Questions wad he speer.

Glaud Then wad he gar his Butler soon bring bedeen The Nappy Botle Ben & Glasses Clean Whilk in our Breast raisd sick a Blythsome flame as gart me mony a time dancing Hame My hearts een Raisd dear Nibour will ye stay (D3 EUL, f.2V-3R)

So, unlike the landlords targeted by the Levellers, Sir Colin is just, kind, and properly paternal, refusing to rack his tenants’ rents, even when their thriving might tempt him sorely, or to put on airs by insisting that they remain bare-headed. Of particular interest is his question, ‘how sells Black Catle,’ since what agitates the Levellers is precisely the displacements that result from ‘parking’ land for cattle, especially cattle illegally imported from Ireland.13 Here, though, the tenantry appears to own the cattle, a practice integrated without comment or apparent difficulty into their economic and social lives, simply one topic among many that their solicitous and well-informed laird asks about. It also reveals that, at least when speaking to his tenants, Sir William is capable of shifting from his refined Augustan English to Scots, further cementing his status as a good paterfamilias of his estate. At the play’s end, he grants Symon, Glaud, and their heirs ‘endless Feu,’ or perpetual tenure, to reward them for tending to Patie and Peggy (V.3.1944-46), and elevates Roger to chamberlain (V.3.1964) for his friendship to Patie, projecting forward a stable but improving rustic economy and society. If these revisions point to turbulence outside of the precincts of the Pentland Hills that run counter to the play’s happy resolution, there are other signs of difficulty related not to strife around land ownership and political legitimacy but rather to the social mores The Irish source of the ‘black cattle’ is among the complaints in ‘An Account of the Reasons’ (1) and in ‘News from Galloway’ (2). Livingston cites Robert Wodrow in 1724 about the illegal Irish source of many of the cattle (Livingston 2009, 28).

13

23

The Gentle Shepherd

of elites—that is, to the downsides that may attend becoming a gentle shepherd. In the first scene, Patie tweaks the wealthier Roger for caring too much about his goods: ‘He that has just enough, can soundly sleep:/The O’ercome only fashes Fowk to keep’ (I.1.47-8). After revealing himself to Symon, Sir William asks whether he has kept Patie’s lineage a secret, and Symon says he has, since ‘without Estate/A Youth tho’ sprung fra Kings, looks baugh and blate’ (III.4.1108-9). Sir William adds that they ‘vain and idly spend their Time’ and grow dependent on their relations, giving them the ‘Sauls’ of ‘downright Beggars’ (1110-13). Symon instances ‘Laird Kytie’s son,’ who is ‘as scrimp of Manners, as of Sense and Grace’ (1119), and Sir William suggests that ‘[s]uch usless Branches of a Common-wealth/Should be lopt off, to give a State mair Health’ (1124-25), a remarkably harsh judgment from someone who has himself just been in exile due to political upheaval. If Patie’s remark to Roger is typical of the way pastoral contrasts the happy simplicity of the countryside with the discontents of court, and the discussion of Lord Kytie’s son is a way to make Patie shine all the more, a more thoroughgoing critique of elite behavior is offered by the scene in which Patie and Peggy try to come to terms with the tragic consequences of Patie’s elevation, now that Sir William has forbidden their romance. Patie laments that tomorrow he must leave for Edinburgh and will next go to London and finally to France: Where I must stay some Years, and learn --- to dance, And twa three other Monky-tricks:--- That done I come hame struting in my Red-heel’d Shoon. Then ’tis design’d, when I can well behave, That I maun be some petted Thing’s dull Slave, For some few Bags of Cash that I wate weel I nae mair need nor Carts do a Third Wheel: (III.4.1420-26)

When Roger throws back at him his saying from the play’s first scene about the unhappiness that attends excessive wealth (i. e., ‘The Owrecome’), Patie affirms it: ‘The Poor and Rich but differ in the Name;’ and to Roger’s objection that the material advantages of wealth should lead to ‘content,’ Patie observes that among the wealthy ‘The Pasions rule the Roast [i. e., roost]’ and they are in thrall to ‘Spleen, tint [i. e., lost] Honour, and affronted Pride’ as well as various physical ailments that ironically afflict those gifted with ‘Ease’ (1144-49). As Patie tries to find a middle way between filial duty and romantic love, 24

Introduction to the Text

he does not exempt from criticism the high world he is now destined to join. When Roger leaves and a mournful Peggy appears, the superiority of a genteel life is questioned further. In D3 EUL, revisions indicate Ramsay’s straining to find the proper approach, as he twice strikes out alternate phrasings of Peggy’s lament for ‘the unhappy Chance, that made not me/A gentle Match, or still a Herd kept thee’ (f.24V; III.4.1481-82) and cancels her exclamation that ‘Patie’ is a name ‘dearer to me/than Gentle Style’ (f.25R). Then, in a long passage added in the fair copy, Patie pointedly lists the moral compromises that would ensue if Peggy were to join him as a member of the gentry:

Yet now least in our Station we offend we must Learn Modes to Inocence unkend affect aftimes to like the thing we hate and drop Serenity to keep up State Laugh when we’r Sad – Speak when we’ve nought to say And for the fashion when we’re blyth seem Wae Pay Compliments to them we aft have scornd Then Scandlize them when their Backs are turnd (f.84)

When Peggy replies, ‘If this is Gent’ry I had rather be/what I am still – but I’ll be ought with Thee’ (f.84), Patie and Ramsay seem to realize that he may have gone too far: No, No my Peggy I but only Jest with Gentry’s apes – for still amangst the Best good manners gives Integrity a Bleez when native virtues Joyn the Arts to please (f. 84)

There is a parallel passage (V.2.1721-22) in which Glaud, after warning Peggy and Jenny that Patie may follow other high-born young men and turn rake, backs off, reassuring them, in lines heavily revised in D3 EUL that Patie will not be ‘sae graceless wrought’ (f.28V).

Pastoral Literacy If the drafts show Ramsay’s intensification of the pastoral critique of the gentle world and the limits of that critique, they also show his interest in an instrument of improvement and mobility not found, to my knowledge, in pastoral prior to GS—education and more specifi25

The Gentle Shepherd

cally the power of literacy. In lines added to the fair copy, Peggy adds to her praise of Patie, ‘Ilk day that he’s alane upon the Hill/he Reads fell Books that teach him meikle skill’ (NLS MS f.21). This point is amplified in the first new scene Ramsay adds to D3 EUL, when Sir William presses Symon to say ‘what Learning did you give can he has he can he write & read’ (f.18R). Symon’s response is revealing:



Baith wonder well- for faith I didna spare to gie him at the School eneugh of Lair and he delyts in Books and reads & Speaks with them that ken them latins words & Greeks ay when he gangs our drives our sheep to Edr Port he Buys from Books of Historys Sangs or Sport he has a sort of them at Rowth & will nor gangs without a poutchfu to the Hill I sometimes think he maks oer great a frais abut fine Poems Tatlers News & Plays when I reprovd him anes—a Book he Brings with this Quoth he on Braes I crack with Kings. (D3 EUL, f.18R)

Ramsay’s interest in the specifics of literacy is indicated by an addition in the fair copy; Sir William elicits the description of how Patie obtains these books by asking: ‘where gets he Books to read — and of what kind/Tho some gives Light, Some blindly Lead the Blind’ (f. 65). The attention spent on this is not surprising, perhaps, from a man who came to Edinburgh in 1701 to apprentice as a periwig-maker and transformed himself into a prosperous and even famous author and bookseller. We learn that Patie can write and read; that he is classically literate (though it is unclear with whom in the neighborhood he could actually converse in Latin and Greek); and that he supplements his schooling by way of the economic interchange between country and city, trading whatever he earns from selling his sheep for the books that can be found only there. Symon’s attempt to reprove him for over-valuing these books is met with a pithy retort on the power of them to bring to the countryside the possibility of socially elevating ‘crack,’ even if one speaks only to oneself. Adam Fox has recently done a deep dive into the evidence for popular literacy in Scotland and has found that between the foundation of its first press in the early sixteenth century and the ‘age of Burns’ in the later eighteenth century, the precondi26

Introduction to the Text tions were put in place for the creation of a mass reading public in Scotland. Over the course of these generations, basic literacy spread through the great majority of the population, the purchasing power of most sections of society gradually improved, and the availability of cheaply printed matter either imported from abroad or produced at home was transformed. (Fox 2020, 53)

Fox notes the presence of some editions of GS; but, bent on sociological history rather than literary criticism, he does not mention discussions of literacy within the play that support his findings and add nuance to attitudes and practices around literacy. Patie’s sentiments are echoed in an essay reprinted in The Caledonian Mercury on June 4, 1724: When I am importun’d to go to the Tavern in the common Phrase— To Kill Time,-- I frequently excuse myself, by saying, I am to meet Company at home: --The Company I mean, are Titus Livy, or Cornelius Tacitus, with whom I pass many an Evening, and while my Companions (in the Poet’s Phrase) are pouring a Thief down their Throats to steal away their Health and Senses, I’m improving both, by the Conversation of these two Sages. (‘From the Weekly Journal’)

Whether Ramsay read this essay cannot be known, but it sounds much like a later passage in which Patie directly proselytizes for the value of books. When Roger marvels at his insight into the maladies afflicting the gentry, Patie says he owes it to ‘Books the Best wale of Books’ and encourages him to ‘ware some Stanes of Cheas/to gain these silent friends.’ (D3 EUL, f.24R). Roger, who has aspirations of his own, enthusiastically embraces Patie’s advice even if it should require him to ‘sell my Ky’ (24R), the ‘Ise’ of ‘Faith Ise hae books’ indicating a distance from polite English that nonetheless does not disqualify him from improvement. The cattle that are at the heart of Leveler unrest will be converted into money to purchase books, with Patie’s advice, and Sir William’s declaration that ‘Education makes the Genius bright’ (III.4.1198) seems to apply to those whose status is lower than Patie’s. Ramsay continues to refine and emphasize the role of literacy in other revisions in the fair copy. Symon’s report of his reading list is altered and enlarged in response to Sir William, who now worries that while some books ‘gives Light, Some blindly Lead the Blind’ (NLS MS f.66): about ane Shakespear and a famous Ben 27

The Gentle Shepherd

he afften speaks and Ca’s them best of Men How sweetly Hawthrenden & Sterling sing and ane caw’d Cowely Loyal to his King— (f.67)

Though firmly grounded in Scotland, Patie’s syllabus now explicitly includes authors on both sides of the Tweed as it continues to adhere to a Royalist code; Ramsay also now substitutes ‘Historys’ for ‘Tatlers News,’ which suggests a more elevated curriculum (f.67). Sir William approves, voicing the remarkable sentiment that: ‘Reading such Books can raise a Peasant’s Mind/Above a Lord’s, that is not thus inclin’d’ (III.4.1154-55). This view of literacy as the key to mental if not social upward mobility has its democratizing potential undercut somewhat by Symon’s self-effacing joke that he and other peasants are not such assiduous or fluent readers, looking into books only ‘on rainy Sunday . . .When we a Leaf or twa, haf read, haf spell,’ until both reader and audience fall asleep (1157-59). Still, it is remarkable how Ramsay foregrounds Patie’s literacy, and the two shepherds of the rising generation are clearly committed to it. Patie and Roger are not the only characters seeking education. In the fair copy, Ramsay has Peggy declare her intention to improve herself in preparation for the day when Patie will be able to make good on his promise:

and all the while I’ll study Gentler Charms to make me fitter for my Traveler’s arms I’ll gain on Uncle Glaud – he’s far frae fool and will not grudge to put me throw ilk School where I may manners Learn (f.83)

Ramsay seems to have in mind the schools where young ladies could learn French, penmanship, dancing, and other polite feminine attainments, a step down from the private tutors favored by those of the highest rank (Glover 2011, 24-49). Looking a bit further down the social scale, we see that Mause, Peggy’s nurse and savior, remark that ‘by Education, I was taught/To speak and Act aboon their common Thought’ (II.3.612-13). Looking yet further down, even Bauldy mentions that he was in school, though it comes to mind only as he recalls being caned (V.1.1626-27). Taken altogether, then, Ramsay’s repeated and intentional foregrounding of education and literacy as he constructs GS does more than break the fourth wall of pastoral by speaking to the audience; it closes to a significant degree the distance 28

Introduction to the Text

between those pastoral is ‘for’ and those whom it is ‘about.’ The Critique of Witch-hunting and the Ghost of the Kirk The occasion for Bauldy’s remembering his punishment at school is his abuse at the hands of Mause and Madge. Echoing Sir William’s disguise as a spaeman, Mause pretends to be the witch Bauldy thinks she is; with the help of Madge, disguised as a ghost, they revenge themselves upon him for his insults, his breaches of decorum compounded by his willingness to betray his pledge to another shepherdhess in his pursuit of Peggy. Sir William dismisses Bauldy’s accusation that Mause is a witch as a sign of his ‘want of Education,’ (V.2.1646), and derisively lists the supposed signs of witchcraft, calling them ‘most absurd’ (1651-64). Ramsay adds to Sir Roger’s list in NLS MS (f.89). This is on top of two earlier passages in which Bauldy details Mause’s eldritch practices (II.2.515-30; II.3.567-81), the latter in Mause’s presence. Of course, Mause reveals herself to in fact be the nurse who spirits Peggy away from an unscrupulous uncle who sought her life and reveals her to be Sir William’s own niece and thus the play’s second ‘gentle shepherd.’ In this instance, then, pastoral realism and ‘improvement’ underscore the residual backwardness of ‘landwart’ peasants, providing the better-educated audience the pleasures of these macabre antiquarian details (a forerunner of Burns’ ‘Halloween’ and Tam O’Shanter) while laughing at their superstition. As the editorial note to these passages indicates, ‘prosecutions for witchcraft in Scotland had sharply declined, especially when compared to the fervent pursuit of them when the play is set.’ Yet if the play devotes significant time to discussing the peasantry’s belief in witchcraft, significant in its absence is the Presbyterian Kirk that drove witch-hunting. It is not that religion is entirely absent from the play: Peggy insists that Patie not press his intimacies ‘farther till we’ve got the Grace’ (II.4.742); Bauldy threatens to haul Madge before the Kirk elders (IV.2.1300); and Jenny is scandalised by Glaud’s account of the atheism of rakes (V.2.1717-18). However, Bauldy is hardly a moral authority; and, given the centrality of the Kirk in the daily lives of Scots during Ramsay’s era and its power as Scotland’s national church, it is noteworthy that it does not feature more prominently in the play. In the same vein, Patie eschews books of divinity and religious controversy. This marks not so much the limits of Ramsay’s realism as 29

The Gentle Shepherd

another strain of improvement. Throughout his career, although Ramsay was reported to have ‘had his own pew in the Tron Kirk’ in 1726 (Pittock 2004), he found himself at odds with the Orthodox elements of the Kirk. This is evident in his mock-‘Elegy on John Cowper, Kirk-Treasurer’s Man’ and ‘his satirical Marrowman ballad, The Right Reverend Robin Ralpho’ (Ramsay 1721, 22-27; Pittock 2019, 109). During the same year that GS is published, he probably established a circulating library that drew the ire the Presbyterian divine Robert Wodrow, who laments that ‘all the villainous, profane, and obscene books and plays, as printed at London, are got down by Allan Ramsay and lent out, for an easy price, to young boys, servant weemen of the better sort, and gentlemen . . . by these wickedness of all kinds are dreadfully propagat among the youth of all sort’ (qtd. in STS IV:28– 29). Later in his career, he again runs afoul of the Kirk when he opens a theatre in Carrubbers’ Close, quickly shut down by application of the Licensing Act of 1737. On the whole, then, Ramsay revises pastoral in GS to offer a vision of Scotland that veers away from the orthodox religiosity of the Kirk (not to mention the pious Glasgow Levellers), refracted through a move away from the sectarian strife of the Interregnum. There are no pastors evident in this pastoral. This is not to say that Ramsay is anticlerical or irreligious, but rather that his preference for a more Moderate version of Presbyterianism can be inferred from the role religion and the Kirk play in GS.

Gender, Sexuality, and Song The picture of Scotland that he offers instead likely also offended Auld Licht sensibilities in its frank representation of pastoral bodies and their sexual drives. While not as bawdy as other Ramsay texts recently analysed by Pauline Mackay, the sensuousness that moved the 1791 reviewer to praise Margaret Turner’s chaster English translation is present from the opening scene, in which Patie recounts seeing Peggy out in the morning, her skirt tucked up to reveal her ‘straight bare Legs that whyter were than Snaw'; and, once they met: I clasp’d my Arms about her Neck and Waist, About her yielding Waist and took a Fouth Of sweetest Kisses frae her glowing Mouth. While hard and fast I held her in my Grips, 30

Introduction to the Text My very Saul cam lowping to my Lips. Sair sair she flet wi’ me, ’tween ilka Smack: But well I kend she meant nae as she spake. (I.1.132-38)

The dismissal of Peggy’s resistance as a ‘no that means yes’ is disturbing if sadly conventional; and the display of women’s bodies for men’s pleasure runs throughout the play, as in the description of in the prologue to I.2, where the reader is invited to ‘please your eye’ by ‘view[ing] twa barefoot Beauties clean and clear’ (175-76). ‘Kiss’ appears 27 times in the play, and it is directly represented in the stage direction that follows a duet that has its first line the lusty ‘By the delicious warmness of thy mouth’ and closes Act II: ‘Let down the curtain and let them kiss.’ (Ramsay’s limits are perhaps indicated by his cancelling of ‘But thus I’ll fauld thee to my panting Breast & thus & thus’ (D2 EUL f.42V) in what would become II.4.) To turn from the play’s central pair of lovers, Glaud is not shy about referring to Peggy and Jenny as ‘twa sonsy Lasses young and fair,/Plump ripe for Men’ nor to revealing to them ‘that rakes brag how aften they have had the Clap’ (III.2.954-55; V.2.1704). This explicit reference to venereal disease even within the earthier precincts of Ramsay’s pastoral is somewhat surprising; more surprising still in another way is how the play also eroticizes the male body as well—or, at least, Patie’s body, as when Peggy laments, ‘Nae mair arround the Foggy-Know I’ll creep,/To watch and stare upon thee, while asleep’ (IV.2.1510-11) or she praises his ‘Breath,’ ‘Face,’ and ‘Shape’ in the concluding song (V.3.1989-91). This reversal of the male gaze is in keeping with the way that Ramsay foregrounds women in GS and elsewhere in his work, not just as objects of delectation but also as subjects with their own voices and desires (McManus 2021). This is clear in the remarkably candid exchange between Jenny and Peggy over marriage, with Jenny declaiming at length against the lot of married women­—faithless and physically violent husbands, the drudgery of household labor and childrearing, and the looming threat of poverty (I.2.250-59, 278-87, 298-313). While the dislocations of war feature in Virgil’s Eclogue 1 and while heartache is common to the genre, this grim picture of domestic life is rare and perhaps unique for a pastoral outside of the ironic takes by Gay and others. In the end, since this is a pastoral comedy and since there are limits to Ramsay’s heterodoxy, Jenny ends up accepting Roger’s suit, yielding to Peggy’s case for marriage, motherhood, and with it, domestic subordination. ‘Men were made for us, and we 31

The Gentle Shepherd

for Men’ (I.2.217), she says, and contrasts how the better sort of men ‘reason calmly’ when women are subject to their ‘short Passions’ (33943). This is not to say, however, that Peggy imagines women in merely a passive role, as they play a key part in the domestic economy (320-32), and also in teaching men to act politely. We see this in the lines from ‘By the delicious warmness’ in which she prevents Patie from taking too many liberties before wedlock (II.4.738-42), turning Patie ‘from a rustic love or a covert carpe diem-singing aristocrat into a proper gentleman’ (Newman 2002, 303). That Peggy does this through her singing is no accident. For the figure of the woman singing Scots songs is for Ramsay one the most efficacious routes to national improvement. In the dedication to TTM Ramsay tells ‘ilka lovely British lass’ that the songs’ ‘beauties will look sweet and fair,/Arising saftly through your throats’ (Ramsay 1723, v). Here, Britain is something like a super-national entity marking the boundaries of a state messily forged by the Act of Union, which conveniently goes unmentioned here. Within those boundaries, Scotland is imagined not as a ‘landwart,’ impoverished, fanatical place easily stereotyped and easily dismissed. It is instead the source of valuable traditions that, having been revised by Ramsay and having been ‘saftly’ animated by passing through the throats of singing women, appeal to the polite who look forward to a history of improvement. These various strands of pastoral improvement are braided together in the concluding song. In lines added in the fair copy, Sir William calls for a song, and Peggy offers him ‘the newest that I hae’ (f.103), in lines set to ‘Corn-riggs are bonny,’ the only tune named in 1725 GS. By calling the song her ‘newest,’ Ramsay engages in some clever historical sleight-of-hand. On one hand, he fixes the song in the Restoration, suggesting that for his current audience the song is part of a much older Scottish landscape. However, by calling the song her ‘newest,’ Ramsay gestures at his own act of revision in the historical present, as he provides new lyrics that we assume make more genteel the traditional ones but which do not lose purchase entirely on the Scottish past. (We have to assume this because there are no surviving verses prior to 1725, but this sort of revision is typical of Ramsay’s treatment of older songs.) The song begins with another eroticizing of Patie, praising his mind, breath, face, shape, walking, and talking. It is no wonder, then, that in the next stanza Peggy agreed to tryst with him ‘where Yellow Corn was Growing’ (f.104), and the song ends 32

Introduction to the Text

with Peggy scolding ‘Lasses of a silly mind’ who deny their desires and the ‘yeilding’ for which they ‘wer designed,’ when they ’Chastly grant’ (emphasis mine) what their lovers want (f.104). This limited liberty will then lead to a proper marriage that will, in a concluding bit of pastoral carnality, license Patie to ‘Towzell’ ‘my cockernony’ whenever he wishes ‘where Corn Riggs are Bonny.’ The textual revision finds a parallel in the tune. A full history up to 1758 can be found in the notes to the music in this volume (pp. 546-559), and, as recently noted (McGuinnness and McGregor 2018, 64), it can be traced back only as far as a ‘Scotch song’ Thomas D’Urfey wrote for the play The Virtuous Wife (1680), ‘Sawney was tall and of noble race’ (1680-81). Fittingly, then, Ramsay re-appropriates a tradition that for the most part pastoralizes Scotland as a joke for English audiences; and, as the lyrics reveal, he does so in a way that foregrounds the newly-elevated Peggy as the focus of the play’s attention, singing Scotland into a polite future grounded in a rougher past. The ‘Corn-riggs’ become the scene for pleasures and improvements of all sorts, from the rural economy to sexual mores to song itself.

The Role of Scots If this is the social and historical vision informing Ramsay’s ‘Scots pastoral comedy,’ a key vehicle for it is his use of Scots. Ramsay is aware of the bias against the language later confirmed by Smith and Dr. Johnson. When he hopes in the dedication that the Countess of Eglinton will find that ‘the Shepherds speak as they ought’ or in a prologue worries that ‘the Diction may offend Some Nicer Ears’ (Laing MS 212*, f. 37R), he refers in part to the sense that Scots is not fit for polite consumption. This is a position he explicitly rejects in the Preface to his 1721 Poems, in which he defends having ‘exprest my Thought in my native Dialect’ by arguing that Scots is ‘liquid and sonorous, and much fuller than the English, of which we are Masters, by being taught it in our Schools, and daily reading it’ (vi; vii). Again, the school makes an appearance, though less as a vehicle of the bi-national curriculum Patie pursues than a way for the Scots to show that while they are capable of being ‘Masters’ of English are not limited to it and have good reason to prefer Scots. Ramsay’s commitment to his ‘native Dialect’ registers not only in the prevalence of Scots among the speakers of the play—with the notable exceptions of Sir William and Patie in most of 33

The Gentle Shepherd

his speeches after his pedigree is revealed—but also in his experiments in orthography in the drafts. For instance, on 70 occasions in D3 EUL and NLS MS, mostly in the latter, Ramsay uses the special character ‘ŭ’: e. g. Bŭght (NLS MS f.8), mŭsick (f.20) and twice in one word in the case of ‘ŭnjŭst’ (f.64). Craig Lamont reasonably conjectures that this is a result of his importing a convention from older Scots via the Bannaytne MS., as he does in his transcription of Ane Satyre of the Thrie Estaitis, and/or his attempt to approximate the sound of Scots (‘The Ramsay ‘ŭ’). Although recent work by Murray Pittock, Jeremy Smith, and Jeff Strabone points the way, much work remains to be done on Ramsay’s ‘methodising’ of his ‘synthetic Scots,’ locating its textual and regional sources, and how it bears on his metrics and rhyme. It is hoped that this edition encourages others to take up that task.

Some Scenes from the Afterlives of GS Performances The afterlives of GS on the stage, the page, in visual art, in material artifacts, and literary tourism are extensive. What follows is less a summary than a sketch of them indicating possibilities for further inquiry; more can be found in the ‘Reception’ section of the website associated with the collected works of which this volume is a part.14 Although Ramsay wrote The Gentle Shepherd in hopes of it being performed, the evidence we have indicates that he had to wait a while for that wish to be fulfilled. As already noted, the play was successful enough for a second edition to be issued in 1726, and it appeared again in the second volume of his poems in 1728. However, the first performance for which we have solid evidence comes in a note to an epilogue printed in the 1730 edition of Ramsay’s The Tea-Table Miscellany, which states that The Gentle Shepherd was performed at ‘Taylors-hall by a set of young Gentlemen, January 22, 1729’ (Ramsay 1730, 189). Next is an August 27, 1729 performance by ‘the young Gentlemen of the Grammar-school of Haddington, who, as advertised in The Caledonian Mercury, paired ‘the Tragedy of Julius Caesar, https://www.gla.ac.uk/schools/critical/research/researchcentresandnetworks/robertburnsstudies/edinburghenlightenment/reception/.

14

34

Introduction to the Text

and the celebrated ALLAN RAMSAY’S Pastoral Comedy’ (‘Edinburgh, August 19’ 1729’). That there is no clear evidence for a performance prior to 1729 bring us to a puzzle posed by a text touched on above, the prologue included in the Laing MSS. (f.37R) as well as another, water-damaged version of it in British Library Egerton MS. 2023 (ff. 116-17). The latter is dated 1729, but the insertion of the former within the Laing MSS., at the beginning of Draft 2, suggests that it was composed in the Summer of 1724, which, in turn, raises the possibility of a 1724 performance. However, there are also signs that there is no particular reason why the prologue should have been bound into this volume. First, it refers to ‘Sir William’ rather than ‘Sir Colin,’ the name for this character in Draft 2 (and Draft 3 as well, Ramsay not changing his name to Sir Wiliam Worthy until the fair copy). Second, it lacks any writing on the verso side of the leaf, unlike the other leaves in these drafts. Finally, alone among the leaves in these MSS., it has in pen in the upper right-hand corner (‘112’), which suggests it was once part of a different gathering of texts. Taken altogether, this suggests that the prologue was written for the 1729 dual performance with Julius Caesar that we are certain did occur. It is not hard to explain the delay in production; to Ramsay’s chagrin, licensed venues for performance in Scotland (anywhere outside of London, really) were scarce, and unlicensed ones carried the risk of a quick shutdown and possible prosecution. While the company headed by Ramsay’s English friend Anthony Aston that performed at Skinner’s Hall in the winter of 1727–28 could potentially have mounted a production, their engagement in Edinburgh was curtailed by the combined protests of the Presbytery and the legal force of the Magistracy (STS VI: 190; Scullion 1998, 89-91). Moreover, despite the printing of GS in London in 1725 and 1726, it would not have been easy for a Scottish author living in Edinburgh to get a play produced at Drury Lane, Covent Garden or unofficial venues in London or elsewhere. It is not certain who performed the play at Tailors’ Hall. However, in a forthcoming article, Brianna Robertson-Kirkland makes a persuasive case against an assumption made by many scholars that the performers were students at Haddington Grammar School.15 For 15

Thanks to Dr Robertson-Kirkland for sharing a draft of this article. 35

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although they certainly performed the play in August of 1729, a performance in January would be out of keeping with their once-a-year performance schedule; the epilogue printed in 1730 makes no specific mention of the Haddington schoolboys or their master, Richard Leslie, as is true of other prologues and epilogues by Ramsay; and given that we know Edinburgh University students often performed plays, it is more likely they were the performers, given their proximity to Tailors’ Hall (Robertson-Kirkland, 6-8). Whoever performed at Tailor’s Hall, what seems to have sparked sufficient interest in performing it in Edinburgh was Ramsay’s revision of the play into a ballad opera at some date prior to early 1729. The reason typically given for that revision is the remarkable success of John Gay’s The Beggar’s Opera (1728). After its run of sixty-three performances in London and its presence in countless newspaper and journal articles, pamphlets, and even merchandise, it was also staged throughout the British Isles, including Glasgow (Pittock 2019, 172). Kinghorn and Law attribute Ramsay’s decision to the enthuasiasm of the Haddington Grammar School boys for Gay’s play (STS IV: 92), but given Ramsay’s commercial acumen, as well as his friendship with Gay (Pittock 2019, 171-72), he would not have needed their encouragement to do so. If Ramsay was moved by Gay to revise GS, this would have been fair play, since Gay draws on Ramsay’s songs for three of the airs to The Beggar’s Opera (nos. 40, 49, and 52), and another seven in the sequel, Polly (1729).16 Whatever moved Ramsay to revise the play into a ballad opera, it changes the play profoundly, making the musical elements all the more important. The challenges in determining what tunes Ramsay has in mind are discussed in the Introduction to the Music, below. The interchange between Ramsay and the London stage is affirmed, though not on Ramsay’s terms, in the first London production. This was an adaptation of The Gentle Shepherd by Theophilus Cibber, Patie and Peggy: Or, the Fair Foundling, A Scotch Ballad Opera, staged on April 20, 1730, at Drury Lane, the first of seven performances through 1731 and which was successful enough to call forth another edition that includes the music for the songs. Cibber shrinks the play Polly was published on April 5, 1729 (Winton 1993, 134); it is unclear whether Ramsay would have had access to it prior to the drafting of the ballad opera version of GS.

16

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to one act, ‘chang[es] it into the English Dialect, without which, it had not been intelligible to our Auditors’ (n. pag.), the first of many translations from Scots English to English English. In a similar expression of English hegemony, he reverses Ramsay’s re-appropriation of Scots Songs by replacing many of Ramsay’s ‘with more familiar, putatively Scots songs printed or composed in London’ (Joncus 2017, 10). Cibber’s adaptation focuses on the double love-plot of Patie and Peggy and Roger and Jenny at the expense of pastoral improvement and its discontents; he cuts the critique of gentry excesses and the witchcraft subplot, along with the characters of Bauldy and Madge. An exhaustive account of the stage history of GS after these earliest productions cannot be provided here; much research remains to be done to supplement the records in The London Stage, 1660–1800, and Burns Martin’s still-useful compendium (Martin 1931a, 181-84). But a sketch of current knowledge can be offered, and it reveals that if it took a few years for GS to be staged, the pace of its performances increased as its reputation and venues for performance increased. There are no recorded performances between 1735 and 1752, aside from nine at the James Street Theatre in 1746–47 about which we know little except that it was ‘Acted by Gentlemen for their own Diversion,’ which raises the interesting possibility of men playing the women’s roles (Scouten 1961, 3: 2: 1263); and a sole performance in Edinburgh reported by Dibdin (60-61). In contrast, with the exception of five seasons from 1752 until 1800, The Gentle Shepherd was on stage somewhere in Great Britain, the American colonies or the United States. This includes heretofore unrecorded performances in York, Scarborough, Hull, and Alexandria, Virginia (‘Theatre-Royal, York’ 1791; ‘At the Theatre in Scarborough’ 1783; ‘Theatre Royale, Hull’ 1783; ‘Old Theatre’ 1798), in addition to London, Edinburgh, Bristol, New York, Philadelphia, and Charleston, South Carolina. That GS exerted a significant pull on its audiences is reflected in one of the most striking items in the large corpus on Ramsay’s reception, a report in 1796 that in London two women fatally overdosed a child with laudanum, seeking to put it sleep so that they could ‘entertain themselves with an exhibition of The Gentle Shepherd’ (‘[Red Lion]’ 1796, 3). The version probably attended by these women and the one responsible for the largest share of those performances was the two-act afterpiece written by Richard Tickell, with music by Thomas Linley, first performed on October 29, 1781 at Drury Lane. The songs differ in 37

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many respects from those in Ramsay’s 1729 edition. While the two that emphasize the displacement of the Commonwealth and the return of the King remain—‘Cauld be the rebel’s cast’ and ‘Peggy, now the King’s Come’—gone is Sang VII, in which Symon praises Sir William for not being a rack-renter, as well as all of Sir William’s songs. This mutes the play’s politics of improvement, as does the concluding song. Transformed into a full-on finale, with Patie, Roger, Jenny, and Bauldy getting their own verses, and a communal chorus, its emphasis on a community palatable to the ears of a later eighteenth-century audience is heightened by the music itself. As Brianna Robertson-Kirkland observes, while Peggy’s opening verse closely resembles the setting in Orpheus Caledonius, the chorus is a ‘very classically-styled four-part harmony . . . is reminiscent of the choruses from oratorios, which were really popular at this time’ (Robertson-Kirkland 2020). David McGuinness adds that the chorus is a piece of ‘very self-consciously simplistic and naïve writing’ (McGuinness 2020). Or, we might say, the chorus is pastoral understood in a more limited way than Ramsay does. Taken altogether, Tickell and Linley’s revision provides a version of GS that significantly shrinks its scope. Because only the songs survive we can only guess what is said rather than sung, but given that it has only two acts, it can’t be nearly as much—providing a less-complex vision of pastoral improvement. That we are in a mistier conception of ‘Scotland’ familiar to anyone who has studied post-Ossian representations is indicated by the review in Lloyd’s Evening Post, which remarks that ‘[t]he characters were dressed with a rustic simplicity, which though not exactly characteristic of the Highland manner, were perfectly pastoral’ (‘Arts and Culture’ 1781, 420). So even a play set in the Pentland Hills errs by not dressing its characters in Highland garb; but at least they were ‘perfectly pastoral.’ This is in keeping with the unapologetically presentist tenor of the rest of the review; ‘pastoral’ is its keynote, though its meaning, beyond ‘countrified,’ is hard to pin down and lacks the substance and nuance of Ramsay’s text. After remarking that the original was ‘always deemed prolix and heavy’ with its rhymes ‘all of the pastoral kind,’ and difficult for those who did not know ‘the Scottish dialect,’ the reviewer praises the authors for preserving and polishing its ‘so many scattered beauties,’ singling out Linley’s music and especially the overture, ‘the first movement, though, of the pastoral kind, very lively; and the popular air of the Highland Laddie is made the 38

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subject of the last, which is diversified with great professional skill among the different pastoral instruments’ (420). This is one of the versions of the play that, as noted above, could be seen in London in 1791; that the other version billed itself as the ‘original Scots musical pastoral’ (emphasis mine), suggested that others at the time perceived and wished to close the distance between Ramsay’s text and Tickell and Linley’s adaptation. If there are gaps to fill in the eighteenth-century history of performance of GS, the nineteenth and twentieth centuries are largely terra incognita. However, there is evidence of performances not only in London, Edinburgh, New York, and Charleston but also in Glasgow, Aberdeen, and as far afield as Australia, in Melbourne, Adelaide, and Sydney, and other places (‘Twa Hours at Hame’ 1872; ‘White’s Rooms’ 1867; ‘Kennedy’s Last Two Weeks’ 1873).17 That the play remains of interest in a modernising Scotland is clear from the fact that in an 1844 production at the Edinburgh Adelphi Theatre, it follows a ‘Much-Admired Locomotive Gallopade . . .Dedicated to the Directors of the Edinburgh & Glasgow Railroad’ (‘Rights of Woman’). Although the version mounted is only three acts, the extensive description of the scenes indicate that it is a relatively full adaptation, and it throws in a trio and reel between acts I and II and a concluding dance by all the characters. Still more interesting is a series of reports of amateur performances in and around Aberdeen in the latter half of the century. For instance, in 1850 The Aberdeen Journal reports that in the village of Kemnay, a barn ‘was fitted up as a theatre,’ where ‘“The Gentle Shepherd” was very creditably enacted, by a few young men amateurs’ to benefit a local resident whose ill-health had pushed him and his mother to the brink of being counted ‘parish paupers’ (‘Laudable Conduct’ 1850). Some six years later, another set of ‘spirited young men’ gave a charity performance of GS for the benefit of ‘fifty-five individuals’ (‘New Deer’ 1856). Yet a third performance is recorded in 1879 in the village of Longside, by the local dramatic club (‘Longside’ 1879). While these amateur performers may be some distance from the claim made in two separate sources in 1791 that the people of Scotland had the play by heart (or close to it), it does suggest how much the play was part of the lived experience of nineteenth-century Scots. This view

17

Thanks to Dr Robertson-Kirkland for supplying these references. 39

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is supported by the recollection of the eminent geologist Sir Archibald Geikie that during his first stint with the Geological Survey in the Pentland Hills in the late 1850s: I was much interested to find that the custom still prevailed among the peasant population of acting Allan Ramsay's pastoral play of The Gentle Shepherd in the midst of the very scenery which had inspired the poet. The Scottish language of the dialogue was given by the rustic actors with full Doric breadth, and even sometimes with creditable dramatic power. That the poem, which was published in 1725, should survive in the affections of the peasantry, is strong evidence of the force and fidelity of its picture of Scottish rural life. Its survival in this form has probably kept much of the old Scots tongue still in use throughout the district. Mr. Horatio F. Brown, proprietor of New Hall, the scene of the play, informed me in 1913 that an occasional performance in the old vernacular still takes place. (Geikie 2012, 55)

The recourse to ‘Doric’—Ramsay’s own term for his use of Scots (1721, vii)—is a happy touch, as is the less-than-credible idea that the play itself is probably responsible for keeping ‘much of the old Scots tongue still in use.’ A final instance of this tradition can be found in a review of the 1949 Edinburgh Festival revival, though the author does not identify his sources: Though we may feel that the air of a feuilleton pervades ‘The Gentle Shepherd,’ proof that the play rang true as an expression of Scottish feeling in an age less sophisticated than our own, is to be found in the enthusiasm with which it was taken up by rural amateurs. It was played annually at Carlops on October 15, and the company which produced it carried it to neighboring villages. Many people knew passages of the play by heart. When the weavers of Carlops declined in numbers, the Penicuik papermakers took the play over, and were later asisted by the Silverburn joiners. (Our Drama Critic 1949)

However much the play might have partaken in the distancing and idealizing conventions of pastoral, its realism turns out to be so effective that it melds into the lifeworld of its setting. It even partially arrests its progression, an outcome that would probably have pleased Ramsay as a sign of the value placed on his work and its durability, though this stasis is in tension with his vision of improvement. While amateur performances in the countryside seem to peter out in the 20th century, performances elsewhere crop up with some 40

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regularity. There is a 1906 performance in Melbourne (‘Miss Leila Doubleday’s Benefit’) and a 1909 performance at a women’s college in Frederick, Maryland (‘Money for a Girl’s College’). There are also performances of a more professional sort. In 1923, a new adaptation debuts in Glasgow and then moves to Edinburgh with a planned trip to the West End, though there is no evidence it ever actually ran there. A review in The Scotsman suggests it is occasioned by the great success of the revival of The Beggar’s Opera at the Lyric Hammersmith, and it follows a practice dating back to Cibber, as ‘the producers are quite frank in their confession that the play has been Anglicised’ (‘“The Gentle Shepherd” at the King’s’ 1923). However, the aim of at least one of the performers is to correct a devaluation of Scottish music in England: ‘Miss Joyce Douglas, the Scottish soprano, will play the leading role, “Peggy.” Miss Douglas hopes, by assisting in this adaptation of an old Scottish opera, to help to show the people of Britain that in Scottish song and music, there is a great and wonderful field for music lovers to revel in’ (‘The Stage and Stalls’ 1923). The 1923 performance is less well-known than the revival of GS at the 1949 Edinburgh International Festival, with Norman Kemp responsible for the script, Cedric Thorpe Davie for the music, and Tyrone Guthrie for the direction and the production as a whole. The trio reunites after the great success of staging David Lyndsay’s Ane Satyre of the Thrie Estatis the year prior, with its groundbreaking departure from the proscenium stage. This is not the first time the three participated in a production of GS. Guthrie played Sir William Worthy in a 1927 BBC Broadcast (‘Radio Programmes’), and Thorpe Davie composed the music for a 1947 radio performance, with Kemp as producer and the script adapted by the distinguished Scottish critic, Maurice Lindsay (Lindsay and Ramsay). The 1949 production reveals the persistence of the debates around pastoral even as it also reveals a sense of distance from the eighteenth century and the decline in Ramsay’s reputation (though, as we have seen, he has always attracted his share of sneers). Kemp’s notes to Guthrie give an idea of the approach taken in 1949. Explaining why he does not wish to cut any more from the text, he writes, ‘[T]he charm of the piece is partly in the poetical descriptions. I feel the other part of the charm is in the feeling of an elegant square dance that goes through without haste and in good order’ (1). While ‘square dance’ situates the text in a more rustic or even folkish context, 41

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‘elegant’ suggests something higher. This is echoed in the headline of a review in The Scotsman, ‘Ramsay’s Pastoral Takes on a Sophisticated Look,’ with the reviewer observing that Guthrie, deciding against ‘a manner more in keeping with tradition’ has ‘avoided any temptation to be realistic and given us a purely artificial entertainment,’ indicated by the ‘circle of powdered footmen who act as candle-holders’ (‘Gentle Shepherd’ 1949). In this, Guthrie seems to have followed Ramsay’s own lead, with one reviewer finding in GS the same ‘artificial air of eighteenth-century bucolics’ found in Watteau and Fragonard and even ‘Marie Antoinette’s ferme ornée at the Pettit Trianon’ (‘Festival Play’ 1949). Another review, quoted above, detects in the play ‘the air of a feiulleton’ (‘Plays and Players’ 1949). Ramsay’s alleged artificiality is used by the journalist, folklorist, and nationalist Lewis Spence as the basis for a broader attack on GS and Ramsay himself, the former insulted as the ‘meretricious dregs’ of Scottish theatre that in a prior production led to ‘boredom unrelieved’ and the latter guilty of adding ‘gaucheries and cacophonies’ to Scottish song and committing ‘atrocities. . .on the tradition of Scottish poetry’ (49-50). Yet even Spence begrudgingly acknowledges that ‘[i]n an evil day he re-invoked and revived the genius of Scottish verse, and if he did so in unhandily and indiscriminatingly, he at least broke down the barriers which divided the old Scotland from the new’ (50). Other reviewers are more generous, crediting GS with ‘a homely picturesqueness of phrase and a certain robustness of expression’ or ‘a remarkable rustic freshness and a magic which brought the countryside—Lanely Bield, Habbie’s Howe, and all—into this Regency building’ and citing the tradition of amateur performances in the countryside as evidence of its truthfulness and vitality (‘Plays and Players’; ‘“The Gentle Shepherd’”). The ‘sophistication’ of the 1949 production is unfavorably contrasted with one in 1951 mounted at the Royal Princess Theatre in Edinburgh, as the reviewer for the Citizens Theatre newsletter praises it: ‘Here all was simplicity. The shepherds and their loves sang their songs themselves, as Ramsay intended them to do; the dewy freshness of a smiling May morning pervaded play and players; and the simple tale of true love and its fairy-tale happy ending ran its course without artificial intrusion’ (‘“The Gentle Shepherd”’ 1951). The Citizens Theatre stages its own production of the play in 1962. Its commitment to staying faithful to Ramsay’s text is reflected in its inclusion of all 21 of the songs (compared to 12 in the 1949 production), and its sense 42

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of the play’s history is reflected in its reprinting of a review of an 1845 production, along with an exhibition that included the Laing MSS, Allan Ramsay and His Circle (‘“The Gentle Shepherd”’ 1962). More recently, there have been performances at the Carlops Festival of 1980; a return to the Edinburgh International Festival in 2001, with the music arranged by the musical editor of this volume; performances in 2016 in Chicago and Bloomington, IN as well as stagings at the Allan Ramsay Festival that has since 2016 integrated Ramsay’s work into its festivities. The editors hope that this edition will help those interested in staging future performances.

Editions to 1800 As these various productions were staged, editions of The Gentle Shepherd continued to issue from the press, 115 separate imprints by 1800 according to the current count of the research undertaken for the present edition of Ramsay’s Works. All but a few are based on 1729 GS, and many were tied to the stage, as in the 1759 edition of the adaptation by West Digges, ‘acted with great applause at the theatre in Edinburgh’ during the prior year (‘Leiman and Mannheimer’). That this edition was printed in Dublin also points to the geographical range of publication. Dublin enters into the publication history early on, with an unauthorized edition in 1727; Glasgow comes in with the first Foulis edition of 1743; then comes Aberdeen (1754), Belfast and Falkirk (both 1755), Newcastle (1760, though it was also listed in the 1726 imprint); Perth (1773); Newry (1776); Dundee (1780); Strabane (1783); and, intriguingly, given Burns’ high opinion of the play, Kilmarnock (1784). The first U. S. edition appears in 1788, though its city of publication is unknown, followed by a Philadelphia edition in 1795 that is prefaced by approving quotations from Alexander Ross, author of The Fortunate Shepherdess (1768), a three-canto riff on Ramsay’s play, and, bringing us back to our opening survey of GS in 1791, Lord Gardenstone. The high-water mark for editions of GS comes in 1798, with the publication of seven separate editions in Edinburgh (one with engravings and one without), Glasgow, Dundee, Berwick, Philadelphia, and London. The last is one of the remarkable number of English ‘translations’ of the play, beginning with Cibber (1730), followed by Vanderstop (1777), Ward (1785), and Turner (1790); titled The New Gentle Shepherd, its author, Lieutenant Adam Allan, is stationed in New Brunswick, 43

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Canada, indicating again the wide popularity of the play and also how its circulation is shaped by the heavy participation of Scots in the mechanisms of empire. The century is capped by a monumentalizing edition of Ramsay’s poetry by George Chalmers (1742–1825). Standing at over 1000 pages in two volumes, it includes a new engraving of his son’s portrait, a full biography, and ‘Remarks on the Genius and Writings of Allan Ramsay’ by Alexander Fraser Tytler, Lord Woodhouselee (1747–1813). Running nearly 100 pages, it is a remarkably comprehensive survey of Ramsay’s works; unlike Cumming in his 1791 address to the Pantheon, Fraser Tytler knows that Ramsay’s works outside of GS require attending to. But he does devote the last third of his account to ‘the noblest and most permanent monument of his fame’ (Fraser Tytler 1800, cxviii). Fraser Tytler’s favorable comparison of GS to Aminta and Il Pastor Fido has been noted above. He also praises Ramsay for solving the puzzle of how pastoral can manage ‘the association of delicate and affecting sentiments with the genuine manners of rustic life’ (cxlviii), avoiding both an unbelievable over-refinement or a disgusting indelicacy. This he does by first having ‘[t]he principal persons of the drama, though trained from infancy in the manners of rustic life [be] of gentle birth,’ which means by ‘nature and the influence of blood’ they will enjoy ‘an elevation of sentiment, and a nobler mode of thinking, than to ordinary peasants’ (cxlix). As for the other peasants, they happily avoid ‘extreme vulgarity and coarseness of manners’ by dint of Ramsay’s chosen location: ‘The peasantry of the Pentland hills, within six or seven miles of the metropolis, with which of course they have frequent communication, cannot be supposed to exhibit the same rudeness of manners which distinguishes those of the remote part of the country’ (cxlix-cl). Here, Fraser Tytler reveals his ‘new Toryism’ (Toit 2004), overlooking, among other elements, the critiques of the gentry and the improving force of literacy discussed above, though Ramsay does make the play available for this reading through his use of Empson’s covert pastoral. However, if Patie and Peggy are born to distinguish themselves from the peasantry, the text in which they feature has been absorbed fully by it. Echoing and expanding on a claim we have encountered before, he asserts: It is recited, with congenial animation and delight, at the fireside of the farmer, when in the evening the lads and lasses assemble to solace themselves after the labours of the day, and share the rustic 44

Introduction to the Text meal. There is not a milk-maid, a plough-boy, or a shepherd, of the Lowlands of Scotland, who has not by heart its favourite passages, and can rehearse its entire scenes. There are many of its couplets that, like the verses of Homer, have become proverbial, and have the force of an adage, when introduced in familiar writing, or in ordinary conversation. (Fraser Tytler 1800, cliii)

Here, rather than shepherds improving themselves through reading books, we have the print text of the play passing into orality, though ‘familiar writing’ is mentioned, into proverb, into the semi-anonymous but foundational status of Homer’s verses.

Criticism While the most extensive piece of criticism on Ramsay in general and GS in particular up to that point, Fraser Tytler’s essay marks neither the beginning nor the end of commentary on the play. As Rhona Brown has recently shown, Ramsay is featured frequently in the British periodical press from 1720 to 1870, ‘emerg[ing] as the father-figure of eighteenth century Scots vernacular poetry’ who prepares the ground for Fergusson and Burns; and then in the nineteenth century, his link to Scottish identity deepens as his politics and literary value continue to be the source of debate (R. Brown 2018, 104). Murray Pittock has recently surveyed Ramsay’s reception to reveal his neglected role in the conception of Romanticism and other phenomena (Pittock 2020). The play’s first critic is Ramsay’s patron, Clerk, who registers his reaction in a letter dated 23 June 1725, two days after it was advertised in The Caledonian Mercury. He declares that he ‘never read so fine a description of Low life. I will further aver that nothing will be found in the Greek, Latin, Italian or French Pastoral writs beyond it, if at all equal to it’ (qtd. in I. G. Brown 1986, 39). But in contrast to Fraser Tytler, who finds Peggy ‘endowed with every quality that can adorn the character of woman’ (Fraser Tytler 1800, cxxv), Clerk calls her ‘a meer rump’— repeating, perhaps unwittingly, the stigmatized term for the anti-monarchical Parliament denounced in the play—‘& tho' a Lady by birth has less politeness than Jennie the shepherdess. She speaks & sings in a fulsom dialect, and you seem by her picture to declare that nature has made all the sex equal & yet has been more bountifull to brutes’ (qtd. in I. G. Brown 1986, 40). If, as Fraser Tytler says, the main challenge of pastoral is balancing ‘delicate and affecting sentiments 45

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with the genuine manners of rustic life,’ Ramsay has not succeeded according to Clerk, and consequently makes it difficult to map the play in terms of more orthodox ideas status, gender, and linguistic propriety. If Scots poses a problem for Clerk, Smith, Johnson, Blair, and others, it is for some critics a source of the play’s value. One example comes in the first published critical work of any length on GS, found in William Ayres’s Memoirs of the Life and Writings of Alexander Pope (1745), which reports that Pope prized it above any pastoral in the Italian (except for Tasso and Guarini) and pointed out for others particular passages he liked (2: 141; 167-68). For his part, Ayre cautions his readers ‘to despise not the Diction. . . It is a Dialect well adapted to its Subject and has great Applause from very great Men. . . In this Pastoral of our Countryman, Mr. Allan Ramsay, are many cooth Words and phrases, right worthy being brought into the Dialects spoken by the most polite, in this most courtly Part of Britain’ (2: 141). That Ayre may have been a pseudonym of Pope’s bitter antagonist, Edmund Curll, or an actual William Ayre who wrote a pamphlet attacking An Essay on Man (Baines and Rogers 2007, 302-06), raises the intriguing possibility that the text is ironic throughout. If that is so, then this passage could be read as a sly attack on Pope, having him praise so highly a text that would seem to run counter to his idea of pastoral; ‘great Men’ is a loaded phrase within the literary and political warfare of Pope’s life, used, as in The Beggar’s Opera, to refer ironically to Walpole and other corrupt politicians. However, reading the text as a full-on satire is complicated by its lack of ‘a consistent viewpoint, critical or otherwise’ (305). Moreover, Pope was a subscriber to Ramsay’s 1728 Poems, which suggests that his praise for GS is not implausible. But even if the view of GS in this vertiginous text cannot be taken uncritically, that it is quoted extensively and praised lavishly over thirty pages on pastoral shows the reputation the text has gained throughout Britain. Less ambiguous in its valuation of GS and the place of Scots in particular is the interleaved copy belonging to the influential English poet, critic, and antiquarian, William Shenstone (1714–63). He begins with ‘Some General Rules for Understanding the Scotch Language.’ Building on Ramsay’s own prefatory remarks in the glossary for 1721 Poems, he goes through each letter of the alphabet, noting any differences in Scots usage. He then glosses words on every page of the play, diving deeply into his extensive philological knowledge. For instance, 46

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‘wale,’ glossed as ‘choice,’ moves Shenstone to find analogues in Belgian, Gothic, and Henryson’s Testament of Cressid (f.10). Shenstone does not restrict himself to the meanings of single words. To explain ‘graith’ in ‘freath the graith’ (I.2.382), he cites an Act of Parliament from 1429, which he then glosses further (f.22). Plotock, one of the play’s many references to witchcraft and demonology, moves him to search through a manuscript history of Scotland by Robert Lindsay of Pitscottie (f.27).18 As David Allan puts it, Shenstone’s glosses indicate his investment in the play’s ‘unsuspected but undeniable literary power’ (Allan 2008, 121). In addition, they situate Scots as part of a broader European linguistic heritage and as the repository of a shared English heritage dating back to Chaucer and before, though this does not reduce the play to merely antiquarian interest. As he writes in a concluding note, the play brings him ‘extraordinary pleasure,’ since the ‘many words in ye old Scotch Dialect have an extremely good effect,’ adding to the plays’s ‘Good-sense, expressed naturally in a Phrase easy, perspicuous, & musical’ (f.77). Rather, as a cause for embarrassment, then, Ramsay’s Scots increases its ‘Propriety’ (f.77), to cite Shenstone’s final term of praise, a counterpoint to Smith’s dismissal. The debate over Ramsay’s ‘propriety’ extends into the nineteenth century, as we can see from a series of essays the English reformer, journalist, and man of letters Leigh Hunt (1784–1859) published in 1844, ‘A Jar of Honey from Mount Hybla.’ In the first essay, stimulated by the site of a jar of Sicilian honey in the window of Fortnum and Mason, he is led into a series of associations that bring him to Theocritus, a host of other authors, and finally to ‘honest Allan Ramsay,—the best pastoral writer since Theocritus,—indeed, the best that ever wrote in some respects’ (Hunt 1844a, 74). He devotes almost all of the next essay replying to a correspondent who ‘accuses [Ramsay] of “barbarous diction,” and a “patois” and who claims that ‘there are no “gentle shepherds in the word,—no peasant labourers who sit under trees and languish and sing songs about their mistresses” (Hunt 1844b, 161). In response to this last claim, he remarks that ‘is a singular instance of forgetfulness in a critic so well acquainted as this gentleman must be with the writings of Burns and others,--Clare, for Although Lindsay’s narrative had been published in 1728, Shenstone specifically cites the ms. version, ‘perserv’d in the Lawyers library at Edinburgh’ (f.27). 18

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one, in England. . . Burns, to be sure, did not ‘languish’ much, but he sighed to some purpose . . . He took for his crest a linnet in a bush’ (162). Ramsay thus stands at the start of a genealogy of ‘peasants and mechanics of a poetical nature,’ and their works show that ‘all classes of life and conditions of nature are capable of ideal treatment’ (162). This is what supports ‘the facts asserted by Lord Woodhouselee respecting Ramsay’s pastoral, that it is “universally relished and admired by the class whose habits it describes”’ (163). To put a twist on Empson’s definition of pastoral, GS is ‘for’ ‘peasants and mechanics’ as well as ‘about them.’ As for the critique of Ramsay’s diction, the same accusation might be ‘brought against Theocritus’, and, in any case Theocritus’ Greek is not a mere ‘patois,’ and neither is Ramsay’s Scots (162). That members of the labouring classes cherished GS, a claim that we have encountered repeatedly, finds some confirmation in their own records of their reading. For instance, Peter Taylor, born in 1837 the son of a mason and farmer and who became the part-owner of an engineering company, reports that his Kilmarnock landlord, though he was never seen with any book but ‘the Bible and the local papers,’ had committed at least parts of GS to heart, having played a role in a production, and Taylor was able to match him in reciting the opening lines (Taylor 1903, 96). Mary Ann Wordrow Archbald, a Scotswoman who immigrated to Virginia, and who herself quotes GS, records an encounter with a farmer named Mr. Connally, ‘fond of the broad scotish dialect & repeated whole pages of the Gentle Shepherd to me, & I do believe he has every line of this beautiful pastoral by heart’ (Archbald 2: 822; 2: 869). However, the claim that Ramsay was part of a more egalitarian approach to poetry that includes the lives and the ideals of ‘mechanics and peasants’ would be contested by the anonymous author of an essay in Glasgow’s Chartist Circular from February 1841. There, after a biographical sketch in which he contrasts Ramsay’s ‘less independent and more fawning’ talent to that of Burns (‘Literary Sketches’ 1841, 314), he summarizes the play and then remarks: ‘The poem is a stigma on the people, and a panegyric on the aristocracy’ (314). He laments that Ramsay decides not to take advantage of the play’s historical setting at a time ‘when the people were boldly struggling for their rights’ and instead has the peasantry give their full-throated support to ‘legitimate despotism’ (314). Although the author did not pick up 48

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on these toxic politics when he read it at school, he now realizes that this was a way to subtly implant the ‘seeds of Toryism,’ and he thus declares that Chartist schools should have no such books (314), though one wonders what Callender, the radical controversialist and defender of Ramsay in 1791, would say. This essay has recently received salutary attention from Rhona Brown (108-10), who juxtaposes it with the play’s inclusion in ‘The People’s Edition of Standard Works,’ and Michael Sanders (164-66), who views it within the context of Chartist literary criticism. It makes sense that the author would miss the strains of improvement in the play, given that for Chartism such a gradualist vision, especially one linked to fealty to a hereditary landlord, would not suffice. It is also significant that GS has been integrated into the Scottish school curriculum by the early nineteenth century, thereby completing a circuit of sorts between the play’s thematization of literacy and its inclusion into the prime institution for fostering it.

Visual Representations If the Chalmers edition of 1800 marks a consolidation of Ramsay’s reputation as a poet, the Foulis edition of 1788, with its twelve engravings by David Allan, is a touchstone in the history of visual representations of the play. That history dates back at least to 1729, with the frontispiece engraved by Richard Cooper of a shepherd, apparently Ramsay himself, encountering Apollo. (National Galleries Scotland also holds an undated Cooper sketch of what appears to be Symon and Glaud at the start of II.1, which may come from the same era.)19 In the ensuing decades, as mentioned above, GS becomes one of the most frequently-illustrated texts in Great Britain. GS elicits work from other Scottish artists in addition to Allan and Cooper, among them David Wilkie (1785–1841) and the many engravers who appear in Sandro Jung’s recent studies of the illustrated book trade (Jung 2018a; Jung 2018b). GS also attracts English visual artists. Among them is Paul Sandby (1731–1809), who executes a series of five etchings of scenes of the play in 1758 (Gunn 2005, 111-15). With their relatively small (though

My thanks to Dr Joe Rock for bringing this to my attention and for a discussion of Cooper’s work.

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lively) human figures within an expansive and meticulously depicted rural landscape, they reflect his growing eminence as a landscape painter and the way Anglo-Scots conflicts shape his career, since his knowledge of Scotland is drawn from his five years as a draughtsman to the military survey of Scotland (1747–52), established to prevent any recurrence of unrest after the ’45. Another English artist who illustrated The Gentle Shepherd but with a focus more on characters and scenery as was true of his practice in general is the caricaturist Isaac Cruikshank (1764–1811), who in the 1780s engraved four scenes from the play, which can be found on the website of the British Museum. Yet a third English artist who contributes to the archive is George Morland (1763–1804), who in 1785 depicts Peggy and Jenny ‘freathing the graith,’ with an emphasis on ‘the barefoot beauties’ Ramsay invites the reader to ‘view’ (I.2.176). Morland’s image is preserved in the same volume that contains half of the MS. Song Drafts (Rylands Eng MS 748), which includes not only a colored edition of Allan’s engravings, the George Reid edition of 1798 and the Ramsay Country drawings from the 1808 Edinburgh edition (of more anon) but also three sets of images from as-yet unidentified artists, including 12 delicate coloured drawings. Research is being undertaken now to determine from whom and from when these images originate, but they offer an intriguing sense of the role played by GS in the British visual imagination of the 18th and 19th centuries. However, it is Allan’s engravings that are the most influential visual representation of GS. It is his images that make their way on to textiles and snuff boxes (‘Objects’). They also figure into the crest that Hunt mentions as a sign of Burns’ commitment to the representation of peasants. Along with ‘a wood-lark perching on a sprig of bay tree,’ he wants a shepherd’s pipe and crook, and he elaborates on what he means: I do not mean the nonsense of Painters of Arcadia; but a Stock-&horn, & a Club; such as you see at the head of Allan Ramsay, in Allan’s quarto Edition of the Gentle Shepherd.—By the bye, do you know Allan?—Why is he not more known? Has he no Patrons; or do ‘Poverty’s cold wind & crushing rain beat keen & heavy’ on him?—I once, & but once, got a glance of that noble editn of the noblest Pastoral in the world, & dear it was; I mean, dear as to my pocket, I would 20

Hunt, we assume, saw the latter in Currie’s Works (Burns 1801, 2:397-98). 50

Introduction to the Text have bought it; but I was told that it was printed & engraved for Subscribers only. —He is the only Artist who has hit genuine Pastoral costume.20 (Burns 1985, 285-86)

Ramsay and Allan are thus the guarantors of a pastoral realism that avoids Arcadian ‘nonsense’ – ‘genuine Pastoral costume’ poised nicely between authenticity and performance – but still able to attain the ‘noblest’ status in the genre, although Burns was blocked from acquiring it. Just as he fears that Allan lacks patrons, citing a line from Thomson’s Autumn, he is stopped from acting as a patron by his lack of social status. Happily, the person to whom he addressed this letter, Alexander Cunningham, is able to acquire Burns a copy, which is preserved in the Edinburgh Central Library. Ramsay Country, Then and Now That this association copy of GS and its MS. drafts can be found in Edinburgh is apt given how intimately Ramsay is associated with the city, the site of his best-known poems outside of GS as well as a place he shaped significantly through his role as a cultural entrepreneur, establishing the first subscription library in the United Kingdom as well as Scotland’s first academy of the fine arts and theatre. Yet he is also that rare author linked strongly with more than one place. In his case, that is ‘a Shepherds Village and Fields some few Miles from Edinburgh,’ as the opening of GS phrases it, known later as ‘Ramsay Country.’ As attested by the many visual works inspired by GS, the play generates a strong sense of place, both in the general idea of being situated in a pastoral landscape and in particular the Pentland Hills. Craig Lamont has recently traced the fierce debate in the late eighteenth and early nineteenth centuries over exactly where GS takes place. In Sir John Sinclair’s Statistical Account of Scotland (1791-99), rival claims were pushed for Glencorse and the holdings of the Fraser Tytlers, and for Newhall, Penicuik and Carlops (Lamont 2020, 47-49). Fraser Tytler himself pushes the former claim in his 1800 edition, while Robert Brown, the proprietor of New Hall makes the case for his demesne, with Brown appearing to emerge victorious with an 1808 edition that includes a detailed map along with twelve views that seeks to establish beyond doubt that this is the location of Habbie’s How and the rest of the scenes pictured in the play (Lamont 51

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53-57). Evidence of Ramsay Country as a site of literary tourism has been found as early as 1796 (R. Brown 2018, 103), which makes it one of the earliest in the British Isles, only a few decades after Garrick’s 1769 consecration of Stratford-upon-Avon, and that space is more about the Bard’s biography than the setting of any particular text. As with Stratford, the Lake District, and Burns Country, although on a much smaller scale, Ramsay Country remains a site of literary tourism. The Allan Ramsay Hotel, founded in 1792, remains in business, and since 2016, has been hosting an Allan Ramsay Festival. Even if he weren’t the object of this bid for economic improvement through cultural heritage, Ramsay would surely applaud the effort. The grounds of New Hall have old plaques and new ones marking out ‘the craigy bield’ and the pool at Habie’s-How where Peggy imagines she and Jenny will take a dip (I.2.184-92). Having had the good fortune to visit the area in the Summer of 2018, I recall looking over the rolling hills near Penicuik House while on a fieldtrip to see the Ramsay monument there and figuring it was deeply unlikely that any agricultural laborers in the area still had The Gentle Shepherd by heart. Looking back now, I would add that as residents of The Borders and Scotland as a whole work through the messy and painful aftershocks of Brexit and ongoing debates over Scottish Independence, as they weigh the costs and benefits of economic improvement and the still-vexed place of Scotland and Scottish culture in the ‘United Kingdom,’ and as we all grapple with our species’ abusive relationship to the natural environment and dream pastoral dreams of more sustainable alternatives to improvement run amok, The Gentle Shepherd may still have something to say and sing to us, as it has to countless readers and theatre-goers since 1725. Steve Newman Temple University

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Title-page of GS 1725, showing ‘Courch’ misprint Reproduced courtesy of the Hanna Holborn Gray Special Collections Research Center, University of Chicago Library

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TO The Right Honourable,

S U S A N N A, Countess of Eglinton. Madam, E Love of Approbation, and a Desire to please the T Hbest, have ever encouraged the Poets to finish their Designs

with Chearfulness. But conscious of their own Inability to oppose a Storm of Spleen, and haughty ill Nature, it is generally an ingenious Custom amongst them to chuse some honourable Shade. Wherefore I beg Leave to put my Pastoral under your Ladyship’s Protection, if my Patroness says, the Shepherds speak as they ought, and that there are several natural Flowers that beautify the rural Wild, I shall have good Reason to think my self safe from the aukward Censure of some pretending Judges that condemn before Examination. I am sure of vast Numbers that will croud into your Ladyship’s Opinion, and think it their Honour to agree in their Sentiments with the Countess of Eglinton, whose Penetration, superior Wit, and sound Judgment, shines with an uncommon Lustre, while accompanied with all the diviner Charms of Goodness and Equality of Mind. If it were not for offending only your Ladyship, here, Madam, I might give the fullest Liberty to my Muse to delineate the finest of Women, by drawing your Ladyship’s Character, and be in no Hazard of being deemed a Flatterer; since Flattery lyes not in paying what’s due to Merit, but in Praises misplaced. Were I to begin with your Ladyship’s honourable Birth and Alliance, the Field’s ample, and presents us with numberless, great and good Patriots, that have dignified the Names of KENNEDY and MONTGOMERY; be that the Care of the Herauld and Historian. ’Tis personal Merit, and the heavenly Sweetness of the Fair that inspire the tuneful Lays. Here every Lesbia must be excepted, whose Tongues give Liberty to the Slaves, which their Eyes had made Captives. Such may be flatter’d; but your Ladyship justly claims our Admiration and profoundest Respect: For whilst you are possest of every outward Charm in the most perfect Degree, the never fading Beauties of Wisdom and Piety, which adorn your 55

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The Gentle Shepherd Ladyship’s Mind, command Devotion. All this is very true, cries a Sour-plum of better Sense than good Nature; but what occasion have you to tell us the Sun shines, when we have the Use of our Eyes, and feel his Influence?— Very true; but I have the Liberty to use the Poet’s Privilege, which is, To speak what every Body thinks. Indeed there might be some Strength in the Reflection, if the Idalian Registers were of as short Duration as Life: But the Bard, who fondly hopes Immortality, has a certain Praise-worthy Pleasure, in communicating to Posterity the Fame of distinguished Characters.—— I write this last Sentence, with a Hand that trembles between Hope and Fear; but if I shall prove so happy as to please your Ladyship in the following Attempt, then all my Doubts shall evanish like a Morning Vapour; I shall hope to be class’d with Tasso and Guarini, and sing with Ovid,

If ’tis allowed to Poet’s to divine, One half of round Eternity is mine.

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Madam, Your Ladyships Most obedient, And most devoted Servant. Allan Ramsay. Edinburgh, June 1725.

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The PERSONS. Sir WILLIAM WORTHY. PATIE, The Gentle Shepherd in love with Peggy.

ROGER, a rich young Shepherd in love with Jenny.

SYMON, Two old Sheheprds Tenants to GLAUD, Sir William. BAULDY, a Hynd engaged with Neps.

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Women. PEGGY, thought to be Glaud’s Niece. JENNY, Glaud’s only Daughter. MAUSE, an old Woman supposed to be a Witch. ELSPA, Symon’s Wife. MADGE, Glaud’s Sister. SCENE, a Shepherds Village and Fields some

few Miles from Edinburgh. Time of Action, within Twenty Hours. First Act begins at Eight in the Morning. Second Act, begins at Eleven Forenoon. Third Act begins at Four Afternoon. Fourth Act begins at Nine-a-clock at Night. Fifth Act begins by Day-light next Morning.

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The Gentle Shepherd.



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Pastoral Comedy. Act I. Scene I. PROLOGUE to the Scene. Beneath the South-side of a Craigy Beild, Where Christal Springs the halesom Waters yield, Twa youthful Shepherds on the Gowans ly, Tenting their Flocks ae bony Morn of May. Poor ROGER granes till hollow Echos ring; But blyther PATIE likes to laugh and sing.

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PATIE and ROGER. Patie. his sunny Morning, Roger, chears my Blood, And puts all Nature in a jovial Mood. How hartsome is’t to see the rising Plants To hear the Birds chirm o’er their pleasing Rants? How halesome ’tis to snuff the cawler Air, And all the Sweets it bears, when void of Care. What ails thee, Roger, then? What gars thee grane? Tell me the Cause of thy ill season’d Pain.

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Roger. I’m born, O Patie, to a thrawart Fate! I’m born to strive with Hardships sad and great. Tempest may cease to jaw the rowan Flood, Corbies and Tods to grein for Lambkins Blood: But I, opprest with never ending Grief, Maun ay despair of lighting on Relief. Patie. The Bees shall loath the Flower, and quit the Hive, The Saughs on Boggie Ground shall cease to thrive, 59

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The Gentle Shepherd E’er scornful Queans, or Loss of Warldly Gear, Shall spill my Rest, or ever force a Tear. Roger. Sae might I say; but it’s no easy done By ane whase Saul is sadly out of Tune. You have sae saft a Voice, and slid a Tongue, You are the Darling of baith Auld and Young. If I but ettle at a Sang or speak, They dit their Lugs, syne up their Leglens cleek; And jeer me hameward frae the Loan or Bught, While I’m confus’d with mony a vexing Thought: Yet I am tall, and as well built as thee, Nor mair unlikly to a Lass’s Eye. For ilka Sheep ye have, I’ll number Ten, And should, as ane may think, come farer ben. Patie. But ablins, Nibour, ye have not a Heart, And downa eithly wi’ your Cunzie part. If that be true, what signifies your Gear: A Mind that’s scrimpit never wants some Care.

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Roger. My Byar tumbled, nine braw Nowt were smoor’d; Three Elf-shot were, yet I these Ills endur’d: In Winter last, my Cares were very sma, Tho’ Scores of Wathers perish’d in the Snaw. Patie. Were your bein Rooms as thinly stock’d as mine, Less you wad loss, and less you wad repine. He that has just enough, can soundly sleep: The O’ercome only fashes Fowk to keep. Roger. May Plenty flow upon thee for a Cross, That thou mayst thole the Pangs of mony a Loss. O mayst thou doat on some fair paughty Wench, That ne’er will lout thy lowan Drouth to quench, ’Till bris’d beneath the Burden, thou cry Dool, And awn that ane may fret that is nae Fool.

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The 1725 text Patie. Sax good fat Lambs, I sauld them ilka Clute At the West-port, and bought a winsome Flute, Of Plum-tree made, with Iv’ry Virles round; A dainty Whistle, with a pleasant Sound: I’ll be mair canty wi’t, and neer cry Dool, Than you with all your Cash, ye dowie Fool.

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Roger. Na Patie, na! I’m na sic churlish Beast, Some other Things lyes heavier at my Breast: I dream’d a dreary Dream this hinder Night That gars my Flesh a’ creep yet with the Fright. Patie. Now to a Friend, how silly’s this Pretence To ane wha you and a’ your Secrets kens. Daft are your Dreams, as daftly wad ye hide Your well seen Love, and dorty Jenny’s Pride. Take Courage, Roger, me your Sorrows tell, And safely think nane kens them but your sell. Roger. Indeed now, Patie, ye have guest o’er true, And there is naithing I’ll keep up frae you. Me dorty Jenny looks upon a-squint; To speak but till her I dare hardly mint. In ilka Place she jears me air and late, And gars me look bombaz’d and unko blate: But Yesterday I met her yont a Know, She fled as frae a Shelly-coated Kow. She Bauldy loes, Bauldy that drives the Car, But gecks at me, and says, I smell of Tar.

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Patie. But Bauldy loes not her, right well I wat, He sighs for Neps, --- sae that may stand for that. Roger. I wish I cou’dna loo her: --- But in vain, I still maun doat, and thole her proud Disdain. My Bawty is a Cur I dearly like, Till he yowld sair she strake the poor dumb Tyke. If I had filld a Nook within her Breast, 61

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The Gentle Shepherd She wad have shawn mair Kindness to my Beast. When I begin to tune my Stock and Horn With a’ her Face she shaws a caulrife Scorn. Last Night I play’d, ye never heard sic Spite; O’er Bogie was the Spring, and her Delyte: Yet tauntingly she at her Cusin spear’d, Gif she could tell what Tune I play’d, and sneer’d. Flocks wander where ye like, I dinna Care, I’ll break my Reed, and never whistle mair. Patie. E’en do sae, Roger, wha can help Misluke, Saebeins she be sick a Thrawin-gabet Chuck? Yonder’s a Craig, since ye have tint all Hope, Gae till’t your ways and take the Lover’s Lowp.

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Roger. I needna mak sic Speed my Blood to spill, I’ll warrant Death come soon enough a Will. Patie. Daft Gowk! Leave off that silly whinging Way. Seem careless, there’s my Hand ye’ll win the Day. Hear how I serv’d my Lass, I love as well 105 As ye do Jenny, and with Heart as leel. Last Morning I was gay and early out, Upon a Dike I lean’d, glowring about I saw my Meg come linkan o’er the Lee; I saw my Meg, but Peggy saw na me: 110 For yet the Sun was wading throw the Mist, And she was close upon me e’er she wist. Her Coats were kiltit, and did sweetly shaw Her straight bare Legs that whyter were than Snaw. Her Cockernony snooded up fou sleek, 115 Her Haffet Locks hang waving on her Cheek; Her Cheek sae rudy, and her Een sae clear; And O! her Mouth’s like ony Hinny Pear. Neat, neat she was, in Bustine Waste-coat clean, As she came skiffing o’er the Dewy Green. 120 Blythsome, I cry’d, my bony Meg come here, I ferly wherefore ye’re sae soon asteer: But I can guess, ye’re gawn to gather Dew: She scour’d awa, and said, What’s that to you? Then fare ye well, Meg-Dorts, and e’en’s ye lyke, 125 I careless cry’d, and lap in o’er the Dyke. I trow, when that she saw within a Crack, She came with a right thievless Errand back; Miscaw’d me first,--- then bad me hound my Dog To wear up three waff Ews stray’d on the Bog. 130 62

The 1725 text I leugh, and sae did she; then with great Hast, I clasp’d my Arms about her Neck and Waist, About her yielding Waist and took a Fouth Of sweetest Kisses frae her glowing Mouth. While hard and fast I held her in my Grips, My very Saul cam lowping to my Lips. Sair sair she flet wi’ me, ’tween ilka Smack: But well I kend she meant nae as she spake. Dear Roger, when your Jo puts on her Gloom, Do ye sae too, and never fash your Thumb. Seem to forsake her, soon she’ll change her Mood: Gae woo anither, and sh’ll gang clean wood. Roger. Kind Patie, now fair fa your honest Heart, Ye’r ay sae cadgy, and have sic an Art To hearten ane: For now as clean’s a Leek, Ye’ve cherish’t me since ye began to speak. Sae for your Pains, I’ll mak ye a Propine, My Mother, rest her Saul, she made it fine; A Tartan Plaid, spun of good Hawslock Woo, Scarlet and Green the Sets, the Borders Blew: With Spraings like Gowd, and siller cross’d with Black; I never had it yet upon my Back. Well are ye wordy o’t, wha have sa kind Red up my revel’d Doubts, and clear’d my Mind. Patie. Well hald ye there;--- and since ye’ve frankly made A Present to me of your braw new Plaid, My Flute’s be yours, and she too that’s sae nice Shall come a Will, gif ye’ll take my Advice. Roger. As ye advise, I’ll promise to observ’t; But ye maun keep the Flute, ye best deserv’t. Now tak it out, and gie’s a bony Spring; For I’m in Tift to hear you play and sing. Patie. But first we’ll take a Turn up to the Height, And see gif all our Flocks be feeding right. Be that Time Bannocks, and a Shave of Cheese Will make a Breakfast that a Laird might please, Might please the daintyest Gabs, were they sae wise. To season Meat with Health instead of Spice. When we have tane the Grace-Drink at this Well. I’ll whistle fine and sing t’ye like my sell. Exeunt. 63

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Act I. Scene II. PROLOGUE. A flowrie Howm between twa verdent Braes, Where Lasses use to wash and spread their Claiths, A trotting Burnie wimpling throw the Ground; Its Channel Peebles, shining smooth and round, Here view twa barefoot Beauties clean and clear; First please your Eye; next gratifie your Ear, While JENNY what she wishes discommends, And MEG with better Sense true Love defends.

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PEGGY and JENNY. Jenny. Ome, Meg, let’s fa’ to wark upon this Green, The shining Day will bleech our Linnen clean; The Waters clear, the Lift unclouded blew, Will make them like a Lilly wet with Dew.

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Peggy. Go farer up the Burn to Habie’s-How, Where a that’s sweet in Spring and Summer grow: Between twa Birks out o’er a little Lin 185 The Water fa’s, and makes a singand Din: A Pool Breast-deep, beneath as clear as Glass, Kisses with easy Whirles the bordering Grass. We’ll end our Washing while the Morning’s cool, And when the Day grows het, we’ll to the Pool, 190 There wash our sells.--- ’Tis healthfou now in May, And sweetly cauler on sae warm a Day. Jenny. Daft Lassie, when we’re naked, what’ll ye say Gif our twa Herds come bratling down the Brae, And se us sae? That jeering Fallow Pate 195 Wad taunting say, haith Lasses ye’re no blate. Peggy. We’re far frae ony Road, and out of Sight; The Lads they’re feeding far beyont the Height: But tell me now, dear Jenny, we’re our lane, What gars ye plague your Wooer with Disdain? 64

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The 1725 text The Neighbours a’ tent this as well as I, That Roger loos you, yet ye carena by. What ails ye at him? Troth, between us twa, He’s wordy you the best Day e’re ye saw. Jenny. I dinna like him, Peggy, there’s an End, 205 A Herd mair Sheepish yet I never kend. He kames his Hair indeed, and gaes right snug, With Ribon Knots at his blew Bonnet Lug; Whilk pensylie he wears a Thought a jee, And spreads his Garters dice’d beneath his Knee. 210 He falds his Owrelay down his Breast with Care, And few gangs trigger to the Kirk or Fair. For a’ that he can neither sing nor say, Except, How d’ye,--- or, There’s a bony Day. Peggy. Ye dash the Lad with constant slighting Pride; Hatred for Love is unko sair to bide: But ye’ll repent ye, if his Love grow cauld. What like’s a dorty Maiden when she’s auld? Like dawted Wean, that tarrows at its Meat, That for some feckless Whim will orp and greet. The Lave laugh at it, till the Dinner’s past, And syne the Fool Thing is oblig’d to fast, Or scart anither’s Leavings at the last. Fy Jenny think, and dinna sit your Time. Jenny. I never thought a single Life a Crime.

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Peggy. Nor I: --- But Love in Whispers lets us ken, That Men were made for us, and we for Men. Jenny. If Roger is my Jo, he kens himsel; For sic a Tale I never heard him tell. He glowrs and sighs, and I can guess the Cause: But wha’s oblig’d to spell his Hums and Haws. When e’er he likes to tell his Mind mair plain, I’se tell him frankly ne’er to do’t again. They’re Fools that Slavery like, and may be free: 65

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Peggy. Be doing your Ways; for me I have a Mind To be as yielding as my Patie’s kind. Jenny. Heh Lass! How can ye loo that Rattle-scul? A very Deel that ay maun hae his Will. We’ll soon hear tell what a poor feightan Life You twa will lead sae soon’s ye’re Man and Wife.



Peggy. I’ll rin the Risk, nor have I ony Fear, But rather think ilk langsome Day a Year, Till I, with Pleasure, mount my Bridal Bed; Where on my Patie’s Breast I’ll lean my Head. There we may kiss, as lang as Kissing’s good; And what we do, there’s nane dare call it rude. He’s get his Will: Why no? ’Tis good my Part To give him that, and he’ll give me his Heart. Jenny. He may indeed for Ten or Fifeteen Days Mak meikle o’ye, with an unko Fraise, And daut ye baith afore Fowk, and your lane: But soon as his Newfangleness is gane, He’ll look upon you as his Tether-stake, And think he’s tint his Freedom for your Sake. Instead then of lang Days of sweet Delyte, Ae Day be dumb, and a’ the neist he’ll Flyte: And may be, in his Barlikhoods ne’er stick To lend his loving Wife a loundering Lick. Peggy. Sic Course-spun Thoughts as thae want Pith to move My settl’d Mind, I’m o’er far gane in Love. Patie to me is dearer than my Breath, But want of him I dread nae other Skaith. There’s nane of a’ the Herds that tread the Green Has sic a Smyle, or sic twa glancing Een. And then he speaks with sic a taking Art, His Words they thirle like Musick throw my Heart. How blythly can he sport, and gently rave, 66

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The 1725 text And jest at little Fears that fright the lave. Ilk Day that he’s alane upon the Hill, 270 He reads fell Books that teach him meikle Skill. He is:--- But what need I say that or this, I’d spend a Month to tell you what he is! In a’ he says or does, there’s sic a Gate, The rest seem Coofs compar’d with my dear Pate. 275 His better Sense will lang his Love secure: Ill Nature heffs in Sauls are weak and poor. Jenny. Hey bony Lass of Branksome, or’t be lang, Your witty Pate will put you in a Sang. O ’tis a pleasant Thing to be a Bride; Syne whindging Gets about your Ingle-side, Yelping for this or that with fasheous Din: To mak them Brats then ye maun toil and spin. Ae Wean fa’s sick, ane scads its sell wi’ Broe, Ane breaks his Shin, anither tynes his Shoe. The Deil gaes o’er John Wobster: Hame grows Hell; When Pate miscaws ye war than Tongue can tell. Peggy. Yes its a hartsome Thing to be a Wife, When round the Ingle-edge young Sprouts are rife. Gif I’m sae happy, I shall have Delight, To hear their little Plaints and keep them right. Wow Jenny can there greater Pleasure be Than see sic wee Tots toolying at your Knee; When a’ they ettle at,--- their greatest Wish, Is to be made of, and obtain a Kiss? Can there be Toil in tenting Day and Night The like of them, when Love makes Care Delight. Jenny. But Poortith Peggy is the warst of a’, Gif o’er your Heads ill Chance shou’d Beggery draw. There little Love or canty Chear can come, Frae dudy Doublets, and a Pantry toom: Your Nowt may die,--- the Spate may bear away Frae aff the Howms your dainty Rucks of Hay.---The thick blawn Wreaths of Snaw, or blashy Thows, May smoor your Wathers, and may rot your Ews. A Dyvor buyes your Butter, Woo and Cheese, 67

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The Gentle Shepherd But or the Day of Payment breaks and flees. With glooman Brow the Laird seeks in his Rent: ’Tis no to gie; your Merchant’s to the Bent. His Honour manna want, he poinds your Gear: Syne driven frae House and Hald, where will ye steer? Dear Meg be wise, and live a single Life: Troth it’s nae Mows to be a married Wife. Peggy. May sic ill Luck befa’ that silly She Wha has sic Fears, for that was never me. Let Fowk bode well, and strive to to do their best; Nae mair’s requir’d, let Heaven make out the rest. I’ve heard my honest Uncle aften say, That Lads shou’d a’ for Wives that’s vertuous pray: For the maist thrifty Man cou’d never get A well stor’d Room unless his Wife wad let: Wherefore nocht shall be wanting on my Part To gather Wealth to raise my Shepherd’s Heart. What e’er he wins, I’ll guide with canny Care, And win the Vogue at Market, Tron or Fair, For halesome, clean, cheap and sufficient Ware. A Flock of Lambs, Cheese, Butter, and some Woo, Shall first be sald to pay the Laird his due. Syne a’ behind’s our ain;--- thus without Fear, With Love and Rowth we throw the Warld will steer: And when my Pate in Bairns and Gear grows rife, He’ll bless the Day he gat me for his Wife.

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Jenny. But what if some young Giglit on the Green, With dimpled Cheeks and twa bewitching Een, Should gar your Patie think his haf-worn Meg, 335 And her kend Kisses hardly worth a Feg. Peggy. Nae mair of that,— Dear Jenny, to be free, There’s some Men constanter in Love than we: Nor is the Ferly great, when Nature Kind Has blest them with Solidity of Mind. They’ll reason caumly, and with Kindness smile, When our short Passions wad our Peace beguile: Sae whenso’er they slight their Maiks at Hame, ’Tis ten to Ane the Wives are maist to blame. 68

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The 1725 text Then I’ll employ with Pleasure a’ my Art To keep him chearfu’, and secure his Heart. At Even when he comes weary frae the Hill, I’ll have a’ Things made ready to his Will. In Winter when he Toils throw Wind and Rain, A bleezing Ingle, and a clean Hearth-stane. And soon as he flings by his Plaid and Staff, The Seething Pot’s be ready to tak aff. Clean Hag-a-bag I’ll spread upon his Boord, And serve him with the best we can afford. Good Humour and white Bigonets shall be, Guards to my Face to keep his Love for me.

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Jenny. A Dish of married Love right soon grows cauld, And dozens down to nane as Fowk grow auld. Peggy. But we’ll grow auld togither, and ne’er find The Loss of Youth when Love grows on the Mind. 360 Bairns and their Bairns make sure a firmer Tye, Than ought in Love the like of us can spy. See yon twa Elms that grow up Side by Side; Suppose them some Years syne Bridegroom and Bride; Nearer and nearer ilka Year they’ve prest, 365 Till wide their spreading Branches are increast, And in their Mixture now are fully blest. This shields the other frae the Eastlin Blast, That in Return defends it frae the West. Sic as stand single,--- a State sae lyk’d by you! 370 Beneath ilk Storm, frae ev’ry Airth maun bow. Jenny. I’ve done,---I yield, dear Lassy, I maun yield, Your better Sense has fairly won the Field, With the Assistance of a little Fae Lyes darn’d within my Breast this mony a Day. Peggy. Alake! poor Prisoner! Jenny that’s no fair, That ye’ll no let the wie Thing take the Air: Hast let him out, we’ll tent as well’s we can, Gif he be Bauldy’s or poor Roger’s Man.

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The Gentle Shepherd Jenny. Anither Time’s as good--- for see the Sun Is right far up, and we’re no yet begun To freath the Graith;--- if canker’d Madge our Aunt Come up the Burn, she’ll gie’s a wicked Rant: But when we’ve done, I’ll tell ye a’ my Mind; For this seems true,--- nae Lass can be unkind. Exeunt.

End of the first ACT.

f. 27 of the Fair Copy manuscript National Library of Scotland, MS 15972 The doodle at the top of the page is one of many. This cropped section shows ll. 386-397

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Act II. Scene I. PROLOGUE. A snug Thack House, before the Door a Green; Hens on the Midding, Ducks in Dubs are seen. On this Side stands a Barn, on that a Bayer: A Peet-stack joyns, and forms a rural Squair. The House is GLAUD’s;--- there you may see him lean, And to his Divet-Seat invite his Frien.

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GLAUD and SYMON. Glaud. Ood-morrow, Nibour Symon,--- come sit down, And gie’s your Cracks.--- What’s a’ the News in Town? They tell me ye was in the ither Day, And sald your Crummock, and her bassend Quey. I’ll warrant ye’ve cost a Pund of Cut and Dry; Lug out your Box, and gie’s a Pipe to try.

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Symon. With a’ my Heart;--- and tent me now, auld Boy, I’ve gather’d News will kittle your Mind with Joy. I cou’dna rest till I came o’er the Burn, To tell ye Things have taken sic a Turn, Will gar our vile Oppressors stend like Flaes, And skulk in Hidlings on the Hether Braes. Glaud. Fy blaw!--- Ah Symmie! ratling Chiels ne’er stand To cleck and spread the grossest Lies aff Hand, Whilk soon flies round like Will-fire far and near: But loose your Poke, be’t true or fause, let’s hear.

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Symon. Seeing’s believing, Glaud, and I have seen Hab, that Abroad has with our Master been, 410 Our brave good Master, wha right wisely fled, And left a fair Estate to save his Head, Because ye ken fou well he bravely chose To shine, or set in Glory with Montrose. Now Cromwell’s gane to Nick; and ane ca’d Monk, Has plaid the Rumple a right slee Begunk; 415 71

The Gentle Shepherd Restor’d King Charles, and ilka Thing’s in Tune; And Habby says, we’ll see Sir William soon. Glaud. That maks me blyth indeed:--- but dinna flaw, Tell o’er your News again! and swear til’t a’. And saw ye Hab! And what did Halbert say? 420 They have been e’en a dreary Time away. Now God be thanked that our Laird’s come Hame, And his Estate, say, can he eithly claim? Symon. They that Hag-raid us till our Guts did grane, Like greedy Bairs, dare nae mair do’t again, And good Sir William sall enjoy his ain.

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Glaud. And may he lang, for never did he stent Us in our Thriving with a racket Rent; Nor grumbled if ane grew rich, or shor’d to raise Our Mailens, when we pat on Sunday’s Claiths. 430 Symon. N’or wad he lang, with senseless saucy Air, Allow our lyart Noddles to be bare. “ Put on your Bonnet, Symon;— tak a Seat.— “ How’s all at Hame?-- How’s Elspa?-- How does Kate?-“ How sells black Cattle?--- What gies Woo this Year?--- And sic like kindly Questions wad he spear. Glaud. Then wad he gar his Butler bring bedeen The Nappy Bottle ben, and Glasses clean, Whilk in our Breast rais’d sic a blythsome Flame, As gart me mony a Time gae dancing Hame. My Heart’s e’en rais’d!— Dear Nibour will ye stay, And tak your Dinner here with me the Day. We’l send for Elspith too,— and upo’ Sight, I’ll whistle Pate and Roger frae the Height. I’ll yoke my Sled, and send to the neist Town, And bring a Draught of Ale, baith stout and brown, And gar our Cottars a’, Man, Wife and Wean Drink till they tine the Gate to stand their lane.

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The 1725 text Symon. I wadna bauk my Friend his blyth Design, Gif that it hadna first of a’ been mine: For heer-yestreen I brew’d a Bow of Maut, Yestreen I slew twa Wathers prime and fat; A Furlet of good Cakes my Elspa beuk, And a large Ham hings reesting in the Nook. I saw my sell, or I came o’er the Loan, Our meikle Pot that scads the Whey put on, A Mutton Bouk to boil;— and ane we’ll roast; And on the Haggies Elspa spares nae Cost. Small are they shorn; and she can mix fou nice The gusty Ingans with a Curn of Spice. Fat are the Puddings,-- Heads and Feet well sung; And we’ve invited Nibours auld and young, To pass this Afternoon with Glee and Game, And drink our Master’s Health and Welcome-hame. Ye manna then refuse to join the rest, Since ye’re my nearest Friend that I like best. Bring wi’ye all your Family, and then, When ere you please, I’ll rant wi’ you again. Glaud. Spoke like ye’r sell, Auld-birky, never fear But at your Banquet I shall first appear: Faith we shall bend the Bicker and look bauld, Till we forget that we are fail’d or auld. Auld said I!-- Troth I’m younger be a Score With your good News than what I was before. I’ll dance or Een! Hey, Madge, come forth, d’ye hear.





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Enter madge.

Madge. The Man’s gane gyte! Dear Symon welcome here. What wad ye Glaud, with a’ this Haste and Din? Ye never let a Body sit to spin. [Glaud.] Spin! Snuf---- Gae break your Wheel and burn your Tow, And set the meiklest Peet-stack in a Low. Syne dance about the Bane-fire till ye die, Since now again we’ll soon Sir William see.

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The Gentle Shepherd Madge. Blyth News indeed!-- And wha was’t tald you o’t. Glaud. What’s that t’you; --- gae get my Sunday’s Coat; Wale out the whytest of my bobit Bands, 485 My Whyt-skin Hose, and Mittans for my Hands; Then frae their Washing cry the Bairns in Hast, And mak ye’r sells as trig, Head Feet, and Waist, As ye were a’ to get young Lads or Een; For we’re gaun o’er to dine with Sym bedeen. 490 Symon. Do honest Madge,-- and Glaud, I’ll o’er the Gate, And see that a’ be done as I wad ha’t. Exeunt.



Act II. Scene II.



PROLOGUE. The open Field.--- A Cotage in a Glen, An auld Wife spinning at the suny End.--At a small Distance, by a blasted Tree, With falded Arms, and haff rais’d Look ye see.

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BAULDY his lane. Bauldy. Hat’s this!— I canna bear’t! ’Tis war than Hell; To be sae brunt with Love, yet darna tell! O PEGGY, sweeter than the dawning Day, Sweeter than gowany Glens or new Mawn Hay: Blyther than Lambs that frisk out o’er the Knows, Straighter than ought that in the Forest grows: Her Een the clearest Blob of Dew outshines; The Lilly in her Breast its Beauty tines. Her Legs, her Arms, her Cheeks, her Mouth, her Een, Will be my Dead that will be shortly seen! For Pate loes her,-- waes me, and she loes Pate; And I with Neps, by some unlucky Fate, Made a daft Vow!-- O but ane be a Beast,

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The 1725 text That makes rash Aiths till he’s afore the Priest. I darena speak my Mind, else a’ the three, But Doubt wad prove ilk ane my Enemy. ’Tis sair to thole,-- I’ll try some Witchcraft Art, To break with ane, and win the other’s Heart. Here Mausy lives, a Witch that for sma Price, Can cast her Cantraips, and give me Advice. She can o’ercast the Night, and cloud the Moon, And mak the Deils obedient to her Crune. At Midnight Hours, o’er the Kirk-yards she raves, And howks uncristen’d Weans out of their Graves; Boils up their Livers in a Warlock’s Pow; Rins withershins about the Hemlock Low; And seven Times does her Prayers backwards pray, Till Plotcock comes with Lumps of Lapland Clay, Mixt with the Venom of black Taids and Snakes. Of this unsonsy Pictures aft she makes Of ony ane she hates;-- and gars expire With slaw and racking Pains afore a Fire, Stuck fou of Prines, the devilish Pictures melt, The Pain by Fowk they represent is felt. And yonders Mause: Ay, ay, she kens fou weil, When ane like me comes rinning to the Deil. She and her Cat sit beeking in her Yard, To speak my Errand, faith amaist I’m fear’d: But I maun do’t tho’ I should never thrive; They gallop fast that Deels and Lasses drive. Exit.



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Act II. Scene III.

PROLOGUE. A green Kail Yard, a little Fount, Where Water popilan springs, There sits a Wife with Wrinkle-front, And yet she spins and sings. Mause sings.

PEGGY, now the King’s come, Peggy, now the King’s come, Thou may dance and I shall sing, 75

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The Gentle Shepherd Peggy, since the King’s come: Nae mair the Hawkys shalt thou milk, But change thy Plaiding Coat for silk, And be a Lady of that Ilk, Now, Peggy, since the King’s come.

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Enter Bauldy. Bauldy. Ow does auld honest Lucky of the Glen, Ye look baith hale and rash at threescore ten.

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Mause. E’en twining out a Threed with little Din, And beeking my cauld Limbs afore the Sun. What brings my Bairn this Gate sae air at Morn? Is there nae Muck to lead,-- to Thresh nae Corn? Bauldy. Enough of baith:--- But something that requires Your helping Hand imploys now all my Cares.

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Mause. My helping Hand, alake! what can I do That underneath baith Eild and Poortith bow? Bauldy. Ay but your wise, and wiser far than we, Or maist Part of the Parish tells a Lie.

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Mause. Of what Kind Wisdom think ye I’m possest, That lifts my Character aboon the rest? Bauldy. Well vers’d in Herbs and Seasons of the Moon, By skilfu’ Charms ’tis kend what ye have done. Mause. What Fowk says of me, Bauldy, let me hear; Keep naithing up, ye naithing have to fear? Bauldy. Well since ye bid me, I shall tell ye a’ 76

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The 1725 text That ilk an talks about you, but a Flaw. When last the Wind made Glaud a Roofless Barn, When last the Burn bore down my Mither’s Yarn, 570 When Brawny Elfshot never mair came hame; When Tibi kirn’d and there nae Butter came; When Bessy Freetock’s chuffy-cheeked Wean, To a Fairy turn’d, and cou’dna stand its lane. 575 When Wattie wander’d ae Night through the Shaw, And tint himsel amaist amang the Snaw. When Mungo’s Mear stood still and swat with Fright, When he brought East the Howdy under Night. When Bawsy shot to dead upon the Green, 580 And Sara tint a Snood was nae mair seen; You, Lucky, gat the Wyte of a’ fell out, And ilka ane here dreads ye round about; And sae they may that mint to do ye Skaith; For me to wrang ye, I’ll be very laith: But when I neist make Grots, I’ll strive to please 585 You with a Furlet of them mixt with Pease. Mause. I thank ye Lad,— now tell me your Demand, And, if I can, I’ll lend my helping Hand. Bauldy. Then I like Peggy, — Neps is fond of me— Peggy likes Pate;--- and Patie is bauld and slee, And loes sweet Meg:— But Neps I downa see.— Cou’d ye turn Patie’s Love to Neps, and than Peggy’s to me,-- I’d be the happiest Man.

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Mause. I’ll try my Art to gar the Bowls row right, Sae gang your Ways, and come again at Night; ’Gainst that Time I’ll some simple Things prepare, Worth all your Pease and Grots, take ye nae Care.

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Bauldy. Well, Mause, I’ll come, gif I the Road can find; But if ye raise the Deel, he’ll raise the Wind; Syne Rain and Thunder, may be, when ’tis late, Will make the Night sae mirk, I’ll tine the Gate. We’re a’ to rant in Symmie’s at a Feast, O will ye come like Badrans for a Jest;

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The Gentle Shepherd And there ye can our different Haviours spy; There’s nane shall ken o’t there but you and I.

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Mausic. ’Tis like I may,-- but let na on what’s past ’Tween you and me, else fear a kittle Cast. Bauldy If I ought of your Secrets e’er advance, May ye ride on me ilka Night to France. Exit Bauldy.

Mause (her lane.)

This Fool imagines, as do mony sic, That I’m a Witch in Compact with Auld Nick, Because by Education, I was taught To speak and Act aboon their common Thought. Their gross Mistake shall quickly now appear, Soon shall they ken what brought what keeps me here. Now since the Royal Charles, and Right’s restor’d, A Shepherdess is Daughter to a Lord. The bony Fundling that’s brought up by Glaud, Wha has an Uncle’s Care on her bestow’d. Her Infant Life I sav’d, when a false Friend Bow’d to the Usurper, and her Death design’d; To establish him and his in all these Plains That by right Heritage to her pertains. She’s now in her sweet Bloom, has Blood and Charms Of too much Value for a Shepherd’s Arms. None knows’t but me;-- and if the Morn were come, I’ll tell them Tales will gar them all sing dumb. Exit.

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Act II. Scene IV. PROLOGUE. Behind a Tree upon the Plain, PATE and his PEGGY meet, In Love, without a vicious Stain, The bony Lass and chearfu’ Swain Change Vows and Kisses sweet.

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PATIE and PEGGY.

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Peggy. PATIE let me gang, I mauna stay; We’re baith cry’d hame and Jenny she’s away.

Patie. I’m laith to part sae soon; now we’re alane, And Roger he’s awa with Jenny gane; They’re as content, for ought I hear or see, To be alane themselves I judge as we. Here where Primroses thickest paint the Green, Hard by this little Burnie let us lean. Hark how the Lav’rocks chant aboon our Heads, How saft the Westlin Winds sough through the Reeds.

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Peggy. The scented Meadows,--- Birds,--- and healthy Breeze, For ought I ken may mair than Peggy please. Patie. Ye wrang me sair to doubt my being kind; In speaking sae ye ca’ me dull and blind. Gif I could fancy ought’s sae sweet or fair As my dear Meg, or worthy of my Care. Thy Breath is sweeter than the sweetest Brier, Thy Cheek and Breast the finest Flowers appear. Thy Words excel the maist delightfu’ Notes, That warble through the Merle or Mavis’ Throtes. With thee I tent nae Flowers that busk the Field, Or ripest Berries that our Mountains yield. The sweetest Fruits, that hing upon the Tree, Are far inferior to a Kiss of thee. Peggy. But Patrick for some wicked End may fleech, And Lambs should tremble when the Foxes preach. I darna stay,---- ye Joker, let me gang, Or swear ye’ll never tempt to do me Wrang. Patie. Sooner a Mother shall her Fondness drap, And wrang the Bairn sits smiling on her Lap. The Sun shall change, the Moon to change shall cease, The Gaits to clim,-- the Sheep to yield the Fleece, 79

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The Gentle Shepherd Ere ought by me be either said or done, Shall do thee Wrang, I swear by all aboon. Peggy. Then keep your Aith:-- But mony Lads will swear, And be mansworn to twa in Haf-a-year: Now I believe ye like me wonder well; But if anither Lass your Heart shou’d steel, Your Meg forsaken, bootless might relate How she was dauted anes by faithless Pate. Patie. I’m sure I canna change, ye needna fear, Tho’ we’re but young I’ve loo’d you mony a Year. I mind it well, when thou cou’dst hardly gang, Or lisp out Words, I choos’d ye frae the Thrang Of a’ the Bairns, and led thee by the Hand, Aft to the Tansy-know or rashy Strand; Thou smiling by my Side,--- I took Delyte To pou the Rashes green, with Roots sae whyte, Of which, as well as my young Fancy cou’d, For thee I plet the flowry Belt and Snood. Peggy. When first thou gade with Shepherds to the Hill, And I to milk the Ews first try’d my Skill, To bear a Leglen was nae Toil to me, When at the Bought at Even I met with thee. Patie. When Corns grew yellow, and the Hether Bells, Bloom’d bonny on the Moor and rising Fells, Nae Birns or Briers or Whins ere troubled me: Gif I cou’d find blae Berries ripe for thee.

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Peggy. When thou didst wrestle, run, or putt the Stane, And wan the Day, my Heart was flightering fain: At all these Sports thou still gave Joy to me; For nane can wrestle, run, or putt with thee. Patie. JENNY sings saft the Broom of Cowdon Knows, 695 And Rosie lilts the Milking of the Ews; 80

The 1725 text There’s nane like Nansie, Jenny Nettles sings: At Turns in Maggy Lawder, Marion dings: But when my Peggy sings with sweeter Skill The Boatman, or the Lass of Patie’s Mill; 700 It is a Thousand Times mair sweet to me, Tho’ they sing well they canna sing like thee. Peggy. How eith can Lasses trow what they desire, And roos’d, by them we love, blaws up that Fire: But wha loves best, let Time and Carriage try; Be constant, and my Love shall Time defy. Be still as now, and a’ my Care shall be, How to contrive what pleasant is for thee. Patie. Wert thou a Giglit Gawky like the lave, That little better than our Nowt behave. At nought they’ll ferly;-- senseless Tales believe, Be blyth for silly Heghts, for Trifles grieve.--Sic ne’er cou’d win my Heart, that kenna how Either to keep a Prize, or yet prove true. But thou in better Sense without a Flaw, As in thy Beauty far excels them a’. Continue kind, and a’ my Care shall be, How to contrive what pleasing is for thee. Peggy. Agreed;-- but harken yons auld Aunty’s Cry, I ken they’ll wonder what can mak us stay.

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Patia. And let them ferly,--- now a kindly Kiss, Or Fivescore good anes wad not be a-miss; And syne we’ll sing the Sang with tunefu’ Glee, That I made up last Owk on you and me. Peggy. Sing first, syne claim your Hyre.

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The Gentle Shepherd BY the delicious Warmness of thy Mouth, And rowing Eye that smiling tells the Truth, I guess, my Lassie, that as well as I, You’re made for Love, and why should ye deny.

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Peggy (sings.) BUT ken ye, Lad, gif we confess o’er soon, Ye think us cheap, and syne the Wooing’s done: The Maiden that o’er quickly tynes her Power, Like unripe Fruit, will taste but hard and sowr. Patie (sings.) BUT gin they hing o’er lang upon the Tree, Their Sweetness they may tine, and sae may ye. Red cheeked you completely ripe appear, And I have thol’d and woo’d a lang Haf-year. Peggy (singing falls into Patie’s Arms.) THEN dinna pow me, gently thus I fa’ Into my Patie’s Arms for good and a’: But stint your Wishes to this kind Embrace, And mint nae farther till we’ve got the Grace. Patie (with his left Hand about her Waist.) O Charming Armfu’ hence ye Cares away, I’ll kiss my Treasure a’ the live lang Day, All Night I’ll dream my Kisses o’er again. Till that Day come that ye’ll be a’ my ain.

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Sung by Both. Sun gallop down the Westlin Skyes, Gang soon to Bed, and quickly rise; O Lash your Steeds, post Time away, And haste about our Bridal Day; And if your wearied, honest Light, Sleep gin ye like a Week that Night.

Let down the Curtain and let them kiss.

End of the Second ACT.

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Act III. Scene I.

PROLOGUE. Now turn your Eyes beyond yon spreading Lyme, And tent a Man whase Beard seems bleech’d with Time; An Elwand fills his Hand, his Habit mean; Nae Doubt ye’ll think he has a Pedlar been: But whisht! It is the Knight in Masquerade, That comes hid in this Cloud to see his Lad. Observe how pleas’d the loyal Sufferer moves Throw his auld Av’news, anes delightfu Groves.

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Sir William solus. Gentleman thus hid in low Disguise, T He I’ll for a Space unknown delight mine Eyes,

With a full View of every fertile Plain, Which once I lost,--- which now are mine again. Yet ’midst my Joys, some Prospects, Pain renew, Whilst I my once fair Seat in Ruins view. Yonder, ah me! it desolately stands Without a Roof, the Gates faln from their Bands; The Casements all broke down, no Chimny left, The naked Walls of Tap’stry all bereft. My Stables and Pavilions, broken Walls! That with each rainy Blast decaying falls. My Gardens once adorn’d the most complete With all that Nature, all that Art makes sweet: Where round the figur’d Green and Peeble Walks, The dewy Flowrs hung nodding on their Stalks: But overgrown with Nettles, Docks and Brier, No Jaccacinths or Eglintines appear. How fail’d and brok’s the rising ample Shade, Where Peach and Nect’rine Trees their Branches spred, Basking in Rays, and early did produce Fruit fair to View delightful in the Use; All round in Gaps, the Walls in Ruin ly, And from what stands the withered Branches fly. These soon shall be repaird;-- and now my Joy, Forbids all Grief,-- when I’m to see my BOY, My only Prop and Object of my Care, Since Heaven too soon call’d home his Mother fair, 83

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The Gentle Shepherd Him ere the Rays of Reason clear’d his Thought, I secretly to faithful Symon brought, 790 And charged him strictly to conceal his Birth, Till we should see what changing Times brought forth. Hid from himself, he starts up by the Dawn, And ranges carless o’er the Height and Lawn, After his fleecy Charge serenly gay, 795 With other Shepherds whistling o’er the Day. Thrice happy Life, that’s from Ambition free, Remov’d from Crowns and Courts, how cheerfully A quiet, contented Mortal, spends his Time, In hearty Health his Soul unstain’d with Crime. 800 Now tow’rds good Symon’s House, I’ll bend my Way, And see what makes yon Gamboling to Day, All on the Green, in a fair wanton Ring, My youthful Tenants gaylie dance and sing. Exit Sir William.



Act III. Scene II.



PROLOGUE. ’TIS Symon’s House, please to step in, And vissy’t round and round, There’s nought superfluous to give Pain, Or costly to be found. Yet all is clean: A clear Peat Ingle Glances amidst the Floor. The Green-Horn Spoons, Beech-Luggies mingle On Skelfs foregainst the Door. While the young Brood sport on the Green, The auld anes think it best, With the Brown Cow to clear their Een, Snuff, crack, and take their Rest.

SYMON, GLAUD, and ELSPA. Glaud. E anes were young our sells,-- I like to see The Bairns bob round with other merrylie. Troth, Symon, Patie’s grown a strapan Lad,

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The 1725 text And better Looks than his I never bade. Amang our Lads he bears the Gree awa, And tells his Tale the cleverest of them a’. Elspa. Poor Man!— he’s a great Comfort to us baith: God mak him good, and hide him ay frae Skaith. He is a Bairn, I’ll say’t, well worth our Care, That gae us ne’er Vexation late or Air. Glaud. I trow, Goodwife, if I be not mistane, He seems to be with Peggy’s Beauty tane, And troth my Niece is a right dainty Wean, As ye well ken; a bonnyer needna be, Nor better,—be’t she were nae Kin to me.

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} Symon. Ha Glaud! I doubt that neer will be a Match, My Patie’s wild, and will be ill to catch; And or he were, for Reasons I’ll no tell, I’d rather be mix’d with the Mools my sell. Glaud. What Reason can ye have, there’s nane, I’m sure, Unless ye may cast up that she’s but poor: But gif the Lassie marry to my Mind, I’ll be to her as my ain Jenny kind; Fourscore of breeding Ews of my ain Birn, Five Ky that at ae milking fills a Kirn, I’ll gie to Peggy that Day she’s a Bride; By and attour, if my good Luck abide, Ten Lambs at spaining Time as lang’s I live, And twa Quey Cawfs I’ll yearly to them give. Elspa. Ye offer fair, kind Glaud, but dinna speer What may be is not fit ye yet should hear. Symon. Or this Day Eight Days, likely he shall learn, That our Denial disna slight his Bairn. 85

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The Gentle Shepherd Glaud. Well nae mair o’t,--come gie’s the other Bend, We’ll drink their Healths, what ever Way it end.

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(Their Healths gae round) Symon. But will ye tell me, Glaud,-- by some ’tis said, Your Niece is but a Fundling that was laid Down at your Hallon Side, ae Morn in May, Right clean row’d up and beded on dry Hay.

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Glaud. That clatteran, Madge my Titty, tells sic Flaws, When ere our Meg her cankart Humour gaws.

Enter Jenny. O Father, there’s an auld Man on the Green, The fellest Fortune-teller e’er was seen; He tents our Loofs, and syne whops out a Book, Turns owre the Leaves, and gie’s our Brows a Look: Syne tells the oddest Tales that ere ye heard. His Head is gray, and lang and gray his Beard. Symon. Gae bring him in, we’ll hear what he can say, Nane shall gang hungry by my House to Day. Exit Jenny.

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But for his telling Fortunes, troth I fear He kens nae mair of that than my Gray Mear. Glaud. Spae-men!-- the Truth of a’ their Saws I doubt, For greater Liars never ran thereout. Returns Jenny, bringing in Sir William; with them Patie. Symon. Ye’re welcome honest Carle,-- here take a Seat. Sir Will. I give ye Thanks, Goodman, Ise no be blate. 86

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The 1725 text Glaud (drinks.) Come t’ye Friend:-- How far cam ye the Day? Sir Will. I pledge ye Nibour,--- e’en but little Way: Rousted with Eild, a wie Piece Gate seems lang, Twa Miles or Three’s the maist that I dow gang.

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Symon. Ye’re welcome here to stay all Night with me, And take sic Bed and Board as we can gi’ ye. Sir Will. That’s kind unsought,-- well gin ye have a Bairn That ye like well, and wad his Fortune learn, I shall imploy the farthest of my Skill To spae it faithfully, be’t good or ill.

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Symon (pointing to Patie.) Only that Lad,-- alake! I have nae mae, Either to make me joyful now or wae.

Sir Will. Young Man, let’s see your Hand,-- what gars ye sneer? Patie. Because your Skill’s but little worth I fear.

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Sir Will. Ye cut before the Point:-- But Billy byde, I’ll wager there’s a Mouse Mark on your Side. Elspa. Betootch-us-to!-- and well I wat that’s true, Awa, awa! the Deel’s owre grit wi’ you. Four Inch aneath his Oxter is the Mark, Scarce ever seen since he first wore a Sark. Sir Will. Ill tell ye mair, if this young Lad be spair’d But a short while, he’ll be a braw rich Laird.

Elspa. A Laird!--- Hear ye Goodman!-- what think ye now! 87

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The Gentle Shepherd Symon. I dinna ken! strange auld Man, what art thou? Fair fa’ your Heart, ’tis good to bode of Wealth, Come turn the Timmer to Laird Patie’s Health. (Paties’s Health gaes round) Patie. A Laird of twa good Whistles, and a Kent, Twa Curs my trusty Tenants on the Bent, Is all my great Estate,-- and like to be: Sae, cunning Carle, ne’er break your Jokes on me.

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Symon. Whisht, Patie,-- let the Man look owre your Hand, Aftymes as broken a Ship has come to Land. Sir William looks a little at Patie’s Hand, then counterfits falling into a Trance, while they endeavonr to lay him right. Elspa. Preserve’s!--- the Man’s a Warlock, or possest With some nae good,--- or second Sight at least, Where is he now?

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Glaud. He’s seeing a that’s done In ilka Place, beneath or yont the Moon. Elspa. These second sighted Fowk, his Peace be here! See Things far aff, and Things to come, as clear As I can see my Thumb,-- wow, can he tell? (Speer at him soon as he comes to himsel) How soon we’ll see Sir William. Whisht, he heaves, And speaks out broken Words like ane that raves.

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Symon. He’ll soon grow better,-- Elspa hast ye gae 915 And fill him up a Tass of Usquebae.

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The 1725 text Sir Will. (starts up and speaks.) A knight that for a LYON fought, Against a Herd of Bears, Was to lang Toil and Trouble brought, In which some thousands shares: 920 But now again the LYON rares, And Joy spreads owre the Plain, The LYON has defeat the Bears, The Knight returns again. THAT Knight, in a few Days, shall bring 925 A Shepherd frae the Fauld: And shall present him to his King, A Subject true and bauld. He Mr. Patrick shall be call’d:--All you that hear me now, 930 May well believe what I have tald, For it shall happen true. Symon. Friend, May your Spaeing happen soon and weel; But, Faith, I’m redd you’ve bargain’d with the Deel, To tell some Tales that Fowks wad secret keep, Or do you get them tald you in your Sleep.

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Sir Will. Howe’er I get them, never fash your Beard, Nor come I to redd Fortunes for Reward: But I’ll lay Ten to Ane with ony here, That all I prophesy shall soon appear. 940 Symon. You prophesying Fowks are odd kind Men! They’re here that ken, and here that disna ken, The wimpled Meaning of your unko Tale, Whilk soon will mak a Noise o’er Moor and Dale. Glaud. ’Tis nae sma Sport to hear how Sym believes, 945 And takes’t for Gospel what the Spae-man gives Of Flawing Fortunes, whilk he evens to Pate: But what we wish, we trow at ony Rate. 89

The Gentle Shepherd Sir Will. Whisht, doubtfu’ Carle, for e’er the Sun Has driven twice down to the Sea, What I have said, ye shall see done In part, or nae mair credit me.

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Glaud. Well, be’t sae, Friend; I shall sae naithing mair, But I have twa sonsy Lasses young and fair, Plump ripe for Men: I wish ye cou’d forsee 955 Sic Fortunes for them might bring Joy to me. Sir Will. Nae mair through Secrets can I sift, Till Darkness black the Bent, I have but anes a Day that Gift: Sae rest a While content. 960

Symon. ELSPA, cast on the Claith, fetch butt some Meat, And, of your best, gar this auld Stranger eat. Sir Will. Delay a while your hospitable Care, I’d rather enjoy this Evening calm and fair, Around yon ruin’d Tower, to fetch a Walk 965 With you, kind Friend, to have some private Talk. Symon. Soon as you please, I’ll answer your Desire,--- And, Glaud, you’ll take your Pipe beside the Fire; We’ll but gae round the Place, and soon be back, Syne sup together, and tak our Pint and Crack. Glaud. I’ll out a Space, and see the Young-anes play, My Heart’s still light abeit my Locks be gray. Exeunt.

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The 1725 text

Act III. Scene III.

PROLOGUE.

JENNY pretends an Errand Hame, Young ROGER draps the rest, To whisper out his melting Flame, And thow his Lassie’s Breast. Behind a Bush, well hid frae Sight they meet. See Jenny’s Laughing, Roger’s like to greet.

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Poor Shepherd!

ROGER and JENNY. Roger. Ear Jenny, I wad speak t’ye wad ye let, 980 And yet I ergh ye’r ay sae scornfu set.

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Jenny. And what wad Roger say, if he cou’d speak; Am I oblig’d to guess what ye’r to seek. Roger. Yes ye may guess, right eith for what I grein, Baith by my Service, Sighs, and langing Een: And I maun out we’t, tho’ I risk your Scorn, Ye’re never frae my Thoughts baith Even and Morn. Ah cou’d I loo ye less! I’d happy be, But happier far! cou’d ye but fancy me. Jenny. And wha kens, honest Lad, but that I may; Ye canna say, that e’er I said ye nay. Roger. Alake! my frighted Heart begins to fail, When e’er I mint to tell ye out my Tale, For fear some tighter Lad, mair rich than I, Has win your Love, and near your Heart may ly. Jenny. I loo my Father, Cusin Meg I love; But to this Day, nae Man my Mind could move: 91

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The Gentle Shepherd Except my Kin, ilk Lad’s alyke to me; And frae ye all I best had keep me free. Roger. How lang, dear Jenny,--- sayna that again, 1000 What Pleasure can ye tak in giving Pain? I’m glad however that ye yet stand free, Wha kens but ye may rew and Pity me? Jenny. Ye have my Pity else, to see ye set On that whilk makes our Sweetness soon foryet. Wow! but we’re bony, good, and every Thing! How sweet we breath, when e’er we kiss or sing! But we’re nae sooner Fools to give Consent, Than we our Daffine, and tint Power repent: When prison’d in four Waws a Wife right tame, Altho’ the first, the greatest Drudge at Hame. Roger. That only happens, when for Sake of Gear, Ane wales a Wife, as he wad buy a Mare: Or when dull Parents Bairns together bind Of different Tempers, that can ne’er prove kind. But Love, true dounright Love, engages me, Tho’ thou should scorn,--- still to delight in thee. Jenny. What suggard Words, frae Wooers Lips can fa’! But girning Marriage comes and ends them a’. I’ve seen with shining fair the Morning rise, And soon the sleety Clouds, mirk a’ the Skyes. I’ve seen the Silver Spring, a while rin clear, And soon in Mossy Puddles disappear. The Bridegroom may rejoyce, the Bride may smile; But soon Contentions a’ their Joys beguile. Roger. I’ve seen the Morning rise with fairest Light, The Day unclouded, sink in calmest Night. I’ve seen the Spring run wimpling throw the Plain, Increase and join the Ocean, without stain. The Bridegroom may be blyth, the Bride may smile; Rejoyce throw Life, and all your Fears beguile. 92

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The 1725 text Jenny. Were I but sure you lang wou’d Love maintain, The fewest Words my easy Heart could gain: For I mawn own, since now at last your’re free, Altho’ I jok’d, I lov’d your Company; And ever had a Warmness in my Breast, That made ye dearer to me than the rest.



Roger. I’m happy now! o’er happy! had my Head!— This Gush of Pleasure’s like to be my Dead. Come to my Arms! or strike me! I’m all fyr’d With wondering Love! let’s kiss till we be tyr’d. Kiss, kiss! We’ll kiss the Sun and Starns away, And ferly at the quick Return of Day! O Jenny, let my Arms about the twine And briss thy bony Breasts and Lips to mine. They Embrace.

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Jenny. With equal Joy my safter Heart does yield, To own thy well try’d Love has won the Field. Now by these warmest Kisses thou has tane, Swear thus to love me, when by Vows made ane. Roger. I swear by Fifty thousand, yet to come, Or may the first ane strike me deaf and dumb; There shall not be a kyndlier dawted Wife, If you agree with me to lead your Life. Jenny. Well I agree,— neist to my Parent gae, Get his Consent;-- he’ll hardly say ye nay. Ye have what will commend ye to him well, Auld Fowks like them that wants na Milk and Meal.

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Roger. My Faulds contain twice Fifteen forrow Nowt, As mony Newcal in my Bayers rowt: Five Pack of Woo I can at Lammass sell, 1060 Shorn frae my bob-tail’d Bleeters on the Fell. Good Twenty Pair of Blankets for our Bed, With meikle Care, my thrifty Mither made. 93

The Gentle Shepherd Ilk Thing that makes a Hartsome House and tight Was still her Care, my Father’s great Delight. They left me all, which now gi’es Joy to me, Because I can give a’, my Dear, to thee. And had I Fifty Times as meikle mair, Nane but my Jenny shou’d the samen skair. My Love and all is yours, now had them fast, And guide them as ye like to gar them last. Jenny. I’ll do my best;-- but see wha comes this Way, Patie and Meg,-- besides I mauna stay; Lets steal frae ither now and meet the Morn, If we be seen we’ll dree a deal of Scorn.

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Roger. To where the Saugh-tree shades the Mennin-pool, I’ll frae the Hill come down, when Day grows cool; Keep Tryst, and meet me there, there let us meet. To kiss and tell our Love;-- there’s nought sae sweet.



Act III. Scene IV.



PROLOGUE. This Scene presents the Knight and Sym Within a Galery of the Place, Where all looks ruinous and grim, Nor has the Baron shown his Face; But joking with his Shepherd leel, Aft speers the Gate he kens fou well.

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Sir WILLIAM and SYMON. Sir Will. O whom belongs this House so much decay’d? Symon. To ane that lost it lending generous Aid, To bear the Head up, when rebellious Tail Against the Laws of Nature did prevail. Sir William Worthy is our Master’s Name, 1090 Wha fills us all with Joy, now He’s come Hame.

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The 1725 text PROLOGUE. Sir William draps his masking Beard, Symon transported sees The welcome Knight with fond Regard, And grasps him round the Knees.

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My Master! my dear Master! — do I breathe! To see him healthy, strong and free frae Skaith! Return’d to cheer his wishing Tenants Sight! To bless his SON, my Charge, the World’s Delight. Sir Will. Rise, faithful Symon, in my Arms enjoy 1100 A Place, thy Due, kind Guardian of my Boy: I came to view thy Care in this Disguise, And am confirm’d thy Conduct has been wise; Since still the Secret thou’st securely seal’d, And ne’er to him his real Birth reveal’d. 1105 Symon. The due Obedience to your strict Command Was the first Lock;--- neist my ain Judgement fand Out Reasons plenty:—Since, without Estate, A Youth tho’ sprung frae Kings, looks baugh and blate. Sir Will. And aften vain and idly spend their Time, ’Till grown unfit for Action, past their Prime, Hang on their Friends,--- which gi’es their Sauls a Cast, That turns them downright Beggars at the last. Symon. Now well I wat, Sir, ye have spoken true; For there’s Laird Kytie’s Son, that’s loo’d by few. His Father steght his Fortune in his Wame, And left his Heir nought but a gentle Name: He gangs about sornan frae Place to Place, As scrimp of Manners, as of Sense and Grace, Oppressing all as Punishment of their Sin That are within his Tenth Degree of Kin: Rins in ilk Trader’s Debt, wha’s sae unjust To his ain Fam’lie, as to give him Trust. 95

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The Gentle Shepherd Sir Will. Such useless Branches of a Common-wealth Should be lopt off, to give a State mair Health. Unworthy bare Reflection.— Symon run O’er all your Observations on my Son; A Parent’s Fondness easily finds Excuse; But do not with Indulgence Truth abuse. Symon. To speak his Praise, the langest Simmer Day Wad be owre short,--- cou’d I them right display. In Word and Deed he can sae well behave, That out of Sight he runs before the lave; And when there’s e’er a Quarrel or Contest, Patrick’s made Judge, to tell whase Cause is best; And his Derceet stands good;--- he’ll gar it stand: Wha dares to grumble finds his correcting Hand, With a firm Look, and a commanding Way, He gars the proudest of our Herds obey. Sir Will. Your Tale much pleases,-- my good Friend, proceed: What Learning has he? can he write and read?

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Symon. Baith wonder well; for, troth, I didna spare To gie him at the School enough of Lair; And he delyts in Books:--- He reads and speaks With Fowks that ken them, Latin Words and Greeks. 1145 Sir Will. Where gets he Books to read,-- and of what kind; Tho’ some gives Light, some blindly lead the Blind. Symon. When e’er he drives our Sheep to Edinburgh Port, He buys some Books of History, Sangs or Sport: Nor does he want of them a Rowth at Will, And carries ay a Poutchfu’ to the Hill. About ane Shakespear and a famous Ben, He aften speaks and ca’s them best of Men. How sweetly Hawthrenden and Sterling sing, And ane caw’d Cowley loyal to his King, He kens fou well, and gars their Verses ring.

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The 1725 text I sometimes thought that he made o’er great Frase About fine Poems, Histories and Plays. When I reprov’d him anes,-- a Book he brings, With this, quoth he, on Braes I crack with Kings.

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Sir Will. He answer’d well, and much ye glad my Ear When such Accounts I of my Shepherd hear: Reading such Books can raise a Peasant’s Mind Above a Lord’s that is not thus enclin’d. Symon. What ken we better, that sae sindle look, 1165 Except on rainy Sundays, on a Book; When we a Leaf or twa, haf read, haf spell, ’Till a’ the rest sleep round as well’s our sell. Sir Will. Well jested, Symon;- but one Question more, I’ll only ask ye now, and then give o’er. The Youth’s arriv’d the Age when little Loves Flighter arround young Hearts like cooing Doves; Has no young Lassy with inviting Mein And Rosie Cheek, the Wonder of the Green, Engag’d his Look, and caught his youthful Heart? Symon. I fear’d the warst, but kend the smallest Part, Till late I saw him twa three Times mair sweet, (With Glaud’s fair Niece) then I thought right or meet. I had my Fears; but now have nought to fear, Since like your self, your Son will soon appear, A Gentleman enrich’d with all these Charms, May bless the fairest best born Lady’s Arms.

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Sir Will. This Night must end his unambitious Fire, When higher Views shall greater Thoughts inspire. 1185 Go, Symon, bring him quickly here to me, None but your self shall our first Meeting see. Yonders my Horse and Servants nigh at Hand, They come just at the Time I gave Command: Straight in my own Apparel I’ll go dress; Now ye the Secret may to all confess. 1190 97

The Gentle Shepherd Symon. With how much Joy I on this Errand flee, There’s nane can know that is not downright me. Exit Symon. Sir William solus. When the Event of Hopes successfully appears, One happy Hour cancels the Toil of Years. 1195 A Thousand Toils are lost in Lethe’s Stream, And Cares evanish like a Morning Dream; When wish’d for Pleasures rise like Morning Light, The Pain that’s past enhanses the Delight. These Joys I feel that Words can ill express, I ne’er had known without my late Distress. 1200 But from his rustic Business and Love, I must in haste my Patrick soon remove, To Courts and Camps that may his Soul improve: Like the rough Diamond as it leaves the Mine, Only in little Breakings shews its Light, Till artful Polishing has made it shine: Thus Education makes the Genius bright.

}

The End of the [Third] ACT.



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The 1725 text

Act IV. Scene I.

PROLOGUE.

The scene describ’d in former Page, Glaud’s Onset.— Enter Mause and Madge. Mause. Ur Laird come hame! and owns young Pate his Heir, 1210 That’s News indeed! Madge. As true as ye stand there. As they were dancing all in Symon’s Yard, Sir William like a Warlock, with a Beard, Five Nives in Length, and white as driven Snaw, 1215 Amang us came, cry’d, Had ye merry a’. We ferly’d meikle at his unco Look, While frae his Poutch he whirl’d forth a Book. As we stood round about him on the Green, He view’d us a’, but fix’d on Pate his Een; 1220 Then pawkylie pretended he cou’d spae, Yet for his Pains and Skill wad naithing hae.

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Mause. Then sure the Lasses, and ilk gaping Coof, Wad rin about him and had out their Loof. Madge. As fast as Flaes skip to the Tate of Woo, 1225 Whilk slee Tod Lawrie hads without his Mow, When he to drown them, and his Hips to cool, In Summer Days slides backward in a Pool: In short he did for Pate braw Things fortell, Without the Help of Conjuring or Spell; 1230 At last when well diverted he withdrew, Pow’d aff his Beard to Symon, Symon knew His welcome Master;--- round his Knees he gat, Hang at his Coat, and syne for Blythness grat. 1235 Patrick was sent for,--- happy Lad is he! Symon tald Elspa, Elspa tald it me. Ye’ll hear out a’ the secret Story soon; And troth ’tis een right odd when a’ is done, To think how Symon ne’er afore wad tell, 99

The Gentle Shepherd Na, no sae meikle as to Pate himsell. 1240 Our Meg, poor Thing, alake! has lost her Jo. Mause. It may be sae, wha kens, and may be no. To lift a Love that’s rooted is great Pain: Even Kings has tane a Queen out of the Plain, And what has been before may be again.

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Madge. Sic Nonsence! Love tak Root but Tocher-good, ’Tween a Herd’s Bairn, and ane of gentle Blood: Sic Fashions in King Bruce’s Days might be; But siccan Ferlies now we never see. Mause. Gif Pate forsakes her, Bauldy she may gain, Yonder he comes, and wow but he looks fain, Nae Doubt he thinks that Peggy’s now his Ain.

} Madge. He get her! slaverin Doof! it sets him well To yoke a Plough where Patrick thought to teil; Gif I were Meg, I’d let young Master see—

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Mause. Ye’d be as dorty in your Choice as he; And so wad I: But whisht here Bauldy comes. Enter Bauldy singing. Jocky said to Jenny, Jenny wilt thou do’t, Ne’er a fit, quoth Jenny, for my Tocher-good; For my Tocher-good, I winna marry thee, E’ens ye like, quoth Jocky, ye may let it be.

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Madge. Well liltit, Bauldy, that’s a dainty Sang. Bauldy. I’ll gie ye’t a’, ’tis better than ’tis lang. Sings again. I hae Gowd and Gear, I have Land enough, I hae seven good Owsen ganging in a Pleugh; Ganging in a Pleugh, and linkan o’er the Lee, 100

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The 1725 text And gin ye winna tak me, I can let ye be. I hae a good Ha’ House, a Barn and a Bayer, A Peatstack ’fore the Door, we’ll make a rantin Fire; I’ll make a rantin Fire, and merry sall we be, And gin ye winna take me, I can let ye be. Jenny said to Jocky, gin ye winna tell, Ye shall be the Lad, I’ll be the Lass my sell; Ye’re a bony Lad, and I’m a Lassie free; Ye’re welcomer to tak me than to let me be.

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I trow sae,— Lasses will come too at last, Tho’ for a While they maun their Snaw-baws cast. Mause. Well Bauldy, how gaes a’. Bauldy. Faith unco right: I hope well a sleep sound but ane this Night.

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Madge. And wha’s the unlucky ane, if we may ask? Bauldy. To find out that is nae difficult Task. Poor bony Peggy, wha maun think nae mair On Pate turn’d Patrick, and Sir William’s Heir. Now, now, good Madge, and honest Mause stand be, While Meg’s in Dumps, put in a Word for me. I’ll be as kind as ever Pate could prove: Less wilful, and ay constant in my Love. Madge. As Neps can witness, and the bushy Thorn, Where mony a Time to her your Heart was sworn. Fy Bauldy blush, and Vows of Love regard; What other Lass will trow a mansworn Herd. The Curse of Heaven hings ay aboon their Heads, That’s ever guilty of sic sinfu’ Deeds. I’ll ne’er advise my Niece sae gray a Gate, 101

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The Gentle Shepherd Nor will she be advis’d fou well I wate. Bauldy. Sae gray a Gate! Mansworn! and a the rest; Ye leed, auld Roudes,--- and in faith had best Eat in your Words, else I shall gar ye stand With a het Face afore the haly Band.

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Madge. Ye’ll gar me stand! ye sheveling-gabit Brock, Speak that again, and trembling dread my Rock, And Ten sharp Nails, that when my Hands are in, Can flyp the skin o’ye’r Cheeks out o’er your Chin. Bauldy. I tak ye Witness, Mause, ye heard her say, That I’m mansworn,--- I winna let it gae.

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Madge. Ye’re witness to, he ca’d me bony Names, And should be serv’d as his good Breeding claims. Ye filthy Dog! Flees to his Hair like a Fury:— A stout Battle.--- Mause endea vours to redd them. Mause. Let gang your Grips, fy Madge! howt Bauldy leen, 1310 I wadna wish this Tuilzie had been seen; Tis sae daft like. Bauldy gets out of Madge’s Clutches with a bleeding Nose. Madge. ’Tis dafter like to thole An Ether-cap like him to blaw the Coal. It sets him well with vile unscrapit Tongue, To cast up whether I be auld or young; They’re aulder yet than I have married been, And or they died their Bairn’s Bairns have seen. Mause. That’s true, and Bauldy ye was far to blame, To ca’ Madge ought but her ain christen’d Name. 102

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The 1725 text Bauldy. My Luggs, my Nose, and Nodle finds the same. Madge. Auld Roudes! Filthy Fallow, I shall auld ye. Mause. Howt no;--- ye’ll e’en be Friends with honest Bauldy: Come, come, shake Hands; this maun nae farder gae: Ye maun forgi’e ’m: I see the Lad looks wae. Bauldy. In troth now Mause, I have at Madge nae Spite; But she abusing first was a’ the Wyte Of what has happen’d, and should therefore crave My Pardon first, and shall Acquittance have. Madge. I crave your Pardon! Gallows-face, gae greet, And own your Faut to her that ye wad cheat. Gae or be blasted in your Health and Gear, Till ye learn to perform as well as swear. Vow and lowp back!--- was e’er the like heard tell? Swith tak him Deil, he’s owre lang out of Hell.

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Bauldy running off. His Presence be about us! Curst were he, That were condemn’d for Life to live with thee. Exit Bauldy. Madge (laughing.) I think I have towzled his Harigalds a wee; He’ll no soon grein to tell his Love to me. He’s but a Rascal that wad mint to serve A Lassie sae, he does but ill deserve. Mause. Ye towin’d him tightly,--- I commend ye for’t, His blooding Snout gae me nae little Sport: For this Forenoon he had that Scant of Grace, And Breeding baith,--- to tell me to my Face, He hop’d I was a Witch, and wadna stand, To lend him in this Case my helping Hand.

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Madge. A Witch!--- how had ye Patience this to bear, And leave him Een to see, or Lugs to hear. Mause. Auld wither’d Hands, and feeble Joints like mine, 1350 Obliges Folk Resentment to decline, Till aft ’tis seen, when Vigour fails, then we With Cunning can the Lak of Pith supplie: Thus I pat aff Revenge till it was dark, Syne bad him come, and we should gang to wark: 1355 I’m sure he’ll keep his Tryst; and I came here To seek your Help that we the Fool may fear. Madge. And special Sport we’ll have, as I protest; Ye’ll be the Witch, and I shall play the Ghaist. A Linnen Sheet wond round me like ane dead, I’ll cawk my Face, and grane and shake my Head. We’ll fleg him sae, he’ll mint nae mair to gang A conjuring to do a Lassie wrang. Mause. Then let us go, for see, ’tis hard on Night, The westlin Cloud shines red with setting Light.

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Exeunt.

Act IV. Scene II. PROLOGUE. When Birds begin to nod upon the Bough, And the Green-swaird grows damp with falling Dew, While good Sir William is to Rest retir’d, The Gentle Shepherd tenderly inspir’d Walks throw the Broom with Roger ever leel, To meet, to comfort MEG, and tak farewell. Roger. Ow but I’m cadgie, and my Heart Lowps light; O Mr. Patrick ay your Thoughts were right:

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The 1725 text Sure Genle-fowk are farrer seen than we, That naithing ha’e to brag of Pedegree. My Jenny now wha’ brak my Heart this Morn, Is perfect yielding,--- sweet,-- and nae mair scorn. I spake my Mind,--- she heard,--- I spake again, She smil’d,--- I kiss’d,--- I woo’d, nor woo’d in vain.

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Patie. I’m glad to hear’t:--- But O my Change this Day, 1380 Heaves up my Joy, and yet I’m sometimes wae. I’ve found a Father, gently kind as brave, And an Estate that lifts me ’boon the lave. With Looks all Kindness, Words that Love confest: He all the Father to my Soul exprest, 1385 While closs he held me to his manly Breast. Such were the Eyes, he said, thus smil’d the Mouth Of thy lov’d Mother, Blessing of my Youth! Who set too soon!--- And while he Praise bestow’d, Adown his graceful Cheek a Torrent flow’d. 1390 My new-born Joys, and this his tender Tale, Did, mingled thus, o’er a’ my Thoughts prevail. That speechless lang, my late-kend Sire I view’d, While gushing Tears my panting Breast bedew’d. Unusual Transports made my Head turn round, 1395 Whilst I my self with rising Raptures found The happy Son of ane sae much renoun’d. But he has heard,-- too faithful Symon’s Fear! Has brought my Love for Peggy to his Ear, Which he forbids,-- ah! this confounds my Peace, 1400 While, thus to beat, my Heart must sooner cease.

}

}

Roger. How to advise ye, troth I’m at a Stand: But were’t my Case, ye’d clear it up aff Hand. Patie. Duty, and haflen Reason plead his Cause: But Love rebels against all bounding Laws; Fixt in my Soul the Shepherdess excels, And Part of my new Happiness repells. Roger. Enjoy them baith--- Sir William will be won: Your Peggy’s bony,-- you’re his only Son. 105

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The Gentle Shepherd Patie. She’s mine by Vows, and stronger Ties of Love, And frae these Bands nae Fate my Mind shall move. I’ll wed nane else, through Life I will be true, But still Obedience is a Parent’s Due. Roger. Is not our Master and your sell to stay Amang us here,-- or are ye gawn away To London Court, or ither far aff Parts, To leave your ain poor us with broken Hearts? Patie. To Edinburgh straight, To-morrow we advance, To London neist, and afterwards to France, Where I must stay some Years, and learn --- to dance, And twa three other Monky-tricks:--- That done I come hame struting in my Red-heel’d Shoon. Then ’tis design’d, when I can well behave, That I maun be some petted Thing’s dull Slave, For some few Bags of Cash that I wate weel I nae mair need nor Carts do a Third Wheel: But Peggy dearer to me than my Breath, Sooner than hear sic News, shall hear my Death.

}

Roger. THEY wha have just enough can soundly sleep, The Owrecome only fashes Fowk to keep.--- Good Master Patrick, tak your ain Tale Hame. Patie. What was my Morning Thought, at Night’s the same: The Poor and Rich but differ in the Name. Content’s the greatest Bliss we can procure Frae ’boon the Lift.--- Without it Kings are poor. Roger. But an Estate like yours yields braw Content, When we but pike it scantly on the Bent: Fine Claiths, saft Beds, sweet Houses, sparkling Wine, Rich Fare, and witty Friends, when e’er ye dine, Submissive Servants, Honour, Wealth and Ease, Wha’s no content with these, are ill to please.

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The 1725 text Patie. Sae Roger thinks, and thinks not far amiss, But mony a Cloud hings hovering o’er their Bliss: The Passions rule the Roast,-- and if they’re sour, Like the lean Ky, they’ll soon the Fat devour: The Spleen, tint Honour, and affronted Pride, Stang like the sharpest Goads in Gentry’s Side. The Gouts, and Gravels, and the ill Disease, Are frequentest with Fouk owrelaid with Ease, While o’er the Moor the Shepherd with less Care, Enjoys his sober Wish, and halesome Air. Roger. LORD Man I wonder ay, and it delights My Heart, when e’er I hearken to your Flights. How gat ye a’ that Sense I fain wad lear, That I may easier Disappointments bear.

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Patie. Frae Books, the Wale of Books, I gat some Skill, These best can teach what’s real good and ill: Near grudge ilk Year to ware some Stanes of Cheese, To gain these silent Friends that ever please. Roger. I’ll do’t, and ye shall tell me which to buy: Faith Ise hae Books, tho’ I shou’d sell my Ky: But now let’s hear how you’re design’d to move Between Sir William’s Will and Peggy’s Love. Patie. Then here it lyes,--- his Will maun be obey’d, My Vows I’ll keep, and she shall be my Bride: But I some Time this last Design maun hide. Keep you the Secret close, and leave me here, I sent for Peggy, yonder comes my Dear.

} Roger. And proud of being your Secretary, I To wyle it frae me, a’ the Deels defy. Exit Roger. Patie (solus.) With what a Struggle must I now impart 107

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f. 25R ‘draft 3’ Laing.II.212*, University of Edinburgh This page shows Ramsay’s revising hand at work, corresponding with ll. 1488-1519

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The 1725 text My Father’s Will to her that hads my Heart: I ken she loves, and her saft Soul will sink, While it stands trembling on the hated Brink Of Disappointment.--- Heaven support my Fair, And let her Comfort claim your tender Care. Her eyes are red Enter Peggy. My Peggy why in Tears? Smile as ye wont, allow nae Room for Fears: Tho’ I’m nae mair a Shepherd, yet I’m thine. Peggy. I dare not think sae high:-- I now repine At the unhappy Chance, that made not me A gentle Match, or still a Herd kept thee. Wha can withouten Pain see frae the Coast The Ship that bears his All, like to be lost? Like to be carried by some Rever’s Hand, Far frae his Wishes to some distant Land. Patie. Ne’er quarrel Fate, whilst it with me remains To raise thee up, or still attend these Plains. My Father has forbid our Loves, I own: But Love’s superior to a Parent’s Frown. I Falshood hate: Come kiss thy Cares away; I ken to love as well as to obey. Sir William’s generous, leave the Task to me To make strict Duty and true Love agree. Peggy. Speak on! — speak ever thus, and still my Grief, But short I dare to hope the fond Relief. New Thoughts, a gentler Face will soon inspire, That with nice Air swims round in Silk Attire; Then I, poor me!--- with Sighs may ban my Fate, When the young Laird’s nae mair my heartsome Pate: Nae mair again to hear sweet Tales exprest, By the blyth Shepherd that excell’d the rest: Nae mair be envied by the tatling Gang, When Patie kiss’d me when I danc’d or sang: Nae mair, alake! we’ll on the Meadow play! And rin haff breathless round the Rucks of Hay, As aftimes I have fled from thee right fain, 109

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The Gentle Shepherd And fawn on Purpose that I might be tane. Nae mair arround the Foggy-Know I’ll creep, 1510 To watch and stare upon thee, while asleep. But hear my Vow,--- ’twill help to give me Ease, May sudden Death, or deadly sair Disease, And warst of Ills attend my wretched Life, If e’er to ane but you I be a Wife. 1515 Patie. Sure Heaven approves;-- and, be assur’d of me, I’ll ne’er gang back of what I’ve sworn to thee: And Time, tho’ Time maun interpose a while, And I maun leave my Peggy and this Isle; Yet Time, nor Distance, nor the fairest Face, If there’s a fairer ere shall fill thy Place. I’d hate my rising Fortune, should it move The fair Foundation of our faithful Love. If at my Foot were Crowns and Scepters laid, To bribe my Soul frae thee, delightful Maid; For thee I’d soon leave these inferior Things To sic as have the Patience to be Kings. Wherefore that Tear? Believe and calm thy Mind. Peggy. I greet for Joy, to hear my Love sae kind; When Hopes were sunk, and nought but mirk Dispair, Made me think Life was little worth my Care: My Heart was like to burst; but now I see Thy generous Thoughts will save thy Heart for me. With Patience then, I’ll wait each wheeling Year, Dream throw that Night, till my Day-star appear: And all the while I’ll study gent’ler Charms To make me fitter for my Traveller’s Arms: I’ll gain on Uncle Glaud,-- he’s far frae Fool, And will not grudge to put me throw ilk School, Where I may Manners learn Patie. That’s wisely said, And what he wares that Way shall be well paid. Tho’ without a’ the little Helps of Art, Thy native Sweets might gain a Prince’s Heart. Yet now, lest in our Station we offend, We must learn Modes to Innocence unkend; 110

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The 1725 text Affect aft-times to like the Thing we hate, And drap Serenity to keep up State: Laugh when we’re sad, speak when we’ve nought to say, And, for the Fashion, when we’re blyth, seem wae: Pay Compliments to them we aft have scorn’d, Then scandalize them when their Backs are turn’d.

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Peggy. If this is Gentry, I had rather be What I am still;--- but I’ll be ought with thee. Patie. No, no, my Peggy, I but only jest 1555 With Gentry’s Apes; for still amangst the best, Good Manners give Integrity a Bleez, When Native Virtues join the Arts to please. Peggy. Since with nae Hazard, and sae small Expence, My Lad frae Books can gather siccan Sence; Then why, ah! why, shou’d the tempestuous Sea, Endanger thy dear Life, and frighten me: Sir William’s cruel that wad force his Son, For Watna-whats, sae great a Risk to run. Patie. There is nae Doubt but Travelling does improve, Yet I would shun it for thy Sake, my Love: But soon as I’ve shook aff my Landwart Cast In foreign Cities, hame to thee I’ll haste. Peggy. With every setting Day, and rising Morn, I’ll kneel to Heaven and ask thy safe Return. Under that Tree, and on the Suckler-Brae, Where aft we wont, when Bairns, to run and play; And to the Hissel-Shaw, where first ye vow’d Ye wad be mine, and I as eithly trow’d, I’ll aften gang, and tell the Trees and Flowers, With Joy that they’ll bear Witness I am yours. Patie. My Dear allow me frae thy Temples fair, A shining Ringlet of thy flowing Hair, 111

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The Gentle Shepherd Which, as a Sample of each lovely Charm, I’ll aften kiss and wear about my Arm.

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Peggy. Were ilka Hair that appertains to me Worth an Estate, they all belong to thee: My Sheers are ready, take what you demand, And ought what Love with Virtue may command. Patie. Nae mair I’ll ask; but since we’ve little Time, To ware’t on Words, wad border on a Crime, Love’s safter Meaning better is exprest, When its with Kisses on the Heart imprest. (Here they embrace, and the Courtain’s let down.) End of the Fourth ACT.

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Act V. Scene I. PROLOGUE. SEE how poor Bauldy stares like ane possest, And roars up Symon frae his kindly Rest: Bare Leg’d, with Nightcap, and unbutton’d Coat, See the auld Man comes foreward to the Sot.

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Symon. Hat want ye, Bauldy, at this silent Hour, When Nature nods beneath the drowsy Power, Far to the North the scant approaching Light 1595 Stands equal ’twixt the Morning and the Night. What gars ye shake and glowre and look sae wan? Your Teeth they chitter, Hair like Bristles stand.

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Bauldy. O len me soon some Water, Milk, or Ale, My Head’s grown giddy,--- Legs with shaking fail; I’ll ne’er dare venture forth at Night my lane: Alake! I’ll never be my sell again. I’ll ne’er o’erput it! Symon, O Symon! O! Symon gives him a drink. Symon. What ails thee, Gowk!-- to make sae loud ado. You’ve wak’d Sir William, he has left his Bed, He comes, I fear ill pleas’d; I hear his Tred. Enter Sir William.

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Sir Will. How goes the Night? Does Day-light yet appear? Symon, you’re very tymously asteer. Symon. I’m sorry, Sir, that we’ve disturb’d your Rest; But some strange Thing has Bauldy’s Sp’rit opprest, He’s seen some Witch, or wrestl’d with a Ghaist.

} Bauldy. O! ay--- dear Sir, in Troth ’tis very true, And I am come to make my Plaint to you.

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The Gentle Shepherd Sir Will. (smiling.) I lang to hear’t Bauldy. Ah! Sir, the Witch caw’d Mause, That wins aboon the Mill amang the Haws, First promis’d that she’d help me with her Art, To gain a bonny thrawart Lassie’s Heart: As she had trysted, I met wi’er this Night, But may nae Friend of mine get sic a Fright! For the curs’d Hag, instead of doing me good, (The very Thought o’t’s like to freeze my Blood!) Rais’d up a Ghaist, or Deel, I kenna whilk, Like a dead Corse in Sheet as white as Milk, Black Hands it had, and Face as wan as Death, Upon me fast the Witch and it fell baith, Lows’d down my Breeks, while I like a great Fool, Was labour’d as I wont to be at School. My Heart out of its Hool was like to lowp, I pithless grew with Fear, and had nae Hope, Till, with an elritch Laugh, they vanish’d quite, Syne I haf dead with Anger, Fear, and Spite, Crap up and fled straight frae them, Sir, to you, Hoping your Help to gi’e the Deel his Due. I’m sure my Heart will ne’er gi’e o’er to dunt, Till in a fat Tar Barrel Mause be burnt.

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Sir Will. Well, Bauldy, what e’er’s just shall granted be, Let Mause be brought this Morning down to me. Bauldy. Thanks to your Honour, soon shall I obey, But first I’ll Roger raise, and twa three mae, To catch her fast or she get Leave to squeel, And cast her Cantraips that bring up the Deel. Exit Bauldy. Sir Will. Troth Symon, Bauldy’s more affraid than hurt, The Witch and Ghaist have made themselves good Sport. What silly Notions crowd the clouded Mind, That is throw want of Education blind.

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The 1725 text Symon. But does your Honour think there’s nae sic Thing, As Witches raising Deels up-throw a Ring, Syne playing Tricks, a Thousand I cou’d tell, Cou’d never be contriv’d on this Side Hell.

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Sir Will. Such as the Devil’s dancing in a Moor, Amongst a few old Women, craz’d and poor, Who are rejoyc’d to see him frisk and lowp O’er Braes and Bogs, with Candles in his Dowp, Appearing sometimes like a black-horn’d Cow, 1655 Aft-times like Bawty, Badrans, or a Sow; Then with his Train throw airy Paths to glide, While they on Cats or Clowns, or Broomstaffs ride, Or in the Egg-shell skim out o’er the Main, To drink their Leader’s Health in France or Spain; 1660 Then aft be Night, bumbaze Hare-hearted Fools, By tumbling down their Cup-board, Chairs and Stools. What e’er’s in Spells, or if there Witches be, Such Whimsies seem the most absurd to me. Symon. ’Tis true enough, we ne’er heard that a Witch Had either meikle Sense, or yet was rich: But Mause, tho’ poor, is a sagacious Wife, And lives a quiet and very honest Life. That gars me think this Hobleshew that’s past Will land in naithing but a Joke at last. Sir Will. I’m sure it will;--- but see increasing Light, Commands the Imps of Darkness down to Night: Bid raise my Servants and my Horse prepare, Whilst I walk out to take the Morning Air. Exeunt.

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Act V. Scene II. PROLOGUE. WHILE Peggy laces up her Bosom fair, With a blew Snood Jenny binds up her Hair, Glaud by his Morning Ingle takes a Beek. The rising Sun shines motty throw the Reek, A Pipe his Mouth, the Lasses please his Een, And now and than his Joke maun interveen. Glaud. Wish, my Bairns, it may keep fair till Night, Ye do not use so soon to see the Light; Nae doubt now ye intend to mix the Thrang, To take your Leave of Patrick or he gang: But, do ye think, that now when he’s a Laird, That he poor Landwart Lasses will regard.

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I

Jenny. Tho’ he’s young Master now, I’m very sure, He has mair Sense than slight auld Friends, tho’ poor: But Yesterday he ga’e us mony a Tug, And kiss’d my Cusin there frae Lug to Lug. Glaud. Ay, ay, nae Doubt o’t, and he’ll do’t again; But, be advis’d, his Company refrain: Before he as a Shepherd sought a Wife, With her to live a chast and frugal Life: But now grown gentle, soon he will forsake Sic godly Thoughts, and brag of being a Rake.

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Peggy. A Rake, what’s that?--Sure if it means ought ill, He’ll never be’t, else I have tint my Skill. Glaud. Daft Lassie, ye ken nought of the Affair, Ane young and good and gentle’s unco rare: A Rake’s a graceless Spark, that thinks nae Shame To do what like of us thinks Sin to name: Sic are sae void of Shame, they’ll never stap To brag how aften they have had the Clap; 116

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The 1725 text They’ll tempt young Things like you, with Youdith flush’d, Syne mak ye a’ their Jest when ye’re debauch’d. Be warry then I say, and never ge’e Encouragement, or bourd with sic as he. Peggy. Sir William’s vertuous, and of gentle Blood, And may not Patrick too, like him, be good. Glaud. That’s true, and mony Gentry mae than he, As they are wiser better are than we; But thinner sawn; they’re sae puft up with Pride, There’s mony of them mocks ilk haly Guide, That shaws the Gate to Heaven;--- I’ve heard my sell, Some of them laugh at Doomsday, Sin and Hell.

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Jenny. Watch o’er us, Father! heh, that’s very odd, Sure him that doubts a Dooms-day, doubts a God. Glaud. Doubt! why they neither doubt, nor judge nor think, Nor hope, nor fear, but curse, debauch and drink: But I’m no saying this, as if I thought That Patrick to sic Gaits will e’er be brought.

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Peggy. The LORD forbid!--- Na, he kens better Things: But here comes Aunt, her face some ferly brings. Enter Madge. Madge. Hast, hast ye, we’re a’ sent for owre the Gate, To hear, and help to red some odd Debate ’Tween Mause and Bauldy, ’bout some Witchcraft Spell, At Symon’s House, the Knight sits Judge himsel. Glaud. Lend me my Staff,--- Madge, lock the Outer-door, And bring the Lasses wi’ye, I’ll step before. Exit Glaud. 117

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The Gentle Shepherd Madge. Poor Meg!-- Look Jenny, was the like e’er seen, How bleer’d and red with greeting look her Een! This Day her brankan Woer takes his Horse, To strute a gentle Spark at Edinburgh Cross, To change his Kent cut frae the branchy Plain For a nice Sword, and glancing headed Cane; To leave his Ram-horn Spoons and kitted Whey, For gentler Tea, that smells like new won Hay; To leave the Green-swaird Dance, when we gae milk, To rustle amang the Beauties clad in Silk. But Meg, poor Meg! maun with the Shepherd stay, And tak what God will send in Hodden-gray. Peggy. Dear Aunt, what needs ye fash us wi’ your Scorn? That’s no my Faut that I’m nae gentler born. Gif I the Daughter of some Laird had been, I ne’er had notic’d Patie on the Green: Now since he rises, why should I repine? If he’s made for another, he’ll ne’er be mine: And then, the like has been, if the Decree Designs him mine, I yet his Wife may be.

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Madge. A bony Story trouth!--- But we delay; Prin up your Aprons baith, and come away. Exeunt.

Act V. Scene III. PROLOGUE. Sir William fills the Twa-arm’d Chair, While Symon, Roger, Glaud, and Mause Attend, and with loud Laughter hear Daft Bauldy bluntly plead his Cause: For now its tell’d him that the Taz Was handled by revengfu’ Madge, Because he brak good Breeding’s Laws, And with his Nonsense rais’d the Rage. 118

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The 1725 text Sir Will. nd was that all?--well, Archbald, ye was serv’d

A No otherwise than what ye well deserv’d.

Was it so small a Matter to defame, And thus abuse an honest Woman’s Name? Besides your going about to have betray’d 1765 By Perjury an innocent young Maid. Bauldy. Sir I confess my Faut thro’ a’ the Steps, And ne’er again shall be untrue to Neps. Mause. Thus far, Sir, he oblig’d me on the Score, I kend not that they thought me sic before.

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Bauldy. An’t like your Honour, I believ’d it well; But trowth I was e’en doilt to seek the Deel: Yet with your Honour’s Leave, tho’ she’s nae Witch, She’s baith a slee and a revengefu’ 1775 And that my Some-place finds;-- but I had best Had in my Tongue, for yonder comes the Ghaist, And the young bony Witch, whase Rosie Cheek, Sent me without my Wit the Deel to seek. Enter Madge, Peggy, and Jenny. Sir Will. (looking at Peggy.) Whose Daughter’s she that wears th’ Aurora Gown With Face so fair, and Locks a lovely Brown: 1780 How sparkling are her Eyes! what this I find. The Girl brings all my Sister to my Mind. Such were the Features once adorn’d a Face, Which Death too soon depriv’d of sweetest Grace. Is this your Daughter, Glaud. 1785 Glaud. Sir she’s my Niece,--And yet she’s not,--- but I should had my Peace. Sir Will. This is a Contradiction, what d’ye mean? She is, and is not! pray thee, Glaud, explain. 119

The Gentle Shepherd Glaud. Because I doubt if I should mak appear What I have kept a Secret Thirteen Year.

Mause. You may reveal what I can fully clear.

}

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Sir Will. Speak soon, I’m all Impatience! Patie. So am I! For much I hope, and hardly yet know why.

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Glaud. Then since my Master orders, I obey.--This Bony Fundling ae clear Morn of May, Closs by the Lee-side of my Door I found, All sweet and clean, and carefully hapt round, In Infant Weeds of rich and gentle Make. 1800 What cou’d they be, thought I, did thee forsake? Wha, warse than Brutes, cou’d leave expos’d to Air Sae much of Innocence sae sweetly fair, Sae helpless young; for she appear’d to me, Only about twa Towmands auld to be. 1805 I took her in my Arms, the Bairnie smil’d With sic a Look, wad made a Savage mild. I hid the Story, she has pass’d sincesyne, As a poor Orphan, and a Niece of mine: Nor do I rue my Care about the wean, 1810 For she’s well worth the Pains that I have tane, Ye see she’s bony, I can swear she’s good, And am right sure she’s come of gentle Blood; Of whom I kenna,--- naithing ken I mair, Than what I to your Honour now declare. 1815 Sir Will. This Tale seems strange!

Patie. The Tale delights my Ear!

Sir Will. Command your Joys, young Man, till Truth appear. 120

The 1725 text Mause. That be my Task,-- now, Sir, bid all be hush, Peggy may smile,-- thou hast no Cause to blush. Long have I wish’d to see this happy Day, That I might safely to the Truth give Way; That I may now Sir William Worthy name The best and nearest Parent she can claim. He saw’t at first, and with quick Eye did trace, His Sister’s Beauty’s in his Daughter’s Face.

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Sir Will. Old Woman do not rave,--- prove what you say; ’Tis dangerous in Affairs like this to play; Patie. What Reason, Sir, can an old Woman have To tell a Lie, when she’s sae near her Grave? But how, or why, it should be Truth, I grant, I every Thing that looks like Reason want.

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omnes. The Story’s odd! we wish we heard it out,- Sir Will. Mak hast good Woman, and resolve each Doubt. Mause goes foreward, leading Peggy to Sir William. Mause. Sir view me well, has Fifteen Years so plow’d, A wrinkled Face that you have often view’d That here I as an unknown Stranger stand Who nurs’d her Mother that now holds my Hand, Yet stronger Proofs I’ll give, if you demand.

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} Sir Will. Ha honest Nurse! where were my Eyes before, I know thy Faithfulness, and need no more; Yet from the Lab’rinth, to lead out my Mind, Say to expose her who was so unkind. Sir William embraces Peggy, and makes her sit by him. Sir Will. Yes surely thou’rt my Niece, Truth must prevail But no more Words till Mause relate her Tale. ;

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The Gentle Shepherd Patie. Good Nurse dispatch thy Story, wing’d with Blisses, That I may give my Cusin Fifty Kisses. Mause. Then it was I that sav’d her Infant-Life Her Death being threatened by an Uncle’s Wife. The Story’s lang; but I the Secret knew, How they pursu’d with avaritious View Her rich Estate, of which they’re now possest: All this to me a Confident confest. I heard with Horror, and with trembling Dread, They’d smoor the sakeless Orphan in her Bed. That very Night, when all were sunk in Rest, At Midnight-Hour the Floor I saftly prest. And staw the sleeping Innocent away, With whom I travel’d some few Miles e’er Day. All Day I hid me,-- when the Day was done, I kept my Journey, lighted by the Moon, Till Eastward fifty Miles I reach’d these Plains, Where needful Plenty glads your chearful Swains. Then fear of being found out, I to secure My Charge I laid her at this Shepherd’s Door, And took a neighbouring Cottage here that I What e’er should happen to her might be by. Here, honest Glaud, himsel, and Symon may Remember well how I that very Day, Frae Roger’s Father took my little Crove.

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Glaud, (with Tears of Joy happing down his Beard) I well remember’t: Lord reward your Love: 1870 Lang have I wisht for this; for aft I thought, Sic Knowledge sometime should about be brought. Patie. Tis now a Crime to doubt,--- my Joys are full, With due Obedience to my Parent’s Will. Sir, with paternal Love survey her Charms, And blame me not for rushing to her Arms: She’s mine by Vows, and would tho’ still unknown, Have been my Wife, when I my Vows durst own. Roger [Sir Will.] My Niece, my Daughter, Welcome to my Care, 122

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The 1725 text Sweet Image of thy Mother, good and fair, Equal with Patrick, now my greatest Aim, Shall be to aid your Joys, and well match’d Flame. My Boy receive her from your Father’s Hand, With as good Will as either would demand. Patie and Pggey embrace and kneel to Sir William. Patie. With as much Joy this Blessing I receive, As ane wad Life that’s sinking in a Wave.

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Sir Will. raises them. I give you both my Blessing, may your Love Produce a happy Race, and still improve.

Peggy. My Wishes are complete,--- my Joys arise, While I’m haf dizy with the blest Surprise; And am I then a Match for my ain Lad, That for me so much generous Kindness had? Lang may Sir William bless these happy Plains, Happy while Heaven grant he on them remains. Patie. Be lang our Guardian, still our Master be, We’ll only crave what you shall please to gie; The Estate be yours, my Peggy’s ane to me.

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Glaud. I hope your Honour now will tak amends Of them that sought her Life for wicked Ends. Sir Will. The base unnatural Villian soon shall know, That Eyes above watch the Affairs below: I’ll strip him soon of all to her pertains, And make him reimburse his ill-got Gains.

1900

Peggy. To me the Views of Wealth, and an Estate Seem light when put in Balance with my Pate: 1905 For his Sake only I’ll ay thankful bow, For such a Kindness, best of Men, to you.

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The Gentle Shepherd Symon. What double Blythness wakens up this Day, I hope now, Sir, you’ll no soon hast away. Sall I unsadle your Horse, and gar prepare 1910 A Dinner for ye of hale Country Fare. See how much Joy unwrinkles every Brow, Our Looks hing on the Twa, and doat on you: Even Bauldy the Bewitch’d has quite forgot Fell Madge’s Taz, and pawky Mause’s Plot. 1915 Sir Will. Kindly, old Man, remain with you this Day, I never from these Fields again will stray; Masons and Wrights shall soon my House repair, And bussy Gardners shall new Planting rear: My Fathers hearty Table you soon shall see Restor’d, and my best Friends rejoyce with me.

1920

Symon. That’s the best News I heard this Twenty Year; New Day breaks up, rough Times begin to clear. Glaud. God save the King, and save Sir William lang, To enjoy their ain, and raise the Shepherd’s Sang. Roger. Wha winna dance, wha will refuse to sing? What Sheperds whistle, winna lilt the Spring?

1925

Bauldy. I’m Friends with Mause,-- with very Madge I’m ’greed, Altho’ they skelpit me when woodly fleid; I’m now fu’ blyth, and frankly can forgive, 1930 To join and sing, Lang may Sir William live. Madge. Lang may he live;--- and Archbald learn to steek Your Gab a wee, and think before ye speak, And never ca’ her auld that wants a Man, Else ye may yet some Witches Fingers ban. This Day I’ll with the youngest of ye rant, And brag for ay that I was ca’d the Aunt Of our young Lady,-- my dear bony Bairn! 124

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The 1725 text Peggy. No other Name, I’ll ever for you learn;--- And, my good Nurse, how shall I gratefu’ be For a’ thy matchless Kindness done for me?

1940

Mause. The flowing Pleasures of this happy Day, Does fully all I can require repay. Sir Will. To faithful Symon, and kind Glaud to you, And to your Heirs I give in endless Feu, The Mailens ye possess as justly due, For acting like kind Fathers to the Pair, Who have enough besides, and these can spare. Mause in my House in Calmness close your Days, With nought to do but sing your Maker’s Praise.

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OMNES. The LORD of Heaven return your Honour’s Love, Confirm your Joys, and a’ your Blessing roove. Patie, (presenting Roger to Sir Will.) Sir, here’s my trusty Friend that always shar’d My Bosom Secrets e’er I was a Laird, Glaud’s Daughter Janet, (Jenny thinkna Shame) 1955 Rais’d and maintains in him a Lover’s Flame: Lang was he dumb, at last he spake and won, And hopes to be our honest Uncle’s Son; Be pleas’d to speak to Glaud for his Consent, That nane may wear a Face of Discontent. 1960 Sir Will. My Son’s Demand is fair,-- Glaud, let me crave, That trusty Roger may your Daughter have With frank Consent; and while he does remain Upon these Fields, I make him Chamberlain. Glaud. You crowd your Bounties, Sir, what can we say, But that we’re Dyvours that can ne’er repay? What e’er your Honour wills, I shall obey. Roger my Daughter with my Blessing take, And still our Master’s Right your Business make.

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The Gentle Shepherd Please him, be faithful, and this auld gray Head, Shall nod with Quietness down amang the Dead. Roger. I ne’er was good a speaking a’ my Days, Or ever loo’d to mak o’er great a Fraise: But for my Master, Father, and my Wife, I will employ the Cares of all my Life. Sir Will. My Friends, I’m satisfied you’ll all behave Each in his Station as I’d wish or crave. Be ever vertuous, soon or late ye’ll find Reward and Satisfaction to your Mind. The Maze of Life sometimes looks dark and Wild; And oft when Hopes are highest, we’re beguil’d. Aft when we stand on Brinks of dark Despair, Some happy Turn with Joy dispells our Care. Now all’s at Righs, who sings best let me hear.

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1985

(Sings to the Tune of Corn-riggs are bonny.)



S A N G. MY PATIE is a Lover gay, His Mind is never muddy; His Breath is sweeter than new Hay, His Face is fair and ruddy: His Shape is handsome, middle Size, He’s comely in his Wawking, The Shining of his Een surprise: ’Tis Heaven to hear him tawking. LAST Night I met him on a Bawk, Where Yellow Corn was growing, There mony a kindly Word he spake, That set my Heart a glowing. He kiss’d and vow’d he wad be mine, And lood me best of ony, 126

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The 1725 text That gars me like to sing sincesyne, O Corn-Riggs are bonny. LET Lasses of a silly Mind Refuse what maist they’re wanting, Since we for yielding were design’d, We chastly should be granting. Then I’ll comply and marry PATE, And syne my Cockernony, He’s free to touzel air or late, Where Corn-Riggs are bonny.



F I N I S.

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The Gentle Shepherd

Title-page of the 1729 edition National Library of Scotland, F.5.b.42 One of only three copies held in UK libraries

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TO The Right Honourable,

S U S A N N A, Countess of Eglintoun. Madam,

E Love of Approbation, and a Desire to please the best, have T Hever encouraged the Poets to finish their Designs with

Chearfulness. But, conscious of their own Inability to oppose a Storm of Spleen, and haughty ill Nature, it is generally an ingenious Custom amongst them to chuse some honourable Shade. Wherefore I beg Leave to put my Pastoral under your Ladyship’s Protection. If my Patroness says, the Shepherds speak as they ought, and that there are several natural Flowers that beautify the rural Wild; I shall have good Reason to think my self safe from the aukward Censure of some pretending Judges that condemn before Examination. I am sure of vast Numbers that will croud into your Ladyship’s Opinion, and think it their Honour to agree in their Sentiments with the Countess of Eglintoun, whose Penetration, superior Wit, and sound Judgment, shines with an uncommon Lustre, while accompanied with the diviner Charms of Goodness and Equality of Mind. If it were not for offending only your Ladyship, here, Madam, I might give the fullest Liberty to my Muse to delineate the finest of Women, by drawing your Ladyship’s Character, and be in no Hazard of being deemed a Flatterer; since Flattery lies not in paying what’s due to Merit, but in Praises misplaced. Were I to begin with your Ladyship’s honourable Birth and Alliance, the Field’s ample, and presents us with numberless, great and good Patriots, that have dignified the Names of KENNEDY and MONTGOMERY. Be that the Care of the Herauld and Historian: ’Tis personal Merit, and the heavenly Sweetness of the Fair, that inspire the tuneful Lays. Here every Lesbia must be excepted, whose Tongues give Liberty to the Slaves which their Eyes had made Captives. Such may be flatter’d; but your Ladyship justly claims our Admiration and profoundest Respect: For whilst you are possest of every outward Charm in the most perfect

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The Gentle Shepherd Degree, the never-fading Beauties of Wisdom and Piety, which adorn your Ladyship’s Mind, command Devotion. All this is very true, cries one of better Sense than good Nature; but what Occasion have you to tell us the Sun shines, when we have the Use of our Eyes, and feel his Influence?----Very true; but I have the Liberty to use the Poet’s Privilege, which is, To speak what every body thinks. Indeed there might be some Strength in the Reflexion, if the Idalian Registers were of as short Duration as Life: But the Bard, who fondly hopes Immortality, has a certain praise-worthy Pleasure, in communicating to Posterity the Fame of distinguished Characters---- I write this last Sentence with a Hand that trembles between Hope and Fear; but if I shall prove so happy as to please your Ladyship in the following Attempt, then all my Doubts shall vanish like a Morning Vapour; I shall hope to be class’d with Tasso and Guarini, and sing with Ovid, If ’tis allow’d to Poets to divine, One Half of round Eternity is mine.

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M a d a m,

Your Ladyship’s

Most obedient,



And most devoted Servant,

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A l l a n R a m s a y. Edinr. June 1725.



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The 1729 text

TOTHE

Countess of Eglintoun,

With the following

P A S T O R A L. o eglintoun! the rural Lays, ACcept, That, bound to thee, thy duteous Poet pays.

The Muse, that oft has rais’d her tuneful Strains, A frequent Guest on Scotia’s blisful Plains, That oft has sung, her list’ning Youth to move, The Charms of Beauty and the Force of Love, Once more resumes the still successful Lay, Delighted, thro’ the verdant Meads to stray: O! come, invok’d, and pleas’d, with Her repair, To breathe the balmy Sweets of purer Air; In the cool Evening negligently laid, Or near the Stream, or in the rural Shade, Propitious hear, and, as thou hear’st, approve The Gentle Shepherd’s tender Tale of Love. Learn from these Scenes what warm and glowing Fires, Inflame the Breast that real Love inspires. Delighted read of Ardors, Sighs, and Tears; All that a Lover hopes, and all he fears: Hence too, what Passions in his Bosom rise, What dawning Gladness sparkles in his Eyes, When first the Fair-one does her Hate relent, And blushing beauteous smiles the kind Consent. Love’s Passion here in each Extreme is shown, In Charlot’s Smile, or in Maria’s Frown. With Words like these, that fail’d not to engage, Love courted Beauty in a golden Age, Pure and untaught, such Nature first inspir’d, Ere yet the fair affected Phrase desir’d. His secret Thoughts were undisguis’d with Art, His Words ne’er knew to differ from his Heart, He speaks his Love so artless and sincere, As thy Eliza might be pleas’d to hear. Heaven only to the Rural State bestows Conquest o’er Life, and Freedom from its Woes; Secure alike from Envy, and from Care, 131

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The Gentle Shepherd Nor rais’d by Hope, nor yet deprest by Fear; Nor Want’s lean Hand its Happiness constrains, Nor Riches vexes with ill-gotten Gains. No secret Guilt its stedfast Peace destroys, No wild Ambition interrupts its Joys. Blest still to spend the Hours that Heav’n has lent, In humble Goodness, and in calm Content. Serenely gentle, as the Thoughts that roll, Sinless and pure, in fair Humeia’s Soul. But now the Rural State these joys has lost, Even Swains no more that Innocence can boast. Love speaks no more what Beauty may believe, Prone to betray, and practis’d to deceive. Now Happiness forsakes her blest Retreat, The peaceful Dwellings where she fix’d her Seat, The pleasing Fields she wont of old to grace, Companion to an upright sober Race; When on the Sunny Hill, or verdant Plain, Free and familiar with the Sons of Men, To crown the Pleasures of the blameless Feast, She uninvited came a welcome Guest: Ere yet an Age, grown rich in impious Arts, Brib’d from their Innocence, incautious Hearts, Then grudging Hate, and sinful Pride succeed, Cruel Revenge, and false unrighteous Deed; Then dowrless Beauty lost the Power to move; The Rust of Lucre stain’d the Gold of Love. Bounteous no more, and hospitably good, The genial Hearth first blush’d with Stranger’s Blood. The Friend no more upon the Friend relies, And Semblant Falshood puts on Truth’s Disguise. The peaceful Houshold fill’d with dire Alarms, The ravish’d Virgin mourns her slighted Charms; The voice of impious Mirth is heard around; In Guilt they feast, in Guilt the Bowl is crown’d. Unpunish’d Violence lords it o’er the Plains, And Happiness forsakes the guilty Swains. Oh Happiness! from human Search retir’d, Where art thou to be found, by all desir’d? Nun sober and devout! why art thou fled To hide in Shades thy meek contented Head? Virgin of Aspect mild! ah why unkind, Flyst thou displeas’d, the Commerce of Mankind? O! teach our Steps to find the secret Cell, Where with thy Sire Content thou lov’st to dwell. Or say, dost thou a duteous Handmaid wait Familiar, at the Chambers of the Great? Dost thou pursue the Voice of them that call 132

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The 1729 text To noisy Revel, and to Midnight Ball? On the full Banquet when we feast our Soul, Dost thou inspire the Mirth, or mix the Bowl? Or with th’ industrious Planter dost thou talk, Conversing freely in an Ev’ning-walk? Say, does the Miser e’er thy Face behold, Watchful and studious of the treasur’d Gold? Seeks Knowledge, not in vain, thy much lov’d Pow’r, Still musing silent at the Morning-hour? May we thy Presence hope in War’s Alarms, The Statesman’s Wisdom, or the Fair-one’s Charms?

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In vain our flatt’ring Hopes our Steps beguile, 95 The flying Good eludes the Searcher’s Toil: In vain we seek the City or the Cell; Alone with Virtue knows the Pow’r to dwell. Nor need Mankind despair these Joys to know, The Gift themselves may on themselves bestow. 100 Soon, soon we might the precious Blessing boast; But many Passions must the Blessing cost; Infernal Malice, inly pining Hate, And Envy grieving at another’s State. Revenge no more must in our Hearts remain, 105 Or burning Lust, or Avarice of Gain. When these are in the human Bosom nurst, Can Peace reside in Dwellings so accurst? Unlike, O Eglintoun! thy happy Breast, Calm and serene, enjoys the heavenly Guest; 110 From the tumultuous Rule of Passions freed, Pure in thy Thought, and spotless in thy Deed. In Virtues rich, in Goodness unconfin’d, Thou shinst a fair Example to thy Kind; Sincere and equal to thy Neighbour’s Fame, 115 How swift to praise, how obstinate to blame! Bold in thy Presence bashful Sense appears, And backward Merit loses all its Fears. Supremely blest by Heav’n, Heav’n’s richest Grace Confest is thine, an early blooming Race, 120 Whose pleasing Smiles shall guardian Wisdom arm, Divine Instruction! taught of thee to charm. What Transports shall they to thy Soul impart! (The conscious Transports of a Parent’s Heart.) When thou beholdst them of each Grace possest, 125 And sighing Youths imploring to be blest, After thy Image form’d, with Charms like thine, Or in the Visit, or the Dance to shine. Thrice happy! who succeed their Mother’s Praise, The lovely Eglintouns of other Days. 130 Mean while peruse the following tender Scenes, 133

The Gentle Shepherd And listen to thy native Poet’s Strains. In ancient Garb the home-bred Muse appears, The Garb our Muses wore in former Years. As in a Glass reflected, here behold How smiling Goodness look’d in Days of old. Nor blush to read where Beauty’s Praise is shown, And virtuous Love, the Likeness of thy own; While midst the various Gifts that gracious Heaven, Bounteous to thee, with righteous Hand has given; Let this, O Eglintoun! delight thee most, T’ enjoy that Innocence the World has lost. W. H.

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The Gentle Shepherd

The Persons. Sir WILLIAM WORTHY. PATIE, the Gentle Shepherd in love with Peggy. ROGER, a rich young Shepherd in love with Jenny. SYMON, two old Shepherds, Tenants to Sir William. GLAUD, BAULDY, a Hynd engaged with Neps.

}

Women. PEGGY, thought to be Glaud’s Niece. JENNY, Glaud’s only Daughter. MAUSE, an old Woman supposed to be a Witch. ELSPA, Symon’s Wife. MADGE, Glaud’s Sister. SCENE, a Shepherds Village and Fields some few Miles

from Edinburgh. Time of Action, within Twenty Hours.

N. B. The proper Places of the Songs printed in the Second Volume of the Tea-table Miscellany, made for the Pastoral when acted by some young Gentlemen, are all noted at the Foot of the Page.1

This note has been retained because it appears in the 1729 copytext and is an important element in its textual history. However, as noted in the textual introduction, for the reader’s convenience the song texts from The Tea-Table Miscellany Ramsay refers to here have been included instead of Ramsay’s directions, with the page numbers changed to correlate with this edition. 1

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The 1729 text

The Gentle Shepherd.

Act I. Scene I.

Beneath the South-side of a craigy Beild, Where Christal Springs the halesome Waters yield, Twa youthful Shepherds on the Gowans ly, Tenting their Flocks ae bonny Morn of May. Poor ROGER granes till hollow Ecchoes ring, But blyther PATIE likes to laugh and sing.

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PATIE and ROGER. Patie*. his sunny Morning, Roger, chears my Blood, And puts all Nature in a jovial Mood. How hartsome is’t to see the rising Plants, To hear the Birds chirm o’er their pleasing Rants! How halesome is’t to snuff the cawler Air, And all the Sweets it bears, when void of Care! What ails thee, Roger, then? what gars thee grane? Tell me the Cause of thy ill season’d Pain.

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Roger. I’m born, O Patie! to a thrawart Fate; I’m born to strive with Hardships sad and great. Tempest may cease to jaw the rowan Flood, Corbies and Tods to grein for Lambkins Blood: But I, opprest with never ending Grief, Maun ay despair of lighting on Relief.

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Patie. The Bees shall loath the Flow’r, and quit the Hive, The Saughs on boggie Ground shall cease to thrive, Ere scornful Queans, or Loss of warldly Gear, Shall spill my Rest, or ever force a Tear. Roger. Sae might I say; but it’s no easy done By ane whase Saul is sadly out of tune. You have sae saft a Voice, and slid a Tongue, You are the Darling of baith Auld and Young. 137

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from The Tea-Table Miscellany [1] SANG I. The wawking of the Faulds, Sung by Patie, Page [137, before l.7]. Peggy is a young thing, MYJust enter’d in her Teens,

Fair as the Day, and sweet as May, Fair as the Day, and always gay. My Peggy is a young Thing, 5 And I’m not very auld, Yet well I like to meet her at The wawking of the Fauld.

My Peggy speaks saw sweetly, When e’er we meet alane. 10 I wish nae mair, to lay my Care, I wish nae mair, of a’ that’s rare. My Peggy speaks sae sweetly, To a’ the lave I’m cauld; But she gars a’ my Spirits glow 15 At wawking of the Fauld. My Peggy smiles sae kindly, Whene’er I whisper Love, That I look down on a’ the Town, That I look down upon a Crown. My Peggy smiles sae kindly, It makes me blyth and bauld. And naithing gi’es me sic Delight As wawking of the Fauld.

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My Peggy sings sae saftly, 25 When on my Pipe I play; By a’ the rest, it is confest, By a’ the rest, that she sings best. My Peggy sings sae saftly, And in her Sangs are tald, 30 With Innocence the Wale of Sense, At wawking of the Fauld.

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The 1729 text If I but ettle at a Sang, or speak, They dit their Lugs, syne up their Leglens cleek, And jeer me hameward frae the Loan or Bught, While I’m confus’d with mony a vexing Thought. Yet I am tall, and as well built as thee, Nor mair unlikely to a Lass’s Eye. For ilka Sheep ye have, I’ll number Ten, And should, as ane may think, come farer ben. Patie. But ablins, Nibour, ye have not a Heart, And downa eithly wi’ your Cunzie part. If that be true, what signifies your Gear? A Mind that’s scrimpit never wants some Care.

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Roger. My Byar tumbled, nine braw Nowt were smoor’d, Three Elf-shot were; yet I these Ills endur’d: In Winter last my Cares were very sma’, Though Scores of Wathers perish’d in the Snaw. Patie. Were your bein Rooms as thinly stock’d as mine, Less you wad loss, and less you wad repine. He that has just enough, can soundly sleep: The O’ercome only fashes Fowk to keep. Roger. May Plenty flow upon thee for a Cross, That thou mayst thole the Pangs of mony a Loss. O! mayst thou doat on some fair paughty Wench, That ne’er will lout thy lowan Drouth to quench; Till, bris’d beneath the Burden, thou cry Dool, And awn that ane may fret that is nae Fool. Patie. Sax good fat Lambs, I sauld them ilka Clute At the West-port, and bought a winsome Flute, Of Plum-tree made, with Iv’ry Virles round, A dainty Whistle with a pleasant Sound: I’ll be mair canty wi’t, and ne’er cry Dool, Than you with all your Cash, ye dowie Fool.

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The Gentle Shepherd Roger. Na, Patie, na! I’m nae sic churlish Beast, Some other Thing lyes heavier at my Breast. I dream’d a dreary Dream this hinder Night, That gars my Flesh a’ creep yet with the Fright. Patie. Now to a Friend, how silly’s this Pretence, To ane wha you and a’ your Secrets kens! Daft are your Dreams, as daftly wad ye hide Your well seen Love, and dorty Jenny’s Pride. Take courage, Roger; me your Sorrows tell, And safely think nane kens them but your sell. Roger. Indeed now, Patie, ye have guess’d o’er true, And there is nathing I’ll keep up frae you. Me dorty Jenny looks upon a-squint; Te speak but till her I dare hardly mint. In ilka Place she jeers me air and late, And gars me look bombaz’d and unko blate. But Yesterday I met her ’yont a Know; She fled as frae a Shelly-coated Kow. She Bauldy loes, Bauldy that drives the Car; But gecks at me, and says I smell of Tar.

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Patie. But Bauldy loes not her, right well I wat; He sighs for Neps: — Sae that may stand for that. Roger. I wish I cou’dna loe her: — But in vain; I still maun doat, and thole her proud Disdain. My Bawty is a Cur I dearly like; Ev’n while he fawn’d, she strak the poor dumb Tyke. If I had fill’d a Nook within her Breast, She wad have shawn mair Kindness to my Beast. When I begin to tune my Stock and Horn, With a’ her Face she shaws a caulrife Scorn. Last Night I play’d, (ye never heard sic Spite) O’er Bogie was the Spring, and her Delyte; Yet tauntingly she at her Cusin speer’d, Gif she could tell what Tune I play’d and sneer’d. Flocks, wander where ye like; I dinna care: I’ll break my Reed, and never whistle mair. 140

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The 1729 text Patie. E’en do sae, Roger; wha can help Misluck, Saebeins she be sic a thrawin-gabet Chuck? Yonder’s a Craig; since ye have tint all Hope, Gae till’t your ways, and take the Lover’s Lowp.

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Roger. I needna mak sic Speed my Blood to spill; I’ll warrant Death come soon enough a-will Patie. Daft Gowk! leave aff that silly whinging Way: Seem careless, there’s my hand ye’ll win the Day. Hear how I serv’d my Lass I love as well 105 As ye do Jenny, and with Heart as leel. Last Morning I was gay and early out, Upon a Dike I lean’d, glowring about, I saw my Meg come linkan o’er the Lee; I saw my Meg, but Meggy saw na me: 110 For yet the Sun was wading through the Mist, And she was close upon me e’er she wist. Her Coats were kiltit, and did sweetly shaw Her straight bare Legs that whyter were than Snaw; Her Cockernony snooded up fou sleek, 115 Her Haffet-locks hang waving on her Cheek; Her Cheek sae ruddy, and her Een sae clear; And O! her Mouth’s like ony Hinny-pear. Neat, neat she was, in Bustine Waste-coat clean, As she came skiffing o’er the dewy Green. 120 Blythsome, I cry’d, My bonny Meg, come here; I ferly wherefore ye’re sae soon asteer: But I can guess; ye’re gawn to gather Dew. She scour’d awa, and said, What’s that to you? Then fare ye well, Meg-Dorts, and e’en’s ye like, 125 I careless cry’d, and lap in o’er the Dyke. I trow, when that she saw, within a Crack, She came with a right thieveless Errand back; Misca’d me first, — then bade he hound my Dog To wear up three waff Ews stray’d on the Bog. 130 I leugh, and sae did she; then with great haste I clasp’d my Arms about her Neck and Waste, About her yielding Waste, and took a Fouth Of sweetest Kisses frae her glowing Mouth. While hard and fast I held her in my Grips, 135 My very Saul came lowping to my Lips. Sair, sair she flet wi’ me ’tween ilka Smack: But well I kend she meant nae as she spake. *Dear Roger, when your Jo puts on her Gloom, 140 Do ye sae too, and never fash your Thumb. Seem to forsake her, soon she’ll change her Mood; 141

from The Tea-Table Miscellany [2] SANG II. Fy gar rub her o'er with Strae; sung by Patie, p. [141, 143, in place of ll. 139-42]. Ear Roger, if your Jenny geck, DAnd answer Kindness with a Slight,

Seem unconcern’d at her Neglect, For Women in a Man delight: But them dispise who’re soon defeat, And with a simple Face give Way To a Repulse— then be not blate, Push bauldly on, and win the Day. When Maidens, innocently young, Say aften what they never mean; Ne’er mind their pretty lying Tongue; But tent the Language of their Een: If these agree, and she persist To answer all your Love with Hate, Seek elsewhere to be better blest, And let her Sigh when ’tis too late.

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The 1729 text Gae woo anither, and she’ll gang clean wood. Roger. Kind Patie, now fair fa your honest Heart, Ye’re ay sae cadgy, and have sic an Art To hearten ane: For now as clean’s a Leek, 145 Ye’ve cherish’d me since ye began to speak. Sae for your Pains I’ll make you a Propine, My Mother (rest her Saul) she made it fine, A Tartan Plaid, spun of good Hawslock Woo, Scarlet and green the Sets, the Borders blue, 150 With Spraings like Gowd and Siller cross’d with black; I never had it yet upon my Back. Well are ye wordy o’t, wha have sae kind Red up my ravel’d Doubts, and clear’d my Mind. Patie. Well, hald ye there: — And since ye’ve frankly made A Present to me of your braw new Plaid, My Flute’s be your’s; and she too that’s sae nice Shall come a-will, gif ye’ll tak my Advice. Roger. As ye advise, I’ll promise to observ’t; But ye maun keep the Flute, ye best deserv’t. Now tak it out, and gie’s a bonny Spring; For I’m in tift to hear you play and sing. Patie. But first we’ll take a Turn up to the Height, And see gif all our Flocks be feeding right. Be that time, Bannocks, and a Shave of Cheese, Will make a Breakfast that a Laird might please, Might please the daintiest Gabs, were they sae wise, To season Meat with Health instead of Spice. When we have tane the Grace drink at this Well, I’ll whistle fine, and sing t’ye like my sell. Exeunt.

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The Gentle Shepherd



Act I. Scene II. A flow’ry Howm between twa verdant Braes, Where Lasses use to wash and spread their Claiths, A trotting Burnie wimpling throw the Ground, Its Channel Peebles, shining, smooth and round, Here view twa barefoot Beauties clean and clear; First please your Eye, next gratify your Ear, While JENNY what she wishes discommends, And MEG with better Sense true Love defends.

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PEGGY and JENNY. Jenny. Ome, Meg, let’s fa’ to wark upon this Green, The shining Day will bleech our Linen clean; The Water’s clear, the Lift unclouded blew, Will make them like a Lilly wet with Dew.

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Peggy. Go farer up the Burn to Habbie’s-How, where a’ the Sweets of Spring and Summer grow; Between twa Birks, out o’er a little Lin, The Water fa’s, and makes a singand Din; A Pool Breast-deep beneath, as clear as Glass, Kisses with easy Whirles the bordring Grass: We’ll end our Washing while the Morning’s cool, And when the Day grows het, we’ll to the Pool, There wash our sells. — ’Tis healthfou now in May, And sweetly cauler on sae warm a Day.

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Jenny. Daft Lassie, when we’re naked, what’ll ye say Gif our twa Herds come brattling down the Brae, And see us sae? That jeering Fallow Pate 195 Wad taunting say, Haith, Lasses, ye’re no blate. Peggy. We’re far frae ony Road, and out of Sight; The Lads they’re feeding far beyont the Height: But tell me now, dear Jenny, (we’re our lane) What gars ye plague your Wooer with Disdain? The Neighbours a’ tent this as well as I, That Roger loes you, yet ye carna by. 144

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The 1729 text What ails ye at him? Troth, between us twa, He’s wordy you the best Day e’er ye saw. Jenny. I dinna like him, Peggy; there’s an End: 205 A Herd mair sheepish yet I never kend. He kames his Hair indeed, and gaes right snug, With Ribbon-knots at his blew Bonnet-lug; Whilk pensilie he wears a thought a-jee, And spreads his Garters dic’d beneath his Knee: 210 He falds his Owrelay down his Breast with Care, And few gangs trigger to the Kirk or Fair. For a’ that, he can neither sing nor say, Except, How d’ye? — or, There’s a bonny Day. Peggy. Ye dash the Lad with constant slighting Pride; Hatred for Love is unko sair to bide: *But ye’ll repent ye if his Love grow cauld. What like’s a dorty Maiden when she’s auld? Like dawted Wean that tarrows at its Meat, That for some feckless Whim will orp and greet. The lave laugh at it, till the Dinner’s past, And syne the Fool Thing is oblig’d to fast, Or scart anither’s Leavings at the last. Fy Jenny, think, and dinna sit your Time. Jenny. I never thought a single Life a Crime.

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Peggy. Nor I: — But Love in Whispers let’s us ken, That Men were made for us, and we for Men. Jenny. If Roger is my Jo, he kens himsell; For sic a Tale I never heard him tell. He glowrs and sighs, and I can guess the Cause; But wha’s oblig’d to spell his Hums and Haws? When e’er he likes to tell his Mind mair plain, I’se tell him frankly ne’er to do’t again. They’re Fools that Slav’ry like, and may be free: The Cheils may a’ knit up themselves for me.

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from The Tea-Table Miscellany [3] SANG III. Polwart on the Green. Sung by Peggy, p. [145, in place of ll. 217-24]. Dorty will repent, TIfHeLover’s Heart grow cauld,

And nane her smiles will tent, Soon as her Face looks auld: The dawted Bairn thus takes the Pet, 5 Nor eats, tho’ hunger crave, Whimpers and tarrows at its Meat, And’s laught at by the lave, They jest it till the Dinner’s past, Thus by it sell abus’d, 10 The fool thing is oblig’d to fast, Or eat what they’ve refus’d. [4] SANG IV. O dear Mother, what shall I do? Sung by Jenny p. [147, after l. 241]. Dear Peggy Love's beguiling, OWe ought not to trust his Smiling.

Better far to do as I do, Lest a harder Luck betyde you. Lasses when their Fancy’s carried. 5 Think of nought but to be married; Running to a Life destroys Heartsome, free, and youthfu’ Joys.

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The 1729 text Peggy. Be doing your ways; for me I have a mind To be as yielding as my Patie’s kind. Jenny. Heh Lass! how can ye loo that Rattle-scull, A very Deel that ay maun hae his Will? We’ll soon hear tell what a poor fighting Life You twa will lead sae soon’s ye’re Man and Wife*. Peggy. I’ll rin the Risk, nor have I ony Fear, But rather think ilk langsome Day a Year, Till I, with Pleasure, mount my Bridal Bed, Where, on my Patie’s Breast, I’ll lean my Head. There we may kiss, as lang as Kissing’s good, And what we do there’s nane dare call it rude. He’s get his Will: why no? ’Tis good my Part To give him that, and he’ll give me his Heart. Jenny. He may indeed for Ten or Fifteen Days Mak meikle o’ye, with an unko Fraise, And daut ye baith afore Fowk, and your lane: But soon as his Newfangleness is gane, He’ll look upon you as his Tether-stake, And think he’s tint his Freedom for your Sake. Instead then of lang Days of sweet Delyte, Ae Day be dumb, and a’ the neist he’ll flyte: And may be, in his Barlikhoods ne’er stick To lend his loving Wife a loundring Lick. Peggy. Sic course-spun Thoughts as thae want Pith to move My settl’d Mind, I’m o’er far gane in Love. Patie to me is dearer than my Breath, But want of him I dread nae other Skaith. There’s nane of a’ the Herds that tread the Green Has sic a Smyle, or sic twa glancing Een. And then he speaks with sic a taking Art, His Words they thirle like Musick throw my Heart. How blythly can he sport, and gently rave, And jest at feckless Fears that fright the lave! Ilk Day that he’s alane upon the Hill, 147

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from The Tea-Table Miscellany [5] SANG V. How can I be sad on my Wedding-Day. Sung by Peggy, p. [149, before l. 288]. shall I be sad when a Husband I hae, HOw But has better Sense than any of thae

Sour weak silly Fellows, that study like Fools To sink their ain Joy, and make their Wives Snools. The Man who is prudent ne’er lightlies his Wife, Or with dull Reproaches encourages Strife; He praises her Virtues, and ne’er will abuse Her for a small Failing, but find an Excuse

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The 1729 text He reads fell Books that teach him meikle Skill. He is:— But what need I say that or this? I’d spend a Month to tell you what he is! In a’ he says or does, there’s sic a Gate, The rest seem Coofs compar’d with my dear Pate. 275 His better Sense will lang his Love secure: Ill Nature heffs in Sauls are weak and poor. Jenny. Hey! bonny Lass of Branksome, or’t be lang, Your witty Pate will put you in a Sang. O ’tis a pleasant Thing to be a Bride; Syne whindging Gets about your Ingle side, Yelping for this or that with fasheous Din; To mak them Brats then ye maun toil and spin. Ae Wean fa’s sick, ane scads its sell wi’ Broe, Ane breaks his Shin, anither tynes his Shoe. The Deil gaes o’er John Wobster: Hame grows Hell, When Pate miscaws ye war than Tongue can tell. Peggy*. Yes ’tis a hartsome Thing to be a Wife, When round the Ingle-edge young Sprouts are rife. Gif I’m sae happy, I shall have Delight To hear their little Plaints, and keep them right. Wow Jenny! can there greater Pleasure be, Than see sic wee Tots toolying at your Knee; When a’ they ettle at— their greatest Wish, Is to be made of, and obtain a Kiss? Can there be Toil in tenting Day and Night The like of them, when Love makes Care Delight? Jenny. But Poortith, Peggy, is the warst of a’: Gif o’er your Heads ill Chance shou’d Beggary draw; But little Love or canty Chear can come Frae duddy Doublets and a Pantry toom. Your Nowt may die; — the Spate may bear away Frae aff the Howms your dainty Rucks of Hay; — The thick blawn Wreaths of Snaw, or blashy Thows, May smoor your Wathers, and may rot your Ews: A Dyvor buys your Butter, Woo and Cheese, But, or the Day of Payment, breaks and flees: With glooman Brow the Laird seeks in his Rent: 149

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The Gentle Shepherd ’Tis no to gie; your Merchant’s to the bent: His Honour manna want; he poinds your Gear: Syne driven frae House and Hald, where will ye steer? Dear Meg, be wise, and live a single Life: Troth ’tis nae mows to be a married Wife. Peggy. May sic ill Luck befa’ that silly She Wha has sic Fears, for that was never me. Let Fowk bode well, and strive to do their best; Nae mair’s requir’d, let Heaven make out the rest. I’ve heard my honest Uncle aften say, That Lads should a’ for Wives that’s virtuous pray: For the maist thrifty Man could never get A well stor’d Room, unless his Wife wad let. Wherefore nocht shall be wanting on my part To gather Wealth to raise my Shepherd’s Heart. Whate’er he wins, I’ll guide with canny Care, And win the Vogue at Market, Tron or Fair, For halesome, clean, cheap and sufficient Ware. A Flock of Lambs, Cheese, Butter, and some Woo, Shall first be sald to pay the Laird his due; Syne a’ behind’s our ain. — Thus without Fear, With Love and Rowth we throw the Warld will steer. And when my Pate in Bairns and Gear grows rife, He’ll bless the Day he gat me for his Wife.

}

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Jenny. But what if some young Giglit on the Green, With dimpled Cheeks, and twa bewitching Een, Should gar your Patie think his haff worn Meg, 335 And her kind Kisses hardly worth a Feg? Peggy. Nae mair of that. — Dear Jenny, to be free, There’s some Men constanter in Love than we. Nor is the Ferly great, when Nature kind Has blest them with Solidity of Mind. They’ll reason calmly, and with Kindness smile, When our short Passions wad our Peace beguile. Sae whensoe’er they slight their Maiks at hame, ’Tis ten to ane the Wives are maist to blame. Then I’ll employ with Pleasure a’ my Art To keep him chearfu’, and secure his Heart. 150

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The 1729 text At E’en, when he comes weary frae the Hill, I’ll have a’ Things made ready to his Will. In Winter, when he toils throw Wind and Rain; A bleezing Ingle, and a clean Hearth stane: And soon as he flings by his Plaid and Staff, The seething Pot’s be ready to tak aff: Clean Hag-a-bag I’ll spread upon his Board, And serve him with the best we can afford. Good Humour and white Bigonets shall be Guards to my Face to keep his Love for me.

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Jenny. A Dish of married Love right soon grows cauld, And dozens down to nane, as Fowk grow auld. Peggy. But we’ll grow auld togither, and ne’er find The Loss of Youth, when Love grows on the Mind. 360 Bairns and their Bairns make, sure, a firmer Tye, Than ought in Love the like of us can spy. See yon twa Elms that grow up Side by Side, Suppose them some Years syne Bridegroom and Bride, Nearer and nearer ilka Year they’ve prest, 365 Till wide their spreading Branches are increast, And in their Mixture now are fully blest. This shields the other frae the Eastlin Blast, That in Return defends it frae the West. Sic as stand single — (a State sae lik’d by you!) 370 Beneath ilk Storm frae ev’ry Airth maun bow.

}

Jenny. *I’ve done, — I yield; dear Lassy, I maun yield; Your better Sense has fairly won the Field, With the Assistance of a little Fae Lyes darn’d within my Breast this mony a Day. Peggy. Alake! poor Pris’ner! Jenny, that’s no fair, That ye’ll no let the wie Thing take the Air: Haste let him out, we’ll tent as well’s we can, Gif he be Bauldy’s or poor Roger’s Man. Jenny. Anither Time’s as good; — for see the Sun 151

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from The Tea-Table Miscellany [6] SANG VI. Nansy's to the Green Wood gane. Sung by Jenny, p. [151, in place of ll. 372-5]. Yield, dear Lassie, you have won, I And there is nae denying,

That sure as light flows frae the Sun, Frae Love proceeds complying; For a’ that we can do or say, ’Gainst Love nae Thinker heeds us, They ken our Bosoms lodge the Fae, That by the Heart-strings leads us.

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The 1729 text Is right far up, and we’re no yet begun To freath the Graith; — If canker’d Madge our Aunt Come up the Burn, she’ll gie’s a wicked Rant. But when we’ve done, I’ll tell ye a’ my Mind; For this seems true, — Nae Lass can be unkind. Exeunt.

End of the First ACT.

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from The Tea-Table Miscellany [7] SANG VII. Cald Kale in Aberdeen Sung by Glaud or Symon, p. [155, after l. 417]. be the Rebel's cast, CAuld Oppressors base and bloody,

I hope we’ll see them at the last strung a’ up in a Woody. Blest be he of Worth and Sense, And ever high his Station, That bravely stands in the Defence Of Conscience, King and Nation.

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The 1729 text



Act II. Scene I. A snug Thack-house, before the Door a Green; Hens on the Midding, Ducks in Dubs are seen: On this Side stands a Barn, on that a Byar; A Peet-stack joins, and forms a rural Squair. The House is GLAUD’s; --- there you may see him lean, And to his Divet-Seat invite his Friend.

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GLAUD and SYMON. Glaud. Ood-morrow, Nibour Symon; — come sit down, And gie’s your Cracks.--- What’s a’ the News in Town? They tell me ye was in the ither Day, And sald your Crummock, and her bassen’d Quey. I’ll warrant ye’ve cost a Pund of Cut and Dry; Lug out your Box, and gie’s a Pipe to try.

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Symon. With a’ my Heart: — And tent me now, auld Boy, I’ve gather’d News will kittle your Mind with Joy. I cou’dna rest till I came o’er the Burn, To tell ye Things have taken sic a Turn, Will gar our vile Oppressors stend like Flaes, And skulk in hidlings on the Hether braes. Glaud. Fy blaw! — Ah Symmie! rattling Chiels ne’er stand To cleck and spread the grossest Lies aff hand; Whilk soon flies round, like Will-fire, far and near: But loose your Pock, be’t true or fause let’s hear.

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Symon. Seeing’s believing, Glaud; and I have seen Hab, that abroad has with our Master been, 410 Our brave good Master, wha right wisely fled, And left a fair Estate to save his Head, Because ye ken fou well he bravely chose To stand his Liege’s Friend with great Montrose. Now Cromwell’s gane to Nick; and ane ca’d Monk Has plaid the Rumple a right slee Begunk, 415 Restor’d King CHARLES; and ilka Thing’s in tune; And Habby says we’ll see Sir William soon*. 155

from The Tea-Table Miscellany [8] SANG VIII. Mucking of Geordy's Byer. Sung by Symon, p. [157, after l. 436]. Laird who in Riches and Honour THe Wad thrive, should be kindly and free,

Nor rack the poor Tenants who labour To rise aboon Poverty: Else like the Pack horse that’s unfother’d And burden’d, will tumble down faint; Thus Virtue by Hardship is smother’d, And Rackers aft tine their Rent.

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The 1729 text Glaud. That maks me blyth indeed: — But dinna flaw; Tell o’er your News again! and swear til’t a’. And saw ye Hab! And what did Halbert say? 420 They have been e’en a dreary Time away. Now GOD be thanked that our Laird’s come hame. And his Estate, say, can he eithly claim? Symon. They that hag-raid us till our Guts did grane, Like greedy Bairs, dare nae mair do’t again, And good Sir William sall enjoy his ain.

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Glaud. And may he lang; for never did he stent Us in our Thriving with a racket Rent, Nor grumbl’d if ane grew rich, or shor’d to raise Our Mailens when we pat on Sunday’s Claiths. 430 Symon. Nor wad he lang, with senseless saucy Air, Allow our lyart Noddles to be bare. “ Put on your Bonnet, Symon; — tak a Seat. — “ How’s all at hame? — How’s Elspa? How does Kate? “ How sells black Cattle?--- What gie’s Woo this Year? — And sic like kindly Questions wad he speer *. Glaud. Then wad he gar his Buttler bring bedeen, The nappy Bottle ben, and Glasses clean; Whilk in our Breast rais’d sic a blythsome Flame, As gart me mony a Time gae dancing hame. My Heart’s e’n rais’d! — Dear Nibour, will ye stay, And tak your Dinner here with me the Day? We’ll send for Elspith too; — and upo’ sight, I’ll whistle Pate and Roger frae the Height. I’ll yoke my Sled, and send to the neist Town, And bring a Draught of Ale baith stout and brown, And gar our Cottars a’, Man, Wife and Wean, Drink till they tine the Gate to stand their lane. Symon. I wadna bauk my Friend his blyth Design, Gif that it hadna first of a’ been mine: 157

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The Gentle Shepherd For heer-yestreen I brew’d a Bow of Maut, Yestreen I slew twa Wathers prime and fat; A Furlet of good Cakes my Elspa beuk, And a large Ham hings reesting in the Nook. I saw my sell, or I came o’er the Loan, Our meikle Pot that scads the Whey put on, A Mutton Bouk to boil; — and ane well roast; And on the Haggies Elspa spares nae Cost. Small are they shorn; and she can mix fou nice The gusty Ingans with a Curn of Spice. Fat are the Puddings,— Heads and Feet well sung; And we’ve invited Nibours auld and young, To pass this Afternoon with Glee and Game, And drink our Master’s Health and Welcome-hame. Ye manna then refuse to join the rest, Since ye’re my nearest Friend that I like best. Bring wi’ye all your Family and then, Whene’er you please, I’ll rant wi’ you again. Glaud. Spoke like ye’r sell, Auld-birky; never fear But at your Banquet I shall first appear: Faith we shall bend the Bicker and look bauld, Till we forget that we are fail’d or auld. Auld, said I!— Troth I’m younger be a Score With your good News than what I was before. I’ll dance or E’en! Hey, Madge, come forth, d’ye hear?

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Enter MADGE. Madge. The Man’s gane gyte! Dear Symon, welcome here. What wad ye, Glaud, with a’ this Haste and Din? Ye never let a Body sit to spin. Glaud. Spin! Snuf— Gae break your Wheel, and burn your Tow, And set the meiklest Peet-stack in a Low. Syne dance about the Bane fire till ye die, Since now again we’ll soon Sir William see. Madge. Blyth News indeed!— And wha was’t tald you o’t?

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The 1729 text Glaud. What’s that t’you?— Gae get my Sunday’s Coat; Wale out the whytest of my bobit Bands, 485 My Whyt-skin Hose, and Mittans for my Hands; Then, frae their Washing, cry the Bairns in haste, And mak ye’r sells as trig, Head, Feet and Waist, As ye were a’ to get young Lads or Eeen; For we’re gaun o’er to dine with Sym bedeen. 490 Symon. Do, honest Madge,— and, Glaud, I’ll o’er the Gate, And see that a’ be done as I wad ha’t. Exeunt.

Act II. Scene II.



The open Field — A Cottage in a Glen, An auld Wife spinning at the sunny End.— At a small Distance, by a blasted Tree, With falded Ams, and haff rais’d Look ye see

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BAULDY his lane. Bauldy. Hat’s this!— I canna bear’t! ’Tis war than Hell; To be sae burnt with Love, yet darna tell! O peggy! sweeter than the dawning Day, Sweeter than gowny Glens, or new mawn Hay: Blyther than Lambs that frisk out o’er the Knows, Straighter than ought that in the Forest grows. Her Een the clearest Blob of Dew outshines; The Lilly in her Breast its Beauty tines. Her Legs, her Arms, her Cheeks, her Mouth, her Een, Will be my Dead, that will be shortly seen! For Pate loes her,— waes me, and she loes Pate; And I with Neps, by some unlucky Fate, Made a daft Vow!— O but an be a Beast, That makes rash Aiths till he’s afore the Priest. I dare na speak my Mind, else a’ the three, But Doubt, wad prove ilk ane my Enemy. ’Tis sair to thole,— I’ll try some Witchcraft Art, To break with ane, and win the other’s Heart.

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The Gentle Shepherd Here Mausy lives, a Witch that for sma Price, Can cast her Cantraips, and give me Advice. She can o’ercast the Night, and cloud the Moon, And mak the Deils obedient to her Crune. At Midnight Hours, o’er the Kirk-yards she raves, And howks unchristen’d Weans out of their Graves; Boils up their Livers in a Warlock’s Pow, Rins withershins about the Hemlock Low; And seven Times does her Prayers backwards pray, Till Plotcock comes with Lumps of Lapland Clay, Mixt with the Venom of black Taids and Snakes. Of this, unsonsy Pictures aft she makes Of ony ane she hates;— and gars expire, With slaw and racking Pains afore a Fire; Stuck fou of Prines, the devilsh Pictures melt, The Pain by Fowk they represent is felt. And yonders Mause: Ay, ay, she kens fou weil, When ane like me comes rinning to the Deil. She and her Cat sit beeking in her Yard, To speak my Errand, faith, amaist I’m fear’d: But I maun do’t, tho’ I should never thrive, They gallop fast that Deils and Lasses drive. Exit.

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Act II. Scene III. A green Kail-Yard, a little Font, Where Water poplan springs, There sits a Wife with Wrinkle-front, And yet she spins and sings.

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Mause sings. “ Peggy, now the King’s come, “ Peggy, now the King’s come, “ Thou may dance and I shall sing, “ Peggy, since the King’s come: “ Nae mair the Hawky’s shalt thou milk, “ But change thy Plaiding Coat for Silk, “ And be a Lady of that Ilk, “ Now, Peggy, since the King’s come.

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The 1729 text

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Enter Bauldy. Bauldy. Ow does auld honest Lucky of the Glen? Ye look baith hale and fere at threescore ten.

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Mause. E’en twining out a Threed with little Din, And beeking my cauld Limbs afore the Sun. What brings my Bairn this Gate sae air at Morn? Is there nae Muck to lead?— to thresh nae Corn? Bauldy. Enough of baith:— But something that requires Your helping Hand imploys now all my Cares.

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Mause. My helping Hand, alake! what can I do, That underneath baith Eild and Poortith bow? Bauldy. Ay, but you’re wise, and wiser far than we, Or maist Part of the Parish tells a Lie.

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Mause. Of what kind Wisdom think ye I’m possest, That lifts my Character aboon the rest? Bauldy. The Word that gangs, how ye’re sae wise and fell, Ye’ll may be tak it ill gif I soud tell. Mause. What Fouk says of me, Bauldy, let me hear; Keep naithing-up, ye naithing have to fear.

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Bauldy. Well since ye bid me, I shall tell ye a’ That ilk an talks about you but a Flaw. When last the Wind made Glaud a roofless Barn; When last the Burn bore down my Mither’s Yarn; 570 When Brawny Elfshot never mair came Hame; When Tibby kirn’d and there nae Butter came; When Bessy Freetock’s chuffy-cheeked Wean 161

The Gentle Shepherd To a Fairy turn’d, and cou’dna stand its lane; When Watie wander’d ae Night through the Shaw, And tint himsel amaist amang the Snaw; When Mungo’s Mear stood still and swat with Fright, When he brought East the Howdy under Night; When Bawsy shot to dead upon the Green, And Sara tint a Snood was nae mair seen: You, Lucky, gat the Wyte of a’ fell out, And ilka ane here dreads ye round about. And sae they may that mint to do ye Skaith, For me to wrang ye, I’ll be very laith: But when I neist make Grots, I’ll strive to please You with a Furlet of them mixt with Pease.

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Mause. I thank ye Lad, — now tell me your Demand, And, if I can, I’ll lend my helping Hand. Bauldy. Then I like Peggy,— Neps is fond of me— Peggy likes Pate;— and Patie is bauld and slee, And loes sweet Meg:— But Neps I downa see— Cou’d ye turn Patie’s Love to Neps, and than Peggy’s to me,— I’d be the happiest Man.

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Mause. I’ll try my Art to gar the Bowls row right, Sae gang your Ways and come again at Night. ’Gainst that Time I’ll some simple Things prepare, Worth all your Pease and Grots, tak ye nae Care.

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Bauldy. Well, Mause, I’ll come, gif I the Road can find: But if ye raise the Deel he’ll raise the Wind, Syne Rain and Thunder, may be, when ’tis late, Will make the Night sae rough, I’ll tine the Gate. We’re a’ to rant in Symmy’s at a Feast, O will ye come like Badrans for a Jest? And there ye can our diff’rent Haviours spy; There’s nane shall ken o’t there but you and I. Mause. ’Tis like I may,— but let na on what’s past ’Tween you and me, else fear a kittle Cast. 162

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The 1729 text Bauldy If I ought of your Secrets e’er advance, May ye ride on me ilka Night to France. Exit Bauldy. Mause (her lane.) Hard Luck, alake! when Poverty and Eild, 610 Weeds out of Fashion, and a lanely Beild, With a small Cast of Wiles, should in a Twitch, Gi’e ane the hatefu’ Name, A wrinkled Witch. This Fool imagines, as do mony sic, That I’m a Wretch in Compact with Auld Nick; 615 Because by Education I was taught To speak and act aboon their common Thought. Their gross Mistake shall quickly now appear: Soon shall they ken what brought, what keeps me here. Nane ken’st but me;—and if the Morn were come, 620 I’ll tell them Tales will gar them a’ sing dumb. Exit.

Act II. Scene IV. Behind a Tree upon the Plain, PATE and his PEGGY meet; In Love without a vicious Stain, The bonny Lass and chearfu’ Swain Change Vows and Kisses sweet.

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PATIE and PEGGY.

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Peggy. PATIE, let me gang, I mauna stay, We’re baith cry’d hame, and Jenny she’s away.

Patie. I’m laith to part sae soon; now we’re alane, And Roger he’s awa with Jenny gane: 630 They’re as content, for ought I hear or see, To be alane themselves, I judge as we. Here where Primroses thickest paint the Green, Hard by this little Burnie let us lean. 163

The Gentle Shepherd Hark how the Lav’rocks chant aboon our Heads, How saft the Westlin Winds sough through the Reeds.

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Peggy. The scented Meadows,— Birds,— and healthy Breeze, For ought I ken, may mair than Peggy please. Patie. Ye wrang me sair to doubt my being kind; In speaking sae ye ca’ me dull and blind: 640 Gif I could fancy ought’s sae sweet or fair As my dear Meg, or worthy of my Care. Thy Breath is sweeter than the sweetest Brier; Thy Cheek and Breast the finest Flowers appear; Thy words excel the maist delightfu’ Notes, 645 That warble through the Merl or Mavis’ Throtes. With thee I tent nae Flowers that busk the Field, Or ripest Berries that our Mountains yield. The sweetest Fruits that hing upon the Tree, Are far inferior to a Kiss of thee. 650 Peggy. But Patrick for some wicked End may fleech, And Lambs should tremble when the Foxes preach. I darena stay,— ye Joker, let me gang, Anither Lass may gar ye change your Sang, Your Thoughts may flit, and I may thole the Wrang.

} Patie. Sooner a Mother shall her Fondness drap, And wrang the Bairn sits smiling on her Lap; The Sun shall change, the Moon to change shall cease; The Gaits to climb,— the Sheep to yield the Fleece: Ere ought by me be either said or done, Shall Skaith our Love, I swear by all aboon. Peggy. Then keep your Aith:— But mony Lads will swear, And be mansworn to twa in Haf-a year. Now I believe ye like me wonder well; But if a fairer Face your Heart shou’d steal, Your Meg, forsaken, bootless might relate How she was dauted anes by faithless Pate. 164

655

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665

The 1729 text Patie. I’m sure I canna change, ye needna fear, Tho’ we’re but young, I’ve loo’d you mony a Year. I mind it well, when thou cou’dst hardly gang, Or lisp out Words I choos’d ye frae the Thrang Of a’ the Bairns, and led thee by the Hand, Aft to the Tansy-know or Rashy-Strand. Thou smiling by my Side,— I took Delyte To pou the Rashes green with Roots sae whyte, Of which, as well as my young Fancy cou’d, For thee I plet the flow’ry Belt and Snood. Peggy. *When first thou gade with Shepherds to the Hill, And I to milk the Ews first try’d my Skill; To bear a Leglen was nae Toil to me, When at the Bught at Even I met with thee. Patie. When Corns grew yellow, and the Hether Bells Bloom’d bonny on the Moor and rising Fells; Nae Birns or Briers, or Whins e’er troubled me, Gif I cou’d find Blae Berries ripe for thee.

670

675

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685

Peggy. When thou didst wrestle, run, or putt the Stane, And wan the Day, my Heart was flightering fain: At all these Sports thou still gave Joy to me; For nane can wrestle, run, or putt with thee. Patie. Jenny sings saft the Broom of Cowdenknows; 690 And Rosie lilts the Milking of the Ews; There’s nane like Nansie Jenny Nettles sings, At Turns in Maggy Lawder, Marion dings: But when my Peggy sings, with sweeter Skill, The Boatman, or the Lass of Patie’s Mill; 695 It is a thousand Times mair sweet to me: Tho’ they sing well, they canna sing like thee. Peggy. How eith can Lasses trow what they desire? And roos’d by them we love, blaws up that Fire: But wha loves best, let Time and Carriage try; 165

700

from The Tea-Table Miscellany [10] SANG X. Winter was cauld, and my Cleathing was thin. Sung by Peggy and Patie, p. [165, 167, in place of ll. 678-703]. PEGGY. Hen first my dear Laddie gade to the Green hill, And I at Ew-milking first seyd my young Skill, To bear the Milk-bowie, nae Pain was to me, When I at the Bughting forgather’d with thee.

W

PATIE. When Corn-riggs wav’d yellow, and blew Hether-bells Bloom’d bonny on Moorland and sweet-rising Fells, Nae Birns, Brier, or Breckens, gave Trouble to me, If I found the Berries right ripen’d for thee. PEGGY. When thou ran, or wrestled, or putted the Stane, And came aff the Victor, my Heart was ay fain: Thy ilka Sport manly, gave Pleasure to me; For nane can put, wrestle or run swift as thee. PATIE. Our Jenny sings saftly the Cowden-Broom-Knows, And Rosie lilts sweetly the Milking the Ews; There’s few Jenny Nettles like Nansy can sing, At Throw the Wood Laddie, Bess gars our Lugs ring: But when my dear Peggy sings with better Skill, The Boat-man, Tweed-side, or the Lass of the Mill, ’Tis many Times sweeter and pleasing to me; For tho’ they sing nicely, they cannot like thee. PEGGY. How easy can Lasses trow what they desire? And Praises sae kindly increases Love’s Fire; Give me still this Pleasure, my Study shall be To make my self better and sweeter for thee.

166

5

10

15

20

The 1729 text Be constant, and my Love shall Time defy. Be still as now, and a’ my Care shall be, How to contrive what pleasant is for thee. Patie. Wert thou a Giglit Gawky like the lave, That little better than our Nowt behave: At nought they’ll ferly;— senseless Tales believe; Be blyth for silly Heghts, for Trifles grieve: — Sic ne’er cou’d win my Heart, that kenna how Either to keep a Prize, or yet prove true. But thou in better Sense, without a Flaw, As in thy Beauty far excels them a’. Continue kind, and a’ my Care shall be, How to contrive what pleasing is for thee. Peggy. Agreed; — but harken, yon’s auld Aunty’s Cry: I ken they’ll wonder what can mak us stay.

705

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715

Patie. And let them ferly, — now a kindly Kiss, Or Fivescore good anes wad not be a-miss; And syne we’ll sing the Sang with tunefu’ Glee, That I made up last Owk on you and me. Peggy. Sing first, syne claim your Hyre. —— ——

720

Patie. ———— ———— Well I agree.

Patie (sings). By the delicious Warmness of thy Mouth, And rowing Eye that smiling tells the Truth, I guess, my Lassie, that as well as I, Your made for Love, and why should ye deny? Peggy (sings.) But ken ye, Lad, gif we confess o’er soon, Ye think us cheap, and syne the Woing’s done? The Maiden that o’er quickly tynes her Power, Like unripe Fruit will taste but hard and sowr.

167

725

The Gentle Shepherd Patie (sings.) But gin they hing o’er lang upon the Tree, Their Sweetness they may tine, and sae may ye. Red cheeked you completely ripe appear, And I have thol’d and woo’d a lang Half-year. Peggy (singing falls into Patie’s Arms.) Then dinna pou me, gently thus I fa’ Into my Patie’s Arms for good and a’: But stint your Wishes to this kind Embrace, And mint nae farther till we’ve got the Grace. Patie (with his left Hand about her Waist.) O Charming Armfu’! hence, ye Cares, away: I’ll kiss my Treasure a’ the live lang Day; All Night I’ll dream my Kisses o’er again, Till that Day come that ye’ll be a’ my ain.

735

740

Sung by both.

Sun, gallop down the Westlin Skyes, Gang soon to Bed, and quickly rise; O! Lash your Steeds, post Time away, And haste about our Bridal Day: And if ye’er wearied, honest Light, Sleep gin ye like a Week that Night.

730

End of the Second ACT.

168

745

The 1729 text Act

III. Scene I.

Now turn your Eyes beyond yon spreading Lyme, And tent a Man whase Beard seems bleached with Time; An Elwand fills his Hand, his Habit mean; Nae Doubt ye’ll think he has a Pedlar been: But whisht! it is the Knight in Masquerade, That comes hid in this Cloud to see his Lad. Observe how pleas’d the loyal Sufferer moves, Throw his auld Av’news, anes delightfu’ Groves.

T

750

755

Sir WILLIAM solus.

He Gentleman thus hid in low Disguise, I’ll for a Space unknown delight mine Eyes, With a full View of every fertile Plain, Which once I lost, -- which now are mine again. Yet ’midst my Joys, some Prospects Pain renew, Whilst I my once fair Seat in Ruins view. Yonder, ah me! it desolately stands Without a Roof, the Gates faln from their Bands; The Casements all broke down, no Chimny left, The naked Walls of Tap’stry all bereft. My Stables and Pavilions, broken Walls! That with each rainy Blast decaying falls. My Gardens once adorn’d, the most complete, With all that Nature, all that Art makes sweet: Where round the figur’d Green and Peeble Walks, The dewy Flowers hung nodding on their Stalks: But over-grown with Nettles, Docks and Brier, No Jaccacinths or Eglintines appear. How do those ample Walls to Ruin yield, Where Peach and Nect’rine Branches found a Beild, And bask’d in Rays, which early did produce Fruit fair to View, delightful in the Use! All round in Gaps, the most in Rubbish ly, And from what stands the withered Branches fly.

760

765

770

775

780 These soon shall be repair’d; — and now my Joy, Forbids all Grief, — when I’m to see my Boy, My only Prop, and Object of my Care, Since Heaven too soon call’d Home his Mother fair. Him, ere the Rays of Reason clear’d his Thought, I secretly to faithful Symon brought, 785 And charg’d him strictly to conceal his Birth, 169

from The Tea-Table Miscellany [12] SANG XII. Happy Clown. Sung by Sir William, p. [171, in place of ll. 788-95]. himself, now by the Dawn HIdHefrom starts as fresh as Roses blawn,

And ranges o’er the Heights and Lawn, After his bleeting Flocks. Healthful, and innocently gay 5 He chants, and whistles out the Day; Untaught to smile, and then betray, Like Courtly Weathercocks. Life happy from Ambition free, Envy and vile Hypocrisie, 10 Where Truth and Love with Joys agree, Unsullied with a Crime: Unmov’d with what disturbs the Great, In proping of their Pride and State; He lives, and unafraid of Fate, 15 Contented spends his Time.

170

The 1729 text ’Till we should see what changing Times brought forth. *Hid from himself, he starts up by the Dawn, And ranges careless o’er the Height and Lawn, After his fleecy Charge serenly gay, With other Shepherds whistling o’er the Day. Thrice happy Life, that’s from Ambition free: Remov’d from Crowns and Courts, how cheerfully, A quiet, contented Mortal, spends his Time, In hearty Health, his Soul unstain’d with Crime!

790

795

Now tow’rds good Symon’s House I’ll bend my Way, And see what makes yon Gamboling to Day; All on the Green, in a fair wanton Ring, My youthful Tenants gayly dance and sing. Exit Sir William.

Act III. Scene II. ’TIS Symon’s House, please to step in, And vissy’t round and round, There’s nought superfluous to give Pain, Or costly to be found. Yet all is clean: A clear Peat-ingle Glances amidst the Floor; The Green Horn-spoons, Beech-Luggies mingle On Skelfs foregainst the Door. While the young Brood sport on the Green, The auld anes think it best, With the brown Cow to clear their Een, Snuff, crack, and take their Rest.

800

805

810

SYMON, GLAUD, and ELSPA. Glaud. E anes were young our sells, — I like to see The Bairns bob round with other merrylie. Troth, Symon, Patie’s grown a strapan Lad, And better Looks than his I never bade. Amang our Lads, he bears the Gree awa’, And tells his Tale the cleverest of them a’.

W

Elspa. Poor Man! — he’s a great Comfort to us baith: 171

815

The Gentle Shepherd God mak him good, and hide him ay frae Skaith. He is a Bairn, I’ll say’t, well worth our Care, That gae us ne’er Vexation late or Air. Glaud. I trow, Goodwife, if I be not mistane, He seems to be with Peggy’s Beauty tane; And troth my Niece is a right dainty Wean, As ye well ken; a bonnyer needna be, Nor better, — be’t she were nae Kin to me.

820

} Symon. Ha Glaud! I doubt that ne’er will be a Match, My Patie’s wild, and will be ill to catch; And or he were, for Reasons I’ll no tell, I’d rather be mixt with the Mools my sell. Glaud. What Reason can ye have? there’s nane, I’m sure, Unless ye may cast up that she’s but poor: But gif the Lassie marry to my Mind, I’ll be to her as my ain Jenny kind: Fourscore of breeding Ews of my ain Birn, Five Ky that at ae milking fills a Kirn, I’ll gie to Peggy that Day she’s a Bride; By and attour, if my good Luck abide, Ten Lambs at spaining Time, as lang’s I live, And twa Quey Cawfs I’ll yearly to them give.

825

830

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Elspa. Ye offer fair, kind Glaud, but dinna speer What may be is not fit ye yet should hear. Symon. Or this Day eight Days, likely he shall learn, That our Denial disna slight his Bairn. Glaud. Well nae mair o’t, — come gie’s the other Bend, We’ll drink their Healths, whatever Way it end. (Their Healths gae round) 172

845

The 1729 text Symon. But will ye tell me, Glaud, — by some ’tis said, Your Niece is but a Fundling, that was laid Down at your Hallon-side, ae Morn in May, Right clean row’d up, and bedded on dry Hay.

850

Glaud. That clatteran Madge, my Titty, tells sic Flaws, When e’er our Meg her cankart Humour gaws. (Enter) Jenny. O Father, there’s an auld Man on the Green, The fellest Fortune-teller e’er was seen; He tents our Loofs, and syne whops out a Book, Turns owre the Leaves, and gie’s our Brows a Look: Syne tells the oddest Tales that e’er ye heard, His Head is gray, and lang and gray his Beard. Symon. Gae bring him in, we’ll hear what he can say, Nane shall gang hungry by my House to Day. Exit Jenny.

855

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But for his telling Fortunes, troth I fear He kens nae mair of that than my gray Mear. Glaud. Spae-men!—the Truth of a’ their Saws I doubt, For greater Liars never ran thereout. Returns Jenny, bringing in Sir William; with them Patie. Symon. Ye’re welcome, honest Carl.—Here, take a Seat. Sir Will. I give ye Thanks, Goodman; Ise no be blate. Glaud (drinks.) Come t’ye Friend. — How far came ye the Day? Sir Will. I pledge ye, Nibour;—e’en but little Way: 173

865

The Gentle Shepherd Rousted with Eild, a wie Piece Gate seems lang; Twa Miles or three’s the maist that I dow gang.

870

Symon. Ye’re welcome here to stay all Night with me, And take sic Bed and Board as we can gi’ ye. Sir Will. That’s kind unsought.— Well gin ye have a Bairn That ye like well, and wad his Fortune learn, I shall imploy the farthest of my Skill To spae it faithfully, be’t good or ill.

875

Symon (pointing to Patie.) Only that Lad;— alake! I have nae mae, Either to make me joyful now or wae.

Sir Will. Young Man, let’s see your Hand.—What gars ye sneer? Patie. Because your Skill’s but little worth, I fear.

880

Sir Will. Ye cut before the Point:— But, Billy, byde, I’ll wager there’s a Mouse Mark on your Side. Elspa. Betooch-us-to!— and well I wat that’s true: Awa, awa! the Deil’s owre grit wi’ you. Four Inch aneath his Oxter is the Mark, Scarce ever seen since he first wore a Sark.

885

Sir Will. I’ll tell ye mair, if this young Lad be spaird But a short while, he’ll be a braw rich Laird. Elspa. A Laird! — Hear ye Goodman! — what think ye now! Symon. I dinna ken! strange auld Man, what art thou? Fair fa your Heart, ’tis good to bode of Wealth; Come turn the Timmer to Laird Patie’s Health. 174

890

The 1729 text (Paties’s Health gaes round.) Patie. A Laird of twa good Whistles, and a Kent, Twa Curs my trusty Tenants on the Bent, Is all my great Estate, — and like to be: Sae, cunning Carl, ne’er break your Jokes on me.

895

Symon. Whist, Patie; — let the Man look owre your Hand; Aftymes as broken a Ship has come to Land.

Sir William looks a little at Patie’s Hand, then counterfeits falling into a Trance, while they endeavour to lay him right.

Elspa. Preserve’s!— the Man’s a Warlock, or possest With some nae good, — or second Sight at least. Where is he now? ———— ———— ————

900

Glaud. ——— ——— He’s seeing a’ that’s done In ilka Place, beneath or yont the Moon. Elspa. These second sighted Fowk, his Peace be here! See Things far aff, and Things to come, as clear As I can see my Thumb; wow, can he tell (Speer at him soon as he comes to himsel) How soon we’ll see Sir William? Whisht, he heaves, And speaks out broken Words like ane that raves.

905

Symon. He’ll soon grow better. — Elspa, hast ye gae 910 And fill him up a Tass of Usquebae. Sir Will. (starts up and speaks.) A knight that for a LYON fought, Against a herd of Bears, Was to lang Toil and Trouble brought, In which some Thousands Shares: 915 But now again the LYON rares And Joy spreads owre the Plain, 175

The Gentle Shepherd The LYON has defeat the Bears, The Knight returns again. THAT Knight, in a few Days, shall bring 920 A Shepherd frae the Fauld, And shall present him to his King, A Subject true and bauld. He Mr. Patrick shall be call’d:---All you that hear me now, 925 May well believe what I have tauld, For it shall happen true. Symon. Friend, may your Spaeing happen soon and weel; But, Faith, I’m redd you’ve bargain’d with the Deel, To tell some Tales that Fowks wad secret keep; Or do you get them tald you in your Sleep?

930

Sir Will. Howe’er I get them, never fash your Beard, Nor come I to redd Fortunes for Reward: But I’ll lay Ten to ane with ony here, That all I prophesy shall soon appear. 935 Symon. You prophesying Fowks are odd kind Men! They’re here that ken, and here that disna ken, The wimpled Meaning of your unko Tale, Whilk soon will make a Noise o’er Moor and Dale. Glaud. ’Tis nae sma Sport to hear how Sym believes, 940 And takes’t for Gospel what the Spaemen gives, Of flawing Fortunes whilk he evens to Pate: But what we wish, we trow at ony Rate. Sir Will. Whisht, doubtfu’ Carle, for ere the Sun Has driven twice down to the Sea, What I have said, ye shall see done In part, or nae mair credit me.

176

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The 1729 text Glaud. Well, be’t sae, Friend; I shall say naithing mair, But I have twa sonsy Lasses young and fair, Plump ripe for Men: I wish ye cou’d forsee 950 Sic Fortunes for them might bring Joy to me. Sir Will. Nae mair through Secrets can I sift, Till Darkness black the Bent, I have but anes a Day that Gift: Sae rest a While content. 955 Symon. ELSPA, cast on the Claith, fetch butt some Meat, And of your best gar this auld Stranger eat. Sir Will. Delay a while your hospitable Care, I’d rather enjoy this Evening calm and fair, Around yon ruin’d Tower to fetch a Walk 960 With you, kind Friend, to have some private Talk. Symon. Soon as you please, I’ll answer your Desire,—— And, Glaud, you’ll take your Pipe beside the Fire; We’ll but gae round the Place, and soon be back, Syne sup together, and tak our Pint and Crack.

965

Glaud. I’ll out a while, and see the young-anes play: My Heart’s still light, abeit my Locks be gray. Exeunt.

Act III. Scene III. JENNY pretends an Errand Hame, Young ROGER draps the rest, To whisper out his melting Flame, 970 And thow his Lassie’s Breast. Behind a Bush, well hid frae Sight they meet. See Jenny’s laughing, Roger’s like to greet. Poor Shepherd! 177

The Gentle Shepherd

ROGER and JENNY. Roger. Ear Jenny, I wad speak t’ye, wad ye let, 975 And yet I ergh, ye’re ay sae scornfu’ set.

D

Jenny. And what wad Roger say, if he could speak; Am I oblig’d to guess what ye’re to seek? Roger. Yes ye may guess, right eith for what I grein, Baith by my Service, Sighs, and langing Een: And I maun out we’t tho’ I risk your Scorn, Ye’re never frae my Thoughts baith Even and Morn. Ah! could I loo ye less, I’d happy be; But happier far, cou’d ye but fancy me. Jenny. And wha kens, honest Lad, but that I may? Ye canna say that e’er I said ye nay. Roger. Alake! my frighted Heart begins to fail, When e’er I mint to tell ye out my Tale, For fear some tighter Lad, mair rich than I, Has win your Love, and near your Heart may ly.

980

985

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Jenny. I loo my Father, Cusin Meg I love; But to this Day, nae Man my Mind could move: Except my Kin, ilk Lad’s alyke to me; And frae ye all I best had keep me free. Roger. How lang, dear Jenny?—sayna that again, 995 What Pleasure can ye tak in giving Pain? I’m glad however that ye yet stand free, Wha kens but ye may rew and pity me? Jenny. Ye have my Pity else, to see ye set On that whilk makes our Sweetness soon foryet, Wow! but we’re bony, good, and every Thing! 178

1000

The 1729 text How sweet we breath, when e’er we kiss or sing! But we’re nae sooner Fools to give Consent, Than we our Daffine, and tint Power repent: When prison’d in four Waws a Wife right tame, Altho the first, the greatest Drudge at Hame. Roger. That only happens, when for Sake of Gear, Ane wales a Wife, as he wad buy a Mear: Or when dull Parents Bairns together bind Of different Tempers, that can ne’er prove kind. But Love, true downright Love, engages me, Tho’ thou should scorn, — still to delight in thee. Jenny. What suggard Words, frae Wooers Lips can fa’! But girning Marriage comes and ends them a’. I’ve seen with shining fair the Morning rise, And soon the sleety Clouds mirk a’ the Skyes; I’ve seen the Silver Spring a while rin clear, And soon in mossy Puddles disappear: The Bridegroom may rejoyce, the Bride may smile; But soon Contentions a’ their Joys beguile. Roger. I’ve seen the Morning rise with fairest Light, The Day unclouded, sink in calmest Night; I’ve seen the Spring rin wimpling throw the Plain, Increase, and join the Ocean without Stain: The Bridegroom may be blyth, the Bride may smile, Rejoyce throw Life, and all your Fears beguile. Jenny. *Were I but sure you lang wou’d Love maintain, The fewest Words my easy Heart could gain: For I maun own, since now at last you’re free, Altho’ I jok’d, I lov’d your Company; And ever had a Warmness in my Breast, That made ye dearer to me than the rest. Roger. I’m happy now! o’er happy! had my Head!— This Gush of Pleasure’s like to be my Dead. Come to my Arms! or strike me! I’m all fyr’d 179

1005

1010

1015

1020

1025

1030

1035

from The Tea-Table Miscellany [13] SANG XIII. Leith-Wynd

{

JENNY Sung by and R O G E R.

181, } p.in [179, place of ll. 1027-40].





[JENNY.] Ere I assur’d you’ll constant prove, You should nae mair complain, The easy Maid beset with Love, Few Words will quickly gain; For I must own, now since you’re free, This too fond Heart of mine Has lang, a Black-sole true to thee, Wish’d to be pair’d with thine.

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5

ROGER. I’M happy now, ah! let my Head Upon thy Breast recline; 10 The Pleasure strikes me near-hand dead! Is Jenny then sae kind? — O let me briss thee to my Heart! And round my Arms entwine: Delytful Thought; we’ll never part! 15 Come press thy Mouth to mine. [14] SANG XIV. O'er Bogie. Sung by Jenny, p. [181, in Place of ll. 1049-52]. Ell I agree, ye’re sure of me; WNext to my Father gae.

Make him content to give Consent, He’ll hardly say you nay: For you have what he wad be at, And will commend you well, Since Parents auld think Love grows cauld, Where Bairns want Milk and Meal.

5

Shou’d he deny, I carena by, He’d contradict in vain. 10 Tho’ a’ my Kin had said and sworn, But thee I will have nane. Then never range, or learn to change, Like these in high Degree: And if you prove faithful in Love, 15 You’ll find nae Fault in me.

180

The 1729 text With wondering Love! let’s kiss till we be tyr’d. Kiss, kiss! we’ll kiss the Sun and Starns away, And ferly at the quick Return of Day! O Jenny, let my Arms about thee twine, And briss thy bonny Breasts and Lips to mine. Jenny. With equal Joy, my easy Heart gi’es Way, To own thy well try’d Love has won the Day. Now by these warmest Kisses thou has tane, Swear thus to love me when by Vows made ane. Roger. I swear by Fifty thousand yet to come, Or may the first ane strike me deaf and dumb; There shall not be a kyndlier dawted Wife, If you agree with me to lead your Life. Jenny. *Well I agree, — neist to my Parent gae, Get his Consent; — he’ll hardly say ye nay. Ye have what will commend ye to him well, Auld Fowks like them that wants na Milk and Meal.

1040

1045

1050

Roger. My Faulds contain twice Fifteen forrow Nowt, As mony Newcal in my Bayers rowt: Five Pack of Woo I can at Lammas sell, 1055 Shorn frae my bob-tail’d Bleeters on the Fell. Good twenty Pair of Blankets for our Bed, With meikle Care, my thrifty Mither made. Ilk Thing that makes a hartsome House and tight, Was still her Care, my Father’s great Delight. 1060 They left me all, which now gi’es Joy to me, Because I can give a’, my Dear, to thee: And had I fifty Times as meikle mair, Nane but my Jenny shou’d the samen skair. My Love and all is yours; now had them fast, 1065 And guide them as ye like to gar them last. Jenny. I’ll do my best; — but see wha comes this Way, Patie and Meg, —besides I mauna stay; Let’s steal frae ither now, and meet the Morn, If we be seen we’ll drie a Deal of Scorn. 1070 181

The Gentle Shepherd Roger. To where the Saugh-tree shades the Mennin-pool, I’ll frae the Hill come down, when Day grows cool; Keep Tryst, and meet me there, there let us meet, To kiss and tell our Love; — there’s nought sae sweet.



Act III. Scene IV. This Scene presents the KNIGHT and SYM 1075 Within a Galery of the Place, Where all looks ruinous and grim, Nor has the Baron shown his Face; But joking with his Shepherd leel, Aft speers the Gate he kens fou well. 1080

Sir WILLIAM and SYMON.

T

Sir Will. O whom belongs this House so much decay’d?

Symon. To ane that lost it, lending generous Aid, To bear the Head up, when rebellious Tail Against the Laws of Nature did prevail. Sir William Worthy is our Master’s Name, 1085 Wha fills us all with Joy, now He’s come Hame. (Sir William draps his masking Beard, Symon transported sees The welcome Knight with fond Regard, And grasps him round the Knees.)

1090

My Master! my dear Master! — do I breathe! To see him healthy, strong, and free frae Skaith! Return’d to cheer his wishing Tenant’s Sight, To bless his SON, my Charge, the World’s Delight! Sir Will. Rise, faithful Symon, in my Arms enjoy 1095 A Place, thy Due, kind Guardian of my Boy: I came to view thy Care in this Disguise, And am confirm’d thy Conduct has been wise;

182

The 1729 text Since still the Secret thou’st securely seal’d, And ne’er to him his real Birth reveal’d.

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Symon. The due Obedience to your strict Command Was the first Lock; — neist my ain Judgement fand Out Reasons plenty: — Since, without Estate, A Youth, tho’ sprung frae Kings, looks baugh and blate. Sir Will. And aften vain and idly spend their Time, ’Till grown unfit for Action, past their Prime, Hang on their Friends, — which gie’s their Sauls a Cast, That turns them downright Beggars at the last. Symon. Now well I wat, Sir, ye have spoken true; For there’s Laird Kytie’s Son, that’s loo’d by few. His Father steght his Fortune in his Wame, And left his Heir nought but a gentle Name. He gangs about sornan frae Place to Place, As scrimp of Manners, as of Sense and Grace, Oppressing all as Punishment of their Sin, That are within his tenth Degree of Kin: Rins in ilk Trader’s Debt, wha’s sae unjust To his ain Fam’lie, as to give him Trust. Sir Will. Such useless Branches of a Commonwealth, Should be lopt off to give a State mair Health. Unworthy bare Reflection. — Symon, run O’er all your Observations on my Son; A Parent’s Fondness easily finds Excuse; But do not with Indulgence Truth abuse. Symon. To speak his Praise, the langest Simmer-day Wad be owre short, — cou’d I them right display. In Word and Deed he can sae well behave, That out of Sight he runs before the lave; And when there’s e’er a Quarrel or Contest, Patrick’s made Judge, to tell whase Cause is best; And his Decreet stands good; —he’ll gar it stand: Wha dares to grumble, finds his correcting Hand. 183

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The Gentle Shepherd With a firm Look, and a commanding Way, He gars the proudest of our Herds obey. Sir Will. Your Tale much pleases, — my good Friend, proceed: What Learning has he? Can he write and read?

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Symon. Baith wonder well; for, troth I didna spare, To gi’e him at the School enough of Lair; And he delytes in Books: — He reads and speaks, With Fowks that ken them, Latin Words and Greeks. 1140 Sir Will. Where gets he Books to read? — and of what Kind? Tho’ some gives Light, some blindly lead the Blind. Symon. When e’er he drives our Sheep to Edinburgh Port, He buys some Books of History, Sangs or Sport: Nor does he want of them a Rowth at Will, And carries ay a Poutchfu’ to the Hill. About ane Shakespear, and a famous Ben, He aften speaks, and ca’s them best of Men. How sweetly Hawthrenden and Stirling sing, And ane caw’d Cowley, loyal to his King, He kens fou well, and gars their Verses ring. I sometimes thought that he made o’er great Frase, About fine Poems, Histories and Plays. When I reprov’d him anes, — a Book he brings, With this, quoth he, on Braes I crack with Kings.

}

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Sir Will. He answer’d well, and much ye glad my Ear, When such Accounts I of my Shepherd hear: Reading such Books can raise a Peasant’s Mind, Above a Lord’s, that is not thus inclin’d. Symon. What ken we better, that sae sindle look, 1160 Except on rainy Sundays, on a Book: When we a Leaf or twa, haf read, haf spell, ’Till a’ the rest sleep round as well’s our sell?

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The 1729 text Sir Will. Well jested, Symon, — but one Question more, I’ll only ask ye now, and then give o’er. The Youth’s arriv’d the Age when little Loves Flighter around young Hearts like cooing Doves; Has no young Lassy with inviting Mein, And rosie Cheek, the Wonder of the Green, Engag’d his Look, and caught his youthful Heart? Symon. I fear’d the warst, but kend the smallest Part, Till late I saw him twa three Times mair sweet, With Glaud’s fair Niece, than I thought right or meet: I had my Fears; but now have nought to fear, Since, like your self, your Son will soon appear. A Gentleman enrich’d with all these Charms, May bless the fairest best born Lady’s Arms.

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Sir Will. This Night must end his unambitious Fire, When higher Views shall greater Thoughts inspire Go, Symon, bring him quickly here to me, 1180 None but your self shall our first Meeting see. Yonder’s my Horse and Servants nigh at Hand, They come just at the Time I gave Command; Straight in my own Apparel I’ll go dress; Now ye the Secret may to all confess. 1185 Symon. With how much Joy I on this Errand flee, There’s nane can know, that is not downright me. Exit Symon. Sir William solus. When the Event of Hopes successfully appears, One happy Hour cancells the Toil of Years. A thousand Toils are lost in Lethe’s Stream, And Cares evanish like a Morning Dream; When wish’d for Pleasures rise like Morning Light, The Pain that’s past enhances the Delight. These Joys I feel that Words can ill express, I ne’er had known without my late Distress.

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from The Tea-Table Miscellany [15] SANG XV. Wat ye wha met Yestreen. Sung by Sir William, p. [187, in Place of ll. 1196-202]. from Rusticity, and Love, NOw Whose Flames but over lowly burn,

My gentle Shepherd must be drove, His soul must take another Turn: As the rough Diamond from the Mine, In Breakings only shews its Light. ̓Till Polishing has made it shine, Thus Learning makes the Genius bright.

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The 1729 text *But from his rustick Business and Love, I must in haste my Patrick soon remove, To Courts and Camps that may his Soul improve: Like the rough Diamond, as it leaves the Mine, Only in little Breakings shews its Light, Till artful Polishing has made it shine: Thus Education makes the Genius bright.

}



End of the Third ACT.

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The Gentle Shepherd



Act IV. Scene I.

The scene describ’d in former Page, Glaud’s Onset.— Enter Mause and Madge. Mause. Ur Laird’s come hame! and owns young Pate his Heir: That’s News indeed! ———— ————

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Madge. ——— ——— As true as ye stand there. As they were dancing all in Symon’s Yard, Sir William like a Warlock, with a Beard, Five Nives in Length, and white as driven Snaw, 1210 Amang us came, cry’d, Had ye merry a’. We ferly’d meikle at his unco Look, While frae his Poutch he whirl’d forth a Book: As we stood round about him on the Green, He view’d us a’, but fix’d on Pate his Een; 1215 Then pawkylie pretended he cou’d spae, Yet for his Pains and Skill wad naething hae. Mause. Then sure the Lasses, and ilk gaping Coof, Wad rin about him, and had out their Loof. Madge. As fast as Flaes skip to the Tate of Woo, 1220 Whilk slee Tod Lawrie hads without his Mow, When he to drown them, and his Hips to cool, In Summer-days slides backward in a Pool: In short he did for Pate braw Things foretell, Without the Help of Conjuring or Spell: 1225 At last when well diverted he withdrew, Pow’d aff his Beard to Symon, Symon knew His welcome Master; — round his Knees he gat, Hang at his Coat, and syne for Blythness grat. Patrick was sent for — happy Lad is he! 1230 Symon tald Elspa, Elspa tald it me. Y’ll hear out a’ the secret Story soon; And troth ’tis e’en right odd when a’ is done, To think how Symon ne’er afore wad tell, Na, no sae meikle as to Pate himsell. 1235 Our Meg, poor Thing, alake! has lost her Jo, 188

The 1729 text Mause. It may be sae, wha kens? and may be no. To lift a Love that’s rooted, is great Pain: Even Kings has tane a Queen out of the Plain And what has been before may be again.

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Madge. Sic Nonsense! Love tak Root but Tocher-good, ’Tween a Herd’s Bairn, and ane of gentle Blood: Sic Fashions in King Bruce’s Days might be: But siccan Ferlies now we never see. Mause. Gif Pate forsakes her, Bauldy she may gain, Yonder he comes, and wow but he looks fain, Nae Doubt he thinks that Peggy’s now his ain.

} Madge. He get her! slaverin Doof! It sets him well To yoke a Plough where Patrick thought to teil; Gif I were Meg, I’d let young Master see—

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Mause. Ye’d be as dorty in your Choice as he. And so wad I: But whisht, here Bauldy comes. Enter Bauldy singing. Jenny said to Jocky, gin ye winna tell, Ye shall be the Lad, I’ll be the Lass my sell; Ye’re a bonny Lad, and I’m a Lassie free; Ye’re welcomer to tak me than to let me be.

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I trow sae, — Lasses will come too at last, Tho’ for a while they maun their Snaw baws cast. Mause. Well Bauldy, how gaes a’? ——— ——— Bauldy. ——— ——— Faith unco right: 1260 I hope we’ll a’ sleep sound but ane this Night. Madge. And wha’s the unlucky ane, if we may ask? 189

The Gentle Shepherd Bauldy. To find out that is nae difficult Task. Poor bonny Peggy, wha maun think nae mair On Pate turn’d Patrick and Sir William’s Heir. 1265 Now, now, good Madge, and honest Mause, stand be, While Meg’s in Dumps, put in a Word for me. I’ll be as kind as ever Pate could prove: Less wilful, and ay constant in my Love. Madge. As Neps can witness, and the bushy Thorn, Where mony a Time to her your Heart was sworn; Fy, Bauldy! blush, and Vows of Love regard; What other Lass will trow a mansworn Herd? The Curse of Heaven hings ay aboon their Heads, That’s ever guilty of sic sinfu’ Deeds. I’ll ne’er advise my Niece sae gray a Gate, Nor will she be advis’d, fou well I wate.

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Bauldy. Sae gray a Gate! Mansworn! and a’ the rest; Ye leed, auld Roudes, — and in Faith had best Eat in your Words, else I shall gar ye stand 1280 With a het Face afore the haly Band. Madge. Ye’ll gar me stand! ye sheveling-gabit brock; Speak that again, and, trembling, dread my Rock, And Ten sharp Nails, that when my Hands are in, Can flyp the skin o’ye’r Cheeks out owre your Chin.

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Bauldy. I tak ye Witness, Mause, ye heard her say, That I’m mansworn,—I winna let it gae. Madge. Ye’re witness too, he ca’d me bonny Names, And should be serv’d as his good Breeding claims. Ye filthy Dog! ——— —— Flies to his Hair like a Fury:— A stout Battle. — Mause endea vours to redd them. 190

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The 1729 text Mause. Let gang your Grips, fy Madge! howt, Bauldy, leen, I wadna wish this Tuilzie had been seen; ’Tis sae daft like. ——— ——— ——— Bauldy gets out of Madge’s Clutches with a bleeding Nose. Madge. —– —– —– —– ’Tis dafter like to thole An Ether-cap, like him, to blaw the Coal. 1295 It sets him well, with vile unscrapit Tongue; To cast up whether I be auld or young. They’re aulder yet than I have married been, And or they died their Bairn’s Bairns have seen. Mause. That’s true; and, Bauldy, ye was far to blame, To ca’ Madge ought but her ain christen’d Name. Bauldy. My Luggs, my Nose, and Nodle finds the same.

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Madge. AULD Roudes! Filthy Fallow, I shall auld ye. Mause. Howt no; — ye’ll e’en be Friends with honest Bauldy, Come, come, shake Hands; this maun nae farder gae: Ye maun forgi’e ’m; I see the Lad looks wae. Bauldy. In troth now, Mause, I have at Madge nae Spite: But she abusing first was a’ the Wyte Of what has happen’d, and should therefore crave My Pardon first, and shall Acquittance have. Madge. I crave your Pardon! Gallows-face, gae greet, And own your Faut to her that ye wad cheat. Gae, or be blasted in your Health and Gear, ’Till ye learn to perform as well as swear. Vow and loup back! — Was e’er the like heard tell? Swith tak him, Deil, he’s owre lang out of Hell.

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The Gentle Shepherd Bauldy (running off.) His Presence be about us! Curst were he, That were condemn’d for Life to live with thee. Exit. Bauldy. Madge (laughing.) I think I have towzled his Harigalds a wee; He’ll no soon grein to tell his Love to me. He’s but a Rascal that wad mint to serve A Lassie sae he does but ill deserve.

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Mause. Ye towin’d him tightly, — I commend ye for’t, His blooding Snout gae me nae little Sport; For this Forenoon he had that Scant of Grace, And Breeding baith — to tell me to my Face, He hop’d I was a Witch, and wadna stand To lend him in this Case my helping Hand.

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Madge. A Witch! — How had ye Patience this to bear, And leave him Een to see, or Lugs to hear? Mause. Auld wither’d Hands, and feeble Joints like mine, Obliges Folk Resentment to decline, Till aft ’tis seen, when Vigour fails, then we With Cunning, can the Lake of Pith supplie. Thus I pat aff Revenge till it was dark, Syne bade him come, and we should gang to Wark: I’m sure he’ll keep his Tryst; and I came here To seek your Help, that we the Fool may fear. Madge. And special Sport we’ll have, as I protest; Ye’ll be the Witch, and I shall play the Ghaist. A Linnen Sheet won’d round me like ane dead; I’ll cawk my Face, and grane and shake my Head. We’ll fleg him sae, he’ll mint nae mair to gang A conjuring to do a Lassie wrang. Mause. Then let us go; for see, ’tis hard on Night; The Westlin Cloud shines red with setting Light. Exeunt. 192

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The 1729 text

Act IV. Scene II. WHEN Birds begin to nod upon the Bough, And the green Swaird grows damp with falling Dew; While good Sir William is to rest retir’d, The Gentle Shepherd tenderly inspir’d, 1350 Walks through the Broom, with Roger ever leel, To meet, to comfort MEG, and tak farewell. Roger. Ow but I’m cadgie, and my Heart loups light; O Mr. Patrick, ay your Thoughts were right. Sure Gentle Fowk are farther seen than we, That naething ha’e to brag of Pedegree. My Jenny now, wha’ brake my Heart this Morn, Is perfect yielding — sweet, — and nae mair Scorn. I spake my Mind, — she heard, — I spake again, She smil’d — I kiss’d, — I woo’d, nor woo’d in vain.

W

Patie. I’m glad to hear’t: — But O my Change this Day Heaves up my Joy, and yet I’m sometimes wae. I’ve found a Father, gently kind as brave, And an Estate that lifts me ’boon the lave. With Looks all Kindness, Words that Love confest, He all the Father to my Soul exprest, While close he held me to his manly Breast. Such were the Eyes, he said, thus smil’d the Mouth Of thy lov’d Mother, Blessing of my Youth! Who set too soon!---- And while he Praise bestow’d, Adown his graceful Cheek a Torrent flow’d. My newborn Joys, and this his tender Tale, Did, mingled thus, o’er a’ my Thoughts prevail; That speechless lang, my late kend Sire I view’d, While gushing Tears my panting Breast bedew’d. Unusual Transports made my Head turn round, Whilst I my self with rising Raptures found The happy Son of ane sae much renoun’d. But he has heard — too faithful Symon’s Fear Has brought my Love for Peggy to his Ear; Which he forbids, — ah! this confounds my Peace, While thus to beat my Heart must sooner cease.

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from The Tea-Table Miscellany [16] SANG XVI. Kirk wad let me be. Sung by Patie, p. [195, in place of ll. 1385-8]. and Part of Reason, DUty Plead strong on the Parents Side,

Which Love Superior calls Treason; The strongest must be obey’d: For now tho’ I’m one of the Gentry, My Constancy Falshood repells; For Change in my Heart is no Entry, Still there my dear Peggy excells.

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The 1729 text Roger. How to advise ye, troth I’m at a Stand: But were’t my Case, ye’d clear it up aff Hand. Patie. *Duty, and haflen Reason plead his Cause: But what cares Love for Reason, Rules and Laws? Still in my Heart the Shepherdess excells, And Part of my new Happiness repells. Roger. Enjoy them baith—Sir William will be won: Your Peggy’s bonny,— your’re his only Son.

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Patie. She’s mine by Vows, and stronger Ties of Love, And frae these Bands nae Change my Mind shall move. I’ll wed nane else, through Life I will be true; But still Obedience is a Parent’s Due. Roger. Is not our Master and your sell to stay 1395 Amang us here,— or are ye gawn away To London Court, or ither far aff Parts, To leave your ain poor us with broken Hearts? Patie. To Edinburgh straight, Tomorrow we advance, To London neist, and afterwards to France, 1400 Where I must stay some Years, and learn— to dance, And twa three other Monky tricks:— That done, I come hame struting in my Red heel’d Shoon. Then ’tis design’d, when I can well behave, That I maun be some petted Thing’s dull Slave, 1405 For some few Bags of Cash, that I wate weel, I nae mair need nor Carts do a third Wheel: But Peggy, dearer to me than my Breath, Sooner than hear sic News, shall hear my Death.

}

Roger. THEY wha have just enough can soundly sleep, 1410 The Owrecome only fashes Fowk to keep.— Good Mr. Patrick, tak your ain Tale Hame.

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The Gentle Shepherd Patie. What was my Morning Thought, at Night’s the same: The Poor and rich but differ in the Name. Content’s the greatest Bliss we can procure Frae ’boon the Lift.— Without it Kings are poor. Roger. But an Estate, like yours, yields braw Content, When we but pike it scantly on the Bent: Fine Claiths, saft Beds, sweet Houses and red Wine, Good Chear, and witty Friends, when e’er ye dine, Obeysant Servants, Honour, Wealth and Ease; Wha’s no content with these are ill to please. Patie. Sae Roger thinks, and thinks not far amiss, But mony a Cloud hings hovering o’er their Bliss: The Passions rule the Roast;— and if they’re sour, Like the lean Ky, they’ll soon the fat devour. The Spleen, tint Honour, and affronted Pride, Stang like the sharpest Goads in Gentry’s Side. The Gouts and Gravels, and the Ill-Disease, Are frequentest with Fowk owrelaid with Ease; While o’er the Moor, the Shepherd with less Care, Enjoys his sober Wish, and halesome Air. Roger. LORD Man, I wonder ay, and it delights My Heart, when e’er I hearken to your Flights. How gat ye a’ that Sense I fain wad lear, That I may easier Disappointments bear. Patie. Frae Books, the Wale of Books, I gat some Skill, These best can teach what’s real good and ill. Ne’er grudge ilk Year to ware some Stanes of Cheese, To gain these silent Friends that ever please. Roger. I’ll do’t, and ye shall tell me which to buy: Faith Ise hae Books, tho’ I shou’d sell my Ky: But now, let’s hear how your design’d to move Between Sir William’s Will, and Peggy’s Love.

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The 1729 text Patie. Then here it lyes,— his Will maun be obey’d, My Vows I’ll keep, and she shall be my Bride: But I sometime this last Design maun hide. Keep you the Secret close, and leave me here, I sent for Peggy; yonder comes my Dear.

} Roger. Pleas’d that ye trust me with the Secret, I, To wyle it frae me, a’ the Deels defy. Exit Roger. Patie (solus.) With what a Struggle must I now impart My Father’s Will to her that hads my Heart! I ken she loves, and her saft Soul will sink, While it stands trembling on the hated Brink Of Disappointment— Heaven, support my Fair, And let her Comfort claim your tender Care. Her eyes are red ———— ———— Enter Peggy ——— ——— My Peggy, why in Tears? Smile as ye wont, allow nae Room for Fears: Tho’ I’m nae mair a Shepherd, yet I’m thine. Peggy. I dare not think sae high: I now repine At the unhappy Chance, that made not me A gentle Match, or still a Herd kept thee. Wha can, withouten Pain, see frae the Coast The Ship that bears his All like to be lost; Like to be carried by some Rever’s Hand, Far frae his Wishes to some distant Land? Patie. Ne’er quarrel Fate, whilst it with me remains, To raise thee up, or still attend these Plains. My Father has forbid our Loves I own: But Love’s superior to a Parent’s Frown. I Falshood hate: Come kiss thy Cares away; I ken to love as well as to obey. Sir William’s generous, leave the Task to me To make strict Duty and true Love agree.

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from The Tea-Table Miscellany [17] SANG XVII. Woes my Heart that we shou’d sunder. Sung by Peggy, p. [199, in place of ll. 1477-96]. on, ---speah thus, and still my Grief, SPeak Hold up a Heart that’s sinking under

These Fears, that soon will want Relief, When Pate must from his Peggy sunder. A gentler Face and Silk-attire, 5 A Lady rich in Beauty’s Blossom, Alake poor me! will now conspire, To steal thee from thy Peggy’s Bosom. No more the Shepherd who excell’d The rest, whose Wit made them to wonder, Shall now his Peggy’s Praises tell, Ah! I can die, but never sunder. Ye Meadows where we often stray’d, Ye Banks where we were wont to wander. Sweet scented Rucks round which we play’d, You’ll loss your Sweets when we’re asunder.

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Again ah! I shall never creep Around the Know with silent Duty, Kindly to watch thee while asleep, And wonder at thy manly Beauty? 20 Hear, Heaven, while solemnly I vow, Tho’ thou shouldst prove a wandering Lover, Throw Life to thee I shall prove true, Nor be a Wife to any other.

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The 1729 text Peggy. *Speak on! — speak ever thus, and still my Grief, But short I dare to hope the fond Relief. New Thoughts a gentler Face will soon inspire, That with nice Air swims round in Silk Attire; Then I, poor me! — with Sighs may ban my Fate, When the young Laird’s nae mair my heartsome Pate: Nae mair again to hear sweet Tales exprest, By the blyth Shepherd that excell’d the rest: Nae mair be envy’d by the tatling Gang, When Patie kiss’d me, when I danc’d or sang: Nae mair, alake! we’ll on the Meadow play! And rin haf breathless round the Rucks of Hay, As aftimes I have fled from thee right fain, And fawn on Purpose that I might be tane. Nae mair around the Foggy Know I’ll creep, To watch and stare upon thee, while asleep. But hear my Vow — ’twill help to give me Ease, May sudden Death, or deadly sair Disease, And warst of Ills attend my wretched Life, If e’er to ane but you I be a Wife.

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Patie. Sure Heaven approves;— and be assur’d of me, I’ll ne’er gang back of what I’ve sworn to thee: And Time, tho’ Time maun interpose a while, And I maun leave my Peggy and this Isle; 1500 Yet Time, nor Distance, nor the fairest Face, If there’s a fairer, e’er shall fill thy Place. I’d hate my rising Fortune, should it move The fair Foundation of our faithful Love. If at my Foot were Crowns and Scepters laid, 1505 To bribe my Soul frae thee, delightful Maid; For thee I’d soon leave these inferior Things To sic as have the Patience to be Kings. Wherefore that Tear? believe, and calm thy Mind. Peggy. 1510 I greet for Joy to hear thy Words sae kind. *When Hopes were sunk, and nought but mirk Dispair, Made me think Life was little worth my Care, My Heart was like to burst: But now I see Thy generous Thoughts will save thy Love for me. With Patience then, I’ll wait each wheeling Year, 1515 199

from The Tea-Table Miscellany [18] SANG XVIII. Tweed-side. Sung by Peggy, p. [199, 201, in place of ll. 1511-21]. Hen Hope was quite sunk in Despair, WMy Heart it was going to break;

My Life appear’d worthless my Care, But now I will sav’t for thy Sake. Where’er my Love travels by Day, Wherever he lodges by Night, With me his dear Image shall stay, And my Soul keep him e’er in Sight.

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With Patience I’ll wait the long Year, And study the gentlest Charms; 10 Hope Time away till thou appear, To lock thee for ay in those Arms. Whilst thou wast a Shepherd, I priz’d No higher Degree in this Life; But now I’ll endeavour to rise 15 To a Height is becoming thy Wife. For Beauty that’s only Skin deep, Must fade like the Gowans of May, But inwardly rooted, will keep For ever, without a Decay. Nor Age, nor the Changes of Life, Can quench the fair Fire of Love, If Virtue’s ingrain’d in the Wife, And the Husband have Sense to approve.

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The 1729 text Hope Time away till thou with Joy appear. And all the while I’ll study gentler Charms, To make me fitter for my Traveller’s Arms. I’ll gain on Uncle Glaud;— he’s far frae Fool, And will not grudge to put me throw ilk School, Where I may Manners learn ——— ——— Patie. —— —— That’s wisely said, And what he wares that Way shall be well paid. Tho’ without a’ the little Helps of Art, Thy native Sweets might gain a Prince’s Heart; Yet now, lest in our Station we offend, We must learn Modes to Innocence unkend; Affect aft-times to like the Thing we hate, And drap Serenity to keep up State: Laugh when we’re sad, speak when we’ve nought to say, And, for the Fashion, when we’re blyth seem wae: Pay Compliments to them we aft have scorn’d, Then scandalize them when their Backs are turn’d. Peggy. If this is Gentry, I had rather be What I am still; — but I’ll be ought with thee.

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Patie. No, no, my Peggy, I but only jest With Gentry’s Apes; for still amangst the best, Good Manners give Integrity a Bleez, When native Virtues join the Arts to please. Peggy. Since with nae Hazard, and sae small Expence, 1540 My Lad frae Books can gather siccan Sense; Then why, ah! why should the tempestuous Sea, Endanger thy dear Life, and frighten me? Sir William’s cruel that wad force his Son, For Watna-whats, sae great a Risk to run. 1545 Patie. There is nae Doubt, but Travelling does improve, Yet I would shun it for thy Sake, my Love: But soon as I’ve shook aff my Landwart Cast In foreign Cities, hame to thee I’ll haste. 201

from The Tea-Table Miscellany [19] SANG XIX. Bush aboon Traquair. Sung by Peggy, p. [203, in place of ll. 1550-57]. setting Day and rising Morn, ATWith Soul that still shall love thee,

I’ll ask of Heaven thy safe Return, With all that can improve thee. I’ll visit oft the Birken-bush, 5 Where first thou kindly told me, Sweet Tales of Love, and hid my Blush, Whilst round thou didst enfold me. To all our Haunts I will repair, By Greenwood-shaw or Fountain; Or where the Summer-day I’d share With thee, upon yon Mountain. There will I tell the Trees and Flowers, From Thoughts unfeign’d and tender By Vows you’re mine, by Love is yours A Heart which cannot wander.

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The 1729 text Peggy. *With every setting Day, and rising Morn, I’ll kneel to Heaven, and ask thy safe Return. Under that Tree, and on the Suckler Brae, Where aft we wont, when Bairns, to run and play; And to the Hissel-shaw, where first ye vow’d Ye wad be mine, and I as eithly trow’d, I’ll aften gang, and tell the Trees and Flowers, With Joy, that they’ll bear Witness I am yours. Patie. My Dear, allow me, frae thy Temples fair, A shining Ringlet of thy flowing Hair; Which, as a Sample of each lovely Charm, I’ll aften kiss, and wear about my Arm. Peggy. Were’t in my Power with better Boons to please, I’d give the best I could with the same Ease: Nor wad I, if thy Luck had fallen to me, Been in ae Jot less generous to thee.

Patie. I doubt it not, but since we’ve little Time, To ware’t on Words, wad border on a Crime: Love’s safter Meaning better is exprest, When ’tis with Kisses on the Heart imprest. Exeunt.



End of the Fourth ACT.

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The Gentle Shepherd

Act V. Scene I. SEE how poor Bauldy stares like ane possest, And roars up Symon frae his kindly Rest: Bare leg’d, with Night-cap, and unbutton’d Coat, See the auld Man comes forward to the Sot. Symon. Hat want ye, Bauldy, at this early Hour, While drowsy Sleep keeps a’ beneath its Power? Far to the North the scant approaching Light Stands equal ’twixt the Morning and the Night. What gars ye shake and glowre, and look sae wan? Your Teeth they chitter, Hair like Bristles stand.

W



Bauldy. O len me soon some Water, Milk or Ale, My Head’s grown giddy,— Legs with shaking fail; I’ll ne’er dare venture forth at Night my lane; Alake! I’ll never be my sell again. I’ll ne’er o’erput it! Symon, O Symon! O! Symon gives him a Drink. Symon. What ails thee, Gowk! — to make sae loud ado? You’ve wak’d Sir William, he has left his Bed, He comes, I fear ill pleas’d; I hear his Tred. Enter Sir William.

1570

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1585

Sir Will. How goes the Night? Does Day-light yet appear? Symon, you’re very tymously asteer. Symon. I’m sorry, Sir, that we’ve disturb’d your Rest; But some strange Thing has Bauldy’s Sp’rit opprest, He’s seen some Witch, or wrestl’d with a Ghaist.

}

1590

Bauldy. O ay, — dear Sir, in Troth ’tis very true, And I am come to make my Plaint to you. Sir Will. (smiling.) I lang to hear’t. ——— ——— ——— 204

1595

The 1729 text Bauldy. —— —— —— Ah! Sir, the Witch caw’d Mause, That wins aboon the Mill amang the Haws, First promis’d that she’d help me with her Art, To gain a bonny thrawart Lassie’s Heart. As she had trysted, I met wi’er this Night, But may nae Friend of mine get sic a Fright! For the curs’d Hag, instead of doing me good, (The very Thought o’t’s like to freeze my Blood!) Rais’d up a Ghaist or Deel, I kenna whilk, Like a dead Corse, in Sheet as white as Milk, Black Hands it had, and Face as wan as Death. Upon me fast the Witch and it fell baith, And gat me down, while I like a great Fool, Was laboured as I wont to be at School: My Heart out of its Hool was like to lowp, I pithless grew with Fear, and had nae Hope, Till with an elritch Laugh they vanish’d quite; Syne I, haf dead with Anger, Fear and Spite, Crap up, and fled straight frae them, Sir, to you, Hoping your Help, to gi’e the Deel his Due. I’m sure my Heart will ne’er gi’e o’er to dunt, Till in a fat Tar-barrel Mause be burnt.

1600

1605

1610

1615

Sir Will. Well, Bauldy, what e’er’s just shall granted be, Let Mause be brought this Morning down to me. Bauldy. Thanks to your Honour, soon shall I obey; But first I’ll Roger raise, and twa three mae, To catch her fast or she get Leave to squeel, And cast her Cantraips that bring up the Deel. Exit Bauldy. Sir Will. Troth Symon, Bauldy’s more afraid than hurt, The Witch and Ghaist have made themselves good Sport. What silly Notions crowd the clouded Mind, That is throw Want of Education blind! Symon. But does your Honour think there’s nae sic Thing, 205

1620

1625

from The Tea-Table Miscellany [20] SANG XX. Bony gray ey’d Morn. Sung by Sir William, p. [207, after l. 1655]. bony gray eyed Morning begins to peep, THe And Darkness flys before the rising Ray,

The hearty Hynd starts from his lazy Sleep, To follow healthful Labours of the Day, Without a guilty Sting to wrinkle his Brow, The Lark and the Linnet tend his Levee, And he joins their Concert, driving his Plow, From Toil of Grimace and Pageantry free. While fluster’d with Wine, or madden’d with Loss, Of Half an estate, the prey of a Main, The Drunkard and the Gamester tumble and toss, Wishing for Calmness and Slumber in vain. Be my portion Health and Quietness of Mind, Plac’d at due Distance from Parties and State, Where neither Ambition or Avarice blind, Reach him who has Hapiness link’d to his Fate.

206

5

10

15

The 1729 text As Witches raising Deels up throw a Ring; Syne playing Tricks? a thousand I cou’d tell, Cou’d never be contriv’d on this Side Hell. Sir Will. Such as the Devil’s dancing in a Moor, Amongst a few old Women, craz’d and poor, Who are rejoyc’d to see him frisk and lowp O’er Braes and Bogs, with Candles in his Dowp, Appearing sometimes like a black horn’d Cow, Aft-times like Bawty, Badrans, or a Sow; Then with his Train throw airy Paths to glide, While they on Cats, or Clowns, or Broomstaffs ride; Or in the Egg-shell skim out o’er the Main, To drink their Leader’s Health in France or Spain; Then aft by Night, bumbaze Hare-hearted Fools, By tumbling down their Cup-board, Chairs and Stools: What e’er’s in Spells, or if there Witches be, Such Whimsies seem the most absurd to me. Symon. ’Tis true enough, we ne’er heard that a Witch Had either meikle Sense, or yet was rich: But Mause, tho’ poor, is a sagacious Wife, And lives a quiet and very honest Life. That gars me think this Hobleshew that’s past Will land in naithing but a Joke at last. Sir Will. I’m sure it will; — but see increasing Light, Commands the Imps of Darkness down to Night: Bid raise my Servants, and my Horse prepare, Whilst I walk out to take the Morning Air.*

1630

1635

1640

1645

1650

1655

Exeunt.

Act V. Scene II. WHILE Peggy laces up her Bosom fair, With a blew Snood Jenny binds up her Hair, Glaud by his Morning Ingle takes a Beek; The rising Sun shines motty throw the Reek, A Pipe his Mouth, the Lasses please his Een, And now and than his Joke maun interveen. 207

1660

The Gentle Shepherd Glaud. Wish, my Bairns, it may keep fair till Night, Ye do not use sae soon to see the Light; Nae Doubt now ye intend to mix the Thrang, To take your Leave of Patrick or he gang: 1665 But do ye think, that now when he’s a Laird, That he poor Landwart Lasses will regard?

I

Jenny Tho’ he’s young Master now, I’m very sure, He has mair Sense than slight auld Friends tho’ poor; But Yesterday he gae us mony a Tug, And kiss’d my Cusin there frae Lug to Lug. Glaud. Ay, ay, nae Doubt o’t, and he’ll do’t again; But be advis’d, his Company refrain: Before, he, as a Shepherd, sought a Wife, With her to live a chaste and frugal Life: But now, grown gentle, soon he will forsake Sic godly Thoughts, and brag of being a Rake.

1670

1675

Peggy. A Rake! what’s that?— Sure if it means ought ill, He’ll never be’t, else I have tint my Skill. Glaud. Daft Lassie, ye ken nought of the Affair, Ane young, and good, and gentle’s unco rare: A Rake’s a graceless Spark, that thinks nae Shame, To do what like of us thinks Sin to name. Sic are sae void of Shame, they’ll never stap To brag how aften they have had the Clap. They’ll tempt young Things, like you, with Youdith flush’d, Syne mak ye a’ their Jest, when ye’re debauch’d. Be warry then, I say, and never gi’e Encouragement, or board with sic as he. Peggy. Sir William’s vertuous and of gentle Blood; And may not Patrick too, like him, be good? Glaud. That’s true, and mony Gentry mae than he, As they are wiser, better are than we; 208

1680

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The 1729 text But thinner sawn; They’re sae puft up with Pride, There’s mony of them mocks ilk haly Guide, That shaws the Gate to Heaven.— I’ve heard my sell, Some of them laugh at Doom’s-day, Sin and Hell.

1695

Jenny. Watch o’er us, Father! heh, that’s very odd, Sure him that doubts a Doom’s-day, doubts a God. Glaud. Doubt! why, they neither doubt, nor judge nor think, Nor hope, nor fear; but curse, debauch, and drink. But I’m no saying this, as if I thought That Patrick to sic Gaits will e’er be brought. Peggy. The LORD forbid! — Na, he kens better Things: But here comes Aunt, her Face some Ferly brings. Enter Madge.

1700

1705

Madge. Haste, haste ye, we’re a’ sent for owre the Gate, To hear, and help to redd some odd Debate ’Tween Mause and Bauldy, ’bout some Witchcraft Spell, At Symon’s House, the Knight sits Judge himsel. Glaud. Lend me my Staff— Madge, lock the Outer-door, 1710 And bring the Lasses wi’ye, I’ll step before. Exit Glaud. Madge. Poor Meg! — Look, Jenny, was the like e’er seen! How bleer’d and red with greeting look her Een? This Day her brankan Wooer takes his Horse, To strute a gentle Spark at Edinburgh Cross; 1715 To change his Kent, cut frae the branchy Plain, For a nice Sword, and glancing headed Cane; To leave his Ram-horn Spoons, and kitted Whey, For gentler Tea, that smells like new won Hay: To leave the Green-swaird Dance, when we gae milk, 1720 To rustle amang the Beauties clad in Silk. But Meg, poor Meg! maun with the Shepherds stay, And tak what God will send in Hodden-gray. 209

The Gentle Shepherd Peggy. Dear Aunt, what needs ye fash us wi’ your Scorn? That’s no my Faut that I’m nae gentler born. Gif I the Daughter of some Laird had been, I ne’er had notic’d Patie on the Green: Now since he rises, why should I repine? If he’s made for another, he’ll ne’er be mine; And then the like has been, if the Decree Designs him mine, I yet his Wife may be.

1725

1730

Madge. A bonny Story trouth!— but we delay; Prin up your Aprons baith, and come away. Exeunt.

Act V. Scene III. Sir William fills the Twa-arm’d Chair, While Symon, Roger, Glaud and Mause 1735 Attend, and, with loud Laughter, hear Daft Bauldy bluntly plead his Cause: For now ’tis tell’d him that the Taz Was handled by revengfu’ Madge, Because he brak good Breeding’s Laws, 1740 And, with his Nonsense, rais’d the Rage. Sir Will. Nd was that all? Well, Bauldy, ye was serv’d No otherwise than what ye well deserv’d. Was it so small a Matter to defame, And thus abuse an honest Woman’s Name? Besides your going about to have betray’d, By Perjury an innocent young Maid.

A

1745

Bauldy. Sir, I confess my Faut thro’ a’ the Steps, And ne’er again shall be untrue to Neps. Mause. Thus far, Sir, he oblig’d me on the Score, I kend not that they thought me sic before.

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The 1729 text Bauldy. An’t like your Honour, I believ’d it well; But trowth I was e’en doilt to seek the Deel; Yet with your Honour’s Leave, tho’ she’s nae Witch, She’s baith a slee and a revengefu’ ———— And that my Some-place finds; — but I had best Had in my Tongue, for yonder comes the Ghaist, And the young bonny Witch, whase rosie Cheek, Sent me, without my Wit, the Deel to seek. Enter Madge, Peggy, and Jenny.

1755

Sir Will. (looking at Peggy.) Whose Daughter’s she that wears th’ Aurora Gown, 1760 With Face so fair, and Locks a lovely Brown? How sparkling are her Eyes! what’s this I find? The Girle brings all my Sister to my Mind. Such were the Features once adorn’d a Face, Which Death too soon depriv’d of sweetest Grace. 1765 Is this your Daughter, Glaud? ——— Glaud. ——— ——— Sir, she’s my Niece, — And yet she’s not:— but I should had my Peace. Sir Will. This is a Contradiction. What d’ ye mean? She is, and is not! pray thee, Glaud, explain. 1770 Glaud. Because, I doubt, if I should make appear What I have kept a Secret Thirteen Year.

Mause. You may reveal what I can fully clear.

}

Sir Will. Speak soon, I’m all Impatience! —— Patie. ——— ——— ——— So am I! For much I hope, and hardly yet know why.

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1775

The Gentle Shepherd Glaud. Then since my Master orders, I obey. — This Bonny Fundling ae clear Morn of May, Close by the Leeside of my Door I found, All sweet and clean, and carefully hapt round, In Infant-weeds of rich and gentle Make. What cou’d they be, thought I, did thee forsake? Wha, warse than Brutes, cou’d leave expos’d to Air Sae much of Innocence, sae sweetly fair, Sae helpless young? for she appear’d to me, Only about twa Towmonds auld to be. I took her in my Arms, the Bairny smil’d, With sic a Look wad made a Savage mild. I hid the Story; she has past sincesyne, As a poor Orphan, and a Niece of mine. Nor do I rue my Care about the Wean, For she’s well worth the Pains that I have tane. Ye see she’s bonny, I can swear she’s good, And am right sure she’s come of gentle Blood; Of whom I kenna,— naithing ken I mair, Than what I to your Honour now declare.

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1795

Sir Will. This Tale seems strange! ——— ———— Patie. ———— ——— The Tale delights my Ear! Sir Will. Command your Joys, young Man, till Truth appear. Mause. That be my Task; — now, Sir, bid all be hush, 1800 Peggy may smile — thou hast no Cause to blush. Long have I wish’d to see this happy Day, That I might safely to the Truth give Way; That I may now Sir William Worthy name, The best and nearest Friend that she can claim. 1805 He saw’t at first, and, with quick Eye did trace His Sister’s Beauty’s in her Daughter’s Face. Sir Will. Old Woman, do not rave, —prove what you say; ’Tis dangerous in Affairs like this to play. 212

The 1729 text Patie. What Reason, Sir, can an old Woman have To tell a Lie, when she’s sae near her Grave? But how, or why, it should be Truth, I grant, I every Thing, looks like a Reason, want.

1810

omnes. The Story’s odd! we wish we heard it out. Sir Will. Mak haste, good Woman, and resolve each Doubt. Mause goes forward, leading Peggy to Sir William.

1815

Mause. Sir, view me well, has Fifteen Years so plow’d, A wrinkled Face that you have often view’d. That here I as an unknown Stranger stand, Who nurs’t her Mother that now holds my Hand? Yet stronger Proofs I’ll give, if you demand. 1820

}

Sir Will. Ha, honest Nurse! where were my Eyes before? I know thy Faithfulness, and need no more; Yet, from the Lab’rinth, to lead out my Mind, Say, to expose her, who was so unkind? Sir William embraces Peggy, and makes her sit by him. Yes surely thou’rt my Niece, Truth must prevail: 1825 But no more Words till Mause relate her Tale. Patie. Good Nurse, go on, nae Musick’s haff sae fine, Or can give Pleasure like these Words of thine. Mause. Then it was I that sav’d her Infant-Life Her Death being threatened by an Uncle’s Wife. 1830 The Story’s lang; but I the Secret knew, How they pursu’d, with avaritious View; Her rich Estate, of which they’re now possest: All this to me a Confident confest. I heard with Horror, and with trembling Dread, 1835 They’d smoor the sakeless Orphan in her Bed. 213

The Gentle Shepherd That very Night, when all were sunk in Rest, At Midnight hour, the Floor I saftly prest; And staw the sleeping Innocent away, With whom I travel’d some few Miles ere Day. All Day I hid me — when the Day was done, I kept my Journey, lighted by the Moon, Till eastward Fifty Miles I reach’d these Plains, Where needful Plenty glades your chearful Swains. Then Fear of being found out, I to secure My Charge, e’en laid her at this Shepherd’s Door, And took a neighbouring Cottage here, that I, Whate’er should happen to her, might be by. Here, honest Glaud himsel, and Symon may Remember well how I that very Day, Frae Roger’s Father took my little Crove.

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Glaud, (with Tears of Joy happing down his Beard.) I well remember’t: Lord reward your Love. Lang have I wish’d for this; for aft I thought, Sic Knowledge sometime should about be brought. Patie. ’Tis now a Crime to doubt — my Joys are full, 1855 With due Obedience to my Parent’s Will. Sir, with paternal Love, survey her Charms, And blame me not for rushing to her Arms: She’s mine by Vows, and would, tho’ still unknown, Have been my Wife, when I my Vows durst own. 1860 Sir Will. My Niece, my Daughter, welcome to my Care, Sweet Image of thy Mother, good and fair, Equal with Patrick; now my greatest Aim, Shall be to aid your Joys, and well match’d Flame. My Boy, receive her from your Father’s Hand, 1865 With as good Will as either would demand. Patie and Peggy embrace, and kneel to Sir William. Patie. With as much Joy this Blessing I receive, As ane wad Life, that’s sinking in a Wave. Sir Will. (raises them.) I give you both my Blessing; may your Love Produce a happy Race, and still improve. 1870 214

The 1729 text Peggy. My Wishes are complete, — my Joys arise, While I’m haf dizzy with the blest Surprise. And am I then a Match for my ain Lad, That for me so much generous Kindness had? Lang may Sir William bless these happy Plains, 1875 Happy, while Heaven grant he on them remains. Patie. Be lang our Guardian, still our Master be, We’ll only crave what you shall please to gi’e: The Estate be yours, my Peggy’s ane to me.

} Glaud. I hope your Honour now will take amends Of them that sought her Life for wicked Ends.

1880

Sir Will. The base unnatural Villain soon shall know, That Eyes above watch the Affairs below. I’ll strip him soon of all to her pertains, And make him reimburse his illgot Gains. 1885 Peggy. To me the Views of Wealth, and an Estate Seem light when put in Balance with my Pate: For his Sake only, I’ll ay thankful bow For such a Kindness, best of Men, to you. Symon. What double Blythness wakens up this Day? 1890 I hope now, Sir, you’ll no soon hast away? Sall I unsadle your Horse, and gar prepare A Dinner for ye of hale Country Fare? See how much Joy unwrinkles every Brow, Our Looks hing on the twa, and doat on you: 1895 Even Bauldy the Bewitch’d has quite forgot Fell Madge’s Taz, and pauwky Mause’s Plot. Sir Will. Kindly old Man — remain with you this Day! I never from these Fields again will stray; Masons and Wrights shall soon my House repair, And busy Gardners shall new Planting rear: 215

1900

The Gentle Shepherd My Father’s hearty Table you soon shall see Restor’d, and my best Friends rejoyce with me. Symon. That’s the best News I heard this twenty Year; New Day breaks up, rough Times begin to clear.

1905

Glaud. GOD save the King, and save Sir William lang, T’ enjoy their ain, and raise the Shepherd’s Sang. Roger. Wha winna dance, wha will refuse to sing? What Shepherds whistle winna lilt the Spring? Bauldy. I’m Friends with Mause, — with very Madge I’m ’greed, 1910 Altho’ they skelpit me when woodly fleid. I’m now fu’ blyth, and frankly can forgive, To join and sing, Lang may Sir William live. Madge. Lang may he live; —and, Bauldy, learn to steek Your Gab a wee, and think before ye speak, 1915 And never ca’ her auld that wants a Man, Else ye may yet some Witches Finger’s ban. This Day I’ll with the youngest of ye rant, And brag for ay that I was ca’d the Aunt Of our young Lady,—my dear bonny Bairn! 1920 Peggy. No other Name, I’ll ever for you learn — And, my good Nurse, how shall I gratefu’ be For a’ thy matchless Kindness done for me? Mause. The flowing Pleasures of this happy Day, Does fully all I can require repay.

1925

Sir Will. To faithful Symon, and, kind Glaud, to you, And to your Heirs I give in endless Feu, The Mailens ye possess, as justly due For acting like kind Fathers to the Pair,

} 216

The 1729 text Who have enough besides, and these can spare. Mause, in my House, in Calmness close your Days, With nought to do but sing your Maker’s Praise.

1930

OMNES. The LORD of Heaven return your Honour’s Love, Confirm your Joys, and a’ your Blessings roove. Patie. (presenting Roger to Sir Will.) 1935 Sir, here’s my trusty Friend, that always shar’d My Bosom Secrets ere I was a Laird. Glaud’s Daughter Janet, (Jenny thinkna Shame) Rais’d and maintains in him a Lover’s Flame: Lang was he dumb, at last he spake and won, And hopes to be our honest Uncle’s Son; 1940 Be pleas’d to speak to Glaud for his Consent, That nane may wear a Face of Discontent.

Sir Will. My Son’s Demand is fair, — Glaud, let me crave, That trusty Roger may your Daughter have With frank Consent, and while he does remain Upon these Fields, I make him Chamberlain.

1945

Glaud. You crowd your Bounties, Sir, what can we say, But that we’re Dyvours that can ne’er repay? What e’er your Honour wills, I shall obey. Roger, my Daughter, with my Blessing, take, 1950 And still our Master’s Right your Business make. Please him, be faithful, and this auld gray Head, Shall nod with Quietness down amang the Dead.

}

Roger. I ne’er was good a speaking a’ my Days, Or ever loo’d to make o’er great a Fraise: But for my Master, Father and my Wife, I will employ the Cares of all my Life.

1955

Sir Will. My Friends, I’m satisfied you’ll all behave Each in his Station as I’d wish or crave. Be ever vertuous, soon or late ye’ll find 1960 Reward and Satisfaction to your Mind. 217

The Gentle Shepherd The Maze of Life sometimes looks dark and wild; And oft when Hopes are highest, we’re beguil’d. Aft when we stand on Brinks of dark Despair, Some happy Turn, with Joy, dispells our Care. Now all’s at Rights, who sings best, let me hear.

}

1965

Peggy. When you demand, I readiest should obey: I’ll sing you ane the newest that I hae. (Sings to the Tune of Corn Riggs are bonny)



S A N G. MY Patie is a Lover gay, His Mind is never muddy; 1970 His Breath is sweeter than new Hay, His Face is fair and ruddy: His Shape is handsome, middle Size, He’s comely in his Wawking; The Shining of his Een surprise: 1975 ’Tis Heaven toWW hear him tawking. LAST Night I met him on a Bawk, Where yellow Corn was growing, There mony a kindly Word he spake, That set my Heart a glowing. 1980 He kiss’d, and vow’d he wad be mine, And loo’d me best of ony, That gars me like to sing sincesyne, O Corn-Riggs are bonny. LET Lasses of a silly Mind Refuse what maist they’re wanting, Since we for yielding were design’d, We chastly should be granting. Then I’ll comply and marry PATE, And syne my Cockernony He’s free to touzle air or late, Where Corn-Riggs are bonny.



F I N I S.

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NOTES 1725 & 1729 texts If there is a difference in the line numbers in the 1729 edition, it is indicated in parentheses. Notes exclusive to the 1729 edition come after these combined notes. TITLE PAGE (1725 only) A Scots Pastoral Comedy: Ramsay uses the word ‘Scots’ in many ways. Sometimes, it refers to Scottishness generally, as in ‘Tartana, or the Plaid,’ in which those who wear an English ‘hood and mantle’ are ‘no more Scots.’ He uses it similarly in his dedication to the 1721 Poems, ‘To the most Beautiful, the Scots Ladies.’ In 1718, he begins publishing small collections called ‘Scots Songs,’ which have only a smattering of Scots in them. However, here, it seems to refer specifically to the dialect of English spoken in Lowland Scotland, as in James Watson, A Choice Collection of Comic and Serious Scots Poems (1706), who in ‘The Publisher to the Reader’ refers to ‘our own Native Scots Dialect’ (n. pag.). In this vein, Ramsay refers to ‘blyth braid Scots’ in ‘To Josiah Burchet, Esq.’ See the textual introduction to this volume for further discussion of Ramsay’s Scots. ‘Pastoral comedy’ is the subtitle Cowley gives to Love’s Riddle (1633), which also happens to include the phrase ‘gentle shepherd,’ and Ramsay, we know, was familiar with Cowley (see l.1155/1150). However, Ramsay’s source is probably Alexander Pope’s ‘Discourse on Pastoral Poetry’ first published in his 1717 Works, in which he credits Torquato Tasso’s Aminta for inventing ‘a new sort of poem, the Pastoral Comedy’ (7). Aminta is one of the texts, along with Giovanni Battista Guarini’s Il Pastor Fido, that Ramsay looks to ‘cope with’ when he describes the composition of The Gentle Shepherd in his letter to William Ramsay of Templehill (STS IV:174). See the textual introduction to this volume for more on pastoral. ‘The Gentle Shepherd sat besides a spring’: The epigraph is from ‘December,’ the last pastoral in Edmund Spenser’s The Shepherd’s Calendar, and Ramsay’s citation of a page number allows us to find the edition he consulted, volume 4 of The works of Mr. Edmund Spenser (Spenser 1715, 4:1113). Edited by John Hughes, this was the first scholarly edition of Spenser. In addition to furnishing Ramsay with the title for his play, with its seeming paradox of a character at once rustic and high-born (and thus refined), Ramsay perhaps found a congenial model in The Shepherd’s Calendar for his own experiment in pastoral ‘realism,’ though the ironies in The Gentle Shepherd are less-pronounced than the studied archaism and mock-solemn glosses by the supposed editor, ‘E. K.’ Ramsay stays mostly faithful to the lines he excerpts, though there are some differences in typography and spelling: The gentle Shepherd sate besides a Spring, All in the Shadow of a bushy Brere, That Colin hight, which well could pipe and sing, For he of Tityrus his Songs did lere: 221

The Gentle Shepherd The phrase ‘gentle shepherd’ is also found in other texts Ramsay may have known, including Ambrose Philips’ Pastorals, and Milton’s Comus. See the textual introduction for more on Spen-ser’s position within eighteenthcentury debates on pastoral. Tho.[mas] Ruddiman (1674–1757): classical scholar and printer, he published Ramsay’s 1721 Poems (as well as his 1728 Poems). He was a central figure in the literary world of Edinburgh in the first half of the century, though his Jacobite views attracted controversy. He superintended the printing of and wrote a glossary for Gawin Douglas’ Aeneid (1710), the first in a modern Scots publication and perhaps the model for Ramsay’s own. His Rudiments of the Latin Tongue (1714) became the grammar of choice throughout Britain for the next hundred years. Thomas Longman (1699–1755): The founder of the London bookselling dynasty, he published The Gentle Shepherd just a year after setting up his shop in London. Among the famous texts he helped to publish were David Hume’s Treatise of Human Nature (1739) and Samuel Johnson’s Dictionary of the English Language (1755). James McEwin [i. e., McEuen]: Bookseller based in Edinburgh, with St. Clement’s Church-- ‘Courch’ was corrected during the printing of the first edition—the location of his London branch, which sported the head of the sixteenth century Scottish patriot and humanist, George Buchanan. According to James Raven, he ‘was the most important [Scottish] bookseller of the 1710s and 1720s’ (Raven 2007, 158-59), printing the Edinburgh Evening Courant, Scotland’s first successful newspaper. His reach can be seen in his close relationship with the Presbyterian divine, Robert Wodrow (see Budd, 27-28), who later condemned Ramsay’s Circulating Library for spreading ‘villainous, profane, and obscene bookes and plays printed at London’ (qtd. in STS 4:28). Alexander Carmichael: A son of Gershon Carmichael, the first professor of moral philosophy at the University of Glasgow, he was in 1730 appointed printer to the University. The Gentle Shepherd is the first surviving text that lists him as a publisher. DEDICATION Susanna, Countess of Eglinton (1689/90–1780): The daughter of Sir Archibald Kennedy of Culzean and Elizabeth, daughter of David Leslie, first Lord Newark, and wife of Alexander Montgomerie, ninth Earl of Eglinton, she was one of the most celebrated figures in Scottish polite society and a well-known patron of the arts as well as an active partner in the running of her family’s estate. The dedication underscores Ramsay’s commitment to reaching women readers, which we also see in the dedication of The Tea-Table Miscellany to ‘ilka lovely British lass’ and elsewhere in his work. That he dedicates it to Eglinton allows him to intertwine a celebration of a martial Scottish past (see the later reference to the Kennedys and Montgomerys) and a more polite Scottish present that she embodies through her ‘Charm’, ‘Wisdom and Piety.’ In a note in NLS MS 15972, Ramsay reports presenting it to her on ‘March 2d 1737—after my having seen reprinted six Editions of it a thousand each Time 222

Notes in Edr. besides two in London, one in Dublin & one in Glasgow—and Be it kend to you, curious posterity, that the performance has recieved the Universall aprobation as I hope it will from You Thousands of years hence. N. B. The additional Songs were added to the fourth Edition about the year 1732 by the Author’ (1R). Ramsay seems to be remembering the 1734 Edinburgh edition, which lists itself as the sixth edition, not the fourth, and the first edition he likely had a hand in that printed the texts of the new songs. A note on the inside cover of NLS MS 15972 signed by Alexander Boswell and dated 1804 reports that ‘This MS. was presented to my Father (with flatttering expressions of regard) by Susanna Countess of Eglinton the last time he visited her. I have preserved the original binding to shew the form in which Allan offer’d it at the Shrine of Susanna. I have put 1725 as the date tho the dedication appears to have been 35 & alter’d by the Author to 25.’ Sour-plum: In a note to the same phrase in ‘Wealth, or the Woody. A Poem on the South-Sea’—that is, the scandalous financial crash of the South Sea Company known as the South Sea Bubble—Ramsay cites Aesop’s fable on the fox ‘that despised the Plumbs he could not reach’ (Ramsay 1721, 245). Idalian Registers: Mount Ida is featured repeatedly in Homer’s Iliad, including as a place where the gods gather to watch the combat in the Trojan War; in the verse of Ramsay’s day, it is typically associated with Aphrodite, but here it seems to refer more broadly to a poetic roll of immortal fame. Tasso and Guarini: A reference to the two best-known authors of pastoral drama prior to Ramsay, Torquato Tasso and Giovanni Battista Guarini. See the note above, on ‘Scots Pastoral Comedy,’ and the textual introduction for more. Ovid: Ramsay’s source is Ovid’s Metamorphosis; more specifically, the end of Ovid's Metamorphoses in fifteen books (London: Jacob Tonson, 1717), 548. ACT I. SCENE 1. 78. shelly-coated Kow: This phrase conflates two beings from Scottish folklore. Shelly-coat: ‘One of those frightful Spectres the ignorant People are terrified at, and tell us strange Stories of; that they are clothed with a Coat of Shells, which make a horrid rattling, that they’ll be sure to destroy one, if he gets not a running Water between him and it; it dares not meddle with a Woman with Child, & c.’ (Ramsay 1721, 227n.). Kow: ‘Goblin, or any Person one stands in awe to disoblige, and fears.’ (Ramsay Poems 1728, 412). In ‘Patie and Roger,’ it is ‘Shellycoat or Kow’ (Ramsay and Burchett 1720, 7; emphasis mine), which suggests that ‘shelly-coated Kow’ is a misprint. If so, Ramsay does not correct it in later editions. 80. Smell of Tar: Tar was used to dress the wounds of sheep (Ellis 1732, 120-21). 92. O’er Bogie: A discussion of the musical settings of this song can be found in the Notes. See Sang [14], pp. 489-94. 169. The Grace Drink: ‘The King’s health, begun first by the religious Margaret Queen of Scots, known by the name of St. Margaret. The Piety of her Design was to oblige the Courtiers not to rise from Table till the Thanksgiving Grace was said, well judging, that tho some Folks have little Regard for Religion, yet they will be mannerly to their Prince.’ (Ramsay 1721, 232). Jamieson 223

The Gentle Shepherd offers a similar explanation, citing The Encyclopaedia Brittanica. (1: n.p.) ACT I. SCENE 2 183. Habie’s-How: This is one of many geographical markers later cited in the contest over where The Gentle Shepherd set; for more on this topic, see textual introduction and Lamont 2020. 278. bony Lass of Branksome: This refers to the ballad ‘The Bonny Lass of Branksome,’ which tells of a beautiful young woman from Branxholme, Roxburghshire who yields to her gentle suitor. He acknowledges that a song was made in their honor. Jennie imagines the same for the too-easily-yielding Peggy. For an image of and transcription of a publication of the song c. 1701, as well as commentary, see Word on the Street, an online collection of broadsides gathered by the National Library of Scotland (The Word on the Street - Broadsides at the National Library of Scotland (https://digital.nls.uk/ broadsides/)) ACT II. SCENE 1 412-416. The War of the Three Kingdoms/Civil War: The references here are to well-known figures in the Wars of the Three Kingdoms (known in England as the Civil War, which conflates a series of conflicts across the 1640s and 1650s). ‘Great Montrose’ is James Graham, the 1st Marquess of Montrose (1612-50), who was executed after leading the Royalists in battle in Scotland starting in 1644 and ending with his defeat at the Battle of Carbiside (a.k.a., Invercarron) in 1650. ‘Cromwell,’ is, of course, Oliver Cromwell (1599-1658), the most powerful figure during the Commonwealth and Protectorate (serving as Lord Protector); he invaded Scotland in 1650 after the Covenanters signed the Declaration of Breda, declaring Charles II king. After triumphing on the battlefield, Cromwell established a military occupation in Scotland that put down later Royalist revolts. When Cromwell left Scotland in 1651, he left George Monck in charge. After Cromwell died in 1658 and the Protectorate slipped into factional conflict, Monck decided it would be best if the monarchy were restored in the person of Charles II He therefore turned against the Parliamentary cause—here, symbolized by ‘the Rumple,’ a play on ‘The Rump,’ the name given to Parliament in 1648 after 231 members were purged to block the signing of the Treaty of Newport, which would have restored Charles I. Charles II was invited to return in 1660 by the Convention Parliament, entering London on 29 May. He was crowned the next year. Thanks to James J. Caudle for a discussion about what Ramsay likely knew about this era and how exact he was aiming to be. ACT II. SCENE 2 515-30. Witchcraft: This passage along with 567-81 and 608-09 in II.3 and 1647-64 (1632-45) in V.iii gather lore about the practices and powers attributed to witches. By the time Ramsay composed GS, prosecutions for witchcraft in Scotland had sharply declined, especially when compared to the fervent pursuit of them when the play is set; George F. Black’s compilation lists over 50 in 1661 alone. However, as Alexandra Hill notes, while local elites and authorities in Edinburgh became more skeptical of such claims, popular 224

Notes and judicial allegations of witchcraft did not simply disappear before the last recorded prosecution in 1727. (There were inquiries in 1719, 1720, and 1724.) One of Bauldy’s allusions worth noting is to ‘Plotcock’ (l. 524). This demon is featured in Robert Lindsay of Pittscottie’s report on the history of the Battle of Flodden; he issues a summons at midnight from the market-cross of Edinburgh to a range of titled and untitled gentlemen, all of whom reportedly perished in the battle. It is unknown whether the name Plotcock was of wider circulation or Ramsay gained access to Lindsay’s manuscript. Linsday is cited by William Guthrie in A general history of Scotland (1767), 4:352n., as well as Shenstone 1758, 27-28. This catalogue of witchcraft is cited by later authors as evidence of the then-current state of belief. John Brand does so in Observations on Popular Antiquities (1777), 321-22, and Walter Scott in Letters on Demonology and Witchcraft (1830), 333. In the latter, Scott ties ‘Mause’s imaginary witchcraft’ to Ramsay ‘speak[ing] the sense of his many respectable patrons,’ including Sir John Clerk, who is also praised for refusing to participate in a trial in 1678. We might see these passages as precursors of the catalogue of eldritch horrors in Burns’ Tam O’Shanter. 695-702 (690-95). Songs Women Sing: By having Patie mention these songs, Ramsay situates GS within a long-standing and growing body of Scots Songs that Ramsay himself was influential in establishing. Although none of the six mentioned here is among the ‘sangs’ in GS 1725 or 1729, most of them are in TTM. More information on the tunes (sans lyrics) related to these songs, based on research by Brianna Robertson-Kirkland, will be found in the forthcoming editions of Poems, ed. Rhona Brown, and The Tea-Table Miscellany, ed., Murray Pittock in The Collected Works of Allan Ramsay. Again, that Ramsay imagines women singing them is in keeping with his dedication of TTM to ‘ilka lovely British lass.’ The Broom of Cowdon Knows: In TTM (1723), 25-27. As Murray Pittock relates in his note to the song in The Scots Musical Museum (1.69), ‘‘The Broom of Cowdenknows,’ appeared in the Stationer’s Register for 1632, being known as early as 1621 as ‘The Lovely Northern Lass’ (19),’ a copy of which dating 1624-80 from the Euing Ballads housed at Glasgow University Library, can be found online as part of the English Broadside Ballad Archive. Francis James Child included it among The English and Scottish Popular Ballads (Child 2014, 4:191-208). Milking of the Ews: I can find no song with this title, but Ramsay likely means ‘Ew-bughts Marion,’ which is in TTM (1723), 163-64 as one of the songs marked Q., an ‘old song, with additions.’ There is no prior record of it, though it does appear in Orpheus Caledonius (1733). Jenny Nettles: See TTM, vol. 2 (1726), 130. Maggy Lauder: Not in TTM, and there is no record of its having appeared before GS, though it is often attributed to Francis Sempill of Beltrees (c. 1616-85). It circulates widely after GS. Adam Fox (2020) notes, ‘Versions of the song were included in chapbook garlands of the eighteenth century, such as Maggie Lauder’[s] Garland (Newcastle?, 1765?),’ among other sources (173n.124). The Boatman: Appears in TTM (1723), 35-36, with lyrics by Ramsay, as ‘The 225

The Gentle Shepherd Bonny Scot. To the Tune of The Boat-Man.’ The Lass of Patie’s Mill: First published by Ramsay in Poems (1721), 63-64, and then in TTM (1723), 75-77. It also appears in Orpheus Caledonius (1725), among other collections. ACT III. SCENE 2. 905 (900). second sight: Normally attributed to Scots from the Highlands and Islands, second sight is the capacity to see into the future or across great spaces. It was the object of inquiry and commentary from the early eighteenth century, starting with Martin Martin’s widely-read Description of the Western Isles of Scotland (1703), 300-35. Ramsay probably also knew of Duncan Campbell, the deaf-mute Scottish seer who had set up shop in London and was mentioned in both the Tatler and Spectator and was the subject of a 1720 biography which saw a second edition the same year and was presented to George I during an audience with him. Ramsay makes use of Second Sight in a couple of other works. In 1720, he prophesizes, tongue-in-cheek, in ‘Wealth, or the Woody. A Poem on the South Sea,’ his satirical poem on the South Sea Bubble, that men ruined by their own pursuit of quick profit will hang themselves: ‘This I forsee, (and Time shall prove I’m right: / For he’s nae Poet wants the second Sight)’ (ll.93-94) (Ramsay 1720a, n.p.). After The Gentle Shepherd, he returns to the phenomenon in ‘An Epistle to Mr. John Gay, Author of The Shepherd’s Week, on hearing her Grace Dutchess of Queensberry, commend some of his poems’ (Ramsay 1728, 163-69). For more, see Feibel 2000 and Newman 2012. 917-32 (912-27). Sir William’s prophecy: The only part of the text in black-letter, aside from the references to Cromwell and the Rump, which increases the sense that it is rooted in a version of Scotland more archaic even than the 1660s. The lion refers to the Stuart monarchy, and the bears to the Parliamentary side and its Covenanting allies in Scotland. 1152-55 (1147-50). About ane Shakespear and a famous Ben...Hawthrenden and Sterling...Cowley: These lines refer to the English authors William Shakespeare and Ben Jonson, then to the Scottish authors William Drummond of Hawthornden (1585-1649) and his good friend, Wiliam Alexander, 1st Earl of Stirling (1577-1640), and, finally, the English poet Abraham Cowley (1618-67). On Ramsay’s adding these lines to the fair copy, see the discussion in the textual introduction. 1249 (1243). King Bruce’s Days: Refers to the reign of Robert I (1274-1329). Ramsay would have known of him from a variety of sources—possibly from a reprinting of Barbour’s 1370s famous poem, The Bruce, or Patrick Gordon’s Famous History, which was reprinted in Edinburgh in 1718. There is no evidence that marriages between high and low were more common at this time. 1422 (1403). red-heel’d shoon: A fashion originated by Louis XIV, who restricted them in an edict of 1673 to the nobility. By Ramsay’s time, they had become a sign of fashionable excess, as in Tatler Nos. 96 and 113 (1709), and had acquired their own status in Scotland. Stana Nenadic, commenting on this passage, notes that ‘Red high-heeled shoes signified that a young man had been on the Grand Tour of Europe, where, particularly in France, there 226

Notes was legislation to restrict their wearing to men of courtly status’ (Nenadic 2010, 147). 1647-64 (1628-45). More on witchcraft: See note, above, ll. 515-30, on witchcraft, but one passage deserves a bit more attention. When Sir William speaks of the Devil with ‘Candles in his Dowp,’ Ramsay is invoking what was apparently a belief actually held by some at the time. See this MS. note to ‘The Fair Assembly,’ kindly brought to my attention by Rhona Brown, the editor of the forthcoming Poems of Allan Ramsay, a volume in The Works of Allan Ramsay: ‘The Greatest Reason I heard once a merghite advance for his hatred at dancing was that the Deel & Witches shake a foot at their midnight meetings and that the said black gentleman leads the Ring with a Candle in a particular socket and wonderfull it is to think hou a candle shoud burn with its head doun in such a windy place, while he is cutting a caper with his Cloven Cloots—let the wisdom of this Reason answer for its veracity.’ 1734 (1715). Edinburgh Cross: As the online map associated with The Works of Allan Ramsay describes it, this landmark was at the ‘Head of Old Fishmarket Close 1617-1756. Symbol of civic authority of Lord Provost; where King’s birthday celebrated; and King proclaimed; Caddies assembled there; jougs [an iron collar used in punishments] and branks [an iron bridle for torturing witches] at the Cross. The whole area from the Luckenbooths to Cumming’s Close was called ‘The Cross’. Catholic material including ‘four crucifixes’ burnt at the Cross, 15 March 1704. In 1756 the [pillar supporting the] Town Cross was removed to Drum House.’ Edinburgh Cross was the site not only of governmental proclamations and punishments but also executions, including, during the era in which the play is set, the 1661 execution of the 1st Earl of Argyll, whose head was placed on the same spike as his great opponent, the Marquess of Montrose, executed in 1650. It continued to act as a place where state power was enacted into Ramsay’s time; for instance, in 1725, a petition from brewers outraged at the Malt Tax was ordered burned at the Cross. (See the letter from the publisher Andrew Millar to one of Ramsay’s antagonists, Robert Wodrow, http://www.millar-project.ed.ac.uk/manuscripts/html_output/7.html.) 1861 (1843). Eastward fifty miles I reach’d these plains: Fifty miles east of the Pentland Hills would put Peggy and Mause’s home in the neighborhood of East Kilbride.

1729 text Title Page Engraving: The engraving pictures a shepherd with his crook upsidedown—Ramsay, we assume—encountering Apollo with a lyre on Parnassus, divine rays haloing him, with a lyre; Pegasus is in the background. Apparently a dramatization of Ramsay’s ‘The Poet’s Wish: An Ode’ (Rock 2007, citing Brown 1984, 86), it pictures him in pastoral garb, at once ambitious but humble, similar to his position in the poem. ‘R. C. f.’ is an abbreviation for ‘Richard Cooper, fecit,’ indicating that the engraver was Richard Cooper, Senior (1701-64), who traveled from London to Edinburgh sometime between 227

The Gentle Shepherd 1725 and 1728. Cooper was well-known to the Ramsay family. He provided the engravings for Alexander Stuart’s Musick for Allan Ramsay's Collection of Scots Songs (1726?); he engraved a portrait, perhaps painted by Ramsay the Younger, for his father’s 1729 Poems; and in 1729 he becomes the Secretary in the charter for The Academy of St. Luke, the first Scottish academy for the fine arts, which Ramsay helped to found, with his son as one of the students. Dr Joe Rock, whose valuable research into Cooper’s life and works is aggregated on a webpage listed in the Bibliography, notes that two surviving sketches by Cooper apparently intended for a series of engravings based on GS, one of which is in private hands and another at the National Galleries of Scotland. That the idea for such a series occurred so early in the history of the text indicate the degree to which GS stimulated visual representations, which are discussed briefly in the textual introduction. Publishers: For Thomas Ruddiman (not Ruddimans), see note above; Walter (1687-1770) was his younger brother. Dedication: This dedicatory poem was added to the second edition; its author is the poet William Hamilton of Bangour (1704–54). Remembered now for ‘The Braes of Yarrow,’ which first appeared in TTM (1730), Hamilton was an important figure in the early decades of what would come to be called the Scottish Enlightenment. In addition to his work as a songwriter and poet, he was a member of the Rankenian Club and a trusted friend of David Hume; the first edition of his poems, published in 1748, was anonymously edited by Adam Smith. The dedication to the Countess of Eglinton is a conventional presentation of a fall from pastoral innocence. None of the poem is Scots. Interestingly, it makes little mention of the play’s Jacobite bent, focusing instead on its tender ‘Tale of Love.’ This is perhaps due to the gender of the dedicatee or to Ramsay’s political reticence, leaving Hamilton to gesture only vaguely at current social corruptions. It also lacks the complexity around gender and status we see in Ramsay’s adaptation of pastoral. After the Persons, ‘The proper Places of the Songs’. These additions are discussed in the textual and musical introductions, and in the examples in the back of the volume. 610-13. Doubting Witchcraft: These lines were added in 1726 to emphasize the unfairness and foolishness of accusations of witchcraft. 677-703. Revisions to Sang X: In revising the text to construct Sang X, Ramsay adds references to a couple of songs and removes the allusion to ‘Maggie Lawder’: Throw the Wood Laddie: See TTM (1723), 85-86, lyrics by Ramsay. The song is reprinted in The Lark (1742), The Charmer (1765), and many other songbooks. Tweed-side: See notes to [18], 522-34. See TTM (1723), 7-8. As Murray Pittock relates in his note to the song in The Scots Musical Museum (1.36), ‘The song is attributed to Robert Crawford of Achnames (c. 1690-1733/35) in the notes to SMM, following an anecdote from Tytler of Woodhouselee derived from Ramsay’ (9). The song appears in The Hive (1732-33), The Blackbird (1771), The Goldfinch (1782), and many other songbooks. 1253-1256. Revisions to Bauldy’s Song: These lines are what’s left of a 228

Notes longer song from Bauldy in 1725, cut in 1726; the excised portion corresponds to lines 1258-71 in the first edition. This is one of the most significant textual changes between 1725 and 1729. The reason why Ramsay cut these lines can only be conjectured. Perhaps he felt that dwelling on the suitor’s wealth was unseemly, but, then, this topic is discussed head on in the exchange between Roger and Jenny in ll. 1051-66, and elsewhere. Perhaps he wanted to reduce Bauldy’s time center stage. 1562-65. Peggy’s Hair: In another of the limited number of substantial revisions between 1725 and 1729, these lines, starting in 1726, are altered entirely from 1725, which read: ‘Were ilka Hair that appertains to me/Worth an Estate, they all belong to thee:/My Sheers are ready, take what you demand, / And ought what Love with Virtue may command.’ We might hypothesize that Ramsay revised these lines to avoid the prurient implications of the original, which can be read as a gentler and happier version of the notorious couplet from Alexander Pope’s The Rape of the Lock: ‘Oh, hadst thou, Cruel! been content to seize/Hairs less in Sight, or any Hairs but these!’ (Pope 1717, 147). Although, as Pauline Mackay has recently pointed out, Ramsay is no stranger to bawdry, and although GS celebrates the pleasures of the body, including sex, to a remarkable degree, these lines as initially written might have taken things too far for Ramsay’s aspiring shepherdess, especially given the criticism of his patron and friend Sir John Clerk of Penicuik that Peggy ‘tho' a Lady by birth has less politeness than Jennie the shepherdess’ (qtd. by I. G. Brown, 40). See also the textual introduction.

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The Gentle Shepherd

COLLATION for 1725 Organised by Act, Scene, and Line number, these notes show how the 1725 text varies from the two extant manuscripts, which contain four drafts of the play, as well as prior printed texts. The first manuscript to account for, the ‘originals’, at Edinburgh University Library MS Laing.II.212*, is subdivided into three ‘drafts’: • ff. 1-35 (IELM RaA 454; STS ‘Draft 3’) | noted in collation as ‘D3 EUL’. • ff. 38-48 (IELM RaA 455; STS ‘Draft 2’) | noted in collation as ‘D2 EUL’. • ff. 50-51 (IELM RaA 456; STS ‘Draft 1’) | noted in collation as ‘D1 EUL’. The second manuscript is the ‘fair copy’, held at the National Library of Scotland MS 15972. This will be noted in collation as ‘NLS’. The texts used for collation are noted at the beginning of every scene, and in the case of embedded songs at their appropriate line numbers, but a summary at the start may be useful: • D1 EUL consists only of II.1. • D2 EUL begins at II.1 and ends toward the conclusion of III.3 (line 1063). • D3 EUL begins at II.1 and runs through the end of the play except the concluding song (line 1983). • NLS, as befits a fair copy, includes the entirety of the play. There are four texts, listed below, published prior to 1725 that Ramsay incorporated in composing The Gentle Shepherd. The versions used for collation in this edition can be found in Poems, ed. Rhona Brown (Edinburgh University Press, forthcoming) and The Tea-Table Miscellany, ed. Murray Pittock (Edinburgh University Press, forthcoming), which collates them against any authoritative antecedents: 1) I.1 has its basis in Patie and Roger. The printing in the Poems of 1721, pp. 222-32, is the one used in the collation; some footnotes from 1721 are included in the notes to this edition. 2) I.2 derives from Jenny and Meggy: A Pastoral, Being a Sequel to Patie and Roger (1723). 3) The song at the end of II.4 (ll. 727-52), ‘By the delicious warmness of thy mouth’ first appeared as ‘Patie and Pegie: A Sang’ in Poems (1721), pp. 287-88. 4) ‘For the Love of Jean,’ known in this text as Bauldy’s song (IV.1.1258-61, 1264-75) in The Tea-Table Miscellany (1723), pp. 141-42.1

The song, as Murray Pittock notes in the forthcoming edition of TTM, appears to be a lightly edited revision of the Jocky and Jenny pieces common in England from the 1680s on. But given that Ramsay had some hand in composing the text and its presence in TTM, it qualifies as a text for collation. 1

230

Notes: Collation for 1725 These collations follow the style found in The Oxford Burns. Where possible, versions from different drafts have been combined to avoid repetition. In general, if any line in any edition departs from the copytext in more than 2 substantives or 4 accidentals, or a combination of the two in excess of 4, the entire line of the variant and the copytext are reprinted. When there are multiple examples of variants of the same word or the line, variants are listed in chronological order, oldest to newest. Individual words and phrases are collated first, followed by the entire line. For readability, adjacent words are grouped together as long as doing so would not obscure other changes. The italicizing of personal names is noted. D2 and D3 EUL rarely and NLS frequently draw lines over names; these are taken to indicate italics. Ramsay occasionally draws two lines above personal names; as per the copytext they are treated as names beginning with a full capital and followed by small capitals. In the copytext, Ramsay places periods after the names of his speakers, but not in the drafts. This is not noted. In the copytext, Ramsay names his speakers after the prologue, prior to Act IV. Differences are noted. End punctuation in the MSS. is very rare and is not noted except when it does appear. Correspondingly, it is not reproduced from the copytext except: a) to indicate a variation when used in the MSS. or b) when the entire line is reprinted. Because this absence is so common, it is not counted toward the threshold of accidentals to reprint the line. Differences in typography and capitalization are noted as well as spelling, with the following exceptions: a) The small caps typically used in the first word of every speech, since Ramsay never notes this in manuscript, though they are reproduced from the copytext when the first letter is not capitalized in a draft or there is some other departure in the first word or the entire line is reprinted; b) Italics in the prologues and the songs in II.iii., II.iv, and V.iii which are reproduced but do not count toward the threshold of accidentals; c) Personal names in the prologues; they are in capitals since the whole is already in italics. d) In lines 917-32, the Gothic font in the copytext are reproduced but do not count as accidentals. Proper names that do not indicate a different typography are noted; rather than using italics, Ramsay here puts the names in Roman type or in the case of ‘Lyon’ in all caps. It is often difficult to distinguish when Ramsay is using small and capital letters. A conservative approach towards capitals is taken here, with capitals 231

The Gentle Shepherd used only when unambiguous. Though Ramsay’s begins his lines in his MSS. with a capital letter only infrequently, it occurs often enough to be noted and counted. Dashes are inconsistent in their appearance in the 1725 copytext. They are noted only whether present or absent. Their appearance—long or short, continuous or multiple dashes—is registered in the notes, but differences of this sort do not count as accidentals. Where a line ends in the middle of the page, it is counted separately from the line that finishes it metrically. ‘Redacted’ and ‘cancelled’ are used interchangeably. Title Page. ‘Church’ is misspelled as ‘Courch’ in the copy used for the copytext (British Library 162 d.59), but corrected in the copies in the Houghton Library, Harvard University (*EC7.R1487G 1725); the Huntington Library (124143); and the National Library of Scotland (F.7.f.22) Dedication. Collated with NLS MS. Title. Honourable [not ‘Honourable,’]; Countess [not ‘Countes’]; Eglintoun [not ‘Eglinton,’] 1. Madam [not ‘Madam,’] 2. Approbation [not ‘Approbation,’]; Best [not ‘best,’]; Poets [not ‘Poets’] 3. Chearfullness [not ‘Chearfulness’]; but Conscious [not ‘But conscious’]; inability [not ‘Inability’] 4. Spleen [not ‘Spleen,’]; nature [not ‘Nature’] 5. Some [not ‘some’] 6. Pastoral [not ‘Pastoral’]; Ladyship’s [not ‘Ladyship’s’]; Protection. If [not ‘Protection, if’] 7. Patroness Says [not ‘Patroness says’]; Shepherds [not ‘Shepherds’]; flowers [not ‘Flowers’] 8. Beautifie [not ‘beautify’]; Ruraal Wild; [not ‘rural Wild,’] 9. censure [not ‘Censure’]; examination [not ‘Examination’] [After Line 9, NLS has additionally: ‘or set up for criticks to make the Ignorant belive they have Learning & taste’] 10. Ladyships opinion [not ‘Ladyship’s Opinion’] 11. Countes of Eglintoun whose Penetration [not ‘Countess of Eglinton, whose Penetration’] 12. witt & Sound Judgment Shine with an uncommon Lustre [not ‘Wit, and sound Judgment, shine with an uncommon Lustre,’] 13. charms of goodness [not ‘Charms of Goodness’] 14. Ladyship [not ‘Ladyship’] 15. Scope [not ‘Liberty’]; delineat [not ‘delineate’]; Ladyships [not ‘Ladyship’s’] 16. hazard [not ‘Hazard’]; flatterer, [not ‘Flatterer;’]; flattery [not ‘Flattery’]; lies [not ‘lyes’] 232

Notes: Collation for 1725 17. merit [not ‘Merit,’]; praises [not ‘Praises’] 18. Ladyships [not ‘Ladyship’s’]; Aliance [not ‘Alliance,’]; field’s [not ‘Field’s’] 19. Good patriots [not ‘good Patriots,’] 20. Kennedy and Montgomery [not ‘KENNEDY and MONTGOMERY’]; Harauld [not ‘Herauld’]; Historian, `tis [not ‘Historian.`Tis’] 21. merit [not ‘Merit’]; ceolestial sweetness [not ‘heavenly Sweetness’]; tunefull Lays, here [not ‘tuneful Lays. Here’] 22. Lesbia [not ‘Lesbia’]; excepted [not ‘excepted,’]; tongues set at Liberty the slave that their their [not ‘Tongues give Liberty to the Slaves, that their’] 23. Captives; [not ‘Captives,’]; flattered [not ‘flatter’d;’]; Ladyships [not ‘Ladyship’] 24. respect, [not ‘profoundest Respect;’]; possessed [not ‘possest’] 25. degree [not ‘Degree,’]; never-fading beautys [not ‘never fading Beauties’]; piety [not ‘Piety,’] 26. Ladyships Mind Command [not ‘Ladyship’s Mind, command’] 27. crys one [not ‘cries a Sour-plum’]; sence [not ‘Sense’] 28. need [not ‘occasion’]; use [not ‘Use’]; Eyes [not ‘Eyes,’] 29. influence [not ‘Influence’]; liberty [not ‘Liberty’]; poets privilege [not ‘Poets Privilege,’]; to speak what [not ‘To speak what’] 30. what every body thinks [not ‘what every Body thinks’]; ground [not ‘Strength’]; Reflection [not ‘Reflection,’]; Idalian [not ‘Idalian’] 31. duration as life: but the Bard [not ‘Duration as Life: but the Bard,’]; imortality [not ‘Immortality’] 32. Laudable pleasure [not ‘Praise-worthy Pleasure,’]; comunicating [not ‘communicating’]; posterity the fame [not ‘Posterity the Fame’] 33. Characters [not ‘Characters.’]; Sentence with a hand [not ‘Sentence, with a Hand’]; & fear [not ‘and Fear’] 34. But [not ‘but’]; Ladyship [not ‘Ladyship’]; atempt [not ‘Attempt,’] 35. doubts [not ‘Doubts’]; vanish [not ‘evanish’]; morning vapour [not ‘Morning Vapour’] classd [not ‘class’d’]; Tasso & [not ‘Tasso and’] 36. Guarini [not ‘Guarini,’]; Ovid [not ‘Ovid,’] [Lines 37-38 are in italics in the copytext] 37. poets to divine [not ‘Poet’s to divine,’] 38. one [not ‘One’]; mine [not ‘mine.’] 39. Madam [not ‘MADAM,’] [Lines 40-42 in italics in the copytext] 40. Ladyship’s [not ‘Ladyships’] 41. most humble [not ‘Most obedient,’] 42. and ever devoted servant [not ‘And most devoted Servant.’] 43. Edr aprile [not ‘Edinburgh, June’] 44. 1725 [not ‘1725.’]; Allan Ramsay [not ‘Allan Ramsay.’] Act I. Scene I. In this scene the 1725 copytext is collated with the NLS MS and 'Patie and Roger' from Poems (1721). Title. Act I Scene I (NLS) [not 'Act I. Scene I.'] [no title to prologue] (Poems), Prologue to ye Scene (NLS) [not 'PROLOGUE to the SCENE.'] 233

The Gentle Shepherd 1. BENEATH (Poems) [not ‘Beneath’]; south side (NLS) [not ‘South-side’]; craigy (NLS) [not ‘Craigy’]; Bield (Poems), beild (NLS) [not ‘Beild’] 2. where (NLS) [not ‘Where’]; did the (NLS) [not ‘the’]; yeild (NLS) [not ‘yield’]; Where a clear Spring did healsome Water yield, (Poems) [not ‘Where Christal Springs the halesom Waters yield,’] 3. youthfou (Poems), youthfull (NLS) [not ‘youthful’]; lay (Poems), Lay? Ly (NLS) [not ‘ly’] 4. tentening (NLS) [not ‘Tenting’]; flocks (NLS) [not ‘Flocks’]; bonny (Poems) [not ‘bony’]; May: (Poems) [not ‘May.’] 5. Roger (NLS) [not ‘ROGER’]; Poor Roger gran’d till hollow Echoes rang, (Poems) [not ‘Poor ROGER granes till hollow Echoes ring;’] 6. While merry Patie humm’d himsel a Sang: (Poems), but Blyther Patie likes to Laugh & Sing (NLS) [not ‘But blyther PATIE likes to laugh and sing.’] [Speakers: Patie and Roger. (Poems), Patie & Roger (NLS) [not ‘PATIE and ROGER.’]] [Lines 7-14 in Poems are are spoken by Patie, but the speaker is indicated by (‘Quoth he,’) rather than being set off from the text. The lines follow the same order, save lines 7 and 8, which are inverted, i.e. Line 7 of The Gentle Shepherd is collated against Line 8 of Poems.] 7. Quoth he, How does this Sunshine chear my Blood? (Poems), This [redacted] Sŭny morning Roger chears my Blood (NLS) [not ‘This sunny Morning, Roger, chears my Blood,’] 8. and (NLS) [not ‘And’]; Jovial (NLS) [not ‘jovial’]; Then turning to his Friend in blythsome Mood (Poems) [not ‘And puts all Nature in a jovial Mood.’] 9. how (NLS) [not ‘How’]; heartsome (Poems) [not ‘hartsome’]; se (NLS) [not ‘see’]; Plants? (Poems) [not ‘Plants’] 10. to (NLS) [not ‘To’]; Chirm (NLS) [not ‘chirm’]; Morning (Poems) [not ‘pleasing’] 11. tosie (Poems) [not ‘halesome’]; is’t (Poems) [not `tis’]; cauller (Poems) [not ‘cawler’]; how halesome it’s to snŭff the Cawler air (NLS) [not ‘How haleseome `tis to snuff the cawler Air,’] 12. and (NLS) [not ‘And’]; a’ (Poems) [not ‘all’]; sweets (NLS) [not ‘Sweets’]; Care? (Poems), care (NLS) [not ‘Care.’] 13. what ails the Roger then? what gars the [redacted] Grane (NLS) [not ‘What ails thee, Roger, then? What gars thee grane?’] 14. tell (NLS) [not ‘Tell’]; cause (NLS) [not ‘Cause’]; pain (NLS) [not ‘Pain.’] 15. patie (NLS) [not ‘Patie’]; fate (NLS) [not ‘Fate’] 16. dire (Poems), Sad (NLS) [not ‘Sad’]; & (NLS) [not ‘and’]; great; (Poems) [not ‘great.’] 17. Tempests (Poems) [not ‘Tempest’]; Jaw (NLS) [not ‘jaw’]; flood (NLS) [not ‘Flood,’] 18. & (NLS) [not ‘and’]; blood (NLS) [not ‘Blood’] 19. but (NLS) [not ‘But’]; I (Poems, NLS) [not ‘I,’] 20. maun (NLS) [not ‘Maun’]; relief (NLS) [not ‘Relief’] 21. Flower (Poems) [not ‘Flower,’]; quite (Poems) [not ‘quit’]; The Bees shall Loath the flower & quit the Hive (NLS) [not ‘The Bees shall loath the Flower, and quit the Hive,’] 234

Notes: Collation for 1725 22. the (NLS) [not ‘The’]; boggy (Poems) [not ‘Boggie’]; ground (NLS) [not ‘Ground’] 23. scornfou (Poems) [not ‘scornful’]; warldly (Poems) [not ‘Warldly’]; e’er Scornfull Queans or loss of warlds gear (NLS) [not ‘E’er scornful Queans, or Loss of Warldly Gear,’] 24. shall (NLS) [not ‘Shall’]; rest (NLS) [not ‘Rest,’] 25. say, (Poems), say (NLS) [not ‘say;’] its (NLS) [not ‘it’s’]; nae (Poems) [not ‘no’] 26. by (NLS) [not ‘By’]; wha’s (Poems) [not ‘whase’]; o’ (Poems) [not ‘of’]; Tune: (Poems) [not ‘Tune.’] 27. Voice (Poems) [not ‘Voice,’] You have sae Saft a voice & slid a Tongue (NLS) [not ‘You have sae saft a Voice, and slid a Tongue,’] 28. auld (Poems) [not ‘Auld’]; young (Poems) [not ‘Young’]; you are the darling of baith auld & young (NLS) [not ‘You are the Darling of baith Auld and Young.’] 29. if (NLS) [not ‘If’]; etle (NLS) [not ‘ettle’]; Sang, (Poems), sang (NLS) [not ‘Sang’] 30. they (NLS) [not ‘They’]; Lugs (NLS) [not ‘Lugs,’]; syn (Poems) [not ‘syne’]; Cleek (NLS) [not ‘cleek;’] 31. and (NLS) [not ‘And’]; Jeer (NLS) [not ‘jeer’]; Bŭght (NLS) [not ‘Bught’] 32. while (NLS) [not ‘While’]; Confusd (NLS) [not ‘confus’d’]; thought (NLS) [not ‘Thought’] 33. tall (NLS) [not ‘tall,’]; shap’d (Poems) [not ‘built’] 34. nor (NLS) [not ‘Nor’]; unlikely (Poems) [not ‘unlikly’]; Lasse’s (Poems, NLS) [not ‘Lass’s’]; Eye: (Poems) [not ‘Eye.’] 35. for (NLS) [not ‘For’]; sheep (NLS) [not ‘Sheep’]; have (Poems, NLS) [not ‘have,’]; ten, (Poems), ten (NLS) [not ‘Ten,’] 36. and (NLS) [not ‘And’]; should (NLS) [not ‘should,’]; might (Poems) [not ‘may’]; think (NLS) [not ‘think,’]; farrer (Poems, NLS) [not ‘farer’] 37. ablins (NLS) [not ‘ablins,’]; Nibour (NLS) [not ‘Nibour,’]; heart (NLS) [not ‘Heart’] 38. Nor (Poems), and (NLS) [not ‘And’]; part: (Poems) [not ‘part.’] 39. if (NLS) [not ‘If’]; true (NLS) [not ‘true,’]; Gear? (Poems), gear (NLS) [not ‘Gear:’] 40. And (Poems) [not ‘A’]; mind (Poems) [not ‘Mind’]; a mind that’s Scrimpit never wants some care (NLS) [not ‘A Mind that’s scripmit never wants Care.’] 41. Nine (Poems) [not ‘nine’]; smoor’d, (Poems), smoord (NLS) [not ‘smoor’d;’] 42. three (NLS) [not ‘Three’]; were (NLS) [not ‘were,’]; endur’d, (Poems) [not ‘endur’d:’] 43. last (Poems) [not ‘last,’]; in winter Last my Cares wer very sma (NLS) [not ‘In Winter last, my Cares were very sma,’] 44. Tho (Poems), tho (NLS) [not ‘Tho’’]; Wedders (Poems) [not ‘Wathers’]; perishd (NLS) [not ‘perish’d’]; Sna. (Poems) [not ‘Snaw.’] 45. stockd (NLS) [not ‘stock’d’] 46. Loss (NLS) [not ‘loss,’]; & (NLS) [not ‘and’]; repine: (Poems) [not ‘repine.’] 235

The Gentle Shepherd 47. he (NLS) [not ‘He’]; wha (Poems) [not ‘that’]; enough (Poems) [not ‘enough,’]; sleep, (Poems), sleep (NLS) [not ‘sleep:’] 48. the (NLS) [not ‘The’]; o’ercome (NLS) [not ‘O’ercome’]; fowk (NLS) [not ‘Fowk’]; keep (NLS) [not ‘keep.’] 49. Thee (NLS) [not ‘thee’] 50. that (NLS) [not ‘That’]; may’st (Poems) [not ‘mayst’]; dote (Poems) [not ‘doat’]; pangs (NLS) [not ‘Pangs’]; frequent (Poems) [not ‘many a’]; Loss; (Poems) [not ‘Loss.’] 51. O’ (NLS) [not ‘O’]; may’st (Poems) [not ‘mayst’]; dote (Poems) [not ‘doat’]; Some (NLS) [not ‘some’]; wench (NLS) [not ‘Wench’] 52. Wha (Poems), that (NLS) [not ‘That’]; Lowan (NLS) [not ‘lowan’]; drouth (NLS) [not ‘Drouth’]; Quench (NLS) [not ‘quench’] 53. Till, (Poems), ‘till (NLS) [not ‘`Till’]; birs’d (Poems), Briss’d (NLS) [not ‘bris’d’]; burden (NLS) [not ‘Burden,’]; dool (NLS) [not ‘Dool’] 54. and (NLS) [not ‘And’]; fool (NLS) [not ‘Fool’] 55. Lambs (NLS) [not ‘Lambs,’]; sald (Poems) [not ‘sauld’]; Cloot (Poems) [not ‘Clute’] 56. at (NLS) [not ‘At’]; West-Port (Poems), west port (NLS) [not ‘West-port,’]; flute (NLS) [not ‘Flute’] 57. of (NLS) [not ‘Of’]; Plumb-tree (Poems), plumb-tree (NLS) [not ‘Plumtree’]; made (NLS) [not ‘made,’]; round; (Poems) [not ‘round,’] 58. a (NLS) [not ‘A’]); Whistle (Poems), whistle (NLS) [not ‘Whistle,’]; wi’ (Poems) [not ‘with’]; Sound; (Poems), sound (NLS) [not ‘Sound:’] 59. wi’t (NLS) [not ‘wi’t,’]; ne’er (Poems) [not ‘neer’]; dool (NLS) [not ‘Dool’] 60. than (NLS) [not ‘Than’]; a (Poems) [not ‘all’]; Gear, (Poems), Cash (NLS) [not ‘Cash,’]; fool [not ‘Fool’] 61. patie (NLS) [not ‘Patie,’]; na (Poems) [not ‘na!’]; Churlish (NLS) [not ‘churlish’] 62. ither (Poems) [not ‘other’]; things (NLS) [not ‘Things’]; ly (Poems) [not ‘lyes’]; Heavyer (NLS) [not ‘heavier’]; Breast; (Poems) [not ‘Breast:’] 63. Dreary (Poems) [not ‘dreary’]; dream (NLS) [not ‘Dream’]; Hinder (NLS) [not ‘hinder’]; Night, (Poems), night (NLS) [not ‘Night’] 64. that (NLS) [not ‘That’]; flesh (NLS) [not ‘Flesh’]; wi’ (Poems) [not ‘with’]; fright (NLS) [not ‘Fright’] 65. your (Poems) [not ‘a,’]; Friend (Poems) [not ‘Friend,’]; Pretence, (Poems) [not ‘Pretence’]; Now to a friend how Silly’s this pretence (NLS) [not ‘Now to a Friend, how silly’s this Pretence.’] 66. to (NLS) [not ‘To’]; & (NLS) [not ‘and’]; secrets (NLS) [not ‘Secrets’]; kens: (Poems) [not ‘kens.’] 67. daft (NLS) [not ‘Daft;’]; dreams (NLS) [not ‘Dreams,’] 68. well seen (Poems) [not ‘well-seen’]; Your well seen Love & dorty Jennys pride (NLS) [not ‘Your well-seen Love, and dorty Jenny’s Pride.’] 69. take (NLS) [not ‘Take’]; courage (NLS) [not ‘courage,’]; Roger (NLS) [not ‘Roger,’] 70. and (NLS) [not ‘And’]; Safely (NLS) [not ‘safely’] 71. Patie (NLS) [not ‘Patie’]; trŭe (NLS) [not ‘true’]; O Patie, ye have ghest indeed o’er true, (Poems) [not ‘Indeed now, Patie, ye have guest o’er true,’] 72. and (NLS) [not ‘And’]; ther (NLS) [not ‘there’]; naething (Poems) [not 236

Notes: Collation for 1725 ‘naithing’]; you; (Poems) [not ‘you.’] 73. me (NLS) [not ‘Me’]; Jenny (NLS) [not ‘Jennie’]; asquint, (Poems), asquint (NLS) [not ‘a-squint’] 74. to (NLS) [not ‘To’]; mint; (Poems) [not ‘mint.’] 75. in (NLS) [not ‘In’]; place (NLS) [not ‘Place’]; jeers (Poems, NLS) [not ‘jears’]; & (NLS) [not ‘and’] 76. and (NLS) [not ‘And’]; bumbas’d (Poems, NLS) [not ‘bombaz’d’]; an (NLS) [not ‘and’]; unco (Poems) [not ‘unko’]; blate, (Poems) [not ‘blate:’] 77. but (NLS) [not ‘But’]; yesterday (NLS) [not ‘Yesterday’] 78. she (NLS) [not ‘She’]; shelly-coated (NLS) [not ‘Shelly-coated’]; Shellycoat or Kow; (Poems) [not ‘Shelly-coated Kow.’] 79. she (NLS) [not ‘She’]; loo’s (Poems), Loo’s (NLS) [not ‘loes,’] 80. but (NLS) [not ‘But’]; me (NLS) [not ‘me,’]; & (NLS) [not ‘and’]; says (Poems, NLS) [not ‘says,’]; o’ (Poems) [not ‘of’] 81. loo’s (Poems) [not ‘loes’]; nae (Poems) [not ‘not’]; her (Poems) [not ‘her,’]; But Bauldy Loo’s not her right well I Wat (NLS) [not ‘But Bauldy loes not her, right well I wat,’] 82. he (NLS) [not ‘He’]; Neps; (Poems), Neps, (NLS) [not ‘Neps,’]; Sae (Poems) [not ‘sae,’]; Stand (NLS) [not ‘stand’]; that (NLS) [not ‘that.’] 83. cou’d na (Poems), coudna (NLS) [not ‘cou’dna’]; Loo (NLS) [not ‘loo’]; her, (Poems), her (NLS) [not ‘her:’]; but (Poems, NLS) [not ‘But’] 84. dote (Poems), doat (NLS) [not ‘doat,’]; Proud (NLS) [not ‘proud’]; disdain (NLS) [not ‘Disdain’] 85. my (NLS) [not ‘My’]; Bauty (Poems) [not ‘Bawty’]; lyke (NLS) [not ‘like’] 86. till (NLS) [not ‘Till’]; youl’d (Poems), yowl’d (NLS) [not ‘yowld’]; fair, (Poems) [not ‘fair’]; strak (NLS) [not ‘strake’]; Tyke: (Poems) [not ‘Tyke.’] 87. if (NLS) [not ‘If’]; fill’d (Poems) [not ‘filld’] 88. she (NLS) [not ‘She’]; ha’e (Poems) [not ‘have’]; kindness (NLS) [not ‘Kindness’] 89. when (NLS) [not ‘When’]; tŭne (NLS) [not ‘tune’]; stock (NLS) [not ‘Stock’]; & (NLS) [not ‘and’]; Horn, (Poems), horn (NLS) [not ‘Horn’] 90. with (NLS) [not ‘With’]; face (NLS) [not ‘Face’]; cauldrife (Poems), Cauldrife (NLS) [not ‘caulrife’]; Scorn: (Poems) [not ‘Scorn.’] 91. Last Time I play’d, ye never saw sic Spite, (Poems), last I playd ye never saw sic spite (NLS) [not ‘Last Night I play’d ye never heard sic Spite;’] 92. Oer Bogie (NLS) [not ‘O’er Bogie’]; spring (NLS) [not ‘Spring’]; & (NLS) [not ‘and’]; Delyte, (Poems), delyte (NLS) [not ‘Delyte:’] 93. yet (NLS) [not ‘Yet’]; Nibour, (Poems), Cusine (NLS) [not ‘Cusin’]; speer’d (Poems), speer’d (NLS) [not ‘spear’d,’] 94. Gin (Poems) [not ‘Gif’]; cou’d (Poems) [not ‘could’]; gif she coud tell what tune I playd, & sneerd (NLS) [not ‘Gif she could tell what Tune I play’d, and sneer’d.’] 95. flocks (NLS) [not ‘Flocks’]; like (NLS) [not ‘like,’]; care; (Poems) [not ‘Care,’] 96. Reed; (NLS) [not ‘Reed,’]; & (NLS) [not ‘and’] 97. E’en (NLS) [not ‘E’en’]; Roger (NLS) [not ‘Roger’]; Misluck (Poems), misluck (NLS) [not ‘Misluke’] 98. sic (Poems, NLS) [not ‘sick’]; thrawn-gabet (Poems), thrawin-gabet 237

The Gentle Shepherd (NLS) [not ‘Thrawin-gabet’]; Chuck; (Poems), Chuck (NLS) [not ‘Chuck?’] 99. Younder’s (NLS) [not ‘Yonder’s’]; Craig (NLS) [not ‘Craig,’]; a’ (Poems) [not ‘all’] 100. gae (NLS) [not ‘Gae’]; ye’r (Poems) [not ‘your’]; an (NLS) [not ‘and’]; Lovers (NLS) [not ‘Lover’s’] 101. need na (Poems) [not ‘needna’]; make (Poems) [not ‘mak’]; haste speed (NLS) [not ‘Speed’]; blood (NLS) [not ‘Blood’] 102. warrand (Poems, NLS) [not ‘warrant’]; Soon (NLS) [not ‘soon’]; will (Poems), will (NLS) [not ‘Will’] 103. Leave (Poems) [not ‘leave’]; aff (Poems) [not ‘off’]; whindging (Poems) [not ‘whinging’]; Way, (Poems) [not ‘Way.’]; Daft Gowk! leave aff that Silly whindging way (NLS) [not ‘Daft Gowk! Leave off that silly whinging Way.’] 104. seem careles (NLS) [not ‘Seem careless’]; hand (NLS) [not ‘Hand’] [Lines 105-6 not in Poems] 105. hear (NLS) [not ‘Hear’]; servd (NLS) [not ‘serv’d’]; loo (NLS) [not ‘love’]; weel (NLS) [not ‘well’] 106. as ye do Jenny, and with heart as Leal (NLS) [not ‘As ye do Jenny, and with Heart as leel.’] 107. unco (Poems) [not ‘gay and’]; airly (Poems) [not ‘early’] 108. upon (NLS) [not ‘Upon’]; dike (NLS) [not ‘Dike’]; leand (NLS) [not ‘lean’d’]; Upon a Dyke I lean’d and glowr’d about; (Poems) [not ‘Upon a Dike I lean’d, glowring about’] 109. Lee, (Poems), Lee (NLS) [not ‘Lee;’] 110. Maggie (Poems), peggy (NLS) [not ‘Peggy’]; sawna (NLS) [not ‘saw na’]; 111. for (NLS) [not ‘For’]; sun (NLS) [not ‘Sun’]; mist (NLS) [not ‘Mist’] 112. and (NLS) [not ‘And’]; closs (Poems) [not ‘close’] 113. her (NLS) [not ‘Her’]; wer (NLS) [not ‘were’]; & (NLS) [not ‘and’]; sweet (NLS) [not ‘sweetly’]; 114. her (NLS) [not ‘Her’]; Legs, (Poems) [not ‘Legs’]; which (Poems) [not ‘that’]; whiter (Poems) [not ‘whyter’]; wer (NLS) [not ‘were’]; snaw (NLS) [not ‘Snaw.’] 115. Cokernony (Poems) [not ‘Cockernony’] 116. her (NLS) [not ‘Her’]; haffet (Poems, NLS) [not ‘Haffet’]; locks (NLS) [not ‘Locks’]; hung (Poems) [not ‘hang’]; Cheek: (Poems), cheek (NLS) [not ‘Cheek;’] 117. her (NLS) [not ‘Her’]; cheek (NLS) [not ‘Cheek’]; ruddy! (Poems), rudy (NLS) [not ‘rudy,’]; & (NLS) [not ‘and’]; clear! (Poems) [not ‘clear;’] 118. and (NLS) [not ‘And’]; hinny (Poems, NLS) [not ‘Hinny’]; pear (NLS) [not ‘Pear.’] 119. neat (NLS) [not ‘Neat’]; was (Poems, NLS) [not ‘was,’]; Wastecoat (Poems), wastecoat (NLS) [not ‘Waste-coat’] 120. as (NLS) [not ‘As’]; cam (NLS) [not ‘came’]; Skiffing (NLS) [not ‘skiffing’]; oer (NLS) [not ‘o’er’]; dewy (Poems, NLS) [not ‘Dewy’]; Green: (Poems) [not ‘Green.’] 121. Blythsome (Poems), blythsome (NLS) [not ‘Blythsome,’]; cryd (NLS) [not ‘cry’d,’]; My (Poems) [not ‘my’]; bonny (Poems) [not ‘bony’] 122. fairly (Poems) [not ‘ferly’]; ye’er (Poems) [not ‘ye’re’]; a steer: (Poems), a 238

Notes: Collation for 1725 steer (NLS) [not ‘asteer:’] 123. But (NLS) [not ‘but’]; now I (Poems) [not ‘I can’]; ye’er (Poems, NLS) [not ‘ye’re’]; dew (NLS) [not ‘Dew’] 124. & [redacted] said what’s (NLS), and said what’s (Poems) [not ‘and said, What’s’] 125. Meg Dorts, (Poems) [not ‘Meg-Dorts,’]; like (Poems) [not ‘lyke’]; then fare ye well Meg Meg-dorts & e’ens ye lyke (NLS) [not ‘Then fare ye well, Meg-Dorts, and e’ens ye lyke,’] 126. I carles cryd & lap in oer the dyke (NLS) [not ‘I careless cry’d, and lap in o’er the Dyke.’] 127. saw, (Poems) [not ‘saw’]; crack (Poems, NLS) [not ‘Crack,’] 128. she (NLS) [not ‘she’]; theivles (NLS) [not ‘thieveless’]; errand (NLS) [not ‘Errand’]; With a right thieveles Errand she came back; (Poems) [not ‘She came with a right thievless Errand back;’] 129. Miscau’d (Poems), mis Miscawd (NLS) [not ‘Miscaw’d’]; first (NLS) [not ‘first,’]; bade (Poems) [not ‘bad’] 130. to (NLS) [not ‘To’]; weer (Poems, NLS) [not ‘wear’]; were (Poems), wer strayd (NLS) [not ‘stray’d’] 131. leugh & (NLS) [not ‘leugh, and’]; Sae (NLS) [not ‘sae’]; she, (Poems, NLS) [not ‘she;’]; wi’ (Poems) [not ‘with’]; Haste (Poems) [not ‘Hast,’] 132. claspd (NLS) [not ‘clasp’d’]; arms (NLS) [not ‘Arms’]; and Waste; (Poems), & Waist (NLS) [not ‘and Waist,’] 133. about (NLS) [not ‘About’]; Waste, (Poems) [not ‘Waist’]; fouth (Poems, NLS) [not ‘Fouth’] 134. of (NLS) [not ‘Of’]; kisses (NLS) [not ‘Kisses’]; glowan Mouth (Poems), glowing mouth (NLS) [not ‘glowing Mouth.’] 135. while (NLS) [not ‘While’]; & fast (NLS) [not ‘and fast’] 136. my (NLS) [not ‘My’]; saul (NLS) [not ‘Saul’]; came (Poems, NLS) [not ‘cam’]; louping (Poems) [not ‘lowping’]; Lips (NLS) [not ‘Lips.’] 137. me (NLS) [not ‘me,’]; Sair, sair she flete wi’ me `tween ilka Smak (Poems) [not ‘Sair sair she flet wi’ me, `tween ilka Smack:’] 138. but (NLS) [not ‘But’]; mean’d na (Poems), meandna (NLS) [not ‘meant nae’]; spak. (Poems) [not ‘spake.’] 139. Roger (NLS) [not ‘Roger,’]; gloom (NLS) [not ‘Gloom’] 140 do (NLS) [not ‘Do’]; to & [not ‘too, and’]; Thumb: (Poems) [not ‘Thumb.’]; do ye sae to & never fash your Thumb (NLS) [not ‘Do ye sae too, and never fash your Thumb.’] 141. seem (NLS) [not ‘Seem’]; her soon (NLS) [not ‘her, soon’]; Mood; (Poems), mood (NLS) [not ‘Mood:’] 142. gae (NLS) [not ‘Gae’]; wo (NLS) [not ‘woo’]; annither (NLS) [not ‘anither,’]; she’ll (Poems, NLS) [not ‘sh’ll’: misprint]; wood (NLS) [not ‘wood.’] 143. faw (Poems) [not ‘fa’]; heart (NLS) [not ‘Heart,’] 144. Ye’r (Poems) [not ‘Ye’re’]; kedgie, (Poems) [not ‘cadgy,’]; ha’e (Poems) [not ‘have’]; sick (Poems) [not ‘sic’]; ye’re au Sae Cadgie and have sic ane art (NLS) [not ‘Ye’re ay sae cadgy, and have sic an Art’] 145. to (NLS) [not ‘To’]; ane:— (Poems, NLS) [not ‘ane:’]; for (NLS) [not ‘For’]; Leek (Poems), leek (NLS) [not ‘Leek,’] 239

The Gentle Shepherd 146. ye’ve (NLS) [not ‘Ye’ve’]; cherisht (Poems, NLS) [not ‘cherish’t’]; Since (NLS) [not ‘since’]; speak: (Poems), Speak (NLS) [not ‘speak.’] 147. sae (NLS) [not ‘Sae’]; Pains (Poems), pains (NLS) [not ‘Pains,’]; make (Poems) [not ‘mak’]; you (Poems) [not ‘ye’]; propine (NLS) [not ‘Propine’] 148. my (NLS) [not ‘My’]; mother (NLS) [not ‘Mother,’]; Saúl (NLS) [not ‘Saul’]; My Mither, honest Wife, has made it fine; (Poems) [not ‘My Mother, rest her Saul, she made it fine;’] 149. a (NLS) [not ‘A’]; plaid (NLS) [not ‘Plaid,’]; hauslock (Poems), hawselock (NLS) [not ‘Hawslock’]; woo (NLS) [not ‘Woo’] 150. and green (Poems), & green (NLS) [not ‘and Green’]; setts (NLS) [not ‘Sets,’]; Blue, (Poems), blew (NLS) [not ‘Blew:’] 151. With Spraings like Gou’d and Siller, cross’d wi’ black, (Poems), with spraings like Gowd & Siller crossd with black (NLS) [not ‘With Spraings like Gowd, and siller cross’d with Black;’] 152. back (NLS) [not ‘Back’] 153. well (NLS) [not ‘Well’]; o’t (NLS) [not ‘o’t,’]; sae (Poems, NLS) [not ‘sa’] 154. Redd (Poems) [not ‘Red’]; ravel’d (Poems) [not ‘revel’d’]; redd up my Revel’d doubt & cleard my mind (NLS) [not ‘Red up my revel’d Doubts, and clear’d my Mind.’] 155. hadd (Poems) [not ‘hald’]; there, (Poems), there (NLS) [not ‘there;’] 156. a present (NLS) [not ‘A Present’]; bra (Poems) [not ‘braw’]; plaid (NLS) [not ‘Plaid’] 157. your’s (Poems) [not ‘yours’]; my flute’s be yours & She too that’s sae nice (NLS) [not ‘My Flute’s be yours, and she too that’s sae nice’] 158. if you’ll (Poems) [not ‘gif ye’ll’]; shall come a will gif ye’ll tak my advice (NLS) [not ‘Shall come a Will, gif ye’ll take my Advice.’] 159. as (NLS) [not ‘As’]; advise (NLS) [not ‘advise,’]; observ’t, (Poems) [not ‘observ’t;’] 160. [‘bu’ erased on line above] but (NLS) [not ‘But’]; flute (NLS) [not ‘Flute,’]; deserv’t; (Poems) [not ‘deserv’t.’] 161. take (Poems, NLS) [not ‘tak’]; out & (NLS) [not ‘out, and’]; gi’es (Poems) [not ‘gie’s’]; bonny (Poems) [not ‘bony’]; Spring, (Poems) [not ‘Spring;’] 162. for (NLS) [not ‘For’]; tift (Poems, NLS) [not ‘Tift’]; play or sing (Poems), play & sing (NLS) [not ‘play and sing’] 163. but (NLS) [not ‘But’]; Hight (Poems), Height (NLS) [not ‘Height’] 164. and (NLS) [not ‘And’]; gin a’ (Poems) [not ‘gif all’]; flocks (NLS) [not ‘Flocks’]; right: (Poems) [not ‘right.’] 165. be (NLS) [not ‘Be’]; time (NLS) [not ‘Time’]; Bannocks and (Poems), Bannocks & (NLS) [not ‘Bannocks, and’]; shave (NLS) [not ‘Shave’]; cheese (NLS) [not ‘Cheese’] 166. will (NLS) [not ‘Will’]; breakfast (NLS) [not ‘Breakfast’]; please; (Poems) [not ‘please,’] 167. might (NLS) [not ‘Might’]; gabs (NLS) [not ‘Gabs,’]; wer (NLS) [not ‘were,’]; Might please our Laird, gin he were but sae wise (Poems) [not ‘Might please the daintyest Gabs, were they sae wise’] 168. to (NLS) [not ‘To’]; meat (NLS) [not ‘Meat’]; wi’ (Poems) [not ‘with’]; Spice: (Poems), Spice (NLS) [not ‘Spice.’] 169. when (NLS) [not ‘When’]; ha’e ta’en (Poems) [not ‘have tane’]; grace 240

Notes: Collation for 1725 drink (NLS) [not ‘Grace-Drink’]; Well, (Poems), well (NLS) [not ‘Well.’] 170. fine, and (Poems), fine & (NLS) [not ‘fine and’]; lyke (NLS) [and ‘like’]; sell (NLS) [not ‘sell.’] [After Line 170, S. D.: Exeunt (NLS) [not ‘Exeunt.’]] Act I. Scene II. In this scene the copytext is collated with NLS and Jenny and Meggy. A Pastoral, Being a Sequel to Patie and Roger (1723). There is no prologue in 1723, which throughout uses the name ‘Meggy’ rather than ‘Peggy’ in the S. D.s. As in other moments, Ramsay’s spelling of ‘Jenny’ and ‘Peggy’ when indicating the speakers in the fair copy is not entirely consistent, as he spells it ‘Jeny’ and ‘Pegy’ one time each. Title. Act 1. Scene 2d. (NLS) [not 'ACT I. SCENE II.'] [Prologue (NLS) [not ‘PROLOGUE.’]] 171. a (NLS) [not ‘A’]; braes (NLS) [not ‘Braes,’] 172. where (NLS) [not ‘Where’]; Wash & spred (NLS) [not ‘wash and spread’] 173. a (NLS) [not ‘A’] 174. its Channell peebles shining, Smooth & round (NLS) [not ‘Its Channel Peebles, shining smooth and round,’] 175. here (NLS) [not ‘Here’]; beauty clean & clear (NLS) [not ‘Beauties clean and clear;’] 176. first (NLS) [not ‘First’]; Eye (NLS) [not ‘Eye;’] 177. while (NLS) [not ‘While’]; Jenny (NLS) [not ‘JENNY’] 178. and (NLS) [not ‘And’]; Meg (NLS) [not ‘MEG’]; sence (NLS) [not ‘Sense’]; deffends (NLS) [not ‘defends’] [Speakers: Peggy & Jenny (NLS) [not ‘PEGGY and JENNY.’]] 179. fa (1723) [not ‘fa’’]; Wark (1723) [not ‘wark’]; upon (1723) [not ‘upo’’]; Come Meg Let’s fa’ to wark upon this green (NLS) [not ‘COME, Meg, let’s fa’ to wark upon this Green,’] 180. the (NLS) [not ‘The’]; day (NLS) [not ‘Day’] 181. the (NLS) [not ‘The’]’; Water’s (1723), Watter’s (NLS) [not ‘Waters’]; clear (NLS) [not ‘clear,’]; blew (1723, NLS) [not ‘blew,’] 182. will (NLS) [not ‘Will’]; them, (1723) [not ‘them’]; Lilly (1723) [not ‘Lilly’]; dew (NLS) [not ‘Dew’] 183. Go (NLS) [not ‘GO’]; Burn, (1723) [not ‘Burn’]; Habie’s How (1723), Habie’s How (NLS) [not ‘Habie’s-How’] 184. where (NLS) [not ‘Where’]; a’ (Poems, NLS) [not ‘a’]; sweeet (1723: misprint) [not ‘sweet’]; Spring & summer (NLS) [not ‘Spring and summer’] 185. And, ‘tween (1723), between (NLS) [not ‘Between’]; Birks, (1723) [not ‘Birks’]; Litle (NLS) [not ‘little’]; Lin, (NLS) [not ‘Lin’] 186. the (NLS) [not ‘The’]; watter (NLS) [not ‘Water’]; fa’s (NLS) [not ‘fa’s,’]; singing (1723), singan (NLS) [not ‘singand’] 187. Breast deep (1723) [not ‘Breast-deep’]; a pool breast deep beneath as clear as Glass (NLS) [not ‘A Pool Breast-deep, beneath as clear as Glass,’] 188. kisses (NLS) [not ‘Kisses’]; witheasy (1723: misprint) [not ‘with easy’]; whirls (NLS) [not ‘whirles’]; Bordering (1723) [not ‘bordering’]; Gra ss (1723: misprint), grass (NLS) [not ‘Grass,’] 189. Washing, (1723) [not ‘Washing’]; cool; (1723) [not ‘cool,’] 190. And, (1723), and (NLS) [not ‘And’]; when, (1723) [not ‘when,’]; day (1723) [not ‘Day’]; het (NLS) [not ‘het,’]; pool (NLS) [not ‘Pool’] 241

The Gentle Shepherd 191. sells: (1723) [not ‘sells.’]; healthfou’ (1723) [not ‘healthfou’]; there wash our sells—tis healthfou now in may (NLS) [not ‘There wash our sells.— `Tis healthfou now in May,’] 192. and (NLS) [not ‘And’]; unco (1723) [not ‘sweetly’]; Cauler (NLS) [not ‘cauler’] 193. naked (NLS) [not ‘naked,’]; say, (1723) [not ‘say’] 194. If (1723), gif (NLS) [not ‘Gif’]; Herds (1723), Hirds (NLS) [not ‘Herds’]; brae (NLS) [not ‘Brae’] 195. sae?—(1723) [not ‘sae—’]; Follow (1723) [not ‘Fallow’]; and se ŭs sae— that Jeering fallow Pate (NLS) [not ‘And se us sae—that jeering Fallow Pate’] 196. wad (NLS) [not ‘Wad’]; Say (NLS) [not ‘say,’]; Haith (1723) [not ‘haith’] 197. we’re (NLS) [not ‘We’re’]; Road and (1723), Road & (NLS) [not ‘Road, and’]; Sight, (1723) [not ‘Sight;’] 198. In 1723, an additional line is present here to form a triplet: And for the Lads, they’ll no be hame till Night, They feed this Day a Mile beyont the Height. 199. but (NLS) [not ‘But’]; now (NLS) [not ‘now,’]; Jenny (NLS) [not ‘Jenny,’]; Lane (NLS) [not ‘lane,’] 200. what (NLS) [not ‘What’]; Woer with Disdan. (1723), woer with disdain (NLS) [not ‘Wooer with Disdain?’] 201. the (NLS) [not ‘The’]; nibours (NLS) [not ‘Neighbours’] 202. that (NLS) [not ‘That’]; loes ye, (1723), Loos ye (NLS) [not ‘loos you,’]; care na (1723) [not ‘carena’] 203. what (NLS) [not ‘What’]; him; (1723, NLS) [not ‘him?’]; trouth (1723), troth (NLS) [not ‘Troth,’]; atween (1723) [not ‘between’] 204. he’s (NLS) [not ‘He’s’]; day (NLS) [not ‘Day’]; e’er (NLS) [not ‘e’re’: misprint] 205. him (NLS) [not ‘him,’]; Megy, (1723), Peggy (NLS) [not ‘Peggy’]; ther’s (NLS) [not ‘there’s’]; end (NLS) [not ‘End,’] 206. a (NLS) [not ‘A’]; Herd (1723), Hird (NLS) [not ‘Herd’]; sheepish, (1723, NLS) [not ‘Sheepish’] 207 Kames (NLS) [not ‘kames’]; indeed (NLS) [not ‘indeed,’]; ang (NLS) [not ‘and’]; Snug (NLS) [not ‘snug’] 208. with (NLS) [not ‘With’]; knots (NLS) [not ‘Knots’]; Lug, (1723), Lugg (NLS) [not ‘Lug;’] 209. whilk (NLS) [not ‘Whilk’]; pensily (1723) [not ‘pensylie’]; thought (NLS) [not ‘Thought’] 210. and Spreads his garters (NLS) [not ‘And spreads his Garters’]; dic’d (1723) [not ‘dice’d’]; knee (NLS) [not ‘Knee’] 211. Owrlay (1723) [not ‘Owrelay’]; Care; (1723) [not ‘Care,’]; he falds his owrlay down his breast with care (NLS) [not ‘He falds his Owrelay down his Breast with Care,’] 212. and (NLS) [not ‘And’]; nicer (1723) [not ‘trigger’]; Fair: (1723), fair (NLS) [not ‘Fair.’] 213. for (NLS) [not ‘For’]; Sing (NLS) [not ‘sing’]; Say (NLS) [not ‘say,’] 214. bonny (1723) [not ‘bony’]; Day.--- (1723) [not ‘Day.’]; except, How d’ye—or ther’s a bonny day (NLS) [not ‘Except, How d’ye,— or, There’s a 242

Notes: Collation for 1725 bony Day.’] 215. Ye (NLS) [not ‘Ye’]; pride (NLS) [not ‘Pride’] 216. unco (1723) [not ‘unko’] 217. ye (NLS) [not ‘ye,’]; cauld.--- (1723) [not ‘cauld.’] 218. what (NLS) [not ‘What’]; Likes (NLS) [not ‘likes’]; maiden (NLS) [not ‘Maiden’] 219. tarras (1723), tarraws (NLS) [not ‘tarrows’]; it’s (NLS) [not ‘its’]; meat, (1723), meat (NLS) [not ‘Meat,’] 220. And (1723) [not ‘That’]; feckles (NLS) [not ‘feckless’]; whim (NLS) [not ‘Whim’]; and greet; (1723), & greet (NLS) [not ‘and greet.’] 221. lave (1723) [not ‘Lave’]; Laugh (NLS) [not ‘laugh’]; it (1723, NLS) [not ‘it,’]; dinner’s (NLS) [not ‘Dinner’s’]; past; (1723) [not ‘past,’] 222. Syne (NLS) [not ‘syne’]; fool (NLS) [not ‘Fool’] 223. Scart (NLS) [not ‘scart’]; annither’s (NLS) [not ‘anither’s’]; Last (NLS) [not ‘last’] [Lines 224-7 do not appear in 1723] 224. fy (NLS) [not ‘Fy’]; Jenny think: (NLS) [not ‘Jenny think,’] 225. Thought (NLS) [not ‘thought’] 226. Nor I—but Love in whispers (NLS) [not ‘Nor I:---But Love in Whispers’] 227. that men were Made for us & we for Men (NLS) [not ‘That Men were made for us, and we for Men.’] 228. Roger (NLS) [not ‘Roger’]; himsell (NLS) [not ‘himsel’] 229. For sick (1723), for Sic (NLS) [not ‘For sic’] 230. Cause; (1723) [not ‘Cause:’]; he Glowrs & Sighs, and I Can guess the cause (NLS) [not ‘He glowrs and sighs, and I can guess the Cause:’] 231. but (NLS) [not ‘But’]; & (NLS) [not ‘and’] 232. when (NLS) [not ‘When’]; Likes (NLS) [not ‘likes’] 233. again (NLS) [not ‘again.’] 234. they’re fools (NLS) [not ‘They’re Fools’]; like & (NLS) [not ‘like, and’]; They’re fools wha Slavery like, that can live free, (1723) [not ‘They’re Fools that Slavery like, and may be free:’] 235. the (NLS) [not ‘The’]; Chiels (1723) [not ‘Cheils’]; themsel’es (1723), themsells (NLS) [not ‘themsels’] 236. Ways:-- (1723), ways— [not ‘Ways;’]; me me (1723: misprint) [not ‘me’]; Mind, (1723), mind (NLS) [not ‘Mind’] 237. to (NLS) [not ‘To’]; yeilding (NLS) [not ‘yielding’]; Patie’s (NLS) [not ‘Patie’s’] 238. Loo (NLS) [not ‘loo’]; Rattle-Scul,(1723), Ratle-Scul (NLS) [not ‘Rattlescul?’] 239. a (NLS) [not ‘A’]; Deel, (1723) [not ‘Deel’]; will (NLS) [not ‘Will.’] 240. we’ll (NLS) [not ‘We’ll’]; whata (1723) [not ‘what a’]; feighten (1723) [not ‘feightan’]; Life, (1723) [not ‘Life’] 241. you (NLS) [not ‘You’]; Lead sae (NLS), drive sa (1723) [not ‘lead sae’]; & Wife (NLS) [not ‘and Wife’] 242. I’LL (1723) [not ‘I’ll’]; risk (NLS) [not ‘Risk’]; hae (1723) [not ‘have’]; fear (NLS) [not ‘Fear’] 243. but (NLS) [not ‘But’]; day (NLS) [not ‘Day’]; Year. (1723), year (NLS) 243

The Gentle Shepherd [not ‘Year,’] 244. ‘Till I (1723) [not ‘Till I,’]; Bed; (1723) [not ‘Bed.’]; till I with pleasure mount my Bridal bed (NLS) [not ‘Till I, with Pleasure, mount my Bridal Bed;’] 245. where (NLS) [not ‘Where’]; Patie’s (NLS) [not ‘Patie’s’]; Breast, (1723), breast (NLS) [not ‘Breast’]; Head; (1723), head (NLS) [not ‘Head.’] 246. there (NLS) [not ‘There’]; Kiss (NLS) [not ‘kiss,’] 247. and (NLS) [not ‘And’]; do (NLS) [not ‘do,’]; ca’ (1723) [not ‘call’] [After Line 247. ‘He’s get,’ (NLS) the beginning of the first line on the next page.] 248. will: (NLS) [not ‘Will:’]; tis (NLS) [not ‘‘Tis’]; Part, (1723), part (NLS) [not ‘Part’] 249. to (NLS) [not ‘To’]; gi’ (1723) [not ‘give’]; that & (NLS) [not ‘that, and’]; heart (NLS) [not ‘Heart’] 250. He (NLS) [not ‘He’]; indeed, (1723) [not ‘indeed’]; ten or fifteen Days, (1723), ten or fifteen days (NLS) [not ‘Ten or Fifeteen Days’] 251. Make mikle (1723) [not ‘Mak meikle’]; unco’ (1723) [not ‘unko’]; make mikle of o’ye with ane unko fraise (NLS) [not ‘Mak meikle o’ye, with an unko Fraise,’] 252. dawt (1723) [not ‘daut’]; Fowk (1723) [not ‘Fowk,’]; ye’r lane (1723) [not ‘your lane:’]; and dawt ye baith afore fowk & yoŭr lane (NLS) [not ‘And daut ye baith afore Fowk, and your lane:’] 253. but (NLS) [not ‘But’]; newfangleness (NLS) [not ‘Newfangleness’]; gane-- (1723) [not ‘gane,’] 254. ye (1723, NLS) [not ‘you’]; Tether-Stake (NLS) [not ‘Tether-stake,’] 255. he [redacted] has (NLS) [not ‘he’s’]; ye’r (1723) [not ‘your’]; sake (NLS) [not ‘Sake.’] 256. Lang (NLS) [not ‘lang’]; Delyt (1723), delyte (NLS) [not ‘Delyte’] 257. day (NLS) [not ‘Day’]; dumb (NLS) [not ‘dumb,’]; niest (1723) [not ‘neist’]; flyt; (1723), flyte (NLS) [not ‘Flyte:’] 258. And may be in his Barlyhoods (1723), and maybe in his Barlickhoods (NLS) [not ‘may be, in his Barlikhoods’]; neer (NLS) [not ‘ne’er’] 259. to (NLS) [not ‘To’]; Loving (NLS) [not ‘loving’]; lound’ring (1723) [not ‘loundering’]; lick (NLS) [not ‘Lick.’] 260. course spun (1723) [not ‘Course-spun’]; these (1723) [not ‘thae’]; Sic Course spŭn Thoughts as thae want pith to move muve mŭve (NLS) [not ‘Sic Course-spun Thoughts as thae want Pith to move’] 261. Mind,— (1723) [not ‘Mind,’]; Love; (1723) [not ‘Love.’]; my Settl’d mind— I’m oer far gane in lŭve (NLS) [not ‘My settled Mind, I’m o’er far gane in Love.’] 263. but (NLS) [not ‘But’]; Him (NLS) [not ‘him’]; dread (1723) [not ‘fear’]; ither (1723) [not ‘other’] 264. theShepherds tred (1723: misprint), the Hirds that tred (NLS) [not ‘the Herds that tread’] 265. Smile, and sic (1723), Smile or Sic (NLS) [not ‘Smyle, or sic’] [Lines 266-7 not included in 1723] 266. and (NLS) [not ‘And’]; gentle taking art (NLS) [not ‘taking Art’] 267. his (NLS) [not ‘His’]; words (NLS) [not ‘Words’]; mŭsick (NLS) [not 244

Notes: Collation for 1725 ‘Musick’]; heart (NLS) [not ‘Heart’] 268. rave (1723) [not ‘rave,’]; how blythly can he Sport and Gently Rave (NLS) [not ‘How blythly can he sport, and genly rave,’] 269. and Jest (NLS) [not ‘And jest’]; Things (1723), fears (NLS) [not ‘Fears’]; lave: (1723), Lave (NLS) [not ‘lave.’] [Lines 270-3 not included in 1723] 270. day (NLS) [not ‘Day’] 271. he Reads (NLS) [not ‘He reads’]; mekle (NLS) [not ‘meikle’] 272. he is — but (NLS) [not ‘He is:---but’] 273. month (NLS) [not ‘Month’]; ye (NLS) [not ‘you’] 274. does (1723) [not ‘does,’]; in a’ he says or does ther’s Sic a gate (NLS) [not ‘In a’ he says or does, there’s sic a Gate,’] 275. the Rest (NLS) [not ‘The rest’]; compare’d (NLS) [not ‘compar’d’]; Pate; (1723), pate (NLS) [not ‘Pate.’] 276. Sence (NLS) [not ‘Sense’]; Lŭve (NLS) [not ‘Love’]; secure, (1723), Secure (NLS) [not ‘secure:’] 277. Contention’s heff (1723) [not ‘Ill Nature heffs’]; sauls (NLS) [not ‘Sauls’]; & (NLS) [not ‘and’] 278. HEY! (1723), Hey! (NLS) [not ‘Hey’]; bonny (1723) [not ‘bony’]; Branksome (NLS) [not ‘Branksome,’]; lang (NLS) [not ‘lang,’] 279. ye (1723, NLS) [not ‘you’]; Sang: (1723) [not ‘Sang.’] 280. [redacted] ’tis (NLS) [not ‘’tis’]; thing (NLS) [not ‘Thing’]; Bride, (1723) [not ‘Bride;’] 281. And (1723) [not ‘Syne’]; Getts (NLS) [not ‘Gets’]; ye’r (1723) [not ‘your’] Ingle side (NLS) [not ‘Ingle-side’] 282. this and that, with (1723) [not ‘this or that with’]; fasheous (1723) [not ‘fashous’]; Din: (1723), din (NLS) [not ‘Din,’] 283. to (NLS) [not ‘To’]; make (1723) [not ‘mak’]; Brats, (1723), brats (NLS) [not ‘Brats’]; & (NLS) [not ‘and’] 284. Ae (1723), ae (NLS) [not ‘Ane’]; faws (1723) [not ‘fa’s’]; sick (NLS) [not ‘sick,’]; himsell (1723) [not ‘its sell’]; Broo, (1723), Broo (NLS) [not ‘Broe,’] 285. tines (1723) [not ‘tynes’]; Shoe: (1723) [not ‘Shoe.’]; ane breaks his shin annither tines his Shoo (NLS) [not ‘Ane breaks his Shin, anither tynes his Shoe.’] 286. the (NLS) [not ‘The’]; Deel (1723, NLS) [not ‘Deil’]; Wobster— (NLS) [not ‘Wobster:—’]; Hell, (1723) [not ‘Hell;’] 287. when pate (NLS) [not ‘When Pate’] 288. Yes (NLS) [not ‘YES’]; ‘tis (1723) [not ‘its’]; heartsome (1723) [not ‘hartsome’]; Bride wife (NLS) [not ‘Wife’] 289. when (NLS) [not ‘When’]; rife; (1723), rife (NLS) [not ‘rife.’] 290. Gin (1723), gif (NLS) [not ‘Gif’]; happy (1723, NLS) [not ‘happy,’]; Delight (1723) [not ‘Delight,’] 291. to (NLS) [not ‘To’]; litle (NLS) [not ‘little’]; Plaints, (1723), plaints (NLS) [not ‘Plaints’]; & (NLS) [not ‘and’] 292. Say, Jenny, (1723) Wow, Jenny (NLS) [not ‘Wow, Jenny’]; Can (1723) [not ‘can’]; greater (NLS) [not ‘greater’]; pleasure (NLS) [not ‘Pleasure’] 293. than (NLS) [not ‘Than’]; wie (NLS) [not ‘wee’]; tooling toolying (NLS) [not ‘toolying’]; Knee, (1723), knee (NLS) [not ‘Knee;’] 245

The Gentle Shepherd 294. at (1723) [not ‘at,’]; Wish (1723) [not ‘Wish,’]; when a’ they etle at — ther greatest wish (NLS) [not ‘When a’ they ettle at,---their greatest Wish,’] 295. is (NLS) [not ‘Is’]; kiss (NLS) [not ‘Kiss’] 296. toil (NLS) [not ‘Toil’]; & (NLS) [not ‘and’] 297. delight? (1723) [not ‘Delight.’]; the Like of Them, when Lŭve makes Care delight (NLS) [not ‘The like of them, when Love makes Care Delight.’] 298. Meggy (1723), Peggy (NLS) [not ‘Peggy’] 299. If (1723), gif (NLS) [not ‘Gif’]; shoud (NLS) [not ‘shou’d’]; beggary (NLS) [not ‘Beggery’]; draw; (1723), draw (NLS) [not ‘draw.’] 300. There’s (1723), ther (NLS) [not ‘There’]; Love, (1723), Lŭve (NLS) [not ‘Love’]; come (1723) [not ‘come,’] 301. frae (NLS) [not ‘Frae’]; Jackets, (1723), doublets (NLS) [not ‘Doublets,’] pantrie (NLS) [not ‘Pantry’]; toom (NLS) [not ‘toom:’] 302. die (1723, NLS) [not ‘die,’]; Speat (1723) [not ‘Spate’] 303. frae (NLS) [not ‘Frae’]; Hay, (1723), Hay (NLS) [not ‘Hay.---’] 304. feeding (1723) [not ‘thick blawn’]; the thick Blawn wreaths of Snaw or blashy Thows (NLS) [not ‘The thick blawn Wreaths of Snaw, or blashy Thows,’] 305. may (NLS) [not ‘May’]; wWathers (NLS) [not ‘Wathers,’]; & (NLS) [not ‘and’]; Rot (NLS) [not ‘rot’]; May sometimes smoor, and aften rot your Ews. (1723) [not ‘May smoor your Wathers, and may rot your Ews.’] 306. Dyver (1723) [not ‘Dyvour’]; buys (1723) [not ‘buyes’]; a Dyver buys your Butter woo & chease (NLS) [not ‘A Dyvour buys your Butter, Woo and Cheese,’] 307. But, (1723) [not ‘But’]; Payment, (1723) [not ‘Payment’]; flies: (1723) [not ‘flees.’]; but, or the day of payment breaks & flies (NLS) [not ‘But or the Day of Payment breaks and flees.’] 308. gloomin (1723) [not ‘glooman’]; brow (NLS) [not ‘Brow’]; Rent, (1723), rent (NLS) [not ‘Rent:’] 309. Its (1723), its (NLS) [not ‘‘Tis’]; gi’e, (1723), gie (NLS) [not ‘gie;’]; merchant (NLS) [not ‘Merchant’s’]; Bent; (1723) [not ‘Bent.’] 310. poonds (1723) [not ‘poinds’]; Gear (1723) [not ‘Gear:’]; His Honour maunna want he puinds your gear (NLS) [not ‘His Honour manna want, he poinds your Gear:’] 311. house & hald (NLS) [not ‘House and Hald,’] 312. dear (NLS) [not ‘Dear’]; wise & (NLS) [not ‘wise, and’]; Life, (1723), life (NLS) [not ‘Life:’] 313. Trouth (1723) [not ‘Truth’]; its (1723, NLS) [not ‘it’s’]; wife (NLS) [not ‘Wife’] 314. Sic (NLS) [not ‘sic’]; luck (NLS) [not ‘Luck’]; she (1723, NLS) [not ‘She’] 315. wha (NLS) [not ‘Wha’]; these (1723) [not ‘sic’]; fears (NLS) [not ‘Fears’]; me; (1723) [not ‘me.’] 316. let (NLS) [not ‘Let’]; to (1723, NLS) [not ‘to to’: misprint]; well & Strive (NLS) [not ‘well, and strive’]; best, (1723) [not ‘best;’] 317. mairs (NLS) [not ‘mair’s’]; mak (1723, NLS) [not ‘make’]; rest (NLS) [not ‘rest.’] 318. Father (1723) [not ‘Uncle’] 319. that (NLS) [not ‘That’]; shoud (NLS) [not ‘shou’d’]; verteous (1723), 246

Notes: Collation for 1725 vertous vertuous (NLS) [not ‘vertuous’]; pray; (1723) [not ‘pray:’] 320. for (NLS) [not ‘For’]; man (NLS) [not ‘Man’]; coud (NLS) [not ‘cou’d’] 321. a (NLS) [not ‘A’]; we’ll stord (NLS) [not ‘well stor’d’]; Room, (1723) [not ‘Room’] 322. Wherefore (NLS) [not ‘Wherefore’]; nought (NLS) [not ‘nocht’]; part (NLS) [not ‘Part’] 323. to (NLS) [not ‘to’]; Wealth, (1723) [not ‘Wealth’]; [redacted] to (NLS) [not ‘to’]; Shepherds (NLS) [not ‘Shepherd’s’] 324. Whate’er (1723), what e’er (NLS) [not ‘What e’er’]; wins (NLS) [not ‘wins,’]; cautious (1723), Canny (NLS) [not ‘canny’] 325. a (1723) [not ‘the’]; and (1723) [not ‘or’]; and win the vogue at market Tron or fair (NLS) [not ‘And win the Vogue at Market, Tron or Fair,’] 326. for (NLS) [not ‘For’]; healsome (1723, NLS) [not ‘halesome’]; & (NLS) [not ‘and’] ; ware (NLS) [not ‘Ware.’] 327. Butter (1723) [not ‘Butter,’]; Woo (1723) [not ‘Woo,’]; a Flock of Lambs cheese butter & some Woo (NLS) [not ‘A Flock of Lambs, Cheese, Butter, and some Woo,’] 328. sald, (1723) [not ‘sald’]; Laird (1723) [not ‘Laird’]; Due, (1723) [not ‘due.’] 329. our ain, (1723), our— (NLS) [not ‘our ain;’]; Thus (1723) [not ‘thus’]; fear (NLS) [not ‘Fear,’] 330. with (NLS) [not ‘With’]; Lŭve (NLS) [not ‘Love’]; warld (NLS) [not ‘Warld’]; steer (NLS) [not ‘steer:’] 331. and (NLS) [not ‘And’]; & gear (NLS) [not ‘and Gear’] 332. wife (NLS) [not ‘Wife’] 333. Beauty (1723) [not ‘Giglit’] 334. with (NLS) [not ‘With’]; dimpl’d (1723) [not ‘dimpled’] 335. Shou’d (1723), Shoud (NLS) [not ‘Should’]; Patie (NLS) [not ‘Patie’]; haf worn (1723), haff worn (NLS) [not ‘haf-worn’]; Meg (1723), Meg (NLS) [not ‘Meg,’] 336. and (NLS) [not ‘And’]; kisses (NLS) [not ‘Kisses’]; feg (NLS) [not ‘Feg’] 337. that (1723) [not ‘that,’]; dear (1723) [not ‘Dear’]; Nae mair of that — dear Jenny to be free (NLS) [not ‘Nae mair of that,— Dear Jenny, to be free,’] 338. there’s Some (NLS) [not ‘There’s some’]; Constanter (NLS) [not ‘constanter’]; we; (NLS) [not ‘we:’]; Men are mair constant aft in Love than we; (1723) [not ‘There’s some Men constanter in Love than we:’] 339. nor (NLS) [not ‘Nor’]; ferly (NLS) [not ‘Ferly’]; great (NLS) [not ‘great,’]; kind (NLS) [not ‘Kind’]; Nor do I thank them for’t: Nature mair kind (1723); [not ‘Nor is the Ferly great, when Nature Kind’] 340. has (NLS) [not ‘Has’]; a Hardiness (1723) [not ‘Solidity’]; Mind; (1723), mind: (NLS) [not ‘Mind.’] [Lines 341-2 not included in 1723] 341. they’ll reason caumly & with kindness smile (NLS) [not ‘They’ll reason caumly, and with Kindness smile,’] 342. when (NLS) [not ‘When’]; passions (NLS) [not ‘Passions’]; peace (NLS) [not ‘Peace’] 343. Slight (NLS) [not ‘slight’]; hame (NLS) [not ‘Hame’]; And whensoe’er they slight their Mates at hame, (1723) [not ‘Sae whenso’er they slight their Maiks at Hame,’] 247

The Gentle Shepherd 344. Its (1723), its (NLS) [not ‘‘Tis’]; ten (1723, NLS) [not ‘Ten’]; ane (1723, NLS) [not ‘Ane’]; wives (NLS) [not ‘Wives’] 345. then (NLS) [not ‘Then’]; pleasure (NLS) [not ‘Pleasure’]; art (NLS) [not ‘Art’] 346. chearfu’ (1723), cheerfu’ (NLS) [not ‘chearfu’,’]; Secure (NLS) [not ‘secure’]; Heart (NLS) [not ‘Heart.’] 347. at (NLS) [not ‘At’]; E’en (1723), even (NLS) [not ‘Even’]; Hill (1723) [not ‘Hill,’] 348. things (NLS) [not ‘Things’]; will (NLS) [not ‘Will’] 349 throu’ (1723, NLS) [not ‘throw’]; In winter when he toils throu’ wind & Rain (NLS) [not ‘In Winter when he Toils throw Wind and Rain,’] 350. a (NLS) [not ‘A’]; Ingle (NLS) [not ‘Ingle,’]; Hearth-stane: (1723), HearthStane (NLS) [not ‘Hearth-stane:’] 351. and Soon as he flings by his plaid & staff (NLS) [not ‘And soon as he flings by his Plaid and Staff’] 352. the (NLS) [not ‘The’]; seething (1723) [not ‘Seething’]; pot (NLS) [not ‘Pot’]; aff; (1723), aff (NLS) [not ‘aff.’] 353. clean (NLS) [not ‘Clean’]; Hagabag (1723) [not ‘Hag-a-bag’] 354. and (NLS) [not ‘And’]; Serve (NLS) [not ‘serve’] 355. humour (NLS) [not ‘Humour’]; whyt (1723) [not ‘white’]; shal (NLS) [not ‘shall’]; be (1723) [not ‘be,’] 356. Face, (1723), face (NLS) [not ‘Face’]; love (NLS) [not ‘Love’]; me (NLS) [not ‘me.’] 357. dish (NLS) [not ‘Dish’] 358. and (NLS) [not ‘And’]; dosens (1723, NLS) [not ‘dozens’]; fowk (NLS) [not ‘Fowk’]; auld (NLS) [not ‘auld’] 359. togither (NLS) [not ‘togither,’] 360. the (NLS) [not ‘The’]; mind (NLS) [not ‘Mind.’]; The Want of Youth, when Love lyes in the Mind. (1723) [not ‘The Loss of Youth when Love grows on the Mind.’] 361. Sure (NLS) [not ‘sure’]; [redacted] firmer (NLS) [not ‘firmer’]; Tye (1723), tye (NLS) [not ‘Tye,’] 362. Then ought in Love e’er kend to you and I; (1723), then ought in Love e’er kend to you and I the Like of us can spy (NLS) [not ‘Than ought in Love the like of us can spy.’] 363. Like (1723), Se (NLS) [not ‘See’]; grow-up (1723) [not ‘grow up’]; Side, (1723) [not ‘Side;’] 364. Some (NLS) [not ‘some’]; Syne (NLS) [not ‘syne’]; & (NLS) [not ‘and’]; Bride, (1723) [not ‘Bride;’] [Lines 365-67 are grouped as a triplet in 1723, but not in 1725] 365. & Nearer (NLS) [not ‘and nearer’]; year (NLS) [not ‘Year’] 366. till (NLS) [not ‘Till’]; Spreading (NLS) [not ‘spreading’]; branches (NLS) [not ‘Branches’] 367. in (NLS) [not ‘In’]; Blest (NLS) [not ‘blest’] [Lines 368-371 not included in 1723] 368. sheilds (NLS) [not ‘shields’] 369. return (NLS) [not ‘Return’] 370. Sic as Stand Single—a State Sae Lyked by you (NLS) [not ‘Sic as stand 248

Notes: Collation for 1725 single,—a State sae lyk’d by you!’] 371. beneath (NLS) [not ‘Beneath’]; storm (NLS) [not ‘Storm,’]; airth (NLS) [not ‘Airth’] 372. Lassie (1723) [not ‘Lassy,’]; I’ve done—I yield dear Lassy I maun yield (NLS) [not ‘I’VE done,—I yield, dear Lassy, I maun yield,’] 373. Sence (NLS) [not ‘Sense’]; field (NLS) [not ‘Field’] 374. with (NLS) [not ‘With’]; assistance (NLS) [not ‘Assistance’]; litle (NLS) [not ‘little’]; fae (NLS) [not ‘Fae’] 375. lyes (NLS) [not ‘Lyes’]; day (NLS) [not ‘Day’] 376. Jenny, (1723), Jenny (NLS) [not ‘Jenny’]; unfair (1723) [not ‘no fair,’] 377. that (NLS) [not ‘That’]; wee (1723) [not ‘wie’]; Air; (1723), air (NLS) [not ‘Air:’] 378. hast (NLS) [not ‘Hast’]; out (NLS) [not ‘out,’]; can (1723, NLS) [not ‘can,’] 379. If (1723), gif (NLS) [not ‘Gif’]; is (1723) [not ‘be’]; Roger’s (NLS) [not ‘Roger’s’] 380. Annither (NLS) [not ‘Anither’]; time’s (NLS) [not ‘Time’s’]; good, (1723) [not ‘good’]; sun (NLS) [not ‘Sun’] 381. is (NLS) [not ‘Is’]; up, — (1723), up (NLS) [not ‘up,’] 382. to (NLS) [not ‘To’]; Graith (1723, NLS) [not ‘Graith;’]; If (1723) [not ‘if’]; cankerd (NLS) [not ‘canker’d’]; your (1723) [not ‘our’] 383. Burn (NLS) [not ‘Burn,’]; winsome (1723), Wicked (NLS) [not ‘wicked’]; Rant. (1723), rant (NLS) [not ‘Rant:’] 384. but (NLS) [not ‘But’]; done (NLS) [not ‘done,’]; I’se (1723) [not ‘I’ll’]; Mind, (1723), mind (NLS) [not ‘Mind;’] 385. for (NLS) [not ‘For’]; true (NLS) [not ‘true,’]; ŭnkind (NLS) [not ‘unkind’]; For this I find nae Lass can be unkind. (1723) [not ‘For this seems true,--- nae Lass can be unkind.’] [After Line 385, S. D.: Exeunt (NLS) [not ‘Exeunt.’]] End of the first Act (NLS) [not ‘End of the first ACT.’] Act II. Scene I. In this scene the copytext will be collated with D1, D2, and D3 EUL and NLS. The Prologue does not appear in the EUL MSS. Prior to the subtitle of the prologue in NLS, ‘Scene’ has been redacted. Title. Act I Scene 3 (D1 EUL), Scene 3 (D2 EUL), Act 1 Scene 3d (D3 EUL) [not ‘Act II. Scene I.’] [Prologue (NLS) [not ‘PROLOGUE.’]] 386. snŭg (NLS) [not ‘snug’]; thack (NLS) [not ‘Thack’]; door (NLS) [not ‘Door’] 387. Midding (NLS) [not ‘Midding,’]; dubs (NLS) [not ‘Dubs’] 388. On this side stands a barn on that a Byer Bayer (NLS) [not ‘On this Side stands a Barn, on that a Bayer:’] 389. A peetstack Joyns and forms a rural Squair (NLS) [not ‘A Peet-stack joyns, and forms a rural Squair.’] 390. Glauds’s – there (NLS) [not ‘GLAUD’s; --- there’] 391. and (NLS) [not ‘And’]; divet seat (NLS) [not ‘Divet-Seat’]; frien (NLS) [not ‘Frien’] [Speakers: Glaud & & Symon (D1 EUL), Glaud & Symon (D2, D3 EUL) [not 249

The Gentle Shepherd ‘GLAUD and SYMON.’]] 392. Good Morning Nibour Symon [blot] Come sit doun (D1 EUL), Good Day t ye Nibour Symon – Come sit doun (D2 EUL), Good morrow Nibour Symon — Come Sit doun (D3 EUL), Good morrow Nibour Symon — Come sit doun (NLS) [not ‘Good-morrow, Nibour Symon; --- come sit down,’] 393 And gie’s your Cracks.--- (D3 EUL), gie’s A’ your Cracks — (NLS) [not ‘And gie’s your Cracks.---’]; Toun (D3 EUL, NLS) [not ‘Town?’]; and gie’s ye’r Crack’s what news an a’ in Toun (D1 EUL), and gie’s ye’ Cracks, Whats A’ the News in Toun’ (D2 EUL) [not ‘And gie’s your Cracks.--- What’s a’ the News in Town?’] 394. they (D1, D2, D3 EUL, NLS) [not ‘They’]; Tell (D3 EUL) [not ‘tell’]; ye was (D1, D2 EUL) [not ‘ye was’]; other (D3 EUL) [not ‘ither’]; day (D1, D2, D3 EUL) [not ‘Day’] 395. and sald your Crumock and a Basend Quey (D1 EUL), and Sald your Crumock & a Bassend Quey (D2 EUL), and Sauld your Crumock and her Bassend Quey (D3 EUL), and Sald your Crumock and her Bassend Quey (NLS) [not ‘And sald your Crummock, and her bassend Quey.’] 396. warrand (NLS) [not ‘warrant’]; pund (NLS) [not ‘Pund’]; & dry (NLS) [not ‘and Dry’]; I’le Warrand ye Bought a pound of cut & dry (D1 EUL), I’le war’nd ye’ve cost a pund of Cut & dry (D2 EUL), I’le warand ye’ve cost a Stock of Cut & dry (D3 EUL) [not ‘I’ll warrant ye’ve cost a Pund of Cut and Dry;’] 397. lŭg (D3 EUL), lug (NLS) [not ‘Lug’]; Box & (D1 EUL, NLS), Box and (D3 EUL) [not ‘Box, and’]; pipe (D1, D3 EUL, NLS) [not ‘Pipe’]; lug at ye’r Box & gie’s a pipe to try (D2 EUL) [not ‘Lug out your box, and gie’s a Pipe to try.’] 398. heart — (D2 EUL) [not ‘Heart;---’]; now (D2, D3 EUL, NLS) [not ‘now,’]; with a my heart — but hark ye me auld boy (D1 EUL) [not ‘With a’ my Heart;--- and tent me now, auld Boy,’] 399. gatherd (D3 EUL, NLS) [not ‘gather’d’]; Kitle your heart (D3 EUL), kitle your mind (NLS) [not ‘kittle your Mind’]; I’ve news to tell ye I’ve gatherd news that will afford us gie you litle joy (D1 EUL), I’ve gatherd news that will afford us Joy (D2 EUL) [not ‘I’ve gather’d News will kittle your Mind with Joy.’] 400. coudna (D1, D2 EUL, NLS), coudnae (D3 EUL) [not ‘cou’dna’]; Rest (D1 EUL), lean (D2, D3 EUL) [not ‘rest’]; `till (D2 EUL) [not ‘Till’]; oer (D1, D2, D3 EUL) [not ‘o’er’]; burn (D1 EUL) [not ‘Burn’] 401. to (D1, D3 EUL, NLS) [not ‘To’]; ye, (NLS) [not ‘ye’]; things (D3 EUL) [not ‘Things’]; are taking (D1 EUL) [not ‘have taken’]; turn (D1 EUL, NLS) [not ‘Turn’]; to tell ye things are taking sic a turn (D2, D3 EUL) [not ‘To tell ye Things have taken sic a Turn,’] 402. oppressors (D3 EUL, NLS) [not ‘Oppressors’]; flaes (D3 EUL, NLS) [not ‘Flaes’]; as will gar whinging drones yon Oliverians Stend like flaes (D1 EUL), as will gar Oliverians Stend like flaes (D2 EUL) [not ‘Will gar our vile Oppressors stend like Flaes,’] 403. and (D3 EUL, NLS) [not ‘And’]; hird (D3 EUL) [not ‘skulk’]; hidlings (D3 EUL, NLS) [not ‘Hidlings’]; and hird in Hidlings on the on the Heather braes (D1 EUL), and hird in hidlings on mang Heather braes (D2 EUL) [not ‘And skulk in Hidlings on the Hether Braes.’] 250

Notes: Collation for 1725 404. Symmie (NLS) [not ‘Symmie’]; neer (NLS) [not ‘ne’er’]; fy Blaw! te hey! you Curats some Raving fouk neer Stand (D1 EUL), fy Blaw—! hu, hu ! – some rat’ling chiels neer Stand (D2 EUL), fy Blaw! hey tyte! Some ratling Cheils neer stand (D3 EUL) [not ‘Fy blaw! --- Ah Symmie! ratling Chiels ne’er stand’] 405. I ken fou well to Clek Vile lies aff hand (D1 EUL), for Current Truths to Clek ye Lies aff hand (D2 EUL), to Cleck & spread the vilest Lies aff hand (D3 EUL), to Cleck & spread the grossest Lies aff hand (NLS) [not ‘To cleck and spread the grossest Lies aff Hand,’] 406. [preceded by cancelled line; Rant & Roar [four redacted words] & flaw] and gar them flie like Moorburn wild fire throu the Land far & neer (D1 EUL), and gar them flie like wild fire far and near (D2 EUL), whilk soon flees round like Wild fire far & near (D3 EUL), whilk soon flees round like will-fire far & near (NLS) [not ‘Whilk soon flies round like Will-fire far and near:’] 407. but out wi’t true or fause I lang to hear (D1 EUL), but Loose ye’re Poke be’t true or fause lets hear (D2 EUL), but Lowse your Poke be’t true or fause let’s hear (D3 EUL), but lowse your poke be’t true or fause lets hear (NLS) [not ‘But loose your Poke, be’t true or fause, let’s hear.’] 408. Seing’s (D3 EUL; NLS) [not ‘Seeing’s’]; beleiving (D3 EUL) [not ‘believing,’]; Glaud (D3 EUL) [not ‘Glaud,’]; & (NLS) [not ‘and’]; Seings Beliving Glaud – for honest Habs I’ve seen come hame (D1 EUL), Seeings beliving Glaud – and Hab I’ve seen (D2 EUL) [not ‘Seeing’s believing, Glaud, and I have seen’] 409. Hab honest Hab wha (D1 EUL), Hab wha (D2, D3 EUL), Hab, that (NLS) [not ‘Hab, that’]; Mr (D1 EUL), Master (D2, D3 EUL, NLS) [not ‘Master’] 410. our (D3 EUL, NLS) [not ‘Our’]; Master (D3 EUL), Master (NLS) [not ‘Master,’]; this fifteen year & mair wha as the Guise stood then right wisely fled (D1 EUL), wha as the Guise stood then right wisely fled (D2 EUL) [not ‘Our brave good Master, wha right wisely fled.’] 411. and (D1, D2, D3 EUL) [not ‘And’]; good (D1, D2 EUL) [not ‘fair’]; estate (D1, D2 EUL) [not ‘Estate’]; Save (D2, D3 EUL) [not ‘save’]; head (D1, D2, D3 EUL) [not ‘Head’] 412. because (D3 EUL, NLS) [‘not ‘Because’]; Because for what ye ken fou well (D1 EUL), because (ye ken fou well) (D2 EUL) [not ‘Because ye ken fou well’]; Bauldly (D1 EUL) [not ‘bravely’]; Chose (D1, D2, D3 EUL, NLS) [not ‘chose’] 413. to Shine, or Set (NLS) [not ‘To shine, or set’]; to Rise or tumble with the Great Montrose (D1 EUL), to rise or tumble with the great Montrose (D2 EUL), to Shine or Set in Glory with Montrose: (D3 EUL) [not ‘To shine, or set in Glory with Montrose.’] 414. Cromwells (NLS) [not ‘Cromwell’s’]; Nick (NLS) [not ‘Nick;’]; Now Cromwells Dead they say & ane Ca’d Monk (D1 EUL), Now Cromwell’s gane to Nic and ane Ca’d Monk (D2 EUL), Now Cromwells gane to Nic and ane ca’d Monk (D3 EUL) [not ‘Now Cromwell’s gane to Nick; and ane ca’d Monk,’] 415. playd (D1, D2 EUL, NLS), Playd (D3 EUL) [not ‘plaid’]; Rumple a Right (D1 EUL), Rŭmple a Right (NLS) [not ‘Rumple a right’]; Slee (D2 EUL) [not 251

The Gentle Shepherd ‘slee’]; begunk (D1, D3 EUL, NLS) [not ‘Begunk’] 416. the Kings come hame and ilka things in tune (D1 EUL), The King’s come hame and ilka things in Tune (D2 EUL), King Charles is Cround & [redacted] ilka things in Tune (D3 EUL), Restord King Charles, and ilka things in tune (NLS) [not ‘Restor’d King Charles, and ilka Thing’s in Tune;’] 417. and Halbert says we’ll See our Master Soon (D1 EUL), and Halbert says we’ll see Sr Colin Andrew soon (D2 EUL), and Haby says we’ll see Sir Colin Soon (D3 EUL), and Haby says we’ll See Sr William soon (NLS) [not ‘And Habby says, we’ll see Sir William soon.’] 418. Indeed (NLS) [not ‘indeed:’]; O Thanks be gien! but Simy dinna flaw (D1 EUL), I’m Blyth to hear’t! but Simmy dinna flaw (D2 EUL), I’m blyth to Hear’t but Symmie dinna flaw (D3 EUL) [not ‘That maks me blyth indeed:--- but dinna flaw,’] 419. tell (D3 EUL, NLS) [not ‘Tell’]; oer (NLS) [not ‘o’er’]; tillt a! (D3 EUL), till’t A’ (NLS) [not ‘til’t a’.’]; tell oer yer news again and swear tilt a’ (D1 EUL), tell oer ye’re news again! — and Swear till’t a’! (D2 EUL) [not ‘Tell o’er your News again! And swear til’t a’.’] 420. and saw ye Hab! and how does honest hab and and hou does Habie Look Master fa[redacted]re (D1 EUL), and Saw ye Hab! and what did Hab a’say (D2 EUL), and saw ye Hab! — and what did Hab a’ Say (D3 EUL), and saw ye Hab! and what did Halbert Say (NLS) [not ‘And saw ye Hab! And what did Halbert say?’] 421. they (D2, D3 EUL, NLS) [not ‘They’]; een (D2, D3 EUL) [not ‘e’en’]; time (D2, D3 EUL) [not ‘Time’]; they’ve have been awa now fifteen year & mair (D1 EUL) [not ‘They have been e’en a dreary Time away.’] 422. The Lord (D2, D3 EUL) [not ‘Now God’]; God (NLS) [not ‘God’]; thanked! (D2 EUL), Thanked! (D3 EUL), Thanked, (NLS) [not ‘thanked’]; Lairds (NLS) [not ‘Laird’s’]; hame (D2 EUL, NLS) [not ‘Hame’]; Wow but I’m Blyth this day I’ll Stick a Lame and is he e’en come hame (D1 EUL) [not ‘Now God be thanked that our Laird’s come Hame,’] 423. and (NLS) [not ‘And’]; Claim (NLS) [not ‘claim’]; And his Estate say can he Eithly Claim (D1, D3 EUL), and his Estate say can he eithly Claim (D2 EUL) [not ‘And his Estate, say, can he eithly claim?’] 424. guts (D3 EUL, NLS) [not ‘Guts’]; ŭs (NLS) [not ‘us’]; Those wha oprest us till our Guts did grane (D1 EUL), two lines below; wha suck’d us ‘till they Gart our Guts a grain (D1 EUL), They that Hag-rade us till our guts did grane (D2 EUL) [not ‘They that Hag-raid us till our Guts did grane,’] 425. like (D2, D3 EUL, NLS) [not ‘Like’]; Gleds (D2, D3 EUL), Bairs (NLS) [not ‘Bairs,’]; nae mair dare (D2, D3 EUL) [not ‘dare nae mair’]; [redacted] do’t (NLS) [not ‘do’t’]; Like Greedy Gleds nae mair these dare come again (D1 EUL, with revised order of line structure reproduced here) [not ‘Like greedy Bairs, dare nae mair do’t again,’] 426. and (D2, D3 EUL, NLS) [not ‘And’]; Colin (D2, D3 EUL) [not ‘William’]; shall (D2 EUL) [not ‘sall’]; Skull drive our Gear for Sir Macander None Shall enjoys his ain (D1 EUL) [not ‘And good Sir William sall enjoy his ain.’] [Lines 427-40 not included in D1 or D2 EUL] 427. Lang (D3 EUL, NLS) [not ‘lang,’]; Stent (NLS) [not ‘stent’] 252

Notes: Collation for 1725 428. us (D3 EUL, NLS) [not ‘Us’]; Thriving rising (D3 EUL), thriving (NLS) [not ‘Thriving’]; rent (D3 EUL) [not ‘Rent’] 429. nor (NLS) [not ‘Nor’]; grumbl’d (NLS) [not ‘grumbled’]; rich (NLS) [not ‘rich,’]; shore’d (NLS) [not ‘shor’d’]; Grum’led to see us thrive or shor’d to raise (D3 EUL) [not ‘Nor grumbled if ane grew rich, or shor’d to raise’] 430. Mailens (NLS) [not ‘Mailens,’]; Sundays (NLS) [not ‘Sunday’s’]; our Mailen, when we Pat on Sundays Claise (D3 EUL) [not ‘Our Mailens, when we pat on Sunday’s Claiths.’] 431. Nor wad he Lang with Proud and sausy air (D3 EUL), Nor us’d he, lang with sencles sawsy air (NLS) [not ‘N’or wad he lang, with senseless saucy Air,’] 432. allow (D3 EUL) [not ‘Allow’]; lyart (D3 EUL, NLS) [not ‘Lyart’]; Nodles (D3 EUL, NLS) [not ‘Noddles’] 433. Bonnet Symon (D3 EUL, NLS) [not ‘Bonnet, Symon;---’]; take (NLS) [not ‘tak’]; Seat (D3 EUL) [not ‘Seat.---’] 434. “ hows a’ at hame? – how’s Elspa? –how does Kate? (D3 EUL), “ how’s a’ll at hame?— hows Elspa? – how does Kate? — (NLS) [not ‘“ How’s all at hame?-- How’s Elspa?-- How does Kate?—’] 435. how (NLS) [not ‘How’]; Black (NLS) [not ‘black’]; year (NLS) [not ‘Year’]; “ how sells Black catle? – what gies Woo the year (D3 EUL) [not ‘“ How sells black Cattle?--- What gies Woo this Year?---’] 436. and (D3 EUL, NLS) [not ‘And’]; Kindly (D3 EUL, NLS) [not ‘kindly’]; speer (D3 EUL) [not ‘spear’] 437. Butler soon (D3 EUL), Butler soon (NLS) [not ‘Butler’] 438. the (D3 EUL, NLS) [not ‘The’]; Nappy Botle Ben & (D3 EUL), nappy Botle ben, and (NLS) [not ‘Nappy Bottle ben, and’]; Clean (D3 EUL, NLS) [not ‘clean’] 439. whilk (D3 EUL, NLS) [not ‘Whilk’]; Raisd (NLS) [not ‘rais’d’]; sick (D3 EUL) [not ‘sic’]; Blythsome flame (D3 EUL), blythsome flame (NLS) [not ‘blythsome Flame’]; 440. as (D3 EUL, NLS) [not ‘as’]; time (D3 EUL, NLS) [not ‘Time’] 441. Lang may he – none stand aff ye frets & cares And may he Lang – now nibour Symon will ye stay (D1 EUL), And may he Lang – now Nighbour will ye stay (D2 EUL), my heart’s een Raisd dear Nibour will ye stay (D3 EUL), My Hearts e’en Raisd! – dear Nibour will ye stay (NLS) [not ‘My Heart’s e’en rais’d! — Dear Nibour will ye stay,’] 442. and (D2, D3 EUL, NLS) [not ‘And’]; ye’r (D2 EUL), ye’re (D3 EUL) [not ‘your’]; dinner (D2 EUL, NLS) [not ‘Dinner’]; wi’ (D3 EUL) [not ‘with’]; day (D2 EUL, NLS) [not ‘Day’]; and take ye’r dinner here with me the day (D1 EUL) [not ‘And tak your Dinner here with me the Day.’] [Lines 443-4 not included in EUL drafts] 443. wee’ll send for Elspith to – & upo sight (NLS) [not ‘We’l send for Elspith too, — and upo’ Sight,’] 444. Pate & Roger (NLS) [not ‘Pate and Roger’] 445. Sled (D1, D2, D3 EUL, NLS) [not ‘Sled,’]; sen’t (D1 EUL), Send (D2 EUL) [not ‘send’]; niest Toun (D1, D2 EUL), neist Toun (D3 EUL, NLS) [not ‘neist Town’] 446. and Bring a drawght of Ale baith Stout & Brown (D1 EUL), and bring a 253

The Gentle Shepherd draught of ale baith Stout & broun (D2 EUL), and bring a draught of ale baith stout & broun (D3 EUL, NLS) [not ‘And bring a Draught of Ale, baith stout and brown,’] 447. and gar our Nibours A’ Man Wife & Wean (D1 EUL), and gar our Cottars A Man Wife & Wean (D2 EUL), and gar Cottars a’ Man Wife & Wean (D3 EUL), and Gar Cottars a’ Man Wife & Wean NLS) [not ‘And gar our Cottars a’, Man, Wife and Wean’] 448. drink (D1, D3 EUL, NLS) [not ‘Drink’]; ‘till (D3 EUL) [not ‘till’]; gate (D1, D2 EUL, NLS) [not ‘Gate’]; their alane (D1 EUL), their Lane (NLS) [not ‘their lane’] 449. Bawk (D1 EUL) [not ‘bauk’]; friend (D1, D2 EUL, NLS), freind (D3 EUL) [not ‘Friend’]; Blyth (D1 EUL) [not ‘blyth’]; design (D1, D2, D3 EUL, NLS) [not ‘Design’] 450. gin (D1, D2 EUL), gif (D3 EUL, NLS) [not ‘Gif’]; a (D1, D2 EUL) [not ‘a’’] [Lines 451-52 muddled in D1 EUL, f.51R number ‘2’ at the beginning of line 451 shows intent of revision] 451. for (NLS) [not ‘For’]; he’er-yestreen (NLS) [not ‘heer-yestreen’]; brewd (NLS) [not ‘brew’d’]; But twa days syn I Brewd a Bow of Mawt (D1 EUL), for heer-yestreen I brewd a bow of Maut (D2 EUL), for heiryestreen I breud a Bow of Maut (D3 EUL), for he’er-yestreen I brewd a Bow of Maut (NLS) [not ‘For heer-yestreen I brew’d a Bow of Maut,’] 452. Wedders (D2, D3 EUL) [not ‘Wathers’]; prime & fat (D2 EUL, NLS), Prime & fat (D3 EUL) [not ‘prime and fat’]; 2 Yestreen I Litld twa Wethers prime & fat (D1 EUL) [not ‘Yestreen I slew twa Wathers prime and fat;’] 453. a furlet (D2, D3 EUL, NLS) [not ‘A Furlet’]; Elspa (D2, D3 EUL) [not ‘Elspa’]; a furlet of Good Cakes my Elspa Beuk (D1 EUL) [not ‘A Furlet of good Cakes my Elspa beuk,’] 454. and (D1, D2, D3 EUL, NLS) [not ‘And’]; good (D1, D2 EUL, NLS) [not ‘large’]; ham (D1, D2 EUL) [not ‘Ham’]; Reesting (D1 EUL, NLS) [not ‘reesting’]; Newk (D2 EUL) [not ‘Nook’] 455. saw’t (D2, D3 EUL) [not ‘saw’]; sell (D1, D3 EUL, NLS) [not ‘sell,’] ; I saw’t my sell (D3 EUL) [not ‘I saw my sell,’]; oer (D1, D2, D3 EUL, NLS) [not ‘o’er’]; Brae Loan (D1 EUL) [not ‘Loan’] 456. oer miekle Ketle usd in Har’st put on (D1 EUL), our Miekle Ketle, usd in Har’st, put on (D2 EUL), our Mekle Ketle usd in Har’st put on (D3 EUL), the our meckle aft Mekle Pot that Scads the Whey put [on] (NLS) [not ‘Our meikle Pot that scads the Whey put on’] 457. a (D2 EUL) [not ‘a’]; Muton Bouk (D3 EUL) [not ‘Mutton Bouk’]; boil (D2 EUL, NLS), Boil [not ‘boil;’]; & (D2 EUL, NLS) [not ‘and’]; to (D2 EUL) [not ‘we’ll’]; Roast (D3 EUL) [not ‘roast’]; a Muton Bouks to Boil & ane to Roast (D1 EUL) [not ‘A Mutton Bouk to boil; — and ane we’ll roast;’] 458. and (D1, D2, D3 EUL, NLS) [not ‘And’]; Haggise (D1 EUL) [not ‘Haggies’]; Elspa (D1, D2, D3 EUL) [not ‘Elspa’]; Coast (D1 EUL) [not ‘Cost’] 459. Sma (D2, D3 EUL) [not ‘Small’]; shorn & (D2 EUL), shorn and (D3 EUL), shorn – and (NLS) [not ‘shorn; and’]; fu’ (D3 EUL) [not ‘fou’]; Sma are they shorn with fat & well she kens to mix (D1 EUL) [not ‘Small are they shorn; and she can mix fou nice’] 460. the (D2, D3 EUL, NLS ) [not ‘The’]; Gusty (D2 EUL) [not ‘gusty’]; Curne 254

Notes: Collation for 1725 (NLS) [not ‘Curn’]; the Gusty ingens & I made twa good pricks (D1 EUL) [not ‘The gusty Ingans with a Curn of Spice.’] 461. fat are the Puding & the heads well sung (D1 EUL), fat are the Puddings and the heads well sung (D2 EUL), fat are the puddings: Heads & feet well sung (D3 EUL), fat are the puddings – Heads & feet well Sung (NLS) [not ‘Fat are the Puddings,-- Heads and Feet well sung;’] 462. and (D1, D2, D3 EUL, NLS) [not ‘And’]; I’ve (D1, D2, D3 EUL) [not ‘we’ve’]; Invited (D3 EUL) [not ‘invited’]; Nighbours (D2 EUL) [not ‘Nibours’]; & (D1, D3 EUL) [not ‘and’] [Lines 463-4 not included in D1, D2, D3 EUL] 463. afternoon (NLS) [not ‘Afternoon’]; glee & game (NLS) [not ‘Glee and Game’] 464. and (NLS) [not ‘And’]; health & welcome hame (NLS) [not ‘Health and Welcome-hame’] 465. ye (D1, D2, D3 EUL) [not ‘Ye’]; ma’ňna (D1 EUL), maunna (D2 EUL, NLS), maŭna (D3 EUL) [not ‘manna’]; Joyn (D1, D2, D3 EUL, NLS) [not ‘join’]; Rest (NLS) [not ‘rest’] 466. friend (NLS) [not ‘Friend’]; when ye’re the ane amang them I like Best (D1 EUL), since ye’re the ane amang them I loo best (D2 EUL), since ye’r my nearest freind that I loo Best (D3 EUL) [not ‘Since ye’re my nearest Friend that I like best.’] 467. bring (D2, D3 EUL, NLS) [not ‘Bring’]; wi ye a your (D1 EUL), wi ye a’ ye’re (D2 EUL), wi ye a’ ye’r (D3 EUL) [not ‘wi’ ye all your’]; family – and then (D1, D2 EUL), family, & then (D3 EUL), family & then (NLS) [not ‘Family, and then’] 468. when e’er ye please (NLS) [not ‘When ere you please,’]; When ye disirest I’se Rant with you again (D1 EUL), when eer ye please Ise rant wi’ you again (D2 EUL), when e’er ye Like Ise rant wi you again (D3 EUL) [not ‘When ere you please, I’ll rant wi’ you again.’] [After Line 468, Two additional lines in D1 EUL, f.51R not retained in other MSS: Now since our Lawfu worthy Baron’s is comd again well keep seven Haly days oer a’ the Plain] 469. sell auld Birky (D3 EUL), sell, auld-birky (NLS) [not ‘sell, Auld-birky’]; Spoke like yer sell auld Birky – thers my ye need na fear (D1 EUL), Spoke like yer sell auld Birky dinna fear (D2 EUL) [not ‘Spoke like ye’r sell, Auldbirky, never fear’] 470. at your Blyth (D1 EUL), but at yer (D2 EUL), but at your (D3, NLS) [not ‘But at your’]; sall (D3 EUL) [not ‘shall’]; banquet (NLS) [not ‘Banquet’] 471. had! (D1, D2 EUL), faith (D3 EUL, NLS) [not ‘Faith’]; sall (D3 EUL) [not ‘shall’]; Bicquour and (D1, D2 EUL), Biquour & (D3 EUL), Bicker & (NLS) [not ‘Bicker and’]; Bauld (D1 EUL) [not ‘bauld’] 472. till (D1, D2, D3 EUL, NLS) [not ‘Till’]; we’r (D2 EUL) [not ‘we’re’]; faild (D1, D2, D3 EUL, NLS) [not ‘fail’d’] 473. I! (D1, D2 EUL) [not ‘I! –’]; faith (D1 EUL), trouth (D2 EUL), Troŭth (D3 EUL), troth (NLS) [not ‘Troth’] 474. (With your good News) (D1 EUL) [not ‘With your good News’]; news, (D2 EUL), news (D3 EUL, NLS) [not ‘News’] 255

The Gentle Shepherd 475. Een (D1 EUL), een.— (D2 EUL) [not ‘Een!’]; Hey Madge (D1, D2 EUL), Hey Madge (NLS) [not ‘Hey, Madge,’]; forth be (D1 EUL), forth – (D2 EUL), forth (NLS) [not ‘forth,’]; I’ll dance or Een! — Hey Madge come forth – d’ye d’ye hear (D3 EUL) [not ‘I’ll dance or Een! Hey, Madge, come forth, d’ye hear.’] [Before Line 476: D1 EUL, f.51V spells ‘Magde’ as ‘Mage’] 476. gyt! – (D2 EUL), gyte! – (D3 EUL) [not ‘gyte!’]; (dear Symon welcome here) (D2 EUL), dear Symon welcome here (D3 EUL) [not ‘Dear Symon welcome here’]; The Mans gane Gyt!— dear Symon welcome here (D1 EUL), The Mans gane Gyte!—dear Symon welcome here—(NLS) [not ‘The Man’s gane gyte! Dear Symon welcome here.’] 477. what (NLS) [not ‘What’]; hast & din (NLS) [not ‘Haste and Din’]; what wad ye now with a this hast & din (D1 EUL), what wad ye Glaud with a’ this hast & din (D2, D3 EUL) [not ‘What wad ye Glaud, with a’ this Haste and Din?’] 478. body (D2 EUL) [not ‘Body’]; ye never let a body Sit doun to Spin (D1 EUL) [not ‘Ye never let a body sit to spin.’] [Lines 479-82. Glaud is not listed as the speaker in NLS or the copytext, though the catchword in the copytext does indicate this] 479. Spin–! fyst –! gae break ye’r wheel and burn yr Tow (D1 EUL), Spin–! fyst–! gae break ye’r wheel & burn ye’r Tow (D2 EUL), Spin! Snuf!— gae break your wheel & burn your Tow (D3 EUL), Spin! Snuf—gae break your wheel & burn your Tow (NLS) [not ‘Spin! Snuf---- Gae break your Wheel and burn your Tow,’] 480. and (D1, D2 EUL) [not ‘And’]; Set (NLS) [not ‘set’]; mucklest peetstack (D1, D2 EUL), mekelest Peetstak (D3 EUL), mekelest Peetstack (NLS) [not ‘meiklest Peet-stack’] 481. and (D1, D3 EUL), And (D2 EUL) [not ‘Syne’]; Banefire (D1 EUL), banefire (D2 EUL), bane-fire (NLS) [not ‘Bane-fire’] 482. Sen (D3 EUL) [not ‘Since’]; our Master see (D1, D2 EUL), our Mr See (D3 EUL), Sir William se (NLS) [not ‘Sir William see’] [Before Line 483: D1 EUL S. D.: ‘Mage gies a great Clap’] 483. Indeed (NLS) [not ‘indeed’]; and (NLS) [not ‘And’]; ye (NLS) [not ‘you’]; Blyth news Indeed! [two redacted half-lines, first illegible after ‘and when-’; second half line: whan gate ye wit o that], and wha wast tald ye o’t (D1 EUL), blyth news indeed – and wha wast tald ye o’t (D2 EUL), blyth news indeed & wha was’t tald ye o’t (D3 EUL) [not ‘Blyth News indeed!-- And wha was’t tald you o’t.’] 484. what’s (D1, D2, D3 EUL) [not ‘What’s’]; t you (D1 EUL), t’you! (D2 EUL), t’you (D3 EUL), t’you — [not ‘t’you; ---’]; Sundays (D1, D2, D3 EUL), Sundys (NLS) [not ‘Sunday’s’] 485. wale (D3 EUL, NLS) [not ‘Wale’]; bobed Bands (D3 EUL), Bobit Bands (NLS) [not ‘bobit Bands’]; and Braid Blew Bonnet take out my Bridall Band with knotted Bobs (D1 EUL), wale out the whytest of my Bobed bands (D2 EUL) [not ‘Wale out the whytest of my bobit Bands’] 486. My whytskin Hose and mittins for my hands (D1 EUL), My whytskin hose and mittins for my hands (D2 EUL), my whytskin Hose & mittens for my Hands (D3 EUL), my whytskin Hose & mittans for my Hands (NLS) 256

Notes: Collation for 1725 [not ‘My Whyt-skin Hose, and Mittans for my Hands;’] [D1 EUL ends here] 487. then (D3 EUL, NLS) [not ‘Then’]; Bairns, make hast (D2 EUL), Bairns in hast (D3 EUL, NLS) [not ‘Bairns in Hast’] 488. trigg Head feet & Waist (NLS) [not ‘trig, head Feet, and Waist’]; And make ye’r sells as trigg, head feet & Waist (D2 EUL), And make yere sells as trigg, head feet & Waist (D3 EUL) [not ‘And mak ye’r sells as trig, Head Feet, and Waist,’] 489. as (D1, D2, D3 EUL, NLS) [not ‘As’]; wer (D2 EUL) [not ‘were’]; goodmen (D2 EUL), good-men young Lads (D3 EUL) [not ‘young Lads’]; een (D2 EUL), E’en (NLS) [not ‘Een’] 490. for (NLS) [not ‘For’]; for we maun a’ be blyth with Sym bedeen (D2 EUL), for we maun a’ gae dine with Sym bedeen (D3 EUL) [not ‘For we’re gaun o’er to dine with Sym bedeen.’] 491. Madge – (D3 EUL), Madge (NLS) [not ‘Madge, --’]; and Glaud (D3 EUL), & Glaud (NLS) [not ‘and Glaud,’]; oer the gate (NLS), oer the Gate (D3 EUL) [not ‘o’er the Gate’]; do honest Madge, and Glaud I’ll oer the gate (D2 EUL) [not ‘DO honest Madge,-- and Glaud, I’ll o’er the Gate,’] 492. and (D1, D2, D3 EUL, NLS) [not ‘And’]; Se that a (D2 EUL), See that a’ (NLS) [not ‘see that a’’]; hae’t (D1, D2, D3 EUL, NLS) [not ‘ha’t’] [[After Line 492, S. D.: D2 EUL; Exeunt [redacted] Symon one way & Glaud annother [not ‘Exeunt.’]] Act II. Scene II. In this scene the the copytext is collated with D2, D3 EUL and NLS. The Prologue does not appear in the EUL MSS. Title. Scene 4 (D2 EUL), Act 2d Scene 1st (D3 EUL) [not ‘Act II. Scene II.’] [[redacted, illegible word] Prologue (NLS) [not ‘PROLOGUE.’]] 493. field – , (NLS) [not ‘Field.---’] 494. ane (NLS) [not ‘An’]; Spinning (NLS) [not ‘spinning’]; Suny (NLS) [not ‘suny’] 495. at (NLS) [not ‘At’]; smal distance (NLS) [not ‘small distance,’]; Blasted (NLS) [not ‘blasted’] 496. with falded arms & haff raid look ye see (NLS) [not ‘With falded Arms, and haff rais’d Look ye see.’] [Speaker: Bauldy Solus (D2, D3 EUL), Bauldy Roger his Lane (NLS) [not ‘BAULDY his lane.’]] 497. What this – I canna bear’t! its wer than Hell (D2 EUL), What’s this, I canna bear’t! ‘tis warse than Hell (D3 EUL), What’s this! – I canna beart!’tis war than Hell, (NLS) [not ‘What’s this!— I canna bear’t! ‘Tis war than Hell;’] 498. Lŭve yet darena (NLS) [not ‘Love, yet darna’]; to be sae deep in love & darena Tell (D2 EUL), to be sae deep in love & darna Tell (D3 EUL) [not ‘To be sae brunt with Love, yet darna tell!’] 499. O Peggy sweeter (NLS) [not O PEGGY, sweeter’]; dear Pegy Sweeter than the morning ray (D2 EUL), O Peggy sweeter than the Morning Ray (D3 EUL) [not ‘O PEGGY, sweeter than the dawning Day,’] 500. flowry (D2, D3 EUL) [not ‘gowany’]; glens (D2 EUL) [not ‘Glens’]; Maun 257

The Gentle Shepherd (D2 EUL), Maun Mawn (NLS) [not ‘Mawn’]; hay (D2 EUL) [not ‘Hay’] 501. blyther (NLS) [not ‘Blyther’]; out oer (D2 EUL), out-oer (D3 EUL), out-o’er (NLS) [not ‘out o’er’]; knows (D2 EUL) [not ‘Knows’] 502. Streigher (D2 EUL), Streighter (D3 EUL), Straight (NLS) [not ‘Straighter’]; forest (D2 EUL, NLS) [not ‘Forest’]; Grows (D2, D3 EUL) [not ‘grows’] 503. her (D2, D3 EUL, NLS) [not ‘Her’]; Eeen (D2 EUL), Ee Een (D3 EUL) [not ‘Een’]; Clearest (D3 EUL) [not ‘clearest’]; blob (D3 EUL, NLS) [not ‘Blob’]; dew (D2, D3 EUL, NLS) [not ‘Dew’]; outshins (NLS) [not ‘outshines’] 504. the (NLS) [not ‘The’]; breast (NLS) [not ‘Breast’]; placd in her Breast the Lily whytness tines (D2, D3 EUL) [not ‘The Lilly in her Breast its Beauty tines.’] 505. her Moŭth (NLS) [not ‘her Mouth’]; her Legs her arms her Cheeks her mouth her Een (D2 EUL), her Legs her Arms her Cheeks her Mouth & Een (D3 EUL) [not ‘Her Legs, her Arms, her Cheeks, her Mouth, her Een,’] 506. they’ll be my dead (D2, D3 EUL), will be my be my dead (NLS) [not ‘Will be my Dead’] 507. for Pate Loos her waes me and she Loos pate (D2 EUL), for Pate Loes her waes-me & she loos pate (D3 EUL), for Pate Loos her – waes-me & she Loos pate (NLS) [not ‘For Pate loes her,-- waes me, and she loes Pate;’] 508. While (D2 EUL), while (D3 EUL), and (NLS) [not ‘And’]; Neps (D2, D3 EUL), Neps (NLS) [not ‘Neps,’]; my unlucky fate (D2 EUL), ane unlucky (D2 EUL) [not ‘by some unlucky,’]; fate (D2, D3 EUL, NLS) [not ‘Fate’] 509. Vow (D2, D3 EUL, NLS) [not ‘Vow!’] 510. that (NLS) [not ‘That’]; preist (NLS) [not ‘Preist’]; that makes a Vow gies his Aith till he’s afore the priest (D2 EUL), to mak Rash aiths [redacted] till he’s afore the Preist (D3 EUL) [not ‘That makes rash Aiths till he’s afore the Priest.’] 511. daren tell (D2 EUL), darna speak (D3 EUL) [not ‘darena speak’]; Mind els (D2 EUL), mind els (D3 EUL, NLS) [not ‘Mind, else’]; Three (D2, D3 EUL) [not ‘three’] 512. but (NLS) [not ‘But’]; but my dout wad be ilk ane my Enemyie (D2 EUL), but dout ilk ane wad be my Enymie (D3 EUL) [not ‘But Doubt wad prove ilk ane my Enemy.’] 513. ‘tis [Sare?] (NLS) [not ‘Tis sair’]; thole (NLS) [not ‘thole,’]; art (NLS) [not ‘Art’]; Then its resol’vd I’ll try some magick Witches deelish Art (D2 EUL), then ‘tis resolvd, I’ll try some Deelish Art (D3 EUL) [not ‘‘Tis sair to thole,-- I’ll try some Witchcraft Art,’] 514. to break ane and win annithers heart (D2 EUL), to break ane & win the others[art?] heart (D3 EUL), to break ane & win the others heart (NLS) [not ‘To break with ane, and win the other’s Heart.’] 515. here Mawsy Lives a Witch that for sma price (D2 EUL), here Mausy Lives a witch that for Sma price (D3 EUL), here Mausy Lives a Witch that for Sma price (NLS) [not ‘Here Mausy lives, a Witch that for sma Price,’] 516. Cantrapes and gie (D2 EUL), Cant-raips & gie (D3 EUL), Cantraips & give (NLS) [not ‘Cantraips, and give’]; advice (D2, D3 EUL, NLS) [not ‘Advice’] 258

Notes: Collation for 1725 [Lines 517-30 not included in D2 EUL] 517. oercast (D3 EUL), oer-cast (NLS) [not ‘o’ercast’]; Night & (D3 EUL, NLS) [not ‘Night, and’] 518. and (D3 EUL) [not ‘And’]; ffeinds (D3 EUL), deels (NLS) [not ‘Deils’] 519. at (D3 EUL, NLS) [not ‘At’]; hours oer (D3 EUL, NLS) [not ‘Hours, o’er’]; Kirk yeard (D3 EUL) [not ‘Kirk-yards’] 520. and (D3 EUL, NLS) [not ‘And’]; Howks (NLS) [not ‘howks’]; unchristned Wanes (D3 EUL), uncristen’d waens (NLS) [not ‘uncristen’d Weans’] 521. boils (D3 EUL, NLS) [not ‘Boils’]; Warlocks (D3 EUL) [not ‘Warlock’s’]; pow (NLS) [not ‘Pow’] 522. rins (D3 EUL) [not ‘Rins’]; withersins (D3 EUL, NLS) [not ‘withershins’] 523. and (D3 EUL, NLS) [not ‘And’]; times (NLS) [not ‘Times’]; nine Times does good (D3 EUL) [not ‘seven Times does her’]; prayers (NLS) [not ‘Prayers’] 524. ‘till (D3 EUL) [not ‘Till’]; Lapland (D3 EUL, NLS) [not ‘Lapland’] 525. Mixd (NLS) [not ‘Mixt’]; venome (NLS) [not ‘Venom’]; & (NLS) [not ‘and’]; and Poision’d glew scumd aff vile Sodoms Cake (D3 EUL) [not ‘Mixt with the Venom of black Taids and Snakes.’] 526. of (NLS) [not ‘Of’]; of which she does the unhappy Pictures Make (D3 EUL) [not ‘Of this unsonsy Pictures aft she makes’] 527. of (D3 EUL, NLS) [not ‘Of’]; wishes to expire (D3 EUL), hates – (NLS) [not ‘hates;--’] 528. with lang & Racking Pain before her fire (D3 EUL), with Slaw & racking pains before afore a fire (NLS) [not ‘With slaw and racking Pains afore a Fire,’] 529. prins the Devilish pictŭres (NLS) [not ‘Prines, the devilish Pictures’]; Stuck fu of Priens the waxen Pictures melt (D3 EUL) [not ‘Stuck fou of Prines, the devilish Pictures melt,’] 530. the Pain by folk (D3 EUL), the pain by fowk (NLS) [not ‘The Pain by Fowk’] [After Line 530, two lines in D3 EUL, f.5R not in NLS or copytext: It’s very od, but maun be veritie Monks tell’t for truth [redacted] can clergy ever our Prests asserts it – Preists can never Lie] 531. Mause ay ay (NLS) [not ‘Mause: Ay, ay,’]; weel (NLS) [not ‘weil’]; Yonder She is come ay ay she kens fou weel (D2 EUL), Yonder sits Mause, ay ay she kens fu weel (D3 EUL) [not ‘And yonders Mause: Ay, ay, she kens fou weil,’] 532. when (D3 EUL, NLS) [not ‘When’]; Like (D2 EUL) [not ‘like’]; is coming (D2 EUL) [not ‘comes rinning’]; Deel (D2, D3 EUL, NLS) [not ‘Deil’] 533. [redacted] she & (D3 EUL) [not ‘She and’]; Beeking (D3 EUL) [not ‘beeking’]; yard (D3 EUL, NLS) [not ‘Yard’]; Beeking her sell she’s spining in her yard (D2 EUL) [not ‘She and her Cat sit beeking in her Yard,’] [After Line 533, cancelled line in D2 EUL, f40R: How bowd She Creeps how wrinkled & how bleard] 534. to (D3 EUL, NLS) [not ‘To’]; Erand (D3 EUL, NLS) [not ‘Errand,’]; Erand faith (D3 EUL, NLS) [not ‘Errand, faith’]; to tell speak my my Errand fye? faith, amaist, I’m feard (D2 EUL) [not ‘To speak my Errand, faith amaist I’m fear’d:’] 535. but (all) [not ‘But’]; tho I shoud (D2, D3 EUL), tho I Shoud (NLS) [not 259

The Gentle Shepherd ‘tho’ I should’]; Thrive (D2 EUL) [not ‘thrive’] 536. they (D3 EUL, NLS) [not ‘They’]; Galop (D3 EUL), galop (NLS) [not ‘gallop’]; Nic & Lasses (D3 EUL), Deels & Lasses (NLS) [not ‘Deels and Lasses’]; they Galop fast that Love & Mool driveNic & Lasses drive (D2 EUL) [not ‘They gallop fast that Deels and Lasses drive.’] Act II. Scene III. This scene is collated with D2, D3 EUL and NLS. There is no prologue in D2, D3 EUL. Title. Scene 5 (D2 EUL), Scene 2d (D3 EUL) [not ‘Act II. Scene III.’] [S. D.: ‘Bauldy & the Witch siting at | the gavle of a lite [sic] hut spinning on a Rock.’ (D2 EUL), ‘Enter Bauldy to Mause Sitting at | the gavel of a litle Cotage spinning’ (D3 EUL)] [not ‘Enter Bauldy’]. Neither draft has the prologue or Mause’s song. The entirety of Mause’s song is italicized in the copytext, but not in NLS.] [Prologue Scene’ (NLS) [not ‘PROLOGUE.’]] [In D2 EUL, f.41R Mause is referred to as ‘Witch,’ except for the last exchange, where she is merely ‘W’ (and Bauldy is ‘B.)] 537. green-Kail yard a litle (NLS) [not ‘green Kail Yard, a little’]; fount (NLS) [not ‘Fount’] 538. wher (NLS) [not ‘Where’]; Springs (NLS) [not ‘springs’] 539. wrinkle front (NLS) [not ‘Wrinkle-front’] 540. and (NLS) [not ‘And’]; She (NLS) [not ‘she’] 541. Peggy and now (NLS) [not ‘Peggy, now’] 542. Peggy [&?] now the King (NLS) [not ‘Peggy, now the King’s’] 543. & (NLS) [not ‘and’] 544. Peggy[&?] since the King (NLS) [not ‘Peggy, since the King’s’] 545. but (NLS) [not ‘But’] 546. and (NLS) [not ‘And’] 548. Now Peggy since (NLS) [not ‘Now, Peggy, since’]; Kings (NLS) [not ‘King’s’] 550. & rash (NLS) [not ‘and rash’]; ye still look Rash at 3 Score years & ten (D2 EUL), Ye Still look rash at three score years & ten (D3 EUL) [not ‘Ye look baith hale and rash at threescore ten.’] 551. Een (NLS) [not ‘E’en’]; threed (NLS) [not ‘Threed’]; litle (NLS) [not ‘little’]; din (NLS) [not ‘Din’]; Een twining out a threed wi little din (D2 EUL), E’en twyning out a threed with Litle din (D3 EUL) [not ‘E’en twining out a Threed with little Din,’] 552. and (NLS) [not ‘And’]; Refreshing (D3 EUL) [not ‘And beeking’]; before (D3 EUL) [not ‘afore’]; sun (D3 EUL) [not ‘Sun’]; and thowing my poor Cauld Limbs before the Sun (D2 EUL) [not ‘And beeking my cauld Limbs afore the Sun.’] 553. what (D3 EUL) [not ‘what’]; bring (D2 EUL), brings (NLS) [not ‘brings’]; bairn (NLS) [not ‘Bairn’]; sae this (D3 EUL) [not ‘this’]; gate (D2, D3 EUL, NLS) [not ‘Gate’] 554. is (D2, D3 EUL, NLS) [not ‘Is’]; ther (D2 EUL, NLS) [not ‘there’]; drive (D2 EUL), drive, (D3 EUL), lead – (NLS) [not ‘lead,--’]; thresh (D2, D3 EUL) [not ‘Thresh’]; 260

Notes: Collation for 1725 555. baith – (D3 EUL), Baith – (NLS) [not ‘baith:---’]; somthing (D3 EUL, NLS) [not ‘something’]; enough of Baith, but something of mair Wieght that requires (D2 EUL) [not ‘Enough of baith:--- But something that requires’] 556. your (D2 EUL) [not ‘Your’]; Helping (D3 EUL) [not ‘helping’]; hand (D2 EUL, NLS) [not ‘Hand’]; imploys a (D2 EUL), imploys now a’ (D3 EUL), Imploys now all (NLS) [not ‘imploys now all’] 557. hand! alake (D2 EUL), hand, Alake! (NLS) [not ‘Hand, alake!’] 558. a Poor faild that (D2 EUL), that (D3 EUL, NLS) [not ‘That’]; Age eild (D2 EUL] [not ‘Eild’]; & poortith (D2, D3 EUL, NLS) [not ‘and Poortith’]; [‘Bow’ missing from D2 EUL], Bow (D3 EUL, NLS) [not ‘bow’] [Lines 559-62 not included in D2 EUL] 559. wise and (D3 EUL, NLS) [not ‘wise, and’]; wee (D3 EUL) [not ‘we’] 560. or (D3 EUL, NLS) [not ‘Or’]; part (D3 EUL, NLS) [not ‘Part’]; Tells (D3 EUL) [not ‘tells’]; lie (D3 EUL) [not ‘Lie’] 561. of what kind (D3 EUL), Of what kind (NLS) [not ‘Of what Kind’] 562. that (D3 EUL, NLS) [not ‘That’]; heezes me sae far (D3 EUL) [not ‘lifts my Character’] 563. Weld skild in herbs, and seasons of the Moon (D2 EUL), weel skild versd in Herbs & seasons of the year moon (D3 EUL), Well versd in herbs & seasons of the Moon (NLS) [not ‘Well vers’d in Herbs and Seasons of the Moon,’] 564. by and Spells & Charms, (D2 EUL), by skilfu Charms (D3 EUL), by skillfu’ Charms (NLS) [not ‘By skilfu’ Charms’]; its (D2, D3 EUL, NLS) [not ‘‘tis’] [Lines 565-6 not included in D2 EUL] 565. fowk (NLS) [not ‘Fowk,’]; me Bauldy (NLS) [not ‘me, Bauldy,’]; What they say folk tells of me frankly let me hear (D3 EUL) [not ‘What Fowk says of me, Bauldy, let me hear;’] 566. keep naithing up ye (D3 EUL, NLS) [not ‘Keep naithing up, ye’] [Lines 567-8 not in D2 or D3 EUL] 567. well (NLS) [not ‘Well’]; me I (NLS) [not ‘me, I’] 568. ane tauks about, but a flaw (NLS) [not ‘an talks about you, but a Flaw’] 569. when (NLS) [not ‘When’]; wind (NLS) [not ‘Wind’]; roofless (NLS) [not ‘roofless’]; When Last time the wind us Glaud a Roofles Barn (D2 EUL), when Last the wind made Glaud a Roofles Barn (D3 EUL), when last the wind made Glaud a roofless Barn (NLS) [not ‘When last the Wind made Glaud a Roofless Barn,’] 570. when (D3 EUL) [not ‘When’]; Last (NLS) [not ‘last’]; doun (D3 EUL, NLS) [not ‘down’]; mithers (D3 EUL), Mithers (NLS) [not ‘Mither’s’]; yarn (D2 EUL, NLS) [not ‘Yarn’]; when Last time the Burn boor aff auld Mages yarn (D2 EUL) [not ‘When last the Burn bore down my Mither’s Yarn,’] [Lines 571 and 572 inverted in D2, f.40V and D3 EUL, f.6R] 571. when and (D2 EUL), when (D3 EUL, NLS) [not ‘When’]; Brawny (D2 EUL, NLS), Hawky (D3 EUL) [not ‘Brawny’]; Came (D2 EUL) [not ‘came’] 572. when (D2, D3 EUL, NLS) [not ‘When’]; Jeny (D2, D3 EUL) [redacted] Tibi (NLS) [not ‘Tibi’]; Kirn’d (D2 EUL), Kirnd (D3 EUL, NLS) [not ‘kirn’d’]; & (D3 EUL) [not ‘and’] 573. when (NLS) [not ‘When’]; chuffy cheeked (NLS) [not ‘chuffy-cheeked’]; When Elspa’s Chuffy Cheeked Ganging wean (D2 EUL), When Elspa’s 261

The Gentle Shepherd chuffy Cheeked ganging wean (D3 EUL) [not ‘When Bessy Freetock’s chuffy-cheeked Wean,’] 574. to (NLS) [not ‘To’]; turnd and coudna (NLS) [not ‘turn’d and cou’dna’]; dwind to ane Elf to a fairy dwind and coudna stand his lane (D2 EUL), t’a fairy turnd & coudna stand his lane (D3 EUL) [not ‘To a Fairy turn’d, and cou’dna stand its lane.’] 575. Roger (D2, D3 EUL) [not ‘Wattie’]; wanderd (D2, D3 EUL, NLS) [not ‘wander’d’]; thro[r?] (D2 EUL), throw (D3 EUL, NLS) [not ‘through’]; shaw (D2, D3 EUL, NLS) [not ‘Shaw’] 576. and (D2, D3 EUL, NLS) [not ‘and’]; himsell (D2, D3 EUL, NLS) [not ‘himsel’]; snaw (D2 EUL, NLS) [not ‘Snaw’] [Lines 577-8 not included in D2 EUL] 577. Mungos (D3 EUL) [not ‘Mungo’s’]; & (D3 EUL, NLS) [not ‘and’]; wi (D3 EUL) [not ‘with’]; fright (D3 EUL, NLS) [not ‘Fright,’] 578. Howdy (NLS) [not ‘Howdy’]; night (NLS) [not ‘Night’]; as he brang East the Midwife ae mirk night (D3 EUL) [not ‘When he brought East the Howdy under Night.’] 579. when (D2, D3 EUL, NLS) [not ‘When’]; Bawsy (D2, D3 EUL, NLS) [not ‘Bawsy’]; upo (D2 EUL) [not ‘upon’]; green (NLS) [not ‘Green’] 580. snood (NLS) [not ‘Snood’]; and Pegy Rock of Tow tint a Snood that neer was seen (D2 EUL), and pegy tint a Snood was nae-mair seen (D3 EUL) [not ‘And Sara tint a Snood was nae mair seen;’] 581. you Lucky gat (D2 EUL), You Lucky gat (D3 EUL, NLS) [not ‘You, Lucky, gat’]; wyt (D2 EUL) [not ‘Wyte’]; a (NLS) [not ‘a’’] 582. and (D3 EUL, NLS) [not ‘And’]; and a the fowk here fears ye Round about (D2 EUL) [not ‘And ilka ane here dreads ye round about;’] 583. and (D2, D3 EUL, NLS) [not ‘And’]; Sae (NLS) [not ‘sae’]; you (D3 EUL) [not ‘ye’]; skaith (D2 EUL) [not ‘Skaith’] 584. for (D2, D3 EUL, NLS) [not ‘For’]; ye Id (D2 EUL), ye I’se (D3 EUL), ye I’ll (NLS) [not ‘ye, I’ll’]; Laith (D2, D3 EUL) [not ‘laith’] 585. but when we Clip our sheep I’ll strive to pleas (D2 EUL), but when I neist mak Grots I’ll Strive to Please (D3 EUL), but when I neist make Grots I’ll strive to please (NLS) [not ‘But when I neist make Grots, I’ll strive to please’] 586. ye with seven fleeces & a haf slane Cheess (D2 EUL), you with a furlot o’ them mixt we pease (D3 EUL), you with a furlot of them Mixt with pease (NLS) [not ‘You with a Furlet of them mixt with Pease.’] 587. Lad – [not ‘Lad,—’]; demand (NLS) [not ‘Demand,’]; fair fa ye Lad – now tell me a’ ye’r Grief (D2 EUL), fair fa’ ye – lad – now tell me your demand (D3 EUL) [not ‘I thank ye Lad,—now tell me your Demand,’] 588. and if I can I’ll kend ye a relief (D2 EUL), and if I can I’se lend a helping hand (D3 EUL), and if I can I’ll lend my helping hand (NLS) [not ‘And, if I can, I’ll lend my helping Hand.’] 589. Like Peggy (NLS) [not ‘like Peggy,’]; Then I loo Peggs neps She doats on me (D2 EUL), Then I loo Pegy – Neps She doats on me (D3 EUL) [not ‘Then I like Peggy, — Neps is fond of me—’] 590. Pegy loos Pate and Pates oer he’s Bauld & slee for me (D2 EUL), Pegy loos Pate, & Patie’s bauld & slee (D3 EUL), Peggy likes Pate - & Patie’s bauld & 262

Notes: Collation for 1725 slee (NLS) [not ‘Peggy likes Pate;--- and Patie is bauld and slee,’] 591. and pate Loos his sweet Meg, & Neps I downa see (D2 EUL), and Loos sweet Meg – But Neps I downa See (D3 EUL), and Loos sweet Meg – but Neps I downa se (NLS) [not ‘And loes sweet Meg:— But Neps I downa see.—’] [Lines 592-3 not included in D2 EUL] 592. Coud (NLS) [not ‘Cou’d’]; luve (NLS) [not ‘Love’]; Neps (NLS) [not ‘Neps,’]; Wad ye turn Paties love to Neps & than (D3 EUL) [not ‘Cou’d ye turn Patie’s Love to Neps, and than’] 593. Peggie’s (D3 EUL, NLS) [not ‘Peggy’s’]; me Id (D3 EUL), me-Id (NLS) [not ‘me,--I’d’]; hapiest (D3 EUL), Happyest (NLS) [not ‘happiest’] [D2 EUL does not list a speaker for Lines 594-97.] 594. art (D3 EUL) [not ‘Art’]; a’ (D3 EUL) [not ‘the’]; Boŭls (NLS) [not ‘Bowls’]; yer Case is Plain I’ll try to make a it right (D2 EUL) [not ‘I’ll try my Art to gar the Bowls row right,’] 595. sae gae ye’r (D2 EUL), sae gae your (D3 EUL) [not ‘Sae gang’]; Ways and (D2 EUL, NLS), Ways & (D3 EUL) [not ‘Ways, and’] 596. ‘gainst (NLS) [not ‘‘Gainst’]; time (NLS) [not ‘Time’]; things (NLS) [not ‘Things’]; gin than ther’s be somethings prepaird by me I Shall soome Simpl thing (D2 EUL), gin than I sall some simple things prepare (D3 EUL) [not prepair ‘‘Gainst that Time I’ll some simple Things prepare,’] 597. worth baith your woo & Cheas, sae Still your care (D2 EUL), worth a’ your Peas & Groats tak nae mair care (D3 EUL), worth all your peas & Grots, take ye nae care (NLS) [not ‘Worth all your Pease and Grots, take ye nae Care.’] 598. Lucky I’ll come (D3 EUL), Well Mause I’ll come (NLS) [not ‘Well, Mause, I’ll come, gif’]; Lucky I’ll come gin I the gate Road can find (D2 EUL) [not ‘Well, Mause, I’ll come, gif I the Road can find;’] 599. but (D2, D3 EUL, NLS) [not ‘But’]; gif (D3 EUL) [not ‘if’]; Deel (D2, D3 EUL, NLS) [not ‘Deel,’]; wind (D2, D3 EUL, NLS) [not ‘Wind’] 600. Rain & Thunder maybe (NLS) [not ‘Rain and Thunder, may be, ]; its (NLS) [not ‘‘tis’]; and rain & Thunder maybe when its Late (D2 EUL), Syne rain & Thunder maybe when its Late (D3 EUL) [not ‘Syne Rain and Thunder, may be, when ‘tis late,’] 601. will (D2 EUL) [not ‘Will’]; night (D2 EUL) [not ‘Night’]; Mirk (D2 EUL, NLS) [not ‘mirk,’]; gate (D2 EUL, NLS) [not ‘Gate’]; will mak the night make the night sae Mirk I’ll tyne the gate (D3 EUL) [not ‘Will make the Night sae mirk, I’ll tine the Gate.’] 602. we’r (D2 EUL), we’re (D3 EUL) [not ‘We’re’]; a (D2 EUL) [not ‘a’’]; Symies (D2 EUL), Symmies (D3 EUL, NLS) [not ‘Symmie’s’]; at (NLS) [not ‘at a’]; feast (D2, D3 EUL, NLS) [not ‘Feast’] 603. come ye to like a (D2, D3 EUL) [not ‘O will ye come like’]; jest (D2, D3 EUL, NLS) [not ‘Jest’]; [Lines 604-5 inverted in D2 EUL, numbered ‘2’ then ‘1’ to show intended revision] 604. and (D2 EUL, D3 EUL, NLS) [not ‘And’]; sae (D2 EUL), ther (NLS) [not ‘there’]; diferent (D2 EUL) [not ‘different’]; havior (D2 EUL), haviors (D3 EUL), haviours (NLS) [not ‘Haviours’]; Spy (D2 EUL, D3 EUL, NLS) [not 263

The Gentle Shepherd ‘spy;’] 605. ther’s (D2, D3 EUL), Ther’s (NLS) [not ‘There’s’]; sall (D3 EUL) [not ‘shall’]; ther (D2, D3 EUL) [not ‘there’]; you & I (D2, D3 EUL, NLS) [not ‘you and I’] [After Line 605: ‘Mausic’ misprinted for ‘Mause’ in copytext.] 606. may (NLS) [not ‘may,’]; letna (NLS) [not ‘let na’]; whats (NLS) [not ‘what’s’]; its Like I may but letna on whats past (D2 EUL), Tis like I may — but letna on whats past (D3 EUL) [not ‘‘Tis like I may,-- but let na on what’s past’] 607. tween you & I els this night is your Last (D2 EUL),’tween you & I – els fear a Kitle Cast (D3 EUL), ‘tween you me – els fear a Kitle Cast (NLS) [not ‘’Tween you and me, else fear a kittle Cast.’] 608. if (D2, D3 EUL) [not ‘If’]; secrets (D2, D3 EUL) [not ‘Secrets’]; eer (D2, D3 EUL) [not ‘e’er’] 609. Ride (NLS) [not ‘ride’]; Ilka (NLS) [not ‘ilka’]; france (D2, D3 EUL, NLS) [not ‘France’] [After Line 609, S. D.: D2 EUL ‘Ex’, D3 EUL ‘Exit’ [not ‘Exit Bauldy’]] [D2 EUL: five additional lines in this exchange between Mause – marked as ‘Witch’ or simply ‘W’ – and Bauldy – marked ‘B’: or made in wax stuck fou of prens expire by slaw degrees before a lingring fire W Then Keep your Word and hope ye will we Sall succeed B I swear be Plotcock – farwell wish ye spees] [Before Line 610, S. D.: ‘Mausy Sola SG’ (D2 EUL), ‘Mause Sola’ (D3 EUL), ‘Mause (her lane)’ (NLS) [not ‘Mause (her lane.)’]] 610. fool (D2 EUL) [not ‘Fool’]; imagines as does (D2 EUL), Imagines as do (D3 EUL, NLS) [not ‘imagines, as do’]; Sic (D2 EUL, NLS) [not ‘sic,’]; This fool Imagines as do mony Sic (D3 EUL) [not ‘This Fool imagines, as do mony sic,’] 611. that (D2, D3 EUL, NLS) [not ‘That’]; auld nic (D2 EUL), Auld-Nic (D3 EUL), auld Nick (NLS) [not ‘Auld Nick’] 612. because (D2, D3 EUL, NLS) [not ‘Because’]; Education I (D2, D3 EUL, NLS) [not ‘Education, I’]; Taught (D3 EUL) [not ‘taught’] 613. to (D2, D3 EUL, NLS) [not ‘To’]; & (D3 EUL, NLS) [not ‘and’]; Vulgar (D2 EUL), Common (D3 EUL, NLS) [not ‘common’]; thought (D2, D3 EUL, NLS) [not ‘Thought’] [Two heavily redacted lines between 613 and 614 in D3 EUL, f.7R with 613 basically conforming to 614 D2 EUL.] 614. Ther (NLS) [not ‘Their’]; Gross mistake (D3 EUL, NLS) [not ‘gross Mistake’]; Quickly (D3 EUL, NLS) [not ‘quickly’]; I’ll gar this Fellow serve me a design (D2 EUL) [not ‘Their gross Mistake shall quickly now appear,’] 615. soon (NLS) [not ‘Soon’]; and soon they’ll (D3 EUL) [not ‘Soon shall they’]; brought, what (D3 EUL) [not ‘brought what’]; in sic discoverys that 264

Notes: Collation for 1725 shall shortly shine (D2 EUL) [not ‘Soon shall they ken what brought what keeps me here.’] 616. Charles & Rights’ restord (NLS) [not ‘Charles, and Right’s restor’d’]; Now since I hear great the Royal Charles is restord (D2 EUL), Now since the Royal Charles our Lord’s? King’s restord (D3 EUL) [not ‘Now since the Royal Charles, and Right’s restor’d,’] 617. Shepherdes (D3 EUL) [not ‘Sherphedess’]; I have good hopes to see my Noble Lord (D2 EUL) [not ‘A Shepherdess is Daughter to a Lord.’] 618. Bony Fundling (NLS) [not ‘bony Fundling’]; thats (NLS) [not ‘that’s’]; Glawd (NLS) [not ‘Glaud’]; My Bonny foster father to fair now Saint Clara cad Meg now with Glawd (D2 EUL), My Bony Charge Saint clara now with Glaud (D3 EUL) [not ‘The bony Fundling that’s brought up by Glaud,’] 619. wha (D2 EUL, NLS) [not ‘What’]; ane (D2 EUL, NLS) [not ‘an’]; Uncles (D2 EUL, NLS) [not ‘Uncle’s’]; Bestowd (D2 EUL, NLS) [not ‘bestow’d’]; wha has ane uncles care on her bestowd (D3 EUL) [not ‘Wha has an Uncle’s Care on her bestow’d.’] [Lines 620-3 not included in D2 EUL] 620. whose (D3 EUL) [not ‘Her’]; savd (D3 EUL), save’d (NLS) [not ‘sav’d,’]; friend (D3 EUL, NLS) [not ‘Friend’] 621. bowd (D3 EUL), bow’d (NLS) [not ‘Bow’d’]; Usurper & (D3 EUL), Usurper and (NLS) [not ‘Usurper, and’]; death (D3 EUL, NLS) [not ‘Death’] [Line between 621 and 622 redacted, D3 EUL, f.7R] 622. to Establish (D3 EUL, NLS) [not ‘To establish’]; & (D3 EUL) [not ‘and’]; plains (NLS) [not ‘Plains’] 623. which by Just (D3 EUL), that by Right (NLS) [not ‘That by right’]; Pertains (D3 EUL) [not ‘pertains’] 624. sweet teens (D2 EUL), sweet, Bloom (D3 EUL), sweet Bloom (NLS) [not ‘sweet Bloom,’]; & (D3 EUL, NLS) [not ‘and’] 625. of (D2, D3 EUL, NLS) [not ‘Of’]; shepherds (D2, D3 EUL, NLS) [not ‘Shepherd’s’] 626. Nane knows’t but I (D3 EUL), None kens knows’t but me— (NLS) [not ‘None knows’t but me;--’]; Non know’t but I eer the Exit Morning Sun if the morn wer Come (D2 EUL) [not ‘None knows’t but me;-- and if the Morn were come,’] 627. Tales shal gar them a (D2 EUL), tales will gar them a’ (D3 EUL) [not ‘Tales will gar them all’]; Dumb (D3 EUL, NLS) [not ‘dumb’] [Intended ‘Sc 7’ on D2 EUL f. 41V, remainder of page blank] [Two lines followed by ‘End of the Second Act’ redacted at the foot of page in NLS MS, f. 39] Act II. Scene IV. This scene is collated with D2, D3 EUL and NLS. The Prologue does not appear in the EUL MSS. Title. Sc 8 Patie & Roger (D2 EUL), Scene 3d (D3 EUL), Act 2d Scene 4 (NLS) [not ‘Act II. Scene IV.’] [Prologue (NLS) [not ‘PROLOGUE.’]] 628. plain (NLS) [not ‘Plain’] 629. & (NLS) [not ‘and’] 265

The Gentle Shepherd 630. in Love without (NLS) [not ‘In Love, without’]; stain (NLS) [not ‘Stain’] 631. Bonny Lass & (NLS) [not ‘bony Lass and’]; chearfu swain (NLS) [not ‘chearfu Swain’] 632. & kisses (NLS) [not ‘and Kisses’] [Speakers: Patie & Pegy (D2 EUL), Patie & Pegie (D3 EUL), Patie & Peggy (NLS) [not ‘PATIE and PEGGY.’]] [D2 EUL does not indicate Peggy is the first speaker] 633. Patie Let (D2, D3 EUL), Patie let (NLS) [not ‘PATIE let’]; gang I (D2, D3 EUL, NLS) [not ‘gang, I’] 634. We’r (D2 EUL) [not ‘We’re’]; cry’d hame, (D2 EUL), Cryd hame – (D3 EUL), cryd hame (NLS) [not ‘cry’d hame’]; & (D2, D3 EUL, NLS) [not ‘and’]; Jenny (D3 EUL), Jeny (D3 EUL) [not ‘Jenny’] [Two cancelled lines in D2 EUL, f.42R: Whats a’ the fray, go farrer up w’me up the Glen and gie me fifty kisses at a Bend] 635. [Cancelled line above: ‘I downa Part sae soon now wee’r our Lane’] I downa part sae soon now we’r our Lane (D2 EUL), I’m Laith to Part sae soon now we’r alane (D3 EUL) [not ‘I’m laith to part sae soon; now we’re alane,’] 636. and Roger (D2 EUL), Sen Roger (D3 EUL), and Roger (NLS) [not ‘And Roger’]; Jeny (D2 EUL), Jenny (D3 EUL) [not ‘Jenny’] 637. and thyre (D2 EUL), and they’re (D3 EUL), they’re (NLS) [not ‘They’re’]; as Blyth (D2 EUL), as blyth Content (D3 EUL) [not ‘as content,’] 638. to aft be alaone themsells as well as wee (D2 EUL), to be alane themsells as well as wee (D3 EUL, NLS) [not ‘To be alane themselves I judge as we.’] 639. here where the Gowans Thickest (D2 EUL), here wher the Gowans thickest (D3 EUL), here where the primrose thickest (NLS) [not ‘Here where Primroses thickest’]; green (D3 EUL) [not ‘Green’] 640. hard (D2, D3 EUL, NLS) [not ‘Hard’] troting Burnie (D2, D3 EUL), litle Burnie (NLS) [not ‘little Burnie’]; Lean (D2 EUL) [not ‘lean’] [Cancelled line in D2 EUL, f.42R: why does my Bony Lassie seem Blush sae Blate] 641. hark (D2, D3 EUL, NLS) [not ‘Hark’]; Lavrocks (D2, D3 EUL, NLS) [not ‘Lav’rocks’]; heads (D2, D3 EUL, NLS) [not ‘Heads’] 642. how (NLS) [not ‘How’]; throw (NLS) [not ‘through’]; how saft the west wind whistles throw the Reeds (D2 EUL), how sweet the west wind whistles throw the Reeds (D3 EUL) [not ‘How saft the Westlin Winds sough through the Reeds.’] 643. The scented Howm the Birds & Healthy Breez (D2 EUL), Howm the Birds & Hailsome Breez (D3 EUL), The scented H Meadows – Birds – & Healthy breez (NLS) [not ‘The scented Meadows,--- Birds,--- and healthy Breeze,’] 644. for (D2, D3 EUL, NLS) [not ‘For’]; ken, (D3 EUL), Ken (NLS) [not ‘ken’]; Pegy (D2, D3 EUL) [not ‘Peggy’]; Please (D2, D3 EUL) [not ‘please’] 645. sair (D2 EUL), Sair (D3 EUL) [not ‘sair’]; Constand mind (D2 EUL), being Kind (D3 EUL) [not ‘being kind’] 646. in (D3 EUL, NLS) [not ‘In’]; & Blind (D3 EUL, NLS) [not ‘& Blind’]; beside in that ye ca’ me Sumph Jocot & Jot & Blind (D2 EUL) [not ‘In speaking 266

Notes: Collation for 1725 sae ye ca’ me dull and blind.’] 647. if (D3 EUL), gif (NLS) [not ‘Gif’]; coud (D3 EUL, NLS) [not ‘could’]; ought (D2, D3 EUL, NLS) [not ‘ought’s’]; [redacted] to fancy I think ought (D2 EUL) [not ‘Gif I could fancy ought’s’] 648. as (NLS) [not ‘as’]; Megg (NLS) [not ‘Meg’]; as my dear Meg or ought but thee worth care (D2 EUL), as my dear Meg or ought els worthy Care (D3 EUL), Megg, or worthy of my Care (NLS) [not ‘As my dear Meg, or worthy of my Care.’] 649. Brei Breir (D3 EUL) [not ‘Brier’] 650. thine een than ony Glassy pool mair Clear (D2 EUL), Thy Eene Een than ony glassy Pool mair Clear (D3 EUL) [not ‘Thy Cheek and Breast the finest Flowers appear.’] [Lines 651-4 not included in D2 EUL] 651. thy (NLS) [not ‘Thy’]; words (D3 EUL, NLS) [not ‘Words’]; Excell (D3 EUL), excell (NLS) [not ‘excel’] 652. that (D3 EUL, NLS) [not ‘That’]; throŭ the Merle or Mavis (D3 EUL), throw the Merle or Mavis’ (NLS) [not ‘through the Merle or Mavis’’]; throtes (D3 EUL, NLS) [not ‘Throtes’] 653. the (D3 EUL) [not ‘thee’]; flowe’rs (D3 EUL), flowers (NLS) [not ‘Flowers’]; Busk (D3 EUL, NLS) [not ‘busk’]; field (D3 EUL) [not ‘Field’] 654. or (NLS) [not ‘Or’]; These to thy Cheek & Bony Bosom yeild (D3 EUL) [not ‘Or ripest Berries that our Mountains yield.’] [Line before 655 redacted in NLS. F.41: ŭnless it were to gratifie thy [illegible]] 655. The Ripest Fruit (D3 EUL), the rypest fruits (NLS) [not ‘The sweetest Fruits,’]; the Ripest fruits that hings upon the Tree (D2 EUL) [not ‘The sweetest Fruits, that hing upon the Tree,’] 656. are (D2, D3 EUL, NLS) [not ‘Are’]; inferiour (D2 EUL, NLS), Inferiour (D3 EUL) [not ‘inferior’]; kiss (D2 EUL) [not ‘Kiss’]; Thee (D2, D3 EUL) [not ‘thee’] 657. Thus Patie (D2 EUL), But Patie (D3 EUL), But Patie Patrick (NLS) [not ‘But Patrick’]; end (D2, D3 EUL, NLS) [not ‘End’]; fleach (D2 EUL) [not ‘fleech’] 658. but (D2 EUL), and (D3 EUL) [not ‘And’]; shoud (D2, D3 EUL) [not ‘should’]; Tremble (D3 EUL, NLS) [not ‘tremble’]; foxes (D2 EUL) [not ‘Foxes’] 659. Stay (D3 EUL) [not ‘stay,----’]; Joker (D3 EUL, NLS) [not ‘Joker,’]; I daren stay stay ye Raver Joaker Let me gang (D2 EUL) [not ‘I darna stay,---- ye Joker, let me gang,’] 660. or (D3 EUL, NLS) [not ‘Or’]; Swear (D3 EUL) [not ‘swear’]; Tempt (D3 EUL) [not ‘tempt’]; me to do (D3 EUL) [not ‘to do me’]; or swear yell never Tempt me to whats wrang (D2 EUL) [not ‘Or swear ye’ll never tempt to do me Wrang.’] 661. Sooner shall kindly mithers natural kindness drap (D2 EUL), Sooner sall mithers naturale kindness drap (D3 EUL), Sooner shall Mothers naturale fondness (NLS) [not ‘Sooner a Mother shall her Fondness drap,’] 662. and (D3 EUL) [not ‘and’]; Wean (D3 EUL) [not ‘Bairn’]; and wrang the wean smiling sits Bairn on her Lap (D2, D3 EUL) [not ‘And wrang the Bairn 267

The Gentle Shepherd sits smiling on her Lap.’] 663. sun (NLS) [not ‘Sun’]; Change (NLS) [not ‘change,’]; shal (NLS) [not ‘shall’]; the sun shal Change the Moon shall Cease to Change (D2 EUL, with line to show intended revised structure, i.e. ‘Moon to Change shall Cease’), the Sun Sall Change the Moon to Change sal Cease (D3 EUL) [not ‘The Sun shall change, the Moon to change shall cease,’] 664. The Gates to Climb & sheep to yield the fleece (D2 EUL), the Gates to Climb the Sheep to yield the fleece (D3 EUL), the Gaits to Clim-the Sheep to yield the fleece (NLS) [not ‘The Gaits to clim,-- the Sheep to yield the Fleece,’] 665. eer (NLS) [not ‘Ere’]; eer ought by me be shall eer be said or done (D2 EUL), e’er ought by me sall e’er be said or done (D3 EUL) [not ‘Ere ought by me be either said or done,’] 666. shall (NLS) [not ‘Shall’]; wrang – I (NLS) [not ‘Wrang, I’]; To wrang my Love – I swear by all’s aboon! (D2 EUL), To wrang my Love – I swear be all aboon! (D3 EUL) [not ‘Shall do thee Wrang, I swear by all aboon.’] [Before Line 667: Three and a half cancelled lines in D2 EUL, f.42V: but thus I’ll fauld thee to my parting Breast and thŭs & thŭs [the following lines retained in f.42V: Pegy Now keep yer Aith, And here I gie ye my hand My heart shall be furth coming on demand]] 667. Than (D2 EUL) [not ‘Then’]; Aith but (D2 EUL), Aith—but (D3 EUL, NLS) [not ‘Aith:-- But’]; will swear (D2 EUL) [not ‘will swear’] 668. haff a year (D2, D3 EUL), haf-a-year (NLS) [not ‘Haf-a-year’] 669. belive (D2 EUL) [not ‘believe’]; Loo me unko well (D2 EUL), loo me unko weel (D3 EUL), Like me wonder weel (NLS) [not ‘like me wonder well’] 670. but gin aninther Lass your heart shoud steel (D2 EUL), but if annither Lass your Heart soud Steal (D3 EUL), but if annither lass your heart shoud steal (NLS) [not ‘But if anither Lass your Heart shou’d steel,’] 671. Meg (D3 EUL) [not ‘Meg’]; forsaken bootles (D3 EUL, NLS) [not ‘forsaken, bootless’]; your Meg forsaken bootles might relute (D2 EUL) [not ‘Your Meg forsaken, bootless might relate’] 672. how she was Lood & gat great aiths frae by her unfaithfu’ pate (D3 EUL), how she was Lood by her unfaithfull Pate (D3 EUL), how she was dawted anes by faithless Pate (NLS) [not ‘How she was dauted anes by faithless Pate.’] 673. Im (D2 EUL) [not ‘I’m’]; Change ye (D2, D3 EUL, NLS) [not ‘change, ye’] 674. tho (D3 EUL, NLS) [not ‘Tho’] we’r (D3 EUL) [not ‘we’re’]; lood (D3 EUL), Lood (NLS) [not ‘loo’d’]; Tho wee’r but Young I’ve Lood ye mony a year (D2 EUL) [not ‘Tho’ we’re but young I’ve loo’d you mony a Year.’] 675. well when thou coud Scarcly (D2, D3 EUL), well – when thou coudst hardly (NLS) [not ‘well, when thou cou’dst hardly’]; Gang (D2 EUL) [not ‘gang’] 676. or Lisp out words (NLS) [not ‘Or lisp out Words,’]; Choosd (NLS) [not ‘choos’d’]; and or Lisp out words I choost thee frae the thrang (D2 EUL), or Lisp out words I Choosd thee frae the Thrang (D3 EUL) [not ‘Or lisp out Words, I choos’d ye frae the Thrang’] 268

Notes: Collation for 1725 677. of (D3 EUL) [not ‘Of’]; Bairns and (D3 EUL, NLS) [not ‘Bairns, and’]; Led (NLS) [not ‘led’]; of a the Barins & led the by the hand (D2 EUL) [not ‘Of a’ the Bairns, and led thee by the Hand,’] 678. aft (D3 EUL, NLS) [not ‘Aft’]; Bannert know (D3 EUL), Tansy Know, (NLS) [not ‘Tansy-know’]; Rashy strand (D3 EUL, NLS) [not ‘rashy Strand’]; aft to the flowry know or Rashy strand (D2 EUL) [not ‘Aft to the Tansy-know or rashy Strand;’] 679. Ther thuye (D2 EUL), thou (D3 EUL) [not ‘Thou’]; side with great delyt (D2 EUL), Side, with great delyt (D3 EUL), side — I took delyte (NLS) [not ‘Side,--- I took Delyte’] 680. I powd thee Rashes green with Roots sae Whyt (D2 EUL), I powd the Rashes green with roots sae Whyt (D3 EUL), to pou’ the Rashes green with roots sae whyt (NLS) [not ‘To pou the Rashes green, with Roots sae whyte,’] 681. of (D2, D3 EUL, NLS) [not ‘Of’]; which as (D2, D3 EUL, NLS) [not ‘which, as’]; fancy (D2, D3 EUL, NLS) [not ‘fancy’]; coud (D2, D3 EUL, NLS) [not ‘cou’d’] 682. for thee I made (D2, D3 EUL), for the I plet (NLS) [not ‘For thee I plet’]; & snood (D2, D3 EUL, NLS) [not ‘and Snood’] 683. when (NLS) [not ‘When’]; shepherds (D2 EUL, NLS) [not ‘Shepherds’]; hill (D2 EUL) [not ‘Hill’] 684. and (D2, D3 EUL) [not ‘And’]; tryd (D2, D3 EUL, NLS) [not ‘try’d’]; skill (D2 EUL, NLS) [not ‘Skill’]; 685. to (D2, D3 EUL, NLS) [not ‘To’]; toil (D2, D3 EUL, NLS) [not ‘Toil’]; 686. when (D2 EUL) [not ‘When’]; Bught gin een (D2 EUL), Bught at E’en (D3 EUL), Bught at Even (NLS) [not ‘Bought at Even’]; Thee (D3 EUL, NLS) [not ‘thee’] 687. when (D2 EUL, D3 EUL, NLS) [not ‘When’]; Corn (D2, D3 EUL) [not ‘Corns’]; yellow and the Hether Bells (D2 EUL), yellow and the HetherBells (D3 EUL), yellow & the Hether bells (NLS) [not ‘yellow, and the Hether Bells’] 688. bloom’d (NLS) [not ‘Bloom’d’]; Bony (D2 EUL), bony (D3 EUL) [not ‘bonny’]; Moor & Rising fells (D2 EUL, NLS), Moor & rising fells (D3 EUL) [not ‘Moor and rising Fells’] [prior to Line 689, D2 EUL: I’ve crap & shed throu I] 689. nor Briers (NLS) [not ‘or Briers’]; eer (NLS) [not ‘ere’]; Nor Birns nor prickly Whins ee’r trubled me (D2 EUL), Nor Birns nor prickly Whins eer Troubled me (D3 EUL) [not ‘Nae Birns or Briers or Whins ere troubled me:’] 690. if (D2, D3 EUL), gif (NLS) [not ‘Gif’]; coud (D2, D3 EUL, NLS) [not ‘cou’d’]; ripe Blae (D2 EUL) [not ‘blae’]; Berrys (D2, D3 EUL, NLS) [not ‘Berries’]; Thee (D3 EUL) [not ‘thee’] 691. when (D3 EUL, NLS) [not ‘When’]; tho (NLS) [not ‘thou’]; didst wrestle Run or Putt (D3 EUL) [not ‘thou didst wrestle, run, or putt’]; stane (NLS) [not ‘Stane’]; When Thou didst wrestle Run or, put the stane (D2 EUL) [not ‘When thou didst wrestle, run, or putt the Stane,’] 692. and (D2, D3 EUL, NLS) [not ‘And’]; day my heart was allway (D2 EUL), day my heart was allways (D3 EUL), day my heart was flightering (NLS) [not ‘Day, my Heart was flightering’] 269

The Gentle Shepherd 693. at (NLS) [not ‘At’]; joy (NLS) [not ‘Joy’]; Ay at these sports thou pleasant was to me (D2 EUL), at a’ these Sports thou Still gave Joy to me (D3 EUL) [not ‘At all these Sports thou still gave Joy to me;’] 694. for (NLS) [not ‘For’]; wrestle – (NLS) [not ‘wrestle,’]; Thee (NLS) [not ‘thee’]; for nane coud Run, or fieght, or put with Like thee (D2 EUL), for nane coud run or feight or Putt like Thee (D3 EUL) [not ‘For nane can wrestle, run, or putt with thee.’] 695. Jeny Sings Saft (D3 EUL) [not ‘JENNY sings saft’]; Jeny sings saft the Broom of Cowdon knows (D2 EUL) [not ‘JENNY sings saft the Broom of Cowdon Knows,’] 696. and Rosie Lilts (D3 EUL, NLS) [not ‘And Rosie lilts’]; and Rosie lilts the Milking of Ews (D2 EUL) [not ‘And Rosie lilts the Milking of the Ews;’] 697. Thers nane like Nansie Jeny Netles sings (D2 EUL), Ther’s nane like Nansie Jeny Netles sings (D3 EUL), Ther’s nane Like Nansie Jenny Netles Sings (NLS) [not ‘There’s nane like Nansie, Jenny Nettles sings:’] 698. at turns in Maygy Lauther Marion Dings (D2 EUL), at Turns in Maggy Lawder [Jeny] Marion dings (D3 EUL), at Turns in Maggy Lawder Marion Dings (NLS) [not ‘At Turns in Maggy Lawder, Marion dings:’] 699. but (D3 EUL, NLS) [not ‘but’]; Pegy (D2 EUL) [not ‘Peggy’]; skill (D2, D3 EUL) [not ‘Skill’] 700. Boat man (D3 EUL), Boat-man (NLS) [not ‘Boatman’]; Paties Mill (D3 EUL), patie’s-Mill (NLS) [not ‘Patie’s Mill’]; the Boat Man or the Lass of Pettys Mill (D2 EUL) [not ‘The Boatman, or the Lass of Patie’s Mill;’] 701. it (D2, D3 EUL, NLS) [not ‘it’]; times (D2 EUL, NLS) [not ‘Times’] 702. Tho (D2, D3 EUL, NLS) [not ‘Tho’’]; Sing well (D3 EUL), sing weel (NLS) [not ‘sing well’]; Sing like Thee (D3 EUL) [not ‘sing like thee’] 703. Eith (D3 EUL) [not ‘eith’]; disire (D2, D3 EUL, NLS) [not ‘desire’] 704. And Roosd by them we Loove beets up the fire (D2 EUL), and roosd by them we Love beets up the fire (D3 EUL), and Roosd by them we Love beets blaws up the fire (NLS) [not ‘And roos’d, by them we love, blaws up that Fire:’] [two redacted lines in D2 EUL. f.43R: O pate be true How well I love my Patie needsna try] 705. but wha Loves best (D3 EUL, NLS) [not ‘But wha loves best,’]; Time & Carriage (D3 EUL, NLS) [not ‘Time and Carriage’]; How well we Love But wha Loves Best Let time & [kindness?] Carriage try (D2 EUL) [not ‘But wha loves best, let Time and Carriage try;’] 706. be (NLS) [not ‘Be’]; Be constant Pate, my Love can shall time difie (D2 EUL), be Constant Pate – my Love sall Time defy (D3 EUL) [not ‘Be constant, and my Love shall Time defy.’] 707. now (D3 EUL, NLS) [not ‘now,’]; care sall (D3 EUL), care shall (NLS) [not ‘Care shall’]; be still as Now – and tho the snaw and a my cares shall be (D2 EUL), now and a’ my care sall (D3 EUL), now and a’ my care shall (NLS) [not ‘Be still as now, and a’ my Care shall be,’] 708. how (D2, D3 EUL, NLS) [not ‘How’]; what [redacted] (D3 EUL) [not ‘what’]; Thee (D3 EUL) [not ‘thee’] 709. Lave (NLS) [not ‘lave’]; Were’t Meg thou a fool or Gawky like the Rest lave 270

Notes: Collation for 1725 (D2 EUL), Wert Thow a flirt or Gawky like the Lave (D3 EUL) [not ‘Wert thou a Giglit Gawky like the lave,’] 710. wha (D2 EUL), that (D3 EUL) [not ‘That’]; litle Better (D2 EUL), litle beter (D3 EUL), Litle better (NLS) [not ‘little better’]; Ky nowt (D2 EUL) [not ‘Nowt’] 711. at (NLS) [not ‘at’]; ferly – sencles (NLS) [not ‘ferly;-- senseless’]; at nought theyl ferly, sencless things tales belive (D2 EUL), at nought they’ll ferly, Sencless Things belive (D3 EUL) [not ‘At nought they’ll ferly;-senseless Tales believe,’] 712. be (D3 EUL, NLS) [not ‘Be’]; things – for trifles greive (D3 EUL), heghts – for trifles grieve – (NLS) [not ‘Heghts, for Trifles grieve.---’]; be blyth for silliest Things, for trifles grieve (D2 EUL) [not ‘Be blyth for silly Heghts, for Trifles grieve.---’] 713. sic neer coud (D2 EUL), Sic neer coud (D3 EUL), sic ne’er coud (NLS) [not ‘Sic ne’er cou’d’]; heart (D2, D3 EUL) [not ‘Heart,’]; ken not (D3 EUL) [not ‘kenna’] 714. either (D2, D3 EUL, NLS) [not ‘Either’]; make a prize (D2 EUL), mak a prize (D3 EUL), keep a prize (NLS) [not ‘keep a Prize, or’]; Prove (D3 EUL) [not ‘prove’] [Cancelled hybrid version of Lines 715 and 716 in D2 EUL, f.43V: But thou in Beauty far excells them a] 715. but (D3 EUL) [not ‘But’]; Thou (NLS) [not ‘thou’]; [redacted] Sweetest (D2 EUL) [not ‘better’]; Sence (D2, D3 EUL, NLS) [not ‘Sense’]; flaw (D2, D3 EUL, NLS) [not ‘Flaw’] 716. as (D2, D3 EUL, NLS) [not ‘As’]; excells (D2, D3 EUL, NLS) [not ‘excels’] 717. thus and a my Care shall (D2 EUL), kind and a my care sall (D3 EUL), kind and a’ my care shall (NLS) [not ‘kind, and a’ my care shall’] 718. how (D2, D3 EUL, NLS) [not ‘How’]; Pleasing (D3 EUL) [not ‘pleasing’]; Thee (D3 EUL, NLS) [not ‘thee’] [Cancelled line before 719 in D2 EUL, f.43V: Aggreed then Patie now come away [two illegible words] be mist] 719. auld Auntys (D3 EUL), Auld Aunty’s (NLS) [not ‘auld Aunty’s’]; Beet gae agreed but harken yons auld Auntys Cry (D2 EUL) [not ‘Agreed;-- but harken yons auld Aunty’s Cry,’] 720. what stays you & I (D2 EUL), what Stays you & I (D3 EUL) [not ‘what can mak us stay’] [Before Line 721: ‘Patia’ misprint for ‘Patie’] 721. ferly (NLS) [not ‘ferly,’]; But or we Leave this green a kindly kiss (D2, D3 EUL) [not ‘AND let them ferly,--- now a kindly Kiss,’] 722. or Fifty Good anes wadna (D2 EUL), or fifty goodanes wad not (D3 EUL), or five-score good anes wad not (NLS) [not ‘Fivescore good anes wad not’]; amiss (D2, D3 EUL, NLS) [not ‘a-miss’] 723. and (D3 EUL, NLS) [not ‘And’]; Syne (NLS) [not ‘syne’]; and syn well the sang (D2 EUL) [not ‘And syne we’ll sing the Sang’]; tuneful (D3 EUL, NLS) [not ‘tunefu’’] 724. that (D2, D3 EUL, NLS) [not ‘That’]; Last Owk on you & me (D2 EUL, NLS), Last owk on you & me (D3 EUL) [not ‘last Owk on you and me’] 725. first (NLS) [not ‘first,’]; hyre (NLS) [not ‘Hyre’]; sing first than tak ye’r 271

The Gentle Shepherd hire (D2 EUL), Sing first then Take your hire (D3 EUL) [not ‘Sing first, syne claim your Hyre. ——— ——’] 726. Well (D2 EUL) [not ‘—— —— —— Well’] [Lines 727-52, i.e. the song, not included in D2 EUL; S. D.s not included in D2 EUL; also collated against ‘Patie and Pegie; A Sang.’—referred to as (1721)] 727. Delicious (D3 EUL) [not ‘delicious’]; warmnes (D3 EUL, NLS) [not ‘Warmness’] 728. and (NLS) [not ‘And’]; Eye, that (1721) [not ‘Eye that’]; and Rowing eye that Smiling tells the truth (D3 EUL) [not ‘And rowing Eye that smiling tells the Truth,’] 729. Ghess my Lassie (D3 EUL), guess my Lassie (NLS) [not ‘guess, my Lassie,’]; that, (1721) [not ‘that’]; I (1721) [not ‘I,’] 730. Love & why Shoud (D3 EUL, NLS) [not ‘Love, and why should’] 731. ye, Lad, gin we (1721), ye lad gin we (D3 EUL), ye Lad gif we (NLS) [not ‘ye, Lad, gif we’]; Confess oer (D3 EUL, NLS) [not ‘confess o’er’] 732. Cheap and syne the wooings (D3 EUL), Cheep and syne the wooings [not ‘cheap, and syne the wooing’s’] 733. oer Quickly tines her power (D3 EUL, NLS) [not ‘o’er quickly tynes her Power’] 734. fruit (D3 EUL) [not ‘Fruit,’]; hard & Sour (D3 EUL) [not ‘hard and sowr’]; like unripe fruit will tast but hard & sour (NLS) [not ‘Like unripe Fruit, will taste but hard and sowr.’] [Lines 735-38; no S. D. for Patie in NLS] 735. BUT when (1721), by Bŭt gin (D3 EUL), but gif gin (NLS) [not ‘BUT gin’]; oer lang (D3 EUL), oer Lang (NLS) [not ‘o’er lang’] 736. their sweetness (D3 EUL, NLS) [not ‘Their Sweetness’]; tine & Sae (D3 EUL), Tine and sae (NLS) [not ‘tine, and sae’]; ye: (1721) [not ‘ye’] 737. Red Cheeked you (1721), Red Cheeked ye (D3 EUL), red cheeked you (NLS) [not ‘Red cheeked you’]; Completly (D3 EUL, NLS) [not ‘completely’] 738. haff Year (1721) [not ‘Haf-year’]; and I have thold & wooed a lang half year (D3 EUL), and I have thold and woo’d a Lang haf year (NLS) [not ‘And I have thol’d and woo’d a lang Haf-year.’] [Before Lines 739-42, S. D.: singing fals into paties arms (NLS) [not ‘singing falls into Patie’s Arms.’]] 739. pou me; (1721) [not ‘pow me,’]; Pow me gently thys I fa (D3 EUL), pow me gently thus I fa’ (NLS) [not ‘pow me, gently thus I fa’’] 740. into (D3 EUL, NLS) [not ‘into’]; Paties (D3 EUL, NLS) [not ‘Patie’s’]; good & (D3 EUL) [not ‘good and’] 741. but Stint (D3 EUL), but stint (NLS) [not ‘But stint’]; frank (1721) [not ‘kind’]; Emprace (D3 EUL), embrace (NLS) [not ‘Embrace’] 742. and (D3 EUL, NLS) [not ‘And’]; farrer till (1721), farrer ‘till (D3 EUL), farder till (NLS) [not ‘farther till’] [Before Lines 743-46 S. D. in NLS, f.45: with his Left hand about her waist, [not ‘with his left Hand about her Waist.’]] 743. Charming Armfou! (1721), Charming Armfou (D3 EUL, NLS) [not ‘Charming Armfu’’]; Hence (1721) [not ‘hence’] 744. Live (D3 EUL) [not ‘live’]; Day, (1721), day (NLS) [not ‘Day,’] 272

Notes: Collation for 1725 745. A’ (1721, D3 EUL) [not ‘All’]; kisses oe’r (D3 EUL), kisses oer (NLS) [not ‘Kisses o’er’] 746. come, (1721) [not ‘come’] [Before Lines 747-52 S. D.: ‘Chorus’ (D3 EUL), ‘Chorus Sung by Baith’ (NLS) [not ‘Sung by Both.’]] 747. [illegible] Sun (D3 EUL) [not ‘Sun’]; galop doun (D3 EUL, NLS) [not ‘gallop down’]; westlin Skys (D3 EUL), Westlin skyes (NLS) [not ‘Westlin Skyes’] 748. gang (D3 EUL) [not ‘Gang’]; Soon (D3 EUL) [not ‘soon’]; bed & Quickly (D3 EUL, NLS) [not ‘Bed, and quickly’] 749. lash ye’r (1721) [not ‘Lash your’]; Steeds Post (D3 EUL), steeds post (NLS) [not ‘Steeds, post’] 750. and (D3 EUL, NLS) [not ‘and’]; hast (D3 EUL, NLS) [not ‘haste’]; BridelDay (1721), Bridal day (NLS) [not ‘Bridal Day’] 751. an (D3 EUL) [not ‘And’]; ye’r weary’d, honest Light (1721), your Wearied Honest Light (D3 EUL), you’re wearied honest Light (NLS) [not ‘your wearied, honest Light’] 752. sleep (D3 EUL, NLS) [not ‘Sleep’]; Like (D3 EUL, NLS) [not ‘like’]; night (D3 EUL, NLS) [not ‘Night’] [After Line 725, S. D. for D3 EUL: ‘Kiss & Exeunt’; for NLS: ‘Let doun the Courtain and let them Kiss’, [not ‘Let down the Curtain and let them kiss.’]] [End of the 2d. Act (NLS) [not ‘End of the Second ACT.’]] Act III. Scene I. This scene is collated with D2, D3 EUL and NLS. The Prologue does not appear in the EUL MSS. D2 EUL, f.44R instead has this S. D. after ‘Act 3d Scene 1’: [Sr Colin Solus, disguised in the figure of a Countrey Chapman with a Walet on his Back & an Ellwan in his hand with a Long Band] D3 EUL, f.10R carries the following direction, below ‘Act 3d’: [Sr Colin Solus, disguised in the Habit of ane Old Countrey Chapman with a whyt head & Beard a Walet on his Shoulder & Elwand in his hand] Title. Act 3d (D2 EUL), Act 3d, Scene 1 (D3 EUL, NLS) [not 'Act III. Scene I.'] [Prologue (D3 EUL) [not ‘PROLOGUE.’]] 753. Spreading (NLS) [not ‘spreading’] 754. and (NLS) [not ‘And’]; beard (NLS) [not ‘Beard’]; bleechd (NLS) [not ‘bleech’d’] 755. ane (NLS) [not ‘Ane’]; Hand his (NLS) [not ‘Hand, his’] 756. doubt (NLS) [not ‘Doubt’]; pedler (NLS) [not ‘Pedlar’] 757. but whisht it (NLS) [not ‘But whisht! It’]; The (NLS) [not ‘the’]; Masqurade (NLS) [not ‘Masquerade’] 758. that (NLS) [not ‘That’]; se (NLS) [not ‘see’] 759. observe (NLS) [not ‘Observe’]; pleasd the Loyal (NLS) [not ‘pleas’d the loyal’] 273

The Gentle Shepherd 760. throw (NLS) [not ‘Throw’]; Av’news anes (NLS) [not ‘Av’news, anes’] [Before Line 761: Sr William Solus (NLS: ‘Sr William’ larger size) [not ‘Sir William solus.’]] [Before Line 761: cancelled word in D2 EUL: This] 761. Low disguise (D2, D3 EUL, NLS) [not ‘low Disguise’] 762. s a while unknown delight Regale (D2 EUL), for somtime unknown delight (D3 EUL), for a space unknown delight (NLS) [not ‘for a Space unknown delight’] [Cancelled line in D2 EUL: and view my Boy in Rustick Manners Bred] 763. with (D2, D3 EUL, NLS) [not ‘With’]; view (D2, D3 EUL) [not ‘View’]; each delightfull plain (D2 EUL), ev’ry fertile plain (NLS) [not ‘every fertile Plain’] 764. which (D2, D3 EUL, NLS) [not ‘Which’]; Lost which (D2 EUL), lost which (D3 EUL), lost—which (NLS) [not ‘lost,---which’]; Mine (D3 EUL, NLS) [not ‘mine’] [Lines 765-6 in D2 EUL, f.44R are found close to the binding on the left-hand margin, with ‘yet here’ cancelled before line 767] 765. Joys some prospects pains (D3 EUL), Joys some prospects pain (NLS ) [not ‘Joys, some Prospects, Pain’]; yet amidst my joys som things my pains renew (D2 EUL) [not ‘Yet ‘midst my Joys, some Prospects, Pain renew’] 766. whilst (D3 EUL), Whilest (NLS) [not ‘Whilst’]; seat (D3 EUL, NLS) [not ‘seat’]; ruines (D3 EUL, NLS) [not ‘Ruins’]; Whilst I my Ruind lively native seat review (D2 EUL) [not ‘Whilst I my once fair Seat in Ruins view’] 767. Ah (NLS) [not ‘ah’]; desolatly (NLS) [not ‘desolately’]; Yonder my Castle desolatly stands (D2, D3 EUL) [not ‘Yonder, ah me! it desolately stands’] 768. without (NLS) [not ‘Without’]; Roof the gates falen (NLS) [not ‘Roof, the Gates faln’]; without a Roof, its gates faln off their Bands (D2 EUL), without a Roof its gates falen off their Bands (D3 EUL) [not ‘Without a Roof, the Gates faln from their Bands;’] 769. the (D2 EUL, NLS) [not ‘The’]; Broke doun no Chemneys Left (D2 EUL), broke doun no Chemnies Left (D3 EUL), broke doun no Chemney left (NLS) [not ‘broke down, no Chimny left’] 770. and (D2, D3 EUL) [not ‘The’]; Tapstry (D2, D3 EUL, NLS) [not ‘Tap’stry’]; Quiet (D2 EUL), Quite (D3 EUL) [not ‘all’] [Lines 771-2 not included in D2 EUL] 771. Offices house [redacted, illegible] bare & Broken Walls (D3 EUL), Stables & pavilions, broken walls! (NLS) [not ‘Stables and Pavilions, broken Walls!’] 772. that (D3 EUL, NLS) [not ‘That’]; stormy (D3 EUL) [not ‘rainy’] 773. Gardens, once adornd (D2 EUL), Gardens once adornd (D3 EUL) [not ‘Gardens once adorn’d’] 774. with (D2, D3 EUL, NLS) [not ‘with’]; Nature all (D2, D3 EUL, NLS) [not ‘Nature, all’]; made (D2 EUL) [not ‘makes’] [before line 775, D2 EUL cancels ‘there figurd Greens’] 775. where (NLS) [not ‘where’]; & peeble walks (NLS) [not ‘and Peeble Walks’]; where Round the figurd Green & Peeble walks (D2 EUL, NLS), where round the figur’d green and peeble walks (D3 EUL) [not ‘Where round the figur’d Green and Peeble Walks,’] 274

Notes: Collation for 1725 776. the (D3 EUL, NLS) [not ‘The’]; flowers (D3 EUL, NLS) [not ‘Flowrs’]; Nodding (NLS) [not ‘nodding’]; stalks (D3 EUL, NLS) [not ‘Stalks’]; the dewy flowers hang noding on their stalks (D2 EUL) [not ‘The dewy Flowrs hung nodding on their Stalks:’] [Cancelled line in D2 EUL, f.44R: Before the Sun on the high shadey Wals oerspread] [Lines 777-8 appear four lines later in D2 EUL] 777. But now oergroun (D2, D3 EUL), but over-grown (NLS) [not ‘But overgrown’]; netles dock & Brier (D2 EUL), netles Dock & Breir (D3 EUL), Netles docks & Brier (NLS) [not ‘Nettles, Docks and Brier’] 778. Jacinthis (D2 EUL), Jacicinths (D3 EUL), Jaccacinths (NLS) [not ‘Jaccacinths’]; Eglintines (D2, D3 EUL, NLS) [not ‘Eglintines’]; apear (D2 EUL) [not ‘appear’] 779. arround on Rising Walls ane ample shade (D2 EUL), How faild & Broke’s the Rising Ample shade (D3 EUL), how faild & broke’s the rising ample Shade (NLS) [not ‘How fail’d and brok’s the rising ample Shade,’] 780. where Peach & (NLS) [not ‘Where Peach and’]; the Peach & Apricock Nectarian Trees their Branches spread (D2 EUL), wher Peach & Nectrian Trees their Brenches spred (D3 EUL) [not ‘Where Peach and Nect’rine Trees their Branches spred,’] 781. Basking Basking in Rays these and early (D2 EUL), Basking in Rays and early (D3 EUL), Basking in Rays, and Early (NLS) [not ‘Basking in Rays, and early’] 782. fruits (D2 EUL), fruit (D3 EUL, NLS) [not ‘Fruit’]; view (D2, D3 EUL, NLS) [not ‘View’]; delightfull (D2, D3 EUL, NLS) [not ‘delightful’]; use (D2, D3 EUL, NLS) [not ‘Use’] 783. and all [illegible] all round in in Gaps the walls in Ruine Lye (D2 EUL), all round in Gaps the walls in ruine ly (D3 EUL), all round in gaps the Walls in ruine ly (NLS) [not ‘All round in Gaps, the Walls in Ruin ly,’] 784. and (D2, D3 EUL, NLS) [not ‘And’]; witherd (D2, D3 EUL, NLS) [not ‘withered’]; Stands (D3 EUL, NLS) [not ‘stands’]; Brenches (D2 EUL), branchs (NLS) [not ‘Branches’] 785. Soon (D3 EUL) [not ‘soon’]; repaird—and (D2 EUL, NLS), repaird— & (D3 EUL) [not ‘repaird;--and’] 786. forbids all greif – in hopes to se my Boy (D2 EUL), forbids all greif – when I’m to see my Boy (D3 EUL), forbids all grief – when I’m To see my Boy (NLS) [not ‘Forbids all Grief,-- when I’m to see my BOY,’] 787. the my only hope prop (D2 EUL), my only prop (NLS) [not ‘My only Prop’]; object (D2, D3 EUL, NLS) [not ‘Object’] 788. Now Since (NLS) [not ‘Since’]; Call’d (NLS) [not ‘call’d’]; fair! (NLS) [not ‘fair,’]; now twin’d of his dear Mother Chast as fair (D2, D3 EUL), Heaven too soon Call’d home his Mother fair! (NLS) [not ‘Since Heaven too soon call’d home his Mother fair,’] 789. Him e’er the Dawn (D2 EUL), Him e’er the dawn (D3 EUL), Him, eer the Rays (NLS) [not ‘Him ere the Rays’]; cleard (D2, D3 EUL, NLS) [not ‘clear’d’]; thought (D2 EUL, NLS) [not ‘Thought’] 790. carfuly (D2 EUL), Secretly (D3 EUL) [not ‘secretly’]; faithfull (D2, D3 EUL, NLS) [not ‘faithful’]; Brought (D2 EUL) [not ‘brought’] 275

The Gentle Shepherd 791. charged (D2 EUL), chargd (D3 EUL, NLS) [not ‘charged’]; Strictly (D3 EUL, NLS) [not ‘strictly’]; Conceal (D2, D3 EUL, NLS) [not ‘conceal’]; birth (D3 EUL) [not ‘Birth’] 792. till (D2, D3 EUL, NLS) [not ‘Till’]; Se (D3 EUL, NLS) [not ‘see’]; time (D2, D3 EUL) [not ‘Times’]; furth (D2 EUL) [not ‘forth’] 793. himself he Starts (NLS) [not ‘himself, he starts’]; hid from himself he ranges oer the Lawn he starts up be the Dawn (D2 EUL), hid himself he Starts up with the dawn (D3 EUL) [not ‘Hid from himself, he starts up by the Dawn,’] [Cancelled line in D2 EUL f.44V: and starts up Easy by the Rosie Dawn] 794. Carles (NLS) [not ‘carless’]; Height & (NLS) [not ‘Height and’]; and ranges carles oer the hieght or Lawn (D2 EUL), and ranges carles oer the Heights or Lawn (D3 EUL) [not ‘And ranges carless o’er the Height and Lawn,’] 795. after (D3 EUL, NLS) [not ‘After’]; Gay (NLS) [not ‘gay’]; after his wooly fleecy Charghe, sereenly Gay (D2 EUL) [not ‘After his fleecy Charge serenly gay,’] 796. with (D2, D3 EUL, NLS) [not ‘With’]; shepherds (D2, D3 EUL, NLS) [not ‘Shepherds’]; out (D2 EUL), out o’er (D3 EUL) [not ‘o’er’] 797. Life that’s (D2, D3 EUL, NLS) [not ‘Life, that’s’]; ambition (D2 EUL) [not ‘Ambition’] 798. Removd (D2 EUL), remov’d (D3 EUL) [not ‘Remov’d’]; Crowns & Courts how Chearfully (D2, D3 EUL, NLS) [not ‘Crowns and Courts, how cheerfully’] 799. A Quiet Contented mortall spends his time (D2 EUL), A Queit Contented mortall Spends his Time (D3 EUL), A Quiet Contented Mortall spēnds his Time (NLS) [not ‘A quiet, contented Mortal, spends his Time,’] 800. he in hearty health, his soul without a crime (D2 EUL), in hearty Health, his Soul without a Crime (D3 EUL), in hearty Health his soull ŭnstain’d with Crime (NLS) [not ‘In hearty Health his Soul unstain’d with Crime.’] 801. Towards (NLS) [not ‘tow’rds’]; Symons House (NLS) [not ‘Symon’s House,’]; way (NLS) [not ‘Way’]; Now Touards Symons house I’ll bend my way (D2 EUL), Now Toward good Symons house I’ll bend my way (D3 EUL) [not ‘Now tow’rds good Symon’s House, I’ll bend my Way,’] 802. and (D2 EUL) [not ‘And’]; se (NLS) [not ‘see’]; gamboling (D2 EUL, NLS) [not ‘Gamboling’]; day (D3 EUL) [not ‘Day’] 803. all (D2, D3 EUL) [not ‘All’]; Green in (D2, D3 EUL, NLS) [not ‘Green, in’]; ring (D2, D3 EUL) [not ‘Ring’] 804. My Youthfull tennants Blythly dance & sing (D2 EUL), my Youthfull Tennants Blythly Dance & Sing (D3 EUL), my Youthfull Tennants Gaylie Dance & Sing (NLS) [not ‘My youthful Tenants gaylie dance and sing.’] [S. D.: Exit Sr Colin (D2, D3 EUL), Exit Sr William (NLS) [not ‘Exit Sir William.’]] Act III. Scene II. This scene is collated with D2, D3 EUL and NLS. The Prologue does not appear in the EUL MSS. 276

Notes: Collation for 1725 Title. Scen. 2d Act 3d (D2 EUL), Act 3d Scene 2d (D3 EUL, NLS) [not ‘Act III. Scene II.’] [Prologue (NLS) [not ‘PROLOGUE.’]] 805. Tis (NLS) [not ‘‘TIS’]; Symons house (NLS) [not ‘Symon’s House,’]; Step (NLS) [not ‘step’] 806. Round & (NLS) [not ‘round and’] 807. ther’s (NLS) [not ‘There’s’]; superflous (NLS) [not ‘superfluous’]; pain (NLS) [not ‘Pain’] 808. Costly (NLS) [written over illegible word] [not ‘costly’] 809. a (NLS) [not ‘A’]; peat (NLS ) [not ‘Peat’] 810. glances (NLS) [not ‘Glances’]; floor (NLS) [not ‘Floor’] 811. the green-horn spoons Beech Luggies mingle (NLS) [not ‘The GreenHorn Spoons, Beech-Luggies mingle’] 812. on skelfs forgainst the door (NLS) [not ‘On Skelfs foregainst the Door.’] 813. while (NLS) [not ‘While’] 814. the (NLS) [not ‘The’] 815. with the brown (NLS) [not ‘With the Brown’] 816. snuff Crack & (NLS) [not ‘Snuff, crack, and’] [Speakers: Symon, Glaud & Elspa (D2 EUL), Symon, Glaud, & Elspa (D3 EUL), Symon Glaud & Elspa (NLS) [not ‘SYMON, GLAUD, and ELSPA.’]] 817. wer (D3 EUL) [not ‘were’]; sells, (D2 EUL), sells (D3 EUL), sells – (NLS) [not ‘sells,--’] 818. the (D3 EUL) [not ‘The’]; Merrylie (NLS) [not ‘merrylie’]; the Bairns Bob, round with ither merryly (D2 EUL) [not ‘The Bairns bob round with other merrylie,’] 819. trouth Patie’s (D2 EUL), Trowth, Symon, Patie’s (D3 EUL) [not ‘Troth, Symon, Patie’s’]; Strapan (D2 EUL, NLS) [not ‘strapan’]; Handsom Lad (D2 EUL) [not ‘strapan Lad’] 820. and (D3 EUL, NLS) [not ‘And’]; nor (D3 EUL) [not ‘than’]; a better Look nor his I never Bade (D2 EUL) [not ‘And better Looks than his I never bade.’] [Lines 821-2 not included in D2 EUL] 821. ‘Mang A’ our Lads he carrys (D3 EUL) [not ‘Amang our Lads he bears’] 822. and (D3 EUL, NLS) [not ‘and’]; tale (NLS) [not ‘Tale’]; Cleverest (NLS) [not ‘cleverest’]; a (D3 EUL) [not ‘a’’] 823. Poor Man (D2 EUL), Poor Man! (D3 EUL) [not ‘Poor Man! –’]; baith— (NLS) [not ‘baith’] 824. good (D3 EUL), good— (NLS) [not ‘good,’]; skaith (D3 EUL) [not ‘skaith’]; Go[redacted]d mak keep him good and help hide ay frae skaith (D2 EUL) [not ‘God mak him good, and hide him ay frae Skaith.’] [The ‘7’ in the page number ‘37’ is inverted in the copy used for the copytext (British Library), 162 d.59, as well as the copies in the Houghton Library (Harvard), *EC7.R1487G 1725; Huntington Library, 124143; and National Library of Scotland, F.7.f.22.] [Lines 825-6 not included in D2 EUL] 825. say’t (NLS) [not ‘say’t’,’]; weell (D3 EUL) [not ‘well’] 826. that (D3 EUL, NLS) [not ‘That’]; Late or air (D3 EUL, NLS) [not ‘late or Air’] 277

The Gentle Shepherd 827. Good-wife – (NLS) [not ‘Goodwife,’]; I true goodwife and I be na mistane (D2 EUL), I true goodwife gin I be no mistane (D3 EUL) [not ‘I trow, Goodwife, if I be not mistane,’] 828. he (D2, D3 EUL, NLS) [not ‘He’]; Pegys (D2 EUL), Peggys (D3 EUL) [not ‘Peggy’s’] 829. and trouth (D2 EUL), and trowth (D3 EUL) [not ‘And troth’]; Nice (D2, D3 EUL), Nice (NLS) [not ‘Niece’] [Lines 830-1 not included in D2 EUL] 830. as (D3 EUL, NLS) [not ‘As’]; ken (D3 EUL, NLS) [not ‘ken;’]; Bonyer needs na be (D3 EUL), Bonnyer needsna [redacted] be (NLS) [not ‘bonnyer needna be’] 831. nor better— ‘beit she wer nae kin to me (D3 EUL), nor better —’be’t she wer nae kin to me (NLS) [not ‘Nor better,—be’t she were nae Kin to me.’] 832. Ha Glaud!—I doubt that ne’er (NLS) [not ‘Ha Glaud! I doubt that neer’]; Ha! Glaud ^ Im sure that ^ I doubt neer will be a match I’m sure (D2 EUL) [not ‘Ha Glaud! I doubt that neer will be a Match,’] [After Line 832, D2 EUL, f.45R: that no to say] 833. Paties wild (D3 EUL, NLS) [not ‘Patie’s wild,’]; for Pate’s sae wild he’ll no be eith to catch (D2 EUL) [not ‘My Patie’s wild, and will be ill to catch;’] 834. and (D3 EUL, NLS) [not ‘And’]; wer (D3 EUL, NLS) [not ‘were,’]; not (D3 EUL) [not ‘no’]; and e’er he and e’re he did were for Reasons I’ll no tell (D2 EUL) [not ‘And or he were, for Reasons I’ll no tell,’] 835. mixt, mixd (D2, D3 EUL) [not ‘mix’d’]; mools (D2 EUL) [not ‘Mools’]; Sell (D3 EUL) [not ‘sell’] 836. what (D2 EUL) [not ‘What’]; hae thers (D2 EUL), have, thers (D3 EUL), have – thers (NLS) [not ‘have, there’s’]; nane (D2, D3 EUL, NLS) [not ‘nane,’] 837. unless (NLS) [not ‘Unless’]; unless ye that ye cast up her Tochers poor (D2 EUL), unless that ye cast up – her Tocher’s poor (D3 EUL) [not ‘Unless ye may cast up that she’s but poor:’] 838. but gin (D2, D3 EUL) [not ‘gif’]; Marry (D2 EUL) [not ‘marry’]; mind (D3 EUL) [not ‘Mind’] 839. I’ll be (D2 EUL) [not ‘I’ll be’]; Jenny (D2 EUL) [not ‘Jenny’] 840. fourscore (NLS) [not ‘Fourscore’]; Breeding (NLS) [not ‘breeding’]; birn (NLS) [not ‘Birn’]; twa 4 score of Bob taild yows Ews & five young Ky of my (D2 EUL), four score of Bob-Taild Ews of my ain Birn (D3 EUL) [not ain Birn ‘Fourscore of breeding Ews of my ain Birn,’] 841. five (D2, D3 EUL, NLS) [not ‘Five’]; [redacted] that (NLS) [not ‘that’] [Lines 842-3 not in D2 or D3 EUL] 842. peggy (NLS) [not ‘Peggy’]; day (NLS) [not ‘Day’]; bride (NLS) [not ‘Bride’] 843. by (NLS) [not ‘By’]; & out-owre (NLS) [not ‘and attour,’] 844. Speaning (D2, D3 EUL) [not ‘spaining’]; Langs (D2 EUL), Lang’s (D3 EUL) [not ‘lang’s’]; time (NLS) [not ‘Time’] 845. and a Quey Caf (D2 EUL), and a Quey Caff (D3 EUL), and twa Quey Cawfs (NLS) [not ‘And twa Quey Cawfs’]; Them (D3 EUL) [not ‘them’] 846. ye (D2 EUL) [not ‘Ye’]; fair Kind Glaud (D2 EUL), fair kind Glaud (D3 EUL), fair kind Glaud (NLS) [not ‘fair, kind Glaud,’]; spear (D2 EUL) 278

Notes: Collation for 1725 [not ‘speer’] 847. what maybe (D2, D3 EUL), what may be (NLS) [not ‘may be’]; na (D2 EUL) [not ‘not’]; fitt (NLS) [not ‘fit’]; shoud (D2, D3 EUL, NLS) [not ‘should’] 848. Or this day Aught days Likely Glaud shall Learn (D2 EUL), Or This day aught days Likely He sall Learn (D3 EUL), Or this day eight days likely he shall Learn (NLS) [not ‘Or this Day Eight Days, likely he shall learn,’] 849. that our denial (D2 EUL), That our denyal (D3 EUL), That our denial (NLS) [not ‘That our Denial’] 850. well (NLS) [not ‘Well’]; o’t, (D2 EUL), o’t – (D3 EUL, NLS) [not ‘o’t,--’]; gi’es (D2 EUL), gies (D3 EUL) [not ‘gie’s’]; ither (D2 EUL) [not ‘other’] 851. well (D2 EUL), we’ll (D3 EUL, NLS) [not ‘We’ll’]; Health (D2 EUL), Healths (D3 EUL, NLS) [not ‘Healths,’]; way (D2, D3 EUL, NLS) [not ‘Way’]; End (D3 EUL) [not ‘end’] [After Line 851, S. D.: gaes (D3 EUL) [not ‘gae’]; Round (NLS) [not ‘round’]; Here their Health gaes roŭd the 3 (D2 EUL) [not ‘Their Healths gae round’]] 852. Tell (D3 EUL) [not ‘tell’]; Glaud, (D2 EUL), Glaud (D3 EUL) [not ‘Glaud,--’]; its (D2 EUL, NLS), it’s (D3 EUL) [not ‘‘tis’] 853. Nice (D2, D3 EUL, NLS) [not ‘Niece’]; fundling (D2, D3 EUL), fundling (NLS) [not ‘Fundling’]; Laid (D2 EUL, NLS) [not ‘laid’] 854. down (D2, D3 EUL, NLS) [not ‘Down’]; Hallan (D3 EUL, NLS) [not ‘Hallon’]; side ae morn in (D2 EUL), side ae morn of (D3 EUL) [not ‘Side, ae Morn in’] 855. right (D2, D3 EUL, NLS) [not ‘Right’]; Rowd (D2 EUL) [not ‘row’d’]; Bedded (D3 EUL) [not ‘beded’]; hay (D2 EUL, NLS) [not ‘Hay’] 856. Clatrin, Madge (D2 EUL), Clatterin Madge (D3 EUL), Clatteran Madge (NLS) [not ‘clatteran, Madge’]; Titty (D2, D3 EUL, NLS) [not ‘Titty,’]; sic these flaws (D2 EUL), sic flaws (D3 EUL) [not ‘sic Flaws’] 857. when eer the [illegible] ever Meg- her Cankerd humour Gaws (D2 EUL), when ever Meg her Cankert humour Gaws (D3 EUL), when ever Megg her Cankert humour Gaws (NLS) [not ‘When ere our Meg her cankart Humour gaws.’] [Before Line 858, S. D.: Enter Meg Jeny (D2 EUL) [not ‘Enter Jenny.’]] 858. ther’s ane auld-man (D3 EUL), there’s ane Auld man (NLS) [not ‘there’s an auld Man’]; O [illegible] [F?]ather thers a Chapman on the Green (D2 EUL) [not ‘O Father, there’s an auld Man on the Green,’] 859. the (NLS) [not ‘The’]; fortune-teller (NLS) [not ‘Fortune-teller’]; the wisest spae man that was ever seen (D2 EUL), the unkoest fortuneteller eer was Seen (D3 EUL) [not ‘The fellest Fortune-teller e’er was seen;’] 860. he Tents (D3 EUL) [not ‘He tents’]; Loofs and (D3 EUL), Loofs, & [not ‘Loofs, and’]; Lugs (D3 EUL) [not ‘whops’]; he tenst our Loofs & syn Lugs out a Book (D2 EUL) [not ‘He tents our Loofs, and syne whops out a Book,’] 861. turns (NLS) [not ‘Turns’]; gies (NLS) [not gie’s’]; turns oer the Leaves than gies (D2 EUL), turns oer the Leavs then gies (D3 EUL) [not ‘Turns owre the Leaves, and gie’s’] 862. and tells the odest things ye ever heard (D2 EUL), syne Tells the odest 279

The Gentle Shepherd Tales that eer ye heard (D3 EUL), syne tells the Odest tales that e’er ye heard (NLS) [not ‘Syne tells the oddest Tales that ere ye heard.’] 863. his hairs are gray & Lang & grey his Beard (D2 EUL), his hair is gray & Lang & gray’s his Beard (D3 EUL), his head is Gray & Lang & Gray’s his Beard (NLS) [not ‘His Head is gray, and lang and gray his Beard.’] 864. gae (D3 EUL) [not ‘Gae’]; Bring (D2 EUL, NLS) [not ‘bring’]; in, Let (D2 EUL), in, let’s (D3 EUL), in we’ll (NLS) [not ‘in, we’ll’]; Say (D3 EUL) [not ‘say’] 865. shal gae (D2 EUL), sall gae (D3 EUL) [not ‘shall gang’]; bye (NLS) [not ‘by’]; house this day (D2 EUL), House this Day (D3 EUL) [not ‘House to Day’] [Lines 866-9 not included in D2, D3 EUL] 866. but (NLS) [not ‘But’]; Telling fortŭnes (NLS) [not ‘telling Fortunes’] 867. he (NLS) [not ‘He’]; mear (NLS) [not ‘Mear’] 868. the Truth (NLS) [not ‘The truth’]; therr (NLS) [not ‘their’] 869. for (NLS) [not ‘For’]; there-out (NLS) [not ‘thereout’] [Before Line 870, S. D.: D2 and D3, lacking 866-69, combine S. D. 865, which has Jenny exiting, and her return after 870: Exit & Returns with | Sir Colin and after them Roger (D2 EUL), Exit Jeny & Returns with | Sir Colin & Patie’ (D3 EUL), (Returns Jenny Bringing in Sir William | with them Patie) (NLS) [not ‘Returns Jenny, bringing in Sir William; | with them Patie.’]] 870. Ye’r (D2, D3 EUL) [not ‘Ye’re’]; Welcome (D2 EUL) [not ‘welcome’]; Man, here (D2 EUL). Men Carle here (D3 EUL), Carle – here (NLS) [not ‘Carle,-- here’]; seat (D2, D3 EUL) [not ‘Seat’] 871. thanks good-man (NLS) [not ‘Thanks, Goodman’]; with a my Heart good man I’se no be blate (D2 EUL), with A’ my heart Good-man I’se no be blate (D3 EUL) [not ‘I give ye Thanks, Goodman, Ise no be blate.’] [D2 and D3 EUL lack the S. D. ‘drinks’ attached to Glaud.] 872. friend— (D2 EUL), freind (D3 EUL) [not ‘Friend:--’]; hou (D2 EUL), how (D3 EUL, NLS) [not ‘How’]; came (D2, D3 EUL, NLS) [not ‘cam’]; day (D2, D3 EUL, NLS) [not ‘Day’] 873. litle (NLS) [not ‘Litle’]; I thank ye kindly –, een but litle Way (D2 EUL), I thank ye kindly – een but Litle Way (D3 EUL) [not ‘I pledge ye Nibour,--e’en but little Way:’] 874. age, (D2 EUL), age (D3 EUL) [not ‘Eild,’]; wee pice gate (D2, D3 EUL), wie-pice gate (NLS) [not ‘wie Piece Gate’]; Lang (D2, D3 EUL) [not ‘Lang’] 875. a mile Twa (D2 EUL), twa (D3 EUL, NLS) [not ‘Twa’]; mile (D2, D3 EUL), miles (NLS) [not ‘Miles’] [Cancelled line in D2 EUL, f.45V: Gae Elspa bring [illegible] Banocks ben] 876. Here to Stay (NLS) [not ‘here to stay’]; night (NLS) [not ‘Night’]; y’ll Stay this night if that ye like wi’ me (D2 EUL), Ye’r welcome here to stay a night wi me (D3 EUL) [not ‘Ye’re welcome here to stay all Night with me,’] 877. and (NLS) [not ‘And’]; Bed & boord (NLS) [not ‘Bed and Board’]; and tak sic bed & Boord as we gin can gie (D2 EUL), and tak sic Bed an Boord as we Can gie (D3 EUL) [not ‘And take sic Bed and Board as we can gi’ ye.’] 878. ŭnsought (D2 EUL), unsought – [not ‘unsought,--’]; and if ye hae (D2 EUL) [not ‘well gin ye have’] 879. that ye Loo well & wad his fortune Learn (D2, D3 EUL), that ye Lyke 280

Notes: Collation for 1725 well, and wad his fortune Learn (NLS) [not ‘That ye like well, and wad his Fortune learn,’] 880. sall (D3 EUL), Shall (NLS) [not ‘Shall’]; Imploy (D2, D3 EUL) [not ‘imploy’]; outmost (D2, D3 EUL) [not ‘farthest’]; o’ (D2 EUL) [not ‘of’]; skill (D2 EUL) [not ‘Skill’] 881. to (NLS) [not ‘To’]; Ill (NLS) [not ‘ill’]; to tell how’t Plainly beet or good or ill (D2 EUL), to Spae it Plainly be’t or good or ill (D3 EUL) [not ‘To spae it faithfully, be’t good’ or ill.’] 882. Lad – (NLS) [not ‘Lad,--’]; only that Lad I have alake nae mair (D2 EUL), Only That Lad, alake! I have nae mair (D3 EUL) [not ‘Only that Lad,-alake! I have nae mae,’] 883. or gies me to gie me either Pleasure now now or eeks my Care (D2 EUL), to gie me either Pleasure now or care (D3 EUL), either to give wae make Joyfull now or Wae (NLS) [not ‘Either to make me joyful now or wae.’] 884. youg (D2 EUL) [not ‘Young’]; Man (D2, D3 EUL, NLS) [not ‘Man,’]; lets (D2 EUL), Let’s (D3 EUL) [not ‘let’s’]; hand (D2 EUL), hand— (D3 EUL, NLS) [not ‘Hand,--’]; Sneer (D3 EUL, NLS) [not ‘sneer’] 885. skills (D2 EUL) [not ‘Skill’s’]; litle (D2 EUL, NLS), Litle (D3 EUL) [not ‘little’] 886. afore the Point (D2, D3 EUL), afore the Point – (NLS) [not ‘before the Point:--’]; but (D2, D3 EUL) [not ‘But’]; Bide (D2 EUL), byde (NLS) [not ‘bide’] 887. thers (D2 EUL), ther’s (D3 EUL) [not ‘there’s’]; yer (D2 EUL) [not ‘your’]; side (D2 EUL), Syde (NLS) [not ‘Side’] 888. Betooch us to; ! & (D2 EUL), Betooch us to! and (D3 EUL), Betootch us to! – and (NLS) [not ‘Betootch-us-to!—and’]; wate (D3 EUL) [not ‘wat’]; thats (D2 EUL, NLS) [not ‘that’s’]; true; (NLS) [not ‘true,’] 889. awa awa! the Deels oer great wi you! (D2 EUL), awa Awa! the Deels oer grit wi you (D3 EUL), Awa, Awa! The Deels owre grit [two redacted words] wi’ you (NLS) [not ‘Awa, awa! the Deel’s owre grit wi’ you.’] 890. twa inch (D2 EUL), four Inch (D3 EUL), four inch (NLS) [not ‘Four Inch’] 891. scarce (D2, D3 EUL) [not ‘Scarce’]; Seen (NLS) [not ‘seen’]; sark (D2 EUL, NLS) [not ‘Sark’] 892. I’ll (D2, D3 EUL, NLS) [not ‘Ill:’ misprint]; mair (D2, D3 EUL, NLS) [not ‘mair,’]; lad (D2 EUL) [not ‘Lad’]; spared (D2 EUL), Spaird (D3 EUL, NLS) [not ‘spair’d’] 893. but (D2, D3 EUL, NLS) [not ‘But’]; time he’ll (D2 EUL), Time he’ll (D3 EUL), while he’ll (NLS) [not ‘while, he’ll’]; Braŭ Rich (D2 EUL) [not ‘braw rich’] [Lines 894-5 do not appear in D2 or D3 EUL] 895. – Strange (NLS) [not ‘strange’]; man (NLS) [not ‘Man’]; Thou! (NLS) [not ‘thou?’] 896. fair fa ye’r heart – (D2, D3 EUL), fair fa your heart – (NLS) [not ‘Fair fa’ your Heart,’]; its (D2 EUL, NLS) [not ‘‘tis’]; wealth (D2, D3 EUL, NLS) [not ‘Wealth’] 897. lets bang the Bicquor (D2 EUL), Let’s bang the Bicquor (D3 EUL) [not ‘Come turn the Timmer’]; paties (D2 EUL, NLS), Paties (D3 EUL) 281

The Gentle Shepherd [not ‘Patie’s’] [After Line 897, S. D.: The Health gaes about (D2, D3 EUL), Paties health gaes round (NLS) [not ‘Paties’s Health gaes round’]] 898. twa a good whistle and (D2 EUL), a good whistle & (D3 EUL), twa good whistles & (NLS) [not ‘twa good Whistles, and’] 899. with twa curs (D2 EUL), twa Curs (D3 EUL) [not ‘Twa Curs’]; Trusty (D3 EUL) [not ‘trusty’]; Tennants (D2, D3 EUL, NLS) [not ‘Tenants’] 900. is a (D2 EUL), is a’ (D3 EUL), is all (NLS) [not ‘Is all’]; the my (NLS) [not ‘my’]; Estate and (D2, D3 EUL), Estate – & (NLS) [not ‘Estate,-- and’] 901. Sae Cunning Carle (D3 EUL, NLS) [not ‘Sae, cunning Carle,’]; sae honest Dad neer pam plum ye’r flaws break ye’r Jokes on me (D2 EUL) [not ‘Sae, cunning Carle, ne’er break your Jokes on me.’] [After Line 901: D2 EUL, f.46R S. D.: Exit Patie & Jeny] [Lines 902-3 not included in D2 EUL] 902. whisht Patie and (D3 EUL), Whisht Patie – (NLS) [not ‘Whisht, Patie,-’]; oer (D3 EUL) [not ‘owre’]; hand (NLS) [not ‘Hand’] [There is an ‘x’ in the left-hand margin before line 903 in D3 EUL, which corresponds to a cancelled line in f.20R, which also has an ‘x’ before it ‘as Broken a ship as Meg’s has come to Land’; see textual note after line 1242, below.] 903. aftimes as Broken a ship (D3 EUL), aftymes as Broken a ship (NLS) [not ‘Aftymes as broken a Ship’] [After Line 903, S. D.: Sr Colin makes odd faces and agitates | and affects falls too fall in a swooning fit (D2 EUL), Sir Colin takes Patie by the hand | looks somtimes on his Palm sometimes | on his face at Last falls a agitating | and conterfeits faling in a Trance | while they Endeavour to lay him right (D3 EUL), Sr Wm looks a litle at Paties hand, then agitates [illegible] falling into a Trance, while they eneavour to lay him Right (NLS) [not ‘Sir William looks a little at Patie’s Hand, then | counterfits falling into a Trance, while they | endeavonr [misprint] to lay him right.’]] [Speaker of 904-6 is Symon in D2 EUL, and changed from Symon to Elspa in D3 EUL.] 904. Preserve’s the mans (D2 EUL), Preserv’s! the mans (D3 EUL), Preserve’s! – the Mans (NLS) [not ‘Preserve’s!--- the Man’s’]; Warlock (D2, D3 EUL) [not ‘Warlock,’]; Posest (D3 EUL) [not ‘possest’] 905. wi some nae good (D2 EUL), wi some nae good – (D3 EUL), with some nae good – [not ‘With some nae good,---’]; sight at Best Least (D2 EUL), Sight at Least (D3 EUL, NLS) [not ‘Sight at least’] 906. wher (D2, D3 EUL) [not ‘Where’]; now (D2 EUL), now — (D3 EUL) [not ‘now?——’] 907. hes seeing (D2 EUL), —hes seing (D3 EUL), —he’s Seing (NLS) [not ‘——He’s seeing’]; a thats doon (D2 EUL) [not ‘a’ that’s done’] 908. in (D3 EUL) [not ‘In’]; Place (D3 EUL) [not ‘Place,’]; in ilka place that kens the sin or moon (D2 EUL) [not ‘In ilka Place, beneath or yont the Moon.’] 909. Thes (D2 EUL) [not ‘These’]; Second (D3 EUL) [not ‘second’]; fowk, – (D2 EUL), fowk, (D3 EUL, NLS) [not ‘Fowk,’]; peace (D2, D3 EUL, NLS) [not ‘Peace’] 282

Notes: Collation for 1725 910. se things far and (D3 EUL), se things far aff, & (NLS) [not ‘See Things far aff, and’]; come (D3 EUL) [not ‘come,’]; se thing far aff & things to come as Clear (D2 EUL) [not ‘See Things far aff, and Things to come, as clear’] 911. as I can see my thumb—Wow! Can he tell (D2 EUL), as I can see my Thumb – wow can he tell! (D3 EUL), as I can see my Thumb – wow can he tell (NLS) [not ‘As I can see my Thumb,-- wow, can he tell?’] 912. [D2 EUL not in parentheses]; at him (NLS) [not ‘at him’]; soon [overwrites illegible word] (D2 EUL) [not ‘soon’]; himsell (D2, D3 EUL, NLS) [not ‘himsel’] 913. how (D3 EUL, NLS) [not ‘How’]; Se (NLS) [not ‘see’]; Sir Colin – whisht (D3 EUL), Sr William – whisht [not ‘Sir William. Whisht,’]; if he our Mr Kens [initial start to line] how soon well see sir Colin – whisht hes heaves (D2 EUL) [not ‘How soon we’ll see Sir William. Whisht, he heaves,’] 914. Speaks (D3 EUL) [not ‘speaks’]; Broken words (D2, D3 EUL) [not ‘broken Words’] [Lines 915-6 do not appear in D2 or D3 EUL] 915. he’ll (NLS) [not ‘He’ll’]; better – Elspa (NLS) [not ‘better,-- Elspa’] 916. Usquebae (NLS) [not ‘Usquebae’] [Before Line 917, S. D.: While symon stands at one | side [redacted] at another taking | care that he does not fall | Sr Colin starts up and repeats (D2 EUL), Sr Colin starts up & speaks (D3 EUL), Sr Wm (Starts up & speaks speaks) [not ‘Sir Will. (starts up and speaks.)’]] 917. Kinght (D2 EUL), Knight (D3 EUL), Knight (NLS) [not ‘knight’]; Lyon (D2, D3 EUL) [not ‘LYON’] 918. against (D2, D3 EUL, NLS) [not ‘Against’]; herd (D2 EUL) [no ‘Herd’] Bairs (D2, D3 EULS), Bairs (NLS) [not ‘Bears’] 919. Lang Toil & truble (D2, D3 EUL), Lang toil and trouble (NLS) [not ‘lang Toil and Trouble’]; braught (D2 EUL) [not ‘brought’] 920. in (D2, D3 EUL, NLS) [not ‘In’]; A Thousands shares (D2, D3 EUL) [not ‘some thousands shares:’] 921. but (D2 EUL) [not ‘But’]; Lyon (D2 EUL) [not ‘LYON’]; Rairs (D2 EUL, NLS), rairs (D3 EUL) [not ‘rares’] 922. oer (D3 EUL) [not ‘owre’]; plain (NLS) [not ‘Plain’]; and Joys oer a Spread oer the plain (D2 EUL) [not ‘And Joy spreads owre the Plain,’] 923. the (D2 EUL) [not ‘The’]; Lyon (D2, D3 EUL) [not ‘The LYON’]; Bairs (D2, D3 EUL, NLS) [not ‘Bears’] 924. the Knight (D2 EUL), The Knight (D3 EUL) [not ‘The Knight’] 925. Knight (D3 EUL) [not ‘Knight,’]; days (D3 EUL) [not ‘Days,’] That Kinght in two three days shall find Bring (D2 EUL) [not ‘That Knight, in a few Days, shall bring’] 926. a shepherd (D2, D3 EUL, NLS) [not ‘A Shepherd’]; fald (D2, D3 EUL) [not ‘fauld:’] 927. and (D2 EUL) [not ‘And’]; Present (D3 EUL) [not ‘present’] 928. True & Bauld (NLS) [not ‘true and bauld’]; as one baith Wise and Bauld (D2 EUL), as Ane baith wise & Bauld (D3 EUL) [not ‘A Subject true and bauld’] 929. Mr Patrick (NLS) [not ‘Mr. Patrick’]; Calld – (NLS) [not ‘call’d:--’]; And 283

The Gentle Shepherd he some a Land lord Patrick [illegible]shall be Calld (D2 EUL), He, ant Like ye’r Honour, shall be Cald (D3 EUL) [not ‘He Mr. Patrick shall be call’d:---’] 930. all (NLS) [not ‘All’]; by [illegible] some a’ that (D2 EUL), by a’ that (D3 EUL) [not ‘All you that’] 931. ye may Belive (D2 EUL), ye may belive (D3 EUL) [not ‘May well believe’]; Tald (NLS) [not ‘tald’] [After Line 931: the youth young patrick’s you (D2 EUL), Patie the shepherd you (D3 EUL)] 932. for (D2, D3 EUL, NLS) [not ‘For’]; Sall (D3 EUL) [not ‘shall’]; Hapen (NLS) [not ‘happen’]; True (D2, D3 EUL, NLS) [not ‘true’] [After Line 932; soon may it happen (D2 EUL)] 933. freind (D2 EUL), Friend (D3 EUL) [not ‘Friend,’]; spaeing (D2 EUL) [not ‘Spaeing’]; hapen (D2, D3 EUL, NLS) [not ‘happen’]; & (D2, D3 EUL) [not ‘and’]; weel— (NLS) [not ‘weel;’] [After Line 933, S. D.: ([illegible] to Sir Colin) (D3 EUL)] 934. but faith I’m flied yo’u’ve Bargind with the Deel (D2 EUL), But Faith I’m Red ye’ve Pactiond with the Deel (D3 EUL), but faith, I’m Redd, you’ve bargaind with ye Deel: (NLS) [not ‘But, Faith, I’m red you’ve bargain’d with the Deel,’] 935. to tell ye Tales that fowk (D2 EUL), to Tell ye Tales that fowk (D3 EUL), tell some tales, that fowks (NLS) [not ‘To tell some Tales that Fowks’]; Secret (D3 EUL) [not ‘secret’] 936. or (D2, D3 EUL, NLS) [not ‘Or’]; ye (D2, D3 EUL, NLS) [not ‘you’]; sleep (D2, D3 EUL, NLS) [not ‘Sleep’] 937. How e’er (NLS) [not ‘Howe’er’]; How eerd I come to get them, dinna fash ye’r Beard (D2 EUL), How e’er I Get them never fash ye’r Beard (D3 EUL) [not ‘Howe’er I get them, never fash your Beard,’] 938. nor (D2, D3 EUL, NLS) [not ‘Nor’]; red (D2 EUL), Read (D3 EUL), tell Redd (NLS) [not ‘redd’]; fortunes (D2, D3 EUL, NLS) [not ‘Fortunes’]; reward (D3 EUL), reward, (NLS) [not ‘Reward:’] 939. but (NLS) [not ‘But’]; ten to ane, (NLS) [not ‘Ten to Ane’]; but on the truth o’t gainst ane I’ll lay ten (D2 EUL), but on the Truth o’t gainst ane I’ll lay ten (D3 EUL) [not ‘But I’ll lay Ten to Ane with ony here,’] [Lines 940-1 do not appear in D2 or D3 EUL] 940. that (NLS) [not ‘That’] 941. you, (NLS) [not ‘You’]; fowks, are odd-kind (NLS) [not ‘Fowks are odd kind’] 942. ken & them (D2, D3 EUL), ken, & here (NLS) [not ‘ken, and here’] 943. the Wimpled (NLS) [not ‘The wimpled’]; the Wimpled Meaning of ye’r unko Tale Tale forseen (D2 EUL) [not ‘The wimpled Meaning of your unko Tale,’] 944. whilk (NLS) [not ‘Whilk’]; oer Moor & dale [not ‘Moor and Dale’]; Which soon I hope will ring oe’r Moor and Dale (D2 EUL), Whilk soon I hope will ring oer moor & dale (D3 EUL) [not ‘Whilk soon will mak a Noise o’er Moor and Dale.’] 945. It’s (D2 EUL), its (D3 EUL) [not ‘‘Tis’]; ill (D2 EUL), sma’ (NLS) [not ‘sma’]; sport (D2 EUL, NLS) [not ‘Sport’]; Sym (D3 EUL) [not ‘Sym’]; Belives (D2 EUL), belives (D3 EUL) [not ‘believes’] 284

Notes: Collation for 1725 946. Gospell, (NLS) [not ‘Gospel’]; Spae man (NLS) [not ‘Spae man’]; and takes it for truth Gospel a the spae-Man gives (D2 EUL), And taks’t for Gospell a’ the Spae man gives (D3 EUL) [not ‘And takes’t for Gospel what the Spae-man gives’] 947. of flawing fortune whilk (D2 EUL), of flawing fortune which (D3 EUL), of flawing fortunes’ – whilk (NLS) [not ‘Of Flawing Fortunes, whilk’]; pate (D2 EUL), Pate (D3 EUL) [not ‘Pate’] 948. but (D3 EUL, NLS) [not ‘But’]; wish (D2, D3 EUL), Wish (NLS) [not ‘wish,’]; rate (D3 EUL, NLS) [not ‘Rate’] 949. Whisht (NLS) [not ‘Whisht,’]; sun (NLS) [not ‘Sun’]; Peace Whisht Doutfu Carle, & for eer the sun (D2 EUL), Whisht Doutfu Carle for eer the sun (D3 EUL, NLS) [not ‘Whisht, doubtfu’ Carle, for e’er the Sun’] 950. has (D2, D3 EUL) [not ‘has’]; out oer the sea (D2, D3 EUL), doun to the sea: (NLS) [not ‘down to the Sea’] 951. what (D2, D3 EUL, NLS) [not ‘What’]; said (D2 EUL), said (D3 EUL) [not ‘said,’]; shal (NLS)[not ‘shall’]; Se (NLS) [not ‘see’] 952. in (NLS) [not ‘In’]; Credit (NLS) [not ‘credit’]; or never Mair gie faith to me (D2, D3 EUL) [not ‘In part, or nae mair credit me.’] 953. Well (NLS) [not ‘Well,’]; friend – (NLS) [not ‘Friend;’]; weel beet sae Friend – Ise say I shall say naithing nae Mair (D2 EUL), weel beet sae friend I sall say naithing mair (D3 EUL) [not ‘Well, be’t sae, Friend; I shall sae naithing mair,’] 954. but I’ve twa (D2, D3 EUL, NLS) [not ‘But I have twa’]; Sonsy Lasses Blythsom young [illegible] & fair (D2 EUL), Sonsy Lasses young fair (D3 EUL), sonsy Lasses, young & fair (NLS) [not ‘sonsy Lasses young and fair’] 955. Ready (D2 EUL), Plump-rype (NLS) [not ‘Plump ripe’]; Men (D2, D3 EUL) [not ‘Men:’]; coud (D2, D3 EUL, NLS) [not ‘cou’d’] 956. sic (NLS) [not ‘Sic’]; fortunes (D2, D3 EUL, NLS) [not ‘Fortunes’]; them, (NLS) [not ‘them’]; Bring joy (D2 EUL) [not ‘bring Joy’] 957. throu’ (D2 EUL), throw (D3 EUL, NLS) [not ‘through’]; secrets (D2 EUL) [not ‘Secrets’]; Sift (D3 EUL, NLS) [not ‘sift’] 958. till (D2, D3 EUL, NLS) [not ‘Till’]; darkness (D2, D3 EUL) [not ‘Darkness’]; Black (D2, D3 EUL, NLS) [not ‘black’] 959. [illegible] I hae (D2 EUL), I have, (NLS) [not ‘I have’]; day (D3 EUL), day, (NLS) [not ‘Day’]; gift: (NLS) [not ‘Gift:’] 960. sae (NLS) [not ‘Sae’]; while (NLS) [not ‘While’]; Sae Rest ye’r sell Content (D2 EUL), Sae Rest your Sell content (D3 EUL) [not ‘Sae rest a While content.’] [Lines 961-972 not included in D2 EUL] 961. Elspa (D3 EUL), Elspa (NLS) [not ‘ELSPA,’]; Claith bring ben Some (D3 EUL) [not ‘Claith, fetch butt some’] 962. and (D3 EUL), and, (NLS) [not ‘And,’]; Best bid the auld (D3 EUL) [not ‘best, gar this auld’]; Eat (D3 EUL) [not ‘eat’] 963. delay (D3 EUL) [not ‘Delay’]; Hospitable care (D3 EUL, NLS) [not ‘hospitable Care’] 964. the evening (D3 EUL) [not ‘this Evening’]; & (NLS) [not ‘and’]; fair: (NLS) [not ‘fair,’] 965. arround (D3 EUL, NLS) [not ‘Around’]; youn ruined Tower (D3 EUL), 285

The Gentle Shepherd yon Ruind Tower (NLS) [not ‘yon ruin’d Tower,’] 966. with you kind friend (D3 EUL, NLS) [not ‘With you, kind friend,’]; Private (D3 EUL) [not ‘private’]; talk (NLS) [not ‘Talk’] 967. ye like (D3 EUL), you please (NLS) [not ‘you please,’]; disire (D3 EUL, NLS) [not ‘Desire’] 968. And Glaud ye’ll (D3 EUL), And Glaud you’ll (NLS) [not ‘And, Glaud, you’ll’]; ye’r Pipe (D3 EUL), your pipe (NLS) [not ‘your Pipe’]; fire (D3 EUL, NLS) [not ‘Fire’] 969. we’ll (D3 EUL) [not ‘We’ll’]; Place & (D3 EUL), place, & (NLS) [not ‘Place, and’]; Back (D3 EUL) [not ‘back’] 970. Sup (NLS) [not ‘sup’]; togither and tak our Pint & Crack (D3 EUL), togither, & take our pint & Crack (NLS) [not ‘together, and tak our Pint and Crack’] 971. While & se the young anes Play (D3 EUL), space & see the youngs anes play (NLS) [not ‘Space, and see the Young-anes’] 972. my Hearts Still Light abeit my Locks be Gray (D3 EUL, NLS) [not ‘My Heart’s still light abeit my Locks be gray.’] Act III. Scene III. This scene is collated with D2, D3 EUL and NLS. The Prologue does not appear in the EUL MSS. Title. No title in D2 EUL; ‘Act 3d Scene 3d’ (D3 EUL, NLS) [not ‘Act III. Scene III.’] [Prologue (NLS) [not ‘PROLOGUE.’]] 973. ane Erand hame. (NLS) [not ‘an Errand Hame,’] 975. to (NLS) [not ‘To’]; Melting flame (NLS) [not ‘melting Flame’] 976. and (NLS) [not ‘and’]; Lassis breast (NLS) [not ‘Lassie’s Breast’] 977. behind (NLS) [not ‘Behind’]; sight, (NLS) [not ‘Sight’] 978. see (NLS) [not ‘See’]; Laughing: (NLS) [not ‘Laughing,’]; Like (NLS) [not ‘like’] 979. shepherd ! (NLS) [not ‘Shepherd!’] [Speakers: Roger & Jeny (D2, D3 EUL), cancelled in NLS [not ROGER and JENNY.]] 980. O Jenny (D2 EUL), Dear Jeny (D3 EUL) [not ‘Dear Jenny,’]; t’ye, (NLS) [not ‘t’ye’]; Speak (D3 EUL) [not ‘speak’]; Let (NLS) [not ‘let’] 981. and (D2, D3 EUL, NLS) [not ‘And’]; [illegible] ergh (D2 EUL, NLS) [not ‘ergh’]; ye’re (D3 EUL) [not ‘ye’r’]; Sae Scornfu Set (D3 EUL), sae Scornfu set (NLS) [not ‘sae scornfu set’] 982. and (D3 EUL, NLS) [not ‘And’]; Rodgie (D2 EUL), Roger (D3 EUL) [not ‘Roger’]; say (D2 EUL), Say (D3 EUL) [not ‘say,’]; coud (D2, D3 EUL, NLS) [not ‘cou’d’] 983. or am I ‘blidgd (D2 EUL), am I oblidgd (D3 EUL, NLS) [not ‘Am I oblig’d’]; Guess (D3 EUL) [not ‘guess’]; ye’re (D3 EUL) [not ‘ye’r’]; Seek (D3 EUL) [not ‘seek’] 984. guess right weell for (D2 EUL), Gues right Eith for (D3 EUL), Guess, right Eith, for (NLS) [not ‘guess, right eith for’]; Green (D2 EUL), Grein (D3 EUL, NLS) [not ‘grein’] 985. baith frae My Murgeons and Langing een (D2 EUL), baith by my service 286

Notes: Collation for 1725 sighs & Langing Een (D3 EUL), baith by my service, sighs, & Langing Een (NLS) [not ‘Baith by my Service, Sighs, and langing Een:’] 986. and (NLS) [not ‘And’]; maŭn (D3 EUL) [not ‘maun’]; out wi’t tho (D3 EUL), out wi’t, tho (NLS) [not ‘out we’t, tho’’]; yoŭr (D3 EUL) [not ‘your’]; And I maun tell ye tho I Risk yer scorn (D2 EUL) [not ‘And I maun out we’t, tho’ I risk your Scorn,’] 987. ye’r (D2 EUL, D3 EUL) [not ‘Ye’re’]; My Thoughts, (NLS) [not ‘my Thoughts’]; een (D2 EUL), E’en (D3 EUL) [not ‘Even’]; & (D3 EUL, NLS) [not ‘and’] [Lines 988-91 not included in D2 or D3 EUL] 988. coud (NLS) [not ‘cou’d’]; Less (NLS) [not ‘less’] 989. but (NLS) [not ‘But’]; happyer (NLS) [not ‘happier’]; coud (NLS) [not ‘cou’d’] 990. may: (NLS) [not ‘may;’] 991. that I e’er (NLS) [not ‘that e’er I’] 992. But ay alake (D2 EUL), alake (D3 EUL), alake! (NLS) [not ‘Alake!’]; heart (D2, D3 EUL, NLS) [not ‘Heart’] 993. soon’s eer (D2 EUL), whene’er (D3 EUL), when eer (NLS) [not ‘When e’er’]; I mint, (NLS) [not ‘I mint’]; Tale Tale (D3 EUL) [not ‘Tale’] 994. for (D3 EUL, NLS) [not ‘For’]; Some tighter Lad (D3 EUL), some, tighter Lad, (NLS) [not ‘some tighter Lad,’]; for fear some Bonyer Lad mair brisk than I (D2 EUL) [not ‘For fear some tighter Lad, mair rich than I,’] 995. has (D2 EUL), Love (D2, D3 EUL) [not ‘Love,’]; your heart does ly (D2 EUL), yoŭr heart does Ly (D3 EUL) [not ‘your Heart may ly’]; Ly (NLS) [not ‘ly’] 996. Loo my Father Cusine Meg (D2 EUL), Love my father Cusine Meg (D3 EUL), Lyke my father – Cusine Meg (NLS) [not ‘loo my Father, Cusin Meg’]; love (D3 EUL), Love, (NLS) [not ‘love’] 997. but to this day (D2, D3 EUL), but, to this day, (NLS) [not ‘But to this Day,’]; coud (D2, D3 EUL, NLS) [not ‘cou’d’]; Lad (D2 EUL) [not ‘Man’] 998. except (D3 EUL, NLS) [not ‘Except’]; kin (D3 EUL), kin, (NLS) [not ‘Kin,’]; lad’s (D3 EUL) [not ‘Lad’s’]; except [illegible] but my Kin ilk lads alike to me (D2 EUL) [not ‘Except my Kin, ilk Lad’s alyke to me;’] 999. and (D3 EUL, NLS) [not ‘And’]; A’ I mind to (D2, D3 EUL) [not ‘all I best had’] 1000. lang! – dear Jenny (D2 EUL), lang dear Jeny! (D3 EUL), Lang dear Jenny – (NLS) [not ‘lang, dear Jenny,---’] 1001. what (D3 EUL) [not ‘What’]; pleasure (D2 EUL) [not ‘Pleasure’]; gieing (D2 EUL) [not ‘giving’]; pain (D2, D3 EUL) [not ‘pain’]; take (NLS) [not ‘tak’] 1002. Blyth (D2 EUL), blyth (D3 EUL) [not ‘glad’]; however, (NLS) [not ‘however’] 1003. wha (D3 EUL, NLS) [not ‘Wha’]; Rew & pitty me (D2 EUL), rew & pitty me (D3 EUL), Rew & pity me. (NLS) [not ‘rew and Pity me?’] [Lines 1004-51 not included in D2 EUL] 1004. els (D3 EUL, NLS) [not ‘else,’]; se (D3 EUL, NLS) [not ‘see’]; sett (D3 EUL, NLS) [not ‘set’] 1005. on (D3 EUL, NLS) [not ‘On’]; which (D3 EUL) [not ‘whilk’]; Makes (D3 287

The Gentle Shepherd EUL) [not ‘makes’]; sweetness (D3 EUL, NLS) [not ‘Sweetness’]; foryett (D3 EUL), foryett. [not ‘foryet.’] 1006. wow (D3 EUL) [not ‘Wow!’]; bony (D3 EUL), bonny, (NLS) [not ‘bony,’]; & every Thing (D3 EUL), & ev’ry thing! (NLS) [not ‘and every Thing!’] 1007. how (D3 EUL, NLS) [not ‘How’]; breath (D3 EUL), Breath (NLS) [not ‘breath,’]; eer (D3 EUL, NLS) [not ‘e’er’] 1008. but we’r (D3 EUL), but, we’re (NLS) [not ‘But we’re’]; fools (D3 EUL, NLS) [not ‘Fools’] 1009. than (D3 EUL, NLS) [not ‘Than’]; daffine & tint power (D3 EUL), daffine, and tint power (NLS) [not ‘Daffine and tint Power’] 1010. when prisond (D3 EUL), when prison’d (NLS) [not ‘When prison’d’]; waws, (NLS) [not ‘waws’] 1011. altho (D3 EUL, NLS) [not ‘altho’’]; first – (NLS) [not ‘first,’]; drudge (D3 EUL, NLS) [not ‘Drudge’]; hame (D3 EUL, NLS) [not ‘hame’] 1012. Hapens (D3 EUL) [not ‘happens,’] 1013. ane (D3 EUL, NLS) [not ‘Ane’]; wife (D3 EUL, NLS) [not ‘Wife,’]; mere (D3 EUL), mear (NLS) [not ‘Mare’] 1014. or (D3 EUL, NLS) [not ‘Or’]; when, dull parents, (NLS) [not ‘when dull Parents’]; bairns (D3 EUL) [not ‘Bairns’] 1015. of (D3 EUL) [not ‘Of’]; diferent Temper (D3 EUL) [not ‘different Tempers,’]; neer (D2, D3 EUL, NLS) [not ‘ne’er’] 1016. but (D2, D3 EUL, NLS) [not ‘But’]; True honest (D3 EUL) [not ‘true dounright’]; Love Engages (D3 EUL), Love, engadge (NLS) [not ‘Love, engages’] 1017. Tho thou shoud (D3 EUL), tho thou should (NLS) [not ‘Tho’ thou should’]; scorn (D3 EUL), scorn— (NLS) [not ‘scorn,---’]; delyt (D3 EUL) [not ‘delight’] 1018. What, sugard (NLS) [not ‘What suggard’]; woerer lips (NLS) [not ‘Wooers Lips’]; what sugard frae woers lips can fa (D3 EUL) [not ‘What suggard Words, frae Wooers Lips can fa’!’] 1019. but Girning (D3 EUL), but, Girning (NLS) [not ‘But girning’]; & (NLS) [not ‘and’]; a (D3 EUL) [not ‘a’’] [Lines 1020-31 appear toward the end of this scene in D3 EUL, collation included below] 1020. seen, with shining fair, (NLS) [not ‘seen with shining fair’]; [In D3 EUL, the order of the line is altered following composition, reading: I’ve 1 seen the morning 3 Rise with shining 2 fair (D3 EUL)] [not ‘I’ve seen with shining fair the Morning rise,’] 1021. and soon, (NLS) [not ‘And soon’]; Mirk (NLS) [not ‘mirk’]; skyes (NLS) [not ‘Skyes’]; and soon the storm & sleet bedark the [illegible] Skies (D3 EUL) [not ‘And soon the sleety Clouds, mirk a’ the Skyes.’] 1022. seen, (NLS) [not ‘seen’]; silver spring (D3 EUL), silver Spring, (NLS) [not ‘Silver Spring,’]; run (D3 EUL) [not ‘rin’] 1023. and (D3 EUL) [not ‘And’]; soon, (NLS) [not ‘soon’]; filthy pudles disapear (D3 EUL), mossy pudles, disapear (NLS) [not ‘Mossy Puddles disappear’] 1024. I’ve The Bridegroom (D3 EUL), The Brydgroom (NLS) [not ‘The Bridegroom’]; Rejoyce (D3 EUL) [not ‘rejoyce,’]; bride (D3 EUL) 288

Notes: Collation for 1725 [not ‘Bride’] 1025. but (D3 EUL, NLS) [not ‘But’]; soon, Contentions, (NLS) [not ‘soon Contentions’]; hopd for (D3 EUL) [not ‘a’ their’] 1026. seen, (NLS) [not ‘seen’]; Rise (D3 EUL) [not ‘rise’]; light (D3 EUL) [not ‘Light’] 1027. the Day (D3 EUL), the day (NLS) [not ‘The Day’]; unclouded (D3 EUL) [not ‘unclouded,’]; Calmest night (D2, D3 EUL, NLS) [not ‘calmest Night’] 1028. [illegible] seen (D3 EUL) [not ‘seen’]; the crystal the spring, (D3 EUL), seen, the Spring, (NLS) [not ‘seen the Spring’]; the plain (D3 EUL), plain (NLS) [not ‘Plain’] 1029. Increase & Joyn (D3 EUL), Increase, and Joyn (NLS) [not ‘Increase and join’] 1030. Blyth (D3 EUL) [not ‘blyth’]; Brydgroom may Rejoice, be Blyth, the Bryde (NLS) [not ‘Bridegroom may be blyth, the Bride’] 1031. throu (D3 EUL) [not ‘throw’]; life & (D3 EUL), life, and (NLS) [not ‘Life, and’]; fears (D3 EUL, NLS) [not ‘Fears’] 1032. sure, (NLS) [not ‘sure’]; you Lang Coud woud (NLS) [not ‘you lang wou’d’]; Wer I but sure your heart you Lang Coud Love mentain (D3 EUL), were I but sure, you Lang Coud woud Love mentain (NLS) [not ‘Were I but sure you lang wou’d Love maintain,’] 1033. the (D3 EUL, NLS) [not ‘The’]; words (D3 EUL), words, (NLS) [not ‘Words’]; heart (D3 EUL, NLS) [not ‘Heart’]; coud (D3 EUL, NLS) [not ‘cou’d’] 1034. for (D3 EUL) [not ‘For’]; maun Oun (D3 EUL), maun Oun, (NLS) [not ‘mawn own,’]; Last (NLS) [not ‘last’]; ye’r (D3 EUL), your (NLS) [not ‘you’re’] 1035. altho (NLS) [not ‘Altho’’]; Jok’d (NLS) [not ‘jok’d’]; Lovd (NLS) [not ‘lov’d’]; in nought ye never gave dislike to me (D3 EUL) [not ‘Altho’ I jok’d, I lov’d your Company;’] 1036. I ever had some warmnes (D3 EUL), and ever had, a warmness (NLS) [not ‘And ever had a Warmness’]; breast (D3 EUL) [not ‘Breast’] 1037. that (D3 EUL, NLS) [not ‘That’] 1038. oer (D3 EUL, NLS) [not ‘o’er’]; head (D3 EUL, NLS) [not ‘Head’] 1039. this (D3 EUL, NLS) [not ‘This’]; pleasure’s (NLS) [not ‘Pleasure’]; Lyke (NLS) [not ‘like’]; dead (D2, D3 EUL, NLS) [not ‘Dead’] 1040. Arms, (D3 EUL) [not ‘Arms!’]; me!, (D3 EUL) [not ‘me!’]; fired (D3 EUL), fyrd (NLS) [not ‘fyr’d’] 1041. with (D2, D3 EUL, NLS) [not ‘With’]; wondring (D3 EUL) [not ‘wondering’]; Lets (D3 EUL), lets (NLS) [not ‘let’s’]; be tyred (D3 EUL), be tyrd (NLS) [not ‘be tyr’d’] 1042. kiss Kiss! weell kiss the sun & starns away (D3 EUL), kiss kiss! we’ll the Sun & starns away (NLS) [not ‘Kiss, kiss! We’ll kiss the Sun and Starns away,’] 1043. and (D3 EUL, NLS) [not ‘And’]; Quik (D3 EUL), Quick (NLS) [not ‘quick’]; Day! (NLS) [not ‘Day.’] [Redacted, illegible line between 1043 and 1044 in D3 EUL, f.15V] 1044. Jeny (D3 EUL), Jenny (NLS) [not ‘Jenny,’]; arms (D3 EUL) [not ‘Arms’]; twyne (NLS) [not ‘twine’] [While ‘the’ may appear to be a misprint for 289

The Gentle Shepherd ‘thee,’ both D3 EUL and NLS have the same.] 1045. bony Brest & lips (D3 EUL), bonny Breasts & lips (NLS) [not ‘bony Breasts and Lips’] [After Line 1045, S. D.: They Embrace like [illegible] (NLS)] 1046. Equal Joy (NLS) [not ‘equal Joy’]; yeild (NLS) [not ‘yield’]; With Equal Pleasure my saft heart does yeild (D3 EUL) [not ‘With equal Joy my safter Heart does yield,’] 1047. to oun thy faithfull (D3 EUL), oun thy faithfull well try’d (NLS) [not ‘To own thy well try’d Love’]; feild (D3 EUL), field (NLS) [not ‘Field’] 1048. These Hundred kisses thou hast Tane (D3 EUL), these warmest kisses, thou hast tane (NLS) [not ‘these warmest Kisses thou has tane’] 1049. me (D3 EUL) [not ‘me,’] 1050. swear, (NLS) [not ‘swear’]; fifty (D2, D3 EUL, NLS) [not ‘Fifty’]; Thousand (D3 EUL), Thousand, (NLS) [not ‘thousand,’]; Come (NLS) [not ‘come,’] 1051. or (D2, D3 EUL, NLS) [not ‘Or’]; may, (NLS) [not ‘may’]; make me Deaf & dumb (D3 EUL), stryke me deaf & dumb: (NLS) [not ‘strike me deaf and dumb;’] 1052. Shall (NLS) [not ‘shall’]; be, (NLS) [not ‘be’]; kindlyer (D3 EUL), kyndlyer (NLS) [not ‘kyndlier’]; dawted wife (D3 EUL), Dauted Wyfe (NLS) [not ‘dawted Wife’]; O Bony Lassie yield to be my Wife (D2 EUL) [not ‘There shall not be a kyndlier dawted Wife,’] 1053. if (D3 EUL, NLS) [not ‘If’]; Lead your life (D3 EUL), Lead your Lyfe (NLS) [not ‘lead your Life’]; [illegible] & I shall Loo dawt ye a’ your Life (D2 EUL) [not ‘If you agree with me to lead your Life.’] [Lines 1054-7 not included in D2 EUL] [Before Line 1054 in D3 EUL, f.16R; an illegible word redacted] 1054. agree (D2, D3 EUL, NLS) [not ‘agree,’]; father Gae (D3 EUL), parent gae (NLS) [not ‘Parent gae’] 1055. get (D3 EUL, NLS) [not ‘Get’]; Consent – (D3 EUL, NLS) [not ‘Consent;--’] 1056. he have, (NLS) [not ‘ye have’]; comend (D3 EUL) [not ‘commend’]; ye to (D3 EUL) [not ‘ye to’]; weel (D3 EUL), weel, (NLS) [not ‘well’] 1057. Auld folk likes them has rowth of Milk & Meal (D3 EUL), Auld fowks lyke them has that wants na Milk & Meal (NLS) [not ‘Auld Fowks like them that wants na Milk and Meal.’] [Two additional lines in D2 EUL, f.48R: ye’ve nought, but draw the stool in and sit down for I’m the richest Herd in a our Toun] [Before line 1058; two illegible words redacted D3 EUL] 1058. Contain, (NLS) [not ‘contain’]; twice fifteen (D3 EUL), twyce fifteen (NLS) [not ‘twice Fifteen’]; My Father Left me Bien twice fifty Nowt (D2 EUL) [not ‘My Faulds contain twice Fifteen forrow Nowt,’] 1059. as Mony (D3 EUL) [not ‘As mony’]; Byars Rowt (D3 EUL), Bayers Rowt (NLS) [not ‘Bayers rowt’]; [[illegible] Mil in my Braid fold & good lang Byars Rowt (D2 EUL) [not ‘As mony Newcal in my Bayers rowt:’] 1060. 5 Packs (D2, D3 EUL), fyve pack (NLS) [not ‘Five Pack’]; Ilk Lammas (D2 EUL), in sumer (D3 EUL), at Lammas (NLS) [not ‘at Lammass’] 290

Notes: Collation for 1725 1061. shorn (D3 EUL, NLS) [not ‘Shorn’]; Bobtaild (D3 EUL), Bob-Taild (NLS) [not ‘bob-tail’d’]; and Cheess & Butter mair than I can tell (D2 EUL) [not ‘Shorn frae my bob-tail’d Bleeters on the Fell.’] 1062. good twenty pair (D2 EUL, NLS), good twenty Pair (D3 EUL) [not ‘Good Twenty Pair’]; bed (D3 EUL) [not ‘Bed’] 1063. miekle (D2 EUL), mekle (D3 EUL, NLS) [not ‘meikle’]; Care (D2, D3 EUL) [not ‘Care,’] Thrifty (D2, D3 EUL) [not ‘thrifty’]; Mother, (NLS) [not ‘Mither’]; Made (D3 EUL) [not ‘made’] [D2 EUL ends here] 1064. ilk thing that maks a heartsome house & tight (D3 EUL), ilk thing that makes a hartsome House & tight (NLS) [not ‘Ilk Thing that makes a Hartsome House and tight’] 1065. Care– (NLS) [not ‘Care,’]; clean order her my father’s great (D3 EUL), my father’s great (NLS) [not ‘my Father’s great’]; delight: (NLS) [not ‘Delight.’] 1066. Left (D3 EUL, NLS) [not ‘left’]; a’ll (D3 EUL), All (NLS) [not ‘all’]; gives (D3 EUL), gies (NLS) [not ‘gi’es’] 1067. because I can give all my dear to Thee (D3 EUL), because I can, give a’ my dear to Thee. (NLS) [not ‘Because I can can give a’, my Dear, to thee.’] 1068. and (D3 EUL, NLS) [not ‘And’]; I, (NLS) [not ‘I’]; fifty times (D3 EUL, NLS) [not ‘Fifty Times’]; mekle (D3 EUL, NLS) [not ‘meikle’] 1069. Nane but (D3 EUL), nane but (NLS) [not ‘Nane but’]; Jeny (D3 EUL) [not ‘Jenny’]; shoud (D3 EUL, NLS) [not ‘shou’d’] [Lines 1070-1 of the NLS and printed text align, but in D3 EUL they appear earlier, specifically after Line 1031 of the copytext: collation included below] 1070. heart & Love ar yours now (D3 EUL), & all is your’s (NLS) [not ‘My Love and all is yours, now’] 1071. Like (NLS) [not ‘like’]; Last (D3 EUL) [not ‘last’] 1072. best – (D3 EUL, NLS) [not ‘best;--’]; way (D3 EUL, NLS) [not ‘Way’] 1073. Patie & (NLS) [not ‘Patie and’]; Patie & Pegy skifling o’er the Hay (D3 EUL) [not ‘Patie and Meg,-- besides I mauna stay;’] [Lines 1074 and 1075 are inverted in D3 EUL] 1074. lets (NLS) [not ‘Lets’]; hind this Ruck, and (D3 EUL), frae ither now & (NLS) [not ‘frae ither now and’] 1075. if (NLS) [not ‘if’]; wee’ll (NLS) [not ‘we’ll’]; They’ll find us here—wee’ll dree a deal of scorn (D3 EUL) [not ‘If we be seen we’ll dree a deal of Scorn.’] 1076. Where the Braid sauch Tree (D3 EUL), To Where the Braid Saugh Tree Shades (NLS) [not ‘To where the Saugh-tree’]; Mennin Pool (D3 EUL), Mennin pool, (NLS) [not ‘Mennin-pool,’] 1077. I’ll come doun frae the Height when Day (D3 EUL), I’ll frae the hill Come doun when day (NLS) [not ‘I’ll frae the Hill come down, when Day’]; Grows (NLS) [not ‘grows’] 1078. keep tryst (NLS) [not ‘Keep Tryst’]; keep tryst & meet me there There let us meet (D3 EUL) [not ‘Keep Tryst, and meet me there, there let us meet.’] [Half a line redacted in NLS, f.63 between Lines 1078 and 1079: illegible] 1079. Kiss & tell our Love ther’s (D3 EUL), Kiss and tell our Love – ther’s 291

The Gentle Shepherd (NLS) [not ‘kiss and tell our Love;-- there’s’] [After Line 1079, D3 EUL has S. D.: ‘Exit’; there is no S. D. in NLS or the copytext.] Act III. Scene IV. This scene is collated with D3 EUL and NLS. The Prologue does not appear in D3 EUL. Title: No Title in D3 EUL; Act 3d Scene 4 (NLS) [not ‘Act III. Scene IV.’] [Prologue (NLS) [not ‘PROLOGUE.’]] 1080. Knight & Sym (NLS) [not ‘Knight and Sym’] 1081. within (NLS) [not ‘Within’]; galery (NLS) [not ‘Galery’]; place (NLS) [not ‘Place’] 1082. where (NLS) [not ‘Where’]; Ruinous & (NLS) [not ‘ruinous and’] 1083. nor (NLS) [not ‘Nor’]; Barron (NLS) [not ‘Baron’]; face (NLS) [not ‘Face’] 1084. Joking (NLS) [not ‘joking’]; shepherd (NLS) [not ‘Shepherd’]; Leal (NLS) [not ‘leel’] 1085. aft (NLS) [not ‘Aft’]; Gate (NLS) [not ‘Gate’]; weel (NLS) [not ‘weel’] [Speakers: Sr Colin & Symon (D3 EUL), Sr Wiliam & Symon (NLS) [not ‘Sir WILLIAM and SYMON.’]] 1086. Belongd (D3 EUL) [not ‘belongs’]; decayd (D3 EUL, NLS) [not ‘decay’d’] 1087. To one who Lost it Lending (D3 EUL) [not ‘To ane that lost it lending’] 1088. up (NLS) [not ‘up,’]; rebelioŭs (NLS) [not ‘rebellious’]; to bear the Head up when Rebelious Tail (D3 EUL) [not ‘To bear the Head up, when rebellious Tail’] 1089. against (D3 EUL, NLS) [not ‘Against’]; Rules (D3 EUL) [not ‘Laws’] 1090. Sir Colin Worthy, (D3 EUL), Sir William Worthy (NLS) [not ‘Sir William Worthy’]; my Masters (NLS) [not ‘our Master’s’] 1091. Who (D3 EUL) [not ‘Wha’]; Joy (D3 EUL, NLS) [not ‘Joy,’]; he comes hame [a series of dots above] (D3 EUL) [not ‘He’s come Hame’] [Lines 1092-95 are mis-marked as ‘PROLOGUE’ in copytext, as in NLS (‘Prologue’). D3 EUL has an extended S. D. that parallels the copytext in its substance but there are many differences in phrasing and is in prose rather than verse. Lineation in D3 EUL preserved below] 1092. Sr William (NLS) [not ‘Sir William’]; this (NLS) [not ‘his’]; Sr Colin pullsing off his false Beard (D3 EUL) [not ‘Sir William draps his masking Beard’] 1093. Symon (NLS) [not ‘Symon’]; discovers himself, Symon falls (D3 EUL) [not ‘Symon transported sees’] 1094. the (NLS) [not ‘The’]; regard (NLS) [not ‘Regard’]; doun on his knees, grasps him, kisses his (D3 EUL) [not ‘The welcome Knight with fond Regard,’] 1095. and (NLS) [not ‘And’]; hands, weeps for Joy, stares a litle space (D3 EUL) [not ‘And grasps him round the Knees’] [Before Line 1096: My Master! (D3 EUL)] 1096. My dear (D3 EUL) [not ‘my dear’]; Master! (D3 EUL) [not ‘Master! –’]; [illegible] breath (D3 EUL), Breath (NLS) [not ‘breathe’] 292

Notes: Collation for 1725 1097. to (D3 EUL) [not ‘To’]; healthy (D3 EUL, NLS) [not ‘healthy,’]; skaith (D3 EUL, NLS) [not ‘Skaith’] 1098. returnd (NLS) [not ‘Return’d’]; Chear (NLS) [not ‘cheer’]; Tennants (NLS) [not ‘Tenants’]; Returnd, to Keep Happy chear his wishing Tennans’ sight! [not ‘Return’d to cheer his wishing Tenants Sight!’] 1099. to Bless (D3 EUL, NLS) [not ‘To bless’]; Son! (D3 EUL) [not ‘SON,’]; warlds delight (D3 EUL), worlds delight (NLS) [not ‘World’s’ Delight’] 1100. Rise faithfull Symon (D3 EUL, NLS) [not ‘Rise, faithful Symon,’] 1101. (redacted part of line in D3 EUL, illegible); a Place (D3 EUL), a place (NLS) [not ‘A Place,’]; due (D3 EUL, NLS) [not ‘Due,’] 1102. care (NLS) [not ‘Care’]; disguise (D3 EUL, NLS) [not ‘Disguise.’] 1103. and (D3 EUL, NLS) [not ‘And’]; confirmd (D3 EUL, NLS) [not ‘confirm’d’] 1104. since (D3 EUL) [not ‘Since’]; secret (D3 EUL) [not ‘Secret’]; thoust (D3 EUL), thou’ast (NLS) [not ‘thou’st’] 1105. and (D3 EUL) [not ‘And’]; neer (D3 EUL) [not ‘ne’er’]; Real (D3 EUL) [not ‘real’]; birth (NLS) [not ‘Birth’]; reveald (D3 EUL, NLS) [not ‘reveal’d’] 1106. WithThe Just (D3 EUL), The dŭe (NLS) [not ‘The due’]; obedience (NLS) [not ‘Obedience’]; you strick command (D3 EU) [not ‘your strict Command’] 1107. key – (D3 EUL), Lock (NLS) — [not ‘Lock;---’]; Reason Judgment (D3 EUL) [not ‘Judgement’] 1108. Plenty, (D3 EUL), plenty — (NLS) [not ‘plenty;---’]; Since (D3 EUL, NLS) [not ‘Since,’] 1109. youth, (NLS) [not ‘Youth’]; Looks baugh & blate (NLS) [not ‘looks baugh and blate’]; a Youth tho sprŭng from kings looks bauck & blate (D3 EUL) [not ‘A Youth tho’ sprung frae Kings, looks baugh and blate.’] 1110. Idly (D3 EUL, NLS) [not ‘idly’]; 1111. till (D3 EUL), ‘till (NLS) [not ‘‘Till’]; unfitt (NLS) [not ‘unfit’]; action – (D3 EUL), action (NLS) [not ‘Action,’] 1112. hang (D3 EUL, NLS) [not ‘Hang’]; freinds (D3 EUL) [not ‘Friends,--’]; gies (D3 EUL, NLS) [not ‘gi’es’]; sauls (D3 EUL) [not ‘Sauls’] 1113. that (D3 EUL, NLS) [not ‘That’]; douright (D3 EUL), dounright (NLS) [not ‘downright’]; beggars (D3 EUL) [not ‘Beggars’]; Last (D3 EUL, NLS) [not ‘last’] 1114. wate Sir (D3 EUL), wate, Sir (NLS) [not ‘wat, Sir,’]; telld whats true (D3 EUL) [not ‘spoken true’] 1115. for Ther’s (NLS) [not ‘For there’s’]; Son (NLS) [not ‘Son,’]; Loo’d (NLS) [not ‘loo’d’]; for Thers Laird Kytie’s son, That’s Lood be few (D3 EUL) [not ‘For there’s Laird Kytie’s Son, that’s loo’d by few.’] 1116. his father (D3 EUL) [not ‘His Father’]; Steght (NLS) [not ‘steght’]; fortune (D3 EUL), fortŭne (NLS) [not ‘Fortune’] 1117. and (D3 EUL, NLS) [not ‘And’] ; Young Heir (D3 EUL) [not ‘Heir’]; name (D3 EUL) [not ‘Name’] 1118. he (D3 EUL, NLS) [not ‘He’]; gaes (D3 EUL) [not ‘gangs’]; Sornan (NLS) [not ‘sornan’]; Place to place (D3 EUL), place to place (NLS) [not ‘Place to Place’] 1119. as Scrimp (D3 EUL, NLS) [not ‘As scrimp’]; Manners (D3 EUL, NLS) 293

The Gentle Shepherd [not ‘Manners,’]; sence & (D3 EUL), Sence & [not ‘Sense and’] 1120. oppressing (D3 EUL, NLS) [not ‘Oppressing’]; Punish’ment (D3 EUL) [not ‘punishment’]; yr (NLS) [not ‘their’]; sin (D3 EUL) [not ‘Sin’] 1121. that (D3 EUL, NLS) [not ‘That’]; tenth degree of kin (D3 EUL), tenth degree of Sin Kin (NLS) [not ‘Tenth Degree of Kin’] 1122. traders debt (D3 EUL), Traders debt (NLS) [not ‘Trader’s Debt,’]; that (D3 EUL) [not ‘wha’s’]; ŭnjŭst (NLS) [not ‘unjust’] 1123. to (D3 EUL, NLS) [not ‘To’]; family as gie (D3 EUL), fam’lie as to give (NLS) [not ‘Fam’lie, as to give’]; trust (D3 EUL) [not ‘Trust’] 1124. Common Wealth (D3 EUL, NLS) [not ‘Common-wealth’] 1125. Shoud (D3 EUL, NLS) [not ‘Should’]; lopd of (D3 EUL), Lopt off (NLS) [not ‘lopt off,’]; more (NLS) [not ‘mair’] 1126. bair Reflection— (NLS) [not ‘bare Reflection.—’]; Unworthy bare reflection — Now Symon run (D3 EUL) [not ‘Unworthy bare Reflection. — Symon run’] 1127. oer (D3 EUL), Oer (NLS) [not ‘O’er’] 1128. A Parents fondnes fondnes you ll with ease excuse (D3 EUL), a parents fondnes Easily finds excuse (NLS) [not ‘A Parent’s Fondness easily finds Excuse;’] 1129. but (D3 EUL, NLS) [not ‘But’]; truth (D3 EUL) [not ‘Truth’] 1130. praise the Langest simmer day (NLS) [not ‘Praise, the langest Simmer Day’]; But flat’ry, to his Praise, the sumer day (D3 EUL) [not ‘To speak his Praise, the langest Simmer Day’] 1131. short — coud (NLS) [not ‘short,--- cou’d’]; Wad be o’er short his virtues forth to lay (D3 EUL) [not ‘Wad be owre short,--- cou’d I them right display.’] 1132. in word & deed (NLS) [not ‘In Word and Deed’]; he [redacted] can in every Thing sae well Behave (D3 EUL) [not ‘In Word and Deed he can sae well behave,’] 1133. that [two illegible words, redacted] out of (NLS) [not ‘That out of’]; he’s & Says & does sic Things Actions beyond the rest Lave (D3 EUL) [not ‘That out of Sight he runs before the lave;’] 1134. That (D3 EUL), and (NLS) [not ‘And’]; when ther’s eer a Quarrell (D3 EUL, NLS) [not ‘when there’s e’er a Quarrel’] 1135. Patrick’s made Judge (D3 EUL), Patrick’s made made Judge (NLS) [not ‘Patrick’s made Judge,’] 1136. and his decreet stands good, (D3 EUL), and his decreet Stands good – (NLS) [not ‘And his Derceet [misprint] stands good;--- he’ll gar it stand:’] 1137. wha (D3 EUL, NLS) [not ‘Wha’]; dars (D3 EUL) [not ‘dares’]; feels (D3 EUL) [not ‘finds’]; hand (D3 EUL, NLS) [not ‘Hand’] 1138. with Dazing Brow (D3 EUL), with a firm Look (NLS) [not ‘With a firm Look,’]; Comanding (D3 EUL) [not ‘commanding’] 1139. he (NLS) [not ‘He’]; Hirds (NLS) [not ‘Herds’]; when he turns angry Proudest Hirds obey. (D3 EUL) [not ‘He gars the proudest of our Herds obey.’] 1140. Pleass – (D3 EUL), pleases – (NLS) [not ‘pleases,--’]; friend (D3 EUL, NLS) [not ‘Friend,’]; go on Proceed (D3 EUL) [not ‘proceed’] 1141. what (NLS) [not ‘What’]; write & Read (NLS) [not ‘write and read?’]; 294

Notes: Collation for 1725 what Learning did you give can he has he can he write & read (D3 EUL) [not ‘What Learning has he? can he write and read?’] 1142. well — for faith (D3 EUL), well — for troth (NLS) [not ‘well; for, troth,’] 1143. to (D3 EUL, NLS) [not ‘To’]; gie him (D3 EUL) [not ‘gie him’]; school (D3 EUL) [not ‘School’]; eneugh (D3 EUL) [not ‘enough’] 1144. and he delyts in Books and reads & Speaks (D3 EUL), and he delyts in Books – he Reads & Speaks (NLS) [not ‘And he delyts in Books:--- He reads and speaks’] 1145. with them that ken them Latins words & Greeks (D3 EUL), with fowks that ken them, Latine words & Greeks (NLS) [not ‘With Fowks that ken them, Latin Words and Greeks.’] [Lines 1146-7 not included in D3 EUL] 1146. read (NLS) [not ‘read,’] 1147. Tho (NLS) [not ‘Tho’]; Lead (NLS) [not ‘lead’] 1148. ay when he gangs our drives our sheep to Edr Port (D3 EUL), When Eer He drives our Sheep to Edinburgh port (NLS) [not ‘When e’er he drives our Sheep to Edinburgh Port,’] 1149. he Buys (D3 EUL, NLS) [not ‘He buys’]; som (D3 EUL) [not ‘some’]; Historys sangs or sport (D3 EUL), History sangs or sport (NLS) [not ‘History, Sangs or Sport’] 1150. he has a sort of them at Rowth & Will (D3 EUL) [not ‘Nor does he want of them a Rowth at Will,’] 1151. carrys Ay a poutchfu (NLS) [not ‘carries ay a Poutchfu’]; nor gangs without a poutchfu to the Hill (D3 EUL) [not ‘And carries ay a Poutchfu’ to the Hill.’] [Lines 1152-6 not included in D3 EUL] 1152. about (NLS) [not ‘About’] 1153. he (NLS) [not ‘He’]; & (NLS) [not ‘and’] 1154 & (NLS) [not ‘and’] 1155 and (NLS) [not ‘And’]; Cowely Loyal (NLS) [not ‘Cowley loyal’]; King— (NLS) [and ‘King,’] 1156. he (NLS) [not ‘He’]; & (NLS) [not ‘and’] 1157. somtimes Thought (NLS) [not ‘sometimes thought’]; oer (NLS) [not ‘o’er’]; frase (NLS) [not ‘Frase’]; I somtimes think he maks oer great a frais (D3 EUL) [not ‘I sometimes thought that he made o’er great Frase’] 1158. abut fine Poems Tatlers News & Plays (D3 EUL), about fine Poems Historys and Plays (NLS) [not ‘About fine Poems, Histories and Plays.’] 1159. when (D3 EUL, NLS) [not ‘When’]; reprovd (D3 EUL) [not ‘reprov’d’]; anes – a Book he Brings (D3 EUL), anes – a book he Brings (NLS) [not ‘anes,-- a Book he brings’] 1160. with this Quoth he (D3 EUL), with this, Quoth he, (NLS) [not ‘With this, quoth he,’]; braes (NLS) [not ‘Braes’]; Crack (NLS) [not ‘crack’] 1161. answerd well – (D3 EUL) [not ‘answer’d well,’] 1162. when such accounts (D3 EUL, NLS) [not ‘When such Accounts’]; shepherd (D3 EUL), Shepherd (NLS) [not ‘Shepherd’] 1163. peasants (D3 EUL), peasants’ (NLS) [not ‘Peasant’s’] 1164. Lords (D3 EUL), Lords (NLS) [not ‘Lord’s’]; Inclind (D3 EUL, NLS) [not ‘enclin’d’] 295

The Gentle Shepherd 1165. what (D3 EUL) [not ‘What’]; better (D3 EUL) [not ‘better,’] 1166. except (D3 EUL, NLS) [not ‘Except’]; Rainy Sundays (D3 EUL), Rainy Sundays, (NLS) [not ‘rainy Sundays,’] 1167. [cancelled line in D3 EUL: ‘When we half spell half read a leaf or twa’]; twa half read half spell (D3 EUL), twa haff read haff spell (NLS) [not ‘twa, haf read, haf spell’] 1168. till a (D3 EUL) [not ‘‘Till a’’] 1169. Jested Symon – (NLS) [not ‘jested, Symon; -’]; Well jested Symon! – but ae Question mair (D3 EUL) [not ‘Well jested, Symon;- but one Question more,’] 1170. only, (NLS) [not ‘only’]; now & then give oer (NLS) [not ‘now, and then give o’er’]; I have to ask and answer frank & fair (D3 EUL) [not ‘I’ll only ask ye now, and then give o’er.’] 1171. ariv’d the age (NLS) [not ‘arriv’d the Age’]; Litle (NLS) [not ‘Little’]; My Son’s [illegible] Patie’s now come to ane age when litle Loves (D3 EUL) [not ‘The Youth’s arriv’d the Age when little Loves’] 1172. flighter (D3 EUL, NLS) [not ‘Flighter’]; around (NLS) [not ‘arround’]; hearts (D3 EUL) [not ‘Hearts’] 1173. Lassie with Inviting (NLS) [not ‘Lassy with inviting’]; has nae young shepherdess with twinkling Eeen (D3 EUL) [not ‘Has no young Lassy with inviting Mein’] 1174. Rosie Cheeks the ferly (D3 EUL), Rosie Cheek the Wonder (NLS) [not ‘Rosie Cheek, the Wonder’] 1175. engagd his youthfull look & wishing heart (D3 EUL), [Caught] engag’d his Look & Caught youthfull Heart (NLS) [not ‘Engag’d his Look, and caught his youthful Heart?’] 1176. feard (D3 EUL, NLS) [not ‘fear’d’]; part (D3 EUL, NLS) [not ‘Part’] 1177. till Late (NLS) [not ‘Till late’]; have observed (D3 EUL) [not ‘saw’]; times (D3 EUL, NLS) [not ‘Times’] 1178. Nice (D3 EUL, NLS) [not ‘Niece’] 1179. Fears (D3 EUL), fears (NLS) [not ‘Fears;’] 1180. a (NLS) [not ‘A’]; Self (NLS) [not ‘self,’]; Son (NLS) [not ‘Son’]; since like himself your self your son will soon appear (D3 EUL) [not ‘Since like your self, your Son will soon appear,’] 1181. enrichd (NLS) [not ‘enrich’d’]; a Gentle Youth enrichd with all those Charms (D3 EUL) [not ‘A Gentleman enrich’d with all these Charms,’] 1182. may Bless the best born fairest Ladys Arms (D3 EUL), may Bless the fairest Best-born Ladys Arms (NLS) [not ‘May bless the fairest best born Lady’s Arms.’] 1183. shall must [not ‘must’]; ŭnambitious (NLS) [not ‘unambitious’]; Loves fire (D3 EUL), fire (NLS) [not ‘Fire’] 1184. newwhen (NLS) [not ‘When’]; thoughts Inspire (NLS) [not ‘Thoughts inspire’]; new thoughts shall higher Sentiments Inspire (D3 EUL) [not ‘When higher Views shall greater Thoughts inspire.’] 1185. Go Symon (D3 EUL, NLS) [not ‘Go, Symon’]; hither Quickly (D3 EUL), Quickly (NLS) [not ‘quickly’] 1187. I see Yonder’s my Horse & servants (D3 EUL), Yonder’s my Horse & servants (NLS) [not ‘Yonders my Horse and Servants’]; hand (D3 EUL, 296

Notes: Collation for 1725 NLS) [not ‘Hand’] 1188. Just (NLS) [not ‘just’]; they come Just at the Time I left gave Comand (D3 EUL) [not ‘They come just at the Time I gave Command:’] 1189. streight in my oun apparell (D3 EUL), streight in my Oun apperall (NLS) [not ‘Straight in my own Apparel’] 1190. secret (NLS) [not ‘Secret’]; but nought till ordered what ye know confess (D3 EUL) [not ‘Now ye the Secret may to all confess.’] [Two additional illegible redacted lines in D3 EUL, f.19R,] 1191. with (D3 EUL) [not ‘With’]; Erand (D3 EUL), errand (NLS) [not ‘Errand’] 1192. thers (D3 EUL), Ther’s (NLS) [not ‘There’s’]; [two illegible words] know (D3 EUL) [not ‘know’] [D3 EUL lacks S. D.: Sir William solus.’] 1193. Th’event (D3 EUL) [not ‘the Event’]; hope (D3 EUL), hopes (NLS) [not ‘Hopes’]; Successfully (NLS) [not ‘successfully’] 1194. one happy hour cancells (D3 EUL), One happy hour cancells (NLS) [not ‘One happy Hour cancels’]; toil of Years (D3 EUL) [not ‘Toil of Years’] 1195. fears (D3 EUL), toils (NLS) [not ‘Toils’]; are sunk (D3 EUL) [not ‘are lost’]; Lethe’s (D3 EUL, NLS) [not ‘Lethe’s’] 1196. and (D3 EUL, NLS) [not ‘And’]; Eanvish (D3 EUL) [not ‘evanish’] 1197. when (NLS) [not ‘When’]; wishd (NLS) [not ‘wish’d’]; Like (NLS) [not ‘like’]; When [redacted letter] wishd for pleasures Rise like New born light (D3 EUL) [not ‘When wish’d for Pleasures rise like Morning Light,’] 1198. the (D3 EUL, NLS) [not ‘The’]; Past (D3 EUL, NLS) [not ‘pain’]; enlarges enhaunses (D3 EUL) [not ‘enhanses’] [Cancelled half-line in D3 EUL: ‘a Thousand Joys now Croud’] 1199. words (D3 EUL) [not ‘Words’]; feell (NLS) [not ‘feel’] 1200. neer (D3 EUL, NLS) [not ‘ne’er’]; late distress (D3 EUL), Late distress (NLS) [not ‘late Distress’] [Lines 1201-1207 not in D3 EUL] 1201. Rustick Bussiness & Love (NLS) [not ‘rustic Business and Love’] 1202. hast (NLS) [not ‘haste’]; My Patrick (NLS) [not ‘my Patrick’] 1203. & (NLS) [not ‘and’]; Improve (NLS) [not ‘improve’] 1204. Rough (NLS) [not ‘rough’]; Leaves (NLS) [not ‘leaves’] 1205. only (NLS) [not ‘Only’]; Litle (NLS) [not ‘little’] 1207. Bright (NLS) [not ‘bright’] [After Line 1207, S. D.: Exit Sir Colin (D3 EUL); The End of the 43d Act (NLS) [not ‘The End of the Fourth Act’: misprint]] Act IV. Scene I. Collated with D3 EUL and NLS, and, in the case of Bauldy’s song, ‘For the Love of Jean’ as published in The Tea-Table Miscellany in 1723 (TTM). The Prologue does not appear in D3 EUL. From this scene to the end of the play, the copytext and NLS do not indicate the names of the speakers at the start of the scene, though D3 EUL does, and this is noted after the Prologue, as above. Title. Act 4 Scene (D3 EUL), Act 4 Scene 1 (NLS) [not ‘Act IV. Scene I.’] 297

The Gentle Shepherd [no subtitle for prologue (NLS)] 1208. described in former page (NLS) [not ‘describ’d in former Page,’] 1209. Glawds Onset (NLS) [not ‘Glaud’s Onset.’]; Mause (NLS) [not ‘Mause’] [Speakers: ‘Bauldy & Mause & Mage’ (D3 EUL). with Bauldy credited with two speeches then re-assigned to ‘Mage’ before his entrance.] 1210. The Laird (D3 EUL) [not ‘Our Laird’]; hame! – (NLS) [not ‘hame!’]; oun’s (D3 EUL) [not ‘owns’]; Pate (D3 EUL) [not ‘Pate’]; his heir son (D3 EUL), his heir (NLS) [not ‘his Heir’] 1211. Thats (D3 EUL) [not ‘That’s’]; Indeed – ! (D3 EUL) [not ‘Indeed!’] 1212. as [illegible] (D3 EUL), as (NLS) [not ‘As’] 1213. while (D3 EUL), as (NLS) [not ‘As’]; we wer (D3 EUL) [not ‘they were’]; Symons (D3 EUL) [not ‘Symon’s’] 1214. Sir Colin like a warlock (D3 EUL), Sir Wm Like a Warlock (NLS) [not ‘Sir William like a Warlock,’] 1215. five nives in lenth & whyt as driven snaw (D3 EUL), five nives in Lenth & whyte as driven Snaw (NLS) [not ‘Five Nives in Length, and white as driven Snaw,’] 1216. Came to us & cryd had ye merry A’ (D3 EUL), Amang us came – ‘Cryd Had ye Merry A’ (NLS) [not ‘came, cry’d, Had ye merry a’’] 1217. we ferlyd mekle (D3 EUL), we ferleyd mekle (NLS) [not ‘We ferly’d meikle’]; awfu’ (D3 EUL) [not ‘unco’] [Lines 1218-19: In D3 EUL, 1218 appears first, but Ramsay then numbers it ‘2’ and numbers the line below ‘1’, effectively indicating a swap] 1218. while (D3 EUL, NLS) [not ‘While’]; poutch (NLS) [not ‘Poutch’]; whirld furth (D3 EUL) [not ‘whirl’d forth’] 1219. as (NLS) [not ‘As’]; green (NLS) [not ‘Green’] Sym bad us a sit round as we stood round about him on the Green (D3 EUL) [not ‘As we stood round about him on the Green,’] 1220. he viewd us a’ (NLS) [not ‘He view’d us a’,’]; Glowrd he viewd at us Round a syne fixd his een on Pate his Een (D3 EUL) [not ‘He view’d us a’, but fix’d on Pate his Een;’] 1221. [illegible] Then (D3 EUL) [not ‘Then’]; Pawkylie Pretended (D3 EUL) Pawkylie pretended (NLS) [not ‘pawkylie pretended’]; coud (D3 EUL, NLS) [not ‘cou’d’] 1222. yet (D3 EUL, NLS) [not ‘Yet’]; unko (D3 EUL), pains (NLS) [not ‘Pains’] 1223. Lasses & ilk dunerd (D3 EUL), Lasses and ilk gaping (NLS) [not ‘Lasses, and ilk gaping’] 1224. wad (NLS) [not ‘Wad’]; Wald Rin about him & (D3 EUL) [not ‘Wad rin about him and’] 1225. as (D3 EUL, NLS) [not ‘As’]; flaes (D3 EUL, NLS) [not ‘Flaes’]; tate of woo (D3 EUL), Tate of woo (NLS) [not ‘Tate of Woo’] 1226. whilk (D3 EUL, NLS) [not ‘Whilk’]; Lawrie (D3 EUL, NLS) [not ‘Lawrie’]; mou (D3 EUL, NLS) [not ‘Mow’] 1227. them & (D3 EUL), them and (NLS) [not ‘them, and’]; limbs (D3 EUL), hipps (NLS) [not ‘Hips’] 1228. in Sun’y days Slides Backward in a pool (D3 EUL), in summer days Slyds backward in a pool (NLS) [not ‘In Summer Days slides backward 298

Notes: Collation for 1725 in a Pool:’] 1229. things (NLS) [not ‘Things’]; pate (NLS) [not ‘Pate’]; In short he spaed that Pate a Laird soud for pate he did braw things fortell (D3 EUL) [not ‘In short he did for Pate braw Things fortell,’] 1230. help (D3 EUL, NLS) [not ‘Help’]; or spell (D3 EUL), or a spell (NLS) [not ‘or Spell’] [Redacted line in D3 EUL, f.20R: at the auld place he cast off his disguise] 1231. at (D3 EUL, NLS) [not ‘At’]; Last (NLS) [not ‘last’]; he with drew (D3 EUL) [not ‘he withdrew’] 1232. Puld (D3 EUL), Powd (NLS) [not ‘Pow’d’]; Symon, Symon (D3 EUL) [not ‘Symon, Symon’] 1233. his welcome Master (NLS) [not ‘His welcome Master;’]; knees (NLS) [not ‘Knees’]; his welcome master Laird and haf Rais with Joy and round his knees he gat (D3 EUL) [not ‘His welcome Master;--- round his Knees he gat’] 1234. hang (D3 EUL, NLS) [not ‘Hang’]; hauch & syne (D3 EUL), Coat & syne (NLS) [not ‘Coat, and syne’]; blythnes Grat (NLS) [not ‘Blythness grat’] [After Line 1234: Redacted line, D3 EUL f.20R: Symon dispatchd in hast for Patrick ran.] 1235. Patrick was sent for – now by all its known (D3 EUL), Patrick was Sent for — [redacted illegible half line] happy Lad is he (NLS) [not ‘Patrick was sent for, — happy Lad is he!’] 1236. Elspa Elspa (NLS) [not ‘Elspa, Elspa’]; he’s our young Laird and round the news is flown (D3 EUL) [not ‘Symon tald Elspa, Elspa tald it me.’] 1237. ye’ll (D3 EUL, NLS) [not ‘Ye’ll’]; soon hear (D3 EUL) [not ‘hear’]; unko (D3 EUL) [not ‘secret’]; story (D3 EUL, NLS) [not ‘Story’] 1238. and trouth its een (D3 EUL), and troth its een (NLS) [not ‘And troth ‘tis een’] 1239. to think hou (NLS) [not ‘To think how’]; neer (NLS) [not ‘ne’er’]; Tho to think how Sim the Secret neer wad tell (D3 EUL) [not ‘Symon ne’er afore wad tell’] 1240. no, no (D3 EUL), Na [illegible] no (NLS) [not ‘Na, no’]; mekle (NLS) [not ‘meikle’]; Pate (NLS) [not ‘Pate’]; him sell (D3 EUL) [not ‘himsell’] 1241. meg (D3 EUL), Meg (NLS) [not ‘Meg,’]; Poor Thing alake (D3 EUL) [not ‘poor Thing, alake!’] 1242. kens & may be (D3 EUL), kens, & maybe (NLS) [not ‘wha kens, and may be’] [Three redacted lines in D3 EUL, f.20R following Line 1242: wher Love takes root it can will a Wather Stand [first half illegible] wind & wether Bide as Broken a ship as Meg’s has come to land ] 1243. to Lift (D3 EUL) [not ‘To lift’]; that’s (D3 EUL) [not ‘that’s’]; Luve (NLS) [not ‘Love’]; pain (NLS) [not ‘Pain:’] 1244. plain (NLS) [not ‘Plain’] 1245. and (D3 EUL, NLS) [not ‘And’]; may may (D3 EUL) [not ‘may’] [After Line 1245: In the margin of D3 EUL, ‘Madge’ is added as the speaker] 1246. Lŭve (NLS) [not ‘Love’]; root, (D3 EUL), root (NLS) [not ‘Root’]; tocher good! (D3 EUL), tocher good (NLS) [not ‘Tocher-good,’] 1247. tween (D3 EUL), ‘tween (NLS) [not ‘‘Tween’]; Herds (D3 EUL), Hirds 299

The Gentle Shepherd (NLS) [not ‘Herds’]; Bairn (D3 EUL, NLS) [not ‘Bairn,’]; Gentle Blood! (D3 EUL), Gentle blood (NLS) [not ‘gentle Blood:’] 1248. fasioun (D3 EUL), fashions (NLS) [not ‘Fashions’]; Bruces days (D3 EUL), Bruce’s days (NLS) [not ‘Bruce’s Days’] 1249. but (D3 EUL, NLS) [not ‘But’]; ferlys (D3 EUL, NLS) [not ‘Ferlies’] 1250. gif (D3 EUL, NLS) [not ‘Gif’]; Pate (D3 EUL) [not ‘Pate’]; her (D3 EUL, NLS) [not ‘her,’] ; Bauldy (D3 EUL) [not ‘Bauldy’] 1251. yonder (D3 EUL, NLS) [not ‘Yonder’]; comes & (D3 EUL), comes and (NLS) [not ‘comes, and’]; Looks (NLS) [not ‘looks’] 1252. nae doubt (D3 EUL) [not ‘Nae Doubt’]; peggys (D3 EUL), Peggy (NLS) [not ‘Peggy’s’] 1253. he Get her slaverin doof! he may na [illegible ]it setts him weel (D3 EUL), He get her! Slavering Doof!—it setts him weel (NLS) [not ‘He get her! slaverin Doof! it sets him well’] 1254. to (D3 EUL, NLS) [not ‘To’]; Pleugh (D3 EUL) [not ‘Plough’]; wher (NLS) [not ‘where’]; Patrick (D3 EUL) [not ‘Patrick’]; Teel (D3 EUL, NLS) [not ‘teil’] [After Line 1254, two redacted lines in D3 EUL, f.20V: if I meg were neer to be Patrick wife [|] I for his sake wad live a single life] 1255. If I wer Meg (D3 EUL), gif I were Meg (NLS) [not ‘Gif I were Meg,’]; se— (D3 EUL) [not ‘see—’] 1256. ye’d (D3 EUL) [not ‘Ye’d’]; dortie (D3 EUL, NLS) [not ‘dorty’]; ChoseChoice (NLS) 1257. and (NLS) [not ‘And’]; I (NLS) [not ‘I:’]; Archy Bauldy (NLS) [not ‘Bauldy’]; I think ye’r right. – but whisht hers Archy [redacted] comes (D3 EUL) [not ‘And so wad I: But whisht here Bauldy comes.’] [After Line 1257, redacted line in D3 EUL; Comes whistling by [half-line illegible]] 1258. Jeany, Jeany (TTM), Jenny [|] Jenny (NLS) [not ‘Jenny, Jenny’]; do’t? (TTM) [not ‘do’t,’]; Tis Jocky said to Jeny [|] Jeny wilt thou dood, [two redacted words] (D3 EUL) [not ‘Jocky said to Jenny, Jenny wilt thou do’t’,] 1259. neer (NLS) [not ‘Ne’er’]; quo’ Jeany (TTM) [not ‘quoth Jenny’]; Tochergood (TTM), Tocher good (NLS) [not ‘Tocher-good’]; neer fit Qo Jeny for my tocker good [illegible] (D3 EUL) [not Ne’er a fit, quoth Jenny, for my Tocher-good;’] [Lines 1260-1277 not in D3 EUL. Below Line 1277 of D3 EUL, f.20V Ramsay has written ‘[redacted] ill speed the Liars- Howt I, ! [redacted]’] 1260. Tochergood (TTM) [not ‘Tocher-good,’]; thee. (TTM) [not ‘thee,’]; for my Tocher good [|] for my Tocher good [|] I winna marry Thee (NLS) [not ‘For my Tocher-good, I winna marry thee,’] 1261. E’ens (TTM) [not ‘E’ens’]; quo’Jonny (TTM) [not ‘quoth Jocky’]; eens ye Like quoth Jocky [|] (NLS) [not ‘E’ens ye like, quoth Jocky,’] 1262. Weel Liltit Bauldy thats a dainty song (NLS) [not ‘Well liltit, Bauldy, that’s a dainty Sang.’] 1263. a’ (NLS) [not ‘a’,’]; its (NLS) [both instances] [not ‘’tis’]; Lang (NLS) [not ‘lang’] 1264. Ha’Gowd (TTM) [not ‘hae Gowd’]; gowd and gear (NLS) [not ‘Gowd and Gear,’]; ha’Land (TTM) [not ‘hae Land’] 300

Notes: Collation for 1725 1265. ha’ (TTM) [not ‘hae’]; Pleugh, (TTM), pleugh (NLS) [not ‘Pleugh;’] 1266. linking (TTM) [not ‘linkan’]; Lee, (TTM) [not ‘Lee;’]; ganging in a pleugh & Linkan oer the Lee (NLS) [not ‘Ganging in a Pleugh, and linkan o’er the Lee,’] 1267. and (NLS) [not ‘And’]; take (TTM) [not ‘tak’]; me (NLS) [not ‘me,’]; Let (NLS) [not ‘let’] 1268. ha’a (TTM) [not ‘hae’]; House a Barn (NLS) [not ‘House, a Barn’]; Byer (TTM), Bayer (NLS) [not ‘Bayer’] 1269. A Stack afore the Door, I’ll make a rantin’ Fire; (TTM), a peatstack ‘fore the Door we’ll mak a rantin fire (NLS) [not ‘A Peatstack ‘fore the Door, we’ll make a rantin Fire;’] 1270. mak ranting fire & (NLS) [not ‘make a ranting Fire,’]; s’all (TTM), sall (NLS) [not ‘shall’]; be; (TTM) [not ‘be,’] 1271. and (NLS) [not ‘And’]; me (NLS) [not ‘me,’] 1272. Jeany (TTM) [not ‘Jenny’]; Jocky (NLS) [not ‘Jocky,’] 1273. ye (NLS) [not ‘Ye’]; Lad (NLS) [not ‘Lad,’]; sell; (TTM) [not ‘sell,’] 1274. ye’re (NLS) [not ‘Ye’re’]; bonny (TTM), Bonny [not ‘bony’]; Lad (NLS) [not ‘Lad,’] 1275. ye’re (NLS) [not ‘Ye’re’]; me, (TTM) [not ‘me’]; Let (NLS) [not ‘let’] 1276. sae – (NLS) [not ‘sae, –’]; Last (NLS) [not ‘last’] 1277. Tho (NLS) [not ‘Tho’]; while (NLS) [not ‘While’]; snaw-baws (NLS) [not ‘Snaw-baws’] 1278. well Bauldy (D3 EUL, NLS) [not ‘Well, Bauldy,’]; [three words redacted at end of line] (D3 EUL) 1279. faith (D3 EUL, NLS) [not ‘Faith’]; unko (D3 EUL) [not ‘unco’] 1280. we’ll (D3 EUL, NLS) [not ‘well’: misprint]; a’ (NLS) [not ‘a’]; night (D3 EUL, NLS) [not ‘Night’] 1281. and (D3 EUL, NLS) [not ‘And’]; ane (D3 EUL, NLS) [not ‘ane,’]; we ask (NLS) [not ‘we may ask’] 1282. to (D3 EUL) [not ‘To’]; dificult (D3 EUL, NLS) [not ‘difficult’]; task (D3 EUL) [not ‘Task’] 1283. Bony (D3 EUL), Bonny (NLS) [not ‘bony’]; Pegy, (D3 EUL), Peggy (NLS) [not ‘Peggy,’]; now (D3 EUL) [not ‘wha’] 1284. Patrick & Sr Williams (NLS) [not ‘Patrick, and Sir William’s’] On Mr Patrick now [redacted] on Pate turnd Patick & Sir Colins Heir (D3 EUL) [not ‘On Pate turn’d Patrick, and Sir William’s Heir.’] 1285. Now now good Madge & honest Mause stand be (D3 EUL), Now, now good Madge & honest Mause Stand be (NLS) [not ‘Now, now, good Madge, and honest Mause stand be,’] 1286. when megs in Dumps lend (D3 EUL), While Meg’s in dumps pŭt (NLS) [not ‘While Meg’s in Dumps, put’] 1287. he coud Prove (D3 EUL), Pate coud prove (NLS) [not ‘Pate could’] 1288. less (D3 EUL) [not ‘Less’]; willfu & (D3 EUL), willfu’, and (NLS) [not ‘wilful, and’]; Constant (NLS) [not ‘constant’] 1289. as (D3 EUL, NLS) [not ‘As’]; Neps (D3 EUL) [not ‘Neps’]; wittness – (D3 EUL), witness (NLS) [not ‘witness,’]; The Bushy (D3 EUL), the Bushy (NLS) [not ‘the bushy’] 1290. wher (NLS) [not ‘Where’]; heart (NLS) [not ‘Heart’]; wher mony a time 301

The Gentle Shepherd she says to her your Love was sworn (D3 EUL) [not ‘Where mony a Time to her your Heart was sworn.’] 1291. Fy Bauldy blush and vous (D3 EUL), fy Bauldy blush and vows (NLS) [not ‘Fy Bauldy blush, and Vows’] 1292. what (NLS) [not ‘What’]; Hird (NLS) [not ‘Herd’]; what Lass think ye will true a Mansworn Hird (D3 EUL) [not ‘What other Lass will trow a mansworn Herd.’] 1293. the Cŭrse (D3 EUL) [not ‘The Curse’]; heads (D3 EUL) [not ‘Heads’] 1294. thats (D3 EUL), that’s (NLS) [not ‘That’s’]; sinfu deeds (D3 EUL), sinfu’ deeds (NLS) [not ‘sinfu’ Deeds’] 1295. wad I’ll ne’er (D3 EUL) [not ‘I’ll ne’er’]; Nice (D3 EUL, NLS) [not ‘Niece’]; Gray (D3 EUL) [not ‘gray’]; gate (NLS) [not ‘Gate’] 1296. nor (NLS) [not ‘Nor’]; nor wad (D3 EUL) [not ‘Nor will’]; she be advisd (D3 EUL), she advis’d (NLS) [not ‘she be advis’d’] 1297. Gate! – Mansworn ! – (NLS) [not ‘Gate! Mansworn!’]; a’ (D3 EUL, NLS) [not ‘a’]; Rest (D3 EUL) [not ‘rest;’] 1298. ye Leed (D3 EUL, NLS) [not ‘Ye leed,’]; yed (D3 EUL) [not ‘had’]; in faith (NLS) [not ‘in faith’] 1299. eat (D3 EUL, NLS) [not ‘Eat’]; words els I sall (D3 EUL), Words els I shall (NLS) [not ‘Words, else I shall’] 1300. with (D3 EUL, NLS) [not ‘With’]; face (D3 EUL, NLS) [not ‘Face’]; Haly (D3 EUL, NLS) [not ‘haly’] 1301. stand! – (NLS) [not ‘stand!’]; ye silly shamlin Tike sheveling Gabit Brock (D3 EUL), sheveling gabit Brock (NLS) [not ‘sheveling-gabit Brock’] 1302. speak (D3 EUL) [not ‘Speak’]; again (D3 EUL, NLS) [not ‘again,’]; Trembling (NLS) [not ‘trembling’] 1303. or ten sharp Nails (D3 EUL), and ten sharp Nails (NLS) [not ‘And Ten sharp Nails,’]; hands (D3 EUL), hinds (NLS) [not ‘Hands’] 1304. Skin (NLS) [not ‘skin’]; oer (NLS) [not ‘o’er’]; can flype the hide of of skin o’ your Cheeks out oer ye’r chin (D3 EUL) [not ‘Can flyp the skin o’ye’r Cheeks out o’er your Chin.’] 1305. witness Mause, (D3 EUL), wittnes Mause, (NLS) [not ‘Witness, Mause,’] 1306. that (D3 EUL) [not ‘That’]; mansworn (D3 EUL, NLS) [not ‘mansworn,’] [After Line 1306, the S. D. ‘Madge flees at him like a fury’ has the following in D3 EUL, f.21V: Nor will I you ‘till till ye be soundly Best [redacted, illegible] and thankfu that ye have a Wittness Left and blyth that ye’ve a Testimonial left] 1307. ye’re (NLS) [not ‘Ye’re’]; too, (NLS) [not ‘to’]; Bonny (NLS) [not ‘bony’]; I tak ye witness mause he ca’d me names (D3 EUL), ye’re witness too, he ca’d me Bonny Names (NLS) [not ‘Ye’re witness to, he ca’d me bony Names,’] 1308. and soud be servd as his good breeding Claims (D3 EUL), shoud be servd as his good breeding Claims (NLS) [not ‘And should be serv’d as his good Breeding claims.’] [Line 1309 (‘Ye filthy Dog! ––––’) is not included in D3 EUL. Instead the 302

Notes: Collation for 1725 following S. D. appears: ‘Here Mage & Bauldy feight it tightly| and Mause Reds’. After 1309, NLS has this S. D.: flee to his hair like a fury—| a stout Batle—| Mause endevours to Redd them [not ‘Flees to his Hair like a Fury:— | A stout Battle---| Mause endeavours to redd them’ (italics reversed)]] 1310. gae ye’r Grips, fy Madge (D3 EUL), gang ye’re grips fy, Madge (NLS) [not ‘gang your Grips, fy Madge’]; Archy (D3 EUL, with ‘A’ covering a ‘B’) [not ‘Bauldy’]; [redacted] Lean (D3 EUL), Lean (NLS) [not ‘leen’] 1311. Toolie (D3 EUL), Tŭlie (NLS) [not ‘Tuilzie’] 1312. its (D3 EUL, NLS) [not ‘Tis’]; like [two redacted words, illegible] (D3 EUL) [not ‘like’] [After Line 1312, S. D.: Bleeding nose (NLS) [not ‘bleeding Nose’]; ‘She gets them seperated’ (D3 EUL) [not ‘Bauldy gets out of Madge’s Clutches with a bleeding Nose.’]] [Madge, the speaker of the next line, is described as being ‘halden my Mause’ in D3 EUL, f.21V] 1313. its sillyer (D3 EUL), its dafter (NLS) [not ‘‘Tis dafter’]; thole (D3 EUL, NLS) [not ‘Thole’] 1314. Ane (D3 EUL, NLS) [not ‘An’]; Ether cap (D3 EUL) [not ‘Ether-cap’]; Blaw (NLS) [not ‘blaw’] 1315. it (D3 EUL) [not ‘It’]; it setts him weel (NLS) [not ‘It sets him well’]; ane ill vile unScrapet Tungue (D3 EUL) [not ‘vile unscrapit Tongue’]. 1316. to (D3 EUL, NLS) [not ‘To’]; whither (D3 EUL, NLS) [not ‘whether’] 1317. theyre (D3 EUL), they’re (NLS) [not ‘They’re’]; Married (D3 EUL, NLS) [not ‘married’] 1318. and (D3 EUL, NLS) [not ‘And’]; deid (D3 EUL) [not ‘died’]; Bairns’s barns (D3 EUL, NLS) [not ‘Bairn’s Bairns’] 1319. true – (D3 EUL) [not ‘true,’]; Bauldy (D3 EUL) [not ‘Bauldy’]; far e’en (D3 EUL) [not ‘far’] 1320. to (D3 EUL, NLS) [not ‘To’]; heir (NLS) [not ‘her’]; Cristend name (D3 EUL), Cristen’d name (NLS) [not ‘christen’d Name’] [Line 1321 not in D3 EUL] 1321. Luggs my Nose & Nodle (NLS) [not ‘Luggs, my Nose, and Nodle’] 1322. Rudes – filthy fallow, I sall (D3 EUL), Roudes! – filthy fallow, I shall (NLS) [not ‘Roudes! Filthy Fallow, I shall’] 1323. howt no: ye’s een be friends with honest Bauldy (D3 EUL), Howt no — yese ye’ll e’en be friends with Honest Bauldy (NLS) [not ‘Howt no;--- ye’ll e’en be Friends with honest Bauldy:’] 1324. Come come shake hands (D3 EUL, NLS) [not ‘Come, come, shake Hands;’] 1325. forgive (D3 EUL), forgie ‘m (NLS) [not ‘forgi’e ‘m:’]; se (NLS) [not ‘see’] 1326. Introth (NLS) [not ‘In troth’]; Mause (NLS) [not ‘Mause,’]; Madge (NLS) [not ‘Madge’]; spite (NLS) [not ‘Spite’]; in trowth now Mause I bear not Mage ill will I have at Mage nae spite (D3 EUL) [not ‘In troth now Mause, I have at Madge nae Spite;’] 1327. but (D3 EUL, NLS) [not ‘But’]; Abusding me (D3 EUL) [not ‘abusing’]; and was (D3 EUL) [not ‘And’] 1328. of (D3 EUL, NLS) [not ‘Of’]; happened and soud (D3 EUL), Happen’d 303

The Gentle Shepherd and soud (NLS) [not ‘happen’d, and should’] 1329. my (D3 EUL) [not ‘My’]; first (D3 EUL, NLS) [not ‘first,’]; aqwittence (D3 EUL) [not ‘Acquittance’] 1330. Yowe Pardon’d! Gallows face (D3 EUL), your Pardon! – Gallows face (NLS) [not ‘your Pardon! Gallows-face’]; Greet (D3 EUL) [not ‘greet’] 1331. and oun (NLS) [not ‘And own’]; faut (NLS) [not ‘Faut’]; and aun your faut to her ye’r gawn to Cheat (D3 EUL) [not ‘And own your Faut that ye wad cheat.’] 1332. gae (D3 EUL, NLS) [not ‘Gae’]; Blasted (D3 EUL, NLS) [not ‘blasted’]; health & Gear (D3 EUL), health & gear (NLS) [not ‘Health and Gear’] 1333. till (D3 EUL, NLS) [not ‘Till’]; Perform (D3 EUL) [not ‘perform’] 1334. & (NLS) [not ‘and’]; Lowp back! (D3 EUL), Lowp back! – (NLS) [not ‘lowp back!---’]; eer (NLS) [not ‘e’er’]; Like hard (D3 EUL), Lyke heard (NLS) [not ‘like heard’] 1335. swith (D3 EUL, NLS) [not ‘Swith’]; deil (D3 EUL), Deel, (NLS) [not ‘Deil,’]; hell (D3 EUL) [not ‘Hell’] [After Line 1335, S. D.: (Running off) (D3 EUL), (Running of) (NLS) [not ‘(running off.)’]] 1336. presence (NLS) [not ‘Presence’]; us! – (NLS) [not ‘us!’]; curst wer hee (D3 EUL) [not ‘Curst were he’] 1337. that wer condemd (D3 EUL), that wer condem’d (NLS) [not ‘That were condemn’d’] 1338. I’ve (D3 EUL, NLS) [not ‘I have’]; Towzle’d (NLS) [not ‘towzled’] 1339. he’ll (D3 EUL, NLS) [not ‘He’ll’]; green (D3 EUL), Grein (NLS) [not ‘grein’]; tell his mind (D3 EUL), tell his love (NLS) [not ‘tell his Love’] 1340. he’s (D3 EUL, NLS) [not ‘He’s’]; Raskall (D3 EUL, NLS) [not ‘Rascal’] 1341. a (D3 EUL, NLS) [not ‘A’]; sae (D3 EUL) [not ‘sae,’] 1342. ye (NLS) [not ‘Ye’]; [illegible, redacted] towind him justly I comend (D3 EUL), Towin’d him tightly – I commend (NLS) [not ‘towin’d him tightly,--I commend’] 1343. his (D3 EUL, NLS) [not ‘His’]; nose (D3 EUL) [not ‘Snout’]; litle sport (D3 EUL, NLS) [not ‘little Sport:’] [Cancelled line after 1343 in D3 EUL: ‘he had the Impudence this very day’, revised for 1344] 1344. This very day (D3 EUL), for this fornoon (NLS) [not ‘For this Forenoon’]; scant (D3 EUL) [not ‘Scant’]; grace (NLS) [not ‘Grace’] 1345. to come to me and (D3 EUL), and breeding baith – to (NLS) [not ‘And Breeding baith, --- to’]; face (D3 EUL, NLS) [not ‘Face’] 1346. he hopd (D3 EUL), he hop’d (NLS) [not ‘He hop’d’]; Witch, and wad na (D3 EUL), Witch and wadna (NLS) [not ‘Witch, and wadna’] 1347. to (D3 EUL, NLS) [not ‘To’]; case (D3 EUL, NLS) [not ‘Case’]; hand (D3 EUL, NLS) [not ‘Hand’] 1348. hou (NLS) [not ‘how’]; patience (NLS) [not ‘Patience’]; that (D3 EUL) [not ‘this’] 1349. and (D3 EUL, NLS) [not ‘And’]; een (D3 EUL) [not ‘Een’]; see or Lugs (D3 EUL), see or Luggs (NLS) [not ‘see, or Lugs’] 1350. witherd hands & feeble joynts (NLS) [not ‘wither’d Hands, and feeble Joints’]; These auld witherd hand & feeble joynts of Like mine (D3 EUL) [not 304

Notes: Collation for 1725 ‘Auld wither’d Hands, and feeble Joints like mine,’] 1351. obliges (D3 EUL) [not ‘Obliges’]; folk resentment (D3 EUL, NLS) [not ‘Folk Resentment’] 1352. but aft its seen when vigour fails then we (D3 EUL), till aft its seen when vigor fails then we (NLS) [not ‘Till aft ‘tis seen, when Vigour failes, then we’] 1353. with (D3 EUL, NLS) [not ‘With’]; Curming (D3 EUL) [not ‘Cunning’]; want (D3 EUL), lake of pith (NLS) [not ‘Lak of Pith’]; suplie (D3 EUL) [not ‘supplie’] 1354. Thus I put off revenge & bad him come till it was dark (D3 EUL) [not ‘Thus I pat aff Revenge till it was dark,’] 1355. come & (NLS) [not ‘come, and’]; shoud (NLS) [not ‘should’]; Syn bad him come & we should end the Wark (D3 EUL) [not ‘Syne bad him Come, and we should gang to wark:’] 1356. tryst – & (D3 EUL), Tryst & (NLS) [not ‘Tryst; and’] 1357. to (D3 EUL, NLS) [not ‘To’]; ask (D3 EUL) [not ‘seek’]; help (D3 EUL, NLS) [not ‘Help’]; fool (D3 EUL, NLS) [not ‘Fool’] [After Line 1357, cancelled line in D3 EUL: ‘well Thought In trouth I’ll gang with a’ my heart’] 1358. hae (D3 EUL), have (NLS) [not ‘have,’] 1359. ye’ll (D3 EUL) [not ‘Ye’ll’]; witch and I sall (D3 EUL), Witch & I shall (NLS) [not ‘Witch, and I shall’] 1360. a (D3 EUL, NLS) [not ‘A’]; Linnen sheet (D3 EUL), linnen sheet (NLS) [not ‘Linnen Sheet’]; wind (D3 EUL) [not ‘wond’] [Cancelled line here in D3 EUL: ‘old a lambskin like a Hood tyd on my head’] 1361. Cauk (D3 EUL) [not ‘cawk’]; face, & grane, & shake (D3 EUL), face and grane & shake (NLS) [not ‘Face, and grane and shake’]; head (D3 EUL, NLS) [not ‘Head’] 1362. sae he’s (D3 EUL), sae hee’ll (NLS) [not ‘sae, he’ll’]; grein (D3 EUL) [not ‘mint’] 1363. a (D3 EUL) [not ‘A’]; Conjuring (NLS) [not ‘conjuring’] 1364. go for se its (NLS) [not ‘go, for see, ‘tis’]; Then dinna fail meThen let us go for se Look the settling light its near hard Night (D3 EUL) [not ‘Then let us go, for see, ‘tis hard on Night,’] 1365. the (NLS) [not ‘The’]; when westlin Clouds shine (D3 EUL) [not ‘The westlin Cloud shines’]; seting light (D3 EUL, NLS) [not ‘setting Light’] [After Line 1365, S. D.: Exit Exeunt (D3 EUL) [not ‘Exeunt.’]] Act IV. Scene II. Collated with D3 EUL and NLS. The Prologue does not appear in D3 EUL. In NLS the Prologue was written in a variant order and then line numbers assigned to show the rearrangement of the lines, i. e. 3, 4, 1, 2, 5, 6. Title. [no title] (D3 EUL), Act IV Scene II (NLS) [not ‘Act IV. Scene II.’] [Prologue (NLS) [not ‘PROLOGUE.’]] 1366 when (NLS) [not ‘When’] 1367. and (NLS) [not ‘And’]; sward (NLS) [not ‘swaird’]; dew (NLS) [not ‘Dew’] 305

The Gentle Shepherd 1368. while (NLS) [not ‘While’]; retird (NLS) [not ‘retir’d’] 1369. the Gentle Shepherd (NLS) [not ‘The Gentle Shepherd’: Roman text in copytext]; Inspird (NLS) [not ‘inspir’d’] 1370. walks (NLS) [not ‘Walks’]; Leal (NLS) [not ‘leel’] 1371. to (NLS) [not ‘To’]; Meg (NLS) [not ‘MEG,’]; farweel (NLS) [not ‘farewell’] [Speakers: Patie & Roger (D3 EUL, f.23R)] [Before Line 1372: Bauldy, not Roger, is listed as the speaker in NLS, f.76] 1372. Cadgie! And (D3 EUL), Cadgie & (NLS) [not ‘cadgie, and’]; heart (D3 EUL, NLS) [not ‘Heart’]; lowps light! (D3 EUL) [not ‘Lowps light;’] 1373. Patrick (D3 EUL, NLS) [not ‘Patrick’]; thoughts (D3 EUL, NLS) [not ‘Thoughts’] 1374. sure Gentle folk (D3 EUL), sure gentle-fowk (NLS) [not ‘Sure Genlefowk’: misprint]; farer (D3 EUL) [not ‘farrer’] 1375. that (D3 EUL, NLS) [not ‘That’]; hae (D3 EUL, NLS) [not ‘ha’e’]; pedigree (D3 EUL), pedegree (NLS) [not ‘Pedegree’] 1376. Jenny (D3 EUL) [not ‘Jenny’]; that brack (D3 EUL) [not ‘wha’ brak’]; heart (D3 EUL, NLS) [not ‘Heart’] 1377. is (D3 EUL, NLS) [not ‘Is’]; yeilding (D3 EUL, NLS) [not ‘yielding’]; sweet & (D3 EUL), sweet – & (NLS) [not ‘sweet,-- and’] 1378. spak (D3 EUL, NLS) [not ‘spake’]; Mind-she heard- (D3 EUL, NLS) [not ‘Mind,---she heard,---’]; spak [second occurrence] (D3 EUL) [not ‘spake’] 1379. smild- I kissd- (D3 EUL, NLS) [not ‘smil’d,---I kiss’d---’]; wooud (D3 EUL) [not ‘woo’d’]; Vain (D3 EUL, NLS) [not ‘vain’] 1380. Blyth (D3 EUL) [not ‘glad’]; hear’t, (D3 EUL), hear’t— (NLS) [not ‘hear’t:---’] 1381. havees up my Breast with Joy & yet I’m wae (D3 EUL), heaves up my breast with Joy - & yet I’m ^Somtimes wae (NLS) [not ‘Heaves up my Joy, and yet I’m sometimes wae.’] 1382. Father Gentle (D3 EUL), Father Gently (NLS) [not ‘Father, gently’]; Brave & Kind [with a line looping round the words to indicate a swap] (D3 EUL), Kind as Brave (NLS) [not ‘kind as brave’] 1383. and ane (D3 EUL, NLS) [not ‘And an’]; m’aboon (D3 EUL), me aboon (NLS) [not ‘me ‘boon’] [Lines 1384-99 not included in D3 EUL] 1384. kindness words (NLS) [not ‘Kindness, Words’] 1385. he (NLS) [not ‘He’] 1386. while (NLS) [not ‘While’] 1387. Thus smild (NLS) [not ‘thus smil’d’] 1388. of Thy Lov’d (NLS) [not ‘Of thy lov’d’] 1389. who Set to Soon (NLS) [not ‘Who set too soon’]; bestoud (NLS) [not ‘bestow’d’] 1390. Adown (NLS) [not ‘Adown’]; flowd (NLS) [not ‘flow’d’] 1391. Joys & (NLS) [not ‘Joys, and’] 1392. did mingle’d thus oer all my thoughts prevail (NLS) [not ‘Did, mingled thus, o’er a’ my Thoughts prevail.’] 1393. lang my Late kend Syre (NLS) [not ‘lang, my late-kend Sire’] 1394. while Gushing tears (NLS) [not ‘While gushing Tears’]; Panting (NLS) 306

Notes: Collation for 1725 [not ‘panting’]; bedewd [not ‘bedew’d’] 1395. Unusal (NLS) [not ‘Unusual’] 1396. whilst (NLS) [not ‘Whilst’]; raptures (NLS) [not ‘Raptures’] 1397. the happy son (NLS) [not ‘The happy Son’]; renownd (NLS) [not ‘renoun’d’] 1398. heard–too faithfull Symons fear (NLS) [not ‘heard,--too faithful Symon’s fear’] 1399. has (NLS) [not ‘Has’]; Peggy (NLS) [not ‘Peggy’] [Lines 1400-1 in D3 EUL are inverted] 1400. peace (NLS) [not ‘Peace’]; to [illegible] my me to think on Peggy that confounds my Peace (D3 EUL) [not ‘Which he forbids,-- ah! this confounds my Peace,’] 1401. while (NLS) [not ‘While’]; Beat (NLS) [not ‘beat’]; heart (NLS) [not ‘Heart’]; but with stern brow my Parent bids me cease (D3 EUL) [not ‘While, thus to beat, my Heart must sooner cease.’] [Lines 1402-3 not included in D3 EUL] 1402. ye (NLS) [not ‘ye,’]; stand (NLS) [not ‘Stand’] 1403. but wer’t (NLS) [not ‘But were’t’]; Case (NLS) [not ‘Case,’]; hand (NLS) [not ‘Hand’] 1404. Reason & Duty argue in his [redacted] Cause (D3 EUL) [not ‘Duty, and haflen Reason plead his Cause;’] 1405. but (D3 EUL) [not ‘But’]; Rebells (D3 EUL, NLS) [not ‘rebels’] 1406. fix’d (D3 EUL, NLS) [not ‘Fixt’]; soul (D3 EUL), soull (NLS) [not ‘Soul’]; shepherdess (D3 EUL, NLS) [not ‘Shepherdess’] 1407. and part (NLS) [not ‘And Part’]; happyness (NLS) [not ‘Happiness’]; and all my new born Happyness repells (D3 EUL) [not ‘And Part of my new Happiness repells.’] 1408. Baith (NLS) [not ‘baith’]; Tak baith, tak baith, your father Sir Colin (D3 EUL) [not ‘Enjoy them baith--- Sir William’] 1409. Your Peggys Bonny (D3 EUL), yoŭr Peggy’s Bony – (NLS) [not ‘Your Peggy’s bony,--’]; son (D3 EUL, NLS) [not ‘Son’] 1410. she’s (D3 EUL) [not ‘She’s’]; Vows and strongest Tys (D3 EUL), Vows, & Stronger tyes (NLS) [not ‘Vows, and stronger Ties’] 1411. and (NLS) [not ‘And’]; and from (D3 EUL) [not ‘And frae’]; fate (D3 EUL, NLS) [not ‘Fate’]; thoughts (D3 EUL) [not ‘Mind’] 1412. Else (NLS) [not ‘else,’]; none els I’ll wed Throwgh life I’ll will still be prove true (D3 EUL) [not ‘I’ll wed nane else, through Life I will be true,’] 1413. but (NLS) [not ‘But’]; parents due (NLS) [not ‘Parent’s Due’] (NLS) but still obedience is a fathers due (D3 EUL) [not ‘But still Obedience is a Parent’s Due.’] [Lines 1414-7 not included in D3 EUL] 1414. Master & (NLS) [not ‘Master and’] 1415. here (NLS) [not ‘here,’] 1416. Court (NLS) [not ‘Court,’]; parts (NLS) [not ‘Parts’] 1417. to (NLS) [not ‘To’]; Broken hearts (NLS) [not ‘broken Hearts’] 1418. straight to morrow (D3 EUL), straight to morrow (NLS) [not ‘straight, to-morrow’] 1419. to London next – and (D3 EUL), to London niest and (NLS) [not ‘To 307

The Gentle Shepherd London neist, and’]; france (D3 EUL, NLS) [not ‘France’] 1420. wher (D3 EUL, NLS) [not ‘where’]; years and lear the Guise to Dance (D3 EUL), years & Learn – to Dance (NLS) [not ‘Years, and learn --- to dance’] 1421. and (D3 EUL) [not ‘And’]; ither (D3 EUL) [not ‘other’]; monkey tricks that (D3 EUL), Monkey tricks – that (NLS) [not ‘Monky-tricks:---That’] 1422. Struting (NLS) [not ‘struting’]; red heeld shoon (D3 EUL), Reed-heeld shoon (NLS) [not ‘Red-heel’d Shoon’] [Line 1427 in D3 EUL. f.23V entered here between 1422 and 1423 mistakenly, redacted] 1423. Then its designd (D3 EUL), [beginning of line redacted] Then its designd (NLS) [not ‘Then ’tis design’d’] 1424. that I maun be some pette’d things dull slave (D3 EUL), that I maun be Some Petted Things dull slave (NLS) [not ‘That I maun be some petted Thing’s dull Slave,’] 1425. for (D3 EUL, NLS) [not ‘For’]; Baggs (D3 EUL), baggs (NLS) [not ‘Bags’]; wat (D3 EUL) [not ‘wate’] 1426. third wheel (D3 EUL, NLS) [not ‘Third Wheel’] 1427. Peggy (D3 EUL) [not ‘Peggy’]; breath (NLS) [not ‘Breath’] 1428. sooner (D3 EUL, NLS) [not ‘Sooner’]; News (D3 EUL), news (NLS) [not ‘News,’] [Lines 1429-30 are italicized in NLS and the Copytext, not in D3 EUL] 1429. Just (D3 EUL) [not ‘just’]; Enough (D3 EUL) [not ‘enough’] 1430. the (D3 EUL), the (NLS) [not ‘The’]; Oercome (D3 EUL) [not ‘Owercome’]; fowk (D3 EUL), fowk (NLS) [not ‘Fowk’]; keep - &c (D3 EUL), keep – (NLS) [not ‘keep.---’] [Line 1431 not included in D3 EUL] 1431 good master Patrick tak your ain tale hame (NLS) [not ‘Good Master Patrick, tak your ain Tale Hame.’] 1432. what was my Morning’s thought is still the same (D3 EUL), what was my morning thought at night’s the same (NLS) [not ‘What was my Morning Thought, at Night’s the same:’] 1433. the poor & Rich (D3 EUL), the Poor & Rich (NLS) [not ‘The Poor and Rich’] 1434. only thing greatest Bliss (D3 EUL) [not ‘greatest Bliss’] 1435. frae (D3 EUL, NLS) [not ‘Frae’]; boon (D3 EUL) [not ‘‘boon’]; Lift, wthout (D3 EUL), Lift – without (NLS) [not ‘Lift.---Without’] 1436. ane (D3 EUL, NLS) [not ‘an’]; yeilds (D3 EUL) [not ‘yields’]; content (D3 EUL) [not ‘Content’] 1437. when (D3 EUL, NLS) [not ‘When’]; bent (D3 EUL) [not ‘Bent’] 1438. fine (NLS) [not ‘Fine’]; Howses (NLS) [not ‘Houses’]; wine (NLS) [not ‘Wine’]; fine [redacted] Claiths, saft beds, strang Ale, & blood red wine (D3 EUL) [not ‘Fine Claiths, saft Beds, sweet Houses, sparkling Wine,’] 1439. and hand wald meat when ye sit doun to dine (D3 EUL), Rich fare & witty friends when eer ye dine (NLS) [not ‘Rich Fare, and witty Friends, when e’er ye dine,’] 1440. submissive servants (D3 EUL, NLS) [not ‘Submissive Servants’]; & a Rowth of Ease (D3 EUL) [not ‘Honour, Wealth, and Ease,’]; & (NLS) [not ‘and’] 308

Notes: Collation for 1725 1441. wha’s (D3 EUL, NLS) [not ‘Wha’s’]; these (D3 EUL, NLS) [not ‘these,’] 1442. Roger (D3 EUL) [not ‘Roger’]; thinks – (NLS) [not ‘thinks,’] 1443. but (D3 EUL, NLS) [not ‘But’]; Hovering (NLS) [not ‘hovering’]; oer (D3 EUL, NLS) [not ‘o’er’] 1444. the (NLS) [not ‘The’]; Roast — (NLS) [not ‘Roast,’]; the Passions rule the Roast a stalk of pride and when they’re sour (D3 EUL) [not ‘The Passions rule the Roast,-- and if they’re sour,’] 1445. like (NLS) [not ‘Like’]; Lean Ky (D3 EUL, NLS) [not ‘lean Ky,’]; fat (D3 EUL, NLS) [not ‘Fat’] 1446. & affronted pride (NLS) [not ‘and affronted Pride’]; sour dumps tint honour, & affronted pride (D3 EUL) [not ‘The Spleen, tint Hounour, and affronted Pride,’] 1447. stangs (D3 EUL) [not ‘Stang’]; Gauds in Getrey’s side (D3 EUL), gawds in Gentrey’s side (NLS) [not ‘Goads in Gentry’s Side’] 1448. Then Gouts & Gravells Drapsies & the ill desease (D3 EUL), The Gouts & drap Gravels & the Ill desease (NLS) [not ‘The Gouts, and Gravels, and the ill Disease,’] 1449. are (D3 EUL, NLS) [not ‘Are’]; folk owre laid (D3 EUL), fowk Owre-laid (NLS) [not ‘Fouk owrelaid’] 1450. while on the Height (D3 EUL), while Oer the Moor (NLS) [not ‘While o’er the Moor’]; shepherd (D3 EUL, NLS) [not ‘Shepherd’] 1451. enjoys (D3 EUL, NLS) [not ‘Enjoys’]; wish & Halesom (D3 EUL), wish and Halsome (NLS) [not ‘Wish, and halesome’] 1452. ay (D3 EUL, NLS) [not ‘ay,’]; & (NLS) [not ‘and’] 1453. my heart (D3 EUL, NLS) [not ‘My Heart,’]; eer (D3 EUL) [not ‘e’er’]; harken (D3 EUL, NLS) [not ‘hearken’]; flights (D3 EUL, NLS) [not ‘Flights’] 1454. sence (NLS) [not ‘Sense’]; Lear (NLS) [not ‘lear’]; Wher How learnd ye a’ that sence – further I fain wad lear (D3 EUL) [not ‘How gat he a’ that Sense I fain wad lear,’] [Cancelled line from D3 EUL, f.24R tell me that I may ken my ill to bear] 1455. that (D3 EUL, NLS) [not ‘That’]; Easyer disapointments (D3 EUL), Either Easyer disapointments (NLS) [not ‘easier Disappointments’] 1456. frae (NLS) [not ‘Frae’]; Books [both instances] (D3 EUL, NLS) [not ‘Books,’]; wale (D3 EUL, NLS) [not ‘Wale’]; skill (D3 EUL, NLS) [not ‘Skill’] 1457. these (NLS) [not ‘These’]; Best (D3 EUL) [not ‘best’]; ye (D3 EUL), ye what’s (NLS) [not ‘what’s’]; & (D3 EUL, NLS) [not ‘and’] 1458. near (D3 EUL) [not ‘Near’]; year (D3 EUL, NLS) [not ‘Year’]; Cheas (D3 EUL), Chease (NLS) [not ‘Cheese’] 1459. to (D3 EUL, NLS) [not ‘To’]; friends (D3 EUL, NLS) [not ‘Friends’]; always (D3 EUL) [not ‘ever’] 1460. do’t (D3 EUL, NLS) [not ‘do’t,’]; sall (D3 EUL) [not ‘shall’]; whatich (D3 EUL) [not ‘which’]; Buy (NLS) [not ‘buy’] 1461. faith (NLS) [not ‘Faith’]; tho I soud (NLS) [not ‘tho’ I shou’d’]; faith I’se hae Books tho I soud sell my Ky (D3 EUL) [not ‘Faith Ise hae Books, tho’ I shou’d sell my Ky:’] 1462. but (NLS) [not ‘But’]; designd (NLS) [not ‘design’d’]; but now lets hear how ye’ll divide agree the Cash how you’re designd to move (D3 EUL) [not ‘But now let’s hear how you’re design’d to move’] 309

The Gentle Shepherd 1463. between Sir Colins will & Pegys fate Love (D3 EUL), between Sr Williams will & Peggys Luve (NLS) [not ‘Between Sir William’s Will and Peggy’s Love.’] 1464. Lyes his will must (D3 EUL), Lyes – his will maun (NLS) [not ‘lyes,--his Will maun’]; obeyd (D3 EUL, NLS) [not ‘obey’d’] 1465. my vows I’ll Keep and (D3 EUL), My vows I’ll keep & (NLS) [not ‘My Vows I’ll keep, and’] 1466. but (D3 EUL, NLS) [not ‘But’]; some time (D3 EUL), sometime (NLS) [not ‘some Time’]; the (D3 EUL) [not ‘this’]; design (D3 EUL, NLS) [not ‘Design’] 1467. this secret Close & (D3 EUL), the secret, Close & (NLS) [not ‘the Secret close, and’] 1468. Pegy (D3 EUL), Peggy (NLS) [not ‘Peggy,’] 1469. secretary (D3 EUL) [not ‘Secretary’] 1470. to (D3 EUL, NLS) [not ‘To’]; gain (D3 EUL) [not ‘wyle’]; me, A (D3 EUL), me A’ (NLS) [not ‘me, a’’] [After Line 1470, S. D.: Exit Roger (D3 EUL, NLS) [not ‘Exit Roger.’]] 1471. with (D3 EUL, NLS) [not ‘With’]; strugle (D3 EUL, NLS) [not ‘Struggle’]; Impart (D3 EUL, NLS) [not ‘impart’] 1472. father’s (D3 EUL), fathers (NLS) [not ‘Father’s’]; will (D3 EUL) [not ‘Will’]; holds (D3 EUL) [not ‘hads’]; heart (D3 EUL, NLS) [not ‘Heart’] 1473. know (D3 EUL) [not ‘kens’]; Loves (D3 EUL, NLS) [not ‘loves,’]; soft soul (D3 EUL), saft Soul (NLS) [not ‘saft saul’] 1474. while (D3 EUL, NLS) [not ‘While’]; wavering (D3 EUL) [not ‘trembling’]; Hated brink (D3 EUL), Hated Brink (NLS) [not ‘hated Brink’] 1475. of disapointment— (D3 EUL, NLS) [not ‘Of disappointment.---’]; Heaven suport my fair (D3 EUL) [not ‘Heaven support my Fair,’] 1476. and (D3 EUL, NLS) [not ‘And’]; Claim (D3 EUL, NLS) [not ‘claim’]; care (D3 EUL, NLS) [not ‘Care’] 1477. her Eyes are Red (D3 EUL, NLS) [not ‘Her eyes are red’] [Before Line 1478: S. D.: Enter Pegy (D3 EUL, NLS) [not ‘Enter Peggy.’]] 1478. Peggy (D3 EUL, NLS) [not ‘Peggy’]; tears (D3 EUL) [not ‘Tears’] 1479. smile (D3 EUL, NLS) [not ‘Smile’]; wont (D3 EUL, NLS) [not ‘wont,’]; no place for fears (D3 EUL), nae room for fears (NLS) [not ‘nae Room for Fears’] [redacted line between 1479-80 in D3 EUL: ‘Tho no more Symon’s [Son?] I’ll’] 1480. Tho (D3 EUL, NLS) [not ‘Tho’’]; no more (D3 EUL) [not ‘nae mair’]; shepherd (D3 EUL, NLS) [not ‘Shepherd,’]; yours thine (D3 EUL) [not ‘thine’] 1481. think, (EUL) [not ‘think’]; high— yet maun (D3 EUL), high—I maun [‘I’ over erased ‘yet’] (NLS) [not ‘high:--I maun’] 1482. at (NLS) [not ‘At’]; Chance (NLS) [not ‘Chance,’]; at that the unhapy fate chance that made not me thee (|) as mean(D3 EUL) [not ‘At the unhappy Chance, that made not me’] 1483. a (NLS) [not ‘A’]; match— (NLS) [not ‘Match,’]; Hird (NLS) [not ‘Herd’]; a Gentle for you or match kept [illegible] you sae for me or you not mean for me (D3 EUL) [not ‘A gentle Match, or still a Herd kept thee.’] or still a Hird kept thee [Lines 1484-7 not included in D3 EUL] 310

Notes: Collation for 1725 1485. the ship that bears his all (NLS) [not ‘The Ship that bears his All’]; Lost (NLS) [not ‘lost’] 1486. hand (NLS) [not ‘Hand’] 1487. far (NLS) [not ‘Far’]; wishes (NLS) [not ‘Wishes’] 1488. Neer Quarrell fate (NLS) [not ‘Ne’er quarrel Fate,’]; Neer Quarrell fate whilest with me it remains [looping line to indicate inversion] (D3 EUL) [not ‘Ne’er quarrel with Fate, whilst with me it remains’] 1489. to (NLS) [not ‘To’]; thee up (NLS) [not ‘thee up,’]; plains (NLS) [not ‘Plains’]; to raise the up or els come doun to thee or still attend the plains (D3 EUL) [not ‘To raise thee up, or still attend these Plains.’] 1490. my father (D3 EUL), my Father (NLS) [not ‘My Father’]; Loves (D3 EUL, NLS) [not ‘Loves,’] 1491. but (D3 EUL, NLS) [not ‘But’]; superiour (D3 EUL), supperior (NLS) [not ‘superior’]; parents frown (D3 EUL), Parents frown (NLS) [not ‘Parent’s Frown’] [Lines 1492-95 not included in D3 EUL] 1492. falshood (NLS) [not ‘Falshood’]; come (NLS) [not ‘Come’]; cares (NLS) [not ‘Cares’] 1493. Love (NLS) [not ‘love’] 1494. Williams Generous – (NLS) [not ‘William’s generous,’]; task (NLS) [not ‘Task’] 1495. strick Duty & (NLS) [not ‘strict Duty and’] [Before Line 1496, 1.5 lines redacted in D3 EUL. f.25R at the beginning: O Patie for that name’s still dearer to me [|] than Gentle style] 1496. grief (NLS) [not ‘Grief’]; Speak on speak ever sae & still my grief (D3 EUL) [not ‘Speak on! – Speak ever thus, and still my Grief,’] 1497. but (D3 EUL, NLS) [not ‘But’] hope dare to Hope (D3 EUL) [not ‘hope’]; relief (D3 EUL, NLS) [not ‘Relief’] 1498. thoughts a (D3 EUL) [not ‘thoughts, a’]; face (D3 EUL, NLS) [not ‘Face’]; Im Inspire (D3 EUL), Inspire (NLS) [not ‘inspire’] 1499. that (D3 EUL, NLS) [not ‘That’]; silk atire (D3 EUL, NLS) [not ‘Silk Attire’] 1500. Poor (NLS) [not ‘poor’]; sighs (NLS) [not ‘Sighs’]; Ban (NLS) [not ‘ban’]; fate (NLS) [not ‘Fate’]; Poor Pegy then with tears may ban her fate (D3 EUL) [not ‘Then I, poor me!--- with Sighs may ban my Fate.’] 1501. when (D3 EUL, NLS) [not ‘When’]; her Lovely pate (D3 EUL), My Hartsome pate (NLS) [not ‘my heartsome Pate’] 1502. tales (D3 EUL, NLS) [not ‘Tales’] 1503. by (D3 EUL, NLS) [not ‘By’]; Blyth (D3 EUL) [not ‘blyth’]; shepherd (D3 EUL, NLS) [not ‘Shepherd’]; excelld (D3 EUL, NLS) [not ‘excell’d’] 1504. nae (D3 EUL) [not ‘Nae’]; Envyd (D3 EUL), envyd (NLS) [not ‘envied’]; the tatling (D3 EUL) [not ‘the tatling’]; gang (D3 EUL, NLS) [not ‘Gang’] 1505. when (NLS) [not ‘When’]; Kisd (NLS) [not ‘kissed’]; Danc’d or sang (NLS) [not ‘danc’d or sang’]; when Patie Roosd Kisd me when I dancd & sang (D3 EUL) [not ‘When Patie kissed me when I danc’d or sang:’] [Lines 1506-9 not included in D3 EUL] 1507. and (NLS) [not ‘And’]; run (NLS) [not ‘rin’]; Hay! (NLS) [not ‘Hay,’] 1508. as (NLS) [not ‘as’]; the (NLS) [not ‘thee’] 311

The Gentle Shepherd 1509. and (NLS) [not ‘And’]; fawn, on purpose, (NLS) [not ‘fawn on Purpose’] 1510. arround (D3 EUL, NLS) [not ‘around’]; a ruck of Hay (D3 EUL), the foggy Know (NLS) [not ‘the Foggy-Know’] 1511. to watch & stare upon thee (D3 EUL, NLS) [not ‘To watch and stare upon thee,’]; asleep! (NLS) [not ‘asleep.’] 1512. but (D3 EUL) [not ‘But’]; Vow— (D3 EUL, NLS) [not ‘Vow:—’]; ‘Twill (D3 EUL) [not ‘‘twill’]; gve me (D3 EUL), give me (NLS) [not ‘give me’]; ease (D3 EUL), Ease [illegible word redacted] [not ‘Ease’] 1513. or warse deadly or deadly sair (D3 EUL) [not ‘or deadly sair’]; desease (D3 EUL), disease (NLS) [not ‘Disease’] 1514. and (D3 EUL, NLS) [not ‘And’]; [illegible word redacted] ills (D3 EUL), ills, (NLS) [not ‘Ills’]; life (D3 EUL) [not ‘Life’] 1515. if (D3 EUL, NLS) [not ‘If’]; eer (D3 EUL) [not ‘e’er’]; ane, but you, (NLS) [not ‘ane but you’]; wife (D3 EUL, NLS) [not ‘Wife’] 1516. aproves – and (NLS) [not ‘approves;-- and,’]; assurd (NLS) [not ‘assur’d’];sure Heaven approves this vow and I again and now [two illegible words] and and (D3 EUL) [not ‘Sure Heaven approves;-- and, be assur’d of be assured of me me,’] 1517. neer gae (D3 EUL) [not ‘ne’er gang’]; Thee (NLS) [not ‘thee’] 1518. and time tho (D3 EUL), and Time – tho (NLS) [not ‘And Time, tho’’]; must Inter pose (D3 EUL) [not ‘maun interpose’] 1519. and (D3 EUL, NLS) [not ‘And’]; must (D3 EUL) [not ‘maun’]; Leave (NLS) [not ‘leave’]; Pegy (D3 EUL) [not ‘Peggy’]; & (D3 EUL, NLS) [not ‘and’] 1520. Time (D3 EUL) [not ‘Time,’]; nor distance (D3 EUL), nor distance (NLS) [not ‘nor Distance,’]; face (D3 EUL, NLS) [not ‘Face’] 1521. if ther’s (D3 EUL, NLS) [not ‘If there’s’]; fairer eer (D3 EUL), fairer, eer (NLS) [not ‘fairer ere’]; place (D3 EUL) [not ‘Place’] [Line 1522-8 not included in D3 EUL] 1522. fortune shoud (NLS) [not ‘Fortune, should’] 1523. the (NLS) [not ‘The’]; faithfull (NLS) [not ‘faithful’] 1524. if (NLS) [not ‘If’]; & Sceptere Laid (NLS) [not ‘and Scepters laid’] 1525. to (NLS) [not ‘To’]; Saul (NLS) [not ‘Soul’]; delightfull Maid, (NLS) [not ‘delightful Maid;’] 1526. for (NLS) [not ‘For’]; Leave these Inferiour (NLS) [not ‘leave these inferior’] 1527. to (NLS) [not ‘To’]; patience (NLS) [not ‘Patience’] 1528. Wherfore (D3 EUL) [not ‘Wherefore’]; Tear, belive & (D3 EUL), tear? – believe & (NLS) [not ‘Tear? Believe and’] 1529. greet, (NLS) [not ‘greet’]; Pate Love (D3 EUL) [not ‘Love’]; kind: (NLS) [not ‘kind;’] [After Line 1529: 1.5 lines redacted here in D3 EUL, f.25V: ‘with patients I’ll attend returning years (|) returning years attend’] 1530. when Hope was sunk & nought but black dispair (D3 EUL), when hopes were Sunk, & nought but mirk dispair (NLS) [not ‘When Hope was sunk, and nought but mirk Dispair,’] 1531. made (D3 EUL, NLS) [not ‘Made’]; life (D3 EUL, NLS) [not ‘Life’]; litle (D3 EUL, NLS) [not ‘little’]; care (D3 EUL, NLS) [not ‘Care’] 312

Notes: Collation for 1725 [After Line 1531, half line redacted, D3 EUL, f.25V: ‘but now with pleasure’] [Lines 1532-60 not included in D3 EUL] 1532. heart (NLS) [not ‘Heart’] [redacted illegible] burst – (NLS) [not ‘burst;’] 1533. thy Generous thoughts (NLS) [not ‘Thy generous Thoughts’]; heart (NLS) [not ‘Heart’] 1534. with (NLS) [not ‘With’]; then (NLS) [not ‘then,’]; year (NLS) [not ‘Year’] 1535. dream (NLS) [not ‘Dream’]; Night till my day star (NLS) [not ‘Night, till my Day-star’] 1536. and (NLS) [not ‘And’]; stŭdy Gent’ler (NLS) [not ‘study gent’ler’] 1537. to (NLS) [not ‘To’]; Traveler’s (NLS) [not ‘Traveller’s’]; arms (NLS) [not ‘Arms’] 1538. Glaud – (NLS) [not ‘Glaud,--’]; fool (NLS) [not ‘Fool’] 1539. and (NLS) [not ‘And’] 1540. where (NLS) [not ‘Where’]; Learn (NLS) [not ‘learn’] 1541. Said (NLS) [not ‘said’] 1542. and (NLS) [not ‘And’]; way (NLS) [not ‘Way’]; payd (NLS) [not ‘paid’] 1543. Tho (NLS) [not ‘Tho’’]; litle helps (NLS) [not ‘little Helps’]; art (NLS) [not ‘Art’] 1544. thy (NLS) [not ‘Thy’]; prince’s (NLS) [not ‘Prince’s’] 1545. now least (NLS) [not ‘now, lest’] 1546. we (NLS) [not ‘We’]; Learn (NLS) [not ‘learn’]; Inocence (NLS) [not ‘Innocence’] 1547. affect aftimes (NLS) [not ‘Affect aft-times’]; thing (NLS) [not ‘Thing’] 1548. and drap serenity (NLS) [not ‘And drap Serenity’]; state (NLS) [not ‘State’] 1549. we’r Sad – Speak (NLS) [not ‘we’re sad, speak’] 1550. and for the fashion (NLS) [not ‘And, for the Fashion,’] 1551. scornd (NLS) [not ‘scorn’d’] 1552. Scandalize (NLS) [not ‘scandalize’]; turnd (NLS) [not ‘turn’d’] 1553. Gent’ry (NLS) [not ‘Gentry,’] 1554. what (NLS) [not ‘What’]; still – (NLS) [not ‘still;---’]; Thee (NLS) [not ‘thee’] 1555. No, no my Peggy (NLS) [not ‘No, no, my Peggy,’]; Jest (NLS) [not ‘jest’] 1556. with Gentrey’s apes – (NLS) [not ‘With Gentry’s Apes;’]; Best (NLS) [not ‘best’] 1557. good manners gives (NLS) [not ‘Good Manners give’] 1558. when (NLS) [not ‘When’]; Joyn (NLS) [not ‘join’] 1559. since (NLS) [not ‘Since’]; hazard & (NLS) [not ‘Hazard, and’]; expence (NLS) [not ‘Expence’] 1560. sence (NLS) [not ‘Sence’] 1561. shoud the Tempestous sea (NLS) [not ‘shou’d the tempestuous Sea’]; but why oh why shoud the rough stormy sea (D3 EUL) [not ‘Then why, ah! why, shou’d the tempestuous Sea’] 1562. endanger (D3 EUL, NLS) [not ‘Endanger’]; Life & (D3 EUL), life & (NLS) [not ‘Life, and’] 1563. sir Colins Cruell (D3 EUL), Sr Colin’s William’s crwel (NLS) [not ‘Sir William’s cruel’]; [em-dash] but maybe it’s I that was force his son (D3 EUL) [not 313

The Gentle Shepherd ‘that wad force his son’] 1564. for watna whats (D3 EUL), for watna-whats (NLS) [not ‘For Watnawhats,’]; risk (D3 EUL, NLS) [not ‘Risk’] [Lines 1565-8 not included in D3 EUL] 1565. Ther (NLS) [not ‘There’]; doubt but Traveling does Improve (NLS) [not ‘Doubt but Travelling does improve’] 1566. Tho Yet (NLS) [not ‘Yet’]; shŭn (NLS) [not ‘shun’]; Sake (NLS) [not ‘Sake,’] 1567. but (NLS) [not ‘But’] 1568. in foraign Cittys – (NLS) [not ‘In foreign Cities,’]; hast (NLS) [not ‘haste’] 1569. Day & (NLS) [not Day, and’]; but with the Setting day & rising Morn (D3 EUL) [not ‘With every setting Day, and rising Morn,’] 1570. return (NLS) [not ‘Return’]; My Love shall fill my prayers till he return (D3 EUL) [not ‘I’ll kneel to Heaven and ask thy safe Return.’] 1571. under (D3 EUL, NLS) [not ‘Under’]; Tree and (D3 EUL), Tree, & (NLS) [not ‘Tree, and’]; Gowan brae (D3 EUL), Suckler Brae (NLS) [not ‘SucklerBrae’] 1572. when aft we usd when bairns to dance & play (D3 EUL), where aft wont when Bairns to rŭn & play (NLS) [not ‘Where aft we wont, when Bairns, to run and play;’] 1573. aft to the Rashy Glen Hissell Shaw wher (D3 EUL), and to the Hissell Shaw where (NLS) [not ‘And to the Hissel-Shaw, where’]; vowd (D3 EUL, NLS) [not ‘vow’d’] 1574. ye (NLS) [not ‘Ye’]; mine & (D3 EUL), mine, & (NLS) [not ‘mine, and’]; trowd (D3 EUL) [not ‘trow’d’] 1575. gang & (D3 EUL), gang and (NLS) [not ‘gang, and’]; & flowers (D3 EUL, NLS) [not ‘and Flowers’] 1576. with (D3 EUL, NLS) [not ‘With’]; wittnes (D3 EUL), wittnes, (NLS) [not ‘Witness’] 1577. temples (D3 EUL) [not ‘Temples’] 1578. that (D3 EUL), a (NLS) [not ‘A’]; ringlet (D3 EUL, NLS) [not ‘Ringlet’]; hair (NLS) [not ‘Hair’] 1579. which (D3 EUL, NLS) [not ‘Which,’]; a Sample token of thy each (D3 EUL) [not ‘a Sample of each’]; Lovely (NLS) [not ‘lovely’] 1580. afften (NLS) [not ‘aften’]; & (D3 EUL, NLS) [not ‘and’]; arm (D3 EUL) [not ‘Arm’] 1581. wer (D3 EUL) [not ‘Were’]; every (D3 EUL) [not ‘ilka’] 1582. worth ane Estate (D3 EUL, NLS) [not ‘Worth an Estate,’] 1583. my (NLS) [not ‘My’]; Ready (NLS) [not ‘ready,’]; Hae that my Sheers are ready cut aff wher ye like best tak’t with your ain hand (D3 EUL) [not ‘My Sheers are ready, take what you demand,’] 1584. and ought from me that virtue can demand (D3 EUL), and ought what Love, with Virtue, may Command (NLS) [not ‘And ought what Love with Virtue may command.’] [No speaker is indicated for Patie’s speech, D3 EUL, lines 1585-88] 1585. no more (D3 EUL) [not ‘Nae mair’]; ask – (D3 EUL, NLS) [not ‘ask;’]; litle (D3 EUL, NLS) [not ‘little’]; time (D3 EUL) [not ‘Time’] 314

Notes: Collation for 1725 1586. to war’t on words (D3 EUL), to ware’t on Words (NLS) [not ‘To ware’t on Words,’] [Two redacted lines here in D3 EUL, f.26R largely illegible—the gist is Patie’s urging them to ‘embrace’ while there is time.] 1587. the Love’s (NLS) [not ‘Love’s’]; meaning (NLS) [not ‘meaning’]; the saftest talks of Love are Well exprest (D3 EUL) [not ‘Love’s safter Meaning better is exprest,’] 1588. when they’r by Kissing (D3 EUL), when it’s with Kisses (D3 EUL) [not ‘When its with Kisses’] [Two extra lines in D3 EUL, f.26R: Words are but Cauld & have not haf that art nor durt with so much ardure to the Heart] [After Line 1588, S. D.: Here they embrace [|] & the Courtains let down (D3 EUL), (Here they Embrace and [| the Courtain’s let down) (NLS) [not ‘(Here they embrace, and the [|] Courtain’s let down.)’]] [[No text marking the ending of Act 4 (D3 EUL)], End of the 4 Act (NLS) [not ‘End of the Fourth Act.’]] Act V. Scene I. Collated with D3 EUL and NLS. There is no prologue in D3 EUL. D3 EUL identifies ‘Symons House’ as the scene; this is not present in NLS or the copytext. Title. Act 5 Scen 1 (D3 EUL), Act V Scene 1 (NLS) [not ‘Act V. Scene I.’] [Prologue (NLS) [not ‘PROLOGUE.’]] [Before Line 1589: Begins a litle Before Three in the Morning (NLS)] 1589. Se (NLS) [not ‘See’] 1590. and (NLS) [not ‘And’] 1591. bare-legd (NLS) [not ‘Bare Leg’d’]; & (NLS) [not ‘and’] 1592. Se (NLS) [not ‘See’]; Auld (NLS) [not ‘auld’]; forward (NLS) [not ‘foreward’] [Speakers: Symon & Bauldy (D3 EUL)] [Symon not indicated as speaker of lines 1593-1598 in D3 EUL.] 1593. what (D3 EUL) [not ‘What’]; ye Bauldy (D3 EUL, NLS) [not ‘ye, Bauldy,’]; Silent (NLS) [not ‘silent’]; hour (D3 EUL, NLS) [not ‘Hour’] 1594. when (D3 EUL, NLS) [not ‘When’]; drowsie power (D3 EUL), Drowsy power (NLS) [not ‘drowsy Power’] 1595. far to the North (D3 EUL, NLS) [not ‘Far to the North’]; remains of Light (D3 EUL), Scant approaching light (NLS) [not ‘scant approaching Light’] 1596. twixt the Morning & the Night (D3 EUL, NLS) [not ‘‘twixt the Morning and the Night’] 1597. what (D3 EUL, NLS) [not ‘What’]; & Glowre & looks (D3 EUL), & Glowre & look (NLS) [not ‘shake and glower and look’]; Wan (D3 EUL, NLS) [not ‘wan’] 1598. ye’r (D3 EUL), your (NLS) [not ‘Your’]; Chitter, (D3 EUL), Chitter (NLS) [not ‘chitter,’]; Stand (NLS) [not ‘stand’] 1599. Len (NLS) [not len’]; watter milk or ale (D3 EUL, NLS) [not ‘Water, Milk, or Ale’] 315

The Gentle Shepherd 1600. my (NLS) [not ‘My’]; head’s (NLS) [not ‘Head’s’]; giddy –legs (NLS) [not ‘giddy,--- Legs’]; My head rins round my limbs with trembling fail (D3 EUL) [not ‘My Head’s grown giddy,--- Legs with shaking fail;’] [Lines 1601-04 not included in D3 EUL] 1601. neer dar (NLS) [not ‘ne’er dare’]; night (NLS) [not ‘Night’] 1602. alake (NLS) [not ‘Alake’] 1603. I’ll neer oer putt it! Symon, O Symon O! (NLS) [not ‘I’ll ne’er o’erput it! Symon, O Symon! O!’] [After Line 1603, S. D.: (Symon gives him a drink) (D3 EUL, NLS) [not ‘Symon gives him a drink.’]] 1604. the Gowk ! – to mak sae Loud (NLS) [not ‘thee, Gowk!-- to make sae loud’] 1605. wakd (D3 EUL) [not ‘wak’d’]; Sir Colin (D3 EUL), Sr William (NLS) [not ‘Sir William’] 1606. he (D3 EUL, NLS) [not ‘He’]; pleasd, (D3 EUL), pleasd (NLS) [not ‘pleas’d;’]; tred (D3 EUL, NLS) [not ‘Tred’] [After Line 1607, S. D.: (Enter to them Sir Colind) (D3 EUL), (Enter Sr Wm) (NLS) [not ‘Enter Sir William.’]] 1607. night or does Day appear (D3 EUL), night does daylight yet appear (NLS) [not ‘Night? Does Day-light yet appear?’] 1608. Symon (D3 EUL) [not ‘Symon,’]; Tymously (NLS) [not ‘tymously’]; a steer (D3 EUL, NLS) [not ‘asteer’] 1609. Sory Sir (D3 EUL), Sorry Sr (NLS) [not ‘sorry, Sir,’]; rest (NLS) [not ‘Rest’] 1610. Bŭt (D3 EUL) [not ‘But’]; Strange (NLS) [not ‘strange’]; Bauldy sprit (D3 EUL), Bauldy’s sprit (NLS) [not ‘Bauldy’s Sp’rit’]; opresst (D3 EUL) [not ‘opprest,’] 1611. he has (D3 EUL), he ‘as (NLS) [not ‘He’s’]; Witch (D3 EUL, NLS) [not ‘Witch,’]; wrestled wi (D3 EUL), wrestled with (NLS) [not ‘wrestl’d with’] 1612. trowth its (NLS) [not ‘Troth ‘tis’]; O, I!, dear Sir, Symon in truth its very has guesd right true (D3 EUL) [not ‘O! ay--- dear Sir, in Troth ‘tis very true,’] 1613. and (D3 EUL, NLS) [not ‘And’]; mak (D3 EUL, NLS) [not ‘make’]; plaint (D3 EUL, NLS) [not ‘Plaint’] 1615. ah! (NLS) [not ‘Ah!’]; O, Sir the witch auld Mause (D3 EUL) [not ‘Ah! Sir, the Witch caw’d Mause,’] 1616. that (D3 EUL, NLS) [not ‘That’] 1617. first Promisd (NLS) [not ‘First promis’d’]; art (NLS) [not ‘Art’]; first Promisd she wad help me how [redacted, illegible] with her art (D3 EUL) [not ‘First promis’d that she’d help me with her Art,’] 1618. to (NLS) [not ‘To’]; Bonny (NLS) [not ‘bonny’]; Lasse’s (NLS) [not ‘Lassie’s’]; a Lass’ heart win a Bony thrawart Lass’s heart (D3 EUL) [not ‘To gain a bonny thrawart Lassie’s Heart:’] 1619. as (NLS) [not ‘As’]; Trysted (NLS) [not ‘Trysted’]; as She apointed I gad ether this Night (D3 EUL) [not ‘As she had trysted, I met wi’er this Night,’] 1620. but (D3 EUL, NLS) [not ‘But’]; friend (D3 EUL, NLS) [not ‘Friend’]; Sic (NLS) [not ‘sic’]; fright (D3 EUL, NLS) [not ‘Fright!’] 1621. for the cursd (D3 EUL), for the cursd (NLS) [not ‘For the curs’d’]; Hag in stead (D3 EUL) [not ‘Hag, instead’] 316

Notes: Collation for 1725 1622. the (D3 EUL, NLS) [not ‘The’]; thought (D3 EUL, NLS) [not ‘Thought’]; ot’s (D3 EUL) [not ‘o’t’s’]; freez (D3 EUL, NLS) [not ‘freeze’] 1623. Raisd up a Ghaist (D3 EUL, NLS) [not ‘Rais’d up a Ghaist,’]; Deel (D3 EUL) [not ‘Deel,’] 1624. like (D3 EUL, NLS) [not ‘Like’]; Corss (D3 EUL), Cors (NLS) [not ‘Corse’]; sheet (D3 EUL, NLS) [not ‘Sheet’]; whyt (D3 EUL, NLS) [not ‘white’] 1625. black (NLS) [not ‘Black’]; hands (D3 EUL, NLS) [not ‘Hands’]; had (D3 EUL) [not ‘had,’]; death (NLS) [not ‘Death’] 1626. upon (D3 EUL, NLS) [not ‘Upon’]; witch & it (D3 EUL), Witch and It (NLS) [not ‘Witch and it’]; Baith (D3 EUL) [not ‘baith’] 1627. Lowsd (D3 EUL, NLS) [not ‘Lows’d’]; Doun (D3 EUL), doun (NLS) [not ‘down’]; Breeks (D3 EUL) [not ‘Breeks’,]; fool (D3 EUL, NLS) [not ‘Fool’] 1628. was labourd (D3 EUL), Was Labourd (NLS) [not ‘Was labour’d’]; school (D3 EUL, NLS) [not ‘School’] [Lines 1629-30 not in D3 EUL] 1629. Lowp (NLS) [not ‘lowp’] 1630. fear & (NLS) [not ‘Fear, and’]; hope (NLS) [not ‘Hope’] 1631. then with a frightfu laugh they vanishd Quite (D3 EUL), till’ with ane Elritch Laugh they vanishd Quite (NLS) [not ‘Till, with an elritch Laugh, they vanish’d quite,’] 1632. while (D3 EUL), syne (NLS) [not ‘Syne’]; anger fear & spite (D3 EUL), agner fear & spite (NLS) [not ‘Anger, Fear, and Spite’] 1633. gat (D3 EUL) [not ‘Crap’]; & came (D3 EUL), & fled (NLS) [not ‘and fled’]; them Sir (D3 EUL, NLS) [not ‘them, Sir,’] 1634. hoping ye’ll your help (D3 EUL), hoping your help (D3 EUL, NLS) [not ‘Hoping your Help’]; gie the Deil (D3 EUL), Gie the Deel (NLS) [not ‘gi’e the Deel’]; due (D3 EUL, NLS) [not ‘Due’] 1635. Sure (NLS) [not ‘sure’]; ne’er leave aff (D3 EUL), neer gie oer owre (NLS) [not ‘ne’er gi’e o’er’] 1636. till (D3 EUL, NLS) [not ‘Till’]; Barrell (D3 EUL, NLS) [not ‘Barrel’]; Mause (D3 EUL) [not ‘Mause’]; Brunt (D3 EUL), brunt (NLS) [not ‘burnt’] 1637. Well Bauldy (NLS) [not ‘Well, Bauldy,’]; Just (NLS) [not ‘just’]; Well Bauldy what ye crave shall Grauted be (D3 EUL) [not ‘Well, Bauldy, what e’er’s just shall granted be,’] 1638. let (NLS) [not ‘Let’]; here doun (D3 EUL), doun (NLS) [not ‘down’] [1.5 redacted lines following 1638 in D3 EUL, f.27R: I’ll teach her to play tricks, she had na Best [|] I’ll mak a Tryal] 1639. Honour (NLS) [not ‘Honour,’]; Thanks to your honour fast for the thief Il gae soon I sall obey (D3 EUL) [not ‘Thanks to your Honour, soon shall I obey,’] 1640. but (NLS) [not ‘But’]; raise & twa (NLS) [not ‘raise, and twa’]; Then but I’ll first Il raise Roger, Glaud, & twa three mae (D3 EUL) [not ‘But first I’ll Roger raise, and twa three mae,’] 1641. and To (D3 EUL), to (NLS) [not ‘To’]; leave (D3 EUL, NLS) [not ‘Leave’]; Squeel (NLS) [not ‘squeel’] 1642. and (D3 EUL, NLS) [not ‘And’]; the Cantraips that brings (D3 EUL) [not ‘her Cantraips that bring’] [After Line 1642, S. D.: Exit Bauldy (D3 EUL, NLS) [not ‘Exit Bauldy.’]] 317

The Gentle Shepherd [Before Line 1643: ‘Symon Sr Colin Laughing’] [Redacted line before Line 1643 in D3 EUL f.27R: ‘Ye need nae be with mekle fear oprest’] 1643. Symon, Bauldy’s (D3 EUL) [not ‘Symon, Bauldy’s’]; sairer fleyd (D3 EUL) [not ‘more affraid’] 1644. Witch & (NLS) [not ‘Witch and’]; Mause & her Ghaist has made themsells some sport (D3 EUL) [not ‘The Witch and Ghaist have made themselves good Sport.’] 1645. what Narrow [illegible] silly (D3 EUL), what Silly (NLS) [not ‘What silly’]; croud (D3 EUL) [not ‘crowd’] 1646. that (D3 EUL, NLS) [not ‘That’]; through (NLS) [not ‘throw’]; Blind (D3 EUL, NLS) [not ‘blind’] 1647. but (NLS) [not ‘But’]; honour (D3 EUL), Honour (NLS) [not ‘Honour’]; ther’s (D3 EUL, NLS) [not ‘there’s’]; thing (D3 EUL, NLS) [not ‘Thing’] 1648. as (D3 EUL, NLS) [not ‘As’]; Raiseing deils up throw (D3 EUL) [not ‘raising Deels up-throw’]; ring (D3 EUL) [not ‘Ring’] 1649. syn (D3 EUL) [not ‘Syne’]; Playing (NLS) [not ‘playing’]; tricks (D3 EUL) [not ‘Tricks,’]; coud Tell (D3 EUL, NLS) [not ‘cou’d tell’] 1650. coud (D3 EUL, NLS) [not ‘Cou’d’]; contrivd (D3 EUL, NLS) [not ‘contriv’d’]; syde (NLS) [not ‘side’] [After Line 1650, D3 EUL f.27V: Redacted line, ‘Symon the story [illegible], & guess Work at the best’] 1651. Sic (D3 EUL) [not ‘Such’]; Devil (D3 EUL) [not ‘Devil’s’] 1652. amongst (D3 EUL, NLS) [not ‘Amongst’]; auld (D3 EUL) [not ‘old’]; women [illegible] doilt & poor (D3 EUL), women crazd & poor (NLS) [not ‘Women, craz’d and poor’] [D3 EUL; Redacted half-line, a first attempt at line 1655; ‘appearing like a lang man with’] 1653. wha (D3 EUL), who (NLS) [not ‘Who’]; Rejoycd (D3 EUL), Rejoyce’d (NLS) [not ‘rejoyc’d’]; se (D3 EUL, NLS) [not ‘see’]; & lowp (D3 EUL), & Lowp (NLS) [not ‘and lowp’] 1654. Oer Hags & Bogs (D3 EUL), Oer Brakes & Bogs (NLS) [not ‘O’er Braes and Bogs,’] 1655. appearing somtimes (D3 EUL, NLS) [not ‘Appearing sometimes’]; Black hornd Cow (D3 EUL, NLS) [not ‘black-horn’d Cow’] 1656. aftimes like Bawtie, Badrans, or a Sow (D3 EUL, NLS) [not ‘Aft-times like Bawty, Badrans, or a Sow’;] [Lines 1657-62 not included in D3 EUL] 1658. while (NLS) [not ‘While’]; Cats, (NLS) [not ‘Cats’]; Broomstafs (NLS) [not ‘Broomstaffs’] 1659. or (NLS) [not ‘Or’]; out-oer (NLS) [not ‘out o’er’] 1660. to (NLS) [not ‘To’]; france or spain (NLS) [not ‘France or Spain’] 1661. then (NLS) [not ‘Then’]; night (NLS) [not ‘Night,’]; Bumbaze (NLS) [not ‘bumbaze’]; fools (NLS) [not ‘Fools’] 1662. by tumb’ling doun their cupboard chairs & stools (NLS) [not ‘By tumbling down their Cup-board, Chairs and Stools,’] 1663. what (D3 EUL, NLS) [not ‘What’]; eer’s (D3 EUL) [not ‘e’er’s’]; spells witchcraft,; Spells (NLS) [not ‘Spells,’]; ther (D3 EUL), their (NLS) 318

Notes: Collation for 1725 [not ‘there’] 1664. such whimsies (D3 EUL, NLS) [not ‘Such Whimsies’] 1665. That’s (D3 EUL) [not ‘‘Tis’]; enough (NLS) [not ‘enough,’]; we, (NLS) [not ‘we’];tell that (D3 EUL) [not ‘that’] 1666. had (D3 EUL, NLS) [not ‘Had’]; mekle (NLS) [not ‘meikle’]; sence (D3 EUL, NLS) [not ‘Sense,’] 1667. but Mause tho poor (D3 EUL), but Mause tho poor (NLS) [not ‘But Mause, tho’ poor,’] 1668. and (D3 EUL, NLS) [not ‘And’]; Quiet & very (D3 EUL, NLS) [not ‘quiet and very’] [Before Line 1669; that gars me well belive (D3 EUL)] 1669. that (NLS) [not ‘That’]; [I shall?] that Gars me think [this [illegible]] this hobleshew that’s past (D3 EUL) [not ‘That gars me think this Hobleshew that’s past’] 1670. will (D3 EUL) [not ‘Will’]; Land (NLS) [not ‘land’]; Nought naithing (D3 EUL), Naithing (NLS) [not ‘naithing’]; joke (NLS) [not ‘Joke’]; Last (D3 EUL) [not ‘last’] 1671. will— (NLS) [not ‘will;---’]; Increasing (NLS) [not ‘increasing’]; I’m sŭre it will—the Rosie Day Increasing Light (D3 EUL) [not ‘I’m sure it will;--- but see increasing Light,’] [After Line 1671, cancelled 1.5 lines in D3 EUL. f.27V: Smiles chearfull on this twentynynth of May/This day begins I] 1672. Comeands (D3 EUL), Comands (NLS) [not ‘Commands’]; Darknes (NLS) [not ‘Darkness’]; doun (D3 EUL, NLS) [not ‘down’] [Before Line 1673; illegible cancelled line in D3 EUL] 1673. bid (NLS) [not ‘Bid’]; servants (NLS) [not ‘Servants’]; horse (NLS) [not ‘Horse’]; prepair (NLS) [not ‘prepare’]; cawse wake my servants and may horse prepare (D3 EUL) [not ‘Bid raise my Servants and my Horse prepare,’] 1674. while’st (NLS) [not ‘Whilst’]; forth to Breath (D3 EUL) [not ‘out to take’]; morning air (D3 EUL) [not ‘Morning Air’] [After Line 1674, S. D.: Exeunt (D3 EUL, NLS) [not ‘Exeunt.’]] Act V. Scene II. Collated with D3 EUL and NLS. The Prologue is not present in D3 EUL. Title. Scene 2d (D3 EUL), Act 5. Scene 2d (NLS) [not ‘Act V. Scene II.’] [Prologue. (NLS) [not ‘PROLOGUE.’]] [Direction redacted in NLS MS., f.90 (‘begins at four oclock in the morning’)] 1675. Laces (NLS) [not ‘laces’] 1676. with (NLS) [not ‘With’]; Blew (NLS) [not ‘blew’]; Jenny (NLS) [not ‘Jenny’]; hair (NLS) [not ‘Hair’] 1677. beek (NLS) [not ‘Beek’] 1678. the (NLS) [not ‘The’]; [illegible, redacted] moty (NLS) [not ‘motty’] 1679. pipe his (NLS) [not ‘Pipe in his’] 1680. now & than (NLS) [not ‘nor and than’]; Interveen (NLS) [not ‘interveen’] [Speakers: Glaud, Pegy & Jeny (D3 EUL]] 319

The Gentle Shepherd 1681. wish it may keep my Bairns (D3 EUL), wish my Bairns (NLS) [not ‘Wish, my Bairns,’]; E’en Even (D3 EUL) [not ‘Night’] 1682. ye (NLS) [not ‘Ye’]; sae (NLS) [not ‘so’]; ye dinna Ŭse sae soon to rake ye’r Een (D3 EUL) [not ‘Ye do not use so soon to see the Light;’] 1683. I’se warrand (D3 EUL) [not ‘Nae doubt’]; now, (NLS) [not ‘now’]; Intend (NLS) [not ‘intend’]; thrang (D3 EUL, NLS) [not ‘Thrang’] 1684. to (D3 EUL, NLS) [not ‘To’]; Leav (D3 EUL) [not ‘Leave’]; patrck (D3 EUL) [not ‘Patrick’] 1685. but do ye think now (D3 EUL), but do ye think that now (NLS) [not ‘But, do ye think, that now’]; the Lads a (D3 EUL) [not ‘he’s a’] 1686. that he poor (NLS) [not ‘That he poor’]; he will [illegible] (NLS) [not ‘will’]; he’ll hae for sic as you the last regard (D3 EUL) [not ‘That he poor Landwart Lasses will regard.’] 1687. Considering Tho (D3 EUL), Tho (NLS) [not ‘Tho’’]; now we’r (D3 EUL) [not ‘now, I’m’] 1688. he (D3 EUL, NLS) [not ‘He’]; sence (D3 EUL, NLS) [not ‘sense’]; friends (D3 EUL, NLS) [not ‘Friends,’] 1689. but yesterday (D3 EUL, NLS) [not ‘But Yesterday’]; gae (D3 EUL, NLS) [not ‘ga’e’]; tug (D3 EUL), Tugg (NLS) [not ‘Tug’] 1690. and (D3 EUL, NLS) [not ‘And’]; kisd (D3 EUL, NLS) [not ‘kiss’d’]; the Bonniest round (D3 EUL), my Cussine there (NLS) [not ‘my Cusin there’]; Lugg to lugg (NLS) [not ‘Lug to Lug’] 1691. - nae (NLS) [not ‘nae’]; doubt (NLS) [not ‘Doubt’]; Ay, ay! nae dout ot but he’l doo’t again (D3 EUL) [not ‘Ay, ay, nae Doubt o’t, and he’ll do’t again;’] 1692. but now ye’d best be advisd (D3 EUL), but be advisd (NLS) [not ‘But, be advis’d,’] 1693. before (D3 EUL, NLS) [not ‘Before’]; shepherd (D3 EUL) [not ‘Shepherd’]; wife (D3 EUL, NLS) [not ‘Wife’] 1694. with (NLS) [not ‘With’]; Chast & frugal (NLS) [not ‘chast and frugal’]; with whom to leave a chast & loving Life (D3 EUL) [not ‘With her to live a chast and frugal Life:’] 1695. but (D3 EUL, NLS) [not ‘But’]; Gentle (D3 EUL, NLS) [not ‘gentle,’] 1696. sic virteous thoŭghts, (D3 EUL), sic Godly thoughts, [not ‘Sic godly Thoughts,’]; & brag (D3 EUL, NLS) [not ‘and brag’] 1697. a (NLS) [not ‘A’]; sure (NLS) [not ‘Sure’]; A Rake what that, Sŭre if its meaning ill (D3 EUL) [not ‘A Rake, what’s that?-- Sure if it means ought ill,’] 1698. he’ll (D3 EUL, NLS) [not ‘He’ll’]; be’t or (D3 EUL), be’t els (NLS) [not ‘be’t, else’]; skill (D3 EUL, NLS) [not ‘Skill’] 1699. Lassie (D3 EUL, NLS) [not ‘Lassie,’]; affair (D3 EUL, NLS) [not ‘Affair’] 1700. ane young & good & Gentle’s unko rare (D3 EUL, NLS) [not ‘Ane young and good and gentle’s unco rare;’] 1701. graceles spark (NLS) [not ‘graceless Spark’]; A Rake’s a Gracles creature spark that has nae shame (D3 EUL) [not ‘A Rake’s a graceless Spark, that thinks nae Shame’] 1702. to do, (NLS) [not ‘To do’]; us, (NLS) [not ‘us’]; that acts what what [redacted, illegible] like of us thinks sin to name (D3 EUL) [not ‘To do 320

Notes: Collation for 1725 what like of us thinks Sin to name:’] 1703. he sic (NLS) [not ‘Sic’]; shame (NLS) [not ‘Shame,’]; he drinks & swears & ranting disna stap (D3 EUL) [not ‘Sic are sae void of Shame, they’ll never stap’] 1704. to (NLS) [not ‘To’]; to boast how mony times he has had the Clap (D3 EUL) [not ‘To brag how aften they have had the Clap;’] 1705. will tempt young Lasses young things like (D3 EUL) [not ‘They’ll tempt young Things like’]; you (D3 EUL, NLS) [not ‘you,’]; flushd (D3 EUL, NLS) [not ‘flush’d’] 1706. syne (NLS) [not ‘Syne’]; debaushd (NLS) [not ‘debaush’d’]; syne make you’ A ther Jest when ye’r debaushd (D3 EUL) [not ‘Syne mak ye a’ their Jest when ye’re debauch’d.’] 1707. be warry than, I say, and never gie (D3 EUL), be warry then I say & never gie (NLS) [not ‘Be warry then I say, and never ge’e’: last word misprint] 1708. encouragment (D3 EUL), encouragement (NLS) [not ‘Encouragement,’]; Sic (NLS) [not ‘sic’] 1709. Sr William’s verteous (NLS) [not ‘Sir William’s vertuous,’]; Gentle (NLS) [not ‘gentle’]; Sir Symons gaed verteous and [redacted, illegible] of Gentle blood (D3 EUL) [not ‘Sir William’s vertuous, and of gentle Blood,’] 1710. and (D3 EUL, NLS) [not ‘And’]; patrick (D3 EUL) [not ‘Patrick’]; to like him (D3 EUL, NLS) [not ‘too, like him,’] [Before Line 1711, D3 EUL, f.28V has ‘The Knight’] 1711. True, (D3 EUL), true (NLS) [not ‘true,’]; Gentery (NLS) [not ‘Gentry’] 1712. as (D3 EUL, NLS) [not ‘As’]; ar, wiser, (D3 EUL) [not ‘are wiser’] 1713. but thiner sawn – they’r sae puft up wi pride (D3 EUL), but thinner sawn – theyr sae puft up with pride (NLS) [not ‘But thinner sawn; they’re sae puft up with Pride,’] 1714. Ther’s (NLS) [not ‘There’s’]; Haly (NLS) [not ‘haly’]; the maist feck maks a mock at evry Guide (D3 EUL) [not ‘There’s mony of them mocks ilk haly Guide,’] 1715. that (NLS) [not ‘That’]; Heaven – (NLS) [not ‘Heaven;---’]; that shaws the gate to Heaven, they [illegible] & hate [illegible] Ive ken heard my sell (D3 EUL) [not ‘That shaws the Gate to Heaven;---I’ve heard my sell,’] 1716. some (D3 EUL, NLS) [not ‘Some’]; Laugh (D3 EUL, NLS) [not ‘laugh’]; doomsday Heaven death & Hell (D3 EUL), Doomsday, Sin & Hell (NLS) [not ‘Doomsday, Sin and Hell’] 1717. oer (NLS) [not ‘o’er’]; father (NLS) [not ‘Father’]; od (NLS) [not ‘odd’]; The Lord Preserve us, – father that’s right od (D3 EUL) [not ‘Watch o’er us, Father! heh, that’s very odd.’] 1718. sure them (D3 EUL), Sŭre them him (NLS) [not ‘Sure him’]; doomsday (D3 EUL, NLS) [not ‘Dooms-day,’]; 1719. nor Judge nor Think (NLS) [not ‘nor judge nor think’]; Doubt, why, they neither dout nor fear nor Judge or [illegible] nor think (D3 EUL) [not ‘Doubt! why they neither doubt, nor judge nor think,’] 1720. nor Hope nor fear, but Curse, debaush & drink (D3 EUL), nor hope nor fear but Curse, debaŭsh, & Drink (NLS) [not ‘Nor hope, nor fear, but curse, debauch and drink:’] 321

The Gentle Shepherd [Before Line 1721, 1.5 redacted lines D3 EUL, f.28V: ‘However I belive us well at [illegible] [|] that Patricks’] 1721. but (D3 EUL, NLS) [not ‘But’]; this (D3 EUL, NLS) [not ‘this,’] 1722. that Patrick to sic gates (NLS) [not ‘That Patrick to sic Gaits’]; that Patrick eer [two words redacted, illegible] shall be sae gracless wrought (D3 EUL) [not ‘That Patrick to sic Gaits will e’er be brought.’] [Lines 1723-4 not included in D3 EUL] 1723. Lord (NLS) [not ‘LORD’]; na (NLS) [not ‘Na,’]; Things– (NLS) [not ‘Things:’] 1724. but (NLS) [not ‘But’] [After Line 1724, S. D.: Enter Mage (D3 EUL), Enter Madge (NLS) [not ‘Enter Madge.’]] 1725. gate (NLS) [not ‘Gate’]; Hast Hast, ye we’r A sent for oer the gate (D3 EUL) [not ‘Hast, hast ye, we’re a’ sent for owre the Gate,’] 1726. to hear & help to end some odd debate (D3 EUL), to hear & help to redd some, odd debate (NLS) [not ‘To hear, and help to red some odd Debate’] [Before Line 1727, D3 EUL: ‘that’s fawn tween Mause & Bauldy’] 1727. ’tween Mause an Bauldy (D3 EUL), ’tween Maŭse & Baŭldy (NLS) [not ‘’Tween Mause and Bauldy,’]; spell (D3 EUL, NLS) [not ‘Spell’] 1728. at Symons house The Knight sits Judge Himsell (D3 EUL), at Symon’s house the Knight Sits Judge himsell (NLS) [not ‘At Symon’s House, the Knight sits Judge himsel.’] 1729. staff – Madge (D3 EUL), Staff – Madge (NLS) [not ‘Madge,’]; outer dore (D3 EUL), outer door (NLS) [not ‘Outer-door’] 1730. and (D3 EUL, NLS) [not ‘And’]; w’ye (D3 EUL, NLS) [not ‘wi’ ye,’]; gang (D3 EUL) [not ‘step’] [After Line 1730, D3 EUL, f.29R redacted: Madge sings I Ken what I ken [O?] [illegible] or it be Lang Thers some that I ken may sing a new song] 1731. Meg! look (D3 EUL), Megg!-look (NLS) [not ‘Meg!---Look’]; Jenny was the, Like (D3 EUL) [not ‘Jenny, was the like’]; eer (NLS) [not ‘e’er’] 1732. how bleerd & red (NLS) [not ‘How bleer’d and red’]; how bleerd & red with greetings Peggys een (D3 EUL) [not ‘How bleer’d and red with greeting look her Een!’] 1733. this (NLS) [not ‘This’]; brankin woer taks (D3 EUL) [not ‘brankan Woer takes’] 1734. and soon will To (NLS) [not ‘To’]; Gentle (NLS) [not ‘gentle’]; spark (D3 EUL) [not ‘Spark’]; Enbrugh (D3 EUL), Ednbrugh (NLS) [not ‘Edinburgh’] 1735. to (D3 EUL) [not ‘To’]; cŭt (NLS) [not ‘cut’]; Branchy plane (D3 EUL, NLS) [not ‘branchy Plain’] 1736. for (D3 EUL, NLS) [not ‘For’]; sword & glancing (D3 EUL), Sword & glancing (NLS) [not ‘Sword, and glancing’]; cane (D3 EUL) [not ‘Cane’] 1737. spoons and Kitted whey (NLS) [not ‘Spoons and kitted Whey’]; to leave his Ramhorn spoons & Kitted whey (D3 EUL) [not ‘To leave his Ram-horn 322

Notes: Collation for 1725 Spoons and kitted Whey,’] 1738. for (D3 EUL, NLS) [not ‘For’]; Tea (D3 EUL, NLS) [not ‘Tea,’]; hay (D3 EUL, NLS) [not ‘Hay’] 1739. to (D3 EUL) [not ‘To’]; green sward dance (D3 EUL), green-sward dance (NLS) [not ‘Green-swaird Dance,’] 1740. to (D3 EUL, NLS) [not ‘To’]; Rustle (D3 EUL) [not ‘rustle’]; Beautys (D3 EUL, NLS) [not ‘Beauties’]; silk (D3 EUL, NLS) [not ‘Silk’] 1741. but Meg, poor Meg! (D3 EUL), But Meg, poor Meg! [not ‘But Meg, poor Meg!’]; shepherds (D3 EUL), shepherd (NLS) [not ‘Shepherd’] 1742. god (D3 EUL) [not ‘God’]; Hoden gray (D3 EUL), Hoden Gray (NLS) [not ‘Hodden-gray’] 1743. Aunt (D3 EUL, NLS) [not ‘Aunt,’]; vex (D3 EUL) [not ‘fash’]; wi (D3 EUL), w’ (NLS) [not ‘wi’’]; scorn (D3 EUL, NLS) [not ‘Scorn’] 1744. faut (D3 EUL, NLS) [not ‘Faut’]; better (D3 EUL) [not ‘gentler’] [Before Line 1745, D3 EUL: ‘Had I some’] 1745. If (D3 EUL), gif (NLS) [not ‘Gif’] 1746. noticd (D3 EUL) [not ‘notic’d’]; pate (D3 EUL), Patie (NLS) [not ‘Patie’] upon (D3 EUL) [not ‘on’] 1747. now (D3 EUL, NLS) [not ‘Now’]; Rises why shoud (D3 EUL), rises why shoud (NLS) [not ‘rises, why should’] 1748. if (NLS) [not ‘If’]; annither (D3 EUL), annother (NLS) [not ‘another,’]; neer (D3 EUL) [not ‘ne’er’] 1749. and (D3 EUL, NLS) [not ‘And’]; (the Like has hapend been) (D3 EUL) [not ‘the like has been,’]; decree (D3 EUL, NLS) [not ‘Decree’] 1750. designs (D3 EUL, NLS) [not ‘Designs’]; mine (D3 EUL, NLS) [not ‘mine,’]; wife (D3 EUL, NLS) [not ‘Wife’] 1751. trouth (D3 EUL), Trowth! (NLS) [not ‘trouth!’]; but (D3 EUL, NLS) [not ‘But’] 1752. prin (D3 EUL, NLS) [not ‘Prin’]; baith (D3 EUL, NLS) [not ‘baith,’] [After Line 1752, S. D.: Exeunt (D3 EUL, NLS) [not ‘Exeunt.’]] Act V. Scene III. Collated with D3 EUL and NLS. The Prologue is not present in D3 EUL. As above. Title. Act 5 Scen 3d & Last (D3 EUL), Act V Scene III & Last (NLS) [not ‘Act V. Scene III.’] [Direction redacted in NLS MS (‘Begins between 6 & 7 in the morning’).] [S. D.: Symons House (D3 EUL)] 1753. Sr Wiliam (NLS) [not ‘Sir William’—italics reversed]; twa-armd (NLS) [not ‘Twa-arm’d’] 1754. while Symon Roger Glaud & Mause (NLS) [not ‘While Symon, Roger, Glaud, and Mause’—italics reversed] 1755. attend (NLS) [not ‘Attend,’]; laughter (NLS) [not ‘Laughter’] 1756. Archy Bauldy (NLS) [not ‘Bauldy’—italics reversed]; cause (NLS) [not ‘Cause’] 1757. for (NLS) [not ‘For’]; telld (NLS) [not ‘tell’d’] 1758. was handl’d (NLS) [not ‘Was handled’] 1759. because (NLS) [not ‘Because’]; he Bauldy (NLS) [not ‘he’]; breedings (NLS) [not ‘Breeding’s’] 323

The Gentle Shepherd 1760. and with his nonsence raisd their rage (NLS) [not ‘And with his Nonsense rais’d their Rage.’] [Speakers: Sr Colin Patrick, Roger, Bauldy, Symon Glaud & Mause (D3 EUL)] 1761. all – well Bauldy you (D3 EUL), all – well Arch’bald ye (NLS) [not ‘all?— well, Archbald, ye’]; servd (D3 EUL, NLS) [not ‘serv’d’] 1762. no other ways (D3 EUL), no otherway (NLS) [not ‘No otherwise’]; you (D3 EUL) [not ‘ye’]; deservd (D3 EUL, NLS) [not ‘deserv’d’] 1763. is (D3 EUL), was (NLS) [not ‘Was’]; matter (D3 EUL, NLS) [not ‘Matter’] 1764. and (D3 EUL, NLS) [not ‘And’]; ane (D3 EUL), good ane (NLS) [not ‘an’]; womans (D3 EUL), woman’s (NLS) [not ‘Woman’s’] [Lines 1765-8 not in D3 EUL] 1765. besides (NLS) [not ‘Besides’]; betrayd (NLS) [not ‘betray’d’] 1766. by perjury (NLS) [not ‘By Perjury’]; ane Inocent (NLS) [not ‘an innocent’] 1767. faut (NLS) [not ‘Faut’]; throw (NLS) [not ‘thro’’] 1768. and (NLS) [not ‘And’]; neer (NLS) [not ‘ne’er’]; untrew (NLS) [not ‘untrue’]; Nepps (NLS) [not ‘Neps’] 1769. far sir he obligd (D3 EUL, NLS) [not ‘far, Sir, he oblig’d’]; score (D3 EUL, NLS) [not ‘Score’] 1770. not, (D3 EUL) [not ‘not’]; so (D3 EUL) [not ‘sic’]; [redacted half line above 1770 in D3 EUL: ‘I never kend, I’] 1771. Honour I beliv’d it weel (NLS) [not ‘Honour, I believ’d it well’]; Ant Like your honoŭr [Magy in the Glen] I blivd it weel (D3 EUL) [not ‘An’t like your Honour, I believ’d it well;’] 1772. but (NLS) [not ‘But’]; een (NLS) [not ‘e’en’]; A but trouth I was een daft to seek the Deel (D3 EUL) [not ‘But trowth I was e’en doilt to seek the Deel:’] 1773. But (D3 EUL), yet (NLS) [not ‘Yet’]; Honours (D3 EUL), Honour’s (NLS) [not ‘Honour’s’]; leave tho (D3 EUL, NLS) [not ‘Leave, tho’’] 1774. she’s (D3 EUL, NLS) [not ‘She’s’]; baith baith (D3 EUL) [not ‘baith’]; Revengfu (D3 EUL, NLS) [not ‘revengefu’’]; Bitch (D3 EUL) [censored in NLS MS and in copytext] 1775. and (D3 EUL, NLS) [not ‘And’]; Butucks (D3 EUL) [not ‘Some-place’]; finds (D3 EUL, NLS) [not ‘finds;’] 1776. had (D3 EUL, NLS) [not ‘Had’]; Tongue (D3 EUL, NLS) [not ‘Tongue,’]; Ghaist (D3 EUL) [not ‘Ghaist’] 1777. and (D3 EUL, NLS) [not ‘And’]; bony (D3 EUL) [not ‘Bony’]; witch (D3 EUL), Witch (NLS) [not ‘Witch,’] 1778. sent (D3 EUL) [not ‘Sent’]; witt (D3 EUL, NLS) [not ‘wit’]; De’el (NLS) [not ‘Deel’] [After Line 1778, S. D.: Enter Madge Pegy & Jeny (D3 EUL, NLS) [not ‘Enter Madge, Peggy, and Jenny.’]] 1779. the Aurora (NLS) [not ‘th’ Aurora’]; Whose Daughters she with that eyes so divinely bright the olive aurora gown (D3 EUL) [not ‘Whose Daughter’s wears she that wears th’ Aurora Gown’] 1780. with face (NLS) [not ‘With Face’]; fair (NLS) [not ‘fair,’]; Brown (NLS) [not ‘brown’]; [inserted at side of folio, with text torn away in two places:] 324

Notes: Collation for 1725 with face so fair & [hair?] [a?] Lovely Brown (D3 EUL) [not ‘With Face so fair, and Locks a lovely Brown:’] 1781. eyes! – (NLS) [not ‘Eyes!’]; what Beautyous Eyes! what this within I find (D3 EUL) [not ‘How sparkling are her Eyes! what this I find,’] 1782. thie (D3 EUL), the (NLS) [not ‘The’]; girl brings all my sister (D3 EUL) [not ‘Girl brings all my Sister’]; mind (D3 EUL, NLS) [not ‘Mind’] 1783. such (D3 EUL, NLS) [not ‘Such’]; wer (D3 EUL) [not ‘were’]; features (D3 EUL), features (NLS) [not ‘Features’]; adornd (D3 EUL, NLS) [not ‘adorn’d’]; face (D3 EUL, NLS) [not ‘Face’] 1784. which (NLS) [not ‘Which’]; which death too soon Death deprivd of sweetest grae (D3 EUL) [not ‘Which Death too soon depriv’d of sweetest Grace.’] 1785. Daughter Glaud (D3 EUL), Daughter Glaud ——(NLS) [not ‘Daughter, Glaud — — — —’] 1786. Sr She’s (NLS) [not ‘Sir she’s’]; Nice (D3 EUL, NLS) [not ‘Niece’] 1787. and (D3 EUL, NLS) [not ‘And’]; not– (D3 EUL, NLS) [not ‘not,--’]; sould (D3 EUL) [not ‘should’]; peace (D3 EUL, NLS) [not ‘Peace’] [Lines 1788-91 not included in D3 EUL] 1788. contradiction (NLS) [not ‘Contradiction’] 1789. she is & is not! pray thee Glaud explain (NLS) [not ‘She is, and is not! pray thee, Glaud, explain.’] 1790. Doubt (NLS) [not ‘doubt’]; shoud make (NLS) [not ‘should mak’] 1791. what (NLS) [not ‘What’]; secret therteen year (NLS) [not ‘secret Thirteen Year’] 1792. you (NLS) [not ‘You’]; Reveal (NLS) [not ‘reveal’]; yes you may speak for now now ther’s nought to fear [|] for to unred the Ridle I’m come here (D3 EUL) [not ‘You may reveal what I can fully clear.’] 1793. Quick (D3 EUL), soon (NLS) [not ‘soon,’]; Impatiens (D3 EUL), impatience! (NLS) [not ‘Impatience!’] 1794. so am I (D3 EUL) [not ‘So am I!’] [Line 1795 not included in D3 EUL] 1795. for much I hope & (NLS) [not ‘For much I hope, and’] 1796. Sinse (NLS) [not ‘since’]; orders (NLS) [not ‘orders,’]; obey— (NLS) [not ‘obey.---’]; Then sir since you comand me I obey (D3 EUL) [not ‘Then since my Master orders, I obey.---’] 1797. May (NLS) [not ‘May’]; this Bony Fundling ae clear fair sweet Morn in May (D3 EUL) [not ‘This BONY FUNDLING ae clear Morn of May,’] 1798. Close (D3 EUL, NLS) [not ‘Closs’]; Lee Side (D3 EUL, NLS) [not ‘Lee-side’] 1799. all sweet & clean (D3 EUL), all Sweet & clean (NLS) [not ‘All sweet and clean,’]; Rowd hapd (D3 EUL), Hap’d (NLS) [not ‘hapt’] 1800. in (D3 EUL, NLS) [not ‘In’]; rich & Gentle shape make (D3 EUL), Rich & Gentle make (NLS) [not ‘rich and gentle Make’] 1801. what coud (D3 EUL, NLS) [not ‘What cou’d’]; Be (D3 EUL) [not ‘be,’]; thought I coud (D3 EUL), thought I did (NLS) [not ‘thought I, did’] 1802. what warse than Beasts coud Leave exposd to air (D3 EUL), wha warse than Brutes coud leave exposd to air (NLS) [not ‘Wha, warse than Brutes, cou’d leave expos’d to Air’] 325

The Gentle Shepherd 1803. sae (NLS) [not ‘Sae’]; Inocence (NLS) [not ‘Innocence’]; so much of Inocence so Lovely fair (D3 EUL) [not ‘Sae much of Innocence sae sweetly fair,’] [Lines 1804-5 not included in D3 EUL] 1804. sae helples young (NLS) [not ‘Sae helpless young;’]; appeard (NLS) [not ‘appear’d’] 1805. only (NLS) [not ‘Only’] 1806. [D3 EUL indicates a reversal of the order of the halves of the line, putting ‘I took’ first]; it (D3 EUL) [not ‘her’]; Arms (NLS) [not ‘Arms,’]; Barnie (D3 EUL) [not ‘Bairnie’]; smild (D3 EUL, NLS) [not ‘smil’d’] 1807. with (D3 EUL, NLS) [not ‘With’]; look (D3 EUL), Look (NLS) [not ‘Look,’]; savage (D3 EUL, NLS) [not ‘Savage’] 1808. Story (NLS) [not ‘Story,’]; pasd sinsyne (NLS) [not ‘pass’d sincesyne’] I had the story to this very day she has pasd sinsyn (D3 EUL) [not ‘I hid the Story, she has pass’d sincesyne,’] 1809. as (D3 EUL, NLS) [not ‘As’]’; orphan and (D3 EUL), Orphan & (NLS) [not ‘Orphan, and’]; Nice (D3 EUL, NLS) [not ‘Niece’] 1810. nor (D3 EUL, NLS) [not ‘Nor’]; rew (D3 EUL, NLS) [not ‘rue’]; the my (NLS) [not ‘my’] 1811. for (D3 EUL, NLS) [not ‘For’]; pains (D3 EUL, NLS) [not ‘Pains’] 1812. ye (D3 EUL) [not ‘Ye’]; se (D3 EUL), See (NLS) [not ‘see’]; Bony (D3 EUL), Bonny, (NLS) [not ‘bony,’]; Swear (NLS) [not ‘swear’] 1813. and (D3 EUL, NLS) [not ‘And’]; Sure (NLS) [not ‘sure’]; Gentle (D3 EUL, NLS) [not ‘gentle’] 1814. of (NLS) [not ‘Of’]; kenna— (NLS) [not ‘kenna,---’]; Ken (NLS) [not ‘ken’]; of whome, or further I kenna naithing ken I mair (D3 EUL) [not ‘Of whom I kenna,--- naithing ken I mair,’] 1815. than (D3 EUL, NLS) [not ‘Than’]; honour (D3 EUL) [not ‘Honour’]; declair (D3 EUL, NLS) [not ‘declare’] 1816. Strange (NLS) [not ‘strange’] 1817. Joys young (D3 EUL) [not ‘Joys, young’]; truth (D3 EUL, NLS) [not ‘Truth’] 1818. Task — now Sir (NLS) [not ‘Task,---now, Sir,’]; That be my Task – [This Bony fundlings Born fair [illegible] is sprung [S. D.: She takes Pegy by the hand [|] and lead her up to Sir Colin] here Sr Receive your ain’] (D3 EUL) [not ‘That be my Task,-- now, Sir, bid all be hush,’] [Lines 1819-22 not included in D3 EUL] 1819. Peggy may smile— (NLS) [not ‘Peggy may smile,--’]; Blush (NLS) [not ‘blush’] 1820. Se (NLS) [not ‘see’]; Happy (NLS) [not ‘happy’] 1821. that (NLS) [not ‘That’]; way (NLS) [not ‘Way’] 1822. Sr William Worthy Name (NLS) [not ‘Sir William Worthy name’] 1823. Your now the worthyest [redacted, illegible] parent She can claim (D3 EUL), the Best & Nearest Parent she Can Claim (NLS) [not ‘The best and nearest Parent she can claim.’] 1824. you (D3 EUL), you he (NLS) [not ‘He’]; first (D3 EUL, NLS) [not ‘first,’]; Qucik Eye (D3 EUL), Quick eye (NLS) [not ‘quick Eye’] 1825. your sisters Beautys in her Daughters face (D3 EUL), your his Sisters 326

Notes: Collation for 1725 Beautys in her Daughters face [not ‘His Sister’s Beauty’s in his Daughter’s Face.’] 1826. woman (D3 EUL, NLS) [not ‘Woman’]; Rave Prove (D3 EUL), Rave – prove (NLS) [not ‘rave,--- prove’] 1827. its (NLS) [not ‘‘Tis’]; affairs Like (NLS) [not ‘Affairs like’]; its dangerous if with you falsey tale with me to play (D3 EUL) [not ‘‘Tis dangerous in Affairs like this to play;’] [Lines 1828-33 not included in D3 EUL] 1828. what Reason Sir can ane old woman have (NLS) [not ‘What Reason, Sir, can an old Woman have’] 1829. to (NLS) [not ‘To’]; Lie (NLS) [not ‘Lie,’]; grave (NLS) [not ‘Grave’] 1830. but How (NLS) [not ‘But how’] 1831. thing that Looks like Reason, (NLS) [not ‘Thing that looks like Reason’] 1832. out— (NLS) [not ‘out,---’] 1833. Make (NLS) [not ‘Mak’]; woman (NLS) [not ‘Woman,’] [Before Line 1834, S. D.: Mause goes forward leading|Pegy to Sir William (NLS) [not ‘Mause goes foreward, leading Peggy to Sir William.’]] 1834. well (NLS) [not ‘well,’]; fifteen years (D3 EUL, NLS) [not ‘Fifteen Years’]; plowd (D3 EUL), Plowd (NLS) [not ‘plow’d’] 1835. my a (D3 EUL), a (NLS) [not ‘A’]; wrinckled (NLS) [not ‘wrinkled’]; face (D3 EUL, NLS) [not ‘Face’]; viwd (D3 EUL), viewd (NLS) [not ‘view’d’] 1836. that (NLS) [not ‘That’]; ane (NLS) [not ‘an’]; stranger (NLS) [not ‘Stranger’]; that I’m unknow’d (D3 EUL) [not ‘That here I as an unknown Stranger stand’] 1837. I (D3 EUL), who (NLS) [not ‘Who’]; nursd (D3 EUL, NLS) [not ‘nurs’d’]; mother (D3 EUL, NLS) [not ‘Mother’]; your (D3 EUL) [not ‘my’]; hand (D3 EUL, NLS) [not ‘Hand’] 1838. yet stronger proves I’ll give (NLS) [not ‘Yet stronger Proofs I’ll give,’]; and stronger proves you’ll have upon demand (D3 EUL) [not ‘Yet stronger Proofs I’ll give, if you demand.’] [Lines 1839-42 of the NLS MS, f.97 seem to be an expansion from a couplet in the D3 EUL, which reads: ‘Ha! honest Nurse! – yet further firm my mind to expose the Child who coud be so unkind’] 1839. Ha! (D3 EUL) [not ‘Ha’]; Honest (NLS) [not ‘honest’]; wer (NLS) [not ‘were’] 1840. faithfullness & (NLS) [not ‘Faithfulness, and’] 1841. yet (NLS) [not ‘Yet’]; Lab’rinth (NLS) [not ‘Lab’rinth,’]; Lead (NLS) [not ‘lead’] 1842. say (NLS) [not ‘Say’] [After Line 1842, S. D.: Sr Wm Embrace Peggy (NLS) [not ‘Sir William embraces Peggy,’]] [Lines 1843-6 not included in D3 EUL] 1843. yes surely Thou’rt my Nice – [one or two redacted, illegible words] Truth must prove (NLS) [not ‘Yes surely thou’rt my Niece, Truth must prevail;’: semicolon is upside-down in the copytext] 1844. but (NLS) [not ‘But’]; words (NLS) [not ‘Words’]; Mause (NLS) [not ‘Mause’] 327

The Gentle Shepherd 1846. that (NLS) [not ‘That’]; Cusine fifty (NLS) [not ‘Cusin Fifty’] 1847. savd her Infant Life (NLS) [not ‘sav’d her Infant-Life’]; [redacted, illegible] Ther kindest friend who saved her Infant life (D3 EUL) [not ‘Then it was I that sav’d her Infant-Life’] 1848. her (D3 EUL, NLS) [not ‘Her’]; threatned (D3 EUL, NLS) [not ‘threatened’]; her (D3 EUL), ane (NLS) [not ‘an’]; uncles (D3 EUL) [not ‘Uncle’s’]; wife (D3 EUL, NLS) [not ‘Wife’] 1849. the story’s Lang –– (D3 EUL), the Story’s Lang — (NLS) [not ‘The Story’s lang;’]; secret (D3 EUL, NLS) [not ‘Story’] 1850. how (D3 EUL, NLS) [not ‘How’]; Pursued with avaricious view (D3 EUL, NLS) [not ‘pursu’d with avaritious View’] 1851. her Rich (D3 EUL, NLS) [not ‘Her rich’]; Estate (NLS) [not ‘Estate,’]; they’r (D3 EUL) [not ‘they’re’]; posest (D3 EUL, NLS) [not ‘possest’] [Before Line 1852, D3 EUL, f.31V has a redacted half line: Thinking she [two words illegible]] 1852. all (D3 EUL, NLS) [not ‘All’]; a Confident her greating nurse Confident (D3 EUL), confident (NLS) [not ‘Confident’] 1853. Horrour & (NLS) [not ‘Horror, and’]; dred (NLS) [not ‘Dread’]; I hard the Tale with horror & Trembled while I dred (D3 EUL) [not ‘I heard with Horror, and with trembling Dread,’] 1854. they’d (D3 EUL, NLS) [not ‘They’d’]; saikless (D3 EUL), Saikles (NLS) [not ‘sakeless’] 1855. night (D3 EUL), Night (NLS) [not ‘Night,’]; wer (D3 EUL) [not ‘were’] 1856. at midnight hour (D3 EUL, NLS) [not ‘At Midnight-Hour’]; floor (D3 EUL, NLS) [not ‘Floor’]; softly (D3 EUL) [not ‘saftly’] 1857. and (D3 EUL) [not ‘And’]; inocence (D3 EUL), Inocent (NLS) [not ‘Innocent’] 1858. with (NLS) [not ‘with’]; traveld (NLS) [not ‘travel’d’]; day (NLS) [not ‘Day’]; with whom I traveld some few miles eer day (D3 EUL) [not ‘With whom I travel’d some few Miles e’er Day.’] [Redacted version of line 1860 in D3 EUL: ‘and then to hide me & me for rest I lay’] 1859. all day (D3 EUL, NLS) [not ‘All Day’]; me when the day (D3 EUL), me – when the day (NLS) [not ‘me,-- when the Day’] 1860. Journey Lighted (D3 EUL, NLS) [not ‘Journey, lighted’] 1861. miles I reachd these fields (D3 EUL), miles I reachd these plains (NLS) [not ‘Miles I reach’d these Plains’] [Before Line 1861, redacted line: that to your Tenants Barns rigth plenty yeild’ (D3 EUL, f.31V)] 1862. where needfull plenty (D3 EUL, NLS) [not ‘Where needful Plenty’]; chearfull swains (D3 EUL, NLS) [not ‘chearful Swains’] 1863. then (NLS) [not ‘Then’]; out (NLS) [not ‘out’] 1864. My Charge, (D3 EUL) [not ‘My Charge’]; Shepherd (D3 EUL), Shepherds (NLS) [not ‘Shepherd’s’]; door (D3 EUL) [not ‘Door’] 1865. and (D3 EUL, NLS) [not ‘And’]; nibouring (D3 EUL), nibouring (NLS) [not ‘neighbouring’]; hard close here (D3 EUL) [not ‘here’] 1866. what eer shoud (D3 EUL, NLS) [not ‘What e’er should’]; bye (NLS) [not ‘by’] 328

Notes: Collation for 1725 1867. Here Honest Glaud himsell & Symon may (D3 EUL), Here honest Glaud himsell & Symon may (NLS) [not ‘Here, honest Glaud, himsel, and Symon may’] 1869. frae Rogers father took my litle Croove (D3 EUL), frae Roger’s father took my litle Croove (NLS) [not ‘Frae Roger’s Father took my little Crove.’] [Before Line 1870, S. D.: ‘Great Tears’ (D3 EUL) [not ‘Tears’]; Baird (D3 EUL) [not ‘Beard’]] 1870. Remember’t – (NLS) [not ‘remember’t’]; I mind it well the Lord reward ye’r Love (D3 EUL) [not ‘I well remember’t: Lord reward your Love:’] 1871. wishd this day (D3 EUL), wisht for this, (NLS) [not ‘wisht for this;’] 1872. sic knowlege (D3 EUL), sic knowledge (NLS) [not ‘Sic Knowledge’]; some time shoud (D3 EUL, NLS) [not ‘sometime should’] 1873. ‘Tis (NLS) [not ‘Tis’]; dout, (D3 EUL), doubt— (NLS) [not ‘doubt,---’] 1874. with (D3 EUL, NLS) [not ‘With’]; obedience (D3 EUL, NLS) [not ‘Obedience’]; Parents (D3 EUL), parent’s (NLS) [not ‘Parent’s’]; will (D3 EUL, NLS) [not ‘Will’] 1875. Sir (D3 EUL, NLS) [not ‘Sir,’]; Paternal love (D3 EUL) [not ‘paternal Love’] 1876. and (D3 EUL, NLS) [not ‘And’]; Rushing (D3 EUL, NLS) [not ‘rushing’]; arms (D3 EUL) [not ‘Arms’] 1877. shes (D3 EUL), she’s (NLS) [not ‘She’s’]; Vows (D3 EUL, NLS) [not ‘Vows,’]; & (D3 EUL) [not ‘and’]; tho (D3 EUL, NLS) [not ‘tho’’] 1878. have (D3 EUL, NLS) [not ‘Have’]; wife (D3 EUL, NLS) [not ‘Wife,’]; the truth (D3 EUL) [not ‘my Vows’] [Before Line 1879: The copytext has Roger rather than Sir William as the speaker, which is clearly an error. All surviving copies have the correction in ink or pencil.] 1879. Nice (NLS) [not ‘Niece’]; welcome (NLS) [not ‘Welcome’]; My dearest nice, Susana thr Thrice welcome to my Care (D3 EUL) [not ‘My Niece, my Daughter, Welcome to my Care,’] 1880. sweet (D3 EUL, NLS) [not ‘Sweet’]; my Sister good & fair (D3 EUL), thy Mother Good & fair (NLS) [not ‘thy Mother, good and fair’] 1881. Patrick (NLS) [not ‘Patrick,’] Equal with patrick now my whole disire (D3 EUL) [not ‘Equal with Patrick, now my greatest Aim,’] 1882. shall be to beet your well matchd tender fire (D3 EUL), shall be to add your Joys & well match’d tender flame (NLS) [not ‘Shall be to aid your Joys, and well match’d Flame,’] 1883. Receive (D3 EUL) [not ‘receive’]; fathers hand (D3 EUL), father’s hand (NLS) [not ‘Father’s Hand’] 1884. with (D3 EUL, NLS) [not ‘With’]; good-will (D3 EUL), good will (NLS) [not ‘good Will’]; can woud (D3 EUL) [not ‘would’] [After Line 1884, there is an ‘x’ on D3 EUL, f. 32R indicating where lines 188499 are meant to be: they appear on f. 32V, with further marks indicating a structure-in-progress. They are collated below in the revised order.] [Before Line 1885, S. D.: Patie & Pegy Kneel [|] to Sir Colin (D3 EUL), Patie & Pegy embrace & kneel to Sir Wm (NLS) [not ‘Patie and Pggey [sic] embrace and kneel to Sir William.’]] 1885. recive (D3 EUL) [not ‘receive’] 329

The Gentle Shepherd 1886. as (D3 EUL, NLS) [not ‘As’]; one wad life (D3 EUL) [not ‘ane would Life’]; wave (NLS, D3 EUL) [not ‘Wave’] [Before Line 1887, S. D.: Sr Colin taking up [illegible] them up (D3 EUL), Sir Colin Wm Raises them (NLS) [not ‘Sir Will. raises them.’]] [Lines 1887-88 in NLS written in after the fact, likely because Ramsay missed their placement later on; see note after line 1884, above] 1887. Both (NLS) [not ‘both’]; Blessing (D3 EUL, NLS) [not ‘Blessing,’]; love (NLS) [not ‘Love’] 1888. race & (NLS) [not ‘Race, and’]; nor sicken after wedlock but produce a happy race & still Improve (D3 EUL) [not ‘Produce a happy Race, and still improve.’] 1889. wishes (NLS) [not ‘Wishes’]; complete – (NLS) [not ‘complete,---’]; With Equal pleasure all my spirits rise (D3 EUL) [not ‘My Wishes are complete,--- my Joys arise,’] 1890. sweet (D3 EUL), Blest (NLS) [not ‘blest’]; surprise (D3 EUL, NLS) [not ‘Surprise’] [Lines 1891-94 not included in D3 EUL, f.32V but the following two lines, the second of which resembles line 1893, and a redacted third line appear: O May kind Heaven ŭnumberd blessings Rain upon your head, long may you bless the Plain That Day, that minute, that I thwart your will ] 1891. and (NLS) [not ‘And’]; for ^ ain my ^ Lad Love pate ! (NLS) [not ‘for my ain Lad’] 1892. that (NLS) [not ‘That’]; Generous kindness (NLS) [not ‘generous Kindness’] 1893. Sir Wm Bless [illegible] these plains (NLS) [not ‘Sir William bless these Plains’] 1894. heaven (NLS) [not ‘Heaven’]; it them [not ‘them’] 1895. long (D3 EUL), Lang (NLS) [not ‘lang’]; our Parent (D3 EUL) [not ‘our Guardian,’] 1896. we’ll (NLS) [not ‘we’ll’]; We’ll ay be pleasd with what you daign to gie (D3 EUL) [not ‘We’ll only crave what you shall please to gie;’] 1897. th’ (D3 EUL) [not ‘The’]; yours my Love (D3 EUL), yours my Peggys (NLS) [not ‘be yours, my Peggy’s’] 1898. honour (D3 EUL, NLS) [not ‘Honour’]; Now (D3 EUL) [not ‘now’]; a mends (D3 EUL, NLS) [not ‘amends’] 1899. of (D3 EUL, NLS) [not ‘Of’]; him (NLS) [not ‘them’]; Sought (NLS) [not ‘sought’]; life (D3 EUL) [not ‘Life’]; ends (D3 EUL) [not ‘Ends’] [Before Line 1900, S. D.: Patrick pressing her to his Breast (D3 EUL)] 1900. Base unatural Vilain (NLS) [not ‘base unnatural Vilian’]; Imadiatly on sight Right and soon her bloody minded soon her fathers’ Bastard brother soon shall know (D3 EUL) [not ‘The base unnatural Villian soon shall know,’] 1901. that (D3 EUL, NLS) [not ‘That’]; superiour (D3 EUL) [not ‘above’]; affairs (D3 EUL, NLS) [not ‘Affairs’]; Below (NLS) [not ‘below’] 1903. and (D3 EUL, NLS) [not ‘And’]; ill got (D3 EUL, NLS) [not ‘ill-got’]; gains (NLS) [not ‘Gains’] 1904. views of wealth & ane (D3 EUL, NLS) [not ‘Views of Wealth, and an’] 1905. seem (D3 EUL, NLS) [not ‘Seem’]; Pate (D3 EUL, NLS) [not ‘Pate’] 330

Notes: Collation for 1725 [After Line 1905, the following lines, redacted: The fair who fates unkind disarm [|] oh! might they ever cease to harm (D3 EUL, f.32V)] 1906. sake only (D3 EUL, NLS) [not ‘Sake only,’]; Ay (D3 EUL) [not ‘ay’]; thankfull (D3 EUL, NLS) [not ‘thankful’]; Bow (NLS) [not ‘bow’] 1907. for (D3 EUL, NLS) [not ‘For’]; kindness, best of men, (D3 EUL), kindness best of Men (NLS) [not ‘Kindness, best of Men,’] 1908. Blythnes (D3 EUL, NLS) [not ‘Blythness’]; crowns this happy (D3 EUL) [not ‘wakens up this’]; day (D3 EUL, NLS) [not ‘Day’] [Redacted line in D3 EUL, f.33R revised as 1909: I hope your honour will put aff this day] 1909. now Sir (D3 EUL, NLS) [not ‘now, Sir,’] 1910. sall (D3 EUL, NLS) [not ‘Sall’]; horse and (D3 EUL), Horse & (NLS) [not ‘Horse, and’] 1911. a (NLS) [not ‘A’]; Countrey fare (NLS) [not ‘Country Fare’]; a halsome dinner for you of good Countrey fare (D3 EUL) [not ‘A Dinner for ye of hale Country Fare.’] 1912. see (NLS) [not ‘See’]; mŭch (NLS) [not ‘much’]; se houw much Joy smooth’s evry Tennants Brow (D3 EUL) [not ‘See how much Joy unwrinkles every Brow,’] 1913. our (NLS) [not ‘Our’]; Hing (NLS) [not ‘hing’]; & doat (NLS) [not ‘and doat’]; ther een Hang on the twa & doat on you (D3 EUL) [not ‘Our Looks hing on the Twa, and doat on you:’] 1914. even (D3 EUL, NLS) [not ‘Even’]; Bauldy (D3 EUL) [not ‘Bauldy’]; Bewitchd (D3 EUL, NLS) [not ‘Bewitch’d’]; Quite (NLS) [not ‘quite’] 1915. fell Madge with her Taz and pawky Mause’s plot (D3 EUL), [illegible, redacted] fell Madge’s Taz, & Pawky Mause’s plot (NLS) [not ‘Fell Madge’s Taz, and pawky Mauses Plot.’] 1916. Kindly Old Man, – Remain with you this day! (D3 EUL), Kindly Old man — Remain with you this day (NLS) [not ‘Kindly, old Man, remain with you this Day,’] 1917. fields (D3 EUL, NLS) [not ‘Fields’] 1918. Masons (D3 EUL) [not ‘Masons’]; & wrights (D3 EUL), & wrights (NLS) [not ‘and wrights’]; house (D3 EUL, NLS) [not ‘House’] 1919. and bussy [redacted, illegible] Gardners shall new planting (D3 EUL), and Bussy Gardners shall new planting (NLS) [not ‘And bussy Gardners shall new Planting’] 1920. fathers (D3 EUL) [not ‘Fathers’]; Hearty (D3 EUL, NLS) [not ‘hearty’]; you soon (D3 EUL) [not ‘you soon’] 1921. Restor’d & (D3 EUL), Restor’d and (NLS) [not ‘Restor’d, and’]; Best (D3 EUL) [not ‘best’]; friends (D3 EUL, NLS) [not ‘Friends’]; Rejoyced by with (D3 EUL) [not ‘rejoyce with’] [In D3 EUL, Symon is the speaker of lines 1922-5, whereas in NLS and in the copytext he speaks only 1923-4, with Glaud speaking 1925-6] 1922. Best (NLS) [not ‘best’]; twenty year (D3 EUL, NLS) [not ‘Twenty Year’]; Thats the Best News I hard this twenty year (D3 EUL) [not ‘That’s the best News I heard this Twenty Year;’] 1923. new day breaks up rugh times begins to clear (D3 EUL), new day breaks up Rugh times begin to clear (NLS) [not ‘New Day breaks up, rough Times 331

The Gentle Shepherd begin to clear.’] 1924. King & save Sir Colin Lang (D3 EUL), King and Save Sir Wm Lang (NLS) [not ‘King, and save Sir William lang’] 1925. to enjoy his fields & warm raise the shepherds sang (D3 EUL), To Enjoy their Ain and raise the shepherds sang (NLS) [not ‘To enjoy their ain, and raise the Shepherd’s Sang.’] [After line 1925, see note on line 1986, below.] 1926. wha (D3 EUL) [not ‘Wha’]; Dance (D3 EUL, NLS) [not ‘dance,’] 1927. what shepherds whistle (D3 EUL, NLS) [not ‘What Shepherds whistle,’]; will winna (D3 EUL) [not ‘winna’]; spring (D3 EUL, NLS) [not ‘Spring’] [Lines 1928-43 not included in D3 EUL] 1928. friends (NLS) [not ‘Friends’]; Mause – (NLS) [not ‘Mause,--’]; Madge (NLS) [not ‘Madge’]; ‘greed (NLS) [not ‘‘gree’d’] 1929. altho (NLS) [not ‘Altho’’]; Scelpit (NLS) [not ‘skelpit’] 1930. fu Blyth & (NLS) [not ‘fu’ blyth, and’] 1931. To Joyn and sing lang may Sir Wm Live (NLS) [not ‘To join and sing, Lang may Sir William live.’] 1932. live — (NLS) [not ‘live;---’]; Archibald (NLS) [not ‘Archibald’] 1933. wee (NLS) [not ‘wee,’] 1934. and (NLS) [not ‘And’]; Auld (NLS) [not ‘auld’] 1935. ells (NLS) [not ‘else’]; witches fingers Ban (NLS) [not ‘Witches Fingers ban’] 1936. yoŭngest of ye Rant (NLS) [not ‘youngest of ye rant’] 1938. of (NLS) [not ‘Of’]; Lady—my Dear Bony Bearn! (NLS) [not ‘Lady,--my dear bony Bairn!’] 1939. name (NLS) [not ‘Name,’]; learn— (NLS) [not ‘learn;---’] 1940. and my Dear Nurse (NLS) [not ‘And, my good Nurse,’]; gratefu (NLS) [not ‘gratefu’’] 1941. for (NLS) [not ‘For’]; matchles kindness (NLS) [not ‘matchless Kindness’] 1942. Happy day (NLS) [not ‘happy Day’] 1943. does (NLS) [not ‘Does’]; Require (NLS) [not ‘require’] 1944. faithfull Symon & (NLS) [not ‘faithful Symon, and’]; To faithfull Symon now I give & honest kind Glaud to you (D3 EUL) [not ‘To faithful Symon, and kind Glaud to you,’] 1945. and (NLS) [not ‘And’]; Endles few (NLS) [not ‘endless Feu’]; to your & to youre Bairns heirs I give in Endless feu (D3 EUL) [not ‘And to your Heirs I give in endless Feu,’] 1946. the mailines (D3 EUL) [not ‘The Mailens’]; you (D3 EUL) [not ‘ye’]; Justly due (D3 EUL), Justly Due (NLS) [not ‘justly due’] 1947. for (NLS) [not ‘For’]; fathers (NLS) [not ‘Fathers’]; pair (NLS) [not ‘Pair’]; for being acting such kind parents to the pair (D3 EUL) [not ‘For acting like kind Fathers to the Pair,’] 1948. who (D3 EUL, NLS) [not ‘Who’]; besides & (D3 EUL, NLS) [not ‘besides, and’]; spar (NLS) [not ‘spare’] 1949. Mause (D3 EUL, NLS) [not ‘Mause’]; house (NLS) [not ‘House’]; Quietnes Close your days (D3 EUL), Calmnes Close your Days (NLS) [not 332

Notes: Collation for 1725 ‘Calmness close your Days’] 1950. with (D3 EUL, NLS) [not ‘With’]; Makers praise (D3 EUL, NLS) [not ‘Maker’s Praise’] 1951. Lord (D3 EUL, NLS) [not ‘LORD’]; return Rejoyce return (D3 EUL) [not ‘return’]; honour (D3 EUL), Honours (NLS) [not ‘Honour’s’] 1952. need nail Confirm (D3 EUL) [not ‘Confirm’]; Joys & a’ (D3 EUL), Joys and a’ (NLS) [not ‘Joys, and a’’]; rove (D3 EUL) [not ‘roove’] [Before Line 1953, S. D.: Patrick presenting Roger to Sir Colin (D3 EUL), Presenting Roger to Sir Wm (NLS) [not ‘presenting Roger to Sir Will.’]] 1953. Sir (D3 EUL), Sr (NLS) [not ‘Sir,’]; trusty faithfull friend (D3 EUL), Trusty (NLS) [not ‘trusty Friend’]; allways shard (D3 EUL, NLS) [not ‘always shar’d’] 1954. my (D3 EUL) [not ‘My’]; secrets (D3 EUL, NLS) [not ‘Secrets’]; or (D3 EUL), eer (NLS) [not ‘e’er’] [Before Line 1955, And [he’s?] his Mistress (D3 EUL)] 1955. Glauds (D3 EUL), Glauds (NLS) [not ‘Glaud’s’]; Janet –, (Jeny (D3 EUL), Jannet (Jenny (NLS) [not ‘Janet, (Jenny’]; shame (D3 EUL, NLS) [not ‘Shame’] 1956. Raisd & mentains (D3 EUL, NLS) [not ‘Rais’d and maintains’]; tender flame (D3 EUL), Lovers flame (NLS) [not ‘Lover’s Flame’] 1957. dumb (D3 EUL). Dumb (NLS) [not ‘dumb,’]; spak & won (D3 EUL, NLS) [not ‘spake and won’] 1958. and (D3 EUL, NLS) [not ‘And’]; Honest Uncles Son (D3 EUL), Honest Uncle’s Son (NLS) [not ‘honest Uncle’s Son’] 1959 be pleasd (D3 EUL, NLS) [not ‘Be pleas’d’]; Speak (NLS) [not ‘speak’]; Glaud (D3 EUL, NLS) [not ‘Glaud’]; consent (D3 EUL) [not ‘Consent’] 1960. that (D3 EUL, NLS) [not ‘That’]; face (D3 EUL, NLS) [not ‘Face’]; discontent (D3 EUL) [not ‘Discontent’] 1961. sons demand (D3 EUL), son’s demand (NLS) [not ‘Son’s Demand’]; Generous fair — Glaud (D3 EUL), fair — Glaud (NLS) [not ‘fair. -- Glaud,’] 1962. that Trusty (NLS) [not ‘That trusty’]; Roger (D3 EUL, NLS) [not ‘Roger’]; Have (NLS) [not ‘have’] 1963. with (NLS) [not ‘With’]; Consent & (NLS) [not ‘Consent; and’]; with frank consent and for trouth now and while he does remain (D3 EUL) [not ‘With frank Consent; and while he does remain’] 1964. Upon these fields, (D3 EUL), upon these fields (NLS) [not ‘Upon these Fields,’]; Chamberlane (D3 EUL, NLS) [not ‘Chamberlain’] 1965. croud your Bounty, (NLS) [not ‘crowd your Bounties,’]; ye Crowd your Bountys, Sir what can [rest of line wanting: MS damaged] (D3 EUL) [not ‘You crowd your Bounties, Sir, what can we say,’] 1966. but (D3 EUL, NLS) [not ‘But’]; we’r (D3 EUL, NLS) [not ‘we’re’]; neer (D3 EUL) [not ‘ne’er’] [remainder of line after ‘ne’er’ missing: MS damaged] (D3 EUL) 1967. what (NLS) [not ‘What’]; wills (NLS) [not ‘Honour wills,’]; what eer your honour wills I sall obey (D3 EUL) [not ‘What e’er your Houour wills, I shall obey.’] [Before Line 1968, S. D.: To Roger (D3 EUL)] 1968. Roger (D3 EUL, NLS) [not ‘Roger’]; & my (D3 EUL), &with my (NLS) [not 333

The Gentle Shepherd ‘with my’] 1969. and (D3 EUL, NLS) [not ‘And’]; Masters right (D3 EUL, NLS) [not ‘Master’s Right’] 1970. faithfull, & this (NLS) [not ‘faithful, and this’]; Please him be, faithfull, & this auld gray head (D3 EUL) [not ‘Please him, be faithful, and this auld gray Head,’] 1971. shall (D3 EUL, NLS) [not ‘Shall’]; calmnes (D3 EUL) [not ‘Quietness’]; doun (D3 EUL, NLS) [not ‘down’]; dead (D3 EUL, NLS) [not ‘Dead’] [After Line 1971, a first draft of Line 1976, for ‘Sr Colin’: Now My friends I’m satisfied (D3 EUL)] 1972. neer (D3 EUL) [not ‘ne’er’]; at (D3 EUL) [not ‘a’]; days (D3 EUL) [not ‘Days’] 1973. or (NLS) [not ‘Or’]; Loo’d (NLS) [not ‘loo’d’]; oer (NLS) [not ‘o’er’]; fraise (NLS) [not ‘Fraise’]; or never cared to mak oer grit a [redacted] frais (D3 EUL) [not ‘Or ever loo’d to mak o’er great a Fraise:’] 1974. But (D3 EUL, NLS) [not ‘But’]; Master, father, & my Wife (D3 EUL), Master Father & My Wife (NLS) [not ‘Master, Father, and my Wife’] 1975. imploy (D3 EUL), Imploy (NLS) [not ‘employ’]; a’ (D3 EUL) [not ‘all’] 1976. Friend (D3 EUL), Friends (NLS) [not ‘Friends,’]; satified (D3 EUL, NLS) [not ‘satisfied’] 1977. each (D3 EUL, NLS) [not ‘Each’]; station (D3 EUL, NLS) [not ‘Station’]; Id (NLS) [not ‘I’d’] 1978. be (D3 EUL, NLS) [not ‘Be’]; virtuous (D3 EUL), Virtuous (NLS) [not ‘vertuous,’]; Late (NLS) [not ‘late’]; youl (D3 EUL) [not ‘ye’ll’] 1979. Reward & (D3 EUL), reward & (NLS) [not ‘Reward and’]; satisfaction (D3 EUL) [not ‘Satisfaction’] 1980. maze (D3 EUL) [not ‘Maze’]; somtimes (D3 EUL, NLS) [not ‘sometimes’]; is (D3 EUL) [not ‘looks’]; & wild (D3 EUL, NLS) [not ‘and Wild’] 1981. and oft when Hope mounts hy we are beguild (D3 EUL), and oft when Hopes are Highest we’r beguild (NLS) [not ‘And oft when Hopes are highest, we’re beguil’d.’] 1982. aft (NLS) [not ‘Aft’]; brinks of dark despair (NLS) [not ‘Brinks of dark Despair’]; [illegible, redacted] oft when darker we stand on Brinks of dark dispair (D3 EUL) [not ‘Aft when we stand on Brinks of dark Despair,’] 1983. some (D3 EUL, NLS) [not ‘Some’]; tŭrn (D3 EUL) [not ‘Turn’] [D3 EUL ends] 1984. Rights (NLS) [not ‘Righs,’: misprint] 1985. when (NLS) [not ‘When’]; demand I Readyest shoud (NLS) [not ‘demand, I readyest shou’d’] [Before Line 1986 in NLS MS, f. 103 are seven cancelled lines: Now Symon as ye please provide a treat The charge be mine Invite all round to Eat while to this place our Tenantry resort let all this week be spent in rural Sport The next line is illegible, and the final couplet of this cancelled section reads: mean time till Elspith in oŭr Break fast Bring some of your [redacted] Rural songs let’s hear ye sing 334

Notes: Collation for 1725 The first four are evidently revised from the D3 EUL, f.33R, located above between Lines 1926 and 1927: Now Symon as ye Please provide a Treat I’ll pay the Charge Invite all round to Eat and while arrountd to this place our tennantry resort Let all this week be spent in Rural sport] [Before Line 1987, S. D.: sings to the tune of Corn rigs are Bony (NLS) [not ‘Sings to the Tune of Corn-riggs are bonny.’]] 1987. Gay (NLS) [not ‘gay’] 1988. his (NLS) [not ‘His’]; mudy (NLS) [not ‘muddy’] 1989. his (NLS) [not ‘His’]; hay (NLS) [not ‘Hay’] 1990. his face is fair & Rudy (NLS) [not ‘His Face is fair and ruddy:’] 1991. his shape is handsome midle size (NLS) [not ‘His Shape is handsome, middle Size,’] 1992. he’s (NLS) [not ‘He’s’] 1993. shining (NLS) [not ‘Shining’] 1995. night (NLS) [not ‘Night’] 1996. where (NLS) [not ‘Where’]; Growing (NLS) [not ‘growing’] 1997. there (NLS) [not ‘There’]; word (NLS) [not ‘Word’] 1998. that sett (NLS) [not ‘That set’] 1999. he Kissd & vowd (NLS) [not ‘He kiss’d and vow’d’] 2000. and loo’d (NLS) [not ‘And lood’] 2001. that (NLS) [not ‘That’]; sinsyne (NLS) [not ‘sincesyne’] 2002. Corn Riggs are Bonny (NLS) [not ‘Corn-Riggs are bonny’] 2004. refuse (NLS) [not ‘Refuse’] 2005. since (NLS) [not ‘Since’]; yeilding wer designd (NLS) [not ‘yielding were design’d’] 2006. we Chastly shoud (NLS) [not ‘We chastly should’] 2007. then (NLS) [not ‘Then’]; & [not ‘and’]; Pate (NLS) [not ‘PATE’] 2008. and Syn (NLS) [not ‘And syne’] 2009. he’s (NLS) [not ‘He’s’]; Touzell air or Late (NLS) [not ‘touzel air or late’] 2010. where Corn Riggs are Bonny (NLS) [not ‘Where Corn-Riggs are bonny.’] [Three redacted lines, appearing to be a first draft of the epilogue; the first and last lines illegible, the second reads: after a great Clap (NLS. f.104)] [There follows an Epilogue and note at the end of the NLS, f. 105: Epilogue Now shaw ye’re pleasd with a great Clap that we may all part friends and then we’ll Bow & Courtain drap for here the Pastoral Ends Finis finishd the 29th of Aprile, 1725 Just as eleven aclock at night strikes by All: Ramsay All Glory be To God Amen] 335

The Gentle Shepherd

COLLATION for 1729 Organised by Act, Scene, and Line number, these notes show how the 1729 text varies from the previously printed editions in the following each referred to by the year of publication: • 1725 (the first edition) • 1726 (the second edition) • 1728 (printed in the 1728 edition of Poems, pp. 305-382) The manuscript drafts of the added songs are collated against the texts from TTM (1729), to which the reader is referred in the GS copytext. The drafts are found in two separate manuscripts; that they were originally one text is strongly indicated by the presence of the splitting of ‘O’er Bogie’ (Sang XIV) between them: • Songs for The Gentle Shepherd, The Huntington Library. HM MS 1489 (Huntington) • MSS. Draft for Songs for The Gentle Shepherd, Shelfmark: R26201/Eng MS 748, John Rylands Library, The University of Manchester. (Rylands) All citations of the former courtesy of the Huntington Library and of the latter courtesy of the University of Manchester. The second edition is described, vaguely, in Burns Martin as follows: ‘This text differs somewhat from that of the first edition’ (45). The main addition is the dedicatory poem ‘To the Countess of Eglintoun’ (Accept, O! Eglintoun, thy rural Lays…) by William Hamilton of Bangour (1704–1754). As the poem is not by Ramsay, it is not collated; the only other known texts appear to be transcripts in any case (see IELM, p. 177). The version of the play as it appeared in Poems (1728) marks its third appearance in print, also including the poem by Hamilton. The 1729 copytext alludes to 17 of its songs in footnotes, matching up with the second volume of The Tea-Table Miscellany (TTM). As Martin notes: ‘[T]his is the first intimation that Ramsay had converted his pastoral into a ballad opera’ (Martin 1931b, 11). As explained in the textual introduction, this edition includes the lyrics from TTM, set off from the main text but close to where each song appears. The prefatory notes in TTM that name the tune, the singer, and where in GS the song is to be inserted, with the page number adjusted for this edition, are used in the offset songs. The notes collate this (with the original page numbers) against the footnotes in GS 1729, which often provide directions as to where the songs stand in relation to prior text (e. g., before or in place of particular lines), though, as Goodridge observes, this changes in the 1734 edition of GS (179).

336

Notes: Collation for 1729 This edition also carries, for the first time, an engraved vignette of a shepherd on the title-page by Richard Cooper, as indicated by ‘R.C. f.’ below the vignette. For more on the engraving, see Rock 2011. In contrast to the 1725 Notes, end punctuation is noted here. The first word of each verse paragraph and speech begins with a full capital followed by small capitals in 1725, 1726, and the copytext but not in 1728. This is not noted. Stage directions in the middle of scenes are typically in parentheses in 1725, 1726, and the copytext but not in 1728. This is noted. As with the 1725 copytext, in general, if any line in any edition departs from the copytext in more than 2 substantives or 4 accidentals, or a combination of the two in excess of 4, the entire line of the variant and the copytext are reprinted. Where a line ends in the middle of the page, it is counted separately from the line that finishes it metrically. Dedication. The default font for 1728 is in italics; this is reversed in the Notes. Title. Inscrib’d to the (1728) [not ‘To the’] 8. Wherefore (1728) [not ‘Wherefore’]; Protection. (1728) [not ‘Protection,’] 9. The (1728) [not ‘the’] 11. Wild, (1725) [not ‘Wild;’] 20. If (1728) [not ‘If’]; Madam (1728) [not ‘Madam’] 22. Ladyship’s (1728) [not ‘Ladyship’s’] 23. lyes (1725, 1728) [not ‘lies’] 25. Were (1728) [not ‘Were’] 28. MONTGOMERY; be (1725, 1726), MONTGOMERY: Be (1728) [not ‘MONTGOMERY. Be’] 30. Fair (1725) [not ‘Fair,’] 31. Slaves, which (1725, 1726, 1728) [not ‘Slaves which’] 35. never fading (1725) [not ‘never-fading’] 37. All (1728) [not ‘All’]; a Sour-plum of (1725) [not ‘one of’]; occasion (1725) [not ‘Occasion’] 41. Body (1725, 1726, 1728) [not ‘body’] 42. Reflection (1725, 1726, 1728) [not ‘Reflexion’] 43. Bard (1728) [not ‘Bard’] 45. Characters. (1725, 1726, 1728) [not ‘Characters’] 46. Sentence, (1725) [not ‘Sentence’]; Fear: But (1728) [not ‘Fear; but’] 48. evanish (1725) [not ‘vanish’] 50. Poet’s (1725) [not ‘Poets’] 53. Ladyships (1725, 1726) [not ‘Ladyship’s’] [1728 combines Lines 53 and 54 in the copytext.] 337

The Gentle Shepherd 55. and (1728) [not ‘And’]; Servant, (1728) [not ‘Servant.’] [Lines 56-7 of the copytext are not included in 1728] 56. Edinburgh (1725) [not ‘Edinr.’] To the Countess of Eglintoun, with the following PASTORAL. Collated against 1726 and 1728. 1. O! Eglintoun, (1726) [not ‘O Eglintoun!’] 2. thy duteous Poet (1726), thy Poet humbly (1728) [not ‘thy duteous Poet pays’]; pays; (1726), pays: (1728) [not ‘pays,’] 4. blissful (1726), blessful (1728) [not ‘blisful’] 6. Beauty, (1726, 1728) [not ‘Beauty’] 8. stray. (1728) [not ‘stray:’] 9. Her Repair (1726), her repair (1728) [not ‘Her repair’] 10. breath (1726) [not ‘breathe’]; Air, (1726, 1728) [not ‘Air;’] 15. Instructed from these Scenes, what glowing Fires (1728) [not ‘Learn from these Scenes what warm and glowing Fires,’] 16. inspires! (1728) [not ‘inspires.’] 17. The Fair shall read (1728) [not ‘Delighted read’]; Tears, (1728) [not ‘Tears;’] 18. fears. (1728) [not ‘fears:’] 19. rise! (1728) [not ‘rise,’] 20. Eyes! (1728) [not ‘Eyes,’] [The last four lines of this section have been transformed into six lines in the 1728 text.] 21. fair One (1726), Fair One, (1728) [not ‘Fair-one’]; pitious of his Fate (1728) [not ‘does her Hate relent’] [Two new lines in the 1728 text, which are not retained in the copytext: Kind of her Scorn, and vanquish’d of her Hate, With willing Mind, is bounteous to relent,] 22. Smiles (1726) [not ‘smiles’]; Consent! (1728) [not ‘Consent.’] 24. [Both ‘Charlot’ and ‘Maria’ are printed in italics rather than small caps. (1728)] 30. Heart. (1726, 1728) [not ‘Heart,’] 35. Envy and from Care; (1728) [not ‘Envy, and from Care,’] 36. depress’d by Fear: (1728) [not ‘deprest by Fear;’] 38. torture (1728) [not ‘vexes’] 43. roll; (1728) [not ‘roll,’] 45. lost; (1728) [not ‘lost,’] 49. foresakes (1728) [not ‘forsakes’] 53. sunny (1728) [not ‘Sunny’] 55. Crown (1726) [not ‘crown’] 57. Age (1726) [not ‘Age,’] 58. Innocence (1728) [not ‘Innocence,’] 64. Blood: (1726, 1728) [not ‘Blood.’] 66. disguise (1726) [not ‘Disguise’]; semblant (1728) [not ‘Semblant’] 70. crown’d: (1728) [not ‘crown’d.’] 72. Happyness (1726) [not ‘Happiness’]; humane (1728) [not ‘human’] 73. Oh! Happiness, (1726) [not ‘Oh Happiness!’] 74. found (1726, 1728) [not ‘found,’] 338

Notes: Collation for 1729 75. fled, (1728) [not ‘fled’] 76. Shades, (1726) [not ‘Shades’] 77. Ah (1726) [not ‘ah’]; unkind; (1728) [not ‘unkind,’] 78. Fly’st (1728) [not ‘Flyst’] 80. Where, (1726, 1728) [not ‘Where’]; Content, (1728) [not ‘Content’] 82. Familiar (1728) [not ‘Familiar,’] 83. Call (1726) [not ‘call’] [Lines 85-6 not included in the 1726 text] 85. Or (1728) [not ‘On’] 87. Or, (1726, 1728) [not ‘Or’]; Planter, (1726, 1728) [not ‘Planter’] 88. Evening Walk (1726, 1728) [not ‘Ev’ning-walk’] 89. ere (1726) [not ‘e’er’]; behold (1726, 1728) [not ‘behold,’] 90. treasured (1726, 1728) [not ‘treasur’d’] 92. Morning Hour (1726, 1728) [not ‘Morning-hour’] 94. In Stair’s Wisdom (1728) [not ‘The Statesman’s Wisdom’]; the fair One’s Charms? (1726), in Erskine’s Charms. (1728) [not ‘the Fair-one’s Charms?’] 97. Cell, (1726, 1728) [not ‘Cell;’] 98. Vertue (1728) [not ‘Virtue’] 101. Boast (1726) [not ‘boast’] 102. cost: (1728) [not ‘cost;’] 104. Envy, (1728) [not ‘Envy’] 107. humane (1728) [not ‘human’] 109. Unlike O! (1726) [not ‘Unlike, O’]; Eglinton, (1726), EGLINTOUN! (1728) [not ‘O Eglintoun!’] 111. free’d (1726, 1728) [not ‘freed’] 113. Vertues (1728) [not ‘Virtues’] 114. shinst, (1726), shin’st (1728) [not ‘shinst’]; Kind, (1726) [not ‘Kind;’] 115. Name (1728) [not ‘Fame’] 116. Praise (1726) [not ‘praise,’]; guiltless (1728) [not ‘obstinate’]; blame? (1726), defame? (1728) [not ‘blame!’] 117. Presence, (1726) [not ‘Presence’]; Bashfulness (1728) [not ‘bashful Sense’] 119. Heav’ns (1726) [not ‘Heav’n’s’]; Grace, (1726, 1728) [not ‘Grace’] 121. Arm (1726) [not ‘arm’] 124. The (1726) [not ‘(The’]; Parents (1726) [not ‘Parent’s’]; Heart (1728) [not ‘Heart.)’] 126. blest; (1728) [not ‘blest,’] 130. Eglinton’s (1726), EGLINTOUNS (1728) [not ‘Eglintouns’] 132. Poet’s (1728) [not ‘Poet’s’] 133. antient (1726) [not ‘ancient’] 134. Years; (1728) [not ‘Years.’] 135. reflected (1726) [not ‘reflected,’] 136. lookt (1726) [not ‘look’d’] 137. Praise (1726, 1728) [not ‘praise’] 138. Or vertuous (1728) [not ‘And virtuous’] 139. ’midst (1728) [not ‘midst’] 140. To thee, in whom it is well pleas’d, has given (1728) [not ‘Bounteous to thee, with righteous Hand has given;’] 141. EGLINTON (1726), EGLINTOUN (1728) [not ‘Eglintoun’] 339

The Gentle Shepherd The PERSONS. The Dramatis Personae as printed in the 1725, 1726 and 1728 editions varies from the 1729 text as follows: • Names in 1728 not in ALL CAPS • Patie: The Gentle Shepherd (1725, 1728), The Gentle Shepherd (1726) [not ‘the Gentle Shepherd’]; Love (1726, 1728) [not ‘love’] • Roger: A (1728) [not ‘a’]; Love (1726, 1728) [not ‘love’] • Symon and Glaud: Two (1725, 1726, 1728) [not ‘two’]; Sheheprds (1725: misprint) [not ‘Shepherds’] • Bauldy: A (1728) [not ‘a’] • Peggy: Thought (1728) [not ‘thought’] • Mause: An (1728) [not ‘an’] • Scene: A (1728) [not ‘a’]; Shepherds (1725) [not ‘Shepherd’s’] • In the 1725 text the ‘Time of Action’ is expanded: ‘Time of Action, within Twenty Hours. First Act begins at Eight in the Morning. Second Act, begins at Eleven Forenoon. Third Act begins at Four Afternoon. Fourth Act begins at Nine-a-clock at Night. Fifth Act begins by Day-light next Morning.’ • In the 1726, 1728 and 1729 texts it is merely noted: ‘Time of Action, within Twenty Hours’ (1726, 1729), ‘Within’ (1728) • In the 1729 text, the following note appears (italics reversed): ‘N. B. The proper Places of the Songs printed in the Second Volume of the Tea-table Miscellany, made for the Pastoral when acted by some young Gentlemen, are all noted at the Foot of the Page.’ See the Introduction for a discussion of the revisions for the 1729 edition and the early performances of the play. Internal title. The Gentle Shepherd. A Pastoral Comedy. (1725), The Gentle Shepherd, A Pastoral Comedy. (1726) [not ‘The Gentle Shepherd.’] Act I. Scene I [Before Line 1, directions for Sang I: To wauking of the Faulds, sung by Patie before his Speech to Roger. (1729) [not ‘The wawking of the Faulds, Sung by Patie, Page I.’ (TTM 1729, p.169)]] 1. Craigy (1725, 1726, 1728) [not ‘craigy’] 2. halesom (1725) [not ‘halesome’]; Crystal (1728) [not ‘Christal’] 3. lay (1728) [not ‘ly’] 4. bony (1725, 1726) [not ‘bonny’]; May (1726, 1728) [not ‘May’] 5. Roger (1728) [not ‘ROGER’]; Echos (1725, 1726), Echoes (1728) [not ‘Ecchoes’]; ring; (1725, 1726, 1728) [not ‘ring,’] 6. Patie (1728) [not ‘Patie’] 9. ’tis (1728) [not ‘is’t’]; Plants (1725), Plants? (1728) [not ‘Plants,’] 10. Rants? (1725, 1726, 1728) [not ‘Rants!’] 11. ’tis (1725, 1726, 1728) [not ‘is’t’]; cauler (1728) [not ‘cawler’] 340

Notes: Collation for 1729 12. bears (1726, 1728) [not ‘bears,’]; Care. (1725, 1726), Care? (1728) [not ‘Care!’] 13. What (1725, 1726) [not ‘what’]; the (1728) [not ‘thee’] 15. born, O Patie, (1725); born O Patie, (1726) [not ‘born, O Patie!’]; Fate! (1725, 1726) [not ‘Fate;’] 18. Blood; (1728) [not ‘Blood:’] 20. Relief, (1726) [not ‘Relief.’] 21. Flower (1725, 1726, 1728) [not ‘Flow’r’] 22. Boggie Ground (1725), Boggie-Ground (1726, 1728) [not ‘boggie Ground’] 23. E’er (1725, 1726) [not ‘Ere’]; Warldly (1725) [not ‘warldly’] 25. ‘tis (1728) [not ‘it’s’] 26. Tune (1725, 1726, 1728) [not ‘tune’] 28. auld and young (1728) [not ‘Auld and Young’] 29. Sang (1725, 1726) [not ‘Sang,’] 30. cleek; (1725, 1726, 1728) [not ‘cleek,’] 32. Thought: (1725, 1726, 1728) [not ‘Thought.’] 34. unlikly (1725, 1726) [not ‘unlikely’] 35. ten (1728) [not ‘Ten’] 39. Gear: (1725, 1726) [not ‘Gear?’] 41. smoor’d; (1725, 1726) [not ‘smoor’d,’] 42. were, (1725, 1726) [not ‘were;’] 43. last, (1725, 1726, 1728) [not ‘last’]; sma (1725, 1726) [not ‘sma’’] 44. Tho’ (1725, 1726, 1728) [not ‘Though’] 46. lose (1728) [not ‘loss’] 47. sleep; (1728) [not ‘sleep:’] 50. may’st (1728) [not ‘mayst’] 51. O (1725, 1726, 1728) [not ‘O!’] 52. quench, (1725, 1726, 1728) [not ‘quench;’] 53. ’Till, (1725, 1726, 1728) [not ‘Till,’]; Burden (1726) [not ‘Burden,’] 55. Lambs (1728) [not ‘Lambs,’] 57. round; (1725) [not ‘round,’] 58. Whistle, (1725) [not ‘Whistle’] 59. neer (1725) [not ‘ne’er’] 61. Na Patie (1725, 1726) [not ‘Na, Patie’]; na sic (1725, 1726) [not ‘nae sic’] 62. Things (1725, 1726), thing (1728) [not ‘Thing’]; Breast: (1725, 1726, 1728) [not ‘Breast.’] 63. Night (1725, 1726) [not ‘Night,’] 65. Friend (1728) [not ‘Friend,’]; Pretence (1725) [not ‘Pretence,’] 66. kens. (1726, 1726), kens: (1728) [not ‘kens!’] 69. Courage (1726, 1728) [not ‘courage,’]; Roger, (1725, 1726, 1728) [not ‘Roger;’] 71. guest (1725, 1726) [not ‘guess’d’] 72. naithing (1725, 1726) [not ‘nathing’] 74. To (1725, 1726, 1729) [not ‘Te’: misprint]; mint: (1728) [not ‘mint.’] 75. jears (1725, 1726) [not ‘jeers’] 76. bumbaz’d, (1728) [not ‘bombaz’d’]; blate: (1725, 1726, 1728) [not ‘blate.’] 77. yesterday (1728) [not ‘Yesterday’]; yont (1725, 1726) [not ‘’yont’]; Know, (1725, 1726, 1728) [not ‘Know;’] 341

The Gentle Shepherd 79. Car, (1725), Car. (1726) [not ‘Car;’] 80. says, (1725, 1726) [not ‘says’] 81. her (1726) [not ‘her,’]; wat, (1725, 1726) [not ‘wat;’] 82. Neps,--- (1725, 1726), Neps ---- (1728) [not ‘Neps: ---’]; sae (1725, 1726, 1728) [not ‘Sae’] 83. her---but (1725) [not ‘her: — But’]; vain, (1725, 1726, 1728) [not ‘vain;’] 85. like, (1725, 1726, 1728) [not ‘like;’] 86. Even (1726, 1728) [not ‘Ev’n’]; fawn’d (1726) [not ‘fawn’d,’]; Tyke: (1728) [not ‘Tyke.’]; Till he yowld sair she strake the poor dumb Tyke. (1725) [not ‘Ev’n while he fawn’d, she strak the poor dumb Tyke.’] 87. filld (1725) [not ‘fill’d’] 89. Horn (1725) [not ‘Horn,’] 91. play’d, ye never heard sic Spite; (1725), play’d ye never heard sic Spite; (1726), play’d, ye never heard sic Spite, (1728) [not ‘play’d, (ye never heard sic Spite)’] 92. Delyte: (1725), Delyte, (1726) [not ‘Delyte;’] 93. Cousin (1728) [not ‘Cusin’]; spear’d (1725, 1726) [not ‘speer’d’] 94. cou’d (1728) [not ‘could’]; play’d, (1725, 1726, 1728) [not ‘play’d’] 95. Flocks (1725, 1726) [not ‘Flocks,’]; like, (1725, 1726, 1728) [not ‘like;’]; Care, (1725, 1726), care, (1728) [not ‘care:’] 97. Roger, (1725, 1726, 1728) [not ‘Roger;’]; Misluke (1725) [not ‘Misluck’] 98. sick (1725) [not ‘sic’]; Thrawin-gabet (1725, 1726) [not ‘thrawin-gabet’] 99. Craig, (1725, 1726, 1728) [not ‘Craig;’] 100. ways (1725) [not ‘ways,’] 101. spill, (1725, 1726, 1728) [not ‘spill;’] 102. a Will. (1725, 1726, 1728) [not ‘a-will’: lack of punctuation a misprint] 103. Leave (1725) [not ‘leave’]; off (1725, 1726, 1728) [not ‘aff’]; whindging (1728) [not ‘whinging’]; Way. (1725, 1726), Way; (1728) [not ‘Way:’] 105. Lass, (1725) [not ‘Lass’] 106. leel: (1728) [not ‘leel.’] 108. about (1725) [not ‘about.’]; lean’d (1728) [not ‘lean’d,’] 110. Peggy (1725) [not ‘Meggy’] 111. throw (1725, 1726), thro’ (1728) [not ‘through’]; Mist. (1726) [not ‘Mist,’] 112. closs (1726, 1728) [not ‘close’]; wist, (1726), wist; (1728) [not ‘wist.’] 114. whiter (1728) [not ‘whyter’]; Snaw. (1725, 1726) [not ‘Snaw;’] 116. Haffet Locks (1725), Haffet-Locks (1728) [not ‘Haffet-locks’] 117. rudy (1725, 1726) [not ‘ruddy’] 118. Hinny Pear (1725), Hinny-Pear (1726), hinny Pear (1728) [not ‘Hinnypear’] 120. Dewy (1725) [not ‘dewy’] 121. my (1725, 1726) [not ‘My’]; bony (1725) [not ‘bonny’]; Meg (1725, 1726) [not ‘Meg,’]; here, (1725, 1726, 1728) [not ‘here;’] 122. asteer; (1728) [not ‘asteer:’] 123. guess, (1725, 1726, 1728) [not ‘guess;’]; Dew: (1725, 1726, 1728) [not ‘Dew.’] 124. What’s that to you? (1726, 1728) [not ‘What’s that to you?’] 125. Meg Dorts (1728) [not ‘Meg-Dorts’]; lyke (1725, 1726) [not ‘like’] 126. Dike (1728) [not ‘Dyke’] 127. saw (1725, 1726) [not ‘saw,’] 342

Notes: Collation for 1729 128. thievless (1725, 1726, 1728) [not ‘thieveless’] 129. Miscaw’d (1725, 1726) [not ‘Misca’d’]; bad (1725, 1726) [not ‘bade’]; me (1725, 1726, 1728) [not ‘he’: misprint] 131. Hast, (1725, 1726), Haste (1728) [not ‘haste’] 132. Waist (1725, 1726) [not ‘Waste’] 133. Waist (1725, 1726) [not ‘Waste,’] 136. cam (1725, 1726) [not ‘came’] 137. Sair (1725, 1726) [not ‘Sair,’]; me, (1725, 1726) [not ‘me’] 138. kent (1728) [not ‘kend’] [Line 139, directions for Sang II: in place of these four Lines (1729). [not ‘Fy gar rub her o’er with Strae; sung by Patie, p. 6.’ (TTM 1729, p. 171)]] [Sang II, TTM (1729), p. 171, collated against Huntington, f.2R (ll.1-8), f.2V (ll.9-16) 1. Dear Roger if your Jenny Gloom geck [not ‘Dear Roger, if your Jenny geck,’] 2. and answer you with gecks & Nays and answer kindness with a slight [not ‘And answer Kindness with a Slight,’] 3. unconcernd [not ‘unconcrn’d’]; neglect [not ‘Neglect,’] 4. women [not ‘Women’]; a the Man delight,[not ‘a Man delight:’] 5. but Pate But Coward spirits soon defeat But dastards them despise that’s are soon defeat [not ‘But them dispise who’re soon defeat’] 6. face [not ‘Fae’]; obey give [not ‘give’]; way [not ‘Way’] [after Line 6: their first commands] 7. to a Repulse, than be not Blate [not ‘To a Repulse— then be not blate,’] 8. Neer turn your Back & win the Day [not ‘Push bauldly on, and win the Day.’] 9. for whenMaidens Inocently young [not ‘When Maidens, innocently young,’] 10. often [not ‘aften’]; mean [not ‘mean;’] 11. neer mind ther prety Lying tongue [not ‘Ne’er mind their pretty lying Tongue;’] 12. mark [not ‘tent’]; Een [not ‘Een’] 13. agree [not ‘agree,’] 14. to answer Still your Love with hate [not ‘To answer all your Love with Hate,’] 15. blest [not ‘blest,’] 16. its [not `tis’]; Late [not ‘late.’]] 141. Mood: (1725, 1726) [not ‘Mood;’] 142. sh’ll (1725: misprint) [not ‘she’ll’] 143. fa’ (1728) [not ‘fa’] 144. Ye’r (1725) [not ‘Ye’re’]; Art, (1726) [not ‘Art’] 146. cherish’t (1725, 1726) [not ‘cherish’d’] 147. Pains, (1725, 1726, 1728) [not ‘Pains’]; mak (1725, 1726) [not ‘make’] 148. Mother, rest her Saul, (1725, 1726) [not ‘Mother (rest her Saul)’]; fine; (1725, 1726) [not ‘fine,’] 343

The Gentle Shepherd 150. Green (1725, 1726) [not ‘green’]; Blew: (1725, 1726), blew, (1728) [not ‘blue,’] 151. Gowd, (1725, 1726) [not ‘Gowd’]; siller (1725), Siller, (1728) [not ‘Siller’]; Black; (1725, 1726) [not ‘black;’] 153. o’t (1726) [not ‘o’t,’]; sa (1725) [not ‘sae’] 154. revel’d (1725, 1726, 1728) [not ‘ravel’d’] 155. there;—and (1725, 1726, 1728) [not ‘there:—And’] 157. yours, (1725, 1726), your’s, (1728) [not ‘your’s;’] 158. a Will (1725, 1726), a will (1728) [not ‘a-will’]; take (1725) [not ‘tak’] 160. Flute (1726) [not ‘Flute,’] 161. out (1725) [not ‘out,’]; bony (1725, 1726) [not ‘bonny’]; Spring, (1728) [not ‘Spring;’] 162. Tift (1725) [not ‘tift’] 163. turn (1728) [not ‘Turn’] 165. Time Bannocks (1725, 1726), time Bannocks (1728) [not ‘time, Bannocks’] 166. please. (1726), please; (1728) [not ‘please,’] 167. daintyest (1725, 1726) [not ‘daintiest’] 169. Grace-Drink (1725), Grace-drink (1726, 1728) [not ‘Grace drink’]; Well. (1725) [not ‘Well,’] 170. fine (1725) [not ‘fine,’] [Note in 1728: ‘N. B. This first Scene is the only Piece in this Volume that was printed in the first. Having carried the Pastoral the length of five Acts at the Desire of some Persons of Distinction, I was obliged to reprint this preluding Scene with the rest.’] Act I. Scene II 171. flowrie (1725, 1726, 1728) [not ‘flow’ry’]; verdant (1725, 1726, 1728) [not ‘verdant’] 173. thro’ (1728) [not ‘throw’] 174. Peebles (1725, 1726) [not ‘Peebles’]; shining (1725, 1726) [not ‘shining,’]; round; (1728) [not ‘round,’] 176. Eye; (1725, 1726) [not ‘Eye,’] 180. Linnen (1725, 1726) [not ‘Linen’] 181. Waters (1725) [not ‘Water’s’] 183. Habie’s-How (1725), Habby’s How (1728) [not ‘Habbie’s-How’] 184. Where (1725, 1726, 1728) [not ‘where’: misprint]; a that’s sweet in (1725) [not ‘a’ the Sweets of’]; grow: (1725, 1726) [not ‘grow;’] 185. Birks (1725) [not ‘Birks,’]; Lin (1725, 1726, 1728) [not ‘Lin,’] 186. fa’s (1726) [not ‘fa’s,’]; Din: (1725, 1726) [not ‘Din;’] 187. Breast-deep, (1725) [not ‘Breast-deep’]; beneath (1725, 1726) [not ‘beneath,’] 188. bordering (1725) [not ‘bordring’]; Grass, (1725), Grass; (1726) [not ‘Grass:’] 189. Washing, (1726) [not ‘Washing’] 190. grow’s (1728) [not ‘grows’] 191. sells – ’tis (1728) [not ‘sells. –– ’Tis’]; healthfu’ (1728) [not ‘healthfou’] 193. say, (1728) [not ‘say’] 344

Notes: Collation for 1729 194. Herds (1725, 1726, 1728) [not ‘Herds’]; bratling (1725, 1726) [not ‘brattling’] 195. se (1725) [not ‘see’] 196. haith Lasses (1725), Haith Lasses (1726) [not ‘Haith, Lasses,’] 199. we’re our lane, (1725, 1726) [not ‘(we’re our lane)’] 200. gar’s (1728) [not ‘gars’] 201. Nibours (1728) [not ‘Neighbours’] 202. carena (1725) [not ‘carna’] 203. Troth (1726), Trowth, (1728) [not ‘Troth,’] 204. e’re (1725, 1726) [not ‘e’er’] 205. Peggy, (1725, 1726, 1728) [not ‘Peggy;’]; End, (1725, 1726), End; (1728) [not ‘End:’] 206. Herd (1725, 1726, 1728) [not ‘Herd’]; Sheepish (1725) [not ‘sheepish’] 207. kaims (1728) [not ‘kames’] 208. Ribon Knots (1725), Ribbon Knotes (1726) [not ‘Ribbon-knots’]; Bonnet Lug (1725), Bonnet-Lug (1726) [not ‘Bonnet-lug’] 209. pensylie (1725, 1726), pensily (1728) [not ‘pensilie’]; Thought (1725, 1726) [not ‘thought’]; a jee (1725) [not ‘a-jee’] 210. dice’d (1725, 1726) [not ‘dic’d’]; Knee. (1725, 1726, 1728) [not ‘Knee:’] 211. Owrlay (1728) [not ‘Owrelay’]; Care; (1728) [not ‘Care,’] 212. gang (1728) [not ‘gangs’] 213. that (1725, 1726) [not ‘that,’] 214. d’ye, (1725, 1726), d’ye (1728) [not ‘d’ye?’]; bony (1725, 1726) [not ‘bonny’] 216. unko (1725) [not ‘unco’] [Line 217, directions for Sang III: in place of the following seven lines (1729) [not ‘Polwart on the Green. Sung by Peggy, p. 10. (TTM (1729), p. 172)]] [Sang III TTM (1729), p. 172 collated against Huntington, f.2R (ll. 1-8), f.2V (ll.9-12) 1. The [not ‘The]; Dorty Maiden [not ‘Dorty’]; repent [‘repent,’] 2. if Lover’s Love grows cauld [not ‘If Lover’s Heart grow cauld,’] 3. and [not ‘And’]; tent [not ‘tent,’] 4. soon as face looks auld [not ‘Soon as her Face looks auld:’] 5. Thus the dawted Wean thus takes the pet [not ‘The dawted Bairn thus takes the Pet,’] [after Line 5: and tho its] 6. nor eats tho hunger crave [‘Nor eats, tho’ hunger crave,’] 7. whimpers and and [not ‘Whimpers and’]; Meat [not ‘Meat,’] 8. ands [not ‘And’s’]; Lave [not ‘lave,’] 9. Jest [not ‘jest’]; dinners [not ‘Dinner’s’] 10. self abusd [not ‘sell abus’d’] 11. the [not ‘The’]; obbligd to fast [not ‘oblig’d to fast,’] 12. or [not ‘Or’]; refusd [not ‘refus’d’]] 217. ye, (1725, 1726, 1728) [not ‘ye’]; grows (1728) [not ‘grow’] 219. Wean, (1725), wean, (1726), We’an (1728) [not ‘Wean’] 221. Lave (1725, 1726) [not ‘lave’] 222. thing (1728) [not ‘Thing’] 224. Fy Jenny (1725, 1726), Fy, Jenny (1728) [not ‘Fy! Jenny’] 226. I (1728) [not ‘I:’]; lets (1725, 1726, 1728) [not ‘let’s’] 345

The Gentle Shepherd 228. himsel (1725, 1726) [not ‘himsell’] 230. Cause. (1725), Cause, (1726, 1728) [not ‘Cause;’] 231. Hums (1725) [not ‘Hums’]; Haws. (1725, 1726) [not ‘Haws?’] 234. Slavery (1725, 1726, 1728) [not ‘Slav’ry’] 235. themsels (1725, 1726), themsells (1728) [not ‘themselves’] 236. Ways (1725, 1726) [not ‘ways’]; me, (1728) [not ‘me’]; Mind (1725, 1726) [not ‘mind’] 238. Heh! Lass, (1728) [not ‘Heh Lass!’]; How (1725, 1726) [not ‘how’]; Rattlescul? (1725, 1726) [not ‘Rattle-scull,’] 239. Will. (1725, 1726) [not ‘Will?’] 240. feightan (1725) [not ‘fighting’] 241. lead, (1728) [not ‘lead’] [Line 241, directions for Sang IV.: after the last Line of Jenny’s. (1729) [not ‘O dear Mother, wha shall I do? Sung by Jenny, p. 11.’ (TTM (1729), p. 172.] ] 242. Risk; (1728) [not ‘Risk,’] 244. Bridal Bed; (1725), Bridal-bed, (1728) [not ‘Bridal Bed,’] 245. Where (1725, 1726, 1728) [not ‘Where,’]; Breast (1725, 1726, 1728) [not ‘Breast,’] 246. kiss (1728) [not ‘kiss,’]; good; (1725) [not ‘good,’] 247. do, (1725, 1728) [not ‘do’] 248. Why (1725, 1728) [not ‘why’]; ’tis (1728) [not ‘’Tis’] 249. that; (1728) [not ‘that,’] 250. indeed, for ten or fifteen (1728) [not ‘indeed for Ten or Fifteen’] 251. unco Fraise; (1728) [not ‘unko Fraise,’] 252. Fowk (1728) [not ‘Fowk,’] 256. Dlyte (1726: misprint), Delite (1728) [not ‘Delyte’] 257. Flyte (1725), flite (1728) [not ‘flyte’] 258. Barlickhoods, (1728) [not ‘Barlikhoods’] 259. loundering (1725, 1726, 1728) [not ‘loundring’] 260. Course-spun (1725, 1726), coarse-spun (1728) [not ‘course-spun’] 262. Breath; (1728) [not ‘Breath,’] 265. Smile (1728) [not ‘Smyle’] 267. thro’ (1728) [not ‘throw’] 269. little (1725) [not ‘feckless’]; lave. (1725, 1726), lave? (1728) [not ‘lave!’] 272. is (1728) [not ‘is:’]; this (1725, 1726) [not ‘this?’] 274. Gait (1728) [not ‘Gate’] 278. Hey bony (1725), Hey bonny (1726) [not ‘Hey! bonny’] 280. O! (1728) [not ‘O’]; thing (1728) [not ‘Thing’] 281. Getts (1726, 1728) [not ‘Gets’]; Ingle-side (1725, 1726, 1728) [not ‘Ingle side’] 282. Din: (1725), Din, (1726, 1728) [not ‘Din;’] 284. We’an (1728) [not ‘Wean’]; we (1728) [not ‘wi’’] 285. Shoe; (1728) [not ‘Shoe.’] 286. Deel (1728) [not ‘Deil’]; Wobster, (1728) [not ‘Wobster:’]; Hell; (1725) [not ‘Hell,’] 287. misca’s (1728) [not ‘miscaws’] [Before Line 288, directions for Sang V.: sung by Peggy before she speaks (1729) [not ‘How can I be sad on my Wedding-Day. | Sung by Peggy, p. 12.’ 346

Notes: Collation for 1729 (TTM (1729), p. 173.]] 288. its (1725) [not ‘’tis’]; Yes, (1728) [not ‘Yes’]; heartsome (1728) [not ‘hartsome’] 290. Delight, (1728) [not ‘Delight’] 291. Plaints (1725) [not ‘Plaints,’] 292. Wow Jenny (1725, 1726), Wow! Jenny, (1728) [not ‘Wow Jenny!’]; be (1725, 1726) [not ‘be,’] 294. at, (1725, 1726) [not ‘at’] 296. Night, (1728) [not ‘Night’] 297. Delight. (1725, 1726) [not ‘Delight?’] 298. Poortith (1725, 1726) [not ‘Poortith,’]; Peggy (1725, 1726) [not ‘Peggy,’]; a’, (1725, 1728), a’ (1726) [not ‘a’:’] 299. Beggery (1725) [not ‘Beggary’]; draw. (1725), draw: (1726, 1728) [not ‘draw;’] 300. There (1725) [not ‘But’]; Love, (1728) [not ‘Love’]; chear (1726) [not ‘Chear’]; come, (1725, 1726, 1728) [not ‘come’] 301. dudy (1725) [not ‘duddy’]; Doublets, (1725, 1728) [not ‘Doublets’]; toom: (1725, 1726) [not ‘toom.’] 302. die, (1725, 1726), die (1728) [not ‘die;’] 303. Hay. (1725, 1726, 1728) [not ‘Hay;’] 305. Ews. (1725, 1726, 1728) [not ‘Ews:’] 306. buyes (1725) [not ‘buys’]; Butter (1726) [not ‘Butter,’] 307. But (1725) [not ‘But,’]; Payment (1725) [not ‘Payment,’]; flees. (1725, 1726, 1728) [not ‘flees:’] 309. Bent. (1725, 1726), bent; (1728) [not ‘bent:’] 310. His Honour (1725) [not ‘His Honour’]; mauna (1728) [not ‘manna’]; want, (1725, 1726, 1728) [not ‘want;’] 311. Syne, (1728) [not ‘Syne’] 312. Meg (1725, 1726) [not ‘Meg,’]; Life; (1728) [not ‘Life:’]; 313. it’s (1725) [not ‘’tis’]; Mows (1725, 1726, 1728) [not ‘mows’]; marry’d (1728) [not ‘married’] 314. She, (1728) [not ‘She’] 315. Fears; (1728) [not ‘Fears,’] 316. to to (1725: misprint) [not ‘to’] 319. shou’d (1728) [not ‘should’]; vertuous (1725, 1726, 1728) [not ‘virtuous’] 320. cou’d (1725, 1726, 1728) [not ‘could’] 321. Room (1725, 1726) [not ‘Room,’]; let: (1725, 1726, 1728) [not ‘let.’] 322. Part (1725, 1726), Part, (1728) [not ‘part’] 323. Shepherd’s (1726, 1728) [not ‘Shepherd’s’] 324. What e’er (1726) [not ‘Whate’er’] 325. Vogue, (1728) [not ‘Vogue’]; Tron, (1728) [not ‘Tron’] 327. Butter (1726) [not ‘Butter,’] 328. sald, (1728) [not ‘sald’]; Laird (1725) [not ‘Laird’]; due. (1725), due, (1726), Due; (1728) [not ‘due;’] 329. ain; (1725, 1726) [not ‘ain.’]; thus (1725, 1726), Thus, (1728) [not ‘Thus’] 330. thro’ (1728) [not ‘throw’]; steer: (1725, 1726, 1728) [not ‘steer.’] 332. gate (1726) [not ‘gat’] 334. Cheeks (1725) [not ‘Cheeks,’] 347

The Gentle Shepherd 335. haf-worn (1725, 1726) [not ‘haff-worn’] 336. kend (1725, 1726, 1728) [not ‘kind’]; Kisses, (1728) [not ‘Kisses’]; Feg. (1725, 1726) [not ‘Feg?’] 337. that, (1725, 1726), that; (1728) [not ‘that.’]; dear (1726, 1728) [not ‘Dear’]; free; (1728) [not ‘free,’] 338. we: (1725, 1726, 1728) [not ‘we.’] 339. Kind (1728) [not ‘kind’] 341. caumly (1725) [not ‘calmly’] 342. beguile: (1725, 1726) [not ‘beguile.’] 343. whenso’er (1725) [not ‘whensoe’er’] 344. Ane (1725) [not ‘ane’] 345. imploy (1726) [not ‘employ’] 347. Even (1725), Even, (1726, 1728) [not ‘E’en,’] 349. Winter (1725, 1726) [not ‘Winter,’]; Toils (1725) [not ‘toils’]; thro’ (1728) [not ‘throw’]; Rain, (1725, 1726, 1728) [not ‘Rain;’] 350. Hearth-stane. (1725, 1726, 1728) [not ‘Hearth stane:’] 352. Seething (1725), Seathing (1726) [not ‘seething’]; aff. (1725, 1726, 1728) [not ‘aff:’] 353. Hagabag (1728) [not ‘Hag-a-bag’]; Boord (1725) [not ‘Board’] 355. be, (1725, 1726) [not ‘be’] 356. Face, (1728) [not ‘Face’] 358. dosens (1728) [not ‘dozens’]; nane (1725) [not ‘nane,’] 360. Youth (1725) [not ‘Youth,’] 361. Bairns and their Bairns make sure (1725, 1726), Bairns, and their Bairns, make sure (1728) [not ‘Bairns and their Bairns make, sure,’]; Ty (1728) [not ‘Tye’] 363. Side by Side; (1725) [not ‘Side by Side,’] 364. them, some Years syne, (1728) [not ‘them some Years syne’]; Bride; (1725, 1728) [not ‘Bride,’] [Lines 365-67: No bracket indicating a triplet (1725)] 370. single, (1725, 1726, 1728) [not ‘single’]; a State sae lyk’d by you! (1725, 1726), a State sae lik’d by you! (1728) [not ‘(a State sae lik’d by you!)’] 371. Storm, (1725, 1726, 1728); Airth, (1728) [not ‘Airth’] [Line 372, directions for Sang VI: in place of these four Lines. [not ‘Nansy’s to the Green-Wood gane. Sung by Jenny, p. 15.’ (TTM (1729), p. 174)]] [Sang VI draft MS.: TTM (1729), p. 174 collated against Huntington, f.2R 1. yield, [not ‘Yield,’]; Lassie [not ‘Lassie,’]; won [not ‘won,] 2. and ther is no more vain is the denying [not ‘And there is nae denying,’] 3. that ther is no Light wher shines the sun or Love with as sure as light flows frae the sun [not ‘That sure as light flows frae the Sun,’] 4. from [not ‘Frae’]; complying [not ‘complying;’] 5. for [not ‘For’]; say [not ‘say,’] [after Line 5. they who have sence nere [?]] 6. Gainst [not ‘’Gainst’]; thinker [not ‘Thinker’]; us [not ‘us,’] 7. We’ll find within our Breast a fae that Leads us by the heart strings 348

Notes: Collation for 1729 they ken our Bosoms lodge the within Lurks Love that litle fae [not ‘They ken our Bosoms lodge the Fae,’] 8. that [not ‘That’]; heart strings [‘Heart-strings’]; us [not ‘us.’]] 372. yield, (twice) (1725, 1726, 1728) [not ‘yield;’]; Lassie (1728) [not ‘Lassy’] 376. Prisoner (1725, 1726, 1728) [not ‘Pris’ner’]; Jenny (1725, 1726) [not ‘Jenny,’] 377. wee (1728) [not ‘wie’]; tak (1728) [not ‘take’] 378. Hast (1725, 1726), Haste, (1728) [not ‘Haste’] 380. time’s (1728) [not ‘Time’s’]; good (1725), good, (1726, 1728) [not ‘good;’] 382. Graith; (1725, 1726, 1728) [not ‘Graith:’] 383. Rant: (1725, 1726, 1728) [not ‘Rant.’] 385. nae (1725, 1726, 1728) [not ‘Nae’] Act II. Scene I 386. Thack House (1725), Thack-House (1726) [not ‘Thack-house’] 387. seen. (1725, 1726, 1728) [not ‘seen:’] 388. Bayer: (1725), Bayer; (1726), Byre; (1728) [not ‘Byar;’] 389. joyns (1725, 1726) [not ‘joins’]; Squair (1725, 1726) [not ‘Square’] 391. Divet-Seat (1725, 1726), Divot-Seat (1728) [not ‘Divet-seat’]; Frien (1725), Frien’ (1728) [not ‘Friend’] 392. Symon, (1725, 1726, 1728) [not ‘Symon;’] 395. Crummock (1728) [not ‘Crummock,’]; bassend (1725, 1726, 1728) [not ‘bassen’d’] 398. Heart; (1725, 1726, 1728) [not ‘Heart:’]; and (1725, 1726, 1728) [not ‘And’] 401. things (1728) [not ‘Things’] 403. Hidlings (1725, 1726, 1728) [not ‘Hidlings’]; Heather Braes (1725, 1726, 1728) [not ‘Heather braes’] 404. Fy, (1728) [not ‘Fy’]; Ah! Symie, (1728) [not ‘Ah Symmie!’]; ratling (1725, 1726, 1728) [not ‘rattling’] 405. Hand, (1725, 1726), hand, (1728) [not ‘hand;’] 406. round like Will-fire (1725, 1726, 1728) [not ‘round, like Will-fire,’] 407. Poke (1725, 1726, 1728) [not ‘Pock’]; fause, (1725, 1728) [not ‘fause’] 408. Glaud, (1725, 1726, 1728) [not ‘Glaud;’] 409. Abroad (1725, 1726) [not ‘abroad’]; been; (1728) [not ‘been,’] 411. Estate, (1728) [not ‘Estate’]; Head: (1728) [not ‘Head,’] 413. Great (1728) [not ‘great’]; To shine, or set in Glory with Montrose (1725) [not ‘To stand his Liege’s Friend with great Montrose.’] 414. Cromwell’s (1728) [not ‘Cromwell’s’]; Nick (1725, 1728) [not ‘Nick’]; Monk, (1725, 1726) [not ‘Monk’] 415. Rumple (1725, 1728) [not ‘Rumple’]; Begunk; (1725) [not ‘Begunk,’] 416. Charles, (1725, 1726), CHARLES, (1728) [not ‘CHARLES;’]; thing’s (1728) [not ‘Thing’s’]; Tune; (1725, 1726), Tune: (1728) [not ‘tune’] 417. says, (1725, 1726, 1728) [not ‘says’]; se (1726) [not ‘see’] [Line 417 directions for Sang VII: after this last Line, by Symon. (1729) [not ‘Cald Kale in Aberdeen, Sung by Glaud or Symon, p. 18.’ (TTM (1729), p. 174.]] 418. indeed; (1728) [not ‘indeed:’]; but (1725, 1726, 1728) [not ‘But’]; flaw, (1725, 1726), flaw: (1728) [not ‘flaw;’] 349

The Gentle Shepherd 419. till’t (1728) [not ‘til’t’]; a, (1726), a’; (1728) [not ‘a’.’] 422. Hame, (1725, 1726), hame, (1728) [not ‘hame.’] 424. Hag-raid (1725) [not ‘hag-raid’] 425. again; (1728) [not ‘again,’] 427. lang, (1725, 1726) [not ‘lang;’] 428. thriving, (1728) [not ‘Thriving’]; Rent; (1725, 1726), Rent: (1728) [not ‘Rent,’] 429. grumbled (1725, 1726), grumbl’d, (1728) [not ‘grumbl’d’]; rich; (1728) [not ‘rich,’] 430. Mailens, (1725, 1726, 1728) [not ‘Mailens’] 431. N’or (1725) [not ‘Nor’] [Lines 433-35 are in italics rather than quotation marks in 1728] 433. Tak (1728) [not ‘tak’] 434. Hame (1725, 1726) [not ‘hame’]; Elspa?— (1725) [not ‘Elspa?’] 436. spear (1725, 1726) [not ‘speer’] [436, directions for Sang VIII.: after this last Line, by Symon. (1729) [not ‘Mucking of Geordy’s Byer. | Sung by Symon, p. 19.’ (TTM (1729), p. 175]] [Sang VIII: TTM (1729), p. 175 collated against Huntington, f.1V [Title: air 4th’ [not ‘SANG VIII. Mucking of Geordy’s Byer.’]] 1. the Lord Laird who in Riches & honour would thrive [not ‘The Laird who in Riches and Honor’] 2. shoud be kindly Indulgent & free [not ‘Wad thrive, should be kindly and free,’] 3. nor sneer the poor dilegent Labouring tennants who strive [not ‘Nor rack the poor Tenants who labour’] 4. out of Povertys clutches to flee [not ‘To rise aboon Poverty:’] 5. Els like the Packhorse that unfotherd he’ll faint [not ‘Else like the Pack horse that’s unfother’d’] 6. and fa’ with his La[i]rd on the way [not ‘And burden’d, will tumble down faint;’] [After line 6, Huntington reads: his Laird [af?] sma Bairns, tak them for your Rent when he’s rackt they’re all] [There is no equivalent to Line 7 in the MS., the lines above combining some of the sentiment from Line 7 with some of the language from Line 8.] 8. he has nae mair Left wherwith to pay [not ‘And Rackers aft tine their Rent.’]] 437. Butler (1725, 1726, 1728) [not ‘Buttler’]; bedeen (1725, 1728) [not ‘bedeen,’] 438. Nappy (1725) [not ‘nappy’]; clean, (1725, 1726, 1728) [not ‘clean;’] 440. time (1728) [not ‘Time’]; Hame. (1725), Hame, (1726) [not ‘hame.’] 441. e’en (1725, 1726, 1728) [not ‘e’n’]; Nibour (1725, 1726) [not ‘Nibour,’] 442. Day. (1725, 1726) [not ‘Day?’] 443. Elspith too, (1725), Elspath too (1728) [not ‘Elspith too;’]; Sight (1725, 1726) [not ‘sight’] 444. Height: (1728) [not ‘Height.’] 446. Ale, (1725) [not ‘Ale’] 350

Notes: Collation for 1729 447. Wean (1725, 1726), We’an (1728) [not ‘Wean,’] 449. wad na (1728) [not ‘wadna’] 453. Firlot (1728) [not ‘Furlet’] 454. Nook: (1728) [not ‘Nook.’] 457. Mutton-bouk (1728) [not ‘Mutton Bouk’] 458. Cost; (1728) [not ‘Cost.’] 459. Sma’ (1728) [not ‘Small’]; shorn, (1728) [not ‘shorn;’]; fu’ (1728) [not ‘fou’] 460. Spice: (1728) [not ‘Spice.’] 461. sung. (1728) [not ‘sung;’] 465. mauna (1728) [not ‘manna’] 467. a’ (1728) [not ‘all’]; Family, (1725, 1726, 1728) [not ‘Family’] 468. When ere (1725, 1726), When e’er (1728) [not ‘Whene’er’] 469. Auld-birky, (1725, 1726, 1728) [not ‘Auld-birky;’] 470. appear. (1728) [not ‘appear:’] 471. Bicker, (1728) [not ‘Bicker’] 473. Auld (1725) [not ‘Auld,’]; I! (1728) [not ‘I!— ]; troth (1728) [not ‘Troth’]; Score, (1728) [not ‘Score’] 474. News, (1726, 1728) [not ‘News’] 475. Een (1725, 1726, 1728) [not ‘E’en’]; Hey! (1728) [not ‘Hey,’]; forth: D’ye (1728) [not ‘forth, d’ye’]; hear. (1725, 1726) [not ‘hear?’] 476. Symon (1725, 1726) [not ‘Symon,’] 477. ye (1725, 1726) [not ‘ye,’] 479. snuff (1728) [not ‘Snuf’]; Wheel (1725) [not ‘Wheel,’] 480. Peat-stack (1728) [not ‘Peet-stack’] 481. Bane-fire (1725, 1726, 1728) [not ‘Bane fire’] 483. indeed! (1728) [not ‘indeed!—’]; was (1728) [not ‘was’t’]; o’t. (1725, 1726) [not ‘o’t?’] 484. t'you; (1725, 1726), to you? (1728) [not ‘t’you? ’]; gae (1725, 1726) [not ‘Gae’] 485. whitest (1728) [not ‘whytest’]; bobbit (1728) [not ‘bobit’] 486. white-skin (1728) [not ‘Whyt-skin’]; Mittons (1728) [not ‘Mittans’] 487. Then (1725, 1726, 1728) [not ‘Then,’]; Washing (1725, 1726, 1728) [not ‘Washing,’]; Hast (1725, 1726) [not ‘haste’] 488. make your (1728) [not ‘mak ye’r’]; Head (1725) [not ‘Head,’] 489. Een (1725, 1726), E’en (1728) [not ‘Eeen’: misprint] 491. Do (1725) [not ‘Do,’]; Madge: (1728) [not ‘Madge,’]; and Glaud (1725, 1726), And, Glaud, (1728) [not ‘and, Glaud,’]; gate (1728) [not ‘Gate’] 492. hae’t (1728) [not ‘ha’t’] Act II. Scene II. 493. Field. (1725, 1726, 1728) [not ‘Field ’]; Cotage (1725) [not ‘Cottage’] 494. suny (1725) [not ‘sunny’] 496. Arms (1725, 1726, 1728) [not ‘Ams’: misprint]; Look, (1728) [not ‘Look’]; see. (1725, 1726) [not ‘see’] 497. ’tis (1728) [not ’Tis’]; Hell, (1728) [not ‘Hell;’] 498. brunt (1725) [not ‘burnt’] 351

The Gentle Shepherd 499. PEGGY, (1725, 1726), Peggy, (1728) [not ‘PEGGY!’] 500. Glens (1725) [not ‘Glens,’]; Mawn (1725) [not ‘mawn’]; Hay; (1728) [not ‘Hay:’] 502. Forrest (1726) [not ‘Forest’]; grows: (1725, 1726, 1728) [not ‘grows.’] 506. Dead (1725, 1726), dead, (1728) [not ‘Dead,’] 507. me! (1728) [not ‘me,’] 509. Vow: (1728) [not ‘Vow!’]; ane (1725, 1726, 1728) [not ‘an’] 510. Priest! (1728) [not ‘Priest.’] 511. darena (1725) [not ‘dare na’] 512. Doubt (1725, 1726), doubt, (1728) [not ‘Doubt,’] 513. thole; (1728) [not ‘thole,’] 514. Heart (1726) [not ‘Heart.’] 515. Witch, that for sma’ Price (1728) [not ‘Witch that for sma Price,’] 520. uncristen’d (1725) [not ‘unchristen’d’]; We’ans (1728) [not ‘Weans’] 525. Snakes; (1728) [not ‘Snakes.’] 526. this (1725, 1726, 1728) [not ‘this,’] 527. hates (1728) [not ‘hates;’]; expire (1725) [not ‘expire,’] 528. Fire, (1725, 1726) [not ‘Fire;’] 529. fu’ of Prins (1728) [not ‘fou of Prines’]; devilish (1725, 1726, 1728) [not ‘devilsh’: misprint] 530. Pain, (1728) [not ‘Pain’]; represent, (1728) [not ‘represent’] 531. fu’ well (1728) [not ‘fou weil’] 534. faith (1725, 1726, 1728) [not ‘faith,’] 535. do’t (1725, 1726) [not ‘do’t,’]; thrive; (1725, 1728) [not ‘thrive,’] 536. Deels (1725) [not ‘Deils’] Act II. Scene III. 537. Green (1728) [not ‘green’]; Kail Yard (1725), Kail-yard (1728) [not ‘KailYard’]; Fount (1725, 1726, 1728) [not ‘Font’] 538. popilan (1725, 1726, 1728) [not ‘poplan’]; springs; (1728) [not ‘springs,’] 539. Wrinkle-Front, (1726), Wrinkle-Front; (1728) [not ‘Wrinkle-front,’] [Lines 541-8: Italics rather than quotation marks used in 1725] [Line 541: Directions for Sang IX.: Carle and the King come. | Sung by Mause, p.24.’ (TTM (1729), p. 175]] [Sang IX, TTM (1729), pp. 175, collated against 1729 GS. 3. dance, [not ‘dance,’] 4. come. [not ‘come:’] 5. Hawkies [not ‘Hawky’s’] 6. Plaiding-coat [not ‘Plaiding Coat’]] 541. PEGGY, (1725) [not ‘Peggy,’] 542. come; (1728) [not ‘come,’] 543. dance, (1728) [not ‘dance’] 544. Peggy, (1725), Peggy (1726) [not ‘Peggy,’]; come. (1728) [not ‘come,’] 545. Hawkys (1725, 1726), Hawkies (1728) [not ‘Hawky’s’] 546. Plaiding-Coat (1728) [not ‘Plaiding Coat’]; silk (1725) [not ‘Silk’] 548. Now (1726) [not ‘Now,’] 549. Glen, (1725, 1726) [not ‘Glen?’] 352

Notes: Collation for 1729 550. rash (1725) [not ‘fere’] 554. lead, (1725) [not ‘lead?’]; Thresh (1725) [not ‘thresh’] 555. Baith (1725, 1726) [not ‘baith’] 556. Hand, employs (1728) [not ‘Hand imploys’] 557. do (1725, 1726) [not ‘do,’] 559. Ay (1725, 1726) [not ‘Ay,’] [Lines 563-4 in the 1725 text differ completely: Well vers’d in Herbs and Seasons of the Moon, By skilfu’ Charms ’tis kend what ye have done. Not: ‘The Word that gains, how ye’re sae wise and fell, Ye’ll may be tak it ill gif I soud tell.’] 564. take (1728) [not ‘tak’]; shou’d (1728) [not ‘soud’] 566. fear? (1725) [not ‘fear.’]; nathing [both instances] (1728) [not ‘naithing’] 567. Well, (1728) [not ‘Well’]; a’ (1728) [not ‘a’] 568. ane (1726, 1728) [not ‘an’]; you, (1725, 1728) [not ‘you’] 569. Roofless Barn, (1725, 1726) [not ‘roofless Barn;’] 570. Yarn, (1725, 1726) [not ‘Yarn;’] 571. Elf-shot (1728) [not ‘Elfshot’]; hame; (1725, 1726, 1728) [not ‘Hame;’] 572. Tibi (1725) [not ‘Tibby’]; kirn’d, (1728) [not ‘kirn’d’] 573. Wean, (1725), We’an (1728) [not ‘Wean’] 574. cou’d na (1728) [not ‘cou’dna’]; lane. (1725, 1726) [not ‘lane;’] 575. Watie (1726, 1728) [not ‘Wattie’]; thro’ (1728) [not ‘through’] 576. himsell (1728) [not ‘himsel’]; Snaw. (1725, 1726) [not ‘Snaw;’] 577. still, (1728) [not ‘still’] 578. Night. (1725, 1726) [not ‘Night;’] 580. seen; (1725, 1726) [not ‘seen:’] 582. about; (1725), about: (1726) [not ‘about.’] 583. Skaith; (1725), Skaith: (1728) [not ‘Skaith,’] 584. laith; (1728) [not ‘laith:’] 586. Firlot (1728) [not ‘Furlet’] 587. ye, Lad; (1728) [not ‘ye Lad,’] 589. Then, (1728) [not ‘Then’]; me; (1728) [not ‘me’] 590. Pate, (1728) [not ‘Pate;’]; Patie’s (1728) [not ‘Patie is’] 591. Meg. (1728) [not ‘Meg:’]; see. (1725, 1728) [not ‘see’] 594. right; (1728) [not ‘right,’] 595. Ways, (1725, 1726), ways, (1728) [not ‘Ways’]; Night; (1725), Night: (1728) [not ‘Night.’] 596. time (1728) [not ‘Time’]; things (1728) [not ‘Things’] 597. Grots; (1728) [not ‘Grots,’]; take (1725) [not ‘tak’] 598. find; (1725) [not ‘find:’] 599. Deel, (1725, 1726), Deil, (1728) [not ‘Deel’]; Wind; (1725, 1728) [not ‘Wind,’] 600. Thunder (1728) [not ‘Thunder,’] 601. mirk (1725) [not ‘rough,’] 602. Symmie’s (1725, 1726), Symie’s (1728) [not ‘Symmy’s’] 603. Badran’s (1726), Badrans, (1728) [not ‘Badrans’]; Jest; (1725, 1726, 1728) [not ‘Jest?’] 604. different (1725, 1726, 1728) [not ‘diff’rent’]; spy: (1728) [not ‘spy;’] 353

The Gentle Shepherd 608. advance; (1728) [not ‘advance,’] [Lines 610-13 not included in the 1725 edition] 610. Eild (1726) [not ‘Eild,’] 612. sma’ (1728) [not ‘small’]; twitch (1728) [not ‘Twitch’] 613. hatefu (1726) [not ‘hatefu’’]; a wrinkled (1726, 1728) [not ‘A wrinkled’] 615. Witch (1725) [not ‘Wretch’]; Nick, (1725, 1726) [not ‘Nick;’] 617. Act (1725, 1726) [not ‘act’] 616. Education, (1725) [not ‘Education’] 618. appear, (1725, 1726), appear; (1728) [not ‘appear:’] 619. brought (1725) [not ‘brought,’]; here, (1726), here; (1728) [not ‘here.’] [Ten lines from the 1725 text are not included in any other edition: Now since the Royal Charles, and Right’s restor’d, A Shepherdess is Daughter to a Lord. The bony Fundling that’s brought up by Glaud, Wha has an Uncle’s Care on her bestow’d. Her Infant Life I sav’d, when a false Friend Bow’d to the Usurper, and her Death design’d; To establish him and his in all these Plains That by right Heritage to her pertains. She’s now in her sweet Bloom, has Blood and Charms Of too much Value for a Shepherd’s Arms.] 620. None know’st (1725), Nane kens’t (1726), Nane kens (1728) [not ‘Nane ken’st’]; me, (1728) [not ‘me;’] 621. all (1725), a (1726) [not ‘a’’] Act II. Scene IV. 622. Tree, (1728) [not ‘Tree’] 623. Pate and his Peggy (1728) [not ‘PATE and his PEGGY’]; meet, (1725) [not ‘meet;’] 624. Love, (1725, 1726, 1728) [not ‘Love’] 625. bony (1725) [not ‘bonny’] 627. Patie (1725, 1726) [not ‘Patie,’]; stay; (1725) [not ‘stay,’] 628. hame (1725, 1726) [not ‘hame,’] 630. gane; (1725) [not ‘gane:’] 632. themselves (1725, 1726), themsells, (1728) [not ‘themselves,’]; judge, (1728) [not ‘judge’] 635. Lavrocks (1728) [not ‘Lav’rocks’] 638. ken (1725, 1726) [not ‘ken,’] 639. sair, (1728) [not ‘sair’] 640. sae, (1728) [not ‘sae’]; blind. (1725, 1726, 1728) [not ‘blind:’] 643. Brier, (1725, 1726, 1728) [not ‘Brier;’] 644. appear. (1725, 1726, 1728) [not ‘appear;’] 646. Merle (1725) [not ‘Merl’]; Throats (1728) [not ‘Throtes’] 649. Fruits, (1725) [not ‘Fruits’] 651. Patrick, (1728) [not ‘Patrick’]; End, (1728) [not ‘End’] 653. darna (1725), dare na (1728) [not ‘darena’]; stay (1728) [not ‘stay,’] [Line 654 is not in the 1725 text] 354

Notes: Collation for 1729 654. Sang; (1728) [not ‘Sang,’] 655. Or swear ye’ll never tempt to do me Wrang. (1725) [not ‘Your Thoughts may flit, and I may thole the Wrang.’] 657. Lap. (1725, 1726) [not ‘Lap;’] 658. cease, (1728) [not ‘cease;’] 659. clim (1725, 1726, 1728) [not ‘climb’]; Fleece, (1725, 1726, 1728) [not ‘Fleece:’] 661. Shall do thee Wrang, (1725), Shall skaith our Love, (1726), Shall skaith our Love; (1728) [not ‘Shall Skaith our Love,’] 663. Haf-a-year (1725, 1726), haff a Year (1728) [not ‘Haf-a year’] 665. anither Lass (1725) [not ‘a fairer Face’]; steel (1725) [not ‘steal’] 666. Meg (1725, 1728) [not ‘Meg,’]; relate, (1728) [not ‘relate’] 668. fear; (1728) [not ‘fear,’] 669. young (1725) [not ‘young,’] 670. coud’st (1728) [not ‘cou’dst’] 671. Words, (1725, 1726, 1728) [not ‘Words’]; thrang (1728) [not ‘Thrang’] 673. Tansy-know (1725), Tansy-Know (1726) [not ‘Tansy-know’]; rashy Strand; (1725), Rashy-strand. (1728) [not ‘Rashy-Strand.’] 674. Delite, (1728) [not ‘Delyte’] 675. green, (1725, 1726, 1728) [not ‘green’]; white (1728) [not ‘whyte’] 677. flowry (1725, 1726, 1728) [not ‘flow’ry’] [Line 678, directions for Sang X: by Patie and Peggy in Place of the five following alternative Speeches. (1729) [not ‘Winter was cauld, and my Cleathing was thin. | Sung by Peggy and Patie, p. 30.’ (TTM (1729), p. 176.] [Sang X. TTM (1729), pp. 176-78 collated against Huntington, f.1V (ll. 1-12), Huntington, f.1R (ll.13-20) [Title: ‘Air 6th|Yelow haird Ladie’ [not ‘SANG X, Winter was cauld, and my Cleathing was thin.’]] [Both versions indicate speakers, except Huntington omits Peggy (spelled ‘Pegie’) from her first verses and Patie (spelled ‘Pate’) from the second.] 1. When [not ‘When’]; Ladie [not ‘Laddie’]; green hill [not ‘the Green Hill,’] 2. and I to milk Ews at Ew milking frist try’d my young skill [not ‘And I at Ew-milking first seyd my young Skill,’] 3. to bear a milk Leglen nae toil was to me [not ‘To bear the Milk-bowie, nae Pain was to me,’] 4. when [not ‘When’]; forgatherd [not ‘forgather’d’]; Thee [not ‘thee.’] 5. when corn rigs wavd yellow & Blew Hether Bells [not ‘When Corn-riggs wav’d yellow, and blew Hether-bells’] 6. Bloomd Bony on Moorland & sweet rising fells [not ‘Bloom’d bonny on Moorland and sweet-rising Fells,’] 7. Nae Birns Brier or wandering wer gave trouble to me [not ‘Nae Birns, Brier, or Breckens, gave Trouble to me,’] 8. if I found blae berries right ripened for thee [not ‘If I found the Berries right ripen’d for thee.’] 9. when thou didst Run, wrestle or Putt the great stane [not ‘When thou ran, or wrestled, or putted the Stane,’] 10. and came of the Victor my heart was ay fain [not ‘And came aff the Victor, my Heart was ay fain:’] 355

The Gentle Shepherd 11. thy ilka sport Manly gave pleasure to me [not ‘Thy ilka Sport manly, gave Pleasure to me;’] 12. for nane can putt wrestle or run swift as thee [not ‘For nane can put, wrestle or run swift as thee.’] 13. our Jeny sings saftly the Cowden Broom knows [not ‘Our Jenny sings saftly the Cowden-Broom-Knows,’] 14. and rosie lilts sweeter the milking of the Ews [not ‘And Rosie lilts sweetly the Milking the Ews;’] 15. Thers few Jenny Netles like Nansy can sing [not ‘There’s few Jenny Nettles like Nansy can sing,’] 16. and Marion the rest at Magy Lawder can ding [not ‘At Throw the Wood Laddie, Bess gars our Lugs ring;’] 17. but when my dear Peggy sings with sweter skill [not ‘But when my dear Peggy sings with better Skill,’] 18. The Boat man Bony Christy, the Boat, or Lass of the Mill [not ‘The Boat-man, Tweed-side, or the Lass of the Mill,’] 19. tis a thousand times Sweeter & pleasing to me [not ‘’Tis many Times sweeter and pleasing to me;’] 20. for tho they sing well yet they cannot like thee [not ‘For tho’ they sing nicely, they cannot like thee.’ [The MS. Draft ends here; the last stanza of the copytext is not extant]] 679. Skill, (1725, 1726) [not ‘Skill;’] 680. toil (1728) [not ‘Toil’] 681. Bought (1725, 1726) [not ‘Bught’]; E’en (1728) [not ‘Even’] 682. Hether Bells, (1725, 1726), Hether-bells (1728) [not ‘Hether Bells’] 683. Fells, (1725, 1726, 1728) [not ‘Fells;’] 684. Birns, (1726, 1728) [not ‘Birns’]; Briers (1725) [not ‘Briers,’]; ere (1725, 1726) [not ‘e’er’]; me: (1725, 1726) [not ‘me,’] 685. blae (1725, 1726, 1728) [not ‘Blae’] 690. Cowdon Knows, (1725), Cowden-knows: (1726), Cowden-knows, (1728) [not ‘Cowdenknows;’] 691. Ews. (1726) [not ‘Ews;’] 692. Nansie, (1725, 1728) [not ‘Nansie’]; sings; (1725, 1726, 1728) [not ‘sings,’] 693. Lauder (1728) [not ‘Lawder’] 694. sings (1725, 1726) [not ‘sings,’]; Skill (1725, 1726), Skill; (1728) [not ‘Skill,’] 695. Boat-man (1728) [not ‘Boatman’]; Patie’s (1728) [not ‘Patie’s’] 696. Thousand (1725, 1726) [not ‘thousand’]; times (1728) [not ‘Times’]; me, (1725, 1726) [not ‘me:’] 697. well (1725, 1726) [not ‘well,’] 698. desire, (1725, 1726), desire! (1728) [not ‘desire?’] 699. roos’d, (1725) [not ‘roos’d’] 704. giglit (1728) [not ‘Giglit’] 705. behave. (1725, 1726), behave; (1728) [not ‘behave:’] 706. believe, (1725), believe. (1726) [not ‘believe;’] 707. grieve. (1725, 1726) [not ‘grieve:’] 708. how, (1728) [not ‘how’] 710. thou, (1728) [not ‘thou’]; Sense (1725, 1726) [not ‘Sense,’] 356

Notes: Collation for 1729 711. excells (1728) [not ‘excels’]; a’, (1728) [not ‘a’.’] 712. kind; (1728) [not ‘kind,’] 714. harken (1725) [not ‘harken,’]; yons (1725, 1726) [not ‘yon’s’]; Cry, (1725, 1726), Cry; (1728) [not ‘Cry:’] 715. make (1728) [not ‘mak’] 716. ferly. (1728) [not ‘ferly,’]; Now, (1728) [not ‘now’] 717. fivescore (1728) [not ‘Fivescore’]; amiss (1728) [not ‘a-miss’] 720. Hire (1728) [not ‘Hyre’] 721. Well, (1728) [not ‘Well’] [Song 722-747 in italics in 1725; in Roman in other editions, including copytext.] [Line 722, directions for Sang XI: By the delicious warmness of they Mouth.| Sung by Patie and Peggy, p. 32, printed in the Pastoral; and in Tea-Table Miscellany, Vol. I. p. 151. (TTM (1729), p. 178)]] 723. Eyes (1728) [not ‘Eye’]; tell (1728) [not ‘tells’] 725. You’re (1725, 1726, 1728) [not ‘Your’: misprint]; Love; (1728) [not ‘Love,’]; deny. (1725, 1726) [not ‘deny?’] 726. gin (1728) [not ‘gif’] 727. Wooing’s (1725, 1726, 1728) [not ‘Woing’s’: misprint]; done: (1725, 1726) [not ‘done?’] 728. tines (1728) [not ‘tynes’] 729. Fruit, (1725, 1726, 1728) [not ‘Fruit’] 731. tine (1728) [not ‘tine,’] 732. appear; (1728) [not ‘appear,’] 733. Haf-year (1725, 1726), haff Year (1728) [not ‘Half-year’] 734. pow (1725, 1726), pu’ (1728) [not ‘pou’] 735. Patie’s (1725) [not ‘Patie’s’]; Arms, (1728) [not ‘Arms’]; a’. (1728) [not ‘a’:’] 736. Embrace; (1728) [not ‘Embrace,’] 738. Armfu’ (1725), Armfu’, (1726, 1728) [not ‘Armfu’!’]; hence ye Cares away, (1725, 1726, 1728) [not ‘hence, ye Cares, away:’] 739. Day, (1725, 1726) [not ‘Day;’] 740. again. (1725), again: (1726) [not ‘again,’] 742. Sun (1725, 1726) [not ‘Sun,’]; Skies (1728) [not ‘Skyes’] 743. rise: (1726) [not ‘rise;’] 744. O (1725, 1726, 1728) [not ‘O!’] 745. Day; (1725, 1726) [not ‘Day:’] 746. your (1725, 1726), ye’re (1728) [not ‘ye’er’] 747. Sleep, gin ye like, (1728) [not ‘Sleep gin ye like’]. Act III. Scene I. 748. Lime (1728) [not ‘Lyme’] 749. bleech’d (1725, 1726, 1728) [not ‘bleached’]; Time, (1726) [not ‘Time;’] 750. mean: (1728) [not ‘mean;’] 751. been. (1728) [not ‘been:’] 752. It (1725) [not ‘it’] 754. moves (1725, 1726, 1728) [not ‘moves,’] 755. Thro’ (1728) [not ‘Throw’]; delightfu (1725) [not ‘delightfu’’] 357

The Gentle Shepherd 760. Prospects, (1725) [not ‘Prospects’] 762. stands, (1728) [not ‘stands’] 763. Roof; (1728) [not ‘Roof,’] 764. down; no Chimney left; (1728) [not ‘down, no Chimny left,’] 765. bereft: (1728) [not ‘bereft.’] 766. Pavilians (1726) [not ‘Pavilions’] 767. falls: (1728) [not ‘falls.’] 768. Gardens, (1728) [not ‘Gardens’]; adorn’d (1725, 1726, 1728) [not ‘adorn’d,’]; complete (1725, 1726), compleat, (1728) [not ‘complete,’] 769. sweet; (1728) [not ‘sweet:’] 770. Green, (1728) [not ‘Green’] 771. Flowrs (1725) [not ‘Flowers’] 772. But, (1728) [not ‘But’] 774. How fail’d and brok’s the rising ample Shade, (1725) [not ‘How do these ample Walls to Ruin yield,’] 775. Trees their Branches spred (1725) [not ‘Branches found a Beild’] 776. Basking in Rays, and (1725) [not ‘And bask’d in Rays, which’] 777. View (1725) [not ‘view,’]; delightfu’ (1728) [not ‘delightful’]; Use; (1725, 1726) [not ‘Use!’] 778. Walls in Ruin (1725) [not ‘most in Rubbish’] 779. wither’d (1728) [not ‘withered’] 780. repaird; (1725), repair’d? (1726), repair’d: (1728) [not ‘repair’d;’]; And (1728) [not ‘and’]; Joy (1728) [not ‘Joy,’] 782. Prop (1725) [not ‘Prop,’] 783. home (1725), hame (1728) [not ‘Home’]; fair, (1725, 1726) [not ‘fair.’] 784. Him (1725, 1726) [not ‘Him,’] 786. charged (1725) [not ‘charg’d’] 787. Till (1725) [not ‘’Till’] [Line 788, directions for Sang XII. In Place of these eight following Lines. (1729) [not ‘SANG XII. Happy Clown. | Sung by Sir William, p. 35.’ (TTM (1729), p. 179]] [Sang XII TTM (1729, p. 179) collated against Rylands, f.2V [Title: Air 8th Happy Clown [not ‘SANG XII. Happy Clown.’]] 1. Hid [not ‘Hid’]; himself [not ‘himself,’] 2. Blawn [not ‘blawn,’] 3. and rangers oer the hieght & Lawn [not ‘And ranges o’er the Heights and Lawn,] 4. after [not ‘After’]; Bleeting [not ‘bleeting’]; flocks [not ‘Flocks.’] 5. healthfull healthfull and inocently gay [not ‘healthful, and innocently gay’] 6. he chants [not ‘He chants,’]; Day [not ‘Day;’] 7. untaught [not ‘Untaught’]; smile [not ‘smile,’]; betray [not ‘Betray’] 8. Weather cocks [not ‘Weather cocks’] 9. Life Happy, from ambition free [not ‘Life happy from Ambition free,’] 10. envy & Base Hypocracie [not ‘Envy and vile Hypocrisie,’] 11. wher truth & Love with joy agree [not ‘Where Truth and Love and Joys agree,’] 12. unsullied [not ‘Unsullied’]; Crime [not ‘Crime:’] 358

Notes: Collation for 1729 13. Unmovd [not ‘Unmov’d’]; desturbs [not ‘disturbs’]; Great [not ‘Great,’] 14. in prop in the in proping of their Pride & state [not ‘In proping of their Pride and State;’] 15. he lives [redacted] nor fears approaching fate and unafraid of fate [not ‘He lives, and unafraid of Fate,’] 16. contented spends his Time [not ‘Contented spends his Time.’]] 789. carless (1725) [not ‘careless’]; Lawn. (1726) [not ‘Lawn,’] 790. Charge, (1728) [not ‘Charge’]; serenely (1728) [not ‘serenly’] 792. Life! (1728) [not ‘Life,’]; free, (1725, 1726), free; (1728) [not ‘free:’] 793. cheerfully (1726), chearfully (1728) [not ‘cheerfully,’] 794. A quiet contented Mortal spends his Time (1728) [not ‘A quiet, contented Mortal, spends his Time,’] 795. Health (1725, 1726) [not ‘Health,’]; Crime. (1725, 1726, 1728) [not ‘Crime!’] 796. House, (1725, 1726) [not ‘House’] 797. Day, (1725, 1726, 1728) [not ‘Day;’] 799. gaylie (1725) [not ‘gayly’] Act III. Scene II. 801. round; (1728) [not ‘round,’] 804. Peat Ingle (1725, 1726), Peat-Ingle (1728) [not ‘Peat-ingle’] 805. Floor. (1725, 1726) [not ‘Floor;’] 806. Green-Horn Spoons (1725, 1726, 1728) [not ‘Green Horn-spoons’]; mingle, (1728) [not ‘mingle’] 810. Brown (1725, 1726, 1728) [not ‘brown’] 812. sells (1728) [not ‘sells,’] 813. merrilie (1728) [not ‘merrylie’] 816. Lads (1725) [not ‘Lads,’]; awa (1725, 1726) [not ‘awa’’] 823. tane, (1725, 1726, 1728) [not ‘tane;’] 824. troth, (1728) [not ‘troth’]; We’an (1728) [not ‘Wean’] 825. ken: A bonnier (1728) [not ‘ken; a bonnyer’] 827. Ha! Glaud, (1728) [not ‘Ha Glaud!’]; neer (1725) [not ‘ne’er’]; Match; (1728) [not ‘Match,’] 828. catch: (1728) [not ‘catch;’] 830. mix’d (1725) [not ‘mixt’] 831. have, (1725, 1726) [not ‘have?’]; There’s (1728) [not ‘there’s’]; sure (1726) [not ‘sure,’] 834. kind; (1725), kind. (1728) [not ‘kind:’] 837. gi’e (1728) [not ‘gie’] 838. gif (1728) [not ‘if’] 839. spaining Time (1725), Spaining-time, (1728) [not ‘spaining Time,’] 841. Glaud; (1728) [not ‘Glaud,’] 842. here (1728: misprint) [not ‘hear.’] 843. Eight Days, (1725, 1726), eight days (1728) [not ‘eight Days,’] 845. Well, (1728) [not ‘Well’]; come, (1728) [not ‘come’]; Bend; (1728) [not ‘Bend,’] 846. what ever (1725) [not ‘whatever’] [S. D. after line 846: round. (1726, 1728) [not ‘round’]] 359

The Gentle Shepherd 848. Fundling (1725, 1726, 1728) [not ‘Fundling,’] 849. Hallon Side (1725, 1726) [not ‘Hallon-side’] 850. up (1725) [not ‘up,’]; beded (1725, 1726) [not ‘bedded’] 851. clatteran, (1725), clattoran (1728) [not ‘clatteran’] 852. ere (1725, 1726) [not ‘e’er’] [Before line 853: No S. D. in 1726.] 853. Father! (1728) [not ‘Father,’] 854. seen: (1728) [not ‘seen;’] 856. o’er (1728) [not ‘owre’]; Look; (1728) [not ‘Look:’] 857. ere (1725, 1726) [not ‘e’er’]; heard. (1725, 1726, 1728) [not ‘heard,’] 859. in; (1728) [not ‘in,’]; say: (1728) [not ‘say,’] 861. fear, (1728) [not ‘fear’] 862. Gray (1725) [not ‘gray’]; Mare (1728) [not ‘Mear’] 863. Spae-men! (1728) [not ‘Spae-men!—’]; doubt; (1728) [not ‘doubt,’] 864. there out (1728) [not ‘thereout’] 865. welcome (1725), wellcome (1726) [not ‘welcome,’]; Carle, (1725, 1726), Carle; (1728) [not ‘Carl.’]; here (1725, 1726, 1728) [not ‘Here,’] 866. Goodman, (1725, 1726) [not ‘Goodman;’]; I’se (1728) [not ‘Ise’] 867. t’ye, (1728) [not ‘t’ye’]; Friend: (1725, 1726, 1728) [not ‘Friend.’]; cam (1725) [not ‘came’] 868. ye (1725, 1726) [not ‘ye,’]; Nibour, (1725, 1726), Nibour: (1728) [not ‘Nibour;’]; E’en (1728) [not ‘e’en’] 869. wee (1728) [not ‘wie’]; lang, (1725, 1726) [not ‘lang;’] 870. Three’s (1725) [not ‘three’s’] 873. unsought,--- well (1725, 1726), unsought. – Well, (1728) [not ‘unsought. —Well’] 875. employ (1728) [not ‘imploy’]; Skill, (1728) [not ‘Skill’] 877. Lad, (1725, 1726) [not ‘Lad;’] 878. now, (1728) [not ‘now’] 879. Hand, (1725, 1726), Hand; (1728) [not ‘Hand.’]; what (1725, 1726, 1728) [not ‘What’] 880. worth (1725, 1726, 1728) [not ‘worth,’] 881. Point. (1728) [not ‘Point:’]; But Billy (1725, 1726) [not ‘But, Billy,’]; bide (1728) [not ‘byde’] 882. Mouse (1728) [not ‘Mouse’] 883. Betootch (1725, 1726) [not ‘Betooch’]; true, (1725, 1726) [not ‘true:’] 884. Deel’s (1725) [not ‘Deil’s’]; o’er (1728) [not ‘owre’] 887. spair’d (1725, 1726), spar’d (1728) [not ‘spaird’] 889. ye, (1728) [not ‘ye’]; What think ye now? (1728) [not ‘what think ye now!’] 890. ken: Strange auld Man! What (1728) [not ‘ken! strange auld Man, what’] 891. fa’ (1725, 1726, 1728) [not ‘fa’]; Heart; (1728) [not ‘Heart,’]; Wealth, (1725, 1726), Wealth: (1728) [not ‘Wealth;’] 894. Curs, (1728) [not ‘Curs’]; Tenants, (1728) [not ‘Tenants’] 895. Estate (1728) [not ‘Estate,’] 896. Carle (1725, 1726, 1728) [not ‘Carl’] 897. Patie, (1725, 1726, 1728) [not ‘Patie;’]; o’er (1728) [not ‘owre’]; Hand, (1725, 1726, 1728) [not ‘Hand;’] 360

Notes: Collation for 1729 898. Aftimes (1728) [not ‘Aftymes’] 899. Warlock (1726) [not ‘Warlock,’] 900. good (1728) [not ‘good,’]; least, (1725, 1726), least: (1728) [not ‘least.’] 902. a (1725) [not ‘a’’]; that that’s (1726) [not ‘that’s’] 905. things (1728: both instances) [not ‘Things’] 906. Thumb;-- (1725, 1726), Thumb – (1728) [not ‘Thumb;’]; tell? (1725, 1726) [not ‘tell’] 907. him, (1728) [not ‘him’]; himsell (1728) [not ‘himsel’] 908. William. (1725, 1726) [not ‘William?’] 910. better, (1725, 1726), better; (1728) [not ‘better.’]; Elspa hast ye gae (1725, 1726), Elspa, haste ye, gae, (1728) [not ‘Elspa, hast ye gae’] [Lines 912-27 not printed in black letter in 1728] [Rylands, f.2V, has the following: ‘41 Air 9th Auld Lang Syne’; this would seem to refer to p. 41 of 1725 GS, which is where Sir William begins telling Patie’s fortune. As Goodridge, who first noted the presence of this reference to a song, writes, ‘It scans with the familiar Burns version, as well as with Ramsay’s own version of ‘Auld Lang Syne.’ He evidently decided against making it a numbered song before the conversion was completed.’ (IELM 179)] 915. thousands shares: (1725, 1726), Thousands shares. (1728) [not ‘Thousands Shares:’] 916. rares, (1725, 1726, 1728) [not ‘rares’] 917. o’er the Plain: (1728) [not ‘owre the Plain,’] 923. bauld (1726) [not ‘bauld.’] 926. tald, (1725, 1726), tald; (1728) [not ‘tauld,’] 929. Deil (1728) [not ‘Deel’] 930. keep, (1725, 1726), keep: (1728) [not ‘keep;’] 931. ye (1728) [not ‘you’] 932. Beard; (1728) [not ‘Beard,’] 934. ten (1728) [not ‘Ten’]; Ane (1725, 1726) [not ‘ane’] 938. unco (1728) [not ‘unko’] 939. mak (1725, 1726, 1728) [not ‘make’] 940. sma’ (1728) [not ‘sma’] 941. Spae-man (1725, 1726, 1728) [not ‘Spaemen’] 942. Flawing (1725) [not ‘flawing’]; Fortunes, (1725, 1726, 1728) [not ‘Fortunes’] 944. Carle; (1728) [not ‘Carle,’]; e’er (1725) [not ‘ere’] 946. said (1728) [not ‘said,’] 948. Friend, (1728) [not ‘Friend;’]; sae (1725) [not ‘say’]; nathing mair; (1728) [not ‘naithing mair,’] 949. I’ve (1728) [not ‘I have’] 952. thro’ (1728) [not ‘through’] 953. Bent: (1728) [not ‘Bent,’] 954. day that Gift; (1728) [not ‘Day that Gift:’] 955. Elspa, (1728) [not ‘ELSPA,’] 956. And, of your best, (1725, 1726, 1728) [not ‘And of your best’] 958. Care; (1728) [not ‘Care,’] 960. Tower, (1725, 1726, 1728) [not ‘Tower’] 361

The Gentle Shepherd 962. please (1728) [not ‘please,’]; Desire: (1728) [not ‘Desire,’] 965. Pint, and crack (1728) [not ‘Pint and Crack’] 966. Space (1725), While (1726) [not ‘while’]; Young-anes play, (1725), Younganes play. (1726), young anes play. (1728) [not ‘young-anes play:’] 967. light (1725) [not ‘light,’] Act III. Scene III. 968. hame (1728) [not ‘Hame’] 969. Roger (1728) [not ‘ROGER’] 972. sight, they meet: (1728) [not ‘Sight they meet.’] 973. Laughing, (1725, 1726), laughing; (1728) [not ‘laughing’] 974. Shepherd? (1726) [not ‘Shepherd!’] 975. t’ye (1725), to ye (1728) [not ‘t’ye,’]; let; (1728) [not ‘let,’] 976. ergh ye’r (1725) [not ‘ergh, ye’re’] 977. cou’d (1725) [not ‘could’]; speak;] (1726: misprint), speak? (1728) [not ‘speak;’] 978. ye’r to seek. (1725, 1726), ye’re to seek. [not ‘ye’re to seek?’] 979. Yes, ye may guess (1728) [not ‘Yes ye may guess,’] 980. Een. (1728) [not ‘Een:’] 981. we’t, (1725), wi’t, (1728) [not ‘we’t’]; Scorn; (1728) [not ‘Scorn,’] 982. Ev’n (1728) [not ‘Even’] 983. cou’d (1728) [not ‘could’]; Ah cou’d I loo ye less! I’d happy be (1725, 1726) [not ‘Ah! could I loo ye less, I’d happy be;’] 984. far! (1725, 1726) [not ‘far,’] 985. may; (1725, 1726, 1728) [not ‘may?’] 986. say, (1725, 1726) [not ‘say’] 991. Cousin (1728) [not ‘Cusin’] 993. alike (1728) [not ‘alyke’] 995. Jenny, (1725, 1726) [not ‘Jenny?’]; Sayna (1728) [not ‘sayna’]; again; (1728) [not ‘again,’] 997. glad, however, (1728) [not ‘glad however’]; free: (1728) [not ‘free,’] 998. rue, (1728) [not ‘rew’]; Pity (1725, 1726) [not ‘pity’] 1000. foryet. (1725, 1726, 1728) [not ‘foryet,’] 1001. bonny, good, and every thing; (1728) [not ‘bonny, good, and every Thing!’] 1002. breathe, (1728) [not ‘breath’]; kiss, (1728) [not ‘kiss’] 1004. Daffine (1728) [not ‘Daffine,’] 1005. Waws, (1728) [not ‘Waws’] 1006. Altho’ (1725, 1726, 1728) [not ‘Altho’] 1008. Mare: (1725), Mear; (1728) [not ‘Mear:’] 1011. dounright (1725) [not ‘downright’] 1013. suggard’d Words (1728) [not ‘suggard Words,’] 1015. Fair (1728) [not ‘fair’] 1016. Clouds, (1725) [not ‘Clouds’]; Skyes. (1725, 1726), Skies. (1728) [not ‘Skyes;’] 1017. Spring, (1725, 1726) [not ‘Spring’] 1018. Mossy (1725, 1728) [not ‘mossy’]; disappear. (1725, 1726, 1728) 362

Notes: Collation for 1729 [not ‘disappear:’] 1019. rejoice (1728) [not ‘rejoyce’] 1020. beguile, (1726: misprint) [not ‘beguile.’] 1022. unclouded (1728) [not ‘unclouded,’]; Night. (1725, 1726, 1728) [not ‘Night;’] 1023. run (1725) [not ‘rin’]; thro’ (1728) [not ‘throw’] 1024. Increase (1725, 1726, 1728) [not ‘Increase,’]; Ocean, (1725) [not ‘Ocean’]; stain. (1725, 1726), Stain. (1728) [not ‘Stain:’] 1025. blyth; (1728) [not ‘blyth,’]; smile; (1725, 1726, 1728) [not ‘smile,’] 1026. Rejoice thro’ (1728) [not ‘Rejoyce throw’] [Line 1027, directions for Sang XIII: by Roger and Jenny, in place of the two following Speeches. (1729) [not ‘SANG XIII. Leith-Wynd. Sung by {JENNY | and | ROGER }, p. 47.’ (TTM (1729), p. 180.]] [Sang XIII: TTM (1729), p. 180, collated against Rylands, f.2V [Title: Air 10th Hap me with thy Peticoat [not ‘SANG XIII. Leith-Wynd.’]] 1. Wer Wer I assurd you’ll would not change constant prove [not ‘Were I assur’d you’ll constant prove,’] 2. shoud not [not ‘should nae’]; complain [not ‘complain,’] 3. The Easy [redacted] Maid beset with love [not ‘The easy Maid best with Love,’] 4. few words [not ‘Few Words’]; gain [not ‘gain;’] 5. for I must own now sine your free [not ‘For I must own, now since you’re free,’] 6. this [not ‘This’]; heart [not ‘Heart’] 7. ane ayent [not ‘a Black-sole’] 8. wishd [not ‘Wish’d]; paird [not ‘pair’d]; thine [not ‘thine.’] [Line 9-16 not in Rylands MS]] 1029. mawn (1725) [not ‘maun’] 1035. fir’d (1728) [not ‘fyr’d’] 1036. tir’d (1728) [not ‘tyr’d’] 1039. the (1725: misprint) [not ‘thee’]; Jenny! [not ‘Jenny,’] 1040. bony (1725, 1726) [not ‘bonny’] [Following line 1040, the S. D. ‘They Embrace’ is printed in the 1725 edition only.] 1041. Joy (1725, 1728) [not ‘Joy,’]; safter Heart does yield (1725) [not ‘easy Heart gi’es Way’] 1042. Field (1725) [not ‘Day’] 1044. me, (1725, 1728) [not ‘me’] 1045. thousand, (1725) [not ‘thousand’] 1046. dumb, (1728) [not ‘dumb;’] 1047. kindlier (1728) [not ‘kyndlier’] [Line 1047, directions for Sang XIV: in Place of these four Lines. (1729) [not ‘SANG XIV. O’er Bogie. | Sung by Jenny, p. 48.’ (TTM (1729), p. 181.)]] [Sang XIV: TTM (1729), p. 181, collated against Rylands, f.1R (ll.1-12) and Huntington, f.1R (ll.13-16) [Title: Air 11 Oer Bogie [not ‘SANG XIV. O’er Bogie’]] 1. Well I agree ye’r sure of me [not ‘Well I agree, ye’re sure of me;’] 363

The Gentle Shepherd 2. father gae [not ‘Father gae,’] 3. make him [not ‘Make him’]; consent [not ‘Consent.’] 4. he’ll [not ‘He’ll]; nay [not ‘nay;’] 5. for You [not ‘For you’]; at [not ‘at,’] 6. and [not ‘And’]; well [not ‘well,’] 7. for folks grown parrents auld think love grows Cauld [not ‘Since Parents auld think Love grows cauld,’] 8. when Bairns want milk & meal [not ‘Where Bairns want Milk and Meal.’] 9. shoud [not ‘Shou’d’]; deny [not ‘deny,’]; by [not ‘by,’] 10. he’d [not ‘He’d’]; vain [not ‘vain,’] 11. For tho my kin had sworn & said [not ‘Tho’ a’ my Kin had said and sworn,’] 12. nane [not ‘nane.’] 13. [two redacted words] Then dinna range Now dinna range & learn to Change [not ‘Then never range, or learn to change,’] 14. Fowk [not ‘these’]; degree [not ‘Degree:’] 15. But [not ‘And’]; faithfull [not ‘faithful’]; Love [not ‘Love’] 16. you'l [not ‘You’ll’]; no [‘nae’]; fault [not ‘Fault’]] 1049. Well, I agree: (1728) [not ‘Well I agree,’]; Neist, (1728) [not ‘neist’] 1050. Consent;--, (1726) [not ‘Consent;—’] 1052. Fowks, like them, (1728) [not ‘Fowks like them’] 1054. Byers rowt; (1728) [not ‘Bayers rowt:’] 1055. Lammass (1725) [not ‘Lammas’] 1056. Fell: (1728) [not ‘Fell.’] 1057. Twenty (1725, 1726) [not ‘twenty’] 1059. Hartsome (1725, 1726), heartsome (1728) [not ‘hartsome’]; tight (1725, 1726) [not ‘tight,’] 1061. all; (1728) [not ‘all,’]; gie’s (1726) [not ‘gi’es’] 1062. Dear (1726) [not ‘Dear,’]; thee. (1725), thee, (1726) [not ‘thee:’] 1063. Fifty (1725, 1726) [not ‘fifty’]; times (1728) [not ‘Times’] 1064. should (1728) [not ‘shou’d’] 1065. All (1728) [not ‘all’]; yours, (1725, 1726) [not ‘yours;’] 1066. guid (1726: misprint) [not ‘guide’]; like, (1728) [not ‘like’] 1067. best — But (1728) [not ‘best; — but’] 1068. Meg; (1728) [not ‘Meg,’]; besides, (1728) [not ‘besides’]; stay: (1728) [not ‘stay;’] 1069. Lets (1725) [not ‘Let’s’]; now (1725) [not ‘now,’]; Morn; (1728) [not ‘Morn,’] 1070. seen, (1728) [not ‘seen’]; dree (1725) [not ‘drie’]; deal (1725, 1726, 1728) [not ‘Deal’] 1071. trees (1728) [not ‘tree’]; pool. (1726) [not ‘pool,’] 1072. cool: (1728) [not ‘cool;’] 1073. Triste (1728) [not ‘Tryst’]; there; (1728) [not ‘there,’]; meet. (1725, 1726) [not ‘meet,’] 1074. kiss, (1728) [not ‘kiss’] 364

Notes: Collation for 1729 Act III. Scene IV. 1075. KNIGHT and SYM (1725), Knight and Sym (1728) [not ‘KNIGHT and SYM’] 1076. Gallery (1728) [not ‘Galery’] 1077. grim; (1728) [not ‘grim,’] 1078. Face, (1728) [not ‘Face;’] 1080. fu’ (1728) [not ‘fou’] 1082. it (1725, 1728) [not ‘it,’] 1085. WILLIAM WORTHY (1728) [not ‘William Worthy’] 1086. Whilk (1728) [not ‘Wha’]; He’s come hame (1728) [not ‘He’s Come Hame’] [S. D. after Line 1086: 1725 begins with ‘PROLOGUE’; Knight, (1728) [not ‘Knight’]] 1091. breathe, (1728) [not ‘breathe!’] 1092. strong (1725) [not ‘strong,’]; Skaith; (1728) [not ‘Skaith!’] 1093. Tenants (1725, 1728) [not ‘Tenant’s’]; Sight! (1725, 1726) [not ‘Sight,’] 1094. Son (1728) [not ‘SON’]; Delight. (1725, 1726) [not ‘Delight!’] 1095. Symon; (1728) [not ‘Symon,’] 1102. neist, (1728) [not ‘neist’] 1103. plenty: (1728) [not ‘plenty: —’] 1104. Youth (1725) [not ‘Youth,’] 1107. Friends (1728) [not ‘Friends,’]; cast (1728) [not ‘Cast’] 1110. few: (1728) [not ‘few.’] 1112. Name: (1725) [not ‘Name.’] 1114. Grace; (1728) [not ‘Grace,’] 1115. Sin (1725, 1726) [not ‘Sin’] 1116. Tenth (1725, 1726) [not ‘tenth’] 1117. Debt (1726) [not ‘Debt,’] 1118. Fam’ly (1728) [not ‘Fam’lie’] 1119. Common-wealth (1725), common-wealth, (1726), Common-wealth, (1728) [not ‘Commonwealth,’] 1120. off, (1725, 1728) [not ‘off’] 1121. Symon (1725) [not ‘Symon,’] 1123. Excuse: (1728) [not ‘Excuse;’] 1125. Simmer Day (1725, 1726, 1728) [not ‘Simmer-day’] 1126. o’er (1728) [not ‘owre’] 1130. Judge (1726, 1728) [not ‘Judge,’] 1132. grumble (1725) [not ‘grumble,’]; Hand, (1725, 1726), Hand; (1728) [not ‘Hand.’] 1135. pleases; (1728) [not ‘pleases,’] 1136. can (1725) [not ‘Can’] 1137. troth, (1725, 1726, 1728) [not ‘troth’]; spare (1725, 1726, 1728) [not ‘spare,’] 1138. gie (1725) [not ‘gi’e’] 1139. delyts (1725), delites (1728) [not ‘delytes’]; reads, (1728) [not ‘reads’]; speaks (1725, 1726, 1728) [not ‘speaks,’] 1141. read, (1725, 1726) [not ‘read?’]; kind; (1725, 1726), kind? (1728) [not ‘Kind?’] 1143. Whene’er (1728) [not ‘When e’er’] 365

The Gentle Shepherd 1145. will (1728) [not ‘Will’] 1147. Shakespear (1725) [not ‘Shakespear,’]; famons (1728: misprint) [not ‘famous’] 1148. speaks (1725) [not ‘speaks,’] 1149. Sterling (1725) [not ‘Stirling’] 1150. ca’d (1728) [not ‘caw’d’]; Cowley (1725) [not ‘Cowley,’] 1151. fu’ (1728) [not ‘fou’] 1152. thought he (1728) [not ‘thought that he’] 1156. well; (1728) [not ‘well,’]; Ear (1725, 1726) [not ‘Ear,’] 1157. hear. (1728) [not ‘hear:’] 1158. Mind (1725, 1726, 1728) [not ‘Mind,’] 1159. Lord’s (1725, 1726, 1728) [not ‘Lord’s,’]; enclin’d (1725, 1726) [not ‘inclin’d’] 1161. Book; (1725, 1728) [not ‘Book:’] 1162. twa haff read haff spell (1728) [not ‘twa, haf read, haf spell’] 1163. Till (1728) [not ‘’Till’]; round, (1728) [not ‘round’]; sell. (1725, 1726) [not ‘sell?’] 1164. Symon; (1725, 1726), Symon: (1728) [not ‘Symon,’]; But (1728) [not ‘but’]; more (1728) [not ‘more,’] 1166. Youths (1726) [not ‘Youth’s’] 1167. arround (1725, 1726) [not ‘around’]; Doves: (1728) [not ‘Doves;’] 1168. Lassie, (1728) [not ‘Lassy’]; Mein (1725), Mien (1728) [not ‘Mein,’] 1169. Rosie (1725, 1726), rosy (1728) [not ‘rosie’] 1170. youthfu’ (1728) [not ‘youthful’] 1172. times (1728) [not ‘Times’] 1173. (With Glaud’s fair Niece) (1725, 1726) [not ‘With Glaud’s fair Niece,’]; Neice (1728) [not ‘Niece’]; then (1725) [not ‘than’]; meet. (1725, 1726) [not ‘meet:’] 1175. Since (1725, 1728) [not ‘Since,’]; sell (1728) [not ‘self,’]; appear, (1725) [not ‘appear.’] 1176. Gentleman, (1728) [not ‘Gentleman’] 1180. me; (1728) [not ‘me,’] 1182. Yonders (1725, 1726) [not ‘Yonder’s’]; hand (1728) [not ‘Hand’] 1183. Command: (1725) [not ‘Command;’] 1184. dress: (1728) [not ‘dress;’] 1186. flee! (1728) [not ‘flee,’] 1187. know (1725) [not ‘know,’] 1189. cancels (1725) [not ‘cancells’] 1190. Thousand (1725) [not ‘thousand’] 1193. enhanses (1725, 1726, 1728) [not ‘enhances’] [Line 1196, directions for Sang XV: in Place of the following seven Lines (1729) [not ‘Wat ye wha I met Yetreen. | Sung by Sir William, p. 54. (TTM (1729), p. 182).’]] [Sang XV: TTM (1729), p. 182, collated against Rylands, f.1R [Title: Song 12 Wat ye what I met yestreen [not ‘SANG XV. What ye wha I met yestreen.’] 1. Now But [not ‘Now’]; Rusticity [not ‘Rusticity,’]; Love [not ‘Love,’ [Before Line 2: below him I the youth must win turn (appears to be a first 366

Notes: Collation for 1729 thought for what becomes Line 4.)] 2. whose flames now but to humble Burn [not ‘Whose Flames but over lowly burn,’] 3. Gentle [not ‘gentle’]; drove [not ‘drove,’] 4. annother turn [not ‘another Turn:’] 5.Thusas the Rugh diamond from the Mine [not ‘As the rough Diamond from the Mine,’] 6. in Breaking [not ‘In Breakings’]; Light [not ‘Light.’] 7. till [not ‘Till’]; shine [not ‘shine’] 8. thus [not ‘Thus’]; genuus [not ‘genius’]; Bright [not ‘bright.’]] 1198. improve. (1728) [not ‘improve:’] 1199. Diamond (1725) [not ‘Diamond,’] 1121. artfu’ (1728) [not ‘artful’] [1725 and 1726 mistakenly have ‘The End of the Fourth ACT.’] Act IV. Scene I. 1205. Laird (1725) [not ‘Laird’s’]; Heir, (1725), Heir (1726), Heir! (1728) [not ‘Heir:’] 1209. William, (1728) [not ‘William’]; Beard (1728) [not ‘Beard,’] 1213. Book. (1725, 1726, 1728) [not ‘Book:’] 1216. pawkily (1728) [not ‘pawkylie’] 1217. naithing (1725, 1726), nathing (1728) [not ‘naething’]; ha’e (1728) [not ‘hae’] 1219. him (1725) [not ‘him,’] 1223. Summer Days (1725, 1726, 1728) [not ‘Summer-days’] 1224. did, for Pate, (1728) [not ‘did for Pate’]; fortell (1725, 1728) [not ‘foretell’] 1225. Spell; (1725, 1726), Spell. (1728) [not ‘Spell:’] 1226. last, when well diverted, (1728) [not ‘last when well diverted’] 1230. for, (1725, 1726), for; (1728) [not ‘for’] 1232. Ye’ll (1725, 1728) [not ‘Y’ll’: misprint] 1233. een (1725, 1726) [not ‘e’en’] 1234. Jo. (1725, 1726, 1728) [not ‘Jo,’: misprint] 1236. thing (1728) [not ‘Thing’] 1237. sae; (1728) [not ‘sae;’]; kens, (1725, 1726) [not ‘kens?’] 1238. rooted (1725) [not ‘rooted,’]; Pain; (1728) [not ‘Pain:’] 1239. Plain, (1725, 1726), Plain: (1728) [not ‘Plain’] 1240. before, (1728) [not ‘before’] 1241. Nonsence (1725, 1726) [not ‘Nonsense’]; root, (1728) [not ‘Root’] 1242. Herds’ (1726) [not ‘Herd’s’] 1243. be; (1725, 1726, 1728) [not ‘be:’] 1245. gain; (1728) [not ‘gain,’] 1246. fain! (1728) [not ‘fain,’] 1247. doubt (1728) [not ‘Doubt’]; Ain (1725) [not ‘ain’] 1248. Doof; (1728) [not ‘Doof!’]; it (1725, 1726, 1728) [not ‘It’]; weil (1728) [not ‘well’] 1249. till. (1728) [not ‘teil;’] 1251. he; (1725, 1726), he: (1728) [not ‘he.’] 367

The Gentle Shepherd 1252. I. (1728) [not ‘I:’] [In the 1725 text Bauldy’s entrance, ‘singing,’ is longer than in the 1726-9 texts. These are lines 1258-61 of the 1725 text. Ramsay essentially removes three quatrains of Bauldy’s song and the interjection – ‘Well liltit, Bauldy, that’s a dainty Sang’ – by Madge. The last quatrain, lines 1272-75 of 1725 remain largely unchanged in 1726-9. The collation below retains the line numbering of the 1729 text.] 1253. Gin (1728) [not ‘gin’] 1255. bony (1725) [not ‘bonny’] 1257. sae. (1728) [not ‘sae,’] 1258. Snaw-baws (1725, 1726), Snaw-ba’s (1728) [not ‘Snaw baws’] 1259. Well, (1728) [not ‘Well’]; a’. (1725, 1726) [not ‘a’?’] 1261. well (1725: misprint) [not ‘we’ll’] 1263. that, (1728) [not ‘that’]; Task; (1728) [not ‘Task.’] 1264. bony (1725, 1726) [not ‘bonny’] 1265. Pate, (1728) [not ‘Pate’]; Patrick, (1725, 1726, 1728) [not ‘Patrick’] 1266. Mause (1725, 1726) [not ‘Mause,’] 1267. dumps, (1728) [not ‘Dumps,’] 1268. prove; (1728) [not ‘prove:’] 1270. Bushy (1728) [not ‘bushy’] 1271. sworn. (1725, 1726), sworn: (1728) [not ‘sworn;’] 1272. Fy Bauldy (1725, 1726), Fy! Bauldy, (1728) [not ‘Fy, Bauldy!’] 1273. Herd. (1725, 1726) [not ‘Herd?’] 1274. Heaven, (1726) [not ‘Heaven’] 1276. Gate; (1728) [not ‘Gate,’] 1277. advis’d (1725, 1726) [not ‘advis’d,’]; fu’ (1728) [not ‘fou’] 1278. a (1725) [not ‘a’’]; rest: (1728) [not ‘rest;’] 1279. auld Roudes (1725), auld Roudes (1728) [not ‘Roudes,’]; and in faith (1725), and, in Faith, (1726, 1728) [not ‘and in Faith’] 1280. Words; (1728) [not ‘Words,’] 1282. Brock, (1725, 1726), Brock; (1728) [not ‘brock;’] 1283. and trembling (1725) [not ‘and, trembling,’] 1284. ten (1728) [not ‘Ten’] 1285. o’er (1725, 1728) [not ‘owre’] 1287. mansworn: (1728) [not ‘mansworn,’] 1288. to (1725, 1726, 1728) [not ‘too’]; bony (1725) [not ‘bonny’] [S. D. after Line 1288: Flees (1725, 1726, 1728) [not ‘Flies’]; Fury, (1728) [not ‘Fury:’]] 1291. fy, (1728) [not ‘fy’]; howt (1725, 1726) [not ‘howt,’]; Bauldy (1728) [not ‘Bauldy,’] 1292. Tulzie (1728) [not ‘Tuilzie’] 1295. Ether-cap like him (1725) [not ‘Ether-cap, like him,’]; Coal: (1728) [not ‘Coal.’] 1296. well (1725) [not ‘well,’]; Tongue, (1725, 1726, 1728) [not ‘Tongue;’] 1297. young; (1725, 1726, 1728) [not ‘young.’] 1299. Bairns Bairns (1726, 1728) [not ‘Bairn’s Bairns’] 1300. true, (1725, 1726) [not ‘true;’]; and Bauldy (1725, 1726, 1728) [not ‘and, Bauldy,’] 368

Notes: Collation for 1729 1302. Lugs (1728) [not ‘Luggs’] 1303. Auld (1725), Auld (1728) [not ‘AULD’]; Fallow; (1728) [not ‘Fallow,’] 1304. no! (1728) [not ‘no;’]; Bauldy: (1725, 1726), Bauldy. (1728) [not ‘Bauldy,’] 1306. forgi’e ’m: (1725, 1726), forgi’e’m. (1728) [not ‘forgi’e ’m;’] 1307. now (1725, 1726) [not ‘now,’]; Spite; (1725, 1726, 1728) [not ‘Spite:’] 1308. first, (1728) [not ‘first’]; Wite (1728) [not ‘Wyte’] 1309. happen’d: And (1728) [not ‘happen’d, and’] 1312. cheat, (1728) [not ‘cheat.’] 1313. Gae (1725) [not ‘Gae,’] 1314. Till (1725) [not ‘’Till’]; perform, (1728) [not ‘perform’] 1315. Vow, (1728) [not ‘Vow’]; lowp (1725, 1726, 1728) [not ‘loup’]; was (1725, 1726) [not ‘Was’] 1316. Swith, (1728) [not ‘Swith’]; him (1725, 1726, 1728) [not ‘him,’]; Deil; (1728) [not ‘Deil,’]; o’er (1728) [not ‘owre’] [S. D. after 1316: running off (1725, 1728) [not ‘(running off.)]] 1317. he (1728) [not ‘he,’] 1319. I’ve towzl’d (1728) [not ‘I have towzled’] 1322. sae, (1725, 1726, 1728) [not ‘sae’] 1323. for’t; (1728) [not ‘for’t,’] 1324. Sport: (1725, 1728) [not ‘Sport;’] 1326. baith, (1725, 1726, 1728) [not ‘baith’] 1327. stand, (1725, 1726, 1728) [not ‘stand’] 1329. how (1725) [not ‘How’] 1330. hear. (1725, 1726) [not ‘hear?’] 1332. Fowk (1728) [not ‘Folk’]; decline; (1728) [not ‘decline,’] 1334. Cunning (1725, 1726, 1728) [not ‘Cunning,’]; Lak (1725) [not ‘Lake’] ; supplie: (1725) [not ‘supplie.’] 1336. bad (1725, 1726) [not ‘bade’]; wark (1725, 1728) [not ‘Wark’] 1337. Triste (1728) [not ‘Tryst’]; 1338. Help (1725) [not ‘Help,’] 1340. Witch (1728) [not ‘Witch’]; Ghaist, (1728) [not ‘Ghaist.’] 1341. Linen (1728) [not ‘Linnen’]; wond (1725, 1726, 1728) [not ‘won’d’]; an (1726) [not ‘ane’]; dead, (1725, 1726, 1728) [not ‘dead;’] 1342. grane, (1728) [not ‘grane’] 1344. conjuring, (1728) [not ‘conjuring’] 1345. go; (1728) [not ‘go,’]; Night, (1725, 1726, 1728) [not ‘Night;’] 1346. westlin (1725, 1726) [not ‘Westlin’] Act IV. Scene II. 1347. When (1728) [not ‘WHEN’] 1348. Green-swaird (1725), Green Swaird (1728) [not ‘green Swaird’]; Dew, (1725, 1726, 1728) [not ‘Dew;’] 1349. Rest (1725, 1726, 1728) [not ‘rest’] 1350. inspir'd (1725) [not ‘inspir’d,’] 1351. throw (1725) [not ‘through’]; Broom (1725, 1726, 1728) [not ‘Broom,’] 1352. Farewell (1728) [not ‘farewell’] 1353. Wow! (1728) [not ‘Wow’]; I (1726: misprint) [not ‘I’m’]; Lowps (1725), 369

The Gentle Shepherd lowps (1726, 1728) [not ‘loups’]; light. (1728) [not ‘light;’] 1354. O, (1728) [not ‘O’]; Patrick (1725, 1726), Patrick! (1728) [not ‘Patrick,’]; right: (1725, 1726, 1728) [not ‘right.’] 1355. Genle-fowk (1725: misprint), Gentle fowk (1726) [not ‘Gentle Fowk’]; farrer (1725) [not ‘farther’] 1356. naithing (1725, 1726, 1728) [not ‘naething’] 1357. now (1725) [not ‘now,’]; brak (1725, 1728) [not ‘brake’] 1358. yielding, (1725, 1726, 1728) [not ‘yielding’]; scorn (1725) [not ‘Scorn’] 1359. Mind (1728) [not ‘Mind,’]; heard (1728) [not ‘heard,’] 1360. smil’d, (1725, 1726) [not ‘smil’d’]; kiss’d (1728) [not ‘kiss’d,’] 1361. hear’t (1728) [not ‘hear’t:’]; Day, (1725, 1726) [not ‘Day’] 1365. confest: (1725, 1726), confest; (1728) [not ‘confest,’] 1367. closs (1725, 1726) [not ‘close’] 1369. Youth; (1728) [not ‘Youth!’] 1371. flow’d, (1726) [not ‘flow’d.’] 1372. new-born (1725, 1726, 1728) [not ‘newborn’] 1373. prevail. (1725, 1726), prevail: (1728) [not ‘prevail;’] 1374. late-kend (1725) [not ‘late kend’] 1378. renown’d (1728) [not ‘renoun’d’] 1379. heard, (1725, 1726), heard! (1728) [not ‘heard’]; Fear! (1725, 1726) [not ‘Fear’] 1380. Ear, (1725, 1726), Ear: (1728) [not ‘Ear;’] 1381. forbids. – Ah! (1728) [not ‘forbids, — ah!’] 1382. While, thus to beat, (1725, 1726), While thus to beat, (1728) [not ‘While thus to beat’] 1383. stand (1728) [not ‘Stand’] 1384. hand (1728) [not ‘Hand’] [Line 1385, directions for Sang XVI: in place of these four lines (1729) [not ‘Kirk wad let me be. | Sung by Patie, p. 63.’ (TTM (1729), p. 182.)]] [Sang XVI: TTM (1729), pp. 182-83, collated against Rylands, f.1V [Title: Tune 14 14 Kirk wad let me be [not ‘SANG XVI. Kirk wad let me be.’]] 1. Duty [not ‘Duty’]; Reason [not ‘Reason,’] 2. strong [not ‘Strong’]; side [not ‘Side,’] 3. But Love Which love the Superiour call Treson [not ‘Which Love Superior calls Treason;’] 4. And the [not ‘The’]; obeyd [not ‘obey’d:’] 5. Now [not ‘now’]; tho [not ‘tho’’]; Gentry [not ‘Gentry,’] 6. True Love over falshood repells [not ‘My Constancy Falshood repells;’] 7. For a a change in my heart’s is no entry [not ‘For Change in my Heart is no Entry,’] 8. Pegy [not ‘Peggy’]; excels [not ‘excells.’]] 1386. Laws: (1726) [not ‘Laws?’]; But Love rebels against all bounding Laws; (1725) [not ‘But what cares Love for Reason, Rules and Laws?’] 1387. excels (1726) [not ‘excells’]; Fixt in my Soul the Shepherdess excels (1725) [not ‘Still in my Heart my Shepherdess excels’] 1389. baith. (1728) [not ‘baith’] 1390. bony, (1725, 1726), bonny; (1728) [not ‘bonny,’]; you’re (1725, 1726, 1728) [not ‘your’re’: misprint] 370

Notes: Collation for 1729 1391. Love; (1728) [not ‘Love,’] 1392. Fate (1725) [not ‘Change’] 1393. else; thro’ (1728) [not ‘else, through’]; true, (1725), true: (1728) [not ‘true;’] 1396. here? (1728) [not ‘here,’] 1399. straight (1728) [not ‘straight,’]; To-morrow (1725, 1726), to-morrow (1728) [not ‘Tomorrow’] 1402. Monky-tricks: (1725, 1726), Monky-tricks. (1728) [not ‘Monky tricks:’]; done (1725) [not ‘done,’] 1403. Red-heel’d (1725, 1726), red-heel’d (1728) [not ‘Red heel’d’] 1406. Cash (1725) [not ‘Cash,’]; wat (1728) [not ‘wate’]; weel (1725, 1726, 1728) [not ‘weel,’] 1407. Third Wheel: (1725, 1726), third Wheel. (1728) [not ‘third Wheel:’] 1408. Peggy (1725, 1726) [not ‘Peggy,’] 1409. enough, (1728) [not ‘enough’] 1411. O’ercome (1728) [not ‘Owrecome’] [For lines 1408-10, curly bracket in 1728 text only] 1412. Master (1725) [not ‘Mr.’]; hame (1728) [not ‘Hame’] 1413. same. (1728) [not ‘same:’] 1414. Rich (1725, 1726, 1728) [not ‘rich’] 1417. Estate like yours (1725, 1726) [not ‘Estate, like yours,’]; your’s (1728) [not ‘yours,’] 1418. pick (1728) [not ‘pike’] 1419. Houses, sparkling Wine, (1725), Houses, and red Wine, (1726, 1728) [not ‘Houses and red Wine,’] 1421. Rich Fare (1725) [not ‘Good Chear’]; whene’er ye dine; (1728) [not ‘when e’er ye dine,’] 1421. Submissive (1725) [not ‘Obeysant’]; Ease, (1725), Ease (1726), Ease: (1728) [not ‘Ease;’] 1422. these, (1725, 1726, 1728) [not ‘these’] 1423. amiss; (1728) [not ‘amiss,’] 1424. the Bliss. (1728) [not ‘their Bliss:’] 1425. Roast, (1725, 1726) [not ‘Roast;’]; sowr (1728) [not ‘sour’] 1426. will (1728) [not ‘they’ll’]; Fat (1725, 1726) [not ‘fat’]; 1429. Gouts, (1725, 1726) [not ‘Gouts’]; ill Disease (1725, 1726, 1728) [not ‘Ill-Disease’] 1430. Fouk (1725) [not ‘Fowk’]; o’erlaid (1728) [not ‘owrelaid’]; Ease, (1725, 1726), Ease: (1728) [not ‘Ease;’] 1431. Moor (1725, 1726, 1728) [not ‘Moor,’]; Shepherd, (1728) [not ‘Shepherd’] 1433. Lord, (1728) [not ‘ Lord’]; Man (1725), Man! (1728) [not ‘Man,’] 1434. whene’er (1728) [not ‘when e’er’] 1435. Sense, (1726, 1728) [not ‘Sense’] 1437. Skill; (1728) [not ‘Skill,’] 1438. ill: (1725, 1726) [not ‘ill.’] 1439. Near (1725) [not ‘Ne’er’] 1442. I’se ha’e (1728) [not ‘Ise hae’]; Ky. (1728) [not ‘Ky:’] 1443. now (1725, 1726, 1728) [not ‘now,’]; you’re (1725, 1728) [not ‘your’] 1444. Will (1725) [not ‘Will,’] 371

The Gentle Shepherd 1445. lyes; (1728) [not ‘lyes,’]; His (1728) [not ‘his’]; obey’d; (1728) [not ‘obey’d,’] 1447. some Time (1725), some time (1728) [not ‘sometime’] 1448. closs (1726) [not ‘close’]; here; (1728) [not ‘here,’] 1449. Peggy, (1725, 1726, 1728) [not ‘Peggy;’] 1450. I (1728) [not ‘I,’]; And proud of being your Secretary, I (1725) [not ‘Pleas’d that ye trust me with the Secret, I,’] 1451. me a’ the Deils (1728) [not ‘me, a’ the Deels’] 1453. Heart: (1725), Heart. (1726) [not ‘Heart!’] 1456. Disappointment. (1725, 1726, 1728) [not ‘Disappointment’]; Heaven (1725, 1726), Heaven! (1728) [not ‘Heaven,’] 1457. red! (1728) [not ‘red’] 1459. Peggy (1725, 1726) [not ‘Peggy,’] 1462. high: -- (1725) [not ‘high:’] 1465. can (1725, 1726) [not ‘can,’]; withoutten (1726, 1728) [not ‘withouten’]; Pain (1725, 1726) [not ‘Pain,’] 1466. All, (1725) [not ‘All’]; lost? (1725, 1726, 1728) [not ‘lost;’] 1467. carry’d, (1728) [not ‘carried’] 1468. Wishes, (1728) [not ‘Wishes’]; Land. (1725, 1726) [not ‘Land?’] 1469. remains (1726) [not ‘remains,’] 1471. Loves, (1725, 1726, 1728) [not ‘Loves’] 1473. Come, (1728) [not ‘Come’] 1474. love, (1728) [not ‘love’] 1475. generous; (1728) [not ‘generous,’]; me, (1728) [not ‘me’] 1476. Duty, (1726) [not ‘Duty’] [Line 1477, directions for Sang XVII: in place of all this following Speech of Peggy’s. (1720) [not ‘Woes my Heart that we shou’d sunder. | Sung by Peggy, p. 67.’ (TTM (1729), p. 183.)]] [Sang XVII: TTM (1729), pp. 183-84, collated against Rylands, f.1V: [Title: Line 1: 1415 15___________________ 14 Song waes my heart [not ‘SANG XVII. Waes my heart that we shou’d sunder.’]] 1. Speak on, speak thus & still my grief [not ‘Speak on, ---speak thus, and still my Grief,’] 2. heart [not ‘Heart’]; that [not ‘that’s’] 3. fears [not ‘Fears,’]; relief [not ‘Relief.’] 4. Pate [not ‘Pate’]; Pegy [not ‘Peggy’]; sunder [not ‘sunder.’] 5. a Gentler face may & Silk atire [not ‘A gentler Face and Silk-attire,’] 6. Well Toched & in Beautys Blossom [not ‘A Lady rich in Beauty’s Blossom,’] 7. me [not ‘me!’]; will [not ‘Will’]; conspire [not ‘conspire’], 8. to [not ‘To’]; Pegys Bosom [not ‘Peggy’s Bosom.’] 9. Nae Mair [‘No more’]; excels [not ‘excell’d’] 10. the [‘The’]; wit [not ‘Wit’]; wonder [not ‘wonder,’] 11. peggys praise tell [not ‘Peggy’s Praises tell,’] 12. ah [not ‘Ah!’]; die [not ‘die,’]; sunder [not ‘sunder.’] 13. Ye meadows wher we ust to strayd [not ‘Ye Meadows where we often stray’d,’] 372

Notes: Collation for 1729 14. ye Banks wher we had ust to wander [not ‘Ye Banks where we were wont to wander.’] 15. sweet scent Rucks roun which we Playd [not ‘Sweet scented Rucks round which we play’d,’] 16. you all give pain since we must sunder [not ‘You’ll loss your Sweets when we’re asunder.’] 17. again ah [not ‘Again ah!’] 18. arround the know and silent wonder duty [not ‘Around the Know with silent Duty,’] 19. and sweetly watch the while asleep [not ‘Kindly to watch thee while asleep,’] 20. and [not ‘And’]; Manly Beauty [not ‘manly Beauty?’] 21. But hear my a my vow shall ease my heart and hear me Heaven But hear heaven [three redacted words] while solemly regestrate my vow [not ‘Hear, Heaven, while solemnly I vow,’] 22. Tho [not ‘Tho’’]; should [not ‘shouldst’] 23. Throu [not ‘Throw’]; will [not ‘shall’]; True [not ‘true,’] 24. nor [not ‘Nor’]; wife [not ‘Wife’]; other [not ‘other.’]] 1477. Grief; (1728) [not ‘Grief,’] 1479. Thoughts, (1725, 1726) [not ‘Thoughts’] 1480. Attire: (1728) [not ‘Attire;’] 1482. Pate; (1728) [not ‘Pate:’] 1485. envied (1725, 1726) [not ‘envy’d’]; tattling (1728) [not ‘tatling’] 1486. me (1725) [not ‘me,’] 1488. haff (1725, 1728) [not ‘haf’]; Hay; (1728) [not ‘Hay,’] 1490. purpose, (1728) [not ‘purpose’] 1491. arround (1725, 1726) [not ‘around’]; Foggy-Know (1725, 1726), Foggyknow (1728) [not ‘Foggy Know’] 1492. Vow, (1725, 1726) [not ‘Vow’]; Ease; (1728) [not ‘Ease,’] 1496. ane, but you, (1728) [not ‘ane but you’] 1497. approves (1728) [not ‘approves;’]; and, (1725, 1726) [not ‘and’] 1502. fairer ere (1725, 1726) [not ‘fairer, e’er’] 1509. Tear? Believe (1725), Tear, believe (1726), Tear? Believe, (1728) [not ‘Tear? believe,’] 1510. Joy (1725, 1726, 1728) [not ‘Joy’]; my Love (1725) [not ‘thy Words’]; kind; (1725, 1726) [not ‘kind.’] [Line 1511, directions for Sang XVIII: in place of the eight following Lines. (1729) [not ‘Tweed-side. Sung by Peggy, p. 68.’ (TTM (1729), p. 184.)]] [Sang XVIII: TTM (1729), collated against Rylands, f.2R [Title: Song 15th Tweed Side [not ‘Sang XVIII. Tweed-side.’]] 1. When hopes was wer all sunk and dark in despair [not ‘When Hope was quite sunk in Despair,’] 2. my heart it was lik going to Break [not ‘My Heart it was going to break;’] 3. my Life was seemd not worthy my Care [not ‘My Life appear’d worthless my Care,’] 4. but now I shall save, & for thy sake [not ‘But now I will sav’t for thy Sake.’] 5. Where eer my Love travells by Day [not ‘Where’er my Love travels by Day,’] 373

The Gentle Shepherd 6. wherever he Logedes at night [not ‘Wherever he lodges by Night,’] 7. with [not ‘With’]; stay [not ‘stay,’] 8. and [not ‘And’]; soul [not ‘Soul’]; ever [not ‘e’er’]; sight [not ‘Sight.’] 9. with patiens I’ll hope wait the Long year [not ‘With Patience I’ll wait the long Year,’] 10. and [not ‘And’]; Gentlest charms [not ‘gentlest Charms;’] 11. time [not ‘Time’]’ appear [not ‘appear,’] 12. to [not ‘To’]; arms [not ‘Arms.’] 13. wisht prizd [not ‘priz’d’] 14. for no higher station of degre in ys Life [not ‘No higher Degree in this Life;’] 15. but now I shall study endeavour to rise [not ‘But now I’ll endeavour to rise’] 16. to a hieght that Becoming thy wife [not ‘To a Height is becoming thy Wife.’] [Lines 17-20 not extant in MS]] 1511. Despair (1728) [not ‘Dispair,’] 1512. Care: (1725); Care. (1726) [not ‘Care,’] 1513. burst; but (1725, 1726, 1728) [not ‘burst: But’] 1514. Heart (1725) [not ‘Love’] 1515. then (1728) [not ‘then,’] 1516. away, (1728) [not ‘away’]; appear, (1726), appear; (1728) [not ‘appear.’]; Dream throw that Night, till my Day-star appear: (1725) [not ‘Hope Time away till thou with Joy appear.’] 1517. gent’ler (1725, 1726) [not ‘gentler’] 1518. Arms: (1725, 1726, 1728) [not ‘Arms.’] 1519. Glaud, (1725, 1728) [not ‘Glaud;’] 1520. thro’ (1728) [not ‘throw’]; School; (1728) [not ‘School,’] 1525. Heart. (1725, 1726), Heart: (1728) [not ‘Heart;’] 1526. Station, (1728) [not ‘Station’] 1527. Modes, (1728) [not ‘Modes’] 1528. aftimes (1728) [not ‘aft-times’]; thing (1728) [not ‘Thing’] 1529. Serenity, (1728) [not ‘Serenity’] 1530. Laugh, (1728) [not ‘Laugh’]; speak, (1728) [not ‘speak’]; say; (1728) [not ‘say,’] 1531. blyth, (1725, 1728) [not ‘blyth’] 1532. scorn’d; (1728) [not ‘scorn’d,’] 1534. them, (1728) [not ‘them’] 1535. still: (1726), still (1728) [not ‘still;’]; But (1728) [not ‘but’] 1538. Integrety (1726) [not ‘Integrity’] 1539. Native (1725, 1726) [not ‘native’]; Vertues (1728) [not ‘Virtues’]; please, (1726) [not ‘please.’] 1540. hazard (1728) [not ‘Hazard’] 1541. Sence (1725) [not ‘Sense’] 1542. why, shou’d (1725) [not ‘why should’] 1543. me: (1725, 1726) [not ‘me?’] 1544. cruel, (1728) [not ‘cruel’] 1546. Doubt (1725), doubt, (1728) [not ‘Doubt,’]; Traveling (1726), travelling (1728) [not ‘Travelling’] 374

Notes: Collation for 1729 1547. Love. (1728) [not ‘Love:’] 1548. Cast, (1728) [not ‘Cast’] [Line 1550, directions for Sang XIX: in place of all these Lines in Peggy’s Speech. (1729) [not ‘Bush aboon Traquair. | Sung by Peggy, p. 70.’ (TTM (1729), p. 186.)]] [Sang XIX: TTM (1729), p. 186, collated against Rylands, f.2R [Title: Song 16 Bush aboon traquair [not ‘SANG XIX. Bush aboon Traquair.’]] 1. With at setting day & rising morn [not ‘AT setting Day and rising Morn,’] 2. with Soul that dearly Lovesstill shall Love thee [not ‘With Soul that still shall love thee,’] 3. heaven [not ‘of Heaven’]; return [not ‘Return,’] 4. al [not ‘all’]; Improve [not ‘improve’] 5. Ill visit oft yon the Bony Birken Bush [not ‘I’ll visit oft the Birken-bush,’] 6. Under yon Tree and [redacted] Brae wher first thy Love thou told me wher first thou kindly told me [not ‘Where first thou kindly told me,’] 7. tales [not ‘Tales’]; Love: [not ‘Love,’]; Blush [not ‘Blush,’] 8. whilst Round [not ‘Whilst round’]; me [not ‘me.’] 9. every all [not ‘all’]; repair [not ‘repair,’] 10. Greenwood shaw [not ‘Greenwood-shaw’]; fountain [not ‘Fountain;’] 11. or wher the summer day Id share [not’Or where the Summer-day I’d share’] 12. with thee [not ‘With thee,’]; Mountain [not ‘Mountain.’] 13. Ther will I tell [redacted] the Trees the Birds & flowers [not ‘There will I tell the Trees and Flowers,’] 14. from with thought most true & ; tender [not ‘From Thoughts unfeign’d and tender’] 15. By vows your mine and I by love [redacted] is yours [not ‘By Vows you’re mine, by Love is yours’] 16. a heart that never can wander (running up the left-hand margin) [not ‘A Heart which cannot wander.’]] 1551. Heaven (1725) [not ‘Heaven,’] 1552. Suckler-Brae (1725) [not ‘Suckler Brae’] 1553. wont (1726) [not ‘wont,’] 1554. Hissel-Shaw, (1725), Hissel-shaw (1726, 1728) [not ‘Hissel-shaw,’] 1557. Joy (1725, 1726) [not ‘Joy,’] 1558. Dear allow me (1725, 1726) [not ‘Dear, allow me,’] 1559. Hair, (1725, 1726) [not ‘Hair;’] 1561. kiss (1725) [not ‘kiss,’] [Lines 1581-4 of 1725 text differ completely] 1562. Were ilka Hair that appertains to me (1725) [not ‘Were’t in my Power with better Boons to please,’] 1563. Ease, (1726), Ease; (1728) [not ‘Ease:’]; Worth an Estate, they all belong to thee: (1725) [not ‘I’d give the best I could with the same Ease:’] 1564. faln (1728) [not ‘fallen’]; My Sheers are ready, take what you demand, (1725) [not ‘Nor wad I, if thy Luck had fallen to me,’] 1565. thee, (1726) [not ‘thee.’]; And ought what Love with Virtue may 375

The Gentle Shepherd command (1725) [not ‘Been in ae Jot less generous to thee’] 1566. Nae mair I’ll ask; (1725) [not ‘I doubt it not,’]; not; (1728) [not ‘not,’]; Time (1728) [not ‘Time,’] 1567. Crime, (1725, 1726) [not ‘Crime:’] 1569. its (1725) [not ‘’tis’] [S. D. after line 1569, 1725 alone includes: ‘(Here they embrace, and the Courtain’s let down.)’] Act V. Scene I. 1571. Rest. (1728) [not ‘Rest:’] 1572. Leg’d (1725, 1726) [not ‘leg’d’]; Nightcap (1725) [not ‘Night-cap’] 1573. See, (1728) [not ‘See’]; foreward (1725, 1726) [not ‘forward’] 1574. silent (1725) [not ‘early’] 1575. Power, (1726), Pow’r? (1728) [not ‘Power?’]; When Nature nods beneath the drowsy Power, (1725) [not ‘While drowsy Sleep keeps a’ beneath its Power?’] 1576. North, (1728) [not ‘North’] 1578. glowre (1725, 1726), glowr, (1728) [not ‘glowre,’] 1580. Milk, (1725) [not ‘Milk’] 1582. lane: (1725, 1728) [not ‘lane;’] 1584. Symon! (1728) [not ‘Symon,’] [S. D. after 1580: ‘drink’ (1725) [not ‘Drink’]] 1585. ado. (1725, 1726) [not ‘ado?’] 1586. Bed; (1728) [not ‘Bed,’] 1587. pleas’d: (1728) [not ‘pleas’d;’] 1589. timeously (1728) [not ‘tymously’] 1590. Rest: (1728) [not ‘Rest;’] 1591. thing (1728) [not ‘Thing’]; opprest; (1728) [not ‘opprest,’] 1593. O! ay (1725) [not ‘O ay,’]; true; (1728) [not ‘true,’] 1595. hear’t (1725, 1726, 1728) [not ‘hear’t.’] 1596. ca’d (1728) [not ‘caw’d’] 1599. Heart: (1725) [not ‘Heart.’] 1600. tristed (1728) [not ‘trysted’]; Night; (1728) [not ‘Night,’] 1604. Ghaist, (1725) [not ‘Ghaist’]; Diel (1728) [not ‘Deel’] 1605. Corse (1725, 1728) [not ‘Corse,’] 1608. Lows’d down my Breeks, (1725) [not ‘And gat me down,’]; down; (1728) [not ‘down,’]; I, (1728) [not ‘I’] 1609. labour’d (1725) [not ‘laboured’]; School. (1725, 1726, 1728) [not ‘School:’] 1610. lowp; (1728) [not ‘lowp,’] 1612. Till, (1725, 1726, 1728) [not ‘Till’]; Elritch (1728) [not ‘elritch’]; Laugh, (1725, 1726, 1728) [not ‘Laugh’]; quite, (1725), quite: (1728) [not ‘quite;’] 1613. I (1725) [not ‘I,’]; haff (1728) [not ‘haf’] 1614. up (1725, 1726) [not ‘up,’] 1615. Help (1725) [not ‘Help,’]; Deil (1728) [not ‘Deel’] 1617. Tar Barrel (1725), Tar-Barrel (1726) [not ‘Tar-barrel’] 1618. be; (1728) [not ‘be,’] 1620. Honour; (1728) [not ‘Honour,’]; obey, (1725), obey: (1728) [not ‘obey;’] 1622. fast, (1728) [not ‘fast’] 376

Notes: Collation for 1729 1623. Deil (1728) [not ‘Deel’] 1624. affraid (1725) [not ‘afraid’]; Troth, (1728) [not ‘Troth’] 1627. thro’ (1728) [not ‘throw’]; want (1725, 1728) [not ‘Want’]; blind. (1725, 1726) [not ‘blind!’] 1628. thing (1728) [not ‘Thing,’] 1629. Diels (1728) [not ‘Deels’]; up-throw (1725, 1726), up thro’ (1728) [not ‘up throw’]; Ring, (1725), Ring? (1728) [not ‘Ring;’] 1630. Tricks, (1725, 1726, 1728) [not ‘Tricks?’]; Thousand (1725) [not ‘thousand’] 1632. Moor (1728) [not ‘Moor,’] 1633. Women (1728) [not ‘Women,’] 1634. rejoic’d (1728) [not ‘rejoyc’d’] 1635. Dowp; (1728) [not ‘Dowp,’] 1636. black-horn’d (1725, 1726, 1728) [not ‘black horn’d’] 1637. Aftimes (1728) [not ‘Aft-times’]; Sow: (1726, 1728) [not ‘Sow;’] 1638. thro’ (1728) [not ‘throw’] 1639. Cats (1725, 1726) [not ‘Cats,’]; ride, (1725) [not ‘ride;’] 1641. Spain: (1728) [not ‘Spain;’] 1642. be (1725) [not ‘by’] 1643. Stools. (1725, 1726, 1728) [not ‘Stools:’] 1644. Whate’er’s (1728) [not ‘What e’er’s’] 1647. rich. (1728) [not ‘rich:’] 1649. Life; (1728) [not ‘Life.’] 1652. will: (1728) [not ‘will;’]; But (1728) [not ‘but’]; Light (1728) [not ‘Light,’] 1653. Night; (1728) [not ‘Night:’] 1654. Servants (1725) [not ‘Servants,’] [Line 1655, directions for Sang XX: After the last Line by Sir Willliam. (1729) [not Bony gray ey’d Morn. | Sung by Sir Wiliam, p. 74. (TTM (1729), p. 187.)]] Act V. Scene II. 1657. Hair; (1728) [not ‘Hair,’] 1658. Beek. (1725), Beek, (1728) [not ‘Beek;’] 1659. thro’ (1728) [not ‘throw’]; 1660. Mouth; (1728) [not ‘Mouth,’] 1662. Night; (1728) [not ‘Night,’] 1663. so (1725) [not ‘sae’]; Light. (1728) [not ‘Light;’] 1664. doubt (1725, 1726, 1728) [not ‘Doubt’]; thrang (1728) [not ‘Thrang’] 1665. gang. (1728) [not ‘gang:’] 1666. But, (1725, 1726) [not ‘But’]; think (1728) [not ‘think,’] 1667. regard. (1725, 1726) [not ‘regard?’] 1668. sure (1728) [not ‘sure,’] 1669. Friends, (1725, 1728) [not ‘Friends’]; poor. (1728) [not ‘poor:’] 1670. ga’e (1725, 1728) [not ‘gae’] 1671. Cousin (1728) [not ‘Cusin’] 1672. doubt (1728) [not ‘Doubt’] 1673. But, (1725, 1726, 1728) [not ‘But’] 1674. Before he (1725, 1726), Before he, (1728) [not ‘Before, he,’]; Shepherd 377

The Gentle Shepherd (1725, 1726) [not ‘Shepherd,’] 1675. chast (1725, 1726, 1728) [not ‘chaste’]; Life; (1728) [not ‘Life:’] 1676. now (1725, 1726, 1728) [not ‘now,’] 1678. Rake, (1725), Rake! – (1728) [not ‘Rake!’]; What’s (1728) [not ‘what’s’] 1679. be’t; (1728) [not ‘be’t;’] 1681. young and good (1725, 1726, 1728) [not ‘young, and good,’]; unco’ (1728) [not ‘unco’] 1682. name: (1725, 1726, 1728) [not ‘name.’] 1685. Clap; (1725) [not ‘Clap.’] 1686. Things like you, (1725), Things like you (1726) [not ‘Things, like you,’] 1687. make (1728) [not ‘mak’]; Jest (1725) [not ‘Jest,’] 1688. then (1725) [not ‘then,’]; ge’e (1725: misprint) [not ‘gi’e’] 1689. bourd (1725, 1726, 1728) [not ‘board’] 1690. vertuous, (1725, 1726, 1728) [not ‘vertuous’]; Blood, (1725, 1726) [not ‘Blood;’] 1691. good. (1725, 1726) [not ‘good?’] 1693. wiser (1725, 1726) [not ‘wiser,’] 1694. sawn; they’re (1725) [not ‘sawn: They’re’] 1696. Heaven; (1725, 1726) [not ‘Heaven.’] 1697. Doomsday (1725, 1728), Dooms-day (1726) [not ‘Doom’s-day’] 1698. Heh! (1728) [not ‘heh,’]; odd; (1728) [not ‘odd,’] 1699. Dooms-day (1725, 1726), Doomsday (1728) [not ‘Doom’s-day’]; GOD (1728) [not ‘God’] 1700. why (1725) [not ‘why,’] 1701. fear, (1725, 1726) [not ‘fear;’]; debauch (1725, 1728) [not ‘debauch,’]; drink: (1725, 1726, 1728) [not ‘drink.’] 1703. Gates (1728) [not ‘Gaits’] 1704. forbid! (1728) [not ‘forbid!—’]; things (1728) [not ‘Things’] 1706. Hast, hast (1725, 1726) [not ‘Haste, haste’]; ye; (1728) [not ‘ye,’]; o’er (1728) [not ‘owre’] 1707. red (1725) [not ‘redd’] 1709. House: (1728) [not ‘House,’]; himsell (1728) [not ‘himsel’] 1710. Staff, (1725), Staf, (1726), Staff; (1728) [not ‘Staff’] 1711. wi’ye; (1728) [not ‘wi’ye,’] 1712. Look (1725, 1726) [not ‘Look,’]; seen, (1725, 1726, 1728) [not ‘seen!’] 1713. Een! (1725) [not ‘Een?’] 1714. Woer (1725) [not ‘Wooer’] 1715. Cross, (1725) [not ‘Cross;’] 1716. Kent (1725) [not ‘Kent,’]; Plain (1725) [not ‘Plain,’] 1718. Spoons (1725) [not ‘Spoons,’] 1719. Hay; (1725, 1728) [not ‘Hay:’] 1723. send, (1728) [not ‘send’] 1729. mine: (1725) [not ‘mine;’] 1730. then, (1725, 1728) [not ‘then’] 1732. bony (1725, 1726) [not ‘bonny’]; Story, trowth (1728) [not ‘Story trouth’]; But (1725, 1726, 1728) [not ‘but’]; delay: (1728) [not ‘delay;’] Act V. Scene III. 378

Notes: Collation for 1729 1734. twa-arm’d (1728) [not ‘Twa-arm’d’] 1735. Glaud, (1725, 1726) [not ‘Glaud’] 1736. and (1725, 1726, 1728) [not ‘and,’]; Laughter (1725, 1726, 1728) [not ‘Laughter’] 1738. its (1725) [not ‘’tis’] 1741. Nonsense (1725, 1726, 1728) [not ‘Nonsense,’] 1742. all?—(1725) [not ‘all?’]; well, Archbald (1725), well Bauldy (1726) [not ‘Well, Bauldy’] 1744. Matter, (1728) [not ‘Matter’] 1746. betray’d (1725, 1726, 1728) [not ‘betray’d,’] 1748. Sir (1725) [not ‘Sir,’] 1750. Score; (1728) [not ‘Score,’] 1753. Deel: (1725), Deil: (1728) [not ‘Deel;’] 1754. Yet, (1728) [not ‘Yet’] 1755. revengefu (1728) [not ‘revengefu’’] 1758. bony (1725, 1726) [not ‘bonny’]; Rosie (1725, 1726), rosy (1728) [not ‘rosie’] 1759. me without my Wit (1725) [not ‘me, without my Wit,’]; Deil (1728) [not ‘Deel’] 1761. Brown: (1725), Brown. (1726), brown? (1728) [not ‘Brown?’] 1762. what this I find, (1725), What’s this! I find (1728) [not ‘what’s this I find?’] 1763. Girl (1728) [not ‘Girle’] 1766. Glaud. (1725) [not ‘Glaud?’] 1767. Sir (1725) [not ‘Sir,’]; Niece; (1728) [not ‘Niece,’] 1768. not; (1725, 1726) [not ‘not:’]; But (1728) [not ‘but’]; hald (1728) [not ‘had’] 1769. Contradiction, what (1725, 1726), Contradiction: What (1728) [not ‘Contradiction. What’] 1771. Because I doubt (1725), Because I doubt, (1728) [not ‘Because, I doubt,’]; mak (1725) [not ‘make’] 1772. thirteen (1728) [not ‘Thirteen’] 1774. soon; (1728) [not ‘soon,’] 1776. hope (1726) [not ‘hope,’] 1777. Then, (1728) [not ‘Then’]; obey. (1728) [not ‘obey.—’] 1778. Bony (1725, 1726), Bonny (1728) [not ‘Bonny’]; Fundling, (1728) [not ‘Fundling’] 1779. Closs (1725, 1726) [not ‘Close’]; Lee-side (1725, 1726, 1728) [not ‘Leeside’] 1781. Infant Weeds (1725, 1726) [not ‘Infant-weeds’] 1784. Innocence (1725, 1726, 1728) [not ‘Innocence,’] 1785. young; (1725, 1726) [not ‘young?’]; For (1728) [not ‘for’] 1786. Towmands (1725, 1726, 1728) [not ‘Towmonds’] 1787. Bairnie (1725, 1726, 1728) [not ‘Bairny’] 1788. Look, (1725, 1726) [not ‘Look’] 1789. Story: (1728) [not ‘Story’]; pass’d (1725) [not ‘past’]; sincesyne (1728) [not ‘sincesyne’] 1790. Orphan (1726) [not ‘Orphan,’]; mine: (1725) [not ‘mine.’] 1791. wean (1725), We’an (1728) [not ‘Wean’] 379

The Gentle Shepherd 1792. tane, (1725) [not ‘tane.’] 1793. bony (1725, 1726) [not ‘bonny’] 1794. Blood: (1728) [not ‘Blood;’] 1795. kenna. (1728) [not ‘kenna,’]; Nathing (1728) [not ‘naithing’] 1798. Ear; (1728) [not ‘Ear!’] 1800. Task, (1725, 1726), Task. (1728) [not ‘Task;’]; Now (1728) [not ‘now’]; hush; (1728) [not ‘hush,’] 1801. smile, (1725, 1726), smile; (1728) [not ‘smile’]; nae (1728) [not ‘no’] 1803. way (1728) [not ‘Way’] 1804. name (1725) [not ‘name,’] 1805. Parent (1725) [not ‘Friend’]; claim: (1728) [not ‘claim.’] 1806. and (1725, 1726, 1728) [not ‘and,’]; trace, (1725, 1726) [not ‘trace’] 1807. his [second instance] (1725) [not ‘her’] 1808. Woman (1725, 1726) [not ‘Woman,’] 1813. Thing that looks like Reason (1725), thing looks like a Reason (1728) [not ‘Thing, looks like a Reason,’] 1814. out,-- (1725), out, (1726) [not ‘out.’] 1815. hast (1725, 1726) [not ‘haste,’] [After line 1815, S. D.: foreward (1725, 1726) [not ‘forward’]] 1816. Sir (1725) [not ‘Sir,’]; well: (1728) [not ‘well,’]; fifteen (1728) [not ‘Fifteen’]; plow’d (1728) [not ‘plow’d,’] 1817. view’d (1725), view’d, (1728) [not ‘view’d.’] 1818. stand (1725) [not ‘stand,’] 1819. nurs’d (1725, 1728) [not ‘nurs’t’]; Hand, (1725), Hand; (1726) [not ‘Hand?’] 1821. Ha honest Nurse! (1725, 1726), Ha! honest Nurse, (1728) [not ‘Ha, honest Nurse!’]; before, (1725, 1726), before! (1728) [not ‘before?’] 1823. Yet (1725, 1726) [not ‘Yet,’]; Lab’rinth (1728) [not ‘Lab’rinth,’] 1824. Say (1725) [not ‘Say,’]; her (1725, 1728) [not ‘her,’]; unkind. (1725, 1726, 1728) [not ‘unkind?’] 1825. Yes, (1728) [not ‘Yes’]; Niece; (1728) [not ‘Niece,’] 1826. Words, (1728) [not ‘Words’] 1827. on; (1728) [not ‘on,’]; Good Nurse dispatch thy Story, wing’d with Blisses (1725), [not ‘Good Nurse, go on, nae Musick’s haff sae fine,’] 1828. That I may give my Cusin Fifty Kisses. (1725) [not ‘Or can give Pleasure like these Words of thine.’] 1829. Then, (1728) [not ‘Then’]; Infant-life (1728) [not ‘Infant-Life’] 1832. pursu’d (1725) [not ‘pursu’d,’]; View (1725), View, (1726, 1728) [not ‘View;’] 1836. Bed! (1728) [not ‘Bed.’] 1838. Midnight-Hour (1725), Midnight-Hour, (1726), Midnight Hour, (1728) [not ‘Midnight hour,’]; prest. (1725, 1726), prest, (1728) [not ‘prest;’] 1839. away; (1728) [not ‘away,’] 1840. e’er (1725, 1726, 1728) [not ‘ere’]; Day: (1728) [not ‘Day.’] 1841. me, (1725, 1726, 1728) [not ‘me’] 1843. fifty (1725, 1728) [not ‘Fifty’] 1844. glads (1725, 1728) [not ‘glades’]; Swains; (1728) [not ‘Swains.’] 1845. Then fear (1725), Afraid (1728) [not ‘Then Fear’] 380

Notes: Collation for 1729 1846. Charge I (1725), Charge, I (1726) [not ‘Charge, e’en’] 1847. Cottage here that I (1725) [not ‘Cottage here, that I,’] 1848. What e’er (1725) [not ‘Whate’er’]; her (1725) [not ‘her,’] 1849. Here (1728) [not ‘Here,’]; himsel (1726), himsell, (1728) [not ‘himsel,’] 1850. well, (1728) [not ‘well’]; Day (1728) [not ‘Day,’] [S. D. after Line 1851: Beard (1725), no parentheses (1728) [not ‘Beard.’]] 1852. remember’t. (1728) [not ‘remember’t:’]; Love: (1725, 1726, 1728) [not ‘Love.’] 1853. wisht (1725) [not ‘wish’d’] 1855. Tis (1725) [not ‘’Tis’]; doubt, (1725, 1726, 1728) [not ‘doubt’] 1857. Love (1725, 1728) [not ‘Love,’] 1858. Arms. (1728) [not ‘Arms:’] 1859. Vows, and would (1725, 1726), Vows; and would, (1728) [not ‘Vows, and would,’] [The misprint in the 1725 text of ‘Roger’ as the speaker of the next speech was corrected to ‘Sir Will’ in all subsequent versions.] 1861. Welcome (1725) [not ‘welcome’] 1862. Mother (1728) [not ‘Mother,’] 1863. Patrick, (1725, 1726), Patrick: (1728) [not ‘Patrick;’]; Now (1728) [not ‘now’]; Aim (1728) [not ‘Aim,’] 1864. be, (1728) [not ‘be’] 1865. Boy (1725, 1726) [not ‘Boy,’] [S. D. after Line 1866: 1725 misprint ‘Pggey’ corrected in later editions.] 1868. Life (1725) [not ‘Life,’] [S. D. after Line 1868: not in parentheses in 1725 or 1728] 1869. Blessing, (1725), Blessing: (1728) [not ‘Blessing;’]; May (1728) [not ‘may’] 1871. compleat (1728) [not ‘complete’] 1872. haff (1728) [not ‘haf’]; dizy (1725) [not ‘dizzy’]; Surprise; (1725, 1726) [not ‘Surprise.’] 1876. Happy (1725, 1728) [not ‘Happy,’] 1877. be; (1728) [not ‘be,’] 1878. gie; (1725), gi’e; (1726) [not ‘gi’e:’] 1879. your’s (1728) [not ‘yours’] 1880. tak (1725) [not ‘take’] 1882. Villian (1725) [not ‘Villain’] 1883. below: (1725) [not ‘below.’] 1885. ill-got (1725, 1726), ill got (1728) [not ‘illgot’] 1886. Wealth (1728) [not ‘Wealth,’]; Estate, (1728) [not ‘Estate’] 1888. only (1725) [not ‘only,’]; bow, (1725) [not ‘bow’] 1889. best of Men, (1725, 1728), best of Men (1726) [not ‘best of Men,’] 1890. Day, (1725, 1726), Day! (1728) [not ‘Day?’] 1891. haste (1728) [not ‘hast’]; away. (1725, 1726, 1728) [not ‘away?’] 1893. Fare. (1725, 1726) [not ‘Fare?’] 1894. Brow; (1728) [not ‘Brow,’] 1895. Twa (1725) [not ‘twa’] 1897. pawky (1725, 1726, 1728) [not ‘pauwky’] 1898. Kindly, old Man, (1725, 1728), Kindly old Man, (1726) [not ‘Kindly old Man—’]; Day, (1725, 1726, 1728) [not ‘Day!’] 381

The Gentle Shepherd 1899. stray: (1728) [not ‘stray;’] 1901. Masons and Wrights (1728) [not ‘Masons and Wrights’]; bussy (1725, 1726, 1728) [not ‘busy’]; rear; (1728) [not ‘rear:’] 1902. Fathers (1725) [not ‘Father’s’] 1904. Twenty (1725, 1726) [not ‘twenty’] 1907. To enjoy (1725, 1726, 1728) [not ‘T’enjoy’]; Shepherds (1728) [not ‘Shepherd’s’] 1908. dance? (1728) [not ‘dance,’] 1909. whistle, (1725), Whistle (1726, 1728) [not ‘whistle’] 1911. fleid; (1725, 1726), fleid: (1728) [not ‘fleid.’] 1914. live: (1728) [not ‘live;’]; and Archbald (1725), and Bauldy (1726), And, Bauldy, (1728) [not ‘and, Bauldy,’] 1915. speak; (1728) [not ‘speak,’] 1917. Fingers (1725, 1726, 1728) [not ‘Finger’s’] 1918. ay, (1726, 1728) [not ‘ay’] 1920. bony (1725, 1726) [not ‘bonny’] 1921. Name (1728) [not ‘Name,’]; learn;— (1725), learn:— (1726), learn. (1728) [not ‘learn’] 1922. And (1726) [not ‘And,’]; be, (1728) [not ‘be’] 1924. Day (1728) [not ‘Day,’] 1926. and kind Glaud (1725, 1726) [not ‘and, kind Glaud,’] 1927. Feu; (1728) [not ‘Feu’] 1928. possess (1725, 1726) [not ‘possess,’]; due, (1725, 1726, 1728) [not ‘due’] 1931. Mause in my House (1725), Mause, in my House (1728) [not ‘Mause, in my House,’] 1932. do, (1728) [not ‘do’] 1934. Blessing (1725, 1726) [not ‘Blessings’] [S. D. before Line 1935: no parentheses and William (1728) [not ‘Will.’]] 1935. Friend (1725, 1726) [not ‘Friend,’] 1936. Bosom-secrets, (1728) [not ‘Bosom Secrets’]; e’er (1725, 1726) [not ‘ere’]; Laird, (1725, 1726), Laird; (1728) [not ‘Laird.’] 1937. Janet (1728) [not ‘Janet,’]; Jenny, (1728) [not ‘Jenny’] 1938. Rais’d, (1728) [not ‘Rais’d’] 1939. spake, (1728) [not ‘spake’] 1940. Son: (1728) [not ‘Son;’] 1944. have, (1728) [not ‘have’] 1945. Consent; (1725, 1728) [not ‘Consent,’] 1949. Whate’er (1728) [not ‘What e’er’]; Honour (1728) [not ‘Honour’] 1950. Roger (1725, 1726) [not ‘Roger,’]; Daughter (1725) [not ‘Daughter,’]; Blessing (1725) [not ‘Blessing,’] 1952. Head (1728) [not ‘Head,’] 1953. Quietness, (1726) [not ‘Quietness’] 1956. Father, (1725) [not ‘Father’] 1958. behave, (1728) [not ‘behave’] 1959. Station, (1726, 1728) [not ‘Station’] 1960. you’ll (1728) [not ‘ye’ll’] 1961. Reward, (1728) [not ‘Reward’] 1962. Wild (1725) [not ‘wild’] 382

Notes: Collation for 1729 1963. beguil’d: (1728) [not ‘beguil’d.’] 1964. Aft, (1728) [not ‘Aft’] 1965. Turn with Joy (1725, 1728) [not ‘Turn, with Joy,’] 1966. Righs (1725: misprint) [not ‘Rights’]; best (1725, 1726, 1728) [not ‘best,’] 1967. readyest (1725) [not ‘readiest’]; shou’d (1725) [not ‘should’]; obey; (1725, 1726) [not ‘obey:’] 1968. ane, (1726, 1728) [not ‘ane’] [S. D. before line 1969: Corn-Rigs are bony (1726) [not ‘Corn-riggs are bonny’]; no parentheses (1728)] 1969. Patie (1728) [not ‘Patie’] 1973. Size; (1728) [not ‘Size,’] 1974. Wawking, (1725, 1726), Wauking: (1728) [not ‘Wawking;’] 1975. surprise; (1728) [not ‘surprise:’] 1978. Yellow (1725) [not ‘yellow’] 1981. kiss’d (1725, 1726) [not ‘kiss’d,’] 1982. lood (1725) [not ‘loo’d’] 1983. since syne (1726, 1728) [not ‘sincesyne’] 1984. Corn-riggs (1728) [not ‘Corn-Riggs’]; bony (1726) [not ‘bonny’] 1986. wanting; (1726, 1728) [not ‘wanting,’] 1989. comply, (1728) [not ‘comply’]; PATE; (1726), Pate, (1728) [not ‘PATE,’] 1990. Cockernonny (1728) [not ‘Cockernony’] 1991. touzel (1725, 1726, 1728) [not ‘touzle’] 1992. Corn-riggs (1728) [not ‘Corn-Riggs’]; bony (1726) [not ‘bonny’]

383

INTRODUCTION TO THE MUSIC For the songs in The Gentle Shepherd, Ramsay specified tunes which

he could assume were well-known to his audience already, or which were available to them by other means. Rather than providing music notation along with the text, he merely specified the tunes’ titles, in the manner of many broadside ballads. In his discussion of ‘our Scots tunes’ in the Preface to TTM (3rd edition, 1729) he suggests that ‘[w]hat further adds to the Esteem we have for them, is, their Antiquity, and their being universally known’, but this is not to say that all of the music was necessarily ‘traditional’ or ‘folk’ music in the present-day senses. Most of the tunes in GS can be broadly classified as airs, but there is one pipe tune [7], at least one tune which was composed for the London theatre [20], and a duet in two sections which appears to have been specially composed for GS itself [11]. Even ‘vocal airs’ is too restrictive a term, as many were equally well-known in instrumental versions, and are technically demanding to sing because of their wide range: in fact, the versions of the tunes published in Scotland remain mostly instrumental in their style and conception until the second half of the eighteenth century. The first edition of GS to be printed with unequivocally vocal music for the songs is the Glasgow edition published by Foulis in 1788, although in the late 1750s Robert Bremner had presented many of the songs with guitar accompaniments for domestic use. Popular tunes such as those specified by Ramsay were transmitted in many contexts, and the same tune could serve several functions: it could be sung in private and in public, played for the accompaniment of dancing, and it could have civic and military uses by town waits and regimental bands.1 The most celebrated civic use for a tune included in GS is the reported playing of [5] ‘Why should I be sad on my wedding day’ on the carillon of Edinburgh’s St Giles Cathedral on the day that the Treaty of Union came into effect in 1707, an act which underlines 1

Matthew Gelbart (2012) provides a detailed overview of Ramsay’s contributions to the idea of ‘national music’, and Aaron McGregor (2020, 108113) outlines the role and repertoire of civic musicians in Scotland in the two centuries prior to 1750. 385

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how a melody could carry meaning and associations without an accompanying text. In preparing the music for this edition, the principal question to be answered was ‘What melody did Ramsay most likely have in mind when he composed this song and/or specified its tune?’ Only in [15a] does Ramsay fail to provide a tune title, and this one can easily be inferred from the song’s first line. It may at first seem logical that the simplest way to answer this question is to consult Ramsay’s own published music book, the tiny Musick for Allan Ramsay’s Collection of Scots Songs of 1725-6, which was prepared in collaboration with the violinist Alexander Stuart (Stuart below). It may have been published as a response to William Thomson’s Orpheus Caledonius (ThomsonOC1), and it is almost entirely an instrumental collection, as is hinted by the word ‘Musick’ rather than ‘Airs’ in its title, and by its frontispiece of a lady and a gentleman, one sitting at a spinet by Thomas Fenton which has been engraved back-to-front, and the other holding an oversized violin.

Stuart, frontispiece. Image from the volume in G. Ross Roy Collection of Scottish Literature, Irvin Department of Rare Books and Special Collections, University of South Carolina Libraries, Columbia, SC.

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Ramsay may have had little musical knowledge himself, and Richard Cooper seems to have learned his music engraving skills on the job, as the work’s accuracy and elegance gradually improve as it goes on. In any case, Stuart does not include all of the songs in GS, and anyone attempting to sing some of them as found there would have considerable trouble if the book was their only guide. The arrangement of [13] is clearly intended for violin or flute with bassline, and is almost unsingable except as virtuosic coloratura, which would be completely at odds with the intimate and unaffected duet for Jenny and Roger which Ramsay had written. When GS was eventually published with music in GSRobertson three decades later, even then the musical material was described as ‘the Overtures to the Songs’, implying that it was not intended to be sung as printed. As a result, the net has to be cast more widely to find evidence of the musical models which Ramsay may have had in mind. The ballad opera librettos published by John Watts in London in the 1730s include both The Beggar’s Opera and Theophilus Cibber’s adaptation of GS for the Theatre Royal, Patie and Peggy, and these include simple, singable versions of the tunes, printed within the playtexts using inexpensive woodcuts rather than engraved plates. Earlier manuscript sources from within Scotland are sometimes a more useful guide to the nature of the tunes in circulation than the Scottish printed sources which are contemporary with Ramsay, as these latter can be self-consciously ornate and stylised, whether vocal (ThomsonOC1) or instrumental (Craig). Since Songs and Fancies, first published in Aberdeen in the 1660s, there had been no printing of vocal music in Scotland other than Lorenzo Bocchi’s short Scots Cantata to Ramsay’s words, and thus there was no available expertise in what was a complex technical process. Meanwhile, the fiddle tradition had been gathering considerable momentum, so that even in 1758, when GS finally appeared in print along with its music, GSRobertson took many of the ‘Overtures’ directly from earlier violin books by Ramsay’s Edinburgh contemporaries Oswald and McGibbon, rather than adapting the vocal versions published in London two decades previously. The variance in the musical sources is to be expected in material which was in oral-aural transmission, a process which Andrew Greenwood 387

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describes as ‘recurrent recontextualisations’ (2020, 46). Each source refracts the musical material through a stylistic lens particular to itself, be it a fiddler’s notebook, a popular songbook, or a collection of keyboard music, and so searching for the archetype of an ‘original text’ is seldom either possible or appropriate. Songs [11] and [20] are rare examples of where an original version of the tune appears to be extant, and even here the later variants tell us much about how the music became shaped as part of a culture or cultures, taking an originally composed work, and adapting it to fit a more familiar idiom, whether consciously or not. From the origins and early performance history of the piece, the practical place of music in GS is far from clear. Examples such as [4] where the Scots verse of the original is replaced by a song written in English, may imply that Ramsay was envisaging performance by English theatre singers, and Allan Ramsay the younger even suggested that his father had regretted infecting his pastoral with so many additional songs. Some songs may have been intended only for theatrical performances, rather than for the more reading-based culture closer to home. When searching for Ramsay’s musical intentions, the most reliable musical sources are likely to be those which: 1) are contemporary with the work’s composition, 2) have convincing cultural connections to Ramsay, particularly through his musician contemporaries Stuart, Craig, McGibbon and Oswald, and/or 3) have an idiomatic relationship to ballad opera practices. However, the paucity of extant sources for some of the tunes means that even this breadth of scope is not enough. This edition collates and comments on all known pre-1734 print and manuscript sources for each tune, in order to show the extent of documented variation in the tunes when Ramsay was writing. It will also give an overview of the later sources in Britain from within Ramsay’s lifetime, but it will only present these texts where they shed light on problems or confusion in the earlier material. The resulting picture can be messy, and is occasionally obscure. The negotiation of a national culture was underway: material and styles were being tested, and then admitted, discarded, or adjusted to suit the needs, practices and ambitions of an expanding middle class. This untidy complexity can also be found in the development of Ramsay’s 388

Introduction to the Music

own texts, so a neat Urtext-like editorial solution would be quite inappropriate here. Similarly, we do not present the songs in a readyto-use singable version for the stage, as this would involve wholesale intervention, and the synthesising of a consistent stylistic approach to what is fundamentally diverse musical material. There are examples of this synthesis later in the eighteenth century in the GS editions of Bremner, Foulis, Linley and others. Instead, enjoy the variance and flux in this earlier, lively corner of Scotland’s musical history. David McGuinness University of Glasgow

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SOURCES FOR THE MUSIC This list of sources uses the RISM sigla for music libraries, found at http://www.rism.info/sigla.html F-Pn

Bibliothèque nationale de France, Département de la Musique, Paris

GB-A

University Library, Aberdeen

GB-AYRac

Ayrshire Archives, Ayr

GB-Cfm

Fitzwilliam Museum, Cambridge

GB-CRIdc

Drummond Castle, Crieff

GB-DUcl

Wighton Collection, Central Library, Dundee

GB-En

National Library of Scotland, Edinburgh

GB-Enr

National Records of Scotland, Edinburgh

GB-Eu

University of Edinburgh Library, Edinburgh

GB-Gu

University of Glasgow Library, Glasgow

GB-KETmmc

Montagu Music Collection, Boughton House, Kettering

GB-Lbl

The British Library, London

GB-Ll

London Library, London

GB-NTnro

Northumberland Record Office, Newcastle upon Tyne

GB-NTsa

The Society of Antiquaries, Newcastle upon Tyne

GB-NTu

University of Newcastle Library, Newcastle upon Tyne

GB-Ob

Bodleian Library, Oxford

GB-P

AK Bell Library, Perth

IRL-Dn

National Library of Ireland, Dublin

IRLN-Bu

Queen’s University Library, Belfast

NZ-Ap

Auckland City Libraries, Auckland

US-BEm

Jean Gray Hargrove Music Library, University of California, Berkeley, CA

US-CAh

Houghton Library, Harvard University, Cambridge, MA

US-COS

University of South Carolina, Music Library, Columbia, SC

US-DN

University of North Texas (UNT), Music Library, Denton, TX

US-Wcr

Rare Book Collection, Library of Congress, Washington, D.C.

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Sources for the Music

Achilles ACHILLES, | AN | OPERA | As it is Perform’d at the | Theatre-Royal in Covent-Garden. | [ … ] Written by the late Mr. GAY. | With the MUSICK prefix’d to each SONG. London: J. Watts, 1733. copy consulted: US-DN ML50.5.A3 G4 1733 John Gay’s Achilles was first performed posthumously at Covent Garden on 10 February 1733 with Thomas Salway (d. 1743) in the title role. The Country Journal of 17 February noted that the ballad opera attracted ‘a crowded and splendid audience’ at its premiere, and it continued its run for over a month (Winton 2015, 157–158). AriaDiCamera ARIA DI CAMERA | being | A Choice Collection | of | Scotch, Irish & Welsh Air’s | for the Violin and | GERMAN FLUTE, | by the following Masters. | Mr. Alex: Urquahart, of Edinburgh. | Mr. Dermt. O’connar, of Limerick. | Mr. Hugh Edwards, of Carmarthen. London: Printed for Dan: Wright [...] and Dan: Wright Junr., [c. 1727]. copy consulted: GB-En F.7.g.10 Alexander Urquhart, the source for the Scottish material in this volume, was also a flute maker: his maker’s mark was a thistle. Although the titlepage mentions the violin, the music is prefaced by an illustration of a flute player, and by 25 pages of ‘The Newest Instructions For the GERMAN FLUTE’ which are a translation of Hotteterre’s Principes de la Flûte (Ford 2020b, 168-9). Atkinson Henry Atkinson MS tune book, 1694-95 GB-NTnro (on deposit from GB-NTsa) ZAN/M26/11 Oblong octavo, containing 207 songs and dance tunes dating from the latter half of the seventeenth century. Chris Partington (2004) noted 391

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that this is an important example of a musician’s working manuscript, although its appearance is unusually neat and businesslike when compared to other working manuscripts from the seventeenth and eighteenth centuries. It contains a large number of melodies popular in northern England and southern Scotland, and it may also have been compiled with an educational purpose in mind (Marsh 2013, 211). Balcarres The Balcarres Lute Book [c. 1695-1700] GB-En Acc.9769, Personal papers, 84/1/6 Oblong folio, containing 252 pieces from Scotland, England and France. All but one of the pieces are given an attribution to a composer and/or arranger, and Matthew Spring notes that the scribe demonstrated ‘a reasonable technical skill and much enthusiasm for collecting lute settings of Scottish tunes’ (Spring 2010, xvii). Mr [John] Beck is named in 185 pieces in the MS: he was among those aiming to present weekly concerts in Edinburgh’s Kennedy Close in 1692, and was thwarted by court proceedings from Master of the Revels William McLean (Spring 2010, xxii). David Johnson’s suggestion that Beck was German (Johnson 1972, 26) is most likely a purely speculative connection with one Johann Hector Beck of Frankfurt-am-Main (Stell 1999, 28). The second most featured musician in the book, with 64 pieces, is the Edinburgh violinist John McLachlan or McLauchland (d. 1702) whose music also appears in PlayfordOST and Bowie. The transcriptions from Balcarres in this edition are on two staves and use the transposed octave treble clef (sometimes also octave bass clef), to present the melodic lines as clearly as possible. modern edition & facsimile: Spring (2010)

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Sources for the Music

Barsanti A | COLLECTION | OF | OLD SCOTS TUNES | With the Bass | FOR | VIOLONCELLO or HARPSICHORD: | Set and most humbly Dedicated, to | THE RIGHT HONOURABLE | THE LADY ERSKINE, | BY | FRANCIS BARSANTI. Edinburgh: Alexander Baillie, [1742]. copy consulted: GB-En Glen.319 Resident in Edinburgh from 1735 to 1743, Francesco Barsanti was a wind player as well as an accomplished composer, and his book of Scots Tunes has several intriguing features. There are no variations added to the tunes, and the copious ornament signs added to the melodies could be an attempt to transcribe them the way he heard them being played, rather than a deliberate Italianisation of their style. Every tune in the book is marked ‘Slow’, perhaps as an indication that they are not intended for dancing. The bassline for [4] and, to a lesser extent, for ‘Cromlet’s Lilt’ are strikingly similar to those published a few years earlier in the ‘Sonata of Scots Tunes’ in OswaldCM. Could this sonata have been a collaboration between Oswald and Barsanti? BeggarsOpera1728 THE | BEGGAR’s | OPERA. | As it is Acted at the | THEATRE-ROYAL | IN | LINCOLNS-INN FIELDS. | Written by Mr. GAY. | […] The SECOND EDITION, | WITH THE | MUSICK prefix’d to each SONG. London: John Watts, 1728. copy consulted: US-CAh GEN *EC7.G2523B.1728ca. The Beggar’s Opera was first performed in London on 29 January 1728, as noted in the Daily Journal of 1 February. In this edition, the melodies of the songs are given in woodcuts at the appropriate places in the playtext, an arrangement which returns for the fourth edition of 1735.

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BeggarsOpera1729 THE | BEGGAR’s | OPERA. | As it is Acted at the | THEATRE-ROYAL | IN | LINCOLNS-INN FIELDS. | Written by Mr. GAY. | […] The THIRD EDITION: | With the OUVERTURE in SCORE, | The SONGS, and the BASSES, | (The OUVERTURE and BASSES Compos’d by Dr. PEPUSCH) | Curiously Engrav’d on COPPER PLATES. [underlined text printed in red] London: John Watts, 1729. copies consulted: F-Pn Musique VM3-234; GB-Lbl R.M.10.a.6.(1.) In this edition, the music for the songs is engraved with basses by Pepusch, and presented separately at the end of the volume. BeggarsWedding SONGS | in the | OPERA | call’d the | BEGGAR’S | WEDDING | as it is Perform’d at the | Theatre in the | Hay Market. | The Tunes proper for the | German Flute, Violin or Com- | mon Flute. the 2d. Edition London: I: Walsh, I: Hare & I: Young, [1729]. copy consulted: GB-En Mus.Box.s.130.4 Ballad opera The Beggar’s Wedding by Charles Coffey (d. 1745) was inspired by Gay’s The Beggar’s Opera, and after an unsuccessful run at Smock Alley theatre, Dublin in March 1729 (Walsh 1973, 36-7), Coffey took it to London’s Haymarket in May of that year to great success. The libretto went through five editions by 1733 (Knight and Noble, 2004). Blaikie Blaikie MS, a nineteenth-century copy of lost MSS from 1683 & 1692. GB-DUcl Wighton Collection [no number] Eight foolscap pages. Around 1820, Paisley engraver and antiquarian Andrew Blaikie copied out the ‘principal airs’ from two viol tablature MSS in his collection: one MS was dated 1692, and the other, from Glasgow in 1683, was once owned by Lady Katherine Boyd, daughter of William, 1st Earl of Kilmarnock. The Aberdeen music seller and composer James Davie made his own transcription either from the 394

Sources for the Music

originals or from Blaikie’s copy, and he lent this to Dundee merchant and music collector Andrew Wighton. Wighton in turn copied out his own selection of forty tunes, which has survived in the collection which he bequeathed to the city of Dundee on his death in 1866. R. A. Smith, Robert Chambers and William Dauney examined the two original MSS prior to their disappearance, and each wrote his own detailed description of them: these suggest that the original collections consisted largely of English songs and dances, along with well-known Scottish tunes (Stell 1999, 38-46; Edwards 2007, 65-6). BlaikieWS Blaikie-Scott MS, 1824, transcribed from lost MSS of 1683 & 1692. GB-En MS.1578 This is a set of transcription-cum-arrangements for treble and bass on eight foolscap pages made by Andrew Blaikie from the tablature MSS referred to above under Blaikie, and presented ‘To Sir Walter Scott of Abbotsford Bart. from his most obedient and very humble servant Andrw. Blaikie. 27. July 1824.’ Bowie George Bowie MS, c. 1690-17oo GB-En MS.21714 The 87-page oblong octavo MS is named after the man who is recorded on the flyleaf as owing £12 Scots to its owner, ‘MM’, in 1705, but it would be more accurately described as the John McLachlan MS, as seven pieces are attributed to the Edinburgh violinist, and fourteen are also found in Balcarres, where his music features prominently. If, as Stell and McGregor both suggested, the principal hand in the MS is that of McLachlan himself, then the ‘MM’ is most likely his widow Margaret McKenzie (Stell 1999, 51; McGregor 2020, 259).

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BremnerGSGuitar The | Songs in the Gentle Shepherd, | Adapted for the | Guitar. | by | Robert Bremner. Edinburgh: Robert Bremner, [1760]. copy consulted: GB-En Glen.104 This book contains eighteen of the GS songs, with Bremner noting that he had already published the others in BremnerInstructions. It was advertised as ‘in the press’ in the Caledonian Mercury of 9 January 1760. The guitar in question, also known as the English Guittar or Portuguese Guitar, is a small cittern-like instrument with double courses of metal strings tuned to an open major chord. While it was a relatively cheap instrument (Bremner advertised them at two to six guineas on the titlepage of BremnerInstructions), it became fashionable particularly for ladies, who can be seen holding or playing them in many aristocratic portraits from the 1760s to the end of the century. Bremner provided the simplest of arrangements, and the melodies are left almost undecorated. The texts are underlaid, giving the clear impression that Bremner’s publication is a songbook intended for widespread amateur use. The book is too late in publication to be included within the collation below, except that its version of [7] is the only source which shows the words set to the original pipe tune. BremnerInstructions INSTRUCTIONS | for the | GUITAR; | with | A COLLECTION of AIRS, SONGS and DUETS, | fitted for that Instrument; | By | ROBERT BREMNER. Edinburgh: Robert Bremner, [1758]. copy consulted: GB-Gu Sp Coll Ca9-d.2

396

Sources for the Music

As with BremnerGSGuitar above, this volume is not included in the collation below: it contains the tune for [18] without text, and [19] with Ramsay’s words from TTM rather than GS. BremnerReels A COLLECTION | of | Scots Reels | or | Country Dances, With a Bass for the Violincello or Harpsichord Edinburgh: Robert Bremner, 1757-61. copies consulted: GB-P Bd45; GB-P Bd19 Bremner’s collection of reels was published in 14 numbers of eight pages each. Numbers 13 and 14 were published as the Second Collection, and included the dance figure for each tune printed underneath it: the simple four-beat basslines throughout the book also emphasise that the music was intended for dancing. It is included here to show how some GS tunes became incorporated into dance-music fiddle traditions. Campbell John Campbell notebook, 1713 GB-Gu SpColl GB 247 MS Gen 12 This oblong octavo notebook was used by John Campbell (1698-1729) while a student at the University of Glasgow, and includes lecture notes and verses along with some music. The tunes are mostly notated in flat keys, which suggests that he may have played the recorder.

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Calliope Calliope | or | English Harmony | A Collection | of the most Celebrated English and Scots Songs [ … ] taken from the Compositions of the Best Masters in the most Correct Manner with the thorough Bass and Transpositions for the Flute (proper for all teachers Scholars and Lovers of Musick [ … ] | Vol: the first London: Henry Roberts, 1739. copy consulted: GB-En Glen.187 This is the first of two large volumes of songs (volume 1 alone has 200 pages), in which each song was illustrated by Roberts with an engraving. Cockburn Magdalen Cockburn Music Book, 1671 GB-Eu Mus.M.1 Folio, 60 leaves. This expensively prepared and bound MS was used in reverse as well as forward order, but the folios are numbered in one sequence, with lyra-viol tablature in the hand of the scribe of NewbattleLessones and Panmure9454 going forwards from f. 1, and staff notation, some for keyboard, in reverse order from f. 60. There are no other obvious clues as to its provenance, but a connection with the Panmure or Newbattle families seems likely (Stell 1999, 71-9). Craig A COLLECTION | Of the Choicest of the Scots Tunes | Adapted For the Harpsicord or Spinnet | and within the Compass of the Voice | Violin or German Flute | By Adam Craig. Edinburgh: Richard Cooper [engraver], [c. 1727]. The second edition bears the date ‘1730’ on the title page after Craig’s name. copies consulted: GB-En Glen.168(1) (c. 1727 edition) GB-En Glen.170; GB-KETmmc no. 491 (1730 edition)

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Sources for the Music

Published soon after Stuart, and clearly also from within Ramsay’s circle, the title page of Craig suggests that it is suitable as a singing book, but is in fact a collection of harpsichord arrangements, set in a predominantly French or English style. The book was still being advertised for sale in London and Edinburgh by Robert Bremner in the 1760s, on the title page of his own The Harpischord or Spinnet Miscellany. LH chords are transcribed here with a single or double stem when in rhythmic unison, rather than with a separate stem for each note as in the source. Crockat Mrs Crockat’s Music Book, 1709 GB-KETmmc no. 6 Oblong octavo. From the collection of Charles Kirkpatrick Sharpe, the principal contents of the MS are tunes for keyboard (ff. 1-37), and in the reverse direction with the inscription ‘Mrs Crockat 1709’, tunes for flute or recorder (ff. 38v-59). In the reverse section, the distinction between the \\ ‘shake’ symbol and the + or ‘t’, may imply upper-note and lower-note ornaments respectively. Cuming Cuming MS, 1723 GB-En MS.1667 Oblong octavo of 37 leaves, signed ‘Patrick Cuming his Book | Edinburgh 1723’ with ‘Patrick Cuming his Book | for the Violin 1724 | Musick’ on the reverse. It is also signed ‘Thomas Cuming His Book the Grace of’ alongside a single example from a flute or recorder fingering chart on the flyleaf.

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Dow John Dow MS, 1722 GB-En Acc. 10182 This oblong octavo commonplace book of 88 pages was acquired by the National Library of Scotland at auction in 1990, and contains music mostly for flute, with the GS tunes given in the earliest of the three hands. It carries these inscriptions: ‘John Dow his Musick Book 1722’ / ‘Alexander Anderson his book 1743’ / ‘Andrew Smith Musick Book 1776’. John H. Robinson included it in his concordance of the contents of Leyden (Robinson 2008, 52). FondHusband A New Scotch Song in the (Fond Husband) Sung by Mrs Willis. Sett to Musick by Mr. Clarke. London: Henry Playford, 1696. copy consulted: US-Wcr M 1518 A2C A single sheet publication, the earliest known of Jeremiah Clarke’s song [20]. A Fond Husband was the second play written by Thomas D’Urfey, first staged at the Duke’s Theatre in 1677. Twenty-nine productions had been staged by 1740 (Canfield & von Sneidern 2001, 1642). Gairdyn Gairdyn MS, 1700-1739 GB-En MS.3298 A small oblong octavo of 58 leaves, this is a collection of over 300 incipits and tunes in several hands, rather haphazardly notated, possibly as an aide-memoire to a fiddler’s repertoire. Rhythms and accidentals are often approximate, missing, or just inaccurate, and the barring is positively random in places. Nonetheless, it is a fascinating guide to the most characteristic and memorable (or perhaps easily forgettable) aspects of a large number of tunes in early eighteenthcentury Scotland. Many tunes appear more than once in slightly different forms: [19] appears four times. 400

Sources for the Music

GeorgeSkene George Skene’s Music Book, 1717 GB-En Adv.MS 5.2.21 Oblong octavo of 28 leaves. Iain MacInnes noted that the compiler was the laird of Skene, Aberdeenshire, and that he was both a fiddler and bellows piper (Dickson 2009, 183). GSFoulis the | GENTLE SHEPHERD, | a | PASTORAL COMEDY; | by | ALLAN RAMSAY. Glasgow: A. Foulis, 1788. copy consulted: GB-Eu JY1118 This edition is too late to be included in the collation below, but it is discussed as the first edition to be printed with vocal music, particularly with reference to the development of the music of [11]. Here, the original pipe tune for [7] was replaced with the tune later set by Peter [Pietro] Urbani in A Selection of Scots Songs, Harmonized Improved with Simple and Adapted Graces, book 2 (Edinburgh: Urbani & Liston, 1794) to verses by Alexander, 4th Duke of Gordon. GSRobertson the | GENTLE SHEPHERD: | a | SCOTS | PASTORAL COMEDY. | by | ALLAN RAMSAY. | Adorned with Cuts, | the Overtures to | the Songs, and a complete Glossary. Glasgow: John Robertson junr., 1758. copy consulted: GB-Lbl Hirsch III.1003 This is the first edition of GS to include musical notation of the tunes within the text, in rudimentary but generally accurate woodcuts. As is hinted by their description as ‘Overtures to the Songs’ on the title page, most of the examples are instrumental in conception, and many derive from the fiddle collections by Oswald and McGibbon in the 1740s and 1750s.

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Guthrie Guthrie MS, c. 1650-61, music section ?c. 1680 GB-Eu La.III.111 Octavo, 458 pages. Rev. James Guthrie was a Covenanting minister in Stirling, hanged for treason at Edinburgh in 1661. This book mostly contains his religious and philosophical writings, including his last words, but the central gathering of 20 pages has 61 tunes in diatonic violin tablature. Some of these have very bawdy titles, and their presence in an otherwise austere volume of Reformed theology has never been fully explained. Evelyn Stell (1999, 94-9) suggested that this section may have been the notebook of a 17th-century fiddler with a repertoire which crossed social boundaries. James Porter (2007, 42) dated it c. 1680, possibly later than the rest of the volume. HarpsicordMaster THE | HARPSICORD MASTER. | Containing plain & easy Instructions for Learners on ye Spinnet or | Harpsicord, written by ye late famous Mr H Purcell at the request of a | perticuler friend, & taken from his owne Manuscript, never before | publish’t being ye best extant, together with a Choice Collection of ye newest Aires & Song Tunes | Compos’d by ye best Masters, & fitted for ye Harpsicord | Spinnet or Harp, by these that Compos’d them, all graven on Copper Plates. London: J. Walsh, 1697. copy consulted: NZ-Ap 1697 HARP The arrangement of [20] here is not by Purcell, despite the claims of the titlepage.

402

Sources for the Music

HighlandFair the | HIGHLAND FAIR; | or, | UNION of the CLANS. | an | OPERA. | As it is Perform’d at the | THEATRE-ROYAL, | In DRURY-LANE | By His MAJESTY’s Servants. | Written by Mr. MITCHELL. | With the MUSIC, which wholly consists of | SELECT SCOTS TUNES, | Prefix’d to each SONG. London: J. Watts, 1731. copy consulted: GB-Gu Sp Coll 1314 The Highland Fair was first performed at the Theatre Royal, Drury Lane in March 1731, and was performed throughout the 1731 season, often as benefit performances for the author Joseph Mitchell, who had taken Aaron Hill’s play Fatal Extravagance and passed it off as his own to provide the piece’s dramatic basis (Jung 2008, 43). The Daily Post of 2 March advertised it as ‘a new Scots Opera […] in which the original Humours, Manners, Customs, Dresses, and Musick of the Scotch Nation will be exhibited’. JamesThomson James Thomson Music MS, 1702 GB-En MSS.2833-4 This oblong octavo of 144 pages seems to have, at least partly, a military provenance, the flyleaf carrying an inscription ‘King Army’ above the signature and date. Although most of the 146 items in eighteen different hands identified by Stell (1999, 203-14) are likely for wind instruments, the viol and violin are also mentioned, and there are some tunes on two staves that could suggest keyboard music. It contains some (transposed) trumpet music, and Alexander McGrattan (2007, 249) has suggested that James may have been a relation of Edinburgh royal trumpeter Daniel Thompson. Davidson Cook, in his commentary from 1937 which resides with the MS, also speculated on a potential connection with the William Thomson of ThomsonOC1 and ThomsonOC2, whose father was one of the king’s trumpeters.

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JohnSkene John Skene of Hallyard’s Lute-book, [c. 1620] GB-En MS.Adv.5.2.15 Oblong octavo, with 252 pages in eight sections (originally eight separate volumes) of music for five-course mandora in tablature, with repertoire from Scotland, England and France (Stell 1999, 172-82). JohnsonCCD Caledonian Country Dances | with a Through Bass for ye Harpsicord, ye 3 Edition, with Aditions; London: J. Johnson, [c. 1748] copy consulted: GB-Lbl Music Collections a.222. Published alongside his eight-volume Choice Collection of Favorite Country Dances (1740-1758), John Johnson’s Caledonian collection includes tunes and accompanying dance figures from the earlier WalshCCD. JovialCrew the | JOVIAL CREW. | a | COMIC-OPERA. | As it is Acted at the | THEATRE-ROYAL, | By His MAJESTY’s Servants. | [ … ] With the MUSICK prefix’d to each SONG. London: J. Watts, 1731. copy consulted: GB-En Glen.149(3) Richard Broome’s 1642 play had been revived after the Restoration (Pepys notes in his diary that he saw it three times in 1661), and in February 1731, it opened at the Theatre Royal in ballad opera form, with the addition of many new songs. Although the authors are not named, Elizabeth Schafer has suggested that the adaptation was the work of Matthew Concanen, Edward Roome and Sir William Yonge (Cave 2010).

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LadysBanquet4 The Lady’s Banquet | Fourth Book: | Being a Choice Collection of the newest, & most Airy | Lessons for the HARPSICORD or SPINNET, | Compos’d by the most Eminent Masters. London: J. Walsh, [c. 1734] copies consulted: GB-DUcl Wighton Collection H.53676; GB-Lbl Music Collections R.M.7.e.17(4) This is a reprinting of WalshThirtyNew along with WalshThirtyNew2, on either side of the same sheets. In the Wighton catalogue it is listed as a title-less collection published by Daniel Wright; an explanation of its contents is in McAulay (2019, 75-80). Leyden John Leyden’s MS, [1695-1705] GB-NTu Bell-White 46 Quarto, 81 leaves, of tablature for lyra-viol, and tunes for violin in staff notation. The tablature was probably copied by Glasgow musician Andrew Adam, also the copyist of Sinkler, and it includes English and Scottish tunes (Robinson 2008, 17; Stell 1999, 113-21). Mackintosh4 A | Fourth Book | Of New | Strathspey Reels | Also some Famous old Reels | For the | Piano Forte or Harp | [ … ] Compiled and Composed by | Robert Mackintosh. London: Lavenu & Mitchell for R. Mackintosh, [1803] copy consulted: GB-Lbl Music Collections g.229.d Robert Mackintosh’s final collection is included here to demonstrate that the original tune for [7] was still in circulation in the early nineteenth century, despite it having been replaced as the tune for the song.

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MarthaBrown Martha Brown’s music book, 1714 GB-AYRac AA/DC/139/1/1 Oblong quarto of 127 leaves, containing keyboard music, songs and verse, with on the reverse side a large number of domestic recipes in many different hands. The inscription on the forward side reads ‘Martha Broun her musuk | Book Boght at Inverary’, and underneath ‘Mr John Campbell | Inver ay’; the reverse side is headed ‘Severall Receipts of Paistrie – | dictated by M’s Yoūng at Glasgow | may 22d i7i0’. The name John Duncanson appears in several places. The MS includes English, Scottish and some Italian repertoire, including variations for keyboard, songs as ‘Thorow Bassus Lessons | On the virginils | or organs’, and violin music. McGibbon A | COLLECTION | of | Scots Tunes | Some with Variations | for | a Violin Hautboy or German Flute | With a Bass | For a Violoncello or Harpsicord | by | William McGibbon Edinburgh: Richard Cooper, 3 vols.: 1742, 1746, 1755. copies consulted: GB-Gu Sp Coll Ca9-y.1 (vols. 1-2 only, lacking some pages); GB-En Glen.230 (Bremner 1762 edition printed from the same plates, complete) An accomplished composer of chamber music in an Italianate style, McGibbon was the highest-paid violinist in the Edinburgh Musical Society for three decades, and the most celebrated Scottish musician of the early eighteenth century (McGregor 2020, 299). His Scots Tunes, many of which are presented with variations, remained in print throughout the century in revised editions by others, including Robert Bremner, Neil Stewart, and Samuel, Ann & Peter Thompson.

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MMC353 GB-KETmmc 353 Oblong octavo of 86 pages, containing music for recorder, bearing the later signature of Elizabeth Scott, 3rd Duchess of Buccleuch (17431827), but compiled early in the 18th century. The music includes Scottish tunes, London theatre music, and music by Lully, Corelli, Croft, Jeremiah Clarke, and John Clerk of Penicuik. Elizabeth Ford notes in her edition (Ford 2020a, iii) that the MS has been dated at around 1704-5 by Matthew Spring, and c. 1720 by Patrick and Rachel Cadell. If, as seems likely from the evidence of [10], it predates the recorder section of Crockat, the earlier of these might be the more probable. MockLawyer the | MOCK LAWYER. | As it is Acted at the | THEATRE ROYAL | in | Covent-Garden. | Written by Mr. Phillips. | [ … ] To which is added, | The MUSICK Engraved on Copper Plates. London: T. Astley, 1733. copy consulted: GB-Ob Vet. A4 e.1692 (1) The Mock Lawyer premiered on 27 April 1733 at the Theatre Royal, Covent Garden. Advertised in the Daily Journal of 23 April as a ‘farcical ballad opera’, it was performed after William Congreve’s The Old Bachelor, and ran regularly as an afterpiece throughout the 1733 and 1734 seasons. Munro A | COLLECTION | Of the Best | Scots Tunes | Fited to the GERMAN FLUTE | With Several Divisions, & Variations | BY | A. MUNRO Paris: Dumont [engraver], [1732]. copy consulted: GB-Lbl Music Collections g.17. Munro’s collection contains 12 tunes with variations, nine of which are presented as Italianate variation sonatas da camera, 407

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with each movement based on the original tune. His entire fivemovement sonata on [2] was copied exactly, but without its bass, into YoungMcFarlane2085 a few years later. MusicalMiscellany THE MUSICAL | MISCELLANY; | Being a COLLECTION of | CHOICE SONGS, | set to the VIOLIN and FLUTE, | By the most Eminent MASTERS. [title of vol. 1, underlined text printed in red] London: John Watts, 6 vols., 1729-31 copies consulted: GB-En Glen.157 (vol. 1) GB-Gu Sp Coll Bi10-i.28-32 (vols. 2-6) Watts re-used many of the music woodcuts from his ballad opera publications in this multi-volume collection. NealDances A Choice | COLLECTION | of | Country Dances | With their Proper Tunes. whereof many | never before Publish’d, and in an easier Method | to be understood then ever yet Printed | Gathered, Composed and Corrected by Many of the Best Masters of this Kingdom Dublin: John & William Neal, [1726]. copy consulted: IRL-Dn Joly JM5469 In contrast to the Neals’ earlier collections of Scottish and Irish tunes, this publication is very much focused on dancing, with the dance figure for each tune given underneath it. NealScotch A: COLECTION | of the most Celebrated Scotch Tunes | For The | VIOLIN | Being all Diferent from any yet Printed in Londo[n] | And Carefully Corrected by the Best Master[s] Dublin: John & William Neal, [1724]. copy consulted: IRLN-Bu Bunting Collection MS4/31/3 (unique, missing p. 6, stub after p. 28) 408

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Neal’s Colection of the most Celebrated Irish Tunes, which appeared soon after this volume, advertised on its title page that the tunes are ‘As performed at the Subscription Consort by Senior Loranzo Bocchi.’ Peter Holman noted that 16 of the tunes in NealScotch also appear in Stuart, and that Bocchi may have transmitted them to Dublin after his time in Ramsay’s circle in Edinburgh. He returned to Edinburgh briefly after the publication of his A Musicall Entertainment in 1725, which includes his Italianate A Scots Cantata to words by Ramsay, but no obviously Scottish musical material (Holman 2007, 715). NewbattleLessones ‘Lessones for ye Violin’, Newbattle Violin MS 2, c. 1680 GB-En MS.5778 This oblong octavo of 20 leaves, some incomplete, contains some violin exercises, and 31 pieces including English court dances, and Scottish and cross-border popular tunes. It is mostly in the hand of the ‘Panmure scribe’ of Panmure9454 and Cockburn, and it is the second of the two violin books found by Helena Mennie Shire at Newbattle Abbey in the 1950s. Its title and organisation mark it as the earliest surviving violin tutor in Scotland (McGregor 2020, 227-9). OswaldCC A | CURIOUS COLLECTION | of | Scots Tunes, | for | A Violin, Bass Viol or German Flute: | With a Thorough Bass For the | HARPSICHORD. | As also a Sonata of Scots Tunes in three Parts, and some Masons Songs, with the Words, for three Voices. | To which is added, | A number of the most celebrated Scots Tunes, set for | a Violin or German Flute. | by | Iames Oswald Musician in Edinr: Edinburgh: James Oswald, [1740]. copy consulted: GB-En Glen.168(3) Oswald’s successful second collection includes his version of [20] from OswaldCM transposed up a tone, and also [3] and [4] from his ‘Sonata of Scots Tunes’ reprinted from the original plates.

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OswaldCM A | COLLECTION of MUSICK | By several Hands | both | Vocal and Instrumental | Most of which never before printed | and | Now published for the Use of Orpheus’s | Club by James Oswald Dancing | Master in Edinburgh Edinburgh: James Oswald, [1736]. copy consulted: GB-DUcl Wighton Collection [no number] (unique) Oswald’s first substantial collection (after a book of minuets in 1734, now lost) includes sonatas, tune settings, vocal music, and finally ‘A Sonata of Scots Tunes’ for two violins and continuo. The volume is described in detail in McGregor 2020, 294-9. Oswald CoC a | Collection | of | Curious Scots Tunes | for a | VIOLIN, GERMAN FLUTE | or | HARPSICHORD | by | Mr James Oswald London: J. Simpson, [1742]. copy consulted: GB-Lbl g.265.b In his first publication after moving to London, Oswald followed the example of McGibbon, and concentrated on Scots tunes with variations. His setting of ‘The Bonniest Lass in a the Warld’ has only tiny differences from McGibbon’s own. The GB-A copy of OswaldCoC (London: Chas. & Saml. Thompson) is in fact a later reprint of OswaldCoC2 with the wrong title page. If the Thompsons received the plates from the dispersal of the contents of Oswald’s shop after his death, as suggested by John Purser, this would date this edition to 1769-76. Oswald CoC2 A | Second Collection | of | Curious Scots Tunes | for a | VIOLIN and GERMAN FLUTE | with a | THROUGH BASS for the HARPSICORD | by | Mr James Oswald.

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London: Jno. Simpson, [1742]. copy consulted: GB-En Glen.310(2) Within a year of moving there, Oswald’s sequel to his first London collection already carried a prestigious dedication to the Prince of Wales. The rather messy printing of the GB-En copy may suggest that the plates were well used. OswaldCPC The | CALEDONIAN | POCKET COMPANION | Containing | Fifty of the most favourite Scotch | Tunes several of them with | Variations, all set for the German | Flute, by | Mr. Oswald London: J. Simpson, 12 vols. [1745-60]. Vols. 3 onwards are ‘Printed for the author’, and the title pages mention ‘German Flute or Violin’. copies consulted: Books 1-6, private collection; Books 7-12, GB-DUcl 31983 The following publication dates for each volume were pencilled into the GB-P copies by an unknown writer, possibly J. Murdoch Henderson: 1 - 1745. 2 - 1750. 3 - 1751. 4 - 1752. 5 - 1754. 6 - 1755. 7 - 1756. 8 - 1756. 9 - 1757. 10 - 1758. 11 - 1759. 12 – 1760. After Oswald’s death in 1769, the books were reprinted in London by Straight & Skillern (Purser 2006). The repertoire in this very successful series of pocket tune-books stretches beyond a broad selection of both Lowland and Highland Scottish material, into London music for theatre and pleasure gardens. Facsimile edition with introduction and notes: Purser 2006. Panmure9454 Panmure violin MS 1, [c. 1670-75] GB-En MS.9454 This oblong octavo of 41 leaves is principally in the hand of the ‘Panmure scribe’ also found in Cockburn and NewbattleLessones, but [21] appears in the hand of another, unknown scribe, along with ‘My Ladi glanbrisiliss Air’. Evelyn Stell suggested that the MS was most 411

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likely begun for the Maule family in London, and its repertoire is largely of popular 17th-century English tunes, many from stage productions (Stell 1999, 154-8; McGregor 2020, 230-3). Patie&Peggy PATIE and PEGGY: | or, the | FAIR FOUNDLING. | a | SCOTCH BALLAD OPERA. | As it is Acted at the | Theatre-Royal in DruryLane, | By His Majesty’s Servants. | [ … ] With the MUSICK prefix’d to each SONG. London: J. Watts, 1731. copy consulted: GB-En Glen.173 Theophilus Cibber’s play was largely derived (with attribution) from The Gentle Shepherd, and the tunes are given here as single treble lines in a block of simple staff notation above the texts of the songs. In his preface of April 1730, Cibber describes The Gentle Shepherd as a ‘Poem’ whose simplicity ‘induced me to turn it into a Ballad Opera’, ‘bringing the Tale within the Compass of One Act, adding to the Number of the Songs, and changing it into the English Dialect’. Pearson1718DM2 The Dancing-Master: Vol. the Second. | Or, Directions for Dancing Country Dances, with the Tunes to each Dance, for the TrebleViolin. | The Third Edition, containing 360 of the Choicest Old and New Tunes now used at Court, and other Publick Places. London: W. Pearson, 1718. copy consulted: GB-Lbl Music Collections K.1.b.5. Pearson printed many Playford publications, and this later edition of The Dancing-Master appeared under his own imprint, to be sold by John Young.

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PlayfordAB Apollo’s Banquet: | CONTAINING | Instructions, and Variety of New Tunes, Ayres, | Jiggs, and several New Scotch Tunes | for the TREBLE-VIOLIN. | TO WHICH IS ADDED, | the Tunes of the ne[west Fr]ench Dances, now used at Court and in Dancing-Schools. | The 5th Edition, with new Additions. London: John Playford, 1687. copy consulted: GB-En Glen.66 Playford’s anthology of popular music for violin, which his letter to the reader describes as ‘at this present the only Instrument in fashion’, is prefaced by some practical and theoretical guidance for beginners. The 121 tunes, including theatre music, are set in letterpress, headed ‘Choice new Tunes, Jiggs, and Dances, for the Treble-Violin.’ PlayfordAyres choice | AYRES and SONGS | to sing to the | Theorbo-Lute; or Bass-Viol: | being | Most of the Newest Ayres and Songs sung at Court, | And at the Publick Theatres. | Composed by several Gentlemen of His Majesty’s Musick, and others. | THE THIRD BOOK. London: John Playford, 1681. copy consulted: GB-En Ing.161 The third of the five-volume series which began as Choice Ayres, Songs & Dialogues, this was sold to be bound along with the first two. The series presents a range of secular vocal music from court and theatre, printed for the amateur market on two staves for voice and bassline. Playford’s letter to the reader in the second volume (1679) notes that ‘Most of the Songs and Ayres herein contained I received exact Copies of from the Hands of their Authors’.

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Playford1698DM2 The Second Part of the Dancing Master: | Or, Directions for Dancing Country Dances, with the Tunes to each Dance for the Violin or Flute. | The Second Edition, with Additions. London: Henry Playford, 1698. copy consulted: GB-Lbl Music Collections K.1.a.18. Playford’s very popular pocket-book of tunes, with the dance figure given under each tune, went through many editions, and was later reprinted by William Pearson. A comprehensive bibliography of the many variants in the different printings would be well beyond the scope of the present volume. PlayfordMRV Musick’s Recreation | on | The VIOL, Lyra-way: | Being a choice Collection of LESSONS Lyra-way. To which is added a PREFACE, | Containing some Brief Rules and Instructions for young Practitioners. | The Second Edition, Enlarged with Additional New LESSONS. London: J. Playford, 1682. copy consulted: facsimile edition (Dolmetsch 1960) John Playford’s viol tutor includes 77 simple tunes in tablature, and an introduction to the instrument for beginners. PlayfordOST A COLLECTION of | Original Scotch-Tunes, | (Full of the Highland Humours) for the | VIOLIN: | Being the First of this Kind yet Printed: | Most of them being in the Compass of the FLUTE. London: Henry Playford, 1700. copy consulted: GB-En Glen.112 Henry Playford’s collection of 39 tunes shares some repertoire with Bowie, which suggests that he made have had a connection with Edinburgh fiddler John McLachlan, whose name appears in ‘Mr Mc. Clauklaines Scotch Measure’. 414

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Polly POLLY: | an | OPERA. | being the | SECOND PART | of the | BEGGAR’s OPERA. | Written by Mr. GAY. London: John Gay, 1729. copy consulted: GB-Lbl Music Collections 841.c.23.(1.) The airs for John Gay’s sequel to The Beggar’s Opera are engraved in a separate section at the end of the volume, after the playtext. The piece, a satirical attack on the colonisation of the West Indies, was never performed in Gay’s lifetime, as the Lord Chamberlain banned it even from being rehearsed (Dryden 2001, 539-40). PPM1700 Wit and Mirth: | or, | PILLS | to purge | Melancholy; | being | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their | proper TUNE for either Voice or Instru- | ment, many of the SONGS being new Set. | [ … ] | The Second PART. London: Henry Playford, 1700. copy consulted: GB-Lbl General Reference Collection C.117.a.19. Although Thomas D’Urfey contributed more songs to the enormously successful songbook Pills to Purge Melancholy than any other writer, Henry Playford was the editor of the collection; D’Urfey did not take over this role until the 1719 edition below (Day 1932, 180-1) PPM1719 WIT and MIRTH: | or | PILLS | to purge | Melancholy; | being | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their proper | TUNE for either Voice or Instrument: | Most of the SONGS being new Set. | In Five Volumes.| The Fourth EDITION. London: W. Pearson, for J. Tonson, 1719. copy consulted: GB-Lbl General Reference Collection 1078.c.4-8. 415

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The first issue of Jacob Tonson’s final edition of Pills to Purge Melancholy also appears in some copies with the following titlepage: the textual and musical contents are the same in both issues (Day 1932, 180). Songs Compleat, | Pleasant and Divertive; | set to | MUSICK | By Dr. John Blow, Mr. Henry | Purcell, and other Excellent masters of the Town. [ … ] | Written by Mr. D’URFEY. ScotchOrpheus the | Scotch Orpheus. | Containing Fifty of the best | Scotch TUNES, | Engrav’d on Copper Plates, and transpos’d | for the Flute, on the same Size and | Paper as the last Edition of the Scotch | Songs, Printed at London. | N.B. Those Tunes which have not the Musick | transpos’d for Flute immediately follow- | ing them, the same will be found at the End | of the Book, properly number’d. | [manicule] This Book contains all the Tunes in Mr. Thomson’s | Folio Edition, which was subscrib’d at the Price of One Guinea. London: J. Watson, 1731. copy consulted: collection of William Zachs, Edinburgh (unique) Watson’s The Scotch Orpheus, as its title page makes clear, was designed as a cheap pocketbook alternative to ThomsonOC1. The foot of the page also carries two prices: ‘The Songs and Musick together Five Shillings. Separately Two Shillings and Six-pence each.’ The ‘last edition of the Scotch Songs’ Watson referred to is his edition of TTM from the previous year: this is confirmed by the sole surviving copy, which is bound together with Watson’s TTM in a single volume. Watson faithfully (and brazenly) copied Thomson’s musical texts. All that is missing are most of the ornament signs: to see Thomson’s baroque decorations in their full splendour, the reader would have to pay Thomson’s full price of a guinea. As a result, The Scotch Orpheus is far closer to TTM in shape and in spirit than ThomsonOC1.

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Sinkler Margaret Sinkler’s Music Book, 1710 GB-En MS.3296 [also catalogued as Glen.143(i)] An oblong octavo of 73 leaves, the section inscribed ‘Margaret Sinkler / bught this Musick Book written / By Andrew Adam at Glasgow / October the 3i day i7i0.’ contains tunes for violin in Adam’s hand, at the reverse of the book according to the modern foliation. It is bound with a keyboard book in the same hand inscribed ‘George Kincaid his Musick book’, ‘George Kincaid | Glasgow the 24 May 1717’ and ‘Mrs. Anne Crookshank’s’. Adam may also have been the scribe of the tablature in Leyden, and the original books from which Blaikie was copied: this volume contains pieces in common with both of these and with NealScotch (Stell 1999, 169-171; Edwards 2007, 66). The Sinkler portion of the MS begins with some elementary musical theory, and instructions for fingering the bass viol (‘the consort way of playing’). The table headed ‘How to form your stops upon the treble viol’ is in fact a fingering chart for violin, in fifths from G ‘on the Base’ string. Stuart MUSICK | For | Allan Ramsay’s | Collection of | SCOTS SONGS. | Set by Alexr Stuart & Engrav’d by R. Cooper Edinburgh: Allan Ramsay, [1725-6]. In 6 parts. Parts 2-6 have the title: MUSICK | For the Scots Songs | in the | TEA TABLE MISCELLANY copies consulted: GB-Gu Sp Coll Ca9-e.12; US-COS Rare PR 1187 .R3 1720z This is the only volume of music to be published by Ramsay himself. There are payments to Alexander Stuart in the accounts of the Edinburgh Musical Society over a forty-year period to 1767, both as a performer and for supplying strings and instruments. He was one of the three musicians first paid by the society for performing in the winter of 1726-7, along with William McGibbon and Adam Craig (Macleod 2001, 140; 150-1). 417

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It is not clear whether ThomsonOC1 or Stuart was published first: Kirsteen McCue found that trying to answer this question was ‘a pretty impossible task’ after surveying the evidence in detail (Stuart 2017, xix-xxii). In any case, the two volumes could not be more different in their approaches to providing music for Ramsay’s songs. Thomson’s ostentatiously large folio volume was ornate in its production and in its musical content; Ramsay & Stuart’s was tiny, rudimentary in its production, and simpler in its musical values. Thomson was a singer, and his settings were precisely notated in their syllabic setting of the texts, and the sometimes virtuosic ornamentation of the tunes. Alexander Stuart was a violinist who provided the tunes without their texts, occasionally in settings that were quite unsingable, and the music was engraved by Richard Cooper, undoubtedly a highly skilled craftsman (his Vitruvius Scoticus shows his architectural work at its finest), but one whose facility with music notation can be seen to improve after a shaky start as the book progresses. There is no list of subscribers, but the first of the book’s six parts is ‘Inscrib’d to the Right Honourable Countess of Eglintoun’ Susanna Montgomery (née Kennedy), who was also the dedicatee of the 1725 edition of The Gentle Shepherd. The book contains 71 tunes in the order that they appear in TTM, set with active but simple unfigured bass lines: the two-part arrangements include almost no prescribed ornaments. ThomsonOC1 Orpheus Caledonius | or | a Collection of the best | Scotch Songs | set to Musick| by | W. Thomson London: William Thomson, [1725-6] copies consulted: GB-Gu Sp Coll N.a.2; GB-En Ing.241 This first version of Orpheus Caledonius was clearly intended for an affluent readership: it is a high-quality folio edition, at the cost of one guinea, with an illustrious list of over 300 mainly upperclass subscribers and a dedication to the Princess of Wales. The presentation and musical style, possibly based on Thomson’s own performances, appear far removed from the naturalistic oral culture Ramsay apparently referred to, and also quite different in character 418

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from the genteel domestic performances Ramsay described in the prefatory verse of TTM. ThomsonOC2 Orpheus Caledonius: | or, a | COLLECTION | of | SCOTS SONGS, | Set to Musick | by | W. THOMSON, [underlined text printed in red] London: William Thomson, 1733. 2 vols. copies consulted: GB-Gu Sp Coll N.c.39-40; GB-En Glen.169-169a Whether it was as a reaction to the publication of its cheaper rival ScotchOrpheus or not, William Thomson’s next move in 1733 was to issue a second, less ostentatious, version of Orpheus Caledonius in two volumes, in a smaller format with recomposed arrangements mostly in a less fussily ornate style. ThomsonOC2’s engraved music was printed separately from the typeset texts, and the texts and music each have their own sequence of page numbers: they were probably available for sale separately, as copies survive both interleaved, and with only one page sequence. The copy in GB-Ll contains only the texts without music, and the availability of what was in effect a partial unauthorised edition of TTM may be behind Ramsay’s displeasure at its publication, expressed in the preface to the 1733 ninth edition of TTM: From this and the following volume, Mr. Thomson (who is allowed by all, to be a good teacher and singer of Scots Songs) cull’d his Orpheus Caledonius […] . This by the by I thought proper to intimate, and do my self that justice which the publisher neglected; since he ought to have acquainted his illustrious list of subscribers, that the most of the songs were mine, the musick abstracted. (p. vii) Ramsay’s stated distaste has to be set against the Edinburgh Musical Society’s enthusiastic ordering of ten copies of ThomsonOC2 on its publication; also, his description of Thomson’s book as ‘finely engraven in a folio book’ better fits ThomsonOC1. The titles of the songs as given here follow those at the head of the music, rather than those in the index, or those above the text. 419

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Thumoth Twelve Scotch, | and | Twelve Irish | AIRS | with | VARIATIONS | Set for the German Flute Violin | or Harpsichord by | Mr. Burk Thumoth London: John Simpson, [c. 1745]. copy consulted: GB-En Ing.79 Irish composer, flute player and trumpeter Burk (or Burke) Thumoth was active as a performer in Dublin and London. The GB-En Inglis Collection copy of this volume is bound along with his Twelve English and Twelve Irish Airs (‘Book the Second’), and both of these stayed in print until at least the 1780s, with a reprint by John Cox after he took over the Simpsons’ shop in 1751, and later a new edition of both books in one volume by Samuel, Ann and Peter Thompson. Veracini Sonate Accademiche | A Violino Solo e Basso | [ … ] | da | Francesco Ma: Veracini Fiorentino | Compositor di Camera della Medesima | S.R.M. | Opera Seconda London & Florence: Francesco Maria Veracini, [1744]. copy consulted: GB-Lbl Music Collections e.21.a The final movement of Veracini’s Sonata IX in A major, ‘Scozzese’ is a set of virtuosic variations on [18]. VillageOpera the | VILLAGE | OPERA | As it is Acted at the | THEATRE-ROYAL, | by | His MAJESTY’s Servants. | Written by Mr. [Charles] JOHNSON. | [ … ] To which is Added | The MUSICK to each SONG. London: J. Watts, 1729. copy consulted: GB-En Glen.179 The Village Opera was first performed at the Theatre Royal, Drury Lane in 1729. It was advertised in the Country Journal of 25 January as ‘a regular Comedy in low Life, interspers’d with Ballads, to known English Tunes’. Although the advertisement draws attention to its similarities 420

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to John Gay’s The Beggar’s Opera, it also puts some distance between them, carefully pointing out that ‘this Performance bears a very good Character’ and that the scandal surrounding Gay’s follow-up Polly ‘did not proceed from any Prejudice against That Company in general’. The piece later formed the basis for Thomas Arne’s pasticcio ballad opera Love in a Village in 1762. WalshBMM The | British Musical Miscellany | or, the | Delightful Grove: | Being a Collection of Celebrated | English, and Scotch Songs, | By the best Masters. | Set for the Violin, German Flute, the Common Flute, and Harpsicord. | VOL. II. London: J. Walsh, 1734. The 2nd of 6 vols, 1734-6. copy consulted: GB-En Ing.48-49 The theatre songs by Leveridge, Handel and others in this collection are presented for voice with a bassline. The titlepage also advertises the publication of ‘A Collection of all the Ballad Operas’, marking the distinction between the two repertoires. WalshCCD Caledonian Country Dances | Being | A Collection of all the Celebrated Scotch Country Dances | now in Vogue, with the proper Directions to each Dance, | As they are perform’d at Court, & publick Entertainments. | for the Violin, Hoboy, or German Flute; with their Basses | for the Bass Violin, or Harpsicord. 3d. Edition. London: J. Walsh, [1736, 1st ed. 1733]. copy consulted: GB-En Ing.36 By 1750, Walsh’s original collection had expanded to fill five volumes containing ‘all the Celebrated Scotch and English Country Dances’, but the third edition advertised for sale on 3 November 1736 was still in a single volume (Smith & Humphries 1968, 65). The tunes are given with basslines, and with the dance figures underneath.

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WalshCCDM THE | Compleat Country Dancing-Master. | Being a Collection of all the Celebrated Country Dances | now in Vogue. | Perform’d at Court, the Theatres, Masquerades, | and Publick Balls. | With Proper Tunes and Directions to each Dance. | The Tunes fitted for the Violin, Hoboy, or German Flute. | The 4th. Edition. London: J. Walsh, [c. 1740]. copy consulted: GB-Ob (W) Harding Mus. F 341 (1) Walsh’s Country Dancing-Master series gradually evolved from his plagiarised reprints of Playford’s work, begun in 1718, and as a result the many different editions are somewhat chaotic, and very difficult to collate. This GB-Ob copy also includes the titlepage of volume 4 of the series, in error. WalshThirtyNew Thirty | New and Choice | COUNTRY DANCES | Set for the | HARPSICORD or SPINNET | The Dances | Perform’d at Court and publick Entertainments | Being a delightful and Entertaining Collection. London: John Walsh, [1731]. copies consulted: GB-Lbl Music Collections R.M.7.e.17(4) WalshThirtyNew2 A Second Collection of | Thirty New and Choice COUNTRY DANCES | Set for the | HARPSICORD or SPINNET | The Dances | Perform’d at Court and publick Entertainments. | Being a delightful and Entertaining Collection.| Consisting of Irish, Welch, & Scotch Tunes. London: John Walsh, [1732]. copies consulted: GB-Lbl Music Collections R.M.7.e.17(4) These two volumes of simple, neatly engraved dance tunes arranged for keyboard were later reprinted together as LadysBanquet4 above.

422

Sources for the Music

YoungDrummondCD YoungDrummondHR Drummond MSS 1 & 2, 1737 private collection, GB-CRIdc photocopies of both are at GB-En Acc.7722 & GB-Gu Ca9-d.52 These two MSS are bound together, as an oblong quarto of 49 + 35 folios. Their compiler David Young was in Edinburgh in the early 1740s before returning to his native Aberdeen and serving as the first secretary of the Aberdeen Musical Society from 1748. Besides the volumes listed here, there also survives ‘A Collection of the newest Countrey Dances Perform’d in Scotland: Written at Edinburgh by Da. Young W[riting].M[aster]. 1740.’ at GB-Ob MS.Don.d.54. The hand-written title page of YoungDrummondCD reads A COLLECTION OF | Countrey Dances | Written for the use of his Grace the Duke of Perth. | By Dav. Young. and the book consists of descriptions of dance figures, followed by the tune in each case. The descriptions and the tunes take up a single page each. YoungDrummondHR has a similar title page: A Collection | of the best | Highland Reels. | Written by David Young. W.M. &. Accompdant. and its contents are indeed reels, some of them given with variations. YoungMcFarlane2084 YoungMcFarlane2085 McFarlane [MacFarlane, McFarlan] MSS, 1740 GB-En MSS.2084-2085 This upright folio of 154 + 153 leaves again consists of two MSS bound together. These form volumes 2 and 3 of a three-volume set prepared by David Young: the first was already lost by 1838, having been borrowed from the Society of Antiquaries. YoungMcFarlane2084 has an elaborately inscribed title page, which reads 423

The Gentle Shepherd

A | Collection | of | Scotch Airs With the latest Variations | Written for the use of | Walter Mcfarlan | OF THAT ILK | By David Young W[riting]. M[aster]. in Ednr. | 1740. A similar title page in YoungMcFarlane2085 has been badly torn so that the date at the foot of the page is now missing. McFarlane (d. 1767) was chief of clan MacFarlane, and 20th Laird of Arrochar, and the contents of the McFarlane MSS, 543 pieces in all, cover a wide range of Scottish fiddle styles. They include substantial variation sets, some of which are technically demanding, as befits their description as ‘the latest’ (McGregor 2020, 254-66). YoungMcGibbon McGibbon MS, [c. 1740] US-BEm MS 957 This folio of 104 pages contains 177 pieces for solo violin, nearly all in David Young’s hand, preceded by an index, and with a short glossary of Italian musical terms at the end. The contents are both Scottish and Italian violin music, including several of the opus 5 sonatas by Corelli, and decorated versions of Corelli and Tessarini sonatas by William McGibbon and Charles McLean. On a spare couple of lines at the bottom of p. 23 another hand has added a fingering chart showing the 1st to 8th ‘Shifts’ on the E string (i.e. 2nd to 9th position) up to c’’’’, showing that this collection was intended for an expert, or aspiring expert performer. The Corelli items have been published in Hogwood (2013).

424

THE MUSIC For each tune, we have listed all available printed and MS sources prior to 1734, when Ramsay first printed the songs in the body of the main text. We have also given a brief account of the sources to 1758, when Ramsay’s text was first published with musical notation, to demonstrate that the music in this apparent ‘first edition’ may not always have much in common with the tunes as they were being transmitted when Ramsay was writing. Sources are presented chronologically, or as near to this as possible given our knowledge of the origin of each source. The tonality of each tune is briefly described in terms of its modal content, and its underlying harmonic structures. As this is a repertoire of some stylistic hybridity and un-settledness, which inhabits more than one tonal language and framework, the terminology similarly draws on several traditions. Major and minor keys, ‘church’ modes and gapped scales all have their place, and functional cadential harmony rubs shoulders with the binary grounds familiar from bagpipe repertoire and medieval harp music. These grounds are notated in 1s and 0s following the example of Barnaby Brown (2014). It is notable that the attempts by William Thomson and John Watts to make the music fit more conventional ‘scientific’ rules are rarely followed in the Scottish sources, and that the use of modulation within a tune is rare: the few instances may be evidence of a composer’s hand at work. Repeat marks and double bars are presented as in the source except where noted: where repeats are clearly implied, this is discussed in the commentary. Accidentals given in the key signature are listed in the order they appear in the source. Where the same accidental is repeated at different pitches, e.g. a k-s of three sharps where two of these are F an octave apart, the F is given here only once. Where text is underlaid in songs, the use of hyphens to show syllabification generally follows present-day practice, but preserves the original underlay where it is sufficiently clear in the source. The bar count begins with the first full bar; the counting of notes within bars does not include grace notes or ornaments. Pitches at a specific octave are represented in italic in the Helmholtz system, where c’ is middle C. Pitches in Roman type refer to pitch class. Cautionary accidentals given above the stave are editorial.

425

The Gentle Shepherd

[1] SANG I. The wawking of the Faulds. Tonality: pentatonic, with a binary structure 1ooo 1oo1 in each strain. This structure is obscured by alteration in ThomsonOC2. ‘The Milking in the falds’, which appears as an incipit in Gairdyn at f. 48v, is a substantially different tune, now familiar as ‘The Lea Rig’, although the two do share some modal characteristics. Nearly every note in the MS has been corrected in ink from the note one step above: the original version was apparently on B and A, rather than A and G. The tune also appears as ‘My ain kind Dearie’ in BremnerReels, p. 76, and as ‘The Wedding or San Rire va Vannich’ in Angus Cumming, A Collection of Strathspey or old Highland Reels (Edinburgh, 1780), p. 9. ThomsonOC2, II, no. 6: The Wawking of the Faulds

426

The Music

It is surprising that the tune for the opening song of GS, which we would assume was comparatively well known, does not appear more frequently in the early sources. It is also striking that its earliest surviving source, ThomsonOC2, clearly alters it. The first six notes of the opening phrase have been lowered by a tone to put the opening firmly into the key of F major, rather than establishing a binary tonality on G and F, as evidenced in the other sources. Although Thomson presented a suitably European tonality for his London audience at the beginning of the song, he left the end unaltered, and set it to an imperfect cadence. The tune also appears as ‘The wawking of the Faulds’ on p. 1 of the book’s separate section ‘For the German Flute’, which follows the main music sequence after no. 50. It is given there up a tone in G, on treble stave only, with the quavers beamed in 4s, and with t-s C, k-s F sharp.

427

The Gentle Shepherd YoungMcFarlane2084, p. 96: Waking of the falds. t-s ¢, k-s F sharp A more ‘modal’ version of the opening of the tune is given here, which accords better with the final on A. It is decorated with dotted rhythms and occasional groups of slurred semiquavers. OswaldCPC, III, p. 20: The Wawking of the Faulds

This is a simpler presentation of the tune, clearly in the same idiom as YoungMcFarlane2084, with a few fiddle divisions in the second strain, and only diverging from it melodically in bars 14 and 16. It forms the basis for GSRobertson below. GSRobertson, p. 2: SANG I. The waking of the faulds. t-s ¢, k-s none An almost identical text to OswaldCPC. The slurs in bar 11 and 14 are missing, there is an additional slur on notes 7-9 of bar 15, and all tr ornament signs have been replaced with the more old-fashioned \\ symbol.

428

The Music

[2] SANG II. Fy gar rub her o’er with Strae. Tonality: Dorian or minor, with strong emphases on the tonic, 3rd, and 7th. The version in Crockat does not use the 6th degree of the mode: in Stuart, ThomsonOC2 and GSRobertson the 6th is flattened. The haphazard use of accidentals in Gairdyn does not give enough information to be clear either way, but Dow is quite explicit in raising it. The first strain, repeated, is broadly binary 1011 with a V-I cadence on the final 1; the second strain begins in the relative major. The two earliest sources already display two possible versions of the quaver figure at the beginning of bar 2. ThomsonOC1 introduces a new variation into the opening strain, where its first statement incorporates a partial repeat of the first two bars, and this is followed by many other sources. However, Munro and the other sources from the 1740s onwards revert to the original scheme where the entire first strain is repeated, suggesting that as in [1], Thomson’s musical adaptations did not always take hold north of the border. Crockat, f. 34r: fy garr rub: her ower wee Straw

Bar 7, notes 4-5. crotchets [not quavers] Gairdyn, p. 5: ffy gar rub her

Incipit only, with the erratic barring characteristic of this source. Bar 3, note 2. quaver beamed to following two quavers [not crotchet]

429

The Gentle Shepherd Dow, pp. 20-21, no. 38: Rub her o’er with Stra

Four variations follow, with the date ‘1722’ and inscription ‘Transpos’d from the Violine to the Flute’, presumably up a fourth. The reading of the tune is similar to that in Crockat. Stuart, pp. 148-149: Fy gar rub her

As in the earlier versions of the tune, there are no anacruses, despite Ramsay’s text for ‘Fy gar rub her o’er wi’ Strae’ in TTM requiring one at the opening of the second strain, and the GS song text one before each strain. Bar 8, treble stave, notes 2, 4. These notes each have what appears to be a numeral ‘7’ above them in the print. These probably appeared as lower case letters ‘g’ in the engraver’s source MS as corrections from another note (F?). Cooper has misunderstood this, and engraved them onto the plate, evidence of his lack of experience in music engraving at this early stage of the book’s preparation. Bar 11, treble stave, note 1. crotchet [not dotted crotchet] 430

The Music ThomsonOC1, p. 27: Fy Gar rub her o’er wi’ Strae

In Thomson’s adaptation of the first strain, the tune reaches the 5th degree of the scale in the first phrase, and leaps up to the octave on the repeat. Crockat, Gairdyn, Dow, Stuart and Munro reach only the 7th degree in both statements of the phrase. p. 55: The tune is given again ‘For The Flute’ with the text omitted, on treble stave only, transposed up a fifth, with quavers are beamed in fours rather than twos. t-s ¢, k-s B flat, with B natural accidentals added where required AriaDiCamera, p. 12, no. 18: Fy gar rub her o’er with Strae. t-s ¢, k-s none This is the same musical text as ThomsonOC1, on treble stave for flute, transposed up only by a tone. Bar 4, note 5. dotted crotchet [not crotchet and quaver rest]

431

The Gentle Shepherd Patie&Peggy, p. 4: AIR III. Fy Gar rub her o’er with Straw. HighlandFair, p. 19: AIR XI. Fy gar rub her o’er with Strae. JovialCrew, p. 15: AIR XIII. Fye! gar rub her o’er with Straw. Achilles, p. 41: AIR XXXIII. Fy gar rub her o’er with Straw. t-s ¢, k-s B flat The same woodcut notation appears in each of these ballad opera playtexts, with different song text printed below it in each case. They carry the musical text from ThomsonOC1, treble stave only, with one slight alteration. Bar 6, note 6. two slurred quavers, g’ f’ [not crotchet g’] MusicalMiscellany, V, p. 76: Fy gar rub her o’er wi’ Strae. The treble stave is again identical to Patie&Peggy, but another stave has been inserted between each line to carry the bassline, which is also taken directly from ThomsonOC1. The text is typeset between these, again from ThomsonOC1 but with added punctuation, and with ‘Grip’ replacing ‘Gripe’ in bar 10. ScotchOrpheus, p. 28: And gin ye meet t-s ¢, k-s B flat The music here is copied from ThomsonOC1, with song text omitted, and quavers beamed in fours rather than twos throughout. Bar 16, both staves, final note. crotchet [not dotted crotchet] p. 66: ‘For the Flute’, transposed up a fifth, treble stave only. t-s ¢, k-s B flat

432

The Music Munro, p. 42: FY GAR Rub her.

This statement of the tune is followed by four variations, and Munro’s variation sonata then concludes with an Adagio, Corrente, Gavotta & Minuetto based on the same material. Aaron McGregor (2019, 293) gives a concordance of Munro’s version with YoungMcFarlane2085, OswaldCoC2, McGibbon and the later Little MS. ThomsonOC2, I, no. 28: Fy gar rub her O’er wi’ Strae t-s ¢, k-s B flat The tune here is very similar to that in ThomsonOC1, but the bassline is a more conscious ‘improvement’, with only a few elements of the original left intact. The bass is also liberally supplied with E flats, to bring the tonality firmly into G minor. In the tune, while the anacrusis into bar 9 is flattened, Thomson seems to have forgotten to also flatten the E at the end of bar 11. All alterations to the tune from ThomsonOC1 are noted here. Bar o. The a’ is slurred to the following b’ flat, both carrying the syllable ‘Gin’. Bars 2 & 6, note 6. crotchet appoggiatura g’, slurred to the f’ Bar 8, note 6. e’’ flat [not e’’ natural] Bar 10, note 6. crotchet f’ [not quavers g’ f’]

433

The Gentle Shepherd YoungMcFarlane2085, p. 282-287, no. 289: Fy gar rub her o’er wi’ Strae t-s C, k-s F sharp C sharp Young has copied the entire sonata from Munro, with the bassline and movement titles omitted. There are some adjustments to slurring, and the tempo marking ‘Adagio’ for the second movement has been replaced with ‘Very slow.’ OswaldCoC2, p. 41: Fy gar rub her o’er with straw t-s C, k-s F sharp C sharp Marked ‘Slow’, the tune is included in the section ‘The Following Scots Tunes with the Variations for a Violin or German Flute’ which begins on p. 40. The setting is very similar to Munro, but with bassline omitted and with slightly more decoration. The tune is followed by three variations and a Minuet, and of these only the 2nd variation differs substantially from Munro. OswaldCPC, I, p. 32-33: Fy gar rub her o’er with straw The same musical text as OswaldCoC2. Differences subsequent to the initial statement of the tune are not noted. Bar 2, notes 1-4. slurs missing Bar 3, notes 3-4. slurs missing Bar 7, note 3. trill missing GSRobertson, p. 9: SANG II. Fy gar rub her o’er with Strae.

This simple statement of the tune is given in A minor rather than A Dorian. The inclusion of anacruses and slurs suggest that it originated as a vocal setting.

434

The Music

[3] SANG III. Polwart on the Green. Tonality: major, with functional harmony and line-end cadences on V, I, V, I. Crockat, f. 55v: Poluort on ye Green

Bar 2, note 2. dot missing Bar 3, note 1. dot missing Bar 5, notes 4-5. quavers [not crotchets] Bar 6, note 1. dot missing Bar 8. barline misplaced between note 1 and note 2 Bar 10. notes 8-9. crotchet, quaver [not dotted quaver, semiquaver] Bar 12. notes 3-4. crotchets [not quavers] Bar 14, note 8. dot missing Bar 15, notes 2-7. crotchets [not quavers] Bar 16. barline missing

435

The Gentle Shepherd Crockat, ff. 32r-33r, no. 36: [untitled]

The opening strain appears here as the first part of a minuet on the keyboard side of the MS. There is a bass stave but it is left blank, other than a bass clef and k-s of F sharp. Gairdyn, f. 40r: Polwart on the green

As often in Gairdyn, the tune appears as an incipit only, and is crammed into the space remaining after the first line of ‘Minuet 11 Aprile 1710’. Barlines were added in pencil by a later hand after notes 2 and 7, and the k-s is missing.

436

The Music ThomsonOC1, p. 24: Polwart on the Green

p. 66: ‘For The Flute’, up a fourth, treble stave only. t-s ¢, k-s F sharp

437

The Gentle Shepherd Stuart, pp. 6-7: Polwart on the Green

The falling octave at the end of each line would imply an extra syllable if this version were intended for singing. Other than the third line, it is very similar in its melodic shape to ThomsonOC1. Craig, pp. 36-37: Polwort Green

438

The Music

This setting is followed by two variations, the second of which is in 6/8. As in several of Craig’s settings, the tune is not always at the top of the musical texture (for example, the final note in bars 1, 5 and 13). Bar 10 of the first variation is one of the few places in the book where the readings of the first and second editions diverge significantly. Bar 0, bass stave. rest missing Bar 8, both staves, note 1. minim [not dotted minim] Bar 8, bass stave. rest missing Bar 15, treble stave, note 3. The ornament signs are clearly given both before and above the note. NealScotch, p. 28: At Polwarth on the Green

439

The Gentle Shepherd Polly, p. 8: Air 20 [playtext, p. 23: Air XX. Polwart on the Green.] t-s ¢, k-s none This tune here is derived from ThomsonOC1, but with the ornaments removed, making it almost identical to Thomson’s version in ThomsonOC2. In Polly it is given a tone lower in C major, with a different bassline, and with Gay’s text underlaid. BeggarsWedding, p. 10: At Polwart on the Green t-s ¢, k-s none This is the same music as Polly, but with a different text. A version for flute appears underneath transposed up a fifth, and with more slurring. In both versions, the slurs peter out before the end, and in different places, as though the engraver lost interest or ran out of time. Patie&Peggy, p. 5: AIR IV. Polwart on the Green. t-s ¢, k-s none Another version very similar to that in Peggy, in C major with no bassline. There is a unique addition to the end of the first phrase (in bar 2 below), which seems to have been added to balance the phrase four bars later:

The text given underneath the woodcut notation is Cibber’s Anglicised version of [3]. HighlandFair, p. 69: AIR XLV. Polworth on the Green. The same woodcut as Patie&Peggy, given with a different text. ScotchOrpheus, p. 25: At Polwart on the green t-s ¢, k-s F sharp C sharp The music here is copied from ThomsonOC1, with the song text and all appoggiaturas omitted. Bar 6. first slur omitted Bar 7. both slurs omitted, bass quavers beamed in fours 440

The Music p. 66: ‘For the Flute’, transposed up a fourth, treble stave only. t-s ¢, k-s F sharp ThomsonOC2, I, no. 24: Polwart on the Green Thomson streamlined the tune and provided a less relentless bassline from the version in ThomsonOC1. The eccentric syllabification of ‘con-ve-en’ survives as ‘con-ve-ne’. Melodic variants from ThomsonOC1 are given here. Bars 1, 5 & 13, notes 1 & 4. appoggiaturas omitted Bar 2, note 1. minim, crotchet rest [not dotted minim] Bar 7, notes 1-2. crotchets [not dotted crotchet, quaver] OswaldCM, pp. 32-33: Polwart on the Green OswaldCC, pp. 30-31: Polwart on the Green t-s C, k-s F sharp C sharp Both publications used the same printing plate for this rondo with three variations, marked Andante, which forms the last movement of the ‘Sonata of Scots Tunes’ for two violins and bass, the final instrumental piece in each volume. The second variation is unusual in that the violin plays mostly syncopated minims while the cello plays divisions on the bassline, and the final variation is a 6/8 jig. YoungMcFarlane2084, pp. 34-35: Polwarth on the Green. Craig. t-s C, k-s F sharp C sharp Although Craig may have been Young’s original source, there are energetic divisions even in the opening statement of the tune, and bar 11 takes a quite different shape. The tune is followed by two variations, the second of which is in 6/8. OswaldCPC, I, pp. 6-7: Polwart on the Green. t-s C, k-s F sharp C sharp This is simply the violin 1 part of the Sonata movement from OswaldCM and OswaldCC: the second variation makes little musical sense without the cello divisions underneath. GSRobertson, p. 13: SANG III. Polwart on the Green. t-s C, k-s F sharp C sharp Here the tune is given as in Craig, with some of the ornaments omitted. 441

The Gentle Shepherd

[4] SANG IV. O dear Mother, what shall I do? Tonality: major, with a paroxytonic V-I cadence at the end of each line. Sinkler, f. 59v: O Minie

Dow, pp. 40-41, no. 64: O Minnie what Shall I do.

442

The Music

The last four bars of each strain have the same unique melodic shape in this source. Patie&Peggy, p. 6: AIR V. O dear Mother, what shall I do.

This variant avoids the low tessitura of the opening phrase, but then in the second strain it reaches a third higher, and ends an octave higher than the versions found in Scottish sources. This may have been an adjustment for singers on the London stage, to make the tune easier to project. OswaldCM, p. 17: O dear Mother what shall I do? t-s 3/4, k-s F sharp C sharp This keyboard setting on two staves in a similar style to those in Craig, seems to have been adapted from the version below, which follows later in the book. 443

The Gentle Shepherd OswaldCM, p. 80: O Mother what shall I do OswaldCC, p. 28: O Mother what shall I do

444

The Music

Both publications used the same printing plate, and this setting forms the first movement of the ‘Sonata of Scots Tunes’ for two violins and bass, the final instrumental piece in both volumes. Uniquely, Oswald employs two quite different versions of the final two bars: the ending common to the other 1740s sources is at the end of the first strain, and one resembling Sinkler but in a decorated rhythmic sequence, is at the end of the second. YoungMcFarlane2084, p. 262, no. 213: O dear Mother what shall I do. t-s 3/4, k-s none Young presents a clear statement of the tune, with occasional intricate decorations, followed by one variation. Only the first note of Young’s bar 5 differs substantially from the other 1740s versions (bar  3 in Sinkler and Patie&Peggy): this note is given by Young a sixth lower, prefiguring the similar phrase at bar 21 (bar 11 in Sinkler and Patie&Peggy). Barsanti, p. 13: O dear Mother, what shall I do t-s 3/4, k-s F sharp C sharp, marked ‘Slow’, as is every tune in the volume This is similar in substance to OswaldCC but with different ornamentation, except that the final four bars simply duplicate the last four bars of the first strain.

445

The Gentle Shepherd OswaldCPC, I, 9: O Mother what shall I do t-s 3/4, k-s F sharp C sharp Marked ‘Largo’, this is the violin 1 part of the version in OswaldCC, except for one likely copying error: Bar 12, note 2. c’# [not b’] GSRobertson, p. 15: SANG IV. O dear mother what shall I do. t-s 3/4, k-s F sharp C sharp This follows the shape of Barsanti exactly, omitting some of the ornamentation, and with occasionally simplified rhythm.

[5] SANG V. How can I be sad on my Wedding-Day. Tonality: Lydian or major, with binary structure 111o ooo1 111o 1oo1 in each strain. For such a famous tune, sources contemporary to its most celebrated performance on the carillon of St Giles Cathedral are surprisingly scarce. A letter to the Earl of Mar from Henry Maule dated 1 May 1707, the day the Treaty of Union came into effect, described it: There is nothing so much taken notice of here to day as the Solemnity in the South part of Britain and the want of it here[.] The first tune of our mūsick bells this day was Why should I be sad on my wedding day – (GB-Enr GD124/15/549/2) HighlandFair, p. 75: AIR XLIX. How can I be sad on my Wedding-Day?

Here the tune has been cleansed of the more difficult ‘exotic’ tonal elements which survive in later sources, presumably to make it more suitable for the London stage. 446

The Music YoungMcFarlane2085, p. 118, no. 154: How can I be sad on my Wedding day

Young gives the tune in the Lydian mode on G (with C sharps throughout), and with his customary violin divisions; one variation follows. OswaldCPC, V, p. 12: How can I be sad on my Wedding Day

This version is even more exotic tonally, with G sharps as well as C sharps (and possibly also C naturals in the final bar of each strain). The single variation continues the same tonal pattern, so this is clearly not an error. While the G sharps at first seem incongruous, they make the shape of the underlying ground more regular: a symmetrical woven ground 111o ooo1 x4, rather than 111o ooo1 111o 1oo1 x2.

447

The Gentle Shepherd This tonal language with apparently incongruous C and G sharps, is also seen in Scotland at the beginning of the 18th century in ‘the Scots Chaconne’ (Bowie, ff. 14r-15v): in this tune’s appearance as ‘The Scots Shochone’ in Leyden (ff. 68v-69r), the k-s changes after the first three lines, and the added accidentals could suggest some confusion on the part of the copyist. GSRobertson, p. 18: SANG V. How can I be sad on my wedding day. This version is clearly derived from OswaldCPC: the tr signs have been replaced with // and a slight reduction made in the number of troublesome sharps. Bar 7. sharps to G and C omitted Bar 15. sharp to G only omitted

[6] SANG VI. Nansy’s to the Green Wood gane. Tonality: hexatonic, major with no 7th. Some sources from the 1730s emphasise the possible underlying pentatonic nature of the tune. This is a different tune from ‘Nancie’ which appears as no. 12 in the Fitzwilliam Virginal Book (GB-Cfm MS 168) set by Thomas Morley, and which is also in several other English sources. Most sources lack the initial anacrusis required for Ramsay’s song text. Blaikie, p. 4: No 90 Tow to Spine

Rhythms are editorial; however, the barlines are mostly regular, and the slurs clearly denote quaver movement. The tuning is given as ‘Harp Sharp’: d’’ b’ g’ d’ g d. The ornament signs appear in the MS as diagonal sharps before the ornamented note.

448

The Music Bar 3, note 1. The horizontal stroke appears in the space above the uppermost letter on the stave. Bar 4. The barline is given after the first note. Bar 10. An additional barline is given after note 5. Bar 11. The barline is given after note 3. Bar 12. The barline is given after note 1. Crockat, f. 42v: Nanzies to the Greenwood Gone

Bar 10, note 6. a’’ apparently corrected to g’’ by blotting an erroneous leger line, but this could also be an attempt to correct g’’ to a’’ by enlarging it. Bar 11, notes 4-5. crotchets [not quavers] Bar 12. barline omitted Bar 18, note 5. crotchet [not quaver]

449

The Gentle Shepherd Campbell, f. 42v: Nansy’s to the Green wood gane

Bar 3, note 2. crotchet [not quaver] Gairdyn, f. 1v: Nansy’s to the green wood Gane

A later hand has added pencil barlines after note 7 and after note 13, and noted that the tune is in the key of D [major], as the k-s is missing. ThomsonOC1, p. 13: Scornfu’ Nansy

450

The Music

The same four bars of bassline repeated almost identically throughout are not entirely convincing under the long G at the end of the third line. The use of Italic and Roman type is reversed in the transcription. Bar 8, both staves. There is an additional crotchet rest before the double bar. p. 53: ‘For The Flute’, up a fourth, treble stave only. t-s C, k-s F sharp Bar 8, note 3. dotted crotchet, in error [not crotchet] Bar 12, note 1. tr added Stuart, p. 40: Nancy’s to the Green Wood gane.

451

The Gentle Shepherd

The bassline shares characteristics with that in ThomsonOC1. Bar 6, bass stave, note 5. The US-COS copy shows that the G is probably a correction, but from which note is not clear. Bar 11, bass stave, note 3. Pitch slightly ambiguous: could be e [not f#]. HighlandFair, p. 43: AIR XXVII. Scornful Nancy. t-s ¢, k-s none Musical text is as in WalshThirtyNew2 below, treble stave only, with ornament signs omitted, and the following variants. The anacrusis required for Ramsay’s song appears here, but with a different song text. Bar 0, note 1. quaver [not crotchet] Bar 4, note 1. g’ dotted crotchet, a’ quaver [not g’ minim] Bar 5, notes 5-8. beamed in pairs [not in 4] Bar 7, notes 3-6. beamed in pairs [not in 4] Bar 14, notes 5-6. crotchets [not dotted crotchet, quaver] Patie&Peggy, p. 8: AIR VIII. Nancy’s to the Green Wood gone. This is the same woodcut notation as HighlandFair, with Cibber’s Anglicised version of Ramsay’s song from The Gentle Shepherd given underneath. ScotchOrpheus, p. 14: Nansys to the greenwood The musical text is taken from ThomsonOC1 with song text omitted; quavers are beamed in fours, except in bar 5.

452

The Music Bar 4, treble stave, notes 1-2. slur omitted Bar 8, treble stave, notes 1-2. slur omitted Bar 8, both staves. The erroneous rest from ThomsonOC1 is included. Bar 15, treble stave, note 1. grace notes omitted p. 61: ‘For the Flute’, transposed up a fifth, treble stave only. t-s C, k-s F sharp WalshThirtyNew2, p. 7, no. 11: Scornfull Nancy. LadysBanquet4, p. 7, no. 11: Scornfull Nancy.

453

The Gentle Shepherd Munro, p. 15: Nanzie’s to.

The tune is followed by a variation in quavers, a Largo 3/4, Vivace in 3 [3/4], a Gavotta in 2/4, a Presto 2/4 and a 12/8 Giga marked Allegro. This is the first printed version to avoid the long accented G at the end of the third line in bar 12, lowering it to a D: the fourth degree of the scale is otherwise used mainly as a passing note, so this gives more of the impression of a pentatonic tune. ThomsonOC2, I, no. 13: Scornfu Nansy t-s C, k-s F sharp C sharp In this version the melody is very slightly simplified from that in ThomsonOC1, and bassline has a smoother flow, replacing the broken chords at the end of each line. Melodic variants from ThomsonOC1 are listed here. Bar o. Crotchet a’ anacrusis added. It is given the syllable “There’s” which makes little grammatical sense: “There’s Nansy’s to the Green Wood gane”. The additional word is not given in the text as separately printed. Bars 4 & 8, note 1. minim [not dotted crotchet, quaver] 454

The Music Bar 4, notes 4-5. quaver rest, quaver e’’ [not quavers d’’, e’’] Bar 11, notes 1-5. crotchets d’’, f’’#, f’’# quaver e’’ [not dotted crotchet d’’ quavers e’’, f’#, e’’, f’#] Bar 13, notes 1-4. dotted quaver, semiquaver, dotted quaver, semiquaver [not quavers] Bar 15, note 1. ornament omitted Achilles, p. 54: AIR XLIII.

The repeat signs are as given here, although only the first strain should be repeated. Here the long G (which would be an F in this key, and in bar 8 after the repeated first four-bar strain) is avoided by altering the approach and dropping it by only one step, rather than by four as in Munro. OswaldCC, pp. 10-11: Nansy’s to the green wood gane t-s C, k-s F sharp C sharp Oswald similarly avoids the long G in bar 12 by dropping it one step to an F sharp. This version is marked ‘Slow’ and followed by a single variation. OswaldCoC, pp. 18-19: Nancy’s to the green Wood gane. The same setting as in OswaldCC, without the ‘Slow’ marking. OswaldCPC, I, p. 3: Nansy’s to the green Wood gane t-s C, k-s F sharp C sharp This is again largely the same setting as OswaldCC, marked ‘Slow’ and with the figured bass omitted, but here the long G in bar 12 has been reinstated. At the corresponding place in the variation it remains an F sharp.

455

The Gentle Shepherd GSRobertson, p. 22: SANG VI. Nansy’s to the Green-wood gane. t-s none, k-s F sharp C sharp The musical text here is derived from OswaldCC, and preserves aspects of the beaming and stem direction.

[7] SANG VII. Cald Kale in Aberdeen. Tonality: Mixolydian (hexatonic in GeorgeSkene, Aeolian in Bowie), on a binary ground 1011. The original pipe tune was replaced with an entirely new tune in some later eighteenth-century sources, including GSFoulis in 1788. Bowie, ff. 14r: Lang Kell in Aberden

A k-s of F sharp and C sharp may be implied by the tune’s clear origin in pipe music. A repeat of the second strain is clearly intended: some other tunes in the earlier part of the MS also omit the final repeat mark. GeorgeSkene, ff. 17v-18r: Cauld Kail in Aberdeen Kail=castocks in Strathbogie – Bagpipe humour

The ornament sign ‘gr’ is Skene’s abbreviation for ‘gathering’, a term most likely borrowed from piping.

456

The Music Four variations follow, with two additional versions of the second strain given at the end: these are headed ‘A Way in stead of The gatherings in the second measure’, and ‘Ano[th]r. way of the 2d. measure wt. gatherings’ GSRobertson, p. 25: SANG VII. Cauld kale in Aberdeen.

Bar 6, notes 4-5. The sharp is placed ambiguously between the notes F and G, above the stave. The F is already sharpened by the k-s, and the later corroboration of Mackintosh4 suggests that the sharp belongs on the G sharp: the tune appears there on p. 34 as ‘Cauld Kail, or the Sutter’s Fragments.’ BremnerGSGuitar, p. 6: Tune – Cauld kale in Aberdeen. Symon sings to Glaud

Although this source dates from 1760 and would normally be outside the scope of this edition, it is the earliest version which demonstrates how to sing Ramsay’s words to the pipe tune, and it shows the adaptation from instrumental to vocal idioms that was required for some of his songs.

457

The Gentle Shepherd Bremner notes in BremnerInstructions that the music is notated for guitar an octave higher than the voice, and also that ‘Those Guitars that have moving bridges on the neck, have the advantage of the others, as by such the instrument is enabled to suit the voice with any pitch of song’ (p. 12), suggesting that transposition by means of a capo provides the ideal solution. All of the music in the volume is given in the key of C, to suit the open tuning of the ‘English guitar’ or ‘guittar’.

[8] SANG VIII. Mucking of Geordy’s Byer. Tonality: hexatonic Aeolian, with no 2nd. The underlying harmonic structure is ambiguous, but appears to move between minor and relative major tonal centres. The pre-1734 sources all bar the tune in 6/8, against the underlying 9/8 metre. Crockat repeats the second strain, varying it: ThomsonOC1 and ThomsonOC2 employ only the first and final quarters of this for the sung version of the second strain. Although Thomson set a text other than Ramsay’s, it is easy to fit Ramsay’s words to his version of the tune. Crockat, f. 41v: The Three good Fellows

In a later hand to the right of the title: ‘[uncertain word] set of Mucking o Geordie’s byre.’ 458

The Music The rhythm is confused in places, but the barring is consistently regular. The rhythm here has been corrected no more than is necessary to maintain the metre, preserving as many of the inconsistencies as possible. Bar 2, note 1. crotchet [not dotted crotchet] Bar 2, note 5. crotchet [not minim] Bar 6, note 3. crotchet [not minim] Bar 8, notes 3-6. crotchets [not quavers] Bars 10-11, all notes. quavers, beamed in threes [not crotchets] Bar 16, note 4. crotchet [not minim] Bar 17, notes 2-6. quavers, beamed 3+2 [not crotchets] ThomsonOC1, p. 33: My Dady’s a Delver of Dykes.

The number of syllables per line in the text varies between verses; the ‘wow, wow, wow’ refrain occurs only in the first verse. p. 56: ‘For The Flute’, up a fourth, treble stave only. t-s 6/8, k-s B flat Bar 9, note 1. tr added

459

The Gentle Shepherd ScotchOrpheus, p. 34: My Dadys a delver of dykes The musical text is derived entirely from ThomsonOC1, omitting the song text. The beaming of quavers has been regularised in threes. In the first strain, slurs over quavers have been omitted, but slurs over semiquavers survive intact. Bar 11 is slurred in two groups of three quavers. Bar 12, treble stave, note 1. tr omitted Thomson’s transposed version a fourth higher ‘For The Flute’ is given below on the same page, headed ‘Flute’: this omits Thomson’s key signature of a single B flat, and the trill in bar 12. ThomsonOC2, I, no. 33: My Daddy’s a Delver of Dykes The bass here is simplified from the 1725 version in ThomsonOC1, but it also has a strong sense of 6/8 metre, particularly in the first strain. Either the reviser of the basses was not particularly familiar with the nature of the material being set, or the cross-rhythm in the first strain was a deliberate effect. Melodic variants from ThomsonOC1 are listed here. Bar 2, notes 1-2. slurred Bar 3, notes 5-6. quaver e’’ [not semiquavers e’’ d’’] Bar 9, note 1. tr added Bar 9, notes 3-5. quavers [not crotchet, two semiquavers] Bar 10. slurs omitted Bar 10, notes 1-2. quavers c’’ a’ a’ [not quaver, crotchet] McGibbon, I, pp. 14-15: Mucking of Geordy’s byer t-s 3/4, k-s F sharp C sharp Set in B minor and marked ‘Brisk’, this version appears to be the basis for GSRobertson, which has only a few differences, and copies the slurs and ornaments. Unfortunately, this version is quite unsuitable for the song, not least because it includes a varied repeat of the second strain of the tune, for which there is no matching text. The first statement of the second half of this strain features the same falling sequence as the second statement of its first half as given in Crockat.

460

The Music OswaldCoC2, pp. 10-11: The Mucking of Geordys Byre t-s 3/4, then 9/8, k-s F sharp Again in B minor, the tune is presented here twice in succession. Both are similar to McGibbon, but the first is more intricately ornamented as an air and is marked ‘Slow’. The second, a jig, is marked ‘Brisk’ and barred in 9/8. Oswald CPC, II, p. 35: The Mucking of Geordy’s Byre. t-s 3/4, then 9/8, k-s F sharp The same musical text as OswaldCoC2, but without the figured bass. GSRobertson, p. 27: SANG VIII. Mucking of Geordy’s byar. t-s 3/4, k-s F sharp C sharp Largely derived from McGibbon, this preserves the written-out varied repeat of the second strain, for which there is no song text. This suggests that the compositor or editor lacked the intention (or knowledge) to match the music to the song in any detail.

461

The Gentle Shepherd

[9] SANG IX. Carle and the King come. Tonality: possibly pentatonic in origin, but in practice hexatonic or major: Blaikie has no 4th; Stuart, YoungMcFarlane2085, OswaldCPC and GSRobertson have no 7th. Blaikie, p. 7: No 40 The New Way of Owing.

Tuning is given as ‘harp sharp’: top to bottom d” b’ g’ d’ g d. The ornament signs appear in the MS as diagonal sharps before the ornamented note. Rhythms are shown by minims above the staves in the first half only, and slurs are used to indicate quaver movement. The rhythm of bar 7 is as given here, but may be corrupt: the crotchets a’ b’ could be included in error. The use of minims in the second half is editorial, as is the crotchet for the slurred g’’ in bar 14. Bars 7, 16. barlines missing

462

The Music Campbell, f. 39r: Carle an the King Come

Bar 12. barline missing Stuart, pp. 16-17: Carle an the King come.

The pitch of several bass notes is ambiguous, apparently from careless engraving, or lack of supervision by someone with musical knowledge. The k-s places the flats on As in both staves of the first system, on Bs in the 463

The Gentle Shepherd second, and in the remaining systems it is simply missing. The pitch errors noted below are those where the note is obviously in the wrong position on the stave, rather than simply being unclear. Bar 6, treble stave, note 4. crotchet [not quaver] Bar 7, treble stave, note 8. g’ [not a’] Bar 7, bass stave, note 4. G [not A] The tune titled ‘New Way of Wooing.’ in WalshThirtyNew, p. 4, no. 3, LadysBanquet4, p. 5, and WalshCCD, p. 37, is unrelated to this. All three sources have has the same musical text, but WalshCCD omits the occasional chords in the bassline. YoungMcFarlane2085, p. 16, no. 27: Carle an the King come. t-s C, k-s F sharp The initial statement of the tune has been adapted to a more instrumental idiom, and is slightly more florid than in Stuart. It is followed by a single variation almost entirely in quavers. OswaldCPC, VI, p. 15: Carle an the King Come t-s ¢, k-s F sharp Marked ‘Brisk’, and with one variation following, this version preserves more rhythmic elements of the song text than are in YoungMcFarlane2085. GSRobertson, p. 32: SANG IX. Carle, an’ the king come. t-s none, k-s F sharp C sharp, amended to F sharp alone in the final line to accommodate a c’’ natural This setting is similar in some ways to that in OswaldCPC, but with a quite different version of the final two bars of each strain. The first strain is given very simply, but the second is more obviously instrumental in style. There are redundant anacruses for the first four lines of text, and the final two bars fit the text very awkwardly.

464

The Music

[10] SANG X. Winter was cauld, and my Cleathing was thin. Tonality: major, hexatonic with no 4th in the earlier sources. Functional harmony with line-end cadences on V, I, V, I. Balcarres, pp. 16-17, [no. 30]: The yellow haired ladie, mr beck’s way The examples of this tune from Balcarres are in the ‘the flatt tuneing’, which when pitched in D minor gives f’d’afdA, GFEDC. This version, pitched in the tenor register and presented here in octave transposition, is followed by one variation.

Balcarres, p. 127, [no. 201]: The yellow haired ladie, heneretta imbries way, by mr beck, much helped This setting is very similar to Balcarres no. 30, and the opening statement of the tune is identical.

465

The Gentle Shepherd Balcarres, pp. 82-83, [no. 130]: My own dear honey, be kind to me, or the yellow haired ladie, by mr lessly

MMC353, p. 49: Yellow haird Lady

466

The Music Crockat, f. 51v: yellowhaird laddie This seems to have been copied from MMC353 (or from another source common to both) but omitting many of the ornaments. Variants are listed below. Bar 9, notes 4-5. dotted quaver with // ornament, semiquaver [not slurred quavers] Bar 11, note 1. dot missing Bar 11, note 3. \ [not //] Bar 15, note 3. // added Ornaments omitted: bars 2, 3, 6, 7, 8, 9, 14 & 15, note 1; bars 4, 5 & 13, note 2 Slurs omitted: bar 9, notes 4-5; bar 10, notes 4-5 Gairdyn, f. 4: The yellow hair’d Ladie

k-s missing, barlines apparently original NealScotch, p. 11: yallow hared lad

467

The Gentle Shepherd ThomsonOC1, p. 7: The Yellow=Hair’d Laddie

Thomson seems to have exchanged the 1st and 2nd time bars in the second strain. It is more ‘natural’ for the end of a strain to come to rest at the pitch where the next one will begin, rather than at an octave’s distance in each case, but Thomson has instead given each strain the same pattern of 1st and 2nd endings. This apparent error is taken over into several other sources, but not those by Edinburgh musicians Craig, McGibbon or Oswald. p. 52: ‘For The Flute’, up a fourth, treble stave only. t-s 3/4, k-s F sharp In this version, bar 6 is identical in rhythm to bar 2, and in the rhythmic ornament in bar 11, the first three notes are beamed separately from the final two. Otherwise, the engraving generally employs longer beams than in the vocal version, but not with consistency.

468

The Music Stuart, pp. 84-85: Yellow hair’d Laddie

Bar 10, treble stave, note 6. quaver [not semiquaver] Bar 15, treble stave, note 4. quaver [not semiquaver]

469

The Gentle Shepherd Craig, p. 15: The Yellow haird Laddie

One variation follows. Craig orders the tessitura of the second strain endings the opposite way to those in ThomsonOC1.

470

The Music MusicalMiscellany, I, pp. 106-107: SCOTCH SONG.

The underlaid text begins ‘Ye Shepherds, and Nymphs, that adorn the gay Plain’, and a version for the flute follows, transposed up a fourth into G. Patie&Peggy, p. 17: AIR XIV. Yellow-hair’d Ladie. JovialCrew, p. 19: AIR XV. Yellow-hair’d Laddie. Both of these ballad opera publications use the same woodcut as MusicalMiscellany. ScotchOrpheus, p. 8: In Aprill when Prim-roses t-s 3/4, k-s F sharp C sharp The musical text is derived from ThomsonOC1, with text omitted. Gracenotes are omitted, but tr ornaments and slurs have been copied over; quavers are generally beamed in long groupings within the bar, rather than in single beats. Bar 2, treble stave, notes 3-7. three quavers, two semiquavers [not dotted quaver, three semiquavers, quaver] Bar 11, treble stave, notes 5-6. quaver a’, quaver f’# Bar 17, treble stave, note 4. tr omitted p. 59: ‘For the Flute’, transposed up a fourth, treble stave only. t-s 3/4, k-s F sharp

471

The Gentle Shepherd ThomsonOC2, I, no. 7: The Yellow-hair’d Laddie

The vocal line here is much simplified from that in ThomsonOC1. MockLawyer, p. 4 (in music sequence): Air 10 t-s 3/4, k-s none In Phillips’s playtext it appears as ‘AIR IX. Yellow hair’d Laddie.’ set to two verses, which begin ‘How bless’d was the Nymph, and how happy the Swain’. The musical text is almost identical to MusicalMiscellany, transposed down a tone to C major, and missing a few slurs. The last two bars of the first strain are also given as the ending of the second, so that both strains finish in the higher tessitura. Melodic variants from MusicalMiscellany are listed here. Bar 7, note 4. quavers d’’ and c’’ - in D major these would be quavers e’’ and d’’ [not crotchet d’’]. Bars 15-16. as bars 7-8

472

The Music OswaldCoC2, p. 29: The yellow hair’d Laddie t-s 3/4, k-s F sharp C sharp Marked ‘Slow’, Oswald’s setting has most in common with Craig, particularly in the second strain. It is followed by one variation, which makes use of slurred staccato. McGibbon, I, p. 31: The Yellow hair’d Laddie t-s 3/4, k-s F sharp C sharp Marked ‘Slow’, the tune is followed by a single variation, slightly busier than Oswald’s, which uses a variety of melodic diversion and ornamentation. The first strain leans more towards the version in Stuart, but as in Craig and OswaldCoC2, the second strain’s first and second time bars follow the more ‘natural’ pattern of tessitura (high, then low), both in the original statement of the tune and in the following variation. Thumoth, p. 4: No. II. The yellow hair’d Laddie t-s 3/4, k-s F sharp C sharp An unequivocally instrumental setting marked ‘Slow’, with two increasingly ornate variations. There are no first and second time bars given, and both strains end in the upper octave. JohnsonCCD, p. 64: The yellow Hair’d Laddie. t-s 3/4, k-s F sharp C sharp This is derived from ThomsonOC1 with the ornaments removed and one copying error, and is presented as a longways country dance, with the dance figures. There are no first and second time bars, and the second strain ends in the lower octave. Bar 1, treble stave, notes 1-2. f’# g’ [not e’ f’#] OswaldCPC, II, p. 12: The yellow hair’d Laddie t-s 3/4, k-s F sharp C sharp This is the setting from OswaldCoC2 without its bass.

473

The Gentle Shepherd GSRobertson, p. 39: SANG X. The yellow hair’d ladie. This setting is copied from McGibbon, complete with irrelevant first and second time bars, but the final three bars of the tune have been rewritten, and incorporate most of one bar from McGibbon’s variation.

[11] S A N G XI. By the delicious warmness of thy Mouth. Tonality: major, with modulations to the dominant. As it appears in Stuart and most later sources, both sections of this duet appear to have been composed, rather than adapted from pre-existing popular tunes: Stuart’s engraver Richard Cooper may have had trouble deciphering the composer’s handwriting at one point. Its appearance in the final few pages of Stuart and in the latter part of the second volume of ThomsonOC2 might suggest that the duet was only considered for inclusion late in the editorial process of both of these, and was seen as a different kind of repertoire from the other GS songs. The music underwent several gradual transformations as the eighteenth century progressed, either through being remembered in incomplete form, or in deliberate attempts to improve it. In the second section, the modulation and the dominant 7th harmony suggest that it is a pastiche jig: the English country dance-like version given in GSRobertson is perhaps more stylistically convincing. NealScotch, p. 4: Jockey and Jenny

474

The Music This is a different tune to that in Stuart and ThomsonOC2 but it does (with a little effort) fit the words of both first and second sections of the duet. It could conceivably be the tune originally intended at the song’s first publication in Ramsay’s Poems of 1721. Stuart, pp. 150-153: Patie & Peggy

475

The Gentle Shepherd

Bar 10, bass stave, note 5. dot missing Bar 14, treble stave, notes 3-7. The source is as shown below (left). The score above shows one possible reading: the small note head on the f#’’ might suggest another interpretation of two quavers, quaver grace note followed by dotted quaver, semi-quaver, but the lack of ornaments elsewhere in Stuart makes this unlikely. If the piece was composed by someone in Ramsay’s circle, Cooper may have been working from the composer’s manuscript in an unfamiliar hand. Bar 21, bass stave, note 1. dot missing Bar 21, bass stave. k-s F sharp C sharp (in error) at the beginning of 2nd section only.

476

The Music This is the only pre-1758 source which clearly gives music for both sections of the duet, and it is unusual for Stuart in that the setting is obviously vocal in origin, and was probably sourced from the composer. The slurring in the first section needs only very slight adjustments to be a credible setting of the text, and the second section may have been conceived as a duet with two separate vocal parts, as shown in the speculative reconstruction below.

477

The Gentle Shepherd

Patie&Peggy, p. 14: AIR XI. As Jockey and Jenny, &c.

This is the same tune as in NealScotch, in a simpler, more vocal setting, printed with Cibber’s Anglicised text, and with the second section of the duet sung to ‘Over the Hills and Far Away’. This may suggest that while the text of GS was readily available in London, the specially composed music for this song was rather harder to come by outside Ramsay’s own circle. Whether the use of these tunes reflects earlier practice in Scotland, or is simply a London substitution for originals which were inaccessible there, is difficult to say. p. 15: AIR XII. O’er the Hills and far away.

478

The Music ThomsonOC2, II, no. 34: Patie and Peggy

479

The Gentle Shepherd A transposed version ‘For the German Flute’ is printed underneath the vocal setting, a semitone higher in B flat. t-s C, k-s B flat E flat Bar 16, notes 3-4. quaver e’’ flat, quaver d’’, crotchet g’’ [not dotted crotchet e’’ flat, quaver g’’] The grace notes are as in the untransposed version. This is clearly based on the same material as Stuart, but the end of each stanza is drawn out with a textual repetition. The omission of the second section of the duet at this early date is striking: whether the tune found in Stuart was not in circulation, or ‘Over the Hills and Far Away’ was in more common use, it was clearly not seen as incongruous for the first section to be printed alone. WalshBMM, II, p. 55: Jockey and Jenny. Set by Mr. Gouge. t-s 3 [3/4], k-s F sharp C sharp Another vocal setting of the tune from NealScotch and Patie&Peggy, to a stereotypical ‘Scotch song’ text. GSRobertson, p. 42: SANG XI. t-s ¢, then 6/8, k-s F sharp Here, the tune from Stuart for the first section has been subject to further variation, particularly at the ending of each strain, but without the textual repetitions found in ThomsonOC2. The notated rhythms do not yet always fit the text, and the second section has been adapted into a country dance jig of 16 bars’ length. This version is the basis for GSFoulis. BremnerGSGuitar, p. 10: Patie & Peggy t-s C, k-s none This version is similar to that in GSRobertson, with rhythms adjusted to allow for the underlaid text, and all of the textual repetitions removed. As a result, the second strain of the second section is only four bars long, but there is no repeat indicated.

480

The Music

[12] SANG XII. Happy Clown. Tonality: major, modulating to the dominant at the end of the first strain. Crockat, f. 44v: Happy Clown played on Exchange bells The original heading appears to have been ‘Exchange bells’ with the title ‘Happy Clown’ given at the end of the tune. Later, ‘Happy Clown’ and then ‘played on’ have been added in the same hand. The distinction between ornament signs // and \\ does not seem to be significant, as the + signs are also slanted by varying degrees.

Bar 1. barline missing Bar 3, notes 3-5. crotchets [not quavers] Bar 4, note 4. crotchet [not quaver] Bar 5, note 2. crotchet [not quaver] Bar 6, note 4. crotchet [not quaver] Bar 7, notes 1-3 & 5. crotchets [not quavers] Bar 8, note 1. crotchet [not dotted crotchet] Bar 13, notes 2 & 4. crotchets [not quavers] Bar 16, note 1. crotchet [not dotted crotchet] Campbell, f. 42v: The Happy Clown t-s 6/8, k-s none This is strikingly similar to the version in Crockat. Variants are noted here: All + ornaments omitted Bar 7, note 2: c’’’ [not d’’’] Bar 8, final barline, no repeat sign, note 3 missing Bar 9, notes 4-5. quavers [not dotted quaver, semiquaver] Bar 11, notes 1-3. crotchet f’’, quaver f’’ [not quavers f’’ d’’ e’’] Bar 13, note 4. c’’ [not g’’] Bar 15, notes 1-2. slur omitted Bar 16, note 1. dotted minim, in error [not dotted crotchet] 481

The Gentle Shepherd Pearson1718DM2, p.347: Walpoole; or the happy Clown. Longway for as many as will. t-s 6/4, k-s F sharp This version is almost identical to Crockat, but in doubled note values, in G major, without ornaments, and with the rubric “Note: The first Strain twice, and the last but once over.” above the dance figures. Variants are noted below, in the key and note values of Crockat. Bar 7, note 2. c’’ [not d’’] (as in Campbell) Bar 9, notes 4-5. quavers [not dotted quaver, semiquaver] (as in Campbell) Bar 14. note 1 tied to note 2 Bar 14, notes 2-3. dotted quaver, semiquaver [not quavers] BeggarsOpera1728, p. 59: AIR XLVII. One Evening, having lost my Way, &c.

BeggarsOpera1729, pp. 35-36 (in music sequence): AIR XLVII. One evening having lost my way.

482

The Music

WalshCCDM, IV, no. 26 [p. 13 (top right), p. 26 (above tune)]: Happy Clown. Longways for as many as will. t-s 6/8, k-s F sharp Another dance tune version in G major, with at least one dotted rhythm in each line. YoungMcFarlane2084, p. 215, no. 158: Happy Clown t-s 6/8, k-s F sharp An uncharacteristically simple setting, very similar to that in WalshCCDM. OswaldCPC, VII, p.8: The Happy Clown t-s 6/8, k-s F sharp Another simple setting, with one variation. It shares some ornaments with the version in YoungMcFarlane2084.

483

The Gentle Shepherd OswaldCPC, X, p. 99: One Evening as I lost my way t-s 6/8, k-s F sharp Marked ‘Brisk’, this is similar to the version in Oswald’s volume VII, with a few melodic variants, and no variation following. GSRobertson, p. 46: SANG XII. Happy Clown. t-s 6/8, k-s F sharp As with the second section of [11], the version of this tune given by Robertson seems more like an English jig: rather than concluding the vocal phrase in bar 4, the tune makes a turn towards the repeat of the opening phrase.

[13] SANG XIII. Leith-Wynd. Tonality: hexatonic, major with no 4th. The structure broadly follows a 1011 1000 1111 1100 pattern, with the cadences at line ends alternating between I (or possibly V) and vi. For this song the Scottish printed sources provide almost unsingable music from the fiddle tradition, and continue to do this into the second half of the century. Gairdyn, NealScotch and Stuart all attest that the tune had already acquired a stable instrumental shape, and only Thomson provides an obviously vocal setting, in both publications of his Orpheus Caledonius. Gairdyn, f. 43v: hap me with thy petticoat

t-s missing Bar 5. barline missing

484

The Music NealScotch, p. 16: Long Absence

This obviously instrumental version goes into divisions after the first four bars, and includes a varied repeat of the second strain. ThomsonOC1, p. 11: Come Hap me with thy Pettycoat

485

The Gentle Shepherd

This is the first extant setting to give an indication of how the tune might be sung rather than played, but its compass of nearly two octaves remains vocally challenging. p. 52: ‘For The Flute’ up a fourth, treble stave only. t-s ¢, k-s B flat, with the necessary E flats added as accidentals. Semiquavers are beamed and slurred in fours, except in the final bar where they are slurred in twos. There is a ‘Da Capo’ indication at the end of the tune, and a fermata on the last note of bar 4. This corresponds with the instruction on p. 11: “N.B. The Chorus is to be Sung only to the first part of the Tune”, which is relevant only to the text in TTM. Stuart, pp. 60-61: Hap me with thy Pettycoat.

486

The Music

Bar 0, bass stave. A minim c# with its downward stem on the right is given in place of a quaver rest, clearly a misreading on the part of Cooper. Bar 4, bass stave, note 6. crotchet as given above, despite the following quaver rest Bar 6, treble stave, note 7. dot missing Bars 9-12. The vertical placement of several notes on both staves is ambiguous. This is an almost unsingable instrumental setting of the tune for violin and bass, which includes divisions from the first bar onwards. It may be an early version of the setting in McGibbon. Craig, p. 16: Leith wynd t-s C, k-s F sharp C sharp Marked ‘Slow’, this is another unashamedly instrumental setting, for keyboard. Bars 9-13 are similar to Stuart, but otherwise its divisions and its use of broken chords in the melody line are quite distinct from it. HighlandFair, p. 66: AIR XLIII. Hap me in thy Peticoats. t-s ¢, k-s B flat The tune as given is identical to, and apparently derived from, ThomsonOC1, with grace notes omitted.

487

The Gentle Shepherd ScotchOrpheus, p. 12: O Bell thy looks t-s ¢, k-s B flat Again, the musical text is derived from ThomsonOC1, with text and grace notes omitted. Quavers and semiquavers are generally beamed in fours. Both the flute and vocal versions include a “D C” mark at the end, and a fermata on note 7 of bar 4. Bar 5, treble stave. slur over notes 5-7 The flute version is given below this, up a fourth, treble stave only. t-s ¢, k-s B flat, with the necessary E flats added as accidentals as in ThomsonOC1. ThomsonOC2, I, no. 11: Come hap me with thy Pettycoat t-s ¢, k-s B flat The melody line is slightly simpler than that in ThomsonOC1, but with a less active bassline. Melodic variants from ThomsonOC1 are listed here. Bars 1 & 3. ornaments omitted Bar 3, notes 1-4. quavers c’’ a’ [not semiquavers c’’ d’’ c’’ a’] Bar 6, notes 3-6. quavers c’’ a’ [not semiquavers c’’ d’’ c’’ a’] Bar 7, notes 3-4. dotted quaver, semiquaver [not quavers] YoungMcFarlane2084, p. 18, no. 8: Leith Wynd. Disb. t-s C, k-s F sharp C sharp This very violinistic setting is attributed by Young to William Forbes of Disblair. It has several features in common with Stuart, but becomes much more ornate, and is followed by four variations and a 12/8 jig. McGibbon, I, p. 11: Leith wynd t-s C, k-s F sharp C sharp Another instrumental setting in a similar style to Stuart, this has a more obviously Italianate bassline, and two ornate variations. OswaldCoC, pp. 28-29: Leith Wynd t-s C, k-s F sharp C sharp 488

The Music Oswald has taken this version, marked ‘Slow’, directly from McGibbon, adding a few slurs. The first variation is kept intact until its final bar, where Oswald diverges from it and adds a second variation which is mostly his own. OswaldCPC, II, p. 18: Leith Wynd. t-s C, k-s F sharp C sharp This is largely the same musical text as in OswaldCoC, with a few small variants. GSRobertson, p. 58: SANG XIII. Leith wynd. t-s ¢, k-s F sharp C sharp McGibbon’s musical text is reproduced here without its variations, and even includes his alternative readings for flute which avoid the low B. The tr ornament signs are replaced by \\.

[14] SANG XIV. O’er Bogie. Tonality: hexatonic (major with no 7th, or in ThomsonOC1 no 4th) on a binary ground of 1111 0010 in each strain. Crockat, f. 47v: ore Bogie

Bar 4, notes 5-7. These could also possibly be read as quaver, crotchet, two semiquavers [not grace note, crotchet, two quavers].

489

The Gentle Shepherd ThomsonOC1, p. 47: O’er Boggie

p. 58: ‘For The Flute’, up a fourth, treble stave only t-s ¢, k-s B flat Bar 4, note 9. dotted crotchet [not crotchet] Stuart, pp. 126-127: O’er Bogie

490

The Music

This version is possibly derived from ThomsonOC1, but with a conscious melodic differentiation between bar 2 and bar 6. Bar 2, treble stave, notes 1-2. dotted crotchet, quaver [not dotted quaver, semiquaver] Bar 4, treble stave, note 9. The appoggiatura c’’ is printed as a full-size note but has most likely been copied from ThomsonOC1, as the bass note is clearly vertically aligned with the following a’. Bar 7, treble stave, note 8. semiquaver tail missing NealDances, p. 16: Ore boggy

The first and second strains have been reversed in this version, and the dance figures are printed underneath the tune. The accidentals seem to imply a change in tonal colour rather than a more formal modulation.

491

The Gentle Shepherd AriaDiCamera, p. 21, no. 30: O’er Boggie. t-s ¢, k-s F sharp C sharp The tune here is identical to ThomsonOC1, transposed up a tone, and without grace notes. Bar 4, notes 5-8. slurred in twos Bar 5. slurs to notes 2-4 and notes 6-8 HighlandFair, p. 3: AIR I. O’er Bogie with my Love. t-s ¢, k-s none The musical text is derived from ThomsonOC1, but with the appoggiatura written out in full as a quaver. ScotchOrpheus, p. 51: [The title has been cropped off: it appears in the index as ‘O’er Boggie’, but the titles given above the tunes are generally the first line of song text from TTM, which is this case would be ‘I will awa’ wi’ my Love’.] t-s ¢, k-s none The music is derived from ThomsonOC1, with grace notes omitted. Quavers and semiquavers are beamed in fours. Bar 3, bass stave, note 3. c [not e] Bar 5, treble stave. slurs to notes 2-4 and notes 6-8 Bar 8, treble stave, notes 5-8. slurred in twos (in both vocal and flute versions) The flute version is given below, up a fourth, treble stave only. t-s none, k-s B flat, with the necessary E flats added as accidentals as in ThomsonOC1

492

The Music ThomsonOC2, I, no. 47: O’er Bogie

Thomson has reduced the activity of the bassline considerably from ThomsonOC1, but he has also made tiny adjustments to the vocal line, which work towards making the song more cosmopolitan and less obviously Scottish in its tonal vocabulary. The semiquaver runs in bars 4 and 8 are now stepwise to mirror bars 2 and 6, and to remove the sense of a hexatonic gapped scale. The minor third appoggiaturas have similarly been modified to more genteel semitones, effecting a not entirely convincing modulation to the subdominant at the end of each strain.

493

The Gentle Shepherd Achilles, p. 12: AIR IX. O’er Bogie. This playtext uses the same woodcut notation as HighlandFair. YoungDrummondCD, p. 45: O’er Bogie. t-s ¢, k-s none This is a relatively simple instrumental version with no dotted rhythms, adapted slightly as a country dance. The line ends run on in quavers in the middle of each strain. GSRobertson, p. 60: S A N G XIV. O’er Bogie. t-s ¢, k-s none The musical text here is largely as in ThomsonOC1 without the appoggiaturas. BremnerReels, p. 90: O’er Boggie t-s C, k-s none This version shows the melody surviving in Scotland as a reel for dancing, with pairs of lines run together as in YoungDrummondCD. The note values are halved compared to those in NealDances, and the anacrusis has been removed from the opening bar.

494

The Music

[15] SANG XV. Wat ye wha I met Yestreen. Tonality: built on a repeated binary ground 1100 0001 in each strain, the tune is hexatonic (Aeolian or minor with no 6th) in Stuart and HighlandFair, but the latter also avoids the 3rd until the final bar, making the tune largely pentatonic. The versions in OswaldCPC and BremnerReels are Dorian, with only passing use of the 6th. Stuart, p. 122-123: Wat ye wha I met yestreen

Bar 3, bass stave, note 2. slightly misplaced, more like g than f Bar 5, treble stave, note 5. slur to notes 5-6 only HighlandFair, p. 61: AIR XL. Wat ye wha I met ystreen.

There are two apparent nods to functional harmony here: the ending of bar 5 on d’’ (rather than e’’) implies a G major harmony to lead towards the D major of the following bar, and raising the antepenultimate note to g’ irons out an accented dissonance to imply a more conventional perfect cadence in E minor.

495

The Gentle Shepherd OswaldCPC, VIII, p. 40: Coming thro the Broom my Jo

One variation follows. The tune differs in several respects from the versions in Stuart and HighlandFair, especially in the second strain. Bar 7, note 5. f’ [not g’], clearly in error BremnerReels, p. 25: Coming throw the Broom my Jo. t-s ¢, k-s none This is a more heavily accented version for dancing, in the form of a reel. The binary ground is slightly altered here to 1101 0001.

496

The Music

[15a] Enter Bauldy singing. [Jenny said to Jocky] Tonality: major, with cadences alternately on V and I. Stuart, pp. 142-3: Jocky said to Jenny

Bass stave: t-s 3/4 The positioning of some of the slurs is ambiguous (those in bars 2, 6, and 7 could be intended to cover all four quavers) but it seems more likely that they all follow the 3+1 pattern found in ThomsonOC2. As in the setting of [11], which is also towards the end of Stuart’s volume, this use of slurs seems vocal in origin, but the setting here matches the prosody of Ramsay’s TTM text, rather than that in GS, and omits the anacrusis before the final line.

497

The Gentle Shepherd ThomsonOC2, II, no. 7: Jocky say’d to Jeany

The vocal line is a little more ornate than in Stuart, but the bassline is simpler. YoungMcGibbon, p. 31: If you winna’ tak’ Me, you may let Me be. t-s 9/8, k-s F sharp This version of the tune has a similar rhythmic pattern t0 the others, but a quite different melodic shape. However, it does have enough shared characteristics, particularly in the first bars of each strain, to be recognisable as the same tune. The setting is, for Young, uncharacteristically short and simple. OswaldCPC, III, p. 15: Jocky said to Jeany t-s 3/2, k-s F sharp This setting is marked ‘Brisk’, and followed by a variation largely of broken chords in quavers.

498

The Music McGibbon, III, p. 9: Gin ye won,ne take me ye may let me be t-s 3/2, k-s F sharp McGibbon’s statement of the tune has a few melodic variants when compared to earlier sources, and the second strain is given with a written-out varied repeat. A variation follows of simple decoration of the melody, mostly in stepwise running quavers above a straightforward bassline in minims and crotchets. GSRobertson, p. 69: Unlike [15], this song does appear in the playtext of this edition, but no music for it is given.

[16] SANG XVI. Kirk wad let me be. Tonality: hexatonic, major with no 4th, but this is supplied by ornamentation in some sources. In 9/4 or 9/8, the tune broadly fits the binary pattern 1010 in each strain. There is considerable melodic variety in the early sources. Cockburn, f. 40r: An the kirk would let me bee

The music is written on a six-line stave, with the extra line at the bottom for middle C. The barring in 6/4 clearly goes against the 9/4 metre of the tune. Bar 3, note 1. This ornament symbol could also be a number ‘2’: it appears directly above the note, rather than above the stave.

499

The Gentle Shepherd Guthrie, p. 304: If the kirk would let me be.

The MS is in diatonic violin tablature: all rhythms and barlines are editorial. The ossia is given after the word ‘or’ in the tablature at the end. Balcarres, p. 61, [no. 98]: If the kirk wold lett me be, Jean mores way. by mr beck

500

The Music

The first strain is given a varied repeat which matches the wide tessitura of the second strain, and one variation follows. Bar 24. The double bar here was apparently inserted and then erased, to be replaced by the segno sign.

501

The Gentle Shepherd MarthaBrown, ff. 27v-28r: If the kirk wold lett me be

Bar 12. barline placed after first note Bar 14. barline missing Bar 18, treble stave, note 1. f’’ [not g’’], the correction is corroborated by G in the bass stave Bar 23. The notes on the treble stave have been written a third too high, then a correction has been attempted, and abandoned in favour of writing the bar out afresh. In bar 2, this version shares the distinctive leaps of a 5th with that in Balcarres, but this feature is omitted in the alternative reading of the opening line, given to ‘begin the 2nd time’.

502

The Music Dow, p. 10, no. 19: If the kirck would let me be.

The ornament symbols on notes with appoggiaturas are drawn through the stem of the notes, rather than above them. One variation follows, in which the second strain is almost entirely of stepwise quavers. Dow, p. 58, no. 86: If the Kirk wou’d let me be

One lightly decorated variation follows. An E flat is not required in the k-s because there is no 4th in the tune.

503

The Gentle Shepherd Stuart, pp. 42-43: And the Kirk woud let me be

Bar 8, bass stave, note 2. B flat [not c] Bar 12, treble stave. Slur position is ambiguous: it could begin on note 3 rather than note 2. This version is again barred in 6/4 despite the 9/4 metre, and the first line does not fit Ramsay’s texts well, whether in GS or TTM. Its range of nearly two octaves could also present a vocal challenge.

504

The Music Craig, p. 41: And the Kirk would let me be

The ‘Slow’ marking is missing from the first edition, and supplied in red ink in the GB-En copy. In the single variation which follows, the first three bars diverge unusually from the melody into a pattern which is more obviously in 6/4 than the original tune Bar 1, bass stave, note 1, lower voice. minim [not dotted minim] with an awkwardly placed slur following, present in both editions Bars 4 and 7, bass stave, note 1. dots missing to minims, as transcribed

505

The Gentle Shepherd HighlandFair, p. 49: AIR XXXI. An the Kirk wad let me be.

In this version a dotted rhythm is added to bar 1 to make the text easier to fit (although here the text is not by Ramsay). The missing 4th degree of the mode is supplied in passing only in bar 4, where in other sources this note is given one step higher. ThomsonOC2, I, no. 36: The Blythsome Bridal t-s 6/4, k-s B flat Thomson’s melody is almost identical to that in HighlandFair, but he still chose to bar the tune in 6/4. Melodic variants from HighlandFair are listed here. Bar 2, notes 1-2. crotchets [not dotted crotchet, quaver] Bar 2, note 8. c’’ [not f’’] Bar 6, notes 4-5. crotchets [not dotted crotchet, quaver] WalshCCD, p. 76: Silly Old Man. t-s 6/8, k-s B flat This version is broadly similar to HighlandFair, with a few dotted notes and semiquavers, for use as a country dance tune given with a simple bassline. The melody of the second strain is almost identical to that in Stuart. OswaldCPC, III, p. 14: And the Kirk would let me be t-s 3/4, then 9/8, k-s F sharp The tune is presented with many additional appoggiaturas and a variation, all marked ‘Slow’, and then as a ‘Brisk’ Giga, also with a variation. 506

The Music GSRobertson, p. 75: SANG XV. Kirk wad let me be. t-s 6/4, k-s B flat This version is similar in style to the melody in Stuart, but with several variants in the first strain. The first line remains a very awkward fit for Ramsay’s text.

[17] SANG XVII. Woes my Heart that we shou’d sunder. Tonality: hexatonic, major with no 7th. Ornamental or expressive 7ths appear both sharpened and flattened in eighteenth-century sources. The harmonic structure at the end of each strain is ambiguous, as the tune rests on the 6th degree on the final strong beat, and then only rises to the tonic on the final note in a paroxytonic (feminine) ending. JohnSkene, pp. 94-95: To dance about the Bailzeis dubb.

The fingering indications are omitted from the transcription. Bar 5, upper voice, notes 6-7. rhythm indications missing Bar 11, upper voice, note 3. rhythm indication missing (cf. the transcription in Dauney 1838, 217)

507

The Gentle Shepherd JohnSkene, pp. 96-97: Alace this night yat we suld sinder.

Fingering omitted from transcription. Bar 2. barline missing (cf. Dauney 1838, 221) On the evidence of these two tunes found together in JohnSkene, the lines of the eighteenth-century tune have been constructed from the first parts of each line in ‘To dance about the bailzies dubb’, joined to the line ends from ‘Alace this night yat we suld sinder’.

508

The Music Balcarres, p. 119, [no. 183]: Woes my heart, that we should sunder, Mr McLaughlans way, by Mr Beck.

One variation follows; the shape of the eighteenth-century tune is already clear.

509

The Gentle Shepherd PlayfordOST, p. 14: A ways my Heart that we mun sunder.

A pencil note after the title in the GB-En copy reads ‘Skene MS’, but this more dance-like version differs from both of those in JohnSkene. The flattened 7th is introduced as an expressive ornament at the top of the tessitura in both strains, and the final notes of bars 7 and 15 are clearly as given here. ThomsonOC1, p. 9: Woes my Heart that we shou’d Sunder

510

The Music

This is another version with a flattened 7th, as a written-out appoggiatura in bar 6. The flat is missing from the corresponding passage in bar 14, but this is probably in error, as it appears in the flute version later in the book. The appoggiatura in the final bar is not given for flute, but it seems likely that it should also be flattened. Bar 8, both staves, note 4. crotchet as transcribed p. 52: ‘For The Flute’, up a fourth, treble stave only. t-s C, k-s B flat Bar 1, notes 3-4. slur missing Bar 12, notes 6-7. slurred Bar 14. flat to note 1 Bar 16, note 1. appoggiatura omitted

511

The Gentle Shepherd Stuart, p. 10: Woes my heart that we shoud sunder.

Bar 9, bass stave. Crotchet rest could be a copying error for crotchet c. Bar 12, treble stave, note 1. dot missing Bar 16, treble stave, note 2. tail missing to quaver Bar 16. final double bar missing Stuart’s bassline seems to owe a debt to that in ThomsonOC1, but improves upon it. This version, without anacruses, fits Ramsay’s text in TTM, but not that of GS.

512

The Music MusicalMiscellany, I, pp. 14-15: The Parting of Delia and Damon. HighlandFair, p. 36: AIR XXII. Waes my Heart, that we shou’d sunder. Patie&Peggy, p. 21: AIR XVII. Waes my Heart, that we shou’d sunder.

These publications all use the same woodcut notation. In MusicalMiscellany it has text underlaid, and is followed by a transposed version up a fourth, ‘For the Flute.’ t-s ¢, k-s B flat The opening bar follows the same melodic pattern as Balcarres, and the second bar casually introduces an ornamental 7th (not flattened) to the otherwise hexatonic tune. A new rhythmic pattern appears for the sequence in bars 9 and 10. ScotchOrpheus, p. 10: With broken words t-s C, k-s none The musical text is derived from ThomsonOC1, with text, grace notes and some slurs omitted. Quavers are beamed in fours. p. 60: ‘For the Flute’, transposed up a fourth, treble stave only. t-s C, k-s B flat

513

The Gentle Shepherd ThomsonOC2, I, no. 9: Wae’s my Heart that we shou’d sunder

The melody here is slightly simpler than that in ThomsonOC1, and its bassline of broken chords has been replaced with something more fluid.

514

The Music YoungMcFarlane2085, pp. 84-85, no. 113: Wae’s my heart that we shou’d sunder. D. Y. t-s C, k-s none The statement of the tune is enlivened by dotted rhythms, and it is followed by one variation, mostly in even quavers. The signature D.Y. seems to have been added some time after the title, but in the same hand, implying that the setting is David Young’s own. McGibbon, I, p. 27: Woes my heart that we showd sunder t-s C, k-s none This version is marked ‘Slow’, and presented with an elegant bassline. The opening phrase begins back-dotted (and again in bar 5), and dotted rhythms are a characteristic of the tune, but the setting is quite different from Young’s. McGibbon makes use of the expressive flattened 7th appoggiatura in bars 6 and 14. OswaldCPC, III, p. 5: Woe’s my Heart that we shou’d sunder t-s C, k-s none Also marked ‘Slow’, Oswald’s setting is followed by two variations and a Giga. It employs the flattened 7th only in bar 6, and not in the variations. GSRobertson, p. 80: SANG XVI. Woes my heart that we should sunder. t-s C, k-s none This has clearly been copied from McGibbon: the musical text is almost identical.

515

The Gentle Shepherd

[18] SANG XVIII. Tweed-side. Tonality: major, with alternating cadences on V and I. The final notes of each phrase are b a b a b e’ b a (in A), resulting in a lullaby-like rocking motion in the first strain. The simplicity of the tune may explain its great popularity outside Scotland. Balcarres, p. 26, [no. 48]: Tweedsyde, the old way. by mr beck.

This is followed by one variation, mostly in stepwise quavers.

516

The Music Balcarres, pp. 26-27, [no. 49]: Tweedsyde, the new way. by mr beck

This ‘New’ version is followed by two variations, where the melody is often varied rather than decorated.

517

The Gentle Shepherd Leyden, f. 44r, no. 75: Twide Syde

In harp sharp tuning. There are no rhythmic indications in the original, and after a regular start, barring is erratic. Barlines are placed as follows (bar/beat): 1/1, 2/1, 3/1, 4/1 (double bar), 6/3, 8/1, 9/1, 12/1, 12/3 (double bar), 14/2, 16/1, 17/2, 19/1, 21/3, with a decorated double bar at the end. Bar 6, note 1. note missing Bar 7, note 1. note missing Gairdyn, ff. 13r-13v: Down tweed Sead

518

The Music

The k-s is missing throughout, and rhythms are mostly editorial. Barring is regular, with most notes written as apparent minims; some of the quavers given here (but not all) are beamed, but they still have void noteheads. The variation following the tune and given here is almost entirely melodic rather than decorative, with more use of the high A. Bar 14, note 1. vertical stroke above the note as transcribed Dow, p. 22, no. 39: Down Tweed Side

One variation follows.

519

The Gentle Shepherd Bar 2, notes 3-5. two demisemiquavers, semiquaver [not two semiquavers, quaver] Bar 3, notes 1-2. slur as transcribed Bar 17 was omitted in error, and has been added at the bottom of the MS page, in the space after the final double bar. Bar 23, notes 1-3. two demisemiquavers (the first dotted in error), semiquaver [not two semiquavers, quaver] Cuming, pp. 48-50: [untitled], ‘Tweedside’ added in pencil by a later hand.

The tune is followed by two variations. Bar 8 of Gairdyn’s variation has become incorporated into the tune, and also appears in later sources Craig, Munro, and ThomsonOC2.

520

The Music ThomsonOC1, p. 16: Tweed side

The use of Italic and Roman type is reversed in the transcription. p. 53: ‘For The Flute’, up a minor sixth, treble stave only. t-s 3/4, k-s B flat bars 3, 18 & 21, note 1. minim [not dotted crotchet and quaver rest] bar 9, note 1. tr bar 11, note 1. ornament omitted Quavers are beamed in longer groupings where possible.

521

The Gentle Shepherd Stuart, pp. 8-9: Tweed Side

The style of the bassline apparently owes a debt to ThomsonOC1, although only bar 21 is identical.

522

The Music Craig, p. 12: Tweed Side.

This is followed by two variations. The ‘Slow’ marking is omitted in the first edition. This transcription follows the occasionally eccentric stem direction in the RH. The k-s clearly includes G sharp (rather than F sharps at two different octaves), but Gs are sharpened throughout nonetheless.

523

The Gentle Shepherd Polly, p. 29: Air 67 [playtext, p. 69: Air LXVII. Tweed Side.] t-s 3/4, k-s F sharp, C sharp, G sharp The tune is given with a flowing bass, and the text ‘The Stag wn. chas’d all the Long day’ underlaid. The melody is very similar to that in ThomsonOC1, with the following variants: Bar 2, note 3. semiquaver a’, semiquaver b’, semiquaver c#’ [not ornamented crotchet c#’] Bar 3, note 1. minim, no ornament [not dotted crotchet with tr] Bar 8, note 3. semiquaver a’, semiquaver b’, semiquaver c#’ [not ornamented crotchet c#’] Bar 11, notes 1-3. crotchets, no ornaments [not ornamented crotchet, dotted crotchet with tr, quaver] Bar 12, note 1. minim [not dotted crotchet] Bar 15, note 1. minim [not dotted crotchet] Bar 18, notes 2-3. quavers f#’ g#’ [not ornamented crotchet a’’] Bars 20-21. no ornaments Bar 21, note 1. minim [not dotted crotchet] Bar 23. crotchets d’’ b’ a’ [not crotchet and four quavers] Bar 24, note 1. dotted minim [not minim] MusicalMiscellany, II, p. 160: CHARMING MOGGY.

524

The Music The melody is identical to that in Polly, except in bars 11, 18 & 23-4. On p. 161, below the text of verse 2, the tune is transposed up a fourth with no text ‘For the Flute.’ t-s 3, k-s none bar 0. slur omitted bar 18, notes 2-4. crotchet a’’ [not semiquavers a’’ b’’, quaver c’’’, transposed] Quavers are generally beamed together within each bar. Patie&Peggy, p. 22: AIR XVIII. Tweed-Side.

The rhythmic displacement in the first two bars of the second strain suits neither Ramsay’s text nor Cibber’s slight adaptation of it. ScotchOrpheus, p. 17: What Beauties does Flora The musical text is taken from ThomsonOC1, with semiquaver gracenotes removed, and quavers beamed mostly beamed in fours and sixes. p. 62: ‘For the Flute’, transposed up a minor sixth, treble stave only. t-s 3/4, k-s B flat Munro, pp. 25-27: Tweed Side After a Preludio 6/8 marked Gratioso, the Theme, very similar to that in Cuming, is given as a 3/4 Moderato, and followed by two variations. k-s F sharp C sharp G sharp

525

The Gentle Shepherd ThomsonOC2, I, no. 16

A transposition of the treble line up a fourth ‘For the German Flute’ appears on p. 3 of the flute section. Quavers are generally beamed in groups of as many notes as possible within each bar. t-s 3/4, k-s F sharp, C sharp WalshCCD, p. 84: Tweedside t-s 3/4, k-s F sharp, C sharp, G sharp Walsh repeats the first 6 bars to make up the first strain, and gives the dance figures underneath. 526

The Music YoungMcFarlane2084, p. 252-3, no. 209: Tweed Side. MacLean. t-s 3/4, k-s F sharp, C sharp, G sharp The theme, already decorated with some stepwise quavers, is followed by two variations which move mostly in quavers: one in broken chords, and one stepwise. YoungMcGibbon, p. 53: Tweed Side. By Mr McLean. This is the same setting as in YoungMcFarlane2084, with an additional virtuosic variation at the end. McGibbon, I, p. 10: Tweed Side t-s 3/4, k-s F sharp, C sharp, G sharp Marked ‘Slow’, with an elegant bassline and two intricate variations, the tune appears largely as in Craig, but with the penultimate bar in the form from Munro and Cuming. Veracini, p. 67-69: Scozzese - un poco Andante et affetuoso t-s 3/4, k-s F sharp, C sharp, G sharp In the final movement of Sonata op. 2 no. 9 from the Sonate Accademiche, the tune is similar to that in ThomsonOC1 and in Patie&Peggy. Three variations are followed by a reprise of the theme and an energetic coda. Thumoth, p. 12, No. VI: Tweed Side. t-s 3/4, k-s F sharp, C sharp (in D major) The tune, possibly drawn from that in ThomsonOC2, is followed by one variation, which decorates the tune with short outbursts of fast divisions. OswaldCPC, I, p. 28: Tweed Side t-s 3/4, k-s F sharp, C sharp (in D major) Again marked ‘Slow’, this version is followed by three variations. The first strain is similar to that in Craig, but the second takes its own unusual shape.

527

The Gentle Shepherd GSRobertson, p. 83: SANG XVII. Tweed-side. t-s 3/4, k-s F sharp, C sharp, G sharp The musical text is derived from McGibbon.

[19] SANG XIX. Bush aboon Traquair. Tonality: major. Each line-end cadences on I. Gairdyn, f. 1r: Traquair Gairdyn, f. 4v: Traquair Gairdyn, f. 47v: The flames of Love hath perced me or Traquair

Gairdyn, f. 49r: The fflames of Love hath peirced me [later addition in pencil: The Bush abune Traquair_] All four versions in Gairdyn present the same notes, but with differently erratic representations of the rhythm, following the same underlying pattern. It was evidently a popular tune which the fiddler-compiler of the MS was called upon to play frequently. Barring was apparently added by a much later hand in pencil, and is ignored here.

528

The Music ThomsonOC1, p. 3: The Bush aboon Traquair

The use of Italic and Roman type is reversed in the transcription. Thomson hyphenates the word “mo-ve”, putting the second ‘syllable’ under the top A. Bar 15, treble stave, notes 5-7. demisemiquaver triplets [not semiquaver triplets]

529

The Gentle Shepherd p. 51: ‘For The Flute’, up a fourth, treble stave only. t-s C, k-s F sharp bar 9, notes 1-2. dotted quaver, semiquaver [not quavers] bar 12, notes 7-8. quavers g’’ b’’ a’’ g’’, slurred in twos [not crotchet g’’, quaver rest, quaver a’’, transposed]: this a rare example of an actual adaptation of the voice part for flute. The beaming uses longer beams than in the vocal version where possible. Stuart, pp. 4-5: Bush aboon Traquair

bar 5, treble stave, note 1. dot missing bar 6, treble stave, note 6. dot missing bar 8, bass stave, notes 2-3. crotchets [not quavers]

530

The Music AriaDiCamera, p. 23, no. 34: Peggy grieves me.

This is the same melodic shape as in ThomsonOC1, but notated differently and with some simplification. Bar 8, note 1. dot placed after note 2 in error Bar 14, notes 3-6. quavers [not semiquavers]

531

The Gentle Shepherd Craig, p. 30: The Bush aboon Traquair

One variation follows.

532

The Music Polly, pp. 5-6: Air 13. [playtext, p. 16: Air XIII. The bush a boon traquair.]

Most of the melodic material here is familiar from earlier sources, but bar 10 takes an unusual form. Bar 3, treble stave, note 4. tail to semiquaver not clear

533

The Gentle Shepherd MusicalMiscellany, II, p. 97: The Bush o’ boon Traquair.

Another ornate setting, this version has its own approach to the decoration of line endings in the second strain. HighlandFair, p. 12: AIR V. Bush aboon Traquair. Patie&Peggy, p. 24: AIR XIX. Bush aboon Traquair. Both sources use the same woodcut as MusicalMiscellany, without underlaid text. ScotchOrpheus, p. 3: Hear me ye Nymphs t-s C, k-s F sharp C sharp The musical text is derived from ThomsonOC1, with text and grace notes omitted. Quavers and semiquavers are generally beamed in fours. Bar 3, treble stave, notes 8-9. slurred Bar 10, treble stave, notes 1-4. slur omitted Bar 11, treble stave. first three slurs omitted Bar 12, treble stave. slur to notes 3-6 only Bar 13, treble stave, notes 1-2. slur omitted Bar 14, treble stave, notes 1-2. slur omitted Bar 16, treble stave, notes 1-2. slur omitted

534

The Music p. 58: ‘For the Flute’, transposed up a fourth, treble stave only t-s C, k-s F sharp ThomsonOC2, I, no. 3: The Bush aboon Traquair

Thomson’s occasionally unconventional syllable division is preserved here, notated with a double hyphen = as in the original. Barsanti, p. 7: The Bush aboon Traquair t-s C, k-s F sharp C sharp Marked ‘Slow’, this is a simple setting with occasionally busy melodic decoration. 535

The Gentle Shepherd OswaldCOC2, pp. 20-21, The Bush Aboon Traquire t-s C, k-s F sharp C sharp The melody in this setting, marked ‘Slow’, is similar to ThomsonOC2 and is followed by two variations. McGibbon, I, p. 12: The Bush aboon Traquair t-s C, k-s F sharp C sharp This version, also marked ‘Slow’, has many similarities to that in Barsanti, in both the melody and the bass. OswaldCPC, II, p. 17: The Bush aboon Traquair t-s C, k-s F sharp C sharp, marked ‘Slow’ This is the setting from OswaldCoC2, still marked ‘Slow’, but with the bass omitted. GSRobertson, p. 86: S A N G XVIII. Bush aboon Traquair. t-s ¢, k-s F sharp C sharp The musical text here is from McGibbon.

[20] SANG XX. Bony gray ey’d Morn. Tonality: major, with modulations to the dominant and the relative minor. This tune was composed by Jeremiah Clarke in the 1690s for the song in Thomas D’Urfey’s The Fond Husband, when the play had already been running for nearly 20 years. Clearly the work of a confident composer, the modulations, and the use of a 7-6 accented dissonance on the downbeat of bar 14, are altered in many later sources.

536

The Music FondHusband, A New Scotch Song in the (Fond Husband) Sung by Mrs Willis. (Numb. 2) / Sett to Musick by Mr. Clarke.

The staves, printed in letterpress, are not bracketed together in the original. The text of the second verse is given below the score. bar 8, bass stave, note 2. minim followed by quaver rest as shown

537

The Gentle Shepherd Atkinson, part 2 (reverse), pp. 32-33: The Gray Eyd Morn.

The ‘u’ and ‘d’ are indications for up-bow and down-bow, and the title is given at the top of p. 33, halfway through the tune. This appears to be an instrumental version which simplifies the rhythm slightly in the first three lines, and decorates the final one. Atkinson and Leyden are the only sources not to include the sharpened 4th in bar 6 for the first modulation. HarpsicordMaster, p. 24: The bonny Gray Ey’d Morn t-s ¢, k-s B flat E flat This simple harpsichord arrangement, marked ‘Mr. Clarke’, carries the melody alone in the right hand; the left hand, mostly in two-part writing, preserves almost all of Clarke’s bassline. Melodic variants from FondHusband are noted here. Bar 4, note 3. crotchet c’’ [not quavers c’’ d’’] Bar 8, note 1. crotchet a’ [not quavers b’ flat a’] Bar 14, note 2. quaver f’ [not g’] Bar 16, note 1. crotchet d’’ [not quavers e’ flat d’] Playford1698DM2, p. 26: The bonny Grey-Ey’d Morn. Longways for as many as will. t-s ¢, k-s B flat E flat

538

The Music Instructions for the dance figure are given underneath the tune. Despite being included as a dance tune, there is only one melodic variant from FondHusband. Many of the quavers are slurred in pairs, much more liberally than in the original song. Bar 12, note 4. g’ [not b’ flat] Leyden, f. 55v: The Gray Eyed morning t-s ¢, k-s B flat E flat This tune appears in staff notation in the later part of the Leyden MS [c. 1700-1705], and is written on six-lined music paper, with the lowest line blocked out with swirls. Melodic variants from FondHusband are as follows: two of these are in common with the version in HarpsicordMaster. Bar 2, note 3. quavers f’’ g’’ [not crotchet f’] Bar 6, note 5. natural sign missing Bar 8, note 1. crotchet a’ [not quavers b’ flat a’] Bar 11, note 5. sharp sign missing Bar 14, note 1. e’’ flat [not d’’] Bar 16, note 1. crotchet d’’ [not quavers e’ flat d’] The dissonant first note of bar 14 has been ‘corrected’ to something less expressive; in practice, the missing accidentals may have been supplied from memory.

539

The Gentle Shepherd JamesThomson, p. 24: The Gray Eye’d Morn

This version of military provenance for flute also does away with the expressive dissonance at the beginning of bar 14, and introduces an additional decorative note in bar 2, also in several later sources. Sinkler, f. 67r: Gray Morning

Some unusual variants appear towards the end, including another approach to avoiding the dissonance in bar 14.

540

The Music PPM1719, III, pp. 233-4: A SONG. [first line: The Bonny grey Ey’d Morn began to peep] t-s ¢, k-s B flat E flat Given as a treble line only, the notes are identical to FondHusband, but with quavers mostly beamed in twos, and slightly different slurring. Bar 6, notes 1-2. slurred [not notes 1-3], possibly a misreading Bar 12, notes 1-4. slurred [not notes 1-3] Gairdyn, f. 19v: Bonny Gray head morn

This is a simplified incipit, with an appoggiatura on the third beat: all notes are given in void (white) notation. Dow, p. 25, no. 43: The bonie gray Ey’d morning

Melodically, this is very similar to the version in JamesThomson, but with more ornamentation and a few rhythmic variants. Bar 1, note 2. quaver [not semiquaver] Bar 8, note 4. dot missing

541

The Gentle Shepherd NealScotch, p. 9: ye Bonny grey eyd morning

Given in the key of C as in Atkinson, Sinkler and Gairdyn, this version includes the decorative note in bar 2 from JamesThomson and Dow. The additional note on the final beat of bar 5 is taken up later by Stuart, and the modulation to the relative minor is made more ambiguous by avoiding what would have been a G sharp in bar 11. Neal’s strategy for avoiding the accented dissonance in bar 14 is similar but not identical to that in Sinkler, and the tune is rounded off with decorative semiquaver passing notes in the final phrase. Stuart, pp. 54-55: The Bonny Grey ey’d Morning

542

The Music

Bar 8, bass stave. quaver rest [not crotchet rest] Decoration aside, Clarke’s melody remains intact with the exception of the dissonant downbeat in bar 14, which has simply been adjusted upwards. However, Stuart’s bassline goes its own way, possibly as a result of being halfremembered, or being altered at some point in transmission: the imitations at the beginning of the second strain are present, but at a different interval in each case. Despite this, Clarke’s bassline re-appears entirely unchanged for the last two and a half bars. BeggarsOpera1728, p. 3: AIR II. The bonny gray-ey’d Morn, &c. t-s C, k-s B flat E flat The single treble line of woodcut notation in the playtext follows Clarke’s melody, with quavers beamed in fours, and the following variants: Bar 2, beat 2. quavers f’’ g’’ [not crotchet f’’] Bar 12, note 4. g’ [not b’ flat]

543

The Gentle Shepherd BeggarsOpera1729, pp. 9-10 [in music sequence]: AIR II. The bonny grayey’d morn, &c.

Pepusch’s arrangement employs the same melodic variants as the version above in BeggarsOpera1728.

544

The Music Patie&Peggy, p. 1: AIR I. The Bonny grey-ey’d Morn. t-s C, k-s B flat E flat This publication uses the same woodcut as BeggarsOpera1728 for its opening song, with Ramsay’s (slightly altered) words given underneath, sung here by Patie rather than Sir William. OswaldCM, pp. 16-17: The gray ey’d Morning t-s 3/4; 2/4, k-s B flat E flat Oswald presents two fairly free settings of the tune with figured bass, marked ‘Slow’ and Brisk’ respectively, resembling a minuet followed by a gavotte. WalshCCDM, IV, no. 227 [p. 114 (top right), p. 167 (above tune)]: The bonny grey-ey’d Morn. Longways for as many as will. t-s ¢, k-s B flat E flat The tune and dance figure are exactly as in Playford1698DM2, but with quavers slurred and beamed entirely in twos. YoungMcFarlane2085, p. 10: Bonny gray eyed Morning t-s C, k-s none Young presents a decorated version of the tune in C major as a violin solo, with no variations: Clarke’s expressive dissonance in bar 14 remains intact. OswaldCoC, pp. 34-35: The gray ey’d Morning t-s 3/4; 2/4, k-s none The setting from OswaldCM is here transposed up a tone into C, with some modifications to the phrasing and ornamentation. OswaldCPC, II, p. 13: The gray ey’d Morning. t-s 3/4; 2/4, k-s none This is the setting from OswaldCoC without the figured bass.

545

The Gentle Shepherd GSRobertson, p. 92: SANG XIX. Bonny grey-ey’d morn. t-s C, k-s B flat E flat This simple instrumental setting with some ornamentation is quite different from the other sources, but with some characteristics in common with NealScotch and Stuart.

[21] (Sings to the Tune of Corn Riggs are bonny) SANG. [MY Patie is a lover gay] Tonality: major. Each line cadences on I; the melody ends alternately on the dominant and the tonic. The origins of this tune are far from clear. The title in Cockburn is the final line from the first verse of Thomas D’Urfey’s Scotch song ‘Sawney was tall’ in the comedy The Virtuous Wife of 1680, so the scribe, who Evelyn Stell noted was not the ‘Panmure scribe’ of most of the MS and may have been Magdalen Cockburn, must have added the tune after the book was first bound in 1671. Similarly, despite the Panmure scribe being responsible for much of Panmure9454, the tune appears there in a quite different form as ‘New Corn riggs’, in the hand of Henry Maule: Stell suggested that Maule copied his tunes into the book when still a teenager in the late 1670s (Stell 1999, 73; 155-6). Ross W. Duffin has pointed out that in this form, the tune also bears a strong resemblance to the minor-mode ‘Martinmas’ tune for the ballad ‘Barbara Allan’: this tune is given in OswaldCC, 3, and OswaldCPC II, 27. Ramsay included the song in TTM IV, 46-7, and Samuel Pepys had described it as a ‘little Scotch song’ in his diary of 2 January 1665/6 (Duffin 2021). If ‘Corn Riggs’ was already a song in the 1670s, it is obvious from the Panmure9454 version that it had at least one fewer syllable per line than ‘Sawney was tall’. Also, much like ‘Barbara Allan’, each line ended on the unstressed second beat of the bar (a paroxytonic ‘feminine’ ending), rather than on the stronger third beat. Nevertheless, the dating of Cockburn and Panmure9454 is far from settled, and so it is difficult to be definitive about whether D’Urfey fitted extra syllables into a pre-existing Scots tune, or if his fake Scotch tune was taken up as a real one once it had some of its cod Scots verbiage thinned out. Already in NewbattleLessones, which appears to be the late work of the Panmure scribe (Stell 1999, 138-9), and in Blaikie, there is some confusion between the two versions, as in these volumes ‘New Corn Rigs’ is given as the title, but the rhythms of the line-ends fit the words of ‘Sawney was tall’. On the other hand, around the turn of the century, Balcarres gives ‘Corn Riggs are bonnie’ in what appears to be the shape used by Ramsay. 546

The Music Later sources such as Craig and Barsanti use both forms of line endings within the same setting, but it is the use of the ‘Sawney’ tune with Ramsay’s words in the influential ThomsonOC2 which seems to have sown the widespread confusion evident in later eighteenth-century sources, with many awkwardly set versions of the song appearing in print (McGuinness & McGregor 2018, 56-58; 64-66). Cockburn, f. 33v: Sandie shall never be my love again

The tuning is given as ‘harp #’ [harp sharp] after the title. This is the only source which gives Sawney the dignity of his proper name. Bars 2, 6, 7, 10. ‘i’ symbol apparently an ornament sign Bar 6, note 3. lower note in tablature ‘o’ [not ‘a’]

547

The Gentle Shepherd Panmure9454, f. 27: New Corn riggs

This is the first extant version which clearly matches the metre of Ramsay’s text at the line ends, most obviously in the final line ‘Corn riggs are bonny’. Bar 4. The repeat is editorial: it appears as a double bar in the MS. NewbattleLessones, f. 14v: New Corn Rigs

Bar 10, note 1. note missing from MS (page torn) PlayfordAyres, III, p. 9: A NORTHERN Song.

548

The Music

The staves, printed in letterpress, are not bracketed together in the original, and quavers are not beamed. Bar 3, treble stave, note 6. e’’ [not d’’] PlayfordMRV, p. 16: A Scotch Tune called Sawney. t-s ¢ (lyra-viol tablature) This version is very similar to that in Cockburn, but slightly simpler, and is also in harp sharp tuning. It incorporates the repeated quavers from bar 9 of PlayfordAyres. PlayfordAB, I, no. 47: Sawney. Musical text as in PlayfordAyres, treble line only, with the following alterations. Bar 3, note 6. e’’ [not d’’] Bar 5, notes 4-5. slurred Bar 7, notes 3-4. slur missing Bar 8, notes 5-6. slur missing Bar 12, note 5. b’’ [not g’’, in error]

549

The Gentle Shepherd Blaikie, p. 6, no. 104: New Cornriges. The rhythmic notation here appears inconsistent, and may have been wrongly copied in the nineteenth century.

Bars 1-2. rhythm of both bars probably in error for three crotchets, two quavers Bar 3, notes 1-2. crotchets [not quavers] Bar 4, notes 2-3. quavers [not crotchets] Bar 10, note 7. e’’ flat [not c’] (‘a’ placed on wrong line in tablature) Bar 11, note 5 & bar 12, notes 1-2. crotchets [not minims] BlaikieWS, p. 10, no. 25: New Corn rigs Blaikie’s own transcription from the same source, made for Sir Walter Scott, possibly makes more sense, with its written-out repeat of the first strain. His mid-nineteenth-century bassline is omitted here.

550

The Music Balcarres, pp. 8-9, [no. 10]: Corne riggs are bonnie. mr Becks way.

Lines 1 and 3 follow the ‘Corn riggs are bonny’ line-end pattern, with additional chords concluding lines 2 and 4. One variation follows. Campbell, f. 36v: Corn riggs are Bonny

There is a bar missing from the second strain, apparently because the second half of bar 12 was duplicated from bar 9 by mistake. The first half of bar 14 may be a similar copying error from bar 10. 551

The Gentle Shepherd One variation follows, mostly of simple broken chord figuration, and most likely intended for recorder. The written-out rising-third ornaments on third and fourth beats give the tune a very effective dance lift. PPM1719, I, p. 316: A SONG. [first line: SAwney was tall and of Noble Race] Musical text as in PlayfordAyres, treble line only, with the following alterations. Bar 3, notes 5-6. slurred Bar 7, notes 5-6. slurred Bar 8, notes 5-6. slur missing Bar 14, notes 3-4, 5-6. slurred Gairdyn, f. 4r: Corn riggs

k-s missing Bar 1, note 12. missing The repeated A at the end suggests that the fiddler-compiler of the MS was familiar with the ‘Sawney was tall’ version of the tune. Cuming, p. 45: [untitled]

552

The Music This apparent three-strain version of the tune is followed by two agile variations of the usual two strains each. NealScotch, p. 5: Sawny he was Tall

Bar 8, note 3. dotted crotchet [not minim] Bar 13, note 1. dotted crotchet [dot added in error] Each strain ends with a perfect cadence in the middle of the final bar. Craig, p. 42: Corn Riggs is bonny.

553

The Gentle Shepherd

Bar 8, treble stave, note 2. dot missing from quaver Bar 16, treble stave, note 2. dot missing from quaver One variation follows. Only line 1 unequivocally fits the ‘Corn riggs are bonny’ line-end rhythm, and uniquely, lines 2 and 4 are identical. Polly, p. 12: Air 30. [playtext, p. 32: Air XXX. Sawny was tall, and of noble race.]

554

The Music

Bar 11, treble stave, notes 1-2. quavers [not crotchets] To add further to the confusion about line length, line ends 2 and 4 carry two extra syllables when compared to Ramsay’s text, and line 3 has four more syllables rather unconvincingly crammed into bar 9, to make room for a double repetition of ‘ah then’ which is not in Gay’s playtext. Lines 2 and 4 also have implied cadences on the half bar, as in NealScotch. VillageOpera, p. 9: AIR. IX. Sawny was tall, &c.

This version published by John Watts illustrates the resilience of the tune, which remains easily recognisable despite many substantial changes to its more familiar patterns.

555

The Gentle Shepherd Patie&Peggy, p. 8: AIR. VII. Corn Riggs are bonny.

Also published by Watts, this version is set to Ramsay’s text, and rather than reproducing the tune from VillageOpera with its lack of anacruses and ill-fitting line ends, Watts has prepared another which matches Ramsay’s metre. There is also a clear distinction in the titles between ‘Sawney was tall’ and ‘Corn Riggs are bonny’. HighlandFair, p. 46: AIR XXIX. Corn Rigs are bonny. This uses the same woodcut as Patie&Peggy above. Munro, pp. 36-41: CORN Riggs. t-s C, k-s F sharp C sharp Munro’s sonata begins with a decorated statement of the tune, in which three of the four lines have a similar shape to the version in Cuming. Two variations and one additional strain follow, then a 3/8 Minuetto, ¢ Presto, ¢ Allegro, 3 Vivace, C Adgio [sic], and a 12/8 Giga marked Allegro. ThomsonOC2, II, no. 18: Corn Riggs are Bonny

556

The Music

The bass figures are from Calliope below. Thomson has removed the dotted rhythm from the end of the last phrase, but in lines 1-3, the final unstressed syllable of Ramsay’s text is awkwardly set to the dotted figure inherited from the setting of ‘Sawney was tall’. Many later eighteenth-century sources follow Thomson’s example, rather than that of Watts in Patie&Peggy. Calliope, I, p. 41: Corn Riggs are Bonny Music and text are derived from ThomsonOC2, with figures added to the bass, as given above. Bar o, both staves. crotchet [not quaver] Bar 15, bass stave, note 6. e [not g]

557

The Gentle Shepherd Thumoth, pp. 22-23: No. XI. Corn Riggs are bonny. t-s C, k-s F sharp C sharp Thumoth’s version for treble instrument and figured bass with one variation, has some stylistic characteristics in common with Munro, but several melodic divergences. Each line end follows the ‘Sawney was tall’ pattern, with an extra syllable. YoungMcFarlane2085, pp. 274-5, no. 287. Corn Riggs. t-s C, k-s F sharp C sharp The tune and variations are taken from Munro omitting the bassline, and with some very slight alterations of detail in the variations. Barsanti, p. 5: Corn riggs are bonny t-s C, k-s F sharp The tune is given in G major with an unusually active figured bass, and is marked ‘Slow’ as is every other tune in the volume. Only the end of line 3 follows the metre of Ramsay’s text: the others have the dotted rhythm familiar from ThomsonOC2, given with the dotted quaver and semiquaver slurred together each time. OswaldCoC2, pp. 42-43: Corn Riggs t-s C, k-s F sharp C sharp Oswald’s version for flute in D major is marked ‘Slow’ and given on treble stave only, with three variations and an extra strain. The first five strains of variations are very similar to those in Munro and while the style of the tune is similar, its melodic contours are quite different: the melodic shape of bar 3 is as in Balcarres. The tune has the dotted rhythm for the extra syllable of ‘Sawney was tall’ in each line. OswaldCPC, II, pp. 22-23 t-s C, k-s F sharp C sharp This has only slight variants from the version in OswaldCoC2, and is also marked ‘Slow’. In bar 4, the tail was left off the semiquaver of the dotted rhythm in OswaldCoC2, and the engraver of OswaldCPC has copied this as two equal quavers. 558

The Music McGibbon, I, pp. 20-21: Corn riggs are bonny t-s C, k-s F sharp C sharp G sharp The tune and one variation are given in A major with figured bass. All four line ends in both tune and variation include the dotted figure for the extra syllable. GSRobertson, p. 107: SANG XX. Corn-riggs are bonny. t-s C, k-s F sharp C sharp This is drawn from OswaldCoC2 without the variations, so that the tune for ‘Sawney was tall’ with its dotted rhythm at the end of each line appears directly above Ramsay’s text, to which it does not comfortably fit.

559

GLOSSARY This glossary has been constructed assuming a reader unfamiliar with Scots. This means that words close to their English equivalents have been included. The following sources have been consulted, in order: 1) Ramsay’s own work • From the 1721 Poems, the notes to ‘Patie and Roger’ and ‘Some general Rules shewing wherein many Southern and Northern Words are originally the same’ (1721). The rules have been reproduced below as a general guide; many of the words that fall into these categories are in the glossary proper. • The glossary from 1728 Poems, preferred to that in 1721 because of the 1725 publication date of GS and its appearance in the 1728 volume. 2) John Jamieson, An Etymological Dictionary of the Scottish Language: Illustrating the Words in Their Different Significations by Examples from Ancient and Modern Writers, 2 vols. (Edinburgh: W. Creech, 1808). 3) Dictionaries of the Scots Language (dsl.ac.uk) 4) Other sources, as noted, and cited in the bibliography. In many cases Ramsay’s own definitions do not fit with their usage in GS, but this is not surprising, given that the words in question appear in other poems, bearing other meanings. The phrasing in the source has been followed as closely as possible. However, for readability, capitalization and spelling have been normalized, and minor changes have been made to match the definition with the particular form of the word or phrase in The Gentle Shepherd. For instance, Ramsay lists ‘darn’ rather than ‘darn’d’ in his glossary, when the latter is what appears in the play. When a word has multiple meanings or there is a usage that departs from the common one (e. g., ‘near’ as ‘never’ rather than ‘in close promixity’), line numbers indicate the relevant usage. If there is a difference in lineation, the first line number is from 1725, the second from 1729.

561

The Gentle Shepherd

From Ramsay’s 1721 Rules: I. In many Words ending with an l after an a or u, the l is rarely sounded. Example: a’ for all. II. The l changes to a. w. or u. after o, or a and is frequently such before another consonant. Example: auld for old. III. An o. before ld. changes to an a. or au. Example: sald for sold. IV. The o, oe, or ow is changed to a, ae, aw, or ai. Example: stane for stone. V. The o. or u. is frequently changed into i. Example: hinny for honey.

ablins: perhaps (1728) aboon: above (1728) a jee: in or into a disturbed or disordered state (DSL), a figurative extension of ‘to incline to one side’ (1728) ae: one (1721) aff: off (1721) aff hand: without delay, at once (DSL, citing this passage) aften: often (1721) air: early (1728) ain: own (1728) airth: see, ‘frae ev’ry Airth’ aith: oath (1721) alane: alone (1721) amaist: almost (1721) amang: among (1721) ane: one (1721) anes: once (DSL) anither: another (1728) a-squint: sideways (DSL); here, meant metaphorically as in a skeptical, sidelong look auld-birky: in conversation, analgous to old boy (Jamieson) aurora gown: This seems to refer to the color of Peggy’s dress; it is ‘olive’ in D3 EUL, f.30R. An advertisement in the Daily Courant (November 11, 1724), refers to ‘400 Yards of rich Aurora Genoa Damask.’ (Thanks to Prof Linda Troost for this reference.) Prof Aileen Ribeiro, professor emerita at the Courtauld Institute of Art and an expert in eighteenth-century fashion reports there is no style 562

Glossary

of clothing called ‘Aurora.’ The actual color Ramsay has in mind is unclear. Dictionarium rusticum, urbanicum & botanicum (1717), uses ‘aurora’ for a type of red and white tulip (845); more likely is the definition in the OED, ‘The colour of the sky at the point of sun-rise; a rich orange hue.’ A coloured copy of Plate 12 by David Allan in the Foulis edition found in Rylands MS. 748 pictures Peggy in a yellow gown with orange tint. awn: to admit, confess (DSL), as in English, ‘own.’ asteer: in confusion, a bustling state (Jamieson) ay: 1) always; 2) yes; 1) is found more frequently in GS badrans: a cat (1728) bairn: child (1728) baith: both (1721) ban: to curse (DSL) bane-fire: bonfire (Jamieson) bannock: a sort of bread thicker than cakes, and round (1728) barlikhoods: a fit of drunk angry passion (1728) bassend: a cow or horse with a white face (1728) baugh: indifferent, sorry, not respectable (Jamieson) bauk: balk (1721) bauld: bold (1721) bawty: a name given to a dog (Jamieson) bayer: see ‘byar’ bedeen: immediately; in haste (1728) beech-luggies: a dish of wood with a handle (1728) beek: to bask (1728); the act of basking in the sun or at a fire (DSL, citing this passage) begunk: a trick or illusion, which exposes one to ridicule (Jamieson) behind: the remainder (DSL) beild: a shelter (1728) bein: wealthy (1728) ben: the inner-room of a house (1728) bend: a pull of liquor (Jamieson, citing this passage) bent: the open field (1728); see also ‘pike it scantly on the bent’ and ‘to the bent’ betootch-us-to: i.e., Let us commend ourselves to the protection of some superior being (Jamieson) beuk: baked (1728) bicker: a wooden dish (1728), for containing liquor (Jamieson) 563

The Gentle Shepherd

bigonets: a linen cap or coif (1728) billy: a term expressive of affection and familiarity (Jamieson, citing this passage) birks: birch-trees (1728) birn: a pasture on dry, heathy land (DSL) birns: the stalks of burnt heath (1728) black-sole: confidant in courtship (DSL) blashy: deluging, sweeping away by inundation (Jamieson) bleez: blaze (1728) blate: bashful (1728), modest (DSL) blaw: a falsehood, a lie told from ostentation (l. 404) (Jamieson); blow (1728) bode: desire, aim at (DSL) bombaz’d: confused; made to look like an idiot (1728) bobit bands: a band or cravat with bobs or tassels at each end (Shenstone) bonnet lug: the ear which is more visible when the cap is worn on one side of the head (DSL) ’boon the lift: under heaven boord: board (i. e., table) bought, bught: the little fold where the ewes are inclosed at milkingtime (1728) bouk: the whole body of a man or carcass of a beast (Jamieson) bo(a)urd: jest or dally (l.1708/1689) (1728) bow: a boll; a dry measure (Jamieson) brae: the side of a hill, bank of a river (1728) brankan: prancing; capering (1728) brat(t)ling: making a noise as of horse feet (1728) brats: rags (1728) braw: 1) brave; fine in apparel (l. 156, l.892/887) (1728); 2) pleasant, agreeable (l. 1229/1224), (l. 1436/1417)) (Jamieson); 3) worthy, excellent (l. 41) (Jamieson) breckens: ferns (1728) bris’d, briss: pressed, to press (1728) brock: badger (1728); but also an opprobrious epithet applied to a person (DSL) broe: broth (1728) Brown Cow: a ludicrous designation given by the vulgar to a barrel of beer or ale, from its colour, as contra-distinguished from that of milk 564

Glossary

(Jamieson, citing this passage) brunt: burnt (DSL) bumbaze: see ‘bombaz’d’ burnie: diminuitive of burn: a brook (1728) busk: to deck (1728) bustine: fustian (cloth) (1728) butt: into the kitchen (DSL) by and attour: in addition to (DSL) byar: cowhouse (Jamieson) byde: await, wait for (Jamieson) ca’: call (1721) cadgie, cadgy: cheerful, in good spirits, friendly (DSL) cankart, canker’d: cross, ill-natured (Jamieson) canny: frugal, not given to expence (Jamieson) cantraips: incantations (1728) canty: chearful and merry (1728) carle: an old word for a man (1728); as Jamieson notes, the word has many connotations; here, in referring to the disguised Sir William, ‘old man’ seems appropriate carena by: to be indifferent (DSL) cast: fate (Jamieson) cast up: to throw anything in one’s teeth (Jamieson) cauld: cold (1721) caulrife: spiritless; wanting chearfulness in address (1728) cawk: to mark with chalk (DSL, citing this passage) cheils, chiels: a general term, like fellow, used sometimes with respect; as, He’s a very good Chiel; and contemptuously, That Chiel (1728) chirm: chrip and sing like a bird (1728) chuffy-cheeked: chubby-cheeked (DSL) claith: cloth (1721) clatteran: chattering (1728) clean’s a leek: whole, wholly, complete(ly), thoroughly (DSL, citing this passage); Ramsay defines it as ‘perfectly claver and right’ (1721), but his use of ‘claver’ is puzzling. It means, he says, ‘to speak nonsense’ (1728), which is inappropriate here. I can find no other source that uses it adjectivally as it is here and which would fit the implied sense, even as a variant of ‘clever.’ cleck: to gossip, talk loudly and idly (DSL, citing this passage) 565

The Gentle Shepherd

cleek: to catch as with a hook (1728) clute: hoof, of cows or sheep (1728) cockernonny: the gathering of a woman’s hair, when it is wrapped or snooded up with a band or snood (1728) come a will: come willingly, of her own accord, without constraint (1721) come farer ben: be in greater favor with (DSL) coof: a stupid fellow (1728) cost: purchased, have in one’s possession corbies: ravens (1728) corn-rigs: a strip of ploughed land raised in the middle and sloping gradually to a furrow on either side, in the pre-agrarian revolution system of agriculture, usually bounded by patches of uncultivated grazing ground (DSL) craz’d: limbs rendered infirm through injury or age (DSL) crove: a cottage (1728) crummock: name for a cow (Jamieson, citing this passage) crune: a low, murmuring tune (1728) cry dool: lament, mourn (DSL, citing this passage) cunzie: coin (1728) curn: a quantity of anything; a parcel of an indefinite number (Jamieson, citing this passage) cut and dry: cut and dried tobacco (OED) cut before the point: anticipate (DSL); here, to do so hastily daffine: folly; waggery (1728) daft: foolish; and sometimes wanton (1728) daftlike: have the appearance of folly (Jamieson) darn’d: hidden (1728) daut(ed), dawted: to dawt: to cocker, and caress with tenderness (1728); compare English ‘dote’ deel: the devil (Jamieson, citing this passage) Deil gaes o’er John Wobster, the: a proverbial phrase, meaning ‘things are in a devil of a mess’, have got out of hand, ‘the fat's in the fire’ (DSL); Ramsay’s usage is the earliest example cited. dic(e)’d: properly, to sew a kind of waved pattern near the border of a garment (Jamieson) din: 1) a slight noise, frequently of running water (l. 186) (DSL); 2) a fuss, to-do (l. 551) (DSL) disna: does not 566

Glossary

dit: to stop or close up a hole (1728); here (l. 30), to close up one’s ears (i. e., lugs) divet-seat: a seat made of broad turf (1728) docks: an herb, all the larger species of rumex receive this name (Jamieson) doilt: confused and silly (1728) doof: short for doofart, a dull heavy headed fellow (1728) dool: pain, grief (1728) dorty: proud; not to be spoken to; conceited, appearing as disobliged (1728) dow: to be able; to have the physical strength or means (DSL) dowie: melancholy, sad, doleful (1728) downa: i. e., though one has the power, he wants the heart to it (1728) dowp: the arse, the small remains of a candle, the bottom of an egg-shell. Better haff Egg as toom dowp. (1728). As the note above to ll.1647-64 (1725) indicates, Ramsay seems to mean the first usage here. dozens: becomes torpid (Jamieson, citing this passage) drap: drop (1721) dree, drie: to suffer, endure (1728) drouth: thirst (Jamieson) dubs: mires (1728) dud(d)y: ragged (Jamieson) dunt: a throb, thump, quickened beat of the heart (DSL); ‘my heart ne’er gi’e o’er to dunt’ would thus mean ‘my heart will never stop hammering’ durst: dared (DSL) dyke: a low wall made of stones, turf, etc., serving as an enclosure (DSL) dyvo(u)r: a debtor, bankrupt (DSL) Eastlin: Easterly (Jamieson) eglintines: sweet-briars (OED) eild: age (1728) eithly: easily (1728) elritch: wild, hideous, uninhabited, except by imaginary ghosts (1728) Elf-shot: bewitched, shot by fairies, country people tell odd tales of this distemper amongst cows. When Elf-shot, the cow falls down suddenly dead, no part of the skin is pierced, but often a little triangular flat stone is found near the beast, as they report, which is 567

The Gentle Shepherd

called the Elf’s Arrow. (1721) elwand: an instrument for measuring (Jamieson) ergh: when one makes faint attempts to a thing without a steady resolution (1728) ether-cap: (cf. ettercap): a spider; fig. A bad-tempered, spiteful person, applied esp. to one of small stature or curious appearance (DSL) e(t)tle: to aim, design (1728) evens: compares (1728) fa’: fall (1721) fae: foe (1721) fail’d: impaired in health or vigour, infirm (DSL) fain: expresses earnest desire; as, fain would I; also, joyful, tickled with pleasure (1728) fand: found (DSL) fash, fashes: vex or trouble (1728) fasheous: troublesome (1728) fause: false (1721) fauld: fold (1721) faut: fault (1728) fawn: fallen (1728) fear: frighten (1728) feg: fig (DSL) feightan [var. of ‘fechtan’]: fighting (DSL) fell: a preciptious rock, a rocky hill (Jamieson) fere: see ‘hale and fere’ ferly: wonder (1728), as noun and verb feu: a fief; a possession held of a superior, on payment of a certain yearly rent (Jamieson) flaw: lie or fib (1728) fleech: to coax or flatter (1728) fleg: fright (1728) fleid, flet, fleyt: afraid or terrified (1728) flesh a’ creep: A phrase which expresses shuddering (1721) flightering fain: throbbing with joy (DSL) flyte: to scold, chide (1728) forrow: of a cow: having missed a pregnancy, not in calf, whether still giving milk or not (DSL)  foryet: forget (Jamieson) 568

Glossary

fou: full (1721) fowk: folk (1721) fouth: abundance, plenty (1728) frae ev’ry Airth: on every art is sometimes used in the same sense in which we say, on every hand, or on all sides (Jamieson). freath: to work up into froth, to make suds for washing (Jamieson) furlet: four pecks (1728) gab(s): the mouth (l. 1933/1915) (1728); taste (l. 167) (Jamieson); see also ‘shevling-gabit’ and ‘thrawin-gabbet’ gae: go (1721) gaits: 1) goats (l.664/659) (1728); 2) ways, as in type of behavior (Jamieson), var. of ‘gates’ gallows-face: one who has the appearance of a gallows-bird, a villain (DSL, citing this pasage) gane gyte: acting extravagantly, in whatever way, from anger or joy; to act as in a delirium (Jamieson) gang: go; to advance step by step (Jamieson) gang your ways: go one's way (DSL, citing this passage) gars: causes, makes or forces (1728) gart: past tense of gar: to cause, to make (Jamieson) gate: way (1728), both literal and figurative gawky: playing the fool; esp. of young women, to behave foolishly or lightly with men (DSL) gaws: galls (1728) gecks: mocks (1728) get the Grace: to get the nuptial blessing, to be joined in holy wedlock (DSL) gets: brats, children, by way of contempt or derision (l. 281) (1728) gie: give (DSL) gies your cracks: to give the news, retail gossip (DSL) gif: if (1728) giglit: an alternate spelling of ‘jillet,’ a giddy girl (Jamieson) gin: if (1728) girning: snarling (1728) glances: shines, gleams (1728) glooman: scowling or frowning (1728) glowring: staring or looking stern (1728) gowans: daisies (1728) gowany: covered with daisies (DSL, citing this passage) 569

The Gentle Shepherd

gowd: gold (1721) gowk: the cuckow; in derision we call a thoughtless fellow, and one who harps too long on one subject, a gowk (1728) grace-drink: the designation commonly given to the drink taken by a company, after the giving of thanks at the end of a meal (Jamieson) gray a gate: a disastrous course, a bad end (DSL, citing this passage) graith: warm water, so wrought up with soap as to be fit for washing clothes (Jamieson) grane: groan (1721) gravels: aggregations of urinary crystals which can be recognized as masses by the naked eye (as distinguished from sand) (OED) gree: prize, victory (1728) greet, greeting: weep, weeping (1728) grein: to long for (1728) grots: mill’d oats (1728) gusty: savoury (Jamieson) ha’ house: a farm-house, the main dwelling of a farm, a house, esp. on a farm, occupied by the farmer himself as opposed to the cottar houses, less commonly with Eng. sense of a manor-house (DSL) had(s): hold(s) (1721) haff: half (1721) haffet-locks: locks of hair growing on the temples (DSL) haf(f)-worn: This term does not appear in any of the sources above or any compendia of texts at the time that would match the apparent meaning here. It seems to signify a woman worn out by abuse and age, figuratively worn down to half of what she was? haflen: half-complete, imperfect (DSL) hag-a-bag: coarse napery (1728) hag-raid: oppressed in mind, harrassed (OED); from the idea of a nightmare as being caused by a hag—i. e., a malign female figure— ‘riding’ one’s mind haith: a minced (i. e., euphemistic) oath, generally viewed as a correction of faith (Jamieson) hald: a habitation (Jamieson) hale: sound, in good health (Jamieson); wholesome (DSL) hale and fere: in perfect health and condition, strong, unbroken (DSL) halesome: wholesome (1728) hallon-side: a hallen is a fence (built of stone, turf, or a moveable 570

Glossary

flake of heather) at the sides of the door in country places, to defend them from the wind (1721) haly: holy (1721) haly Band: the Kirk session (DSL); i.e., an ecclesiastical court made up of the ministers and the elders of the parish hame: home (1721) happing: of tears etc.: to trickle, drop down in quick succession (DSL) hapt: to cover, in order to defend from cold (Jamieson) harigalds: used metaphorically and ludicrously, though improperly; being applied to the tearing of one’s hair, a rough handling, &c. (Jamieson, citing this passage) hartsome: that which rejoices the heart, encouraging, animating (DSL) ha(u)ld: hold (1721) hawkies: cows, properly with a white face (Jamieson) haws: valleys, or low grounds, on the sides of rivers (l.1616/1597) (1728) hawslock woo: a fine wool which is pull’d off the necks of sheep before the knife be put in, this being so much gain’d without spoiling the Sale of the Skin, is gather’d for such an Use (1721) heer-yestreen: the night before yesternight (1728) heffs: to become domiciled, settled or established in a place or occupation (DSL) heghts: promises (1728) het: hot (1721); as used in l.1300/1281 blushing at an accusation hissell-shaw: hazel (DSL) + wood (1728) hidlings: lurking, hiding-places (1728) hinder: past (Jamieson) hinny pear: a sweet, edible variety of pear (DSL) hobleshew: confused racket, noise (1728) hodden-gray: homespun woollen cloth of the natural undyed colour, frequently used attributively and figuratively to describe one dressed in simple rustic fashion, or a homely unaffected individual (Jamieson). For Ramsay’s use of the term within a broader history, see Newman 2018 honest: an epithet of approbation or regard: worthy, good, estimable (DSL) hool: husk (1728) 571

The Gentle Shepherd

how: low ground, a hollow (l. 183) (1728) howt: fy (1728), i.e., the exclamation ‘fie!’ howdy: a midwife (1728) howms: plains on river-sides (1728) howks: digs (1728) hynd: a servant, properly one employed in rustic labor (Jamieson) ilk(a): each, every (1728) in tift: in proper capacity for doing anything (Jamieson) ingans: onions (1728) ingle-edge: the fireside, chimney-corner (DSL) ingle-side: fireside (1728) ither: other (1721) jaccacinths: In the copy of GS belonging to Burns on deposit at the Edinburgh Central Library, somebody, perhaps Burns himself, has tipped in ‘hyacinth’ (42). This is not a bad guess at Ramsay’s meaning, since ‘jacinth’ is a synonym for ‘hyacinth.’ ‘Jaccacinth’ appears nowhere outside of GS. jaw: to spurt, to throw out in a jet (Jamieson) jo: sweet-heart (1728) kail-yard: a kitchen garden, thus denominated because colewort is the principal article in the gardens of the common people (Jamieson) keep up: hide (l.72); or retain (l.1548/1529) (1721) ken: to know; used in England as a noun; a thing within ken, i. e., within view (1728) kend: familiarly known (DSL) kent: a long staff, such as shepherds use for leaping over ditches (1728) kiltit: tucked up (1728) kirk: church (DSL) kirn’d: churned (1728) kitted whey: whey in a dish, eaten as a delicacy (DSL, citing this passage); it also appears in ‘The Broom of Cowdenknows’ (TTM (1723), 26)) kittle: to tickle (l.399) (DSL) kittle cast: bad fortune (DSL, citing this passage) knit up themselves: to bind up, to conclude or settle and make firm (DSL); here, meant ironically to distinguish Jennie’s wished-for freedom from those who have bound themselves to marriage know: a hillock (1728) 572

Glossary

kow: see ‘shelly-coated kow’ ky: kine or cows (1728) laith: loath (1721) Lammas(s): the 1st of August; in the early English church observed as a harvest festival, at which loaves of bread were consecrated, made from the first ripe corn. (In Scotland, one of the usual quarter-days.) (OED) land(w)art: the country, or belonging to it; rustick (1728) lane: alone (1728) lang: long (1721) lave: the rest, or remainder (1728) laverock: lark (1728) lead: to carry or convey in a cart (DSL) leal, leel: true, upright, honest, faithful to trust, loyal (1728) lee: untilled ground; also an open grassy plain (1728) leen: cease, give up, yield (Jamieson) lee-side: that side of any object that is turned away from the wind (OED) leglens: milking pails with one lug or handle (1728) lick: to whip or beat (1728) lift: sky or firmament (1728) linkan: walking speedily (1728) lin: a cataract (1728) liltit: sung; from lilt, to sing cheerfully (Jamieson) loan: a little common near to country villages, where they milk their cows (1728) loo(‘d): love, loved (1728) loof: the hollow of the hand (1728) loundering: from lounder, a sound blow (1728) lout: to bow down, making courtesie; to stoop (1728); as used in l. 52, to yield to low: flame (1728) lowan: flaming (1728) lowp: leap (DSL) lows’d: undid, unfastened (DSL) lucky: a designation given to an elderly woman (Jamieson) lug: ear, handles of a pot or vessel (1728) lyart: hoary or gray-hair’d (1728) mae: more (1728) 573

The Gentle Shepherd

maiks: a companion, mate, fellow; husband, wife (DSL) mailens: the rent paid for a for a farm or possession (Jamieson); from mailen, a farm (1728) mair: more (1721) maist: most (1721) mak a fraise: to talk in an exaggerated, flowery way, to gush (DSL) manna, mauna: must not, may not (1728) manswear: to perjure (Jamieson) maun: must (1728) maut: malt (1728) mavis: the song-thrush (DSL) mawn: 1) mown (l. 500); 2) must (i. e., ‘maun’) (l. 1034—not spelled this way in 1729) (1728) mear: mare (DSL) meikle: much, big, great, large (1728) menin: minnow (Jamieson) merl(e): blackbird (Jamieson) midding: a dunghill (1728) mint: aim, endeavour (1728) mirk: dark, to darken (1728) miscaws: to call by a bad name (DSL) misluck, misluke: misfortune (Jamieson) mistane: to labour under a misapprehension (DSL) mither: mother (1721) mools: the earth of the grave (1728) motty: full of motes or atoms (Jamieson) mouse mark: a birth-mark resembling a mouse in shape (DSL, citing this passage) mows: jests (1728) muck: dung (DSL) na: no (1721) naithing: nothing (1721) nane: none (1721) nappy: of ale or liquor: foaming, brisk, strong, rich, heady (DSL) near: never (l. 1458/1435) neist: next (1728) never fash your thumb (or beard): be not the least vex’d, be easy (1721) newcal: a cow newly calved (Jamieson) 574

Glossary

nives: fists (1728) nocht: naught, nothing (DSL) noddles: the back of the head, the nape of the neck (DSL) nowt: cows, kine (1728) onset: (the site of) a farm-house and its group of outhouses, a farmstead; a small cluster of houses (DSL) of that ilk: of the same (Jamieson) or: before (l. 307 and other instances) (Jamieson) orp: to weep with a convulsive pant (1728) owk: week (1728) owre: over (DSL) owrecome: the overplus (Jamieson) owr(e)lay: a cravat (1728) owsen: oxen (1728) oxter: armpit (1728) paughty: proud, haughty (1728) pa(u)wky: witty or sly in word or action, without any harm or bad designs (1728) pawkylie: shrewdly (DSL) peet-stack: a stack of turfs used for fuel (1728) pensilie, pensylie: in a self-important manner (Jamieson, citing this passage) pike it scantly on the bent: Ramsay (1728) defines ‘pike’ as ‘pick’ and ‘bent’ as ‘the open field,’ and so the sense here is of having but scant sustenance to choose from, in contrast to those possessed of an estate pith: strength, might, force (1728) poind: that which is distrained (Jaimeson) i.e., seized to obtain payment poke: a simple type of bag or pouch, a small sack or sack-like receptacle (DSL) poortith: poverty (1728) pop(i)lan: bubbling, purling, boiling up (1728), as a stream pou: pull (1721) prin: a pin (1728) propine: gift of present (1728) pund: in Scottish, a measure having a double value according to whether the standard was Troy or Dutch, used generally for meal, meat, metal, or Troy, for butter, cheese, wool, and some 575

The Gentle Shepherd

other home-produced commodities. The Troy pound according to the Lanark standard stone was 7656.25 grains (DSL) quey: a young cow (1728) rant: to make merry, revel, to indulge in boisterous fun (DSL) rantin: of a fire: to burn strongly with leaping flames, to blaze (DSL) rash: active, agile, vigorous, hale and hearty (DSL) rashes: rushes (1728) rattle-scull: one who talks much without thinking (Jamieson) rattling: chattering (DSL) rave: 1) to talk foolishly or absurdly, or in older Scots, to talk ecstatically (l.268) (DSL); because Peggy pairs it with ‘sport,’ the former may be meant in an affectionate way, though the latter may be signified; 2) to wander, stray, or roam (l. 519) (DSL) red(d): 1) apprehensive (l. 934/929) (1728); 2) to explain, to unfold, especially used with respect to an enigmatical saying (l. 938/933) (Jamieson); 3) to separate folks that are fighting (S. D. before l. 1310/1291) (1728) red up: a metaphorical phrase from the putting in order, or winding up yarn that has been ravel’d (1721) reek: smoke (1728) reesting: drying in the smoak (1728) revel’d: a ravel’d heap, a troublesome or intricate business (Jamieson) rever: a robber or pirate (1728) rew: repent (Jamieson) ribon-knots: a piece of ribbon knotted in the middle and used for decorative purposes (OED, citing this passage). rife: plentiful (DSL) rin: run (1721) rock: a distaff (1728) roos’d: commended (1728) roove: to rivet (1728) roudes: an old, wrinkled, ill-natured woman (Jamieson) rousted: affected by rust (DSL), meant figuratively here to refer to the effects of age rowan: rolling (Maclachlan) rowt: to roar, especially the lowing of bulls and cows (1728) rowth: plenty (1728) rucks: ricks or stacks of hay or corns (1728) ruddy, rude: the red taint of the complexion (1728) 576

Glossary

Rumple: The Rump (1728); see note, above, on ll. 412-16 (1725). saebeins: seeing she is; since (1728) saft: soft (1721) sair: sore (1721) sakeless: guiltless(1728) sang: song (1728) sark: a shirt (1728) saul: soul (1728) saugh: a willow or sallow tree (1728) sawn: sown scad: scald (1728) scart anither’s leavings: among the meanings of scart is ‘scrape together money’ (Jamieson) and so here figuratively means to scrape together a mate from what others have rejected (i. e., ‘leavings’) scour: a run, rush, a quick pace or walk (DSL) seyd: tried (1728) scrimp(it): narrow, straitened (1728); deficient (Jamieson) seething: to be nearly boiling (Jamieson) shaw: a wood or forest (1728) shevling-gabit: having a distorted mouth (Jamieson) shor’d: threatened (1728) sic(can): such (1728) sincesyne: since that time (1728) singand: an archaic form of singing (DSL) sindle: seldom (1728) sit: to ignore (a command, request, etc.), to disregard, pay no heed to (l.224) (DSL) skair: share (1728) skaith: hurt, damage, loss (1728) skelf: shelf (1728) skelpit: to strike with the open hand; it properly denotes the chastisement inflicted on the breech (Jamieson) skiffing: to move lightly and smoothly along (Jamieson) slavering: the action of allowing saliva to issue from the mouth (DSL); i. e., slobbering slaw: slow (1728) slid: smooth, cunning, slippery; as, He’s a slid lown (1728) sma: small (1721) smoor: to smoother (1728) 577

The Gentle Shepherd

snaw: snow (1721) snood: the band for tying up a woman’s hair (1728) snool: a pitiful groveling Slave (1728) sonsy: plump, thriving (Jamieson, citing this passage) soon asteer: soon stirring, or up (1721) sornan: from sorn, to spunge (1728)—i. e., to obtrude oneself on another for bed and board (Jamieson) sot: a fool (Jamieson) sough: the sound of wind amongst trees, or of one sleeping (1728) spae-men: prophets, augurs (1728) spaining-time: the time of weaning from the breast (1728) spate: a torrent, flood, or inundation (1728) spear, speer’d: ask(ed) or inquir(ed) (1728) spell: to teil, inform, narrate (Jamieson) spill: spoil, abuse (1728) stand one’s lane: without assistance, unaided (DSL) stane: stone (1721) starns: the stars (1728) staw: stole (1721) steek: to shut, close (1728) steght his fortune in his wame: crammed his fortune in his stomach (Jamieson); that is, ate up his fortune, literally and/or figuratively stend: to move with a hasty pace (1728) stent: to assess, to tax at a certain rate (Jamieson) stock and horn: a musical instrument anciently used in Scotland; Joseph Ritson describes it as ‘a reed or whistle, with a horn fixed to it in the smaller end’ (Jamieson, citing this passage) strake: struck (Jamieson) strapan: clever, tall, handsome (1728) suckler: the flowers of clover (DSL, citing this passage) sung: singed (DSL) swith: begone quickly (1728) syne: afterwards, then (1728) take the pet: to take offence and become sulky (DSL) tald: told (1721) tansy: As in English, the flower Tanacetum vulgare, but in Sc. applied more freq. to the ragwort (DSL) tar-barrel: barrel containing or that has contained tar: esp. as used 578

Glossary

for making a bonfire; formerly also in the carrying out of capital punishment by burning (OED, citing this passage) tarrows: to refuse what we love, with a cross humour (1728) tass: a little dram-cup (1728) taz: a whip or scourge (1728), here, meant literally as well as figuratively tate: a small lock of hair, or any little quantity of wool, cotton, & c. (1728) teil: to cultivate the soil (Jamieson), i. e. to till tent: to attend, to observe attentively (Jamieson) tether-stake: the upright post in a stall to which a cow is fastened (DSL) thack: thatch (1728) thae: those (1728) thiev(e)less: of actions: not to the purpose, ineffective; serving as a pretext, unconvincing (DSL, citing this passage) thrawart: froward, cross, crabbed (1728) thirle: to pass with a tingling sensation (Jamieson) thole: to endure, suffer (1728) thow(s): thaw(s) (1728) thrang: throng (1721) thrawin-gabbet chuck: thrawin: stern and cross-grain’d (1728); gabbet: mouthed (DSL); chuck: a hen (1728) tighter: fine, well-made, shapely (DSL) tightly: properly, soundly (DSL) tine, tyne: to lose (1728) tint: lost (1728) titty: sister (1728) to the Bent: to provide for one’s own safety, to flee from danger (Jamieson, citing this line); to flee from one’s creditors (DSL, citing this line) tocher: portion, dowry (1728) tod: a fox (1728) tooly: to fight; a fight or quarrel (1728) toom: empty, applied to a barrel, purse, house, &c. (1728) towzled: rumpled, teazed (1728) tow: both 1728 and Jamieson define as ‘rope,’ but DSL seems closer to the meaning intended on l. 479, ‘flax or hemp fibre.’ Shenstone defines it similarly as ‘coarse flax’ (f.26). 579

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towin’d: to beat, belabour, subdue, tame by beating (DSL) towmand: a year or twelve-month (1728) trig: neat, handsome (1728) tron: the place or building where the public weighing-machine stood, and the area surrounding it, the market-place, the town centre; hence by extension, a market in general (DSL) tro(u)th, trowth: used as an adverb or interjection, in truth, truly (OED) trow: to believe; to trust to, or confide in (Jamieson) tug: Ramsay’s meaning here seems to be in line with DSL, s. v., tuggle (v.), fig. to struggle playfully, to romp tu(i)lzie: a quarrel, a toil, a combat (Jamieson) turn the timmer: to pass round a bowl liquor, to drink, to toast (DSL, citing this passage) tymously: early (DSL) unco, unko: uncouth, strange (1728) unforther’d: unfed, not provided with fodder (DSL) unsonsy: uncanny, supernaturally malign, associated with evil powers (DSL) unscrapit: foul-mouthed, abusive, uncivil (DSL, citing this passage) usquebae: an early form of ‘whisky’ (DSL) virles: small rings about any body, to keep it firm (Jamieson) vogue, the: the principal or foremost place in the estimation of society, etc. (DSL) vissy’t: to see, look at, observe (DSL) waff: wandering by itself (1728) wad: would (1728) wae: woe (1721) wale: 1) to pick and chuse (485, 1013/1008) (1728); 2) the best (1456/1437) (Jamieson) wan: won (l. 692/687) (1728) war: worse (1728) ware: to spend, expend, employ one's time (DSL) wark: work (1728) warld: world (1721) wat(e): know watna-whats: insignificant matters or persons, things of no moment (DSL) wather: a castrated male lamb (DSL) 580

Glossary

wawking: walking (1721); note that Ramsay in this usage (l. 1992/1974) does not seem to have in mind the Scottish cognate of ‘waking’ or ‘watching,’ as in the next entry wawking o’ the fauld: the act of watching the sheep-fold, about the end of summer, when the lambs were weaned, and the ewes milked (DSL) wawk: walk (1728) wa(w)s: walls (1721) wean: a child (1728) wear up: to drive animals or persons singly or in groups gradually and gently in a desired direction, to shepherd, edge forward or head (an animal, etc.) by degree (DSL) weeds: clothing (DSL) well I wat: to be sure (DSL) West-port: the sheep market in Edinburgh (1721) Westlin: 1) toward the West (l. 747/742; l. 1365/1346) (Jamieson): 2) from the West (l. 642/636) (DSL) we’t: with it wha: who (1721) whilk: which (1728) whin(d)ging: whining (1728) whins: furze (1728) whops: whips (DSL) wie: wee, small wife: a woman, whether married or single (Jamieson) will-fire: appears to be a variant of ‘wildfire,’ but OED refers to a quotation that defines it as ‘a fire started by friction’ wimpled, wimpling: a turning backward and forward, winding like the meanders of a river (1728) wins: resides, dwells (l. 1616/1597) (1728) wist: to know (that) something is the case as a matter of fact or certainty (DSL) withershins: cross motion, or against the sun (1728) within a crack: immediately, in the twinkling of an eye (DSL) won: to dry by exposure to the air (l. 1738/1715) (Jamieson) wond: wound (DSL), as in the winding of cloth woo: wool (1721) wood: mad (1728) woodly: frantically, in a state of frenzy (DSL, citing this passage) 581

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wordy: worthy (1728) wyle: used in relation to what is accomplished by cautious or artful means (Jamieson) wyte: blame (1728) yarn: Ramsay’s meaning here isn’t entirely clear, but in ‘When last the Burn bore down my Mither’s Yarn,’ Bauldy seems to be invoking a case in which a river or stream washed away the yarn his mother had set out for washing. yont: yonder (DSL) youdith: youthfulness (1728)

582

BIBLIOGRAPHY Manuscripts Lamont, Craig. ‘The Ramsay ‘ŭ’: Minims, Stress Marks, and the Unknown.’ Leiman, Jessica and Katherine Mannheimer. ‘Leiman & Mannheimer List of the Canongate Concert Hall Edinburgh Schedule, 1757-63.’ Ramsay, Allan. ‘Drafts of The Gentle Shepherd.’ Laing MS. 212*. Edinburgh University Library. —. ‘Fair Copy of The Gentle Shepherd.’ NLS MS 15972. National Library of Scotland. —. MSS. Song Drafts for The Gentle Shepherd. HM MS 1489. Huntington Library. —. MSS. Song Drafts for The Gentle Shepherd. Eng MS 749. John Rylands Memorial Library. —. ‘The Pleasures of Improvement in Agriculture’. Egerton MS. 2023, ff. 61-63. British Library. —. ‘Prologue to The Gentle Shepherd.’ Egerton MS. 2023, ff. 116-17. British Library. Shenstone, William. Annotations to The Gentle Shepherd. G.11387. British Library.

Editions of The Gentle Shepherd Consulted N. B. This chronological list does not include adaptations, which can be found in ‘Primary Printed Sources’ with the adapter listed as the first author. The Gentle Shepherd; A Scots Pastoral Comedy. By Allan Ramsay. 1725. Edinburgh: printed by Mr. Tho. Ruddiman, for the author, Sold at his Shop near the Cross, and by Mr. Thomas Longman in Pater-noster-Row, and Mr. James McEwin, opposite to St. Clement’s Courch, Book-sellers in London, and by Mr. Alexander Carmichael in Glasgow. The Gentle Shepherd; A Scots Pastoral Comedy. By Allan Ramsay. 2nd ed. 1726. Edinburgh: printed by Mr. Tho. Ruddiman, for the author. Sold at his shop, and by Mr. Thomas Longman in Pater-Noster-Row, and Mr. James M'Ewen, opposite to St. Clement's Church, Book-Sellers in London, by Messrs. Bryson 583

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and Aikenhead in Newcastle, and by Mr. Alexander Carmichael in Glasgow. The Gentle Shepherd; A Scots Pastoral Comedy. By Allan Ramsay. Carefully Corrected According to the Edinburgh Copy. 1727. Dublin: printed by S. Powell, for George Risk, at the Corner of Castle-Lane in Dame's-Street, opposite the Horse-Guard, 1727. Eighteenth Century Collections Online. The Gentle Shepherd, A Pastoral Comedy. 1728. In Poems by Allan Ramsay. Vol. II, 305-82. Edinburgh: printed by Mr. Thomas Ruddiman, for the author. The Gentle Shepherd; A Scots Pastoral Comedy. 1729. Edinburgh: printed by Mr. Tho. And Walt. Ruddimans, for the Author. Sold at his Shop near the Cross. The Gentle Shepherd; A Scots Pastoral Comedy. By Allan Ramsay. 6th ed. 1734. Edinburgh: printed by Tho. and Walt. Ruddimans, for the author. Sold at his shop near the Cross. The Gentle Shepherd; A Scots Pastoral Comedy. By Allan Ramsay, 7th ed. 1743. Glasgow: printed by Robert Foulis, and sold by him there; at Edinburgh, by Mess. Hamilton and Balfour. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. By Allan Ramsay. With the Sangs. 1754. Aberdeen: printed and sold by F. Douglass and W. Murray. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. With New Songs. By Allan Ramsay. 1755. Belfast: printed by and for James Magee, in Bridge-Street. Eighteenth Century Collections Online. The Gentle Shepherd; A Scots Pastoral Comedy. With All the Songs. 1755. Falkrik: printed and sold by Patrick Mair. The Gentle Shepherd: A Scots Pastoral Comedy. By Allan Ramsay. Adorned with Cuts, the Overtures to the Songs, and a Complete Glossary. 1758. Glasgow: printed for John Robertson junr. Bookseller, at Shakespear's Head, in the Saltmercat. The Gentle Shepherd, a Scots Pastoral Comedy: As It was Acted with Great Applause at the Theatre in Edinburgh. Written by Allan Ramsey ; and Now Adapted to Publick Representation by Mr. Digges. 1759. Dublin: printed for Hulton Bradley, at the King's-Arms and Two Bibles in Dame-street. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. With all the songs. 584

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1773. Perth: printed by J. Taylor. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. With New Songs. 1776. Newry: printed by Daniel Carpenter. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. 1780. Dundee: printed and sold by T. Colvill. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. With New Songs. 1783. Strabane: John Bellew. Worldcat. The Gentle Shepherd: A Scots Pastoral Comedy. 1784. Kilmarnock: printed for J. Meuros. Worldcat. The Gentle Shepherd, a Pastoral Comedy; by Allan Ramsay. 1788. Glasgow: printed by A. Foulis, and sold by D. Allan, Dickson's Closs, Edinburgh, also by J. Murray, No. 32. Fleet-Street, and C. Elliot, Strand, London. The Gentle Shepherd, A Scotch Pastoral Comedy. 1788. [United States]. Readex: Early American Imprints. The Gentle Shepherd: A Scots Pastoral Comedy. By Allan Ramsay. A New Edition, with the Songs, Carefully Corrected. 1795. Philadelphia: printed for Robert Campbell, no. 40, South SecondStreet. Readex: Early American Imprints. The Gentle Shepherd: A Scots Pastoral Comedy. By Allan Ramsay. A New Edition, with the Songs, Carefully Corrected. To which are Added, Familiar Epistles, between Lieutenant William Hamilton, and the Author. 1798. Berwick: printed by and for A. Phorson, Bridge-Street. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. By Allan Ramsay. 1798. Dundee: printed by T. Colvill, for and sold by T. Donaldson, Bookseller. Eighteenth Century Collections Online The Gentle Shepherd: A Scots Pastoral Comedy. 1798. Edinburgh: printed by Geo. Reid and Co. Baillie's Land, opposite Magdalane Chapel, Cowgate. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. By Allan Ramsay. Embellished with Five Elegant Engravings, Designed from the Most Remarkable Scenes in the Pastoral. 1798. Edinburgh: printed by Geo. Reid Baillie's Land, opposite Magdalane Chapel, Cowgate. Eighteenth Century Collections Online. The Gentle Shepherd: A Scots Pastoral Comedy. 1798. Glasgow : 585

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printed by D. Niven, and Sold by D. Niven, and Stewart & Meikle, Booksellers, Trongate. Worldcat. The Gentle Shepherd: A Scots Pastoral Comedy. By Allan Ramsay. A New Edition, with the Songs, Carefully Corrected. 1798. Philadelphia: printed and sold by Peter Stewart, no. 34, South Second-Street. Readex: Early American Imprints. The Gentle Shepherd. A Pastoral Comedy. With Illustrations of the Scenary; an Appendix, Containing the Memoirs of David Allan, the Scots Hogarth; besides Original, and other Poems Connected with the Illustrations, and a Comprehensive Glossary. To which are Prefixed, an Authentic Life of Allan Ramsay, and an Inquiry into the Origin of Pastoral Poetry; the Propriety of the Rules Prescribed for it, and the Practice of Ramsay. 1808. Edinburgh: Printed by Abernethy & Walker, for William Martin, W. Creech, A. Constable, P. Hill, and A. MacKay, Edinburgh; and for Vernor, Herd, & Sharpe, Cuthell & Martin, and John Murray, London. Primary Printed Sources Allan, Adam and Allan Ramsay. 1798. The New Gentle Shepherd, A Pastoral Comedy, Originally Written, in the Scotch Dialect, by Allan Ramsay. Reduced to English by Lieutenant Adam Allan. London: printed, for W. J. and J. Richardson, Royal Exchange, by H. L. Galabin, Ingram-Court, Fenchurch-Street, 1798. Three Centuries of English Drama. ‘An Account of the Reasons of Some People in Galloway, their Meetings anent Publick Grievances through Inclosures.’ 1724. ‘Advertisement,’ 1724. Caledonian Mercury. June 9. ‘Advertisement,’ 1725. Caledonian Mercury. June 21. ‘Advertisement,’ 1729. Caledonian Mercury. December 18. ‘Advertisements and Notices.’ 1724. Daily Courant, November 11. Seventeenth and Eighteenth Century Burney Newspapers Collection. Amicus [pseud.]. 1791. ‘Anecdotes Tending to Throw Light on the Character and Opinions of the Late Adam Smith, L L D,’ The Bee: Or Literary Weekly Intelligencer 3 (May 11, 1791): 1-8. Proquest: British Periodicals Collection. Archbald, Mary Ann Wodrow. Archbald, Mary Ann (Wodrow) 17621841, Part 2. 1785-1840. MS History of Women: History of Women. Arthur and Elizabeth Schlesinger Library on the History of 586

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Women in America, Harvard University. Nineteenth Century Collections Online. ‘Art. XII. The Gentle Shepherd, a Scotch Pastoral.’ 1791. Monthly Review, or, Literary Journal (London), 6 (Oct): 170-172. Proquest: British Periodicals. ‘Arts and Culture.’ 1781. Lloyd's Evening Post, October 29-31. 17th and 18th Century Burney Collection. ‘At the Theatre in Scarborough, this Present Evening, Being Monday the 18th of August 1783, will be Presented a Celebrated Comedy Call'd The Rivals or, A Trip to Bath [. . .] to which will be Added the Famous Scots Pastoral of Patie and Roger, or The Gentle Shepherd.’ 1783. Worldcat. Ayre, William. 1745. Memoirs of the Life and Writings of Alexander Pope, Esq. [. . .] Vol. 2. London: printed by his Majesty's authority, for the author, and sold by the booksellers of London and Westminster. Eighteenth Century Collections Online. The Blackbird, Containing One Hundred and Twenty-four Songs, Scots and English [. . .], 1771. 3rd ed. Edinburgh: William Coke. Eighteenth Century Collections Online. Boswell, James. 1791. The Life of Samuel Johnson, LL.D. [. . .] Vol. 1. London: Charles Dilly, Eighteenth Century Collections Online. Brand, John, and Henry Bourne. 1777. Observations on Popular Antiquities [. . .]. London: J. Johnson. Eighteenth Century Collections Online. ‘Broadside Ballad entitled “The Bonny Lass of Branksome.”’ The Word on the Street. National Library of Scotland. https://digital.nls.uk/ broadsides/view/?id=14529. Burns, Robert. 1801. The Works of Robert Burns; With an Account of his Life [. . . ]. Edited by James Currie. 4 vols. Philadelphia: Thomas Dobson. America’s Historical Imprints —. 1985. The Letters of Robert Burns: Volume II, 1790-96. 2nd ed. Edited by J. De Lancey Ferguson and G. Ross Roy. Oxford: Clarendon Press. The Charmer: a Choice Collection of Songs, Scots and English. 3rd ed. 1765. Edinburgh: M. Yair. Eighteenth Century Collections Online. Child, Francis James, ed. 2014. The English and Scottish Popular Ballads. Vol. 4. Cambridge Library Collection - Literary Studies. Cambridge: Cambridge University Press. doi:10.1017/ CBO9781107711129. 587

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Cibber, Theophilus, and Allan Ramsay. 1730. Patie and Peggy: or, the Fair Foundling. A Scotch Ballad Opera. As It is Acted at the Theatre-Royal in Drury-Lane. By His Majesty's Servants. With the Musick Prefix'd to Each Song. London: printed for J. Watts at the Printing-Office in Wild-Court, near Lincoln's-Inn Fields. Eighteenth Century Collections Online. Cooper, Richard. ‘Scene from “The Gentle Shepherd.”’ National Galleries of Scotland. nationalgalleries.org/art-and-artists/7317/ scene-gentle-shepherd. Cumming, Robert. 1791. ‘Essay, Delivered in the Pantheon on Thursday, April 14, 1791. On the Question, “Whether Have the Exertions of Allan Ramsay or Robert Ferguson Done Most Honour to Scottish poetry” [. . . ].’ Edinburgh: T. Brown and J. Elder. —. 1791. Poems on Several Occasions. To which is Added, The History of Mr. Wallace. A Novel. Edinburgh: Printed for the author. Dictionarium Rusticum, Urbanicum & Botanicum [. . .]. 2nd ed. 1717. London : J.Nicholson, W. Taylor, and W. Churchill. Eighteenth Century Collections Online. ‘Edinburgh, April 21.’ 1724. Caledonian Mercury, April 27. ‘Edinburgh, August 19.’ 1729. Caledonian Mercury, August 19. ‘Edinburgh, June 2.’ 1729. Caledonian Mercury, June 4. ‘Edinburgh, June 16.’ 1724. Caledonian Mercury, June 16. ‘Edinburgh, May 14.’ 1724. Caledonian Mercury, May 14. Ellis, William. 1732. The Practical Farmer [. . .]. 2nd ed. London: printed for Weaver Bickerton, at Lord Bacon's Head, without Temple-Bar; Thomas Astley, at the Rose; and Stephen Austen, at the Angel and Bible, in St. Paul's Church-Yard. Eighteenth Century Collections Online. ‘Festival Play: Ramsay’s “Gentle Shepherd.”’ 1949. The Scotsman, March 18. ProQuest Historical Newspapers. Fraser Tyler, Alexander. 1800. ‘Remarks on the Genius and Writings of Allan Ramsay.’ In The Poems of Allan Ramsay. A New Edition [. . .], lix-clvii. 2 vols. Edited by George Chalmers. London: printed by A. Strahan, for T. Cadell jun. and W. Davies, Eighteenth Century Collections Online. ‘From the Weekly Journal, May 23.’ 1724. Caledonian Mercury, June 4. Geikie, Archibald. 2012. A Long Life's Work: An Autobiography. 1924. Cambridge Library Collection - Earth Science. Cambridge: Cambridge University Press. doi:10.1017/CBO9781139225205. 588

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‘“The Gentle Shepherd.”’ 1951. The Prompter: The Bulletin of the Citizens’ Theatre Society (December). Scottish Theatre Archive, Glasgow University Library Special Collections, GB 247 STA Eo 5/p. 10. “‘The Gentle Shepherd.”’ 1962. Citizens Theatre. Scottish Theatre Archive, Glasgow University Special Collections, GB 247 STA Eu 10/3. ‘“The Gentle Shepherd”: Ramsay’s Pastoral Takes on a Sophisticated Look.’ 1949. The Scotsman, August 26. ProQuest Historical Papers. The Guardian. 1714. Vol. 1. London: printed for J. Tonson, at Shakespear's-Head over-against Catherine-Street in the Strand. Eighteenth Century Collections Online. Guthrie, William. 1767. A General History of Scotland, from the Earliest Accounts to the Present Time. [. . .]. Vol. 4. London: A. Hamilton. Eighteenth Century Collections Online. The Hive. A Collection of the Most Celebrated Songs. In four vols. 4th ed. 1732-33. Vol. 2. London: J. Walthoe. Eighteenth Century Collections Online. Hunt, Leigh. 1844a. ‘A Jar of Honey From Mount Hybla—No. 1.’ Ainsworth's Magazine 5 (January): 70-74. British Periodicals Online. Hunt, Leight. 1844b. ‘A Jar of Honey From Mount Hybla—No. 2.’ Ainsworth’s Magazine 5 (January): 161-68. British Periodicals Online. The Lark. Containing a Collection of Four Hundred and Seventy Four Celebrated English and Scotch Songs. [. . .] 1742. London: John Osborn. Eighteenth Century Collections Online. ‘Kennedy’s Last Two Weeks.’ 1873. The Sydney Morning Herald, June 18. ‘Laudable Conduct—Kenmay [sic], 9th Feb.’ 1850. Aberdeen Journal, February 13. British Library Newspapers. ‘A Letter to Allan Ramsay, Occasioned by a Former One.’ 1724. Caledonian Mercury. May 28. Lindsay, Maurice and Allan Ramsay. 1947. The Gentle Shepherd. BBC Scotland Radio, 1947. Script. Scottish Theatre Archive, University of Glasgow Special Collections, GB 247 STA Kd 7/6. ‘Literary Sketches.’ 1841. Chartist Circular (Glasgow), February 27. British Library Newspapers. ‘Longside.’ 1879. Aberdeen Journal, March 14. British Library 589

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Newspapers. ‘The Lovely Northern Lasse.’ 1624-80? London: Fr. Coles. English Broadside Ballad Archive. ebba.english.ucsb.edu/ballad/31921/ image. ‘Miss Leila’s Benefit.’ 1906. The Age (Melbourne, Vic.), July 28. ‘Money for a Girl’s College.’ 1909. Baltimore American, June 10. America’s Historical Newspapers. ‘Mrs. Hamilton’s Night. By the Old American Company, At the Theatre in Southwark [. . .] A Word to the Wise, or, A School for Libertines. To which will be Added, a Scots Pastoral in Two Acts, Altered from Allan Ramsay, by Mr. Tickle, Author of Anticipation, called Patie and Roger, or, The Gentle Shepherd.’ 1791. Federal Gazette (Baltimore, MD), June 20. Readex: America’s Historical Newspapers. ‘New Deer.’ 1856. Aberdeen Journal, July 30. British Library Newspapers. ‘News from Galloway; or, the Poor Man’s Plea against his Landlord.’ 1724. ‘Old Theatre. By Request, for the Benefit of the Poor. On Saturday Evening Next, Dec. 15. Will Be Presented by a Society of Young Gentlemen, A Scotch Pastoral Comedy, called The Gentle Shepherd.’ 1798. Alexandria (VA) Times, December 14. Readex: America’s Historical Newspapers Our Drama Critic (pseud.). 1749. ‘“The Gentle Shepherd”: Ramsay’s Pastoral Takes on a Sophisticated Look.’ The Scotsman, Aug 26. ProQuest Historical Newspapers. Ovid. 1717. Ovid's Metamorphoses in Fifteen Books [ . . .]. London: printed for Jacob Tonson at Shakespear's-Head over-against Katharine-Street in the Strand. Eighteenth Century Collections Online. ‘Plays and Players II—“The Gentle Shepherd” and Other Productions.’ 1949. The Scotsman, August 18. ProQuest Historical Newspapers. Pope, Alexander. 1717. The Works of Mr. Alexander Pope. London: printed by W. Bowyer, for Jacob Tonson at Shakespear's Head in the Strand, and Bernard Lintot between the Temple-Gates in Fleetstreet. Eighteenth Century Collections Online. ‘Radio Programmes.’ 1927. The Scotsman, January 17. ProQuest Historical Newspapers. Ramsay, Allan. 1720a. Wealth, or, the Woody. [Edinburgh]: n.p.. 590

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Eighteenth Century Collections Online. —. 1720b. The Prospect of Plenty: A Poem on the North-Sea Fishery. To Which is Added, an Explanation of the Scotch Words Used in this Poem.[. . . ] London: printed for T. Jauncy, at the Angel without Temple-Bar. Eighteenth Century Collections Online. —. 1721. Poems by Allan Ramsay. Edinburgh: printed by Mr. Thomas Ruddiman, for the author. —. 1723. The Tea-Table Miscellany. Edinburgh: printed by Mr. Thomas Ruddiman, for Allan Ramsay, at the Mercury, opposite to the Cross-Well. —. 1726. The Tea-Table Miscellany: or, A Collection of Scots Sangs. Edinburgh: printed by T. Ruddiman for A. Ramsay. —. 1728. Poems by Allan Ramsay. Vol. II. Edinburgh: printed by Mr. Thomas Ruddiman, for the author. —. 1729. The Tea-Table Miscellany; Or, Allan Ramsay’s Collection of Scots Sangs. Volume Second. 5th ed. Edinburgh: printed for and sold by Allan Ramsay at his Shop the East-end of the Luckenbooths; Mr. Longman and Mr. Millar, London; Mr. Bryson and Mr. Aikenhead at Newcastle, and Mr. Carmichael in Glasgow. —. 1730. The Tea-Table Miscellany: or, Allan Ramsay's Collection of Scots Sangs [sic]. London: printed by J. Watson. Eighteenth Century Collections Online. —. 1800. The Poems of Allan Ramsay. A New Edition, Corrected, and Enlarged; with a Glossary. To Which Are Prefixed, a Life of the Author, from Authentic Documents: and Remarks on His Poems, from a Large View of Their Merits. 2 vols. Edited by George Chalmers. London: printed by A. Strahan, for T. Cadell jun. and W. Davies. Eighteenth Century Collections Online. Ramsay, Allan, and Josiah Burchett. 1720. Patie and Roger: a Pastoral, by Mr. Allan Ramsay, in the Scots Dialect. To Which is Added, an Imitation of the Scotch Pastoral: by Josiah Burchett Esq. London: printed for J. Pemberton at the Buck against St. Dunstan's Church in Fleetstreet, and T. Jauncy, at the Angel without Temple-Bar. Eighteenth Century Collections Online. ‘[Red Lion; Mrs. Ketridge; Gentle Shepherd].’ 1796. The Philadelphia Gazette & Universal Daily Advertiser, January 23. Readex: America's Historical Newspapers. ‘Remarks on Some English Plays.’ 1791. The Bee, or Literary Weekly Intelligencer 5 (March 30). British Periodicals Collection: Proquest. 591

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