finding in English broadsides and collections expressions and burdens common to both countries, they have assumed and stated in more or less precise terms that the vernacular songs of Scotland have been borrowed from Anglican sources. This is not the place to discuss the subject,1 but I have formed the following conclusions:-(1) That many songs and melodies were common to both countries, and that each reciprocally contributed to the mass, the precise nature of which has not yet been ascertained. England had printed songs and tunes when Scotland had nothing of the kind. The first miscellaneous collection of ostensible Scottish verse was only published in 1706, and the first published collection of Scottish music was printed in London in 1700. (2) That there could not be references and parodies or imitations of Scottish music and poetry in England unless there had been originals. (3) That the 'hot and hasty Scotch jig' of Shakespeare, the Scotch tune comparison of Chaucer's tales, the 'strange musick' of Pepys, the numerous Anglo-Scottish songs in English books for 'pretty Scotch tunes', with the titles of tunes and remains of songs in Scottish books from the thirteenth century, are without meaning unless on the assumption that song and music were conspicuously before the writers who referred to them. Those songs named in manuscripts and elsewhere, which have been preserved, prove that many more existed in some form. Songs referred to in history, in chronicles, in sermons, in music books, and in English publications, denounced in presbyteries, anathematised by ecclesiastics, and prohibited by Acts of Parliament, are circumstantial evidence that many existed which are now lost. The vernacular writers of the seventeenth century are represented by Robert Semple of Belltrees, the author of the humorous poem Sanny Briggs, in what is now known as the standard Scottish rime, by his Bohemian son Francis Semple, the reputed author of the

1 In Chapter XI of Scottish Vernacular Literature, by T. F. Henderson, is a sound contribution on traditional ballads and songs, but the author has not made so much use of the tune titles as he might have done.

songs Maggie Lauder and The Blythesome Bridal, and by William Hamilton, of Gilbertfield, the author of Bonny Heck and a popular paraphrase of Harry the Minstrel's Wallace. In the last year of the century the first ostensible collection of Scottish music of any kind was issued by Henry Playford, in London, under the title of Original Scotch Tunes full of the Highland Humour, &c. (1700), a small volume for the violin, of which only one copy is known.

Of the subject under discussion, the printing of song-books and music, and a recrudescence of dancing in Scotland, were the chief traits in the eighteenth century. The impulse of the revival of the vernacular cannot be understood without taking politics into account. The union of the countries in 1704 was distinctly unpopular in Scotland; the people brooded on the past, and looked with suspicion on linking their old autonomous state with a 'predominant partner'. They took offence on small provocation. An increased taxation of beer barrels, collected by English excisemen, indirectly caused the Porteous and other riots. The Lowlanders were not Jacobites, but they gave no assistance to the Government in putting down the rebellions. In the Edinburgh theatre, in 1745, some English officers caused a riot by unwisely calling on the orchestra to play the English tune Culloden. Some of the most violent, sarcastic Jacobite songs were written by patriots who did not care two straws for the cause. Even Burns in his prime, though distant forty years from the last rebellion, wrote from his heart songs which his head faintly excused. Sir Walter Scott astonished the House of Commons by his perfervid defence of one-pound bank notes. All these things arose from a strong sense of nationality, which caused the country to break out instinctively into song.

The first publication of miscellaneous Scottish verse is Watson's Choice Collection of Comic and Serious Scots Poems, 1706-11. It contains some artificial verse of the scholastic Scottish poets, with a selection of vernacular folk poetry. Much of the copy was obtained from broadsides of

the seventeenth century, and, as Maidment observed, it is a pity the editor did not print more of the vernacular ballads and songs which then existed. It was from Watson's collection that D'Urfey got his copy of The Blythesome Bridal, in the Pills, containing very curious errors owing to the printer's ignorance of the Scottish language.

The Tea-Table Miscellany, begun in 1724, was the first real collection of songs. Allan Ramsay, the editor and partauthor, was on familiar terms with the litterati of Edinburgh, who frequented his shop and contributed to the collection. Ramsay marked the old songs with a Z or Q, but he does not say how he obtained them. Doubtless he could have increased the number, but, as the title of his book indicates, A Choice Collection of Scots and English Songs, he included a considerable number of English songs to suit the taste of his readers. The collection had an extraordinary sale, and five editions were called for in four years. The whole work consists of four volumes, the first published in 1724, the second in 1725, the third in 1727, and the last in 1740. The latest edition in the eighteenth century was the eighteenth, in 1792. Ramsay had startled the Scottish public in 1724 with The Evergreen, a selection of old Scottish poetry. It excited the curiosity of the cultured classes, and eventually led to the public discovery of the Bannatyne MS., from which Ramsay obtained his material for the work, and to the foundation of the Bannatyne Club, the first and the best of Scottish literary societies for the publication of old authors. The Charmer in 1749, and a second edition in two volumes in 1752, added to the list of vernacular songs; but, like Ramsay, the editor, I. Gair, looked to England for support, and many English songs are in the collection. In 1769 Ancient and Modern Scots Songs appeared, and in 1776 a second enlarged edition in two volumes, with a slightly different title, Ancient and Modern Scottish Songs. It is probably unique as the only song book without music published in Scotland in the eighteenth century which professedly contains only Scottish

songs. David Herd, the compiler, an antiquarian well known in Edinburgh as Greysteel, had for some years been collecting the waifs and strays of vernacular verse. His MS. is now in the British Museum, and it contains a few fragmentary ballads and songs still unpublished. It passed through the hands of several editors of ballads-Sir Walter Scott, the Ettrick Shepherd, and W. Stenhouse, for example-and was lately examined by the editors of the Centenary Burns, who showed that Burns knew the MS., which he probably saw when he was in Edinburgh. Herd's collection is undoubtedly the most important of Scottish song books without music, and the three collections named are typical of the continuous stream which issued from the press in England and Scotland. The original single ballad broadsides of the sixteenth century grew into chap book garlands of eight pages, vended by the packmen and the hawker, and culminated in the three thick volumes of the Universal Songster, containing upwards of five thousand miscellaneous songs of the three countries, with illustrations by George and Robert Cruikshank.

The miscellaneous printed collections of Scottish music, which originated in the eighteenth century, can be divided into three groups :-(1) Songs; (2) Instrumental Tunes or Airs; and (3) Dances. The music of all primitive peoples was used indiscriminately for both the song and the dance, and for the present purpose it is immaterial which came first. It does not follow that because a tune is first found in an instrumental music book that it was not originally a melody which accompanied some previous verses. The titles of Scottish instrumental tunes prove the contrary, and hundreds of these tunes are evidently melodies which all song writers before and after Burns utilized.

The first group of Scottish musical publications was a small quantity until 1787, when the first volume of Johnson's Museum was issued. The premier collection of songs was the Orpheus Caledonius, published in London, 1725-26. The compiler, William Thomson, was a professional vocalist,

resident in London, who, as 'Dan Thomson's boy', took part in the Edinburgh St. Cecilia Festival of 1695. He had sung before the Queen, to whom he dedicated his folio volume of fifty songs, which he increased by another fifty in the second edition of his work in two octavo volumes in 1733. The music in the Orpheus is free from the florid interpolations of the subsequent tune books, and on that account is particularly interesting. The next publication was a venture by Allan Ramsay, about 1726, to compete with the Orpheus. Ramsay was annoyed with Thomson, who pilfered words from the Tea-Table Miscellany for his tunes; but the Musick for Allan Ramsay's Collection of Scots Songs was a failure, and only the first six volumes was issued.

With the exception of reprints of Bremner's Songs and other folio sheets, no other collection can be named than The Musical Miscellany, Perth, 1786, which is remarkable as the first pocket song book with music published in Scotland, and also as that from which Burns obtained the hitherto undiscovered original of his song O, open the Door. The editor of the collection, an A. Smith, dedicated it formally to the Provost, Bailies and Town Council of Perth, a recognition of civic dignitaries not possible in the present day. In the following year (1787) the first volume of the Scots Musical Museum was published. Of the song books in England containing Scottish melodies which followed the Museum, it is unnecessary here to speak, except to name one of the most sumptuous English collections, The Musical Entertainer, 1737, in two large folio volumes, engraved throughout on steel, with an illustration, ornamental scrollwork, music, and verses on each page.

The earliest of the second group of Scottish music books was about 1730, when Adam Craig, an old violin player, published in Edinburgh a Collection of Scots Tunes. This was followed by numerous others of the same kind, as music for particular instruments, such as the violin, the flute, the hautboy, the harpsichord, and (after the year 1780) the pianoforte. The most important is the Caledonian Pocket