^{page 755 note 1} Modern Philology, i, 377 f.

^{page 756 note 1} Professor Gummere in Modern Philology, i, 378.

^{page 759 note 1} iii, 303.

^{page 759 note 2} ii, 136.

^{page 759 note 3} i, vii.

^{page 759 note 4} ii, 296.

^{page 760 note 1} ii, 263. An old woman (the reciter of E) knew Chield Morice as a child, but later learned Gil Morice which began to be more fashionable. ii, 264.

^{page 760 note 2} ii, 464, n.

^{page 760 note 3} v, 178.

^{page 760 note 4} i, 119.

^{page 761 note 1} iv, 231.

^{page 761 note 2} i, 89. See also the comment on Apollodorus and the Cretan fairy-tale, i, 337, quoted, p. 774, below.

^{page 761 note 3} ii, 346.

^{page 761 note 4} i, 435.

^{page 761 note 5} Quoted, iii, 254.

^{page 762 note 1} i, 360.

^{page 762 note 2} ii, 173.

^{page 762 note 3} ii, 170.

^{page 762 note 4} ii, 368.

^{page 762 note 5} iv, 255, n.

^{page 762 note 6} iv, 255.

^{page 763 note 1} iv, 256. Cf. B 10, D 10, E 19; F 11; E 10, F 6.

^{page 763 note 2} ii, 441.

^{page 763 note 3} iv, 144.

^{page 764 note 1} i, 391.

^{page 764 note 2} i, 34.

^{page 764 note 3} i, 257.

^{page 765 note 1} ii, 478.

^{page 765 note 2} Cf. i, 444 f.

^{page 765 note 3} iii, 403.

^{page 765 note 4} iii, 410.

^{page 765 note 5} ii, 441.

^{page 765 note 6} iii, 305.

^{page 765 note 7} iii, 334.

^{page 765 note 8} iii, 334, n.

^{page 766 note 1} v, 21.

^{page 766 note 2} i, 404.

^{page 766 note 3} i, 455.

^{page 766 note 4} i, 391.

^{page 766 note 5} ii, 180.

^{page 766 note 6} ii, 424.

^{page 767 note 1} ii, 480.

^{page 767 note 2} The comparison of broadsides with traditional versions is instructive. See i, A, a, b, c; 10, A, a; 45, B; 53, L, M; 73, D; 104, B, 112, E (and ii, 491); 110, A; 145, C; 151; 152; 153; 162, B; 167, B; 268. Much of the later Robin Hood poetry looks like “char-work done for the petty press” (iii, 42). Robin Hood Rescuing Will Study (141) “is a ballad made for print, with little of the traditional in the matter and nothing in the style” (iii, 185).

^{page 767 note 3} ii, 480.

^{page 767 note 4} i, 335.

^{page 767 note 5} “Jamieson was not always precise in the account he gave of the changes he made in his texts” (iv, 255). Cf. also i, 138.

^{page 768 note 1} Stanzas 20, 21, 27, etc. i, 119. Cf. ii, 83.

^{page 768 note 2} i, 297.

^{page 768 note 3} ii, 63 f.

^{page 768 note 4} i, 335.

^{page 768 note 5} ii, 302.

^{page 768 note 6} i, 112.

^{page 768 note 7} iv, 5.

^{page 768 note 8} i, 138.

^{page 768 note 9} iii, 472.

^{page 769 note 1} ii, 428.

^{page 769 note 2} iv, 39. Cf. ii, 317.

^{page 769 note 3} ii, 226.

^{page 769 note 4} iii, 276.

^{page 769 note 5} v, 2.

^{page 769 note 6} ii, 19.

^{page 769 note 7} iii, 96.

^{page 770 note 1} iv, 156.

^{page 770 note 2} iv, 178.

^{page 770 note 3} v, 309.

^{page 770 note 4} iii, 42.

^{page 771 note 1} iii, 103.

^{page 771 note 2} iii, 159.

^{page 771 note 3} i, 320.

^{page 771 note 4} iii, 206.

^{page 771 note 5} v, 168.

^{page 771 note 6} iii, 305.

^{page 771 note 7} i, 455.

^{page 771 note 8} v, 1.

^{page 771 note 9} iv, 437.

^{page 771 note 10} i, 335.

^{page 771 note 11} ii, 302.

^{page 771 note 12} iii, 486.

^{page 772 note 1} v 12. Cf. also i, 35, iv, 10, 142, 401, for passages condemned as “modern.”

^{page 772 note 2} iii, 140.

^{page 772 note 3} ii, 342.

^{page 772 note 4} v, 182.

^{page 772 note 5} Communicated by the Rev. Mr Lamb to Hutchinson “with this harmless preamble: ‘a song 500 years old, made by the old Mountain Bard, Duncan Frasier, living on Cheviot, a. d. 1270.’“

^{page 772 note 6} i, 308.

^{page 773 note 1} iii, 42.

^{page 773 note 2} i, 46; examples follow.

^{page 773 note 3} ii, 170, n.

^{page 774 note 1} i, 336.

^{page 774 note 2} i, 337.

^{page 774 note 3} v, 59.

^{page 774 note 4} v, 48.

^{page 774 note 5} ii, 7.

^{page 774 note 6} ii, 416.

^{page 775 note 1} i, 142.

^{page 775 note 2} Examples, i, 143.

^{page 775 note 3} i, 1.

^{page 775 note 4} ii, 478.

^{page 775 note 5} iii, 159.

^{page 775 note 6} iii, 235.

^{page 775 note 7} i, 121.

^{page 775 note 8} ii, 19.

^{page 775 note 9} iii, 366.

^{page 775 note 10} iv, 51.

^{page 776 note 1} iii, 317.

^{page 776 note 2} iii, 304.

^{page 776 note 3} iii, 417.

^{page 776 note 4} iii. 410.

^{page 776 note 5} iv, 359.

^{page 776 note 6} iii, 265 f.

^{page 776 note 7} i, 320.

^{page 777 note 1} i, 193.

^{page 777 note 2} ii, 67.

^{page 777 note 3} i, 67.

^{page 777 note 4} iii, 417.

^{page 777 note 5} iv, 401.

^{page 777 note 6} v, 182.

^{page 778 note 1} iii, 49 f.

^{page 778 note 2} iii, 51.

^{page 778 note 3} iii, 293.

^{page 778 note 4} iii, 220.

^{page 778 note 5} v, 166.

^{page 778 note 6} iv, 391.

^{page 778 note 7} iv, 393.

^{page 779 note 1} iv, 401.

^{page 779 note 2} iv, 415.

^{page 779 note 3} iv, 423.

^{page 779 note 4} iv, 434.

^{page 779 note 5} iii, 49.

^{page 779 note 6} iii, 40.

^{page 780 note 1} iv, 10.

^{page 780 note 2} Cf. iii, 225.

^{page 780 note 3} iii, 381.

^{page 780 note 4} iii, 165.

^{page 780 note 5} iii, 197.

^{page 780 note 6} ii, 296.

^{page 780 note 7} iv, 161.

^{page 780 note 8} i, 253. Cf. also iii, 258.

^{page 780 note 9} ii, 263.

^{page 781 note 1} iii, 381.

^{page 781 note 2} ii, 83.

^{page 781 note 3} i, 34.

^{page 781 note 4} ii, 302.

^{page 781 note 5} v, 156 f.

^{page 781 note 6} Universal Cyclopaedia, “Ballad Poetry.” The lyrical element is of equal importance; see p. 790, below.

^{page 781 note 7} iv, 126.

^{page 782 note 1} v, 165.

^{page 782 note 2} iv, 192. [The Broom of Cowdenknows (217)].

^{page 782 note 3} iv, 63. [The Gypsie Laddie (200)].

^{page 782 note 4} i, 82.

^{page 782 note 5} ii, 260.

^{page 782 note 6} Surely better as ballad. Cf. p. 796, below.

^{page 782 note 7} ii, 18.

^{page 782 note 8} ii, 7.

^{page 782 note 9} v, 178.

^{page 783 note 1} iv, 435.

^{page 783 note 2} iv, 145.

^{page 783 note 3} iii, 317.

^{page 783 note 4} ii, 373.

^{page 783 note 5} ii, 342.

^{page 783 note 6} ii, 355.

^{page 783 note 7} ii, 302.

^{page 784 note 1} iii, 51.

^{page 784 note 2} iii, 486.

^{page 784 note 3} iii, 95.

^{page 784 note 4} iv, 362.

^{page 785 note 1} ii, 378.

^{page 785 note 2} v, 59.

^{page 785 note 3} iv, 301, n.

^{page 786 note 1} iv, 301, n.

^{page 786 note 2} iv, 434.

^{page 786 note 3} i, 320, n.

^{page 786 note 4} iv, 186.

^{page 786 note 5} i, 167.

^{page 786 note 6} i, 88.

^{page 787 note 1} i, 112.

^{page 787 note 2} [The true ballad has little to say of mental states.]

^{page 787 note 3} iv, 5. The stanza reads:

^{page 787 note 4} iv, 10.

^{page 787 note 5} ii, 430.

^{page 787 note 6} ii, 428.

^{page 787 note 7} iv, 145.

^{page 788 note 1} i, 297.

^{page 788 note 2} Cf. ii, 83, 317; iv, 39.

^{page 788 note 3} See the Index of Matters and Literature, v, 474 f.

^{page 788 note 4} ii, 309, n.

^{page 788 note 5} iii, 96.

^{page 789 note 1} iv, 426.

^{page 789 note 2} iv, 391.

^{page 789 note 3} iv, 435.

^{page 789 note 4} ii, 227.

^{page 789 note 5} ii, 238.

^{page 789 note 6} v, 59.

^{page 789 note 7} iv, 145.

^{page 789 note 8} v, 168.

^{page 789 note 9} i, 329.

^{page 790 note 1} iv, 301.

^{page 790 note 2} i, 253.

^{page 790 note 3} iii, 53.

^{page 790 note 4} iii, 258.

^{page 790 note 5} ii, 296.

^{page 790 note 6} v, 59.

^{page 790 note 7} iii, 305.

^{page 790 note 8} ii, 67.

^{page 791 note 1} ii, 260.

^{page 791 note 2} i, 358.

^{page 791 note 3} iii, 129.

^{page 791 note 4} v, 201.

^{page 791 note 5} iv, 75.

^{page 791 note 6} ii, 204, n.

^{page 791 note 7} i, 7. See the foot-note for Professor Child's longest discussion of the burden.

^{page 792 note 1} Sheath and Knife (16), also, was accessible but omitted.

^{page 793 note 1} Ballads, i, xi, n. “Certain short romances which formerly stood in the First Book, have been dropped from this second Edition [1860], in order to give the collection a homogeneous character.” Ballads [1860], i, xii.

^{page 793 note 2} “A song,” ii, 317. (Where merely volume and page are given the reference is still to the later collection; references to the earlier are preceded by the word Ballads.)

^{page 794 note 1} ii, 16.

^{page 794 note 2} ii, 429.

^{page 794 note 3} v, 34, n.

^{page 794 note 4} Ballads, iii, 360.

^{page 794 note 5} Ballads, vi, 263.

^{page 794 note 6} Ballads, iii, 61.

^{page 795 note 1} iv, 142.

^{page 795 note 2} Ballads, i, 341.

^{page 795 note 3} i, 218, n.

^{page 795 note 4} Ballads, iii, 293.

^{page 795 note 5} Ballads, vi, 220. Cf. Mr Andrew Lang's plea for Auld Maitland, Folk-Lore, xiii, 191 ff.

^{page 795 note 6} See also the comments on the Rev. Mr Lamb's Laidley Worm of Spindleston Heugh, Ballads, i, 386, and cf. p. 772, above.

^{page 795 note 7} Ballads, iii, 128.

^{page 796 note 1} Ballads, iv, 161.

^{page 796 note 2} Ballads, iv, 143 f.

^{page 796 note 3} Cf. p. 757, above.

^{page 796 note 4} Ballads, v, iv.

^{page 797 note 1} Ballads, iii, 148–149.

^{page 797 note 2} Cf. p. 767, above.

^{page 797 note 3} Ballads, iii, 225.

^{page 797 note 4} i, 88.

^{page 797 note 5} Ballads, iii, 173.

^{page 797 note 6} ii, 56.

^{page 797 note 7} Ballads, ii, 30.

^{page 797 note 8} ii, 275.

^{page 797 note 9} Ballads, i, ix, n.

^{page 797 note 10} Cf. p. 762, above.

^{page 798 note 1} Ballads, i, 306 n.

^{page 798 note 2} Ballads, ii, 220.

^{page 798 note 3} Ballads, i, 270.

^{page 798 note 4} See i, 62, and, for the omitted couplets, i, 80–81.

^{page 798 note 5} Ballads, i, 265.

^{page 798 note 6} Ballads, ii, 22.

^{page 798 note 7} ii, 260. See, also, the comments on Jamieson's Child Rowland and Burd Ellen, Ballads, i, 416, and English and Scottish Popular Ballads, v, 201, n.

^{page 798 note 8} Cf. p. 769, above.

^{page 798 note 9} Ballads, i, 256.

^{page 798 note 10} Ballads, ii, 115.

^{page 799 note 1} Ballads, ii, 64.

^{page 799 note 2} Ballads, ii, 45.

^{page 799 note 3} Ballads, vii, 194.

^{page 799 note 4} Cf. the comment on The Hunting of the Cheviot, Ballads, vii, 25.

^{page 799 note 5} Ballads, iv, 17. For the later comment, see p. 777, above.

^{page 799 note 6} Ballads, vi, 22.

^{page 799 note 7} Ballads, iii, 148–149.

^{page 801 note 1} “Excepting the two satirical stanzas with which Scott's version (C) concludes.”

^{page 802 note 1} See also the comment in the Ballads, quoted p. 804, below.

^{page 804 note 1} The numbers in brackets are those affixed to the ballads in the later collection.