[Roxburghe Collection, III. 90, 91; Pepys, III. 262.] The Country Miss new Fashion; Dr, come in A Farewel to the Pockified Town Miss. A Country Girl in a Paragon Gown, To an excellent new Play-house Tune, called, The Mock Tune to the French Rant. Two woodcuts at beginning. The left-hand cut has been already given on p. 79 of present volume, Left. The right-hand cut, of a young man, halflength, in an oval, is the portrait of Captain Hind, which will be reproduced in "Captain Hind's Ramble" (Roxb. Coll., III. 670); from the original, a copperplate frontispiece of our Civil-War tract, of 1651: The Declaration of Captain James Hind. Two more cuts; given later in "Jockey's Vindication," and p. 412. Ive me the Lass that's true Country bred, head; Feeding upon good Bacon and Beans, What though her speech be simple and plain, Free from distempers in every part, She has not the trick of forcing delight, But acts with like pleasures each day and each night; So sound is her Nature, she's alwaies in health; Her kisses are sweet, which she gives me by stealth; The Country Miss new come in Fashion. The hair of her head is as black as a Crow, My Nanny and I (for that is her name) Their blood is corrupted, their bodies are foul, My Nanny and I are free from disease, We ne'r are in danger, let's do what we please: We hug and we kiss, we sport and we play, And for pleasures we study to find a new way. [Nay,] what though her country tones doe seem rude, 'Tis no matter for that, she has won my heart so, I shall love her for ever for a trick that I know. Beyond all expressing she sweetens our joys, And doubtless she's full of fine girls and fine boyes; The Butterflye Miss may scoff if she will, All that I have said of my Nanny is true, And more she deserves if I gave her her due; But this shall suffice, and my labour I'le save, Lest you all fall a longing for what you can't have. Finis. London: Printed for W. Thackeray, T. Passenger, and W. Whitwood. [In Black-letter. Four woodcuts. Date, certainly before 1685. Rawlinson's Collection copy, 566, fol. 212, printed for E. Oliver. Douce's Coll., I. 38 verso.] OUR The Dyer's Destiny. "What! never sigh! Be of good cheer, man, for thou art a pon. The Cornu-Copia will be mine, I know." -Ben Jonson's Every Man in his Humour, Act iii. 1600. UR old literature, dramatic, lyrical, and satyrical, is filled with allusions to the "Horn of Plenty," which contentedly-dishonoured husbands were supposed to find in married life. A woodcut, opposite, heading "The Dyer's Destiny; or, The Loving Wife's Help in time of Need," illustrates the popular pleasantry, and the indecorous ballad itself fully explains the allusion. Shakespeare makes Jack Falstaffe say, "He hath the Horn of Abundance, and the lightness of his wife shines through it; and yet cannot he see, though he have his own Lant-horn to light him." "The Dyer's Destiny" is sufficiently outspoken; thence we were tempted to delay or omit it for a while: but that there were numerous cases of such matrimonial arrangements, after the Puritan hypocrisy veneered our traders with sanctimonious subtlety, is beyond a doubt. It is as well to understand the character of Shaftesbury's supporters, the "Brisk Boys of Wapping." The tune refers to the ballad by Tom D'Urfey, entitled "The Happy Lover; or, Celia won by Amintor's Loyalty," probably written in 1684, and certainly before the end of 1688. As we have given the enlarged broadside version of fifty-six lines, including the "Maid's Answer," in our Bagford Ballads, p. 89, we here add the original Song: The Happy Lover. Hy are my Eyes still flowing? WHY Why does my Heart thus trembling move? Why do I sigh, when going To see the darling Saint I Love? Ah! she's my Heaven, and in her Eye 's the Deity; There is no life like what she can give, Nor any Death [threatens] like taking my leave. 7 Tell me no more of Glory, To Courts Ambition I've resign'd, But tell a long, long Story, Of Celia's Face, her Shape and Mind; Speak too of Raptures, that will Life destroy, to Enjoy: Had I a Diadem, Scepter and Ball, For one happy Minute I'd part with them all. [Roxburghe Collection, II. 120; Huth's, I. 84; Douce's, I. 65.] The Dyer's Destiny ; Or, The Loving Wife's Help in Time of Meed. "Two Trades is better far than one, Sweet Husband," then said she; TO THE TUNE OF, Why are my eyes still flowing, etc. Dyer's Wife she was a dainty curious Doe, Alas! he could not keep his handsome wife at home, And at each blow she would often reply, 'Tis but a folly the same to deny : Thou art a proyong, and so thou shall dye." J.W.E. 8 16 "Huswife," said he, “and have you now the wanton plaid, made? What flesh and blood is able for to bear with this ?" "You shall," quoth she, "though you take it amiss; Which I have oftentimes hinted to you: Nay, I do hate to be found in a lye, Thou art a pronɔ, and so thou shalt dye. "A Shoe-maker, I own, is my chiefest friend,1 The Dyer then, alas! was in a cruel rage, Therefore be patient!" said she, "do not cry: 24 [Food & drink. 32 40 "It is well known our Cloaths were all at pawn of l[ate,] And we reduc'd to a very mean state; But now, you see, we make a very handsome shift, Thus I was forc'd to help at a dead lift; I brought home Coyn by my industry, The which I gave you all pawns to set free: The truth of this, sure, you cannot deny, As you are a proyɔɔ, and so you shall dye. 48 "Pray now, did you e'er flourish so in all your Life, Yet know you not the price of those you wear, 1 get them by my industrious care: The truth of this sure, you cannot deny, As you are a proɔɔ, and so you shall dye. 56 1 The sons of Crispin, members of "the Gentle Craft," being favourites of the ballad-writers, are almost always mentioned pleasantly. We find that Hugh Hill was a shoe-maker, and he (on our p. 421) desires that his story may be made known to the brotherhood. Tailors, on the contrary, are ridiculed and decried, in scores of ballads, although many a Snip sings cheerily at his work: the quicker flow the notes, the nimbler are plied the needles of his companions on the shop-board. Charles Lamb discoursed on the Melancholy of Tailors, in his Essays of Elia. |