Cam Ye O'er Frae France
Bill Coleman
I've loved this song for thirty years since I first heard Steeleye
Span sing it.
But I haven't a clue as to its meaning? Not to mention the language
(English/Gaelic mix? Or just an archaic dialect of English?)
Life is full of little mysteries, maybe someone out there can solve
this one.
Thanks,
Bill
Liz Ashford
In article <33b94657...@news.mindspring.com>, Bill Coleman
<URL:mailto:bill...@mindspring.com>
wrote: > > I've loved this song
I'm afraid that I don't know the song but the title strikes me as
Scottish slang. "Cam Ye O'er Frae France" sounds like "Come you over
from France", I wouldn't like to assume but that would be my guess
having lived in Scotland for a while, slang is often written just as
you would say it.
Hope that helps in some way.
Liz
barry finn
From Songs Of Two Rebellions; The Jacobite Wars of 1715 & 1745 (Ewan
MacColl)
Came ye o're frae France, came ye doon by Lunnon
Saw ye Geordie Whelps, & his bonny woman
Were ye at the place, ca'd the Kittle Housie
Saw ye Geordie' grace riding on a goosie
Geordie he's the man, there is little doubt o't
He's done a' he can, Wha can do without it
Down there came a blade, linkin like my lordie
He would drive a trade at the loom o' Geordie
Though the claith were bad blythely may we niffer
Gin we get a wab, it makes little differ
We hae tint our plaid, bonnet, belt & swordie
Ha's & maillins braid, but we hae a Geordie
Jocky's gane to France, & Montgomery's Lady
There they'll learn to dance, Madam, are you ready,
They'll be back belyve, belted, brisk & lordy
Brawly may they thrive to dance a jig wi' Geordie
Hey for Sandy Don, hey for Cockalorum,
Hey for Bobbing John & his highland quorum
Mony a sword & lance swings at highland hurdie
How they'll skip & dance over the bum o' Geordie
Lunnon- London, Linkin- tripping along, claith- cloth, niffer-
haggle/exchange, gin- if
wab- length of cloth, tint- lost, ha's & maillins- houses & farmlands,
gane- gone
belyve- quickly, brawly- well, hurdie- buttock, Kittle Housie- brothel,
Bobbing John-
John, Earl of Mar, Geordie Whelps- George the 1st, Madam Schulemberg the
Duchess of Kendal-
the goosie (Geordie's favorite mistress), the blade in the 2nd verse is the
Count Koningsmark
That should help, Barry
Bill Coleman <bill...@mindspring.com> wrote in article
<33b94657...@news.mindspring.com>...
mrdav...@aristotle.net
>I've loved this song for thirty years since I first heard Steeleye
>Span sing it.
>
>But I haven't a clue as to its meaning? Not to mention the language
>(English/Gaelic mix? Or just an archaic dialect of English?)
>
>Life is full of little mysteries, maybe someone out there can solve
>this one.
>
>Thanks,
>
>Bill
Bill, the language is northern English, and is about the Hanoverian
sucession to the throne of England after the death of Anne.
When George I imported his seraglio of impoverished gentlewomen from
Germany, he provided the Jacobite songwriters with material from some
of their most ribald verses. Madame Kilmansegge, Countess of Platen,
is referred to exclusively as "the Sow" in the songs, while the King's
favorte mistress, the lean and haggard Madame Schulemburg (afterwards
the Duchess of Kendall) was given the name of the Goose. She is the
"goosie" referred to in this song. The "blade" is Count Koningsmark.
Bobbing John refers to John, Earl of Mar, who wat at the time
recruting Highlanders for the Hanoverian cause. "geordie Whelps" is
of course, George I himself. Lunnon=London. Kittle House=brothel
Linkin=tripping along; niffer=haggle; gin=if; wab=web (or length) of
cloth; Tint=lost; Ha's and Mailins= Houses and Farmlands; Gane=Gone;
Belyve=Quickly; Hurdie=Buttock; Hope this helps. I have the complete
lyrics if you need them.
George Hawes
bill...@mindspring.com (Bill Coleman) wrote:
>I've loved this song for thirty years since I first heard Steeleye
>Span sing it.
>But I haven't a clue as to its meaning? Not to mention the language
>(English/Gaelic mix? Or just an archaic dialect of English?)
Well others are far better qualified than me (see Barry Finn's
set of words) but:
1) It's in English, but Scots dialect (no Gaelic)
2) It starts with a question, I believe:
"Came ye over from France?" - "Did you come over from
France?" (Why do we always omit the question marks from the
words of songs).
3) FROM MEMORY and a very imperfect knowledge of the history of
that period, it's a song of the Jacobite 'rebellions'. The
Geordie in the song, who is being ridiculed, is the King of
England of the time.
Regards
George
James W. Barrett
Bill Coleman wrote:
> I've loved this song for thirty years since I first heard Steeleye
I had always understood that this was a Jacobite song ridiculing King
George I (Geordie). George was a German import brought in to be king
when Queen Anne, the last of the Protestant Stuarts, died. The Jacobites
maintained that rightful heirs were the Catholic James Stuart (the Old
Pretender) and his son Charles (the Young Pretender, aka Bonnie Prince
Charlie). The Stuarts had replaced the Tudors as the ruling family of
England at the death of Elizabeth I, but before that they had ruled
Scotland, and many Jacobites were Scots; this accounts for the Gaelic
cast of many of their songs.
Another smashing Jacobite song is "Wha'll Be King But Cherlie?",
performed by Silly Wizard on their CD "A Glint of Silver"
--
************************************************************************
James Barrett * In the long run, life depends less on an
Astronomy Program, SUNY * abundant supply of energy than on a good
Stony Brook, NY 11794-2100 * signal-to-noise ratio. -Freeman Dyson
James Prescott
> I've loved this song for thirty years since I first heard Steeleye
> Span sing it.
>
> But I haven't a clue as to its meaning? Not to mention the language
> (English/Gaelic mix? Or just an archaic dialect of English?)
Here's an article I wrote some time ago, which attempts to cast some
light on the song.
Unriddling "Came Ye O'er Frae France?"
James Prescott Copyright 1985, 1988, 1997
Introduction
"This is another specimen of the vulgar mode in which the
Jacobites displayed their wit. It is, nevertheless, a smart
rant." ( Jacobite Minstrelsy )
Many Jacobite songs are riddling -- in part to steer clear of
the laws against treason, and in part from a love of satirical wit
that was widespread at the time throughout Great Britain. Came
Ye O'er Frae France is one of the most witty of the songs, and is
packed with cryptic metaphorical and allegorical references. It is
also a well-constructed piece of poetry, with each stanza carefully
linked to the next. The song does not seem to have received as
much attention as it deserves, a defect that I hope to remedy with
this article.
I have sought to do four things. Firstly, I have tried to
determine a date for the song. Secondly, I have provided
translations for all words of the Scots dialect. Thirdly, I have
sought to explain as many of the obscure references as possible.
Fourthly, I have tried to highlight the poetical qualities of the
song.
Words, Music and Author
All the sources I have consulted (see the Bibliography and
the Discography) are in close agreement over the wording and
punctuation of Came Ye O'er Frae France, which argues against
any significant oral transmission for this song.
The excellent and distinctive tune does not seem to have been
used for any other song. It has a difficult range of well over an
octave, and does not end on the tonic.
As to the author, I am convinced that the song was written
by one person, and that that person was a witty, well-educated and
experienced songsmith who was closely involved with the Rising.
In view of the very short period of one or two months within
which the song must have been written, I think that someone
specializing in the Rising might even be able to come up with
a list of likely names.
[ Later note: There is also the possibility that the song was
written much later and is an excellent fake. If so, it is not
impossible that James Hogg, who is known to have faked the odd
song or two, might have been responsible. ]
Historical Background
The last Roman Catholic king of England, the Stuart James II,
was overthrown by the 'Glorious Revolution' of 1688, and fled to
form a government in exile in France.
The throne of Great Britain was now occupied by two Protestant
Stuarts, both daughters of James II by his first wife. Queen Mary
(with William of Orange) reigned from 1688 to 1702, and Queen Anne
from 1702 to 1714. When Queen Anne died without an heir, the throne
passed to a new line, the Protestant House of Hanover (as had been
arranged in the Act of Settlement of 1701). George I was the first
king of this new line.
The Catholic James II died in 1701 and his second wife, Mary
of Modena, became Regent in exile until James III came of age in
1706. James III (James VIII of Scotland), called in England the
'Old Pretender', made two major (and several minor) attempts to
gain the throne. The first was the Rising of 1715 (the subject
of this song). The second was the Rising of 1745 (led by his son
Bonny Prince Charlie, called in England the 'Young Pretender').
Both attempts were failures, and although James III lived
until 1766 the Jacobite cause was dead. It had attracted support
in England for party political reasons; in Ireland for religious
reasons; and in Wales and Scotland among Catholics and Protestants
alike for reasons of dynastic loyalty (the House of Stuart was
Scottish).
Date of Composition
The subject matter and style of the song indicate that it
dates from after September 6, 1715 when the Earl of Mar ('Bobbing
John') raised the standard of James III at Braemar in Scotland;
but before the Jacobite loss at Sheriffmuir on November 13. It is
probably late September or early October. The Lowland levies and
the clans are pouring into Perth, James III is expected to land at
any moment from France with troops, weapons and money, and a
rousing song is wanted to capture the high spirits of the day.
After Sheriffmuir the Jacobite songs became notably more
sombre than this vigorous piece. The Marquis of Huntly
('Cockalorum') referred to with favour in the last verse fled
during the battle of Sheriffmuir, and soon afterwards defected to
the Hanoverians. These facts make it most unlikely that the song
was written after the battle.
[ Later note: There is also the possibility that the song was
written much later and is an excellent fake. See the earlier note. ]
James III did not actually land in Scotland until December
22, and he left again on February 4 of the following year (1716).
The Unriddling
The song has five stanzas. The notes for each stanza are in
three sections following that stanza. The first section contains
a glossary of the literal meanings of the words. The second
section contains an interpretation of the non-literal meanings of
the lines. The third section contains additional notes. The
information in each section is keyed to the stanza by line number.
1.0 First Stanza
The first stanza savagely attacks King George I of England,
who had been imported from Hanover in Germany in 1714, who never
learned English, and who was never very popular -- even in
England. It also attacks his mistresses.
Came ye o'er frae France? 1
Came ye down by London?
Saw ye Geordie Whelps,
And his bonny woman?
Were ye at the place, 5
Called the Kittle Housie?
Saw ye Geordie's grace,
Riding on a Goosie? 8
1.1 Glossary
1 frae == from
3 Geordie == diminutive of George
whelp == a puppy; an ill-bred child
4 bonny == comely
bonny woman == a woman of loose character
6 kittle == to tickle, to fondle, to excite; ticklish, difficult
to deal with, fickle
kittle housie == a dance hall, a whorehouse
7 Geordie's grace == His Grace King George I
8 goose == a goose; a prostitute
goosie == diminutive of goose; a pig; a fat and gross person
1.2 Interpretation
3 Whelp == Guelph, a political faction (left over from the
Middle Ages) to which the House of Hanover belonged
Geordie Whelps == King George I
4 bonny woman == see line 8
6 Kittle Housie == St. James's Palace
8 goosie == 'The Goose', Countess Ehrengard Melusine von der
Schulenburg, later Duchess of Kendal
goosie == 'The Sow', Baroness Sophia Charlotte von
Kielmansegg, later Countess of Darlington
1.3 Additional Notes
1 Many Jacobites were in exile in France with James III.
6 What 'Kittle Housie' refers to is uncertain. MacQuoid and
the author of Jacobite Minstrelsy suggest Parliament,
which is not impossible. I would, however, favour St.
James's Palace, the principal residence of George I, his
mistresses, and his children. For the first year or two
of his reign he "lived a retired life in the bare palace
of St. James's".
8 I believe that the ambiguity in this line is very deliberate.
George I had imported two mistresses from Hanover.
Schulenburg was George's favourite and may have been
secretly married to him. The other was Kielmansegg, his
illegitimate half-sister. Schulenburg was emaciated and
was called 'The Goose'. Kielmansegg was corpulent and
was called 'The Sow'. Both were rather hideous. The
author of Jacobite Minstrelsy says, "The one was a
mountain of fat and grease, the other was as lean as a
dried herring." In England, Schulenburg was known as
'The Maypole' or 'The Beanpole' and Kielmansegg was
known as 'The Elephant'.
2.0 Second Stanza
The second stanza continues the attack on George I in a
logical progression from his mistresses to his cuckoldry and the
alleged illegitimacy of his son and heir, George Augustus. The
metaphor involving cloth-making and cloth is introduced.
Geordie, he's a man, 9
There is little doubt o't, 10
He's done all he can,
Who can do without it?
Down there came a blade,
Linking like my lordie;
He would drive a trade, 15
At the loom of Geordie. 16
2.1 Glossary
10 o't == of it
13 blade == a gallant
14 link == to go arm in arm with, to move nimbly, to act with
speed and energy
15 trade == a business; an exchange or substitution
16 loom == a loom; a metaphor for the female sexual organs
2.2 Interpretation
13 blade == Count Philipp Christoph von Konigsmarck of Sweden
14 link == to make love
lordie == George I
15 trade == sexual business
16 loom of Geordie == George I's former wife, Princess Sophia
Dorothea of Celle
2.3 Additional Notes
9 Ironical.
10 George I had many mistresses and several illegitimate children.
11 Lines 11 and 12 are obscure to me. I conjecture that they
refer to the sexual life of George I, particularly his
cuckoldry, his lack of a wife, and his alleged over-
compensation for this. George I was accused by Jacobites
of 'abominable acts' from incest and masturbation to
homosexuality.
A similar phrase occurs in the song The Wanton Wife of
Castlegate, which refers to the cuckolded husband in these
lines: "And a whopping great pair of horns, me girl, your
husband he shall wear. / ... / He can wriggle them at his
leisure, he can do the best he can, / While his wife she
takes her pleasure with a jolly boating man."
12 Obscure to me. I conjecture that it may simply mean "Who can
do without sex?"
14 Konigsmarck was chasing mistresses as madly as George was.
Before becoming the lover of Sophia Dorothea (George I's
wife), he had been the lover of Kielmansegg's mother
(among many others). He disappeared in 1694 when
Kielmansegg's mother (or George I, or George I's father,
or maybe all three) had him hacked to death (or roasted
alive, or maybe strangled). His body was never found,
having been burnt (or thrown into the river, or maybe
dissolved in quicklime). Or, maybe, George Augustus
himself discovered the body many years later while doing
renovations. The historians seem to differ about these
vital details. Kielmansegg's mother had of course earlier
been one of George I's father's mistresses.
15 I think that the suggestion of 'changeling' implied by the use
of the word 'trade' may be deliberate. See lines 17 and
18 below.
16 Sophia Dorothea took the wildly melodramatic Konigsmarck as a
lover, perhaps in 1691. They attempted at least twice to
escape together from Hanover. After his murder in 1694,
she was tried by George for "malicious desertion",
condemned, divorced, and imprisoned for the rest of her
life (32 years). Jacobites believed that the Prince of
Wales, George Augustus (later George II), was the
illegitimate son of Konigsmarck and Sophia Dorothea.
George I and George Augustus "had not been on good terms
when they came to England in 1714". George Augustus
"hated him as a murderer".
3.0 Third Stanza
The third stanza refers, in an extended ironical metaphor, to
both George I and George Augustus. The image of the loom connects
it with the previous stanza, and the metaphor of cloth serves to
introduce James III. The mood changes to a lament for the exiled
king.
Though the cloth were bad, 18
Blithely may we niffer;
Gin we get a wab,
It makes little differ. 20
We have tint our plaid,
Bonnet, belt and swordie,
Halls and mailings braid --
But we have a Geordie. 24
3.1 Glossary
18 blithely == cheerfully
niffer == to exchange, to barter with objects hidden in the
fists
19 gin == if
wab == a web, a length of woven cloth from one loom
20 differ == a difference
21 tint == lost (past participle of tine == to lose)
plaid == a Highland cloth
23 mailing == a leased smallholding, a farm
mailings braid == broad farmlands
3.2 Interpretation
17 cloth == George Augustus
19 wab == George I and/or George Augustus
21 plaid == James III
24 Geordie == George I and/or George Augustus
3.3 Additional Notes
17 Even though George Augustus is a bastard and thus from
different stock than George I ...
18 ... can we cheerfully join the squabbling about exchanging them?
Because George I and George Augustus did not see eye to eye,
there quickly grew up factions favouring one or the other.
By 1717 matters were so bad that George Augustus was
expelled from St. James's Palace.
19 The rhyme scheme suggests that perhaps the word at the end of
this line might not be 'wab' but 'wad'. 'Wad' has many
meanings, including 'a bundle' and 'a forfeit'. I have,
however, found no interpretation convincing enough to
permit replacing a word that is common to all sources.
Perhaps the rhyme was defective when written.
[ Later note: The word "wadmal" refers to a coarse woolen
cloth. Might "wad" be a shortening of "wadmal"? ]
20 Whichever George we get, there is little to choose between them.
21 The wearing of the plaid had been at various times prohibited
by the government.
Compare The Wind Has Blown My Plaid Away, which speaks of
James III in metaphor as the singer's tartan plaid: "There
was a wind it came to me, / Over the south and over the
sea, / ... / And blew my plaid, my only stay, / Over the
hills and far away."
22 Many Jacobites had their possessions and lands confiscated,
particularly after an abortive invasion in 1708. Identical
complaints in songs date back to the ouster of James II in
1688. Compare, for example, the song Willie the Wag.
24 Ironical. Even though we have lost everything else that
matters, we still have George I (or George Augustus).
4.0 Fourth Stanza
The first three stanzas have attacked George I, and then
lamented the absence of James III. Now the mood of the song
changes from one of bitter sarcasm to one of bright and cheery
optimism. The fourth stanza continues the reference to James III
from the third stanza, establishes a new metaphor based on dancing,
and sings of James's imminent return to Scotland and the throne.
Jocky's gone to France, 25
And Montgomery's lady;
There they'll learn to dance:
Madam, are you ready?
They'll be back belive,
Belted, brisk and lordly, 30
Brawly may they thrive,
To dance a jig with Geordie. 32
4.1 Glossary
25 Jocky == a Scotsman
29 belive == soon, immediately
31 brawly == well, excellently, handsomely
4.2 Interpretation
25 Jocky == James III
26 Montgomery == Sidney, Earl of Godolphin
Montgomery's lady == Queen Mary Beatrice of Modena, wife of
James II and mother of James III
4.3 Additional Notes
26 'Mr. Montgomery' was the pseudonym of Godolphin, who had been
until 1688 the devoted Chamberlain of Mary of Modena. His
lasting infatuation for her "was of course common knowledge".
There were rumours (which it was considered "in poor taste"
to mention) that Godolphin's devotion might have been more
than strictly official. His love probably went unrequited.
Although Godolphin rose to be Lord Treasurer (the head of
the government) under Queen Anne, he remained a Jacobite
and corresponded with Mary of Modena in exile until his
death in 1712. He frequently sent her gifts, with official
government permission.
Mary of Modena was the most important Jacobite after James, was
very active at the time in the cause, and was the only woman
publicly associated with James III in 1715. MacQuoid says,
"'Montgomery's lady' may have been the lady of Lord James
Montgomery, who was engaged in a plot in 1695, and who, it
is likely, would be connected with the Jacobites." I do not
agree with his conjecture.
27 To dance == to raise funds, to raise troops and prepare to fight.
Compare the song To Auchindown, which has the lines: "We
joined the dance, and kissed the lance, / And swore us foes
to strangers."
32 To fight with George I.
5.0 Fifth Stanza
The fifth stanza raises three rousing cheers for the leaders
of the Jacobite forces in Scotland, inspires the troops, and
promises glorious victory. The dance metaphor from the previous
stanza is extended to include an evocative image of dancing swords
and lances.
Hey for Sandy Don! 33
Hey for Cockalorum!
Hey for Bobbing John, 35
And his Highland quorum!
Many a sword and lance,
Swings at Highland hurdie:
How they'll skip and dance,
O'er the bum of Geordie. 40
5.1 Glossary
33 Sandy == diminutive of Alexander
Don == diminutive of Gordon (the last syllable)
34 cockalorum == a young cock
36 quorum == a select company, a gathering of friends for social
purposes
38 hurdie == the buttocks, the hips
5.2 Interpretation
33 Sandy Don == Major-General Alexander Gordon of Auchintool
34 Cockalorum == Alexander Gordon, Marquis of Huntly
35 Bobbing John == John Erskine, Earl of Mar
36 Highland quorum == either the hunting party on August 27 or
the planning meeting on September 3
38 Highland hurdie == a Highland soldier
5.3 Additional Notes
33 An examination of prominent persons involved in the Rising
reveals only one candidate for 'Sandy Don' -- General
Alexander Gordon, who had 15 years of experience in the
army of Peter the Great of Russia. This identification
suggests the answer to another Jacobite riddle. In the
1715 song Up and Warn All, Willie, a 'second-sighted
Sandy' is present at the raising of the standard (as
General Gordon was). In the 1745 song The Hundred
Pipers, a 'second-sighted Sandy' watches the army
march away south with Prince Charlie. While too
old in 1745 to fight himself, General Gordon was the
'Nestor of the Rising' and "invaluable in counsel".
'Second-sighted Sandy', while remaining a loyal Jacobite,
foretold disaster for both Risings. The references in
the two songs fit General Gordon like a glove.
34 As heir apparent to the Duke of Gordon and to the hereditary
nickname of the Gordon ('Cock of the North'), the Marquis of
Huntly enjoyed his own nickname ('Cockalorum'). He was
the most senior active Jacobite noble during the Rising.
As mentioned in the introductory material, he fled during
the battle of Sheriffmuir, and soon afterwards defected
to the Hanoverians.
35 The Earl of Mar was the incredibly inept leader of the 1715
Jacobite Rising. He had acquired the nickname 'Bobbing
John' from his habit of frequently changing sides. By
1715 he had done so three times, and he did it three more
times before his death. Tayler mentions that he may also
have had a "nervous affection of the head".
36 The Earl of Mar invited a large number of Scottish Jacobites
to his estate at Braemar on August 27, 1715, ostensibly
for a hunting party. An "exclusive council" of 11 or 12
met with him at Aboyne on September 3 to plan the details
of the Rising. It is not obvious which of these meetings
is meant. Alexander Gordon the General ('Sandy Don')
and Alexander Gordon the Marquis ('Cockalorum') were
present at both meetings. Was the choice of these two in
particular for mention in the song deliberate word play
by the author?
38 Compare The Chevalier's Muster Roll, of almost identical date
and subject, which has the line: "For many a buttock bare's
coming".
Acknowledgements
My thanks to the University of Calgary library, Richard
Fietz, Gloria Toole and Muriel Doris for research assistance,
suggestions and support -- but all mistakes are my own.
Bibliography
-- Jacobite Minstrelsy. Richard Griffin & Co. Glasgow. 1828.
-- Oxford English Dictionary (Compact Edition in 3 Vols). Oxford
University Press. London. 1987.
-- Scottish National Dictionary (10 Vols). Scottish National
Dictionary Association. Edinburgh. 1946.
Beattie, J. The English Court in the Reign of George I. Cambridge
University Press. Cambridge. 1967.
Bevan, B. King James the Third of England. Robert Hale. London.
1967.
Cruickshanks, E. et al. Ideology and Conspiracy: Aspects of
Jacobitism, 1689-1759. John Donald Publishers. Edinburgh.
1982.
Durant, W. & A. The Story of Civilization (Vol 9). Simon & Schuster.
New York. 1965.
Ferguson, W. Scotland: 1689 to the Present (Vol 4 of The Edinburgh
History of Scotland). Praeger. New York. 1968.
Green, D. Queen Anne. Collins. London. 1970.
Greenwood, A. D. Lives of the Hanoverian Queens of England (Vol 1).
George Bell & Sons. London. 1909.
Hatton, R. George I, Elector and King. Harvard University Press.
Cambridge, Massachusetts. 1978.
Jordan, R. Sophie Dorothea. George Braziller. New York. 1972.
Lord, G. deF. Anthology of Poems on Affairs of State: Augustan
Satirical Verse, 1660-1714. Yale University Press. New
Haven. 1975.
MacColl, E. Folk Songs and Ballads of Scotland. Oak Publications.
New York. 1965.
MacKay, C. The Jacobite Songs and Ballads of Scotland. Richard
Griffin & Co. London. 1861.
Mackenzie, A. The Passing of the Stewarts. Oliver & Boyd.
Edinburgh. 1937.
MacQuoid, G. S. Jacobite Songs and Ballads. Walter Scott. London.
1888.
Miller, P. James. St. Martin's Press. New York. 1971.
Murray, W. H. Rob Roy MacGregor. Richard Drew Publishing. Glasgow.
1982.
Petrie, C. The Four Georges. Eyre & Spottiswoode. London. 1935.
Petrie, C. The Jacobite Movement (Vol 1). Eyre & Spottiswoode.
London. 1948.
Rowse, A. L. The Early Churchills. MacMillan & Co. London. 1956.
Sinclair-Stevenson, C. Blood Royal. Jonathan Cape. London. 1979.
Sinclair-Stevenson, C. Inglorious Rebellion. Hamish Hamilton.
London. 1971.
Tayler, A. & H. 1715: The Story of the Rising. Thomas Nelson &
Sons. London. 1936.
Thackeray, W. The Four Georges. Smith, Elder & Co. London. 1869.
Ward, A. et al. The Cambridge Modern History (Vol 6). Cambridge
University Press. Cambridge. 1909.
Wright, T. Caricature History of the Georges. Chatto & Windus.
London. 1876.
Discography
MacColl, E. The Jacobite Rebellions (12T79). Topic Records.
London. 1962.
Steeleye Span. Original Masters (CJT3). Chrysalis Records.
London. 1977.
Tannahill Weavers. The Old Woman's Dance (PLR010). Plant Life
Records. Hitchin. 1978.
Watersons. A Yorkshire Garland (12T167). Topic Records. London.
1966.
--
--
All my best,
James Prescott <ja...@nucleus.com> OR <pres...@acm.org> (PGP user)
Jan Wolfgang Huelsberg
Does anybody know this song performed by the 'Tannahill Weavers'.
unfortunately I don't know other version, but this I really love!!!
Jan.
Jan Wolfgang Huelsberg <huel...@ruf.uni-freiburg.de>
barry finn
Thanks James, great article.
Barry
James Prescott <ja...@nucleus.com> wrote in article
<james-02079...@max1-cgy-184.nucleus.com>...