ballads, chiefly revived or written by Richard Johnson, the author of the well-known romance of the Seven Champions, and Delony, the writer of Jack of Newbury's Life, and the "Gentle Craft," who lived in the time of James and Charles. One Martin Parker was a most notorious balladscribbler in the reign of Charles I. and the Pro

tector.

These writers, in their old age, collected their songs into little penny books, called "Garlands,” some of which have been re-published by Ritson; and a recent editor has well-described them as "humble and amusing village strains, founded upon the squabbles of a wake, tales of untrue love, superstitious rumours, or miraculous traditions of the hamlet." They enter into the picture of our manners, as well as folio chronicles.

These songs abounded in the good old times of Elizabeth and James; for Hall in his Satires notices them as

Sung to the wheel, and sung unto the payle ;"

that is, sung by maidens spinning, or milking; and indeed Shakespeare had described them as "old and plain," chanted by

"The spinsters and the knitters in the sun,

And the free maids that weave their threads with

bones."

Twelfth Night,

They were the favourites of the Poet of Nature, who takes every opportunity to introduce them into the mouths of his clown, his fool, and his itinerant Autolycus. When the late Dr. Burney, who had probably not the slightest conception of their nature, and perhaps as little taste for their rude and wild simplicity, ventured to call the songs of Autolycus," two nonsensical songs," the musician called down on himself one of the bitterest notes from Steevens that ever commentator penned against a profane scoffer*.

Whatever these songs were, it is evident they formed a source of recreation to the solitary taskworker. But as the more masculine trades had their own songs, whose titles only appear to have reached us, such as "The Carman's Whistle," "Watkin's Ale," "Chopping Knives," &c. they were probably appropriated to the respective trades they indicate. The tune of the "Carman's Whistle" was composed by Bird, and the favourite

* Dr. Burney subsequently observed, that "this rogue Autolycus is the true ancient Minstrel in the old Fabliaux," on which Steevens remarks, "Many will push the comparison a little further, and concur with me in thinking that our modern minstrels of the opera, like their predecessor Autolycus, are pickpockets as well as singers of nonsensical ballads." Steevens' Shakespeare, vol. VII. p. 107, his own edition, 1793.

tune of " Queen Elizabeth" may be found in the collection called "Queen Elizabeth's Virginal Book." One who has lately heard it played says, that it has more air than the other execrable compositions in her Majesty's book, something resembling a French quadrille."

The feeling our present researches would excite would naturally be most strongly felt in small communities, where the interest of the governors is to contribute to the individual happiness of the laborious classes. The Helvetic society requested Lavater to compose the Schweizerlieder, or Swiss Songs, which are now sung by the youth of many of the cantons; and various Swiss poets have successfully composed on national subjects, associated with their best feelings. In such paternal governments as was that of Florence under the Medici, we find that songs and dances for the people, engaged the muse of Lorenzo, who condescended to delight them with pleasant songs composed in popular language; the example of such a character was followed by the men of genius of the age. These ancient songs, often adapted to the different trades, opened a vein of invention in the new characters, and allusions, the humorous equivoques, and sometimes with the licentiousness of popular fancy. They were collected in 1559, under the title of

VOL. IV.

"Canti Carnascialeschi," and there is a modern edition, in 1750, in two volumes quarto. Mr. Roscoe*, and Mr. Guinguené †, have given a pleasing account of these songs. It is said they sing to this day a popular one by Lorenzo, beginning

"Ben venga Maggio

E'l gonfalon selvaggio ‡,"

which has all the florid brilliancy of an Italian spring.

The most delightful songs of this nature would naturally be found among a people whose climate and whose labours alike inspire a general hilarity; and the vineyards of France have produced a class of songs, of excessive gaiety and freedom, called Chansons de Vendange. A most interesting account of these songs may be found in Le Grand D'Assoucy's Histoire de la Vie privée des Français. "The men and women, each with a basket on their arm, assemble at the foot of the hill; there stopping, they arrange themselves in a circle. The chief of this band tunes up a joyous song, whose burthen is chorused: then they ascend, and dis

* Life of Lorenzo de Medici, vol. I. 304.

+ Hist. Litt. de l'Italie, vol. III. 506.

Mr. Roscoe has printed this very delightful song,

in the Life of Lorenzo, No. XLI. App.

persed in the vineyard, they work without interrupting their tasks, while new couplets often resound from some of the vine-dressers; sometimes intermixed with a sudden jest at a traveller. In the evening, their supper scarcely over, their joy recommences, they dance in a circle, and sing some of those songs of free gaiety, which the moment excuses, known by the name of vineyard songs. The gaiety becomes general; masters, guests, friends, servants, all dance together; and in this manner a day of labour terminates, which one might mistake for a day of diversion. It is what I have witnessed in Champagne, in a land of vines, far different from the country where the labours of the harvest form so painful a contrast*."

The extinction of those songs which formerly kept alive the gaiety of the domestic circle, whose burthens were always sung in chorus, is lamented by the French antiquary. "Our fathers had a custom to amuse themselves at the dessert of a feast by a joyous song of this nature. Each in his turn sung,-all chorused." This ancient gaiety was sometimes gross and noisy: but he prefers it to the tame decency of our times-these smiling, not laughing days of Lord Chesterfield.

"On ne rit plus, on sourit aujourdhui;

Et nos plaisirs sont voisins de l'ennui."

Le Grand, vol. III. p. 52.