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Songster, 1782.

      Crown Garlands of Golden Roses.

      Carey’s, Henry, Musical Centus, 1740.

      * D’Urfey’s Songs (4 volumes,) or Pills to Purge Melancholy.

      Douce’s Collection, Oxford.

      Delightful Companion for the Recorder, 1686.

      Dixon’s Ballads of the Peasants of England.

      English Political Songs and Ballads of the 17th and 18th Centuries, by Walker Wilkins.

      Evans’ Old Ballads, 1810.

      England under the House of Hanover, by Thos. Wright.

      Folly in Print, or a Book of Rhymes, 1667.

      Golden Garlands of Princely delights, 1620.

      Harleian MSS.

      Halifax’s Songs, 1694.

      Halliwell’s Collection of Ballads, “Cheetham Library.”

      Hogg’s Jacobite Relics of Scotland.

      Jordan’s, Thomas, London Triumphant, 1672.

      King’s Library.

      „ Pamphlets—Collection of Political Songs, from 1640 to the Restoration of Charles II.

      Kitchener, Dr, Loyal and National Songs.

      Loyal Songs, 120, 1684, by N. Thompson.

      ,, 180, 1685 to 1694.

      Loyal Songs, 1731.

      * Loyal Songs written against the Rump Parliament, between 1639 and 1661.

      Loyal Garland, containing choice Songs, &c., of our late Revolution, 1761, and 5th Edition, 1686, Percy Society.

      Merry Drollery, complete, 1670.

      Muses’ Merriment, 1656. See “Sportive Wit.”

      Musical MSS., British Museum.

      Musical Miscellany, Watts.

      Muse’s Delight, 1757, or “Apollo’s Cabinet.”

      Old Ballads, 1723, British Museum.

      Playford’s Music and Mirth—“Douce’s Collection.”

      „ Choice Songs, &c.

      Playford’s Theatre of Music, 1685.

      ,, Pleasant Music Companion.

      ,, Catch that Catch can.

      „ Antidote against Melancholy, 1669.

      Political Merriment.

      * Pills to Purge Melancholy, 1661.

      Parker’s, Martin, Ballads, Roxburghe Collection.

      Political Ballads, Percy Society, Wright’s Collection.

      Pepys’ Collection, British Museum.

      Rats rhymed to Death, 1660; King’s Pamphlets, British Museum.

      * Roxburghe Ballads, 3 vols.

      Rump Collection of Songs, 1639 to 1661. See Loyal Songs.

      Ritson’s Ancient Songs, 1790.

      ,, English ,,

      Ramsay, Allan, Tea-table Miscellany, 1724.

      Rome rhymed to Death [qu. date].

      Sportive Wit; the Muse’s Merriment [qu. date].

      Skene MSS.

      Suckling’s, Sir John, Works [qu. date].

      Second Tale of a Tub, 1715.

      Satirical Songs on Costume.

      True Loyalist, or Chevalier’s Favourite, 1779.

      Triumph of Wit, or Ingenuity Displayed.

      Taubman’s, Mat., Heroic and Choice Songs on the Times, 1682.

      Westminster Drollery, 1671.

      * Wit and Mirth, or Pills to Purge Melancholy.

      Wit restored, 1658.

      Wit’s Recreation, 1654

      Williams’, Sir Charles Hanbury, Political Songs.

      Wood’s, Anthony, Collection at Oxford [Ashmolean].

      Withers, George, Songs.

      Wade’s, John, Ballads [qu. date].

CAVALIER SONGS AND BALLADS.

       Table of Contents

WHEN THE KING ENJOYS HIS OWN AGAIN.

       Table of Contents

      This is perhaps the most popular of all the Cavalier songs—a favour which it partly owes to the excellent melody with which it is associated. The song, says Mr. Chappell, is ascertained to be by Martin Parker, by the following extract from the Gossips’ Feast, or Moral Tales, 1647. “By my faith, Martin Parker never got a fairer treat: no, not when he indited that sweet ballad, When the King enjoys his own again.” In the poet’s Blind Man’s Bough (or Buff), 1641, Martin Parker says,

      “Whatever yet was published by me

       Was known as Martin Parker, or M. P.;”

      but this song was printed without his name or initials, at a time when it would have been dangerous to give either his own name or that of his publisher. Ritson calls it the most famous song of any time or country. Invented to support the declining interest of Charles I., it served afterwards with more success to keep up the spirits of the Cavaliers, and promote the restoration of his son; an event which it was employed to celebrate all over the kingdom. At the Revolution of 1688, it of course became an adherent of the exiled King, whose cause it never deserted. It did equal service in 1715 and 1745. The tune appears to have been originally known as Marry me, marry me, quoth he, bonnie lass. Booker, Pond, Hammond, Rivers, Swallow, Dade, and “The Man in the Moon,” were all astrologers and Almanac makers in the early days of the civil war. “The Man in the Moon” appears to have been a loyalist in his predictions. Hammond’s Almanac is called “bloody” because the compiler always took care to note the anniversary of the death, execution, or downfall of a Royalist.

      What Booker doth prognosticate Concerning kings’ or kingdoms’ fate? I think myself to be as wise As he that gazeth on the skies; My skill goes beyond the depth of a Pond, Or Rivers in the greatest rain, Thereby I can tell all things will be well When the King enjoys his own again.

      There’s neither Swallow, Dove, nor Dade, Can soar more high, or deeper wade, Nor show a reason from the stars What causeth peace or civil wars; The Man in the Moon may wear out his shoon By running after Charles his wain: But all’s to no end, for the times will not mend Till the King enjoys his own again.

      Though for a time we see Whitehall

       With cobwebs hanging on the wall

       Instead of silk and silver brave,

       Which formerly it used to have,

       With rich perfume in every room—

       Delightful to that princely train,

       Which again you shall see, when the time it shall be,

       That the King enjoys his own again.

      Full forty years the royal crown

       Hath

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