1 10 805 https://collections.americanantiquarian.org/thomasballads/files/original/c48b6e692d54985ea6bf75f50a06b5fe.tif 39719a3834f1ee4a9f7fe9bd34716474 https://collections.americanantiquarian.org/thomasballads/files/original/c07eba2d7f1665c6f0f33d874e578a4c.xml 6af1577862288a4126ec2f7d99c1586c Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 29 x 18 cm. Text Any textual data included in the document. THE LOVELY APPARITION.London 179-? BIB Id 203957 1 Of Sprites and Apparitions, Strange tales have oft been heard, In Marybone a pretty Ghost, But lately there appear'd. 2 Young Cupid struck a lady rich, Which broke her rest at night; She in her sleep did walk about, And men and maids affright. 3 Her handsome Footman Robert, Had peirc'd her love sick heart; But aw'd by Birth and fortune, Her state she'd not impart. 4 But mark what soon did happen, She walk'd as heretofore, At dead of night tho' fast asleep, She op'd her servant's door. 5 This sight so strange at such an hour, Fill'd Robert with much care, At length the moon slipt from a cloud- He saw his Mistress fair. 6 From off her hand a diamond ring, With kisses sweet she gave, This token take of my true love Your heart pray let me have. 7 Next day the diamond ring she miss'd No news of it could hear; While Robert he was pleasd to find, His Mistress lov'd him dear. 8 Now he's the Master, not the man, O Love what canst thou do! And Robert to his mistress proves, A husband just and true! Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 203957 OCLC Control No.: (OCoLC)ocm78418528 OCLC Control No.: (OCoLC)ocn191357345 Ford, W.C. Thomas ballads, 157 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=203957 <a href="https://gigi.mwa.org/imagearchive/filename/203957_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource The Lovely apparition Date A point or period of time associated with an event in the lifecycle of the resource 179-? Spatial Coverage Spatial characteristics of the resource. London. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Of spirits and apparitions, strange tales have oft been heard. Subject The topic of the resource Love Sleepwalking in literature Wealth Household employees Marriage Description An account of the resource The ballad on this broadside is about spirits and apparitions. This broadside has one woodcut. Stories of male servants who succeed by charming their unmarried mistresses were common in the eighteenth and early nineteenth centuries. Since she is “aw’d by birth and fortune,” and cannot publicly announce her love, some subterfuge must be employed. In this version, she sleepwalks into the servant’s chamber and gives him a ring and her pledge of love. In a better-known version of this story type, “Golden Glove” or “Dog and Gun,” she disguises herself as a male hunter, talks with the man she loves, and learns that he loves her (Laws N20). She gives him a “gold-decorated glove,” saying she has found it. Usually in songs of this type, she later announces that she will marry the man who brings back her love token but that motif is absent from this lyric. Until other copies of the song are found, we can only guess whether several verses are missing, perhaps edited out, or whether it was originally written in this unusually short form to fit the space beneath the large engraving. This broadside is one of seven English prints Thomas added to his collection of Coverly broadsides before having them bound (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/38">The Sailor’s Departure from His True Love Susan</a>). Three of the English prints are identified as coming from John Evans’s press at Long Lane, West Smithfield, between 1791 and 1792, and the others resemble them closely. They are printed from engraved plates and the fine details of the illustrations are enhanced with watercolors. Broadsides like these were rare in America although not unknown. Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/203957_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/7c81965ccc0ccc68bdb6baf4c2592e62.tif 865b1b220520e19bee6391336c8e17ec https://collections.americanantiquarian.org/thomasballads/files/original/2fcdfeff1510f8fe4b52835aa93a132e.xml 5b2bef13d3d0204736059d9053df7e03 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 29 x 18 cm. Text Any textual data included in the document. The PLOUGH BOYLondon 179-? BIB Id 204000 1 A flaxen headed Cow Boy, As simple as may be, And next a merry Plough Boy, I whistled o'er the lee; But now a saucy footman, I strut in worsted lace, And soon I'll be a Butler, And wag my jolly face. When Steward I'm promoted; I'll snip a tradesman's bill; My master's coffers empty; My pockets for to fill; When lolling in my chariot, So great a man I'll be, You'll forget the little Plough Boy, That whistled o'er the lea. 2 I'll buy votes at elections, But when I've made the pelf, I'll stand poll for the Parliament, And then vote in myself; Whatevers good for me sir, I never will oppose, When all my Ayes are sold off, Why then I'll sell my Noes, I'll joke harangne and paragraph, With speeches charm the car, And when I'm tired on my legs, Then I'll sit down a peer; In court or city honour, So great a man I'll be, You'll forget the little Plough Boy, That whistled o'er the lea. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 204000 OCLC Control No.: (OCoLC)ocn191229951 OCLC Control No.: (OCoLC)ocn191357376 Ford, W.C. Thomas ballads, 210 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=204000 <a href="https://gigi.mwa.org/imagearchive/filename/204000_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource The plough boy Date A point or period of time associated with an event in the lifecycle of the resource 179-? Spatial Coverage Spatial characteristics of the resource. London. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. A flaxen headed cow boy, as simple as can be. Description An account of the resource The ballad on this broadside is about a plough boy. This broadside has one woodcut. “The Plough Boy” is Rundy’s song from The Farmer (1787), the text by John O’Keefe (1747-1833) and the music by William Shield (1794:3.3). Few pieces had the immediate impact of “The Plough Boy,” with its optimistic lyrics and bouncy tune. It was published in sheet music in 1788, anthologized in song collections, and soon many arrangements of the tune and parodies of the lyrics appeared. Bohemian composer Jan Ladislav Dussek (1760-1812), who came to London in 1789, wrote a concerto “in which is introduced the favorite air of the Plough Boy” (Schnapper 301). Many other arrangements of the tune appeared over the next twenty years. The text appeared in twenty-four songsters between 1790 and 1820 (R. Keller, Early American Songsters). While the lyrics eventually faded away, the tune is still played by American contradance bands in New England today. This broadside is one of seven English prints Thomas added to his collection of Coverly broadsides before having them bound (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/38">The Sailor’s Departure from His True Love Susan</a>). Three of the English prints are identified as coming from John Evans’s press at Long Lane, West Smithfield, between 1791 and 1792, and the others resemble them closely. They are printed from engraved plates and the fine details of the illustrations are enhanced with watercolors. Broadsides like these were rare in America although not unknown. Subject The topic of the resource Young men Optimism in literature Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/204000_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/4840039e46a40ccdc2f6350759749a29.tif 449adf54d644b3f14b6b111ee98878f0 https://collections.americanantiquarian.org/thomasballads/files/original/1182fc63523e3d48a90145bd7bec3da9.mp3 847ca8676b22a7dfac2e6f9478072bd0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Click below to hear the full ballad     performed by <a href="https://www.colonialmusic.org/">David & Ginger Hildebrand</a> https://collections.americanantiquarian.org/thomasballads/files/original/a789e93b509f3b492e4d574512a241ac.xml f3fd4de5a41944434548af3f24127224 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 29 x 18 cm. Text Any textual data included in the document. THE ROSE TREELondon 179-? BIB Id 204001 1 A rose tree, in full bearing, Had sweet flowers fair to view, One rose beyond comparing, Whose beauty attracted me; But eager for to win it, Lovely, blooming, fresh and gay, I found, a canker in it, And I threw it verry far away. 2 How fine this morning early, Lovely sun-shine, clear, and bright, So late I lov'd you dearly, But now I've lost each fond delight; The clouds seem big with showers, The sunny beams no more are seen, Farewel you happy hours, Your falshood has chang'd the same. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 204001 OCLC Control No.: (OCoLC)ocm80477643 OCLC Control No.: (OCoLC)ocn191357377 Ford, W.C. Thomas ballads, 231 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=204001 <a href="https://gigi.mwa.org/imagearchive/filename/204001" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource The rose tree Date A point or period of time associated with an event in the lifecycle of the resource 179-? Spatial Coverage Spatial characteristics of the resource. London. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. A rose tree, in full bearing, had sweet flowers fair to view. Description An account of the resource The ballad on this broadside is about lost love. This broadside has one woodcut. “The Rose Tree” is described in another broadside, <a href="https://collections.americanantiquarian.org/thomasballads/items/show/121">Guardian Angels</a>. This broadside is one of seven English prints Thomas added to his collection of Coverly broadsides before having them bound (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/38">The Sailor’s Departure from His True Love Susan</a>). Three of the English prints are identified as coming from John Evans’s press at Long Lane, West Smithfield, between 1791 and 1792, and the others resemble them closely. They are printed from engraved plates and the fine details of the illustrations are enhanced with watercolors. Broadsides like these were rare in America although not unknown. Subject The topic of the resource Love Loss (Psychology) Nature Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/204001_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/19755e6c38b9b3a94170054938205c66.tif 68c805f0b2182fd351a217459ba451ca https://collections.americanantiquarian.org/thomasballads/files/original/31309c7705821481810ad5fe09ccc291.xml d0219e766e61558eeed4fbd0f18c5889 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 28 x 18 cm. Text Any textual data included in the document. THE SAILORS Departure from his true love Susan.Boston 1810-1814 BIB Id 204051 1 Adieu! my lovely susan, From you I am forc'd to go, All for to leave your company, Which fills my heart with woe; But if that God should spare my life, And I return again, I vow I will make you my wife, And free you from all pain. 2 O talk not so my jewel My joy and only dove To go and leave me in despair There's none but you I love; When you are on the briny main And I am left on shore If in battle you should be slain I ne'er shall see you more. 3 I must confess, my dearest dear, These words are very kind, Alas! it grieves me to the heart, To leave you here behind; When I am on the raging sea, You I will bear in mind, Because to me you always prov'd, Tender loving and kind. 4 So farewel my Susan dear, I can no longer stay, Tomorrow, by the dawn of day, Our ship she sails away; May God protect you, my dearest life, Till I return again; The firmest love within my breast, For you shall still remain. 5 The day it being arrived, He was to sail away, This beautiful young damsel, These words she then did say; Farewel my lovely sailor, I hope you'll think on me, And not forget the vows you made, When you are on the sea. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 204051 OCLC Control No.: (OCoLC)ocm83473494 OCLC Control No.: (OCoLC)ocn191357418 Ford, W.C. Thomas ballads, 63 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=204051 <a href="https://gigi.mwa.org/imagearchive/filename/204051_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource The Sailors departure from his true love Susan Date A point or period of time associated with an event in the lifecycle of the resource 179-? Spatial Coverage Spatial characteristics of the resource. London. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Adieu! my lovely Susan. Subject The topic of the resource Sailors Love Farewells Description An account of the resource The ballad on this broadside is about a sailor being forced to leave his love. This broadside has one woodcut and two ornaments. “The Sailor’s Departure from His True Love Susan” is an English lyric of the “William and Susan” genre—the mariner’s farewell to his love on sailing—this time in dialogue form. William’s invoking God’s protection for Susan marks this as a more modern lyric, closer to nineteenth-century sentiments than earlier texts of this genre. See also <a href="https://collections.americanantiquarian.org/thomasballads/items/show/112">Black Ey’d Susan</a>. Before Isaiah Thomas gave the collection of broadsides he had bought in Boston to his binder, he added eight sheets to the second volume, one of them a program for a celebration he had attended (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/334">Order of Performances</a>) and seven of them English prints, bound together near the back of the volume. Three of the English prints are identified as coming from John Evans’s press at Long Lane, West Smithfield, between 1791 and 1792—see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/39">A Sequel to the Disconsolate Sailor</a>, <a href="http://thomasballads.org/items/show/33">Bonney Bet of Aberdeen</a>, and <a href="https://collections.americanantiquarian.org/thomasballads/items/show/34">Wives and Sweethearts</a>—and the others resemble them closely—see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/35">The Lovely Apparition</a>, <a href="https://collections.americanantiquarian.org/thomasballads/items/show/36">The Plough Boy</a>, and <a href="https://collections.americanantiquarian.org/thomasballads/items/show/37">The Rose Tree</a>. They are printed from engraved plates and the fine details of the illustrations are enhanced with watercolors. Broadsides like these were rare in America although not unknown—it is likely that Thomas obtained the sheets directly from his favorite bookseller in London, Thomas Evans (McCorison, “Memoirs” 29). We have found no other broadsides like these in American collections except for the two uncolored sheets by Horace Doolittle, engraved between 1799 and 1804. These contained “Dog and Gun” and “I Am Not Twenty,” popular songs of limited circulation in American songsters and not otherwise found in broadsides (Harlow 107-8). Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/204051_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/7f0a7bccbfb309fee8d094762516a40a.tif 3b89a40e845ebe7c697c4c1c17b0c6af https://collections.americanantiquarian.org/thomasballads/files/original/7d4ecbc65da8e96a16d1888217cb0f33.xml 12a6b421ee49433d1a345607156d4732 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 29 x 18 cm. Text Any textual data included in the document. Bonney Bet of Aberdeen.J. Evans No 42 Long Lane West Smithfield, London Feb. 22 1791 BIB Id 203762 1 Just at the close of summer's day, How sweet the blooming blossom bean, So sweet the time I pass away, Wi' bonny Bet of Aberdeen. Chorus Whene'er I sit beneath the shade, Or wander o'er the lee, To meet the charming village maid, That kindly smiles on me. 2 Shes fresh and fair as the voilet rose, The blihest lass that sports the green, I'll follow her where'er she goes, O bonny Bet of Aberdeen. 3 She vows she loves but me alone, And I believe her sparkling e'en, I long for to unite in one, Wi'bonny Bet of Aberdeen. 4 Our wedding day we'll crown wi joy, While the nymphs and swains dance on the green, And I shall be a happy boy, When blest wi' Bet of Aberdeen. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 203762 OCLC Control No.: (OCoLC)ocm80280465 OCLC Control No.: (OCoLC)ocn191357202 Ford, W.C. Thomas ballads, 23 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=203762 <a href="https://gigi.mwa.org/imagearchive/filename/203762_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource Bonny [Bonney] Bet of Aberdeen Date A point or period of time associated with an event in the lifecycle of the resource 1791 Spatial Coverage Spatial characteristics of the resource. London. Publisher An entity responsible for making the resource available Evans, John, 1753-1820, publisher. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Just at the close of summer's day. Subject The topic of the resource Love Love poetry Description An account of the resource The ballad on this broadside is about Bonney-Bet of Aberdeen. This broadside has one woodcut. The staid and middle-aged couple in this engraving does not seem to echo the text of this song, a paean to a lover’s girl. Nor does the language, as it lacks the Scots expressions one would expect in a song about a girl from Aberdeen. The text appeared in an English garland printed by W. Eyres around 1790. It also appeared in two songsters between 1794 and 1798 (R. Keller, Early American Songsters). “Bonny Bett” in The Songster’s Museum (147-48), beginning “No more I’ll court the town-bred fair,” is not the same text and its tune does not fit this lyric. This broadside is one of seven English prints Thomas added to his collection of Coverly broadsides before having them bound (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/38">The Sailor’s Departure from His True Love Susan</a>). Three of the English prints, including this one, are identified as coming from John Evans’s press at Long Lane, West Smithfield, between 1791 and 1792, and the others resemble them closely. They are printed from engraved plates and the fine details of the illustrations are enhanced with watercolors. Broadsides like these were rare in America although not unknown. Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/203762_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/51d62ab0928afb5326d9a6c02ef296f5.tif 429be7cf03720ae972de15ecfb3f1079 https://collections.americanantiquarian.org/thomasballads/files/original/a273d157d90a47bd25689929aaba8c75.xml 65761baba528063a2058917653ae2708 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 29 x 18 cm. Text Any textual data included in the document. A SEQUEL To the Disconsolate Sailor.J. Evans No 42 Long Lane West Smithfield, London Nov. 1, 1791 BIB Id 204057 With fresh store I've return'd to Old England again, And the world it doth smile upon me, Each one with kind looks welcomes me from the main, But I from them all will be free. Now fortune once more doth my purse overflow, What a different aspect I find, Their smiles and their gratitude that they do shew, I look on't as changing as wind. I think it but just to rejoice at my cot, And to rest with content on the shore, And pass o'er with pleasure each night in my cot, Without thoughts of the seas any more. No more will I cross the wide ocean again, But each shipmate shall freely partake, I now bid farewel to France and proud Spain, In a full bowl, that I ne'er will forsake. My mind is restor'd from the torrents of life, To the girl that shall share of my wealth, And contented I'll rest, when I've made her my wife, Where nothing is wanting but health. My course I have steer'd to the harbour of love, I'm prepar'd for my toils and my scars, No jealousy ever my mind shall remove, I now bid adieu to the wars. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 204057 OCLC Control No.: (OCoLC)ocn191229964 OCLC Control No.: (OCoLC)ocn191357422 Ford, W.C. Thomas ballads, 240 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=204057 <a href="https://gigi.mwa.org/imagearchive/filename/204057_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource A Sequel to the disconsolate sailor Date A point or period of time associated with an event in the lifecycle of the resource 1791 Spatial Coverage Spatial characteristics of the resource. London. Publisher An entity responsible for making the resource available Evans, John, 1753-1820, publisher. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. With fresh store I've return'd to old England again. Subject The topic of the resource Sailors Love Seafaring life Description An account of the resource The ballad on this broadside is about a sailor’s return to England. This broadside has one woodcut. “The Disconsolate Sailor” beginning “When my money was gone that I gain’d in the wars,” was written by George Saville Carey (1743-1807) and set to music by James Hook. A unique American setting with a somewhat less florid tune appears in The Songster’s Museum (22), but for this British imprint Hook’s melody is the most appropriate. For the music see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/278">Written and Corrected by James Campbell</a>. This broadside is one of seven English prints Thomas added to his collection of Coverly broadsides before having them bound (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/38">The Sailor’s Departure from His True Love Susan</a>). Three of the English prints, including this one, are identified as coming from John Evans’s press at Long Lane, West Smithfield, between 1791 and 1792, and the others resemble them closely. They are printed from engraved plates and the fine details of the illustrations are enhanced with watercolors. Broadsides like these were rare in America although not unknown. Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/204057_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/b29f2c5cda6ed60036c9dd53b9a003fa.tif 2f43d9ebe304b8a74b69ad573d107dcb https://collections.americanantiquarian.org/thomasballads/files/original/302f7a5efa0e7d92edff7e9d7ffaaa7c.xml 8f8f368567be24ec3be201903a6d8f3f Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 29 x 18 cm. Text Any textual data included in the document. WIVES & SWEETHEARTS Or Saturday NightJ. Evans No 42 Long Lane West Smithfield. London June 14 1792 BIB Id 203837 1 Tis said, we vent'rous die-hards, when we leave the shore, Our friends should mourn, Lest we return, To bless their sight no more; But this is all a notion, Bold Jack can't understand, Some die upon the ocean, And some upon the land, Then, since tis clear, Howe'er we steer. No man's life's under his command, Let tempests howl, And billows rowl, And dangers press; Of those in spite there are some joys, Us jolly tars to bless, For Saturday night still comes my boys, To drink to Poll and Bess. 2 One seaman hands the sail, another heaves the log, The purser swops, Our pay for slops, The landlord sells us grog. Thus each man to his station, To keep life's ship in trim, What argufies noration, The rest is fortunes whim; Cheerly my hearts, Then play your parts, Boldly resolve to sink or swim, The mighty surg, May run urge, And dangers press. &c, 3 For all the world, just like the ropes, aboard a ship, Each man's rigg'd out, A vessel stout, To take for life a trip; The shrouds, and stays, and braces, Are joys, and hopes, and fears, The halliards, sheets, and traces, Still as each passion veers; And whim prevails, Direct the sails, As on the sea of life he steers, Then let the storm, Heaven's face deform, And danger press; Of those in spight, &c. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 203837 OCLC Control No.: (OCoLC)ocm81315597 OCLC Control No.: (OCoLC)ocn191357255 Ford, W.C. Thomas ballads, 292 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=203837 <a href="https://gigi.mwa.org/imagearchive/filename/203837_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource Wives & sweethearts or, Saturday night Date A point or period of time associated with an event in the lifecycle of the resource 1792 Spatial Coverage Spatial characteristics of the resource. London. Publisher An entity responsible for making the resource available Evans, John, 1753-1820, publisher. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tis said, we vent'rous die-hards, when we leave the shore. Subject The topic of the resource Sailors Seafaring life Life Love Description An account of the resource The ballad on this broadside is about life. This broadside has one woodcut. This song was written by Charles Dibdin for The Whim of the Moment (1788) (Sime 2:212-14). It is a typical Dibdin “sailor’s song.” The tune and the lyrics appeared in the Edinburgh Musical Miscellany and in fifteen songsters between 1798 and 1815 but the song did not last except as a Dibdin curiosity (Roud; R. Keller, Early American Songsters). This is one of at least four songs in circulation sometimes titled “Saturday Night.” Two were by Dibdin, this song, and “Saturday Night at Sea,” beginning “’Twas Saturday Night, the twinkling stars,” written for The Oddities (1789). This broadside is one of seven English prints Thomas added to his collection of Coverly broadsides before having them bound (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/38">The Sailor’s Departure from His True Love Susan</a>). Three of the English prints, including this one, are identified as coming from John Evans’s press at Long Lane, West Smithfield, between 1791 and 1792, and the others resemble them closely. They are printed from engraved plates and the fine details of the illustrations are enhanced with watercolors. Broadsides like these were rare in America although not unknown. Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/203837_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/539c582949e27cbb885d9c82092e0abd.TIF 4398cf6d8dce90ec4864536db14f1763 https://collections.americanantiquarian.org/thomasballads/files/original/6dc633fa7a3daf5cca901364f9c98cd1.xml ef2cf66d5d91688497850b44c1580984 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 31 x 20 cm. Text Any textual data included in the document. The last WORDS OF POLLY GOOLD. To a very mournful Tune.NATHANIEL COVERLY Salem 1798 or 1799 BIB Id 353463 GIVE ear to me, ye Sons of Men, Why stand ye gazing round my bed? You all must die, the Lord knows when, And be among the silent dead; Tho' now in health, you all must die, And turn to dust as well as I. When from my Maker's hand I came, The seeds of death were in me sown, Which will dissolve this mortal frame, Soon as the bloom of life is blown; Behold me on a dying bed, Forget me not when I am dead. The seeds of Grace have since been sown And deeply rooted in my soul, Which being ripe and fully grown, Now sweetly on the moments roll. Come, welcome, Death, and set me free, My Saviour's face I long to see. Farewell my Father, fond and dear, I wish you well with all my heart; Farewell my Mother, fond and near, For you and I must shortly part; My Jesus calls and I must go, And leave all earthly things below. Farewell my Brethern, young and old, Farewell my little Sisters too; My cheeks are pale, my hands are cold, And I must bid you all adieu; My days are spent, my race is run, Remember me when dead and gone. Farewell my young Companions all, From death's arrest no age is free; Remember this fore-warning call, Prepare for death and follow me; The wife, the foolish, and the brave, Must try the cold and silent grave. Farewell my neighbours, kind and free, The happy hour is hast'ning on, When you shall say concerning me, That Polly Goold is dead and gone. The like will soon be said of you, The ways of Virtue then pursue. Adieu to all things here below, My Treasure is above the sky, My Saviour calls and I must go, And take possession bye and bye; Dear Jesus come, delay no more, I long to reach thy peaceful shore, Now she is dead and cannot move, Her cheeks are like the fading rose; Which of us next must follow her, The Lord Almighty only know; But this you know as well as I, That we are mortals born to die. Cease, my beloved, to complain, Her soul is born of heavenly birth, The dust returns to dust again, Her voice is heard no more on earth; But her immortal soul is gone, To put eternal glories on. The great Creator wise and true, Has an undoubted right to reign, He made and lent her unto you, 'Till he shall call for her again; He has a right to take his own, O praise him for his blessed loan. Remember this, you mourning friends, Your loss is her eternal gain, With her all sin and sorrow ends; The cease to murmur or complain, The weary soul is gone to rest, Where Sin and Satan can't molest She was a blessing here below, A lovely kind and pleasing child, Her soul, now free from sin and woe, Shall serve its Maker undefil'd; Her sleeping in the grave shall rest, 'Till sun and moon their courses cease. How sweet and pleasant was the sound That hasten'd from her mortal tongue; Now she is gone where joys abound, A song of nobler Praise is sung, Where peace and love and concord reigns, She sings in high angelick strains. Rejoice, ye mourners here below, That she is gone to worlds above; Yet mourn your loss in parting to, For she was worthy of your love; Rejoice with grief and mourn with joy, Your tears refrain, your tongues employ. Who can describe the joys of Heaven, Or comprehend the Lord of Host? May honour, might and praise be given To Father, Son, and Holy Ghost; All Glory to the One in Three, And Three in One eternally. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 353463 OCLC Control No.: (OCoLC)ocm79489282 OCLC Control No.: (OCoLC)ocn191540049 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=353463 <a href="https://gigi.mwa.org/imagearchive/fileName/353463_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource The last words of Polly [Goold] Gould. To a very mournful tune Date A point or period of time associated with an event in the lifecycle of the resource 1798 or 1799 Spatial Coverage Spatial characteristics of the resource. Salem. Publisher An entity responsible for making the resource available Coverly, Nathaniel, 1775?-1824, printer. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Give ear to me ye sons of men. Subject The topic of the resource Gould, Polly, -1788? Death Jesus Christ Description An account of the resource The ballad on this broadside is about life and death. This broadside has one woodcut and two ornaments. “The Last Words of Polly Gould” is described in another broadside of the same title, but with slightly different spelling, <a href="https://collections.americanantiquarian.org/thomasballads/items/show/197">The Last Words of Polly Goold</a>. Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/353463_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/fec7e5c6bd83b4beb2764cbebfc413f8.tif 3dd5a99df6b6a074045a8d09184dbd7c https://collections.americanantiquarian.org/thomasballads/files/original/c2e14830918b26190e2a1b0bc4ac7d93.xml 39d81950e3645c17e6577df09942b827 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Physical Dimensions The actual physical size of the original image. 29 x 17 cm. Text Any textual data included in the document. VERSES, composed by AMASA SESSIONS, on the Death of AMASA ROBBINS, who was killed by the FALL of a TREE, HOLLAND PURCHASE, 3d. of AUGUST, A. D. 1807, In the 22d. Year of his Age;-Adapted to the feelings of his WIDOW.NATHANIEL COVERLY Boston 1807 BIB Id 285894 PART I. COME, my dear friends, come take a view For you and I are mortals too; My lover, friend, my husband's gone, And I am left to mourn alone. Come you who know the griefs I feel, And know what such afflictions mean, Your kind instructions now I want, To bear my feeble spirits up. Then let me tell you as a friend, God does for good this judgment send; That you may learn to do his will, So when death comes you'll fear no ill. Repent, believe on Christ your Lord, Oh! may you love to read his word; Cease not to pray by night nor day, And you will find the living way. Quench not God's holy spirit now, Let it convince of sin and woe, Of righteousness and judgment too, That you in youth may wiser grow. Resign yourself into Christ's arms; May all your soul be fill'd with charms, Charms of a dying Saviour's love, Who's interceding now above. Fall at his feet, resign your soul, And you in grace will be made whole; Since earthly comforts are all fled, Take Christ to be your living head. He is the way, the truth and life, He loves the sinner, though in strife He calls to you like thunder loud, To leave all sin and sinners proud. Return, repent, on Christ believe, He will your soul in love receive; But if you don't, with judgments sore He may afflict your more and more. Christ intercedes, God spirit moves, All Adam's race my Saviour's loves; And though their sins are crimson dy'd, They may through Christ be justify'd. PART II. COME, sprightly youth, come walk with me, You that are now from troubles free: ,'As you are now, so once was I; "But you and me must shortly die." Not more than two or three months past, I hardly knew what trouble was: I was a lass, I was a bride, And in a measure satisfied. I much have thought on happiness, Great things which I cannot express, Have on my mind most freely run, But all was fancy, all is gone. I now am left to mourn alone; My friend, my husband dear is gone, All expectations now must cease, Which I have form'd of happiness. Promising youth my husband was, He was complete in every limb; Much satisfaction did I take, What little time I spent with him, He was my choice of all mankind, And he did saisfy my mind, For he was mine and I was his In all our cares, in all our bliss. Fortune, how could you frown so soon? At Heaven I murmur and repine; Few were the hours, they're past and gone, That I enjoy'd my loving friend. Far, far away he went from me, A habitation to provide, That we might live from troubles free, And with each other satisfied. Ah! fatal parting 'twas to us, Yes, little thought by him or me, That we on earth so surely must Each other's faces never see. Oh! cruel death, ah! fatal spot, Where my dear husband fell a prey, Are you not satisfied with what You've slain, from Adam to this day. But you must crush by a tall tree My dearest friend down to the earth, That he no more could speak or say Farewell, Farewell, I die in peace. Could I been there to mitigate His dying pangs in this extreme; Could I but heard my husband state, Thy glory was his dying theme. Then I could say farewell, my dear, No longer can I want you here; Yes, leave this world of trouble now, And I'm prepar'd to follow you. But I must leave him in God's care, Knowing no wrong he will endure; For God is goodness, God is love, And no injustice does approve. An aching void is left in me, Which never can be justified, My head is gone my AMASA, With sore afflictions I am try'd. Think how a trembling brother stood; To see death take a friend so near, And at the grave, there, in the wood, The only friend which could appear. Parents and relatives below, I think this a loud call to you; This world a painted bubble is, Think not to find here solid bliss. Come all young friends both far and near, This warning take, live in God's fear; "For when death calls we all must go, Therefore prepare to follow now," Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context BIB ID: 285894 OCLC Control No.: (OCoLC)ocm79006732 OCLC Control No.: (OCoLC)ocn191468074 Ford, W.C. Thomas ballads, 285 Shaw, R.R. American Bibliography, 13570 AAS General Catalog URL: http://catalog.mwa.org/vwebv/holdingsInfo?bibId=285894 <a href="https://gigi.mwa.org/imagearchive/filename/285894_" target="_blank" rel="noreferrer noopener">View larger image</a> Title A name given to the resource Verses, composed by Amasa Sessions, on the death of Amasa Robbins, who was killed by the fall of a tree, Holland Purchase, 3d. of August, A.D. 1807, in the 22d. year of his age;--adapted to the feelings of his widow Date A point or period of time associated with an event in the lifecycle of the resource 1807 Spatial Coverage Spatial characteristics of the resource. Boston. Publisher An entity responsible for making the resource available Coverly, Nathaniel, 1775?-1824, printer. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Come, my dear friends, come take a view. Subject The topic of the resource Robbins, Amasa, 1785 or 1786-1807 Death Falls (Accidents) Christianity Widows Salvation Description An account of the resource The ballad on this broadside is about death and youth. This broadside has two woodcuts and two ornaments. According to Coverly’s title, this elegy was written by the widow of a man killed by a falling tree while clearing land for their new home. It includes the usual warning that death comes to everyone and they should turn to Christianity now to ensure salvation. From the description in verse 8 of part 2 in which the widow speaks, “Far, far away he went from me, a habitation to provide” it appears that the Holland Purchase lands in western New York (now Batavia) were the location of the accident (see <a href="https://collections.americanantiquarian.org/thomasballads/items/show/103">Speech of Farmer’s Brother</a> for information on these lands). The property was opened for settlement on January 1, 1807, and a man named Amasa Robbins is listed as having taken property there in township 11, range 1. Amasa Sessions is not listed (“Holland Purchase”; Turner). Sessions may have been from the area of Pomfret, Connecticut, as a family of that name is found in genealogical sources in the 1750-1800 period. Source A related resource from which the described resource is derived <a href="https://collections.americanantiquarian.org/thomasballads/teibp/content/285894_BP.xml">View transcription using TEI</a> Ballad https://collections.americanantiquarian.org/thomasballads/files/original/c04c7b31706175b64ee8721ad1bc9747.TIF 6aeb4882583b02ef514d162cbfaa157c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=274131">The Book of trades, or Library of the useful arts. Part I[-III]</a> Publisher An entity responsible for making the resource available Published by Jacob Johnson, and for sale at his book-stores in Philadelphia, and in Richmond, Virginia. 1807. Dickinson, printer., Date A point or period of time associated with an event in the lifecycle of the resource 1807 Identifier An unambiguous reference to the resource within a given context BIB ID: 274131