the church, the rest were to come to his assistance, and detain it, in spite of the struggles it should use, and the various shapes into which it might be transformed.  The redemption of the abstracted person was then to become complete.  The minister, a sensible man, argued with his parishioner upon the indecency and absurdity of what was proposed, and dismissed him.  Next Sunday, the banns being for the first time proclaimed betwixt the widower and his new bride, his former wife, very naturally, took the opportunity of the following night to make him another visit, yet more terrific than the former.  She upbraided him with his incredulity, his fickleness, and his want of affection; and, to convince him that her appearance was no aerial illusion, she gave suck, in his presence, to her youngest child.  The man, under the greatest horror of mind, had again recourse to the pastor; and his ghostly counsellor fell upon an admirable expedient to console him.  This was nothing less than dispensing with the further solemnity of banns, and marrying him, without an hour’s delay, to the young woman to whom he was affianced; after which no spectre again disturbed his repose.

* * * * *

Having concluded these general observations upon the Fairy superstition, which, although minute, may not, I hope, be deemed altogether uninteresting, I proceed to the more particular illustrations, relating to the Tale of the Young Tamlane.

The following ballad, still popular in Ettrick Forest, where the scene is laid, is certainly of much greater antiquity than its phraseology, gradually modernized as transmitted by tradition, would seem to denote.  The Tale of the Young Tamlane is mentioned in the Complaynt of Scotland; and the air, to which it was chaunted, seems to have been accommodated to a particular dance; for the dance of Thorn of Lynn, another variation of Thomalin, likewise occurs in the same performance.  Like every popular subject, it seems to have been frequently parodied; and a burlesque ballad, beginning

  “Tom o’ the Linn was a Scotsman born,”

is still well known.

In a medley, contained in a curious and ancient MS. cantus, penes J.G.  Dalyell, Esq., there is an allusion to our ballad:—­

  “Sing young Thomlin, be merry, be merry, and twice so merry.”

In Scottish Songs, 1774, a part of the original tale was published, under the title of Kerton Ha’; a corruption of Carterhaugh; and, in the same collection, there is a fragment, containing two or three additional verses, beginning,

  “I’ll wager, I’ll wager, I’ll wager with you,” &c.

In Johnson’s Musical Museum, a more complete copy occurs, under the title of Thom Linn, which, with some alterations was reprinted in the Tales of Wonder.