belle Marion," noted by M. Soleville, to a different tune, in the South of France (see Chants Populaires du Bas-Quercy, 1889). "Trois Jeunes Tambours," noted in Sark, is identical with the version of that very amusing and popular song given in Tiersot's Mélodies Populaires des Provinces de la France as "Le joli Tambour" (Haute Bretagne). A slightly different version is in Guernsey Folklore. Another merry song, "Jean, gros Jean," Miss Carey thinks to be perhaps the only one in her collection with any pretension to be called indigenous. Its tune, a naïve one within a range of five notes, was long said to be the national air of Guernsey. Three pretty pastoral songs, concerning roses, nightingales, and shepherdesses, are good types of the graceful French "brunette." One of these, "À la claire Fontaine," has undoubted claim to be considered a genuine folk-poem, for it exists in many, and greatly varying, forms, (every one of which is full of simple beauty and poignant emotion), both in France and Canada. For examples see "Du Rossignol qui chante" (Echos du Temps Passé, Wekerlin), "Bouton Refusé" (Chants Populaires du Bas-Quercy, Soleville), and "À la claire Fontaine" ([U[niversity of Toronto Song Book]], 1887). Each variant here referred to has its distinct tune.
The last air in the book is named "Chanson de Roland," to which, "tradition says . . . our Norman ancestors marched to victory at Hastings." As a fact, the tune is the composition of the Marquis de Paulmy, and (to quote Chappell) is "not even in imitation of antiquity." Dr. Burney gives the air in his History of Music as having been inspired by fragmentary references to the old words of the "Chanson de Roland" which the enthusiastic Marquis had met with in various romances.
Miss Carey, who writes with sympathy and understanding, has contrived to give her readers much interesting matter within a small space. The pamphlet includes several illustrations from photographs and broadsides of the 18th century.
