Shrill and more shrill the popinjay Upraised his angry squall: I trow the doggie’s voice that day Was louder than them all! [Picture: O hush thee, gentle gentle popinjay!] The serving-men and serving-maids Sat by the kitchen fire: They heard sic’ a din the parlour within As made them much admire. Out spake the boy in buttons (I ween he wasna thin), “Now wha will tae the parlour gae, And stay this deadlie din?” And they have taen a kerchief, Casted their kevils in, For wha will tae the parlour gae, And stay that deadlie din. When on that boy the kevil fell To stay the fearsome noise, “Gae in,” they cried, “whate’er betide, Thou prince of button-boys!” Syne, he has taen a supple cane To swinge that dog sae fat: The doggie yowled, the doggie howled The louder aye for that. [Picture: The doggie ceased his noise] Syne, he has taen a mutton-bane— The doggie ceased his noise, And followed doon the kitchen stair That prince of button-boys! Then sadly spake that ladye fair, Wi’ a frown upon her brow: “O dearer to me is my sma’ doggie Than a dozen sic’ as thou! “Nae use, nae use for sighs and tears: Nae use at all to fret: Sin’ ye’ve bided sae well for thirty years, Ye may bide a wee langer yet!” Sadly, sadly he crossed the floor And tirlëd at the pin: Sadly went he through the door Where sadly he cam’ in. “O gin I had a popinjay To fly abune my head, To tell me what I ought to say, I had by this been wed. “O gin I find anither ladye,” He said wi’ sighs and tears, “I wot my coortin’ sall not be Anither thirty years “For gin I find a ladye gay, Exactly to my taste, I’ll pop the question, aye or nay, In twenty years at maist.” [Picture: Sadly went he through the door] FOUR RIDDLES [THESE consist of two Double Acrostics and two Charades. No. I. was written at the request of some young friends, who had gone to a ball at an Oxford Commemoration—and also as a specimen of what might be done by making the Double Acrostic _a connected poem_ instead of what it has hitherto been, a string of disjointed stanzas, on every conceivable subject, and about as interesting to read straight through as a page of a Cyclopædia. The first two stanzas describe the two main words, and each subsequent stanza one of the cross “lights.” No. II. was written after seeing Miss Ellen Terry perform in the play of “Hamlet.” In this case the first stanza describes the two main words. No. III. was written after seeing Miss Marion Terry perform in Mr. Gilbert’s play of “Pygmalion and Galatea.” The three stanzas respectively describe “My First,” “My Second,” and “My Whole.”] I