[68] Chatterton, in his “Memoirs of a Sad Dog,” represents “Baron Otranto” (meaning the honourable Horace Walpole, now Earl of Orford), when on a visit to “Sir Stentor,” as highly pleased with Robin Hood’s ramble, “melodiously chaunted by the knight’s groom and dairy-maid, to the excellent music of a two-stringed violin and bag-pipe,” which transported him back “to the age of his favourite hero, Richard the Third;” whereas, says he, “the songs of Robin Hood were not in being till the reign of Queen Elizabeth.” This, indeed, may be in a great measure true of those which we now have, but there is sufficient evidence of the existence and popularity of such-like songs for ages preceding; and some of these, no doubt, were occasionally modernised or new-written, though most of them must be allowed to have perished. The late Dr. Johnson, in controverting the authenticity of Fingal, a composition in which the author, Mr. Macpherson, has made great use of some unquestionably ancient Irish ballads, said, “He would undertake to write an epick poem on the story of Robin Hood, and half England, to whom the names and places he should mention in it are familiar, would believe and declare they had heard it from their earliest years” (Boswell’s Journal, p. 486). [69] The following note is inserted in the fourth edition of the Reliques of Ancient English Poetry, published in July 1795 (vol. i. p. xcvii.): “Of the 24 songs in what is now called ‘Robin Hood’s Garland,’ many are so modern as not to be found in Pepys’s collection, completed only in 1700. In the [editor’s] folio MS. are ancient fragments of the following, viz.—Robin Hood and the beggar.—Robin Hood and the butcher.—Robin Hood and fryer Tucke.—Robin Hood and the pindar.—Robin Hood and queen Catharine, in two parts.—Little John and the four beggars, and “Robine Hood his death.” This last, which is very curious, has no resemblance to any that have yet been published; [it is probably num. xxviii. of part ii.], and the others are extremely different from the printed copies; but they unfortunately are in the beginning of the MS. where half of every leaf hath been torn away.” As this MS. “contains several songs relating to the civil war in the last century,” the mere circumstance of its comprising fragments of the above ballads is no proof of a higher antiquity; any more than its not containing “one that alludes to the Restoration” proves its having been compiled before that period; or than, because some of these 24 songs are not to be found in Pepys’s collection, they are more modern than 1700. If the MS. could be collated, it would probably turn out that many of its contents have been inaccurately and unfaithfully transcribed, by some illiterate persons, from printed copies still extant, and, consequently, that it is, so far, of no authority. See the advertisement prefixed.