#E.# #a.# 'Love Gregor,' Alexander Fraser Tytler's Brown MS., No 2. #b.# 'The Lass of Lochroyan,' Scott's Minstrelsy, II, 49, 1802. #F.# Herd's MSS, I, 31, II, 65. #G.# 'Love Gregory,' Buchan's MSS, II, 149; Buchan's Ballads of the North of Scotland, II, 198; Dixon, Scottish Traditional Versions of Ancient Ballads, Percy Society, vol. xvii, p. 60. #H.# 'The Lass of Aughrim,' an Irish version, communicated by Mr G. C. Mahon, of Ann Arbor, Michigan. #I.# 'Oh open the door, Lord Gregory,' Johnson's Museum, I, 5, No 5, four stanzas. #J.# Motherwell's Note-Book, p. 12, two stanzas. #K.# Stenhouse's Johnson's Museum, IV, *107, one stanza. * * * * * #A#, never as yet published, is from a manuscript of the first half of the last century. #B#, the earliest printed copy, was given by Herd, from his manuscript, in 1776, with his usual fidelity. Scott followed, in 1802, with a copy obtained from Mrs Brown by Alexander Fraser Tytler in 1800, introducing six stanzas from #B# and five from #F#, and a few readings from two recited copies. This compounded copy is the one that is most generally known. Jamieson printed, in 1806, #D#, a version written down from Mrs Brown's recitation in 1783, giving it not quite _verbatim_, as he says (he changes, for instance, Rochroyal to Lochroyan), but in general adhering to his text. #E a#, the copy principally used by Scott, is, to a considerable extent, a repetition of #D#, but is by no means an imperfectly remembered version of its predecessor (which was written down seventeen years earlier), filled out by Mrs Brown's improvised inventions. #E a# has stanzas not found in #D#, two of which occur in #B#, and is to be regarded as a blending of two independent versions known to Mrs Brown, which no doubt had much in common, though not so much as #D# and #E a#. The whole of the fragment #F# has not been published hitherto, but five of the eight stanzas are interpolated into Scott's copy, including the two last, which are shown by the very style to be spurious. Fairy charms have been exercised on Lord Gregory, according to the final stanza of #F#, and Lord Gregory calls his dame "witch mother" in #C# 10. But there appears to be no call for magic or witchcraft in the case. A man who is asleep is simply not informed by an ill disposed mother that a woman whom he would like to see is at the door; that is all.[125]