Scott suggested in 1803, Minstrelsy, I, 86 f., that Hugh Graham may have been one of more than four hundred borderers against whom complaints were exhibited to the lord bishop of Carlisle for incursions, murders, burnings, mutilations, and spoils committed by the English of Cumberland and Westmoreland upon Scots “presently after the queen’s departure;” that is, after Mary Stuart’s going to France, which was in 1548. Nearly a third of the names given in a partial list are Grames, but there is no Hugh among them.[4] The bishop of Carlisle at the time was Robert Aldridge, who held the see from 1537 till his death in 1555.[5] Lord Scroope (Screw) is the English warden of the West Marches in #A#, #C#, #D#. A Lord Scroope had that office in 1542, but Lord Wharton, Lord Dacre, and others during the last years of Bishop Aldridge’s life, say from 1548 to 1555. Henry Lord Scroope of Bolton was appointed to the place in 1563, retained it thirty years, and was succeeded by his son, Thomas.[6] Considering how long the Scroopes held the warden-ship, and that the ballad is not so old as the middle of the sixteenth century, the fact that a Lord Scroope was not warden in the precise year when the complaints were addressed to the bishop of Carlisle would be of no consequence if Scott’s conjecture were well supported. The story is the same in #A-D#, and in #E# also till we near the end, though there are variations in the names. The scene is at Carlisle in #A#, #C#, #D#; at Stirling in #B#, #E#. Lord Home, who appears as intercessor for Hugh Graham in #C#, exercises the authority of the Scottish warden and arrests Hugh in #E#. Lord Home was warden of the _east_ marches of Scotland from 1550, and I know not how much earlier, to 1564. The Lord Boles of #A# may possibly represent Sir Robert Bowes, who was warden of the _east_ marches of England in 1550 and earlier. The Whitefoords of #B# are adopted into the ballad from the region in which that version circulated, they being “an ancient family in Renfrewshire and Lanarkshire, and latterly in Ayrshire.”[7] The high jump which Hugh makes in #A# 18, #C# 12, #D# 4 (fourteen, or even eighteen, feet, with his hands tied on his back), is presumably an effort at escape, though, for all that is said, it might be a leap in the air. In #E# 16–19, the prisoner jumps an eighteen-foot wall (tied as before), is defended by four brothers against ten pursuers, and sent over sea: which is certainly a modern perversion.