The attitude of the young woman to her first lover is not distinctly brought out in several copies. That she had jilted him in favor of a wealthier Englishman would probably not lessen the Scot’s pleasure in carrying her off. In #E# 18, she does not go willingly; she greets and wrings her hands, and says it’s foul play.[117] In #F# 2, #G# 2, the first lover openly charges her with changing and foul play, and such is the implication in #E# 13. In #B# 14, the bride, seeing the bloodshed, exclaims, Wae’s me for foul play! and her lover replies, Wae to your wilful will for causing so much good blood to be spilt! from which we must infer a fault on her part. #I# 2 has the ambiguous line ‘and his love drew away,’ which cannot be interpreted to mean that the first lover was inconstant without flying in the face of all the other copies. #D#, #J#, #K#, unequivocally represent the lass as faithful to her first love. The bridegroom, in these versions, arranges the match with the family, and does not mention the matter to the lass until the wedding-day: so in #C#, #H#.[118] She sends word to her lover that if he will come for her she will go with him, #D#; writes ‘to let him understand,’ #J#, #K#, and not to pay him the cold compliment of an invitation to see her wed the man that has supplanted him, as in #B# 3, #E# 5,#F# 5, #I# 3. In #E# 7–9, while the first lover is drinking with his comrades they incite him to carry off the bride on her wedding-day; so #G# 6, without explanation of the circumstances. In #E# 7–9, 12–15, he goes to the bridal-house, and sitting at a table vents words which the other guests cannot understand: there was a young man who loved a lass that to-day goes another man’s bride, and plays her old love foul play; had _he_ been so served, he would take the bride away. Upon this the English ask if he wishes a fight. There is something of this in #B# 7–10, #F# 13, 14, #G# 11–14. The lover would wish to keep the strong body of men that he had brought with him quite in the background until their cue came. When, therefore, in #I# 8, 9, the bridegroom’s friends ask him what was that troop of younkers they had seen, he puts them off with the phrase, It must have been the Fairy Court; so in #L#. In #B# 5, 6 (where a stanza, and more, has dropped out), when the bridegroom sees this troop from a high window, the bride (from incredulity, it must be, and not because she is in concert with her old lover) says he must have seen the Fairy Court. #G# 15, 16, where the phrase comes in again, seems to have suffered corruption; any way, the passage is not quite intelligible to me. Katharine Jaffray (Jamphray, Janfarie) is the lass’s name in #A#, #C-G#, #K#, #L#; Katharine Johnstone[119] in #J#; in #B#, #H#, #I#, she is nameless.