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The Sweet Book of
CANDY MAKING
@For Jason—the sweetest thing in my life. @
The Sweet Book of
CANDY MAKING
FROM THE SIMPLE TO THE SPECTACULAR—HOW TO MAKE CARAMELS,
FUDGE, HARD CANDY, FONDANT, TOFFEE, AND MORE!

Elizabeth LaBau
CONTENTS
Introduction ………………………………………………………….. 6

Part I: Getting Started

Chapter 1: Ingredients and Candy-Making Equipment ...… 11
Chapter 2: Candy-Making Techniques ………………………… 21

Part II: Candy Recipes

Chapter 3: Sugar Candies ………………………………………… 39
Chapter 4: Fondant ………………………………………………… 51
Chapter 5: Caramels …………………………………………..…… 59
Chapter 6: Toffee ……………………………………………….…… 69
Chapter 7: Fudge ……………………………………………….…… 77
Chapter 8: Truffles …………………………………………….…… 87
Chapter 9: Chocolate Candies …………………………………… 101
Chapter 10: Marshmallows ………………………………....…… 111
Chapter 11: Fruit and Nut Candies ……………………....…… 123

Part III: Decoration & Presentation

Chapter 12: Finishing Techniques
and Candy Decorations ....….……….........…………......…… 141

Resources …………………………………………………………….. 154

Acknowledgments ………………………………………………….. 155
About the Author ………………………………….……………….. 156
Index ………………………………………………………..…………. 157
 Introduction
Some children collect baseball cards. Others collect dolls. When I was a child, I
collected candy.

Every Halloween, I insisted on using an old pillowcase to gather my candy in-

stead of a novelty candy bucket, because the pillowcase could hold so much more
loot. It was thrilling to watch my candy collection grow as I roamed the neighbor-
hood trick-or-treating, and I wouldn’t stop knocking on doors until I could barely
lift the pillowcase from the ground. After I shuffled home, hunched under the
weight of my haul, I would carefully hide the candy in my room and hoard it like
a miser for months. My goal was always to make it last until Easter, when I would
receive a fresh supply of sweets.

Now that I am an adult, I have a greater appreciation for dark chocolate and less
of a fondness for guzzling straight sugar, but not much else has changed. I still
have an unapologetic love of candy, and if someone were to hand me a pillowcase
full of chocolate today, I would gladly, gleefully, accept.

Fortunately, I am no longer dependent on the kindness of strangers to replenish

my candy supply. In my job as a recipe developer, I am lucky enough to be able to
make my own candy whenever a craving strikes. The basic thrill of simply eat-
ing sugar has been replaced by the joy of working with sugar to invent my own
candy creations, and I hope to share this same joy with you.

Making candy at home is a magical process. Even after years of experience, it is

still amazing to me that simply boiling a few ingredients together can produce
luminous lollipops, and that whisking cream and chocolate together can yield
soft, rich truffles. If you are new to candy making, some steps might seem intimi-
dating, but I want to assure you that not only is it possible to make gorgeous, deli-
cious, professional-quality candies in your home kitchen, but it is also fun.

Whether you are an experienced candy maker looking for new ideas and inspira-
tion or a novice seeking a step-by-step candy-making guide, there is something
in this book for you. Part I covers candy basics, beginning in chapter 1 with an

6 THE SWEET BOOK OF CANDY MAKING

introduction to common candy ingredients and candy-making equipment. Chap-
ter 2 will take you through some of the fundamental techniques for working with
sugar and chocolate, like how to properly boil sugar and how to temper choco-
late. You may be tempted to skip this chapter to get to the recipes faster—resist!
Knowing these skills is crucial to candy-making success, and it is important to be
comfortable with them.

Part II is where you’ll find the recipes for everything from sugar candies to cara-
mels, chocolates to marshmallows, toffees to truffles. I have included a mix of
classic recipes and contemporary flavor combinations that are meant to get you
started and spur your own imagination. As you master the basic techniques and
foundational elements of each recipe, I hope you will be inspired to experiment
with variations and create your own unique candy combinations.

Each recipe chapter also has a troubleshooting section that addresses common
problems with that type of candy, and offers solutions. In my years of candy mak-
ing I have had just about every kitchen failure you can imagine, and I probably
even invented a few new ones. Making a failed batch of candy can be frustrat-
ing, and I want to save you from that same fate by pointing out potential trouble
areas and typical mistakes.

Finally, when you are an expert candy maker, the only thing left is to gild the
lily—or the chocolate, as it were—with fancy decorating techniques! Part III
offers a variety of decorating ideas for creating beautiful and unique truffles,
caramels, marshmallows, and more. There are also recipes that use sugar and
chocolate skills from previous chapters to make edible garnishes like spun sugar
and chocolate bowls.

After you have spent time cooking from this book, I hope you will be inspired
to grab your metaphorical pillowcase and fill it with candy recipes you love and
want to add to your personal collection!

7
Part I:

GETTING STARTED
Chapter 1: Ingredients and Candy-Making Equipment
Chapter 2: Candy-Making Techniques
@
CHAPTER 1 Ingredients and Candy-
Making Equipment
 @Ingredients @

One of the easiest things you can do to ensure excellent candies is to use fresh, quality ingredients. Before you
clutch your wallet in horror, understand that quality does not necessarily equate to the most expensive gourmet
foods. Choosing good ingredients can be as simple as knowing the most suitable types of butter and cream
to buy, when to use fresh versus frozen fruit, and the optimal chocolate for your recipe of choice. This section
will introduce you to the most common candy ingredients and make a few purchasing recommendations when
appropriate.

.... SWEETENERS ....

Granulated sugar: Granulated sugar is the product most people think of when they hear the word “sugar.”
Also known as white sugar or table sugar, it is the most common ingredient in candy making. It is made by
refining the sweet juice from sugar cane or, increasingly, beets, into fine white crystals. Sugar that is made from
pure sugar cane is usually labeled “cane sugar,” but sugar that is made from beets or a combination of beet
and cane sugars is often unspecified and simply called “sugar.” I am a cane sugar purist—in my experience,
beet sugar does not behave predictably and can produce inconsistent, undesirable results when cooked to
high temperatures. I recommend buying only sugar that is clearly labeled as coming from sugar cane.

Brown sugar: Brown sugar is actually granulated sugar that has molasses added back in after processing.
Brown sugar is available in light and dark varieties; light brown sugar, which has a milder flavor, should be used
to make the recipes in this book. When measuring brown sugar by volume, always pack it tightly into the mea-
suring cup to get an accurate measurement.

Powdered sugar: Also known as confectioners’ sugar or icing sugar, powdered sugar is made from finely
pulverized granulated sugar. It often contains a small amount of cornstarch to prevent clumping. Because it
easily absorbs moisture from the air, it should always be stored in an airtight container and be sifted before use
to remove any lumps.

Corn syrup: Corn syrup has developed a bad reputation. It is true that high-fructose corn syrup has unneces-
sarily weaseled its way into many packaged foods, but in my opinion corn syrup still has a place in the candy
maker’s kitchen. It is an invaluable tool that prevents crystallization in sugar candies, and it improves the texture
of fudges and truffles. Corn syrup comes in two varieties, light and dark corn syrup. Light corn syrup is more
refined and has no discernible flavor, while dark corn syrup has an amber color and a caramel taste. The two
are not interchangeable, and all of the recipes in this book call for light corn syrup.

Honey: Honey is a natural sweetener with a flavor that can range from light and fruity to intensely dark and
pungent. You should use any honey whose flavor you enjoy eating plain, but be aware that the stronger
varieties may overpower other ingredients in the candy. Make sure you use liquid honey, as opposed to the
“creamed” variety.

11
 CLOCKWISE FROM BOTTOM LEFT: granulated sugar, light corn syrup, powdered sugar, honey, brown sugar, molasses

Maple syrup: Maple syrup is made from the sweet sap of the maple tree. It comes in various grades, which indicate the
color and strength of the syrup. Grade A is lighter and has a more delicate flavor, while Grade B is stronger and more
assertive. The variety you use is entirely dependent on your personal preference. Make sure you select genuine maple
syrup as opposed to imitation “pancake syrup,” which is merely a sugary syrup with maple flavoring added.

Molasses: Molasses is a thick syrup with a dark color and a strong, distinctive flavor. Varieties include light molasses, dark
molasses, and blackstrap molasses. It should only be used in candies where you desire a molasses taste, because it can
quickly overwhelm other flavors.

Artificial sweeteners: There are many artificial sweeteners on the market, but none of them are suitable substitutes for
sugar in candy making, and they should not be used in the recipes in this book.

.... CHOCOLATES ....

Cocoa butter: Cocoa butter is the fat that is derived from cocoa beans. It is solid at room temperature, and is commonly
sold in bar or chip form. Although “cocoa butter” sounds delicious, it usually has a neutral flavor because it has been
deodorized. Because cocoa butter is the same fat that is in chocolate, it can easily be added to melted chocolate to make
it more fluid. It also makes an appearance in Part III, on page 143, where it is mixed with luster dust and used to paint
chocolate candies.

Unsweetened chocolate: As the name implies, unsweetened chocolate has no sugar added, so it is very bitter when
tasted on its own. It is sometimes labeled “baking chocolate” because it is often used in baking recipes like brownies and
cakes. In candy making, unsweetened chocolate is used to provide a strong chocolate flavor in recipes like fudge, which
already contains a great deal of sugar from other sources.

Dark chocolate: Dark chocolate is a catchall term that refers to any chocolate that contains cocoa solids, cocoa butter,
and sugar, but no milk solids. Depending on the cocoa percentage, dark chocolate can range anywhere from “sweet dark”

12 THE SWEET BOOK OF CANDY MAKING

CLOCKWISE FROM LEFT: dark chocolate, white chocolate, milk chocolate, cocoa butter chips, cocoa powder, semi-sweet chocolate chips

varieties that contain only 30 percent cocoa products, to semisweet, bittersweet, and finally ultra-dark varieties that border
on unsweetened. In this book, whenever I recommend using “dark chocolate,” I am referring to a semisweet chocolate with
a cocoa percentage around 60 to 65 percent. You can adjust this recommendation, of course, depending on your personal
tastes.

Because dark chocolate does not contain milk solids, and milk and white chocolates do, the three types of chocolate
behave very differently and should not be interchanged when used as an ingredient in candy recipes. If the chocolate is to
be used for dipping candies, however, you can take liberties and dip with whichever chocolate you prefer.

Milk chocolate: In addition to containing cocoa solids and cocoa butter, milk chocolate contains either dry milk solids
or condensed milk. In the United States, milk chocolate only has to have a cocoa percentage of 10 percent to qualify as
chocolate, but this is a pitifully small amount and results in a nearly flavorless candy. I recommend using a milk chocolate
with at least 35 percent cocoa solids.

White chocolate: White chocolate, with its distinct lack of chocolate flavor and color, has inspired many a debate as to
whether it is a true chocolate or not. According to the U.S. Food and Drug Administration (FDA), because white chocolate
contains cocoa butter, it can be admitted to the chocolate club. In order to qualify as white chocolate, products must con-
tain at least 20 percent cocoa butter, but I recommend using white chocolates that have at least 30 percent cocoa butter,
for the best taste and texture. White chocolate also contains milk solids, flavorings like vanilla, and a good amount of sugar.

Cocoa powder: Cocoa powder is an unsweetened powder with a strong chocolate flavor. It comes in two varieties: natural
and Dutch-processed (sometimes called “alkalized”). Dutch processing involves treating the cocoa powder to remove sour
flavors, and it also gives cocoa powder a deeper chocolate color. Because Dutch processing changes the acidity of the
cocoa powder, the two varieties sometimes behave differently depending on the specific recipe. The recipes in this book
were tested with Dutch-processed cocoa powder.

Chocolate chips: Chocolate chips are great in cookies, but they have no place in most candy recipes. Chips are usually
made from low-quality chocolate, meaning they have a weak flavor, and they contain additives that help them hold their

INGREDIENTS AND CANDY-MAKING EQUIPMENT 13

 shape at higher temperatures. Chocolate chips are extremely thick when melted, and they cannot be used for tempering or
coating dipped candies. The one exception to my no-chips-allowed policy is when they are used in recipes to add texture,
as in the recipe for Mint Chocolate Chip Truffles on page 93.

Chocolate candy coating: Chocolate candy coating is actually a chocolate substitute, used to replace tempered choco-
late in dipped confections. You can learn more about candy coating in the How to Temper Chocolate section on page 26.

.... DAIRY PRODUCTS ....

Cream: Cream and milk are both categorized by the amount of butterfat they contain. Cream varieties include heavy
cream, light cream, whipping cream, and manufacturing cream. For the recipes in this book, you should always use heavy
cream, which is defined as having between 36 and 40 percent butterfat.

Milk: The recipes in this book were developed using whole milk, which contains at least 3.5 percent fat. Whenever pos-
sible, select pasteurized milk and cream rather than ultra-pasteurized, which has been heated to an extremely high tem-
perature and lacks a fresh dairy flavor.

Butter: Butter is available in salted and unsalted varieties, but I recommend using only unsalted butter. Salt acts as a
preservative, meaning that salted butter can sit on store shelves longer and end up tasting less fresh than unsalted but-
ter. Additionally, there are no regulations regarding how much salt is in salted butter, so using unsalted butter gives you a
greater degree of control over how much salt your candy actually contains.

CLOCKWISE FROM LEFT: butter, heavy cream,

sweetened condensed milk, evaporated milk.

14 THE SWEET BOOK OF CANDY MAKING

Please, don’t even think about using margarine in place of butter. It has a higher water content than butter, which can affect
the behavior and texture of your candy, and more importantly, the taste is far inferior.

Evaporated milk: Evaporated milk is a canned dairy product. As the name suggests, it is made by evaporating much of
the water from milk. The advantage of using evaporated milk is that it is shelf-stable, so it is easy to keep a supply on hand
in the pantry. Because it has a lower water content, it requires less cooking time when used in candy recipes, making it a
convenient ingredient in fudges and caramels.

Sweetened condensed milk: Sweetened condensed milk is made by evaporating most of the water from milk and replac-
ing it with a large quantity of sugar. The sugar acts as a preservative, so this canned milk product can be stored even lon-
ger than evaporated milk. Sweetened condensed milk is commonly used for making dulce de leche, caramels, and fudges,
especially quick microwave fudge recipes.

.... NUTS ....

I’m nuts for nuts, so you will find a wide variety of nut candies in this book. There are the usual suspects—peanuts,
almonds, cashews, and pecans—but I’ve also included less common nuts like Brazil nuts, pistachios, and hazelnuts.
Nuts are generally a flexible ingredient, and if you don’t want to use a certain type of nut, you can usually swap it out for
a different variety.

With a few exceptions, I recommend buying raw nuts and toasting

them yourself. The toasting process deepens the flavor of the nuts
and allows you to control how dark they get, and thus how flavorful.
Even when I buy nuts already toasted, I often pop them in the oven
for 5 to 10 minutes to enhance their taste, because store-bought
toasted nuts are never as flavorful as those fresh from the kitchen
oven. My exceptions to this rule are entirely a matter of personal
preference; I usually do not go to the trouble of toasting and salting
my own peanuts and macadamia nuts.

Nuts contain a great deal of natural oil, which makes them deli-
cious—and prone to spoiling. To preserve the shelf life of your nuts,
keep them well sealed in the freezer, the refrigerator, or a cool, dark
place. This will prevent their oils from going bad and prevent you
from unwittingly making candies with rancid ingredients! (I speak
from tragic experience here.) Nuts can be kept for up to a year in the
freezer with no ill effects. Be sure to bring them to room temperature
before using them in candy recipes.

CLOCKWISE FROM BOTTOM

LEFT: peanuts, hazelnuts, pecans,
cashews, almonds, walnuts

INGREDIENTS AND CANDY-MAKING EQUIPMENT 15

 .... FRUITS ....

Fresh fruit can be expensive, so finding the balance between

cost and quality is a priority in choosing fruit for candy
making. One way to save money is to use frozen fruit where
appropriate. For recipes that don’t depend on fresh fruit
in its natural state but instead rely on a fruit purée, like the
Strawberry-Mint Pâte de Fruits on page 134, less expensive
frozen fruit can easily be substituted for fresh. The flavor will
probably be less vibrant, but the overall taste and texture of
the candy will survive. In recipes where the fruit is used whole,
as in Glazed Fruit on page 130, defrosted frozen fruit is not a
good substitute.

When it comes to selecting fresh fruit, the big question is,

should you buy organic or conventionally grown produce?
Buying exclusively organic fruit is the healthiest option, but a
tight grocery budget might make this goal unrealistic. If you need to perform organic triage, I suggest prioritizing the “Dirty
Dozen,” a list of the twelve most contaminated foods, as ranked by the Environmental Working Group. Fruits with the high-
est amount of pesticides include peaches, apples, nectarines, strawberries, grapes, cherries, and pears. I recommend
buying organic versions of these fruits whenever possible.

Additionally, citrus fruits are often categorized as safe to buy conventionally because they have a thick rind that protects the
fruit from pesticides, but if you are using these fruits to make Candied Citrus Peel on page 132, I recommend purchasing
organic fruit so the peel is not contaminated.

.... FLAVORING OILS AND EXTRACTS ....

Extracts and oils can add a wonderful punch of flavor to any candy. The most common extract is vanilla, but fruit flavors,
mint, and almond are also readily available on any supermarket shelf. Extracts are usually labeled as either natural or imita-
tion. Whenever possible, select all-natural extracts, which have a purer, less chemical taste. When looking to add vanilla
flavor, your options are not limited to extract. Vanilla bean paste and the scraped seeds of vanilla beans are both excellent
substitutes, and provide a stronger, fresher flavor than vanilla extracts.

Unlike alcohol-based extracts, flavoring oils have the advantage of being able to be mixed directly into melted chocolate
without causing it to seize. Additionally, flavoring oils are usually much more potent than extracts, so you can add less and
still get a strong, pure flavor. Both oils and extracts should be added to candies at the end of the cooking process, so that
the flavoring does not evaporate or boil off.

16 THE SWEET BOOK OF CANDY MAKING

 .... SALT ....

Salt enhances the flavor and balances the sweetness of all types of candy. I recommend using kosher salt rather than iodized
table salt. Kosher salt has larger grains and less sodium than table salt, and it has less of a harsh chemical flavor. Several
recipes in this book call for flaked sea salt to be used as a crunchy garnish. Although these gourmet salts with large, coarse
crystals are wonderful for embellishing candies, they should not be used in place of salt in the recipes themselves.

@Equipment @

Most candies do not require specialty

equipment, and if you cook or bake regu-
larly you probably have most of what you
C need for candy making already in your
D kitchen. In addition to a few common
G
appliances like a stove, a microwave, and
a mixer, here are some tools and acces-
B E sories that are of particular use in candy
making.
F
A Paintbrushes: Small paintbrushes can
H be used to brush a thin layer of chocolate
inside of candy molds or candy cups.
They are also useful for decorating fin-
ished candies with luster dust, gold leaf,
or other specialty embellishments. Make
FROM LEFT TO RIGHT: A. small paintbrushes, B. parchment paper, C. chocolate
thermometer, D. candy thermometer, E. offset spatulas, F. pastry brush, G. kitchen sure the brushes you use are clean and
scale, H. bench scraper have only been used for food handling.

Parchment paper: Parchment paper has many uses, including forming paper cones for decorating, covering work sur-
faces and baking sheets, and providing a smooth, nonstick surface for dipped candies.

Chocolate thermometer: To temper chocolate, you will need a digital or glass thermometer that can display temperatures
in one-digit increments between the range of 80° and 120°F (26.5° and 50°C).

Candy thermometer: Candy thermometers are often labeled “candy/deep-fry thermometers” and have a temperature
span from 100° to 400°F (38° to 204°C). They can range from an inexpensive glass tube to a complex digital thermometer,
but make sure whichever thermometer you choose has a clip that allows you to attach it to the side of your saucepan. This
leaves your hands free and keeps the bulb from touching the bottom of the pan.

INGREDIENTS AND CANDY-MAKING EQUIPMENT 17

 D
E

F
A

FROM LEFT TO RIGHT: A. candy scoop, B. pastry bag and tip, C. dipping tools, D. candy coloring and flavoring, E. chocolate and hard
candy molds, F. candy cups, G. candy sticks

Offset spatulas: These metal spatulas with angled blades are my tools of choice for smoothing toffee, fudge, and marsh-
mallows into even layers on baking sheets and in pans. The larger sizes are useful for filling pastry bags and scraping the
tops of candy molds, and the smaller sizes are good for finer decorating work.

Pastry brushes: Pastry brushes are used to wipe down the sides of the saucepan when cooking sugar candies. Make
sure you have a pastry brush that is dedicated for candy work only, so that it does not absorb odors from savory cooking.

Kitchen scale: Measuring out your candy ingredients using a kitchen scale is the fastest, most reliable, and most accurate
method of measuring. Look for a scale that can display weights in both imperial and metric measurements for the most
versatility.

Bench scrapers: Bench scrapers can be used to scrape ingredients, clean work surfaces, agitate candies like fondant
and fudge, and cut blocks of candy.

Candy scoop: A candy scoop is useful when portioning out truffles and other round candies. Scoops are available in a
variety of diameters and make the task of creating consistently sized balls of candy fast and efficient.

Pastry bags and tips: In candy making, pastry bags are most often used for filling chocolate molds with soft fillings.
They can also be used to add decorative touches to candy or for piping candies into special shapes.

18 THE SWEET BOOK OF CANDY MAKING

Dipping tools: While you can easily use a dinner fork for dipping truffles, to get the cleanest results you will want to use
dipping tools. They are often sold as a set, with a round or spiral dipper and a forklike dipper with two or three tines. Round
dippers are useful for dipping round candies, while fork dippers are good for dipping square truffles, caramels, and other
candies with flat bases.

Food coloring and candy coloring: In candy making you will use both food coloring and candy coloring. Candy coloring
is oil-based, so it mixes well with white chocolate and candy coating. If you try to color chocolate with regular food coloring,
which is water-based, the color will appear streaky and the water content might cause the chocolate to seize.

Food coloring can be used for all other types of candy, including hard candies, marshmallows, and ganaches. It comes
in liquid, gel, and powdered varieties. I prefer gel coloring, which is more concentrated than the liquid variety and more
consistent than the powdered variety. Gel coloring provides strong, deep color while adding a minimal amount of excess
moisture, which can skew a candy recipe.

Candy molds: There are two main types of candy molds: molds that are intended for chocolate and other low-temperature
candies, and molds that are intended for hard candies and other high-temperature uses. Trying to use a chocolate mold to
make hard candy can result in a melted mold and a huge mess, so it is important to understand the type of mold you are
purchasing and its intended use. Chocolate molds can be either thick polycarbonate or thinner, clear plastic, while hard
candy molds can be metal or thick, opaque plastic. See page 31 for additional information about chocolate molds.

Candy cups: Candy cups are both an attractive and a practical way to present candy. In addition to making your candies
look professional, these miniature foil or paper cups separate them individually, which prevents them from sticking together
or becoming scuffed. Candy cups can also be used to mold chocolate cups, as in the recipe for Chocolate Peanut Butter
Cups on page 107.

Candy sticks: Candy sticks are used to make lollipops. They come in different lengths and widths, so if you are using
lollipop molds, be sure to buy the size that corresponds with the openings in your molds.

INGREDIENTS AND CANDY-MAKING EQUIPMENT 19

@
CHAPTER 2 Candy-Making
Techniques
I hope you’re ready for candy boot camp, because this chapter is all about master-
ing fundamental candy techniques. In the following pages, you will learn neces-
sary skills—how to cook sugar, how to temper chocolate, how to mold candy, and
how to prepare nuts for cooking. Please read this section carefully, because most
success in the kitchen depends on understanding how to properly work with
sugar and chocolate.

@General Candy-Making Tips @

Unfortunately for the sugar fiends among us, candy making can be a time-consuming process. Depending on
the recipe, cooking sugar can take anywhere from 15 to 50 minutes, not counting any other recipe preparation
steps. The long process can be annoying, but it should not be rushed. To get the best flavor from caramelizing
sugar it should be cooked between medium and medium-high heat (the recipe will specify). Do not try to speed
the process by turning the heat to the highest setting. This will most likely scorch your candy, leaving you with a
sad, burnt-tasting product and a ruined pan.

When selecting a pan for cooking candy, choose pans with a heavy bottom that will distribute heat evenly, and
always follow the recipe’s recommendations for pan size. Many candies can boil to three or four times their ini-
tial size during the cooking process, which can cause messy and frustrating accidents if your pan is too small. If
a recipe does not specify an exact quart size, assume that a small pan holds about 1 quart (1 L), a medium pan
holds 3 to 4 quarts (2.7 to 3.6 L), and a large pan holds at least 6 quarts (5.4 L).

As a general rule, I do not recommend doubling the recipes in this book. Increasing the recipe quantities some-
times works just fine, but sometimes the extra volume prevents the candy from cooking properly and gives
unsatisfactory results.

The measurements in this book are given in both weight and volume. Although it is possible to successfully
cook candy using volume measurements, I highly recommend investing in a kitchen scale. Scales can be
purchased inexpensively, and they will give you more accurate, consistent results in your cooking. You will also
find that recipe preparation goes faster when everything is weighed out, eliminating the need for fumbling with
cups and spoons. In addition, there is no reliable way to measure the volume of chopped chocolate, because
the weight of 1 cup of chocolate can vary so drastically depending on the type of chocolate and the size of the
pieces. As a result, the chocolate measurements in this book are given solely by weight.

21
 Melted sugar can
easily crystallize if not
handled properly.

@Working with Sugar @

Working with sugar is not exactly rocket science, but you’ll have the best results if you understand just a bit of chemistry.
Sugar naturally forms a crystalline state, and the process of cooking sugar involves manipulating these crystals to get a
specific outcome and texture in the final candy. For most of the sugar-based candies in this book, granulated sugar is first
combined with a liquid to form a sugar syrup.

When making the sugar syrup, you should stir constantly with a plastic spatula, over medium heat, until all of the sugar
crystals are completely dissolved. If sugar crystals remain in the syrup, they will encourage other crystals to form, causing
your final candy to have a grainy, gritty texture.

If you’re using a candy thermometer, don’t insert it into the syrup until all of the sugar is dissolved, and the syrup is boiling.
This prevents undissolved sugar crystals from clinging to the thermometer and recrystallizing the syrup. Clip the thermom-
eter securely to the side of the pan. To avoid a false reading, make sure the bulb is completely submerged in the syrup and
not touching the bottom of the pan.

Sometimes sugar crystals stick to the sides of the pan, so many of the recipes will instruct you to either brush down the
sides of the pan with a wet pastry brush to remove any stray crystals or to cover the pan of boiling syrup with a lid, so that
the condensation can wash down the sides of the pan and dissolve the crystals.

Finally, there is one more safeguard against crystallization: interfering agents. Don’t be dissuaded by the scary name—
these substances are actually a huge help to the candy maker. Interfering agents are added to a sugar syrup during cook-
ing to prevent the formation of sugar crystals. The most common agents are acids like lemon juice, vinegar, and cream of
tartar, or corn syrup. Adding any of these to your sugar syrup will make the chance of unintentional crystallization less likely,
and will allow you to stir the syrup periodically without fear of accidentally introducing sugar crystals into the mixture.

Sugar crystals are not always bad; some candies, like fudge and fondant, depend on the formation of sugar crystals to
achieve their characteristic texture. Other candies, however, require a smooth, glasslike finish without a hint of graininess,
so take care in your handling of the sugar syrup and follow the instructions on when to stir and when to avoid agitating the
boiling sugar.

22 THE SWEET BOOK OF CANDY MAKING

 Testing a thermometer
in boiling water

.... CALIBRATING YOUR CANDY THERMOMETER ....

Forget fancy copper saucepans, expensive appliances, or gourmet ingredients—an accurate candy thermometer is the
most important tool in the candy maker’s kitchen. A difference of even a few small degrees in cooking temperature can
have a huge impact, so for the best results, make it a regular practice to test the accuracy of your candy thermometer. If
you live at a high altitude, testing your thermometer is even more important, because the boiling point of water changes
and this can affect sugar cooking temperatures. To test your thermometer, follow these steps:

1. Bring a pot of water to a rolling boil. At sea level, the boiling point of water is 212°F (100°C).

2. Insert your candy thermometer and clip it to the side of the pan. Make sure the bulb is fully submerged in the water but
not touching the bottom of the pan. Keep the thermometer in the boiling water for several minutes to ensure an accurate
reading.

3. After 2 or 3 minutes, check the temperature. If it reads 212°F (100°C), you know your thermometer is completely accu-
rate! Chances are, however, it might be off by a few degrees, or more, in either direction. Take this temperature difference
into account every time you use the thermometer.

For instance, if your thermometer reads 205°F (96°C) in the boiling water, you know that it displays temperatures 7°F (4°C)
cooler than they actually are. If a recipe calls for the candy to be cooked to 240°F (115.5°C), you will only need to cook
it until your thermometer reads 233°F (111.5°C). If you wait until your thermometer reads 240°F (115.5°C), the candy will
actually be quite overcooked! Make a note of the temperature difference so that you can remember your personal “candy
thermometer conversion.”

Candy thermometers can become less accurate over time, so you should make it a habit to perform this test on a
regular basis.

CANDY-MAKING TECHNIQUES 23
 .... DETERMINING SUGAR TEMPERATURE WITH THE COLD WATER TEST ....

Before there were candy thermometers, there was the cold water test to determine the temperature of boiling sugar.
Thermometers are now the preferred method for judging candy temperatures accurately, but the cold water method still
has its supporters—in fact, I prefer it for testing the finished texture of caramels (see page 59). Here’s how to test your
candy’s temperature without a thermometer:

1. Before you start cooking, place a teaspoon and a small bowl of cold water with a few ice cubes next to the stove.

2. Once the sugar syrup is boiling, drop small spoonfuls of it into the ice-cold water.

3. Let it sit for a few seconds, then dip your fingers in, carefully remove the sugar, and check the consistency. The texture of
the sugar signals the current temperature of the candy.

A. Thread stage: The sugar does not hold its shape, but forms thin threads between the fingers (230° to 235°F
[110° to 112.8°C]).
B. Soft ball stage: The sugar can be formed into a ball, but it starts to soften and flatten after a few seconds
(235° to 240°F [112.8° to 115.6°C]).
C. Firm ball stage: The sugar forms a solid ball that can still be compressed between the fingers (245° to 250°F
[118.3° to 121°C]).
D. Hard ball stage: The sugar forms a ball that cannot be easily flattened (250° to 265°F [121° to 129.5°C]).
E. Soft crack stage: The sugar can be stretched between the fingers to form a piece that will bend slightly before breaking
apart (270° to 290°F [132° to 143.3°C]).
F. Hard crack stage: The sugar immediately forms brittle threads when it is immersed in the ice water and easily
breaks into hard pieces (300° to 310°F [149° to 154.5°C]).
G. Caramel stage: The sugar is fragrant, has an amber color, and is extremely hard and brittle when immersed in
water (320° to 350°F [160° to 176.7°C]).

24 THE SWEET BOOK OF CANDY MAKING

 @Working with Chocolate @

The days of the home baker being forced to settle for one or two substandard types of chocolate from the grocery store
are long gone. Today there are many excellent brands of fine chocolate readily available to the home consumer, including
Valrhona, El Rey, Cacao Barry, Guittard, Lindt, and Callebaut. It’s exciting to have so many options, but how do you choose
between them?

When selecting chocolate to use in these recipes, let your taste buds be your guide. I have provided several brand recommen-
dations, but don’t let those limit you—be adventurous and conduct your own taste test! Choose a chocolate with a flavor and
texture you enjoy eating plain. As long as you are following the recipe guidelines and using the recommended dark, milk, or
white variety, there is no wrong choice. And if you don’t initially find a chocolate to your liking, then taste, taste again.

To store your chocolate, keep it well wrapped in a cool, dry environment, away from strong odors. Chocolate should not be
stored in a refrigerator or freezer if possible, because it might absorb condensation that will cause problems when it is later
melted or tempered. If your environment is so warm that room temperature is not an option, wrap the chocolate very well in
plastic wrap, place it in an airtight container, and store it in the refrigerator. When you remove it from the refrigerator, do not
unwrap it until it has come to room temperature. Dark chocolate will keep for over a year, while milk and white chocolate
are good for at least six months.

A. Chopping chocolate with a chef’s knife

B. Chopping chocolate with a serrated knife

.... HOW TO CHOP CHOCOLATE ....

If you buy your chocolate in bar form, it should be chopped into small pieces before being melted or tempered. Chocolate
is sensitive to overheating, and chopping the chocolate ensures that it melts quickly and evenly, without becoming
scorched. Chocolate wafers (known as pistoles) are generally thin enough that they do not need to be chopped.

To chop chocolate you should use either a large chef’s knife or a serrated knife with a long blade. To use a chef’s knife,
begin at one corner of the chocolate bar and angle the blade out at a slight diagonal. Use firm pressure to chop small
pieces off the bar, working your way inward. Periodically rotate the bar and begin at a new corner until the chocolate is
chopped into small, even pieces (A).

CANDY-MAKING TECHNIQUES 25
A serrated knife requires less force than a chef’s knife and works well for thinner bars of chocolate. Again beginning at one
corner, use a gentle sawing motion to chop off shards of chocolate. Rotate the bar and work your way in from the corners
until all of the chocolate is in small pieces that are approximately the same size (B).

.... HOW TO MELT CHOCOLATE ....

Melting chocolate seems like a no-brainer, but there are two trouble areas to watch out for in this seemingly simple
process: heat and water. If chocolate is overheated, it will become thick, unworkable, and eventually scorched. Water
is equally dangerous—even a few drops of water in a bowl of melting chocolate can cause it to “seize,” or thicken into a
grainy, unappetizing glob. Fortunately, if you are careful, it’s easy to avoid these pitfalls.

It is traditional to melt chocolate with a double boiler, but I prefer to use a microwave. It is faster and easier and does not
involve boiling water, which always poses a risk of steam or stray water droplets contaminating the chocolate. To melt
chocolate in the microwave, place chopped chocolate in a microwave-safe bowl. Melt the chocolate in 30-second intervals,
stirring with a rubber spatula after every 30 seconds so that it does not overheat. Stop heating the chocolate when there
are still a few chunks remaining, because the residual heat will melt the last bits of chocolate.

If you prefer to use the stovetop, bring 1 inch (2.5 cm) of water to a simmer in the bottom pan of a double boiler. Place the
chopped chocolate in the top portion of the double boiler, and set it over the simmering water. Turn the heat off and let the
gradual heat of the water melt the chocolate. Stir frequently, and monitor the double boiler to make sure it’s not steaming or
splattering water into the chocolate. When the chocolate is melted, remove the top of the double boiler and carefully wipe
the bottom to remove any condensation.

.... HOW TO TEMPER CHOCOLATE ....

Tempering chocolate is a fundamental skill for the home candy maker, and a necessary step in making many of the choco-
late recipes in this book. It has a bad reputation as a difficult, intimidating process, suitable only for professionals, but that
couldn’t be further from the truth! It is true that tempering, like many culinary skills, does take some practice, but in this
section I hope to demystify the process and show how simple tempering can be.

What Is Tempering?
Tempering is the process of heating and cooling melted chocolate to produce gorgeously shiny, professional-looking candies.
Simply melting chocolate is not enough to get a flawless chocolate finish, due to the unique chemical makeup of chocolate.

All chocolate contains cocoa butter, a complex fat that has the ability to form different crystalline structures. If chocolate is
simply melted without regard to the heating and cooling temperatures, the fat crystals will arrange themselves in a loose,
haphazard structure upon cooling. Tempering controls the cooling of the fat crystals and arranges them to form tight,
stable bonds.

The question you might now ask is, “So what? Why should I care about the crystalline bonds of my chocolate, as long as
it tastes good?” Unfortunately for the science-averse, tempered chocolate has a very different behavior, texture, and even
taste when compared to untempered chocolate.
Chocolate that has been tempered is smooth and shiny, with a glossy finish and a slight “snap” when you break it. It sets
quickly at cool room temperature, and releases from chocolate molds cleanly and easily. Tempered chocolate has a higher
melting point than untempered chocolate, meaning that it does not get soft and sticky at room temperature, is less prone
to melting in your hand, and has a pleasant, slow-melting quality in the mouth.

Chocolate that has been melted but not tempered often has a dull, matte look when it sets, and might have white or grayish
streaks or spots. This is called “bloom,” and it is the result of cocoa butter crystals coming to the surface of the chocolate.
Bloom is not harmful, and bloomed chocolate is still completely edible, but the texture is often rough and crumbly, with a
muted chocolate flavor. In addition, untempered chocolate is quick to melt at room temperature and become soft when
handled, so there are practical as well as aesthetic reasons for using tempered chocolate.

When Should I Temper Chocolate?

Chocolate should be tempered when it is necessary to give your candies a firm texture or a hard, shiny coating. The most
common uses for tempered chocolate include dipping truffles and other candies, making molded chocolates, and forming
barks and clusters.

There are a few instances when you do not need to worry about tempering chocolate. When chocolate is used as a flavor-
ing ingredient in candy recipes—for instance, when it is melted into fudge, kneaded into fondant, or incorporated into
ganache—it does not need to be tempered. The recipes in this book will always indicate when your chocolate should
be tempered.

How Do I Temper Chocolate?

There are many different methods for tempering chocolate, and there is not one definitive “best” way to temper. The pro-
cess described here, known as the “Seed Method,” is the technique I use most frequently, and I think it is the most acces-
sible for beginners. The appeal of this method is that is uses a piece of solid, tempered chocolate to plant “seeds” of good
cocoa butter crystals in melted chocolate, greatly accelerating the tempering process.

Before You Begin

Tempering chocolate requires a chocolate thermometer, not to be confused with a candy thermometer. (See page 17 for
pictures and descriptions of both thermometers.) A digital thermometer can be used instead, but only if it can provide
accurate one-degree readings of temperatures from 80° to 120°F (26.5° to 50°C).

Chocolate tempering works best in a cool, dry environment. It is not impossible to temper chocolate during hot or humid
weather, but it is much less predictable. To prevent frustration, try to avoid tempering chocolate on stormy, foggy, or
extremely hot days.

Be sure to use real, tempered chocolate. Chocolate chips contain additives that help them keep their shape during bak-
ing, and these additives make tempering impossible. Additionally, the chocolate you are using must already be in temper.
Examine it carefully to make sure it is hard and shiny, without streaks or spots that indicate bloom. Chocolate is always
tempered before it is sold, but if it has been stored or transported in hot weather, it’s possible that it has come out of tem-
per. The Seed Method will not work if you use bloomed chocolate.

CANDY-MAKING TECHNIQUES 27
Other documents randomly have
different content
 'But I have a loaf and a soup o wine,
And ye shall go and dine wi me;
And lay yer head down in my lap,
And I will tell ye farlies three.

10
'It's dont ye see yon broad broad way,
That leadeth down by yon skerry fell?
It's ill's the man that dothe thereon gang,
For it leadeth him straight to the gates o hell.

11
'It's dont ye see yon narrow way,
That leadeth down by yon lillie lea?
It's weel's the man that doth therein gang,
For it leads him straight to the heaven hie.'

* * * * *

12
It's when she cam into the hall—
I wat a weel bred man was he—
They've asked him question[s], one and all,
But he answered none but that fair ladie.

13
O they speerd at her where she did him get,
And she told them at the Eildon tree;
. . . . . . .
. . . . . . .

C.
Minstrelsy of the Scottish Border, II, 251, ed. 1802.

1
True Thomas lay on Huntlie bank,
A ferlie he spied wi' his ee,
And there he saw a lady bright,
Come riding down by the Eildon Tree.

2
Her shirt was o the grass-green silk,
Her mantle o the velvet fyne,
At ilka tett of her horse's mane
Hang fifty siller bells and nine.

3
True Thomas, he pulld aff his cap,
And louted low down to his knee:
'All hail, thou mighty Queen of Heaven!
For thy peer on earth I never did see.'

4
'O no, O no, Thomas,' she said,
'That name does not belang to me;
I am but the queen of fair Elfland,
That am hither come to visit thee.
5
'Harp and carp, Thomas,' she said,
'Harp and carp along wi me,
And if ye dare to kiss my lips,
Sure of your bodie I will be.'

6
'Betide me weal, betide me woe,
That weird shall never daunton me;'
Syne he has kissed her rosy lips,
All underneath the Eildon Tree.

7
'Now, ye maun go wi me,' she said,
'True Thomas, ye maun go wi me,
And ye maun serve me seven years,
 Thro weal or woe, as may chance to be.'

8
She mounted on her milk-white steed,
She's taen True Thomas up behind,
And aye wheneer her bridle rung,
The steed flew swifter than the wind.
9
O they rade on, and farther on—
The steed gaed swifter than the wind—
Untill they reached a desart wide,
And living land was left behind.

10
'Light down, light down, now, True Thomas,
And lean your head upon my knee;
Abide and rest a little space,
And I will shew you ferlies three.

11
'O see ye not yon narrow road,
So thick beset with thorns and briers?
That is the path of righteousness,
Tho after it but few enquires.

12
'And see not ye that braid braid road,
That lies across that lily leven?
That is the path of wickedness,
Tho some call it the road to heaven.

13
'And see not ye that bonny road,
That winds about the fernie brae?
That is the road to fair Elfland,
Where thou and I this night maun gae.
14
'But, Thomas, ye maun hold your tongue,
Whatever ye may hear or see,
For, if you speak word in Elflyn land,
Ye'll neer get back to your ain countrie.'
15
O they rade on, and farther on,
And they waded thro rivers aboon the knee,
And they saw neither sun nor moon,
But they heard the roaring of the sea.

16
It was mirk mirk night, and there was nae stern light,
And they waded thro red blude to the knee;
For a' the blude that's shed on earth
Rins thro the springs o that countrie.

17
Syne they came on to a garden green,
And she pu'd an apple frae a tree:
'Take this for thy wages, True Thomas,
It will give the tongue that can never lie.'

18
'My tongue is mine ain,' True Thomas said;
'A gudely gift ye wad gie to me:'
I neither dought to buy nor sell,
At fair or tryst where I may be.

19
'I dought neither speak to prince or peer,
Nor ask of grace from fair ladye:'
'Now hold thy peace,' the lady said,
'For as I say, so must it be.'

20
He has gotten a coat of the even cloth,
And a pair of shoes of velvet green,
And till seven years were gane and past
True Thomas on earth was never seen.
A.
7 stands 15 in the MS.
82. golden green, if my copy is right.
112,3 are 113,2 in the MS.: the order of words is still not
simple enough for a ballad.
144. goe.
Jamieson has a few variations, which I suppose to be his
own.
11. oer yonder bank.
34. your like.
44. And I am come here to.
64. Her steed.
82. garden, rightly.
102. clarry.
112. Lay your head.
121. see you not.
124. there's few.
13. see ye not yon.
141. see ye not.
142. Which winds.
B.
32. her knee.
33. thou save.
121. MS. perhaps unto.
 131,2 follow st. 12 without separation.
C.
201. a cloth.

APPENDIX.
THOMAS OFF ERSSELDOUNE.

Thornton MS., leaf 149, back, as printed by Dr. J. A. H.

Murray.
[A prologue of six stanzas, found only in the Thornton
MS., is omitted, as being, even if genuine, not to the
present purpose.]

1
Als I me wente þis endres daye,
Ffull faste in mynd makand my mone,
In a mery mornynge of Maye,
By Huntle bankkes my selfe allone,

2
I herde þe jaye and þe throstelle,
The mawys menyde of hir songe,
þe wodewale beryde als a belle,
That alle þe wode a-bowte me ronge.

3
Allonne in longynge thus als I laye,
Vndyre-nethe a semely tre,
[Saw] I whare a lady gaye
[Came ridand] ouer a longe lee.
4
If I solde sytt to domesdaye,
With my tonge to wrobbe and wrye,
Certanely þat lady gaye
Neuer bese scho askryede for mee.

5
Hir palfraye was a dappill graye,
Swylke one ne saghe I neuer none;
Als dose þe sonne on someres daye,
þat faire lady hir selfe scho schone.

6
Hir selle it was of roelle bone,
Ffull semely was þat syghte to see;
Stefly sett with precyous stones,
And compaste all with crapotee;

7
Stones of oryente, grete plente.
Hir hare abowte hir hede it hange;
Scho rade ouer þat lange lee;
A whylle scho blewe, a-noþer scho sange.

8
Hir garthes of nobyll sylke þay were,
The bukylls were of berelle stone,
Hir steraps were of crystalle clere,
And all with perelle ouer-by-gone.

9
Hir payetrelle was of irale fyne,
Hir cropoure was of orpharë,
And als clere golde hir brydill it schone;
One aythir syde hange bellys three.

10
[Scho led three grehoundis in a leesshe,]
And seuene raches by hir þay rone;
Scho bare an horne abowte hir halse,
And vndir hir belte full many a flone.

11
Thomas laye and sawe þat syghte,
Vndir-nethe ane semly tree;
He sayd, ȝone es Marye, moste of myghte,
Þat bare þat childe þat dyede for mee.

12
Bot if I speke with ȝone lady bryghte,
I hope myne herte will bryste in three;
Now sall I go with all my myghte,
Hir for to mete at Eldoune tree.

13
Thomas rathely vpe he rase,
And he rane ouer þat mountayne hye;
Gyff it be als the storye sayes,
He hir mette at Eldone tree.

14
He knelyde downe appone his knee,
Vndir-nethe þat grenwode spraye,
And sayd, Lufly ladye, rewe one mee,
Qwene of heuene, als þou wele maye!

15
Then spake þat lady milde of thoghte:
Thomas, late swylke wordes bee;
Qwene of heuene ne am I noghte,
Ffor I tuke neuer so heghe degre.

16
Bote I ame of ane oþer countree,
 If I be payrelde moste of pryse;
I ryde aftyre this wylde fee;
My raches rynnys at my devyse.'

17
'If þou be parelde moste of pryse,
And here rydis thus in thy folye,
Of lufe, lady, als þou erte wyse,
Þou gyffe me leue to lye the bye.'

18
Scho sayde, þou mane, þat ware folye;
I praye þe, Thomas, þou late me bee;
Ffor I saye þe full sekirlye,
Þat synne will fordoo all my beaute.

19
'Now, lufly ladye, rewe one mee,
And I will euer more with the duelle;
Here my trouthe I will the plyghte,
Whethir þou will in heuene or helle.'

20
'Mane of molde, þou will me marre,
But ȝitt þou sall hafe all thy will;
And trowe it wele, þou chewys þe werre,
Ffor alle my beaute will þou spylle.'

21
Downe þane lyghte þat lady bryghte,
Vndir-nethe þat grenewode spraye;
And, als the storye tellis full ryghte,
Seuene sythis by hir he laye.

22
Scho sayd, Mane, the lykes thy playe:
Whate byrde in boure maye delle with the?
Thou merrys me all þis longe daye;
I pray the, Thomas, late me bee.

23
Thomas stode vpe in þat stede,
And he by-helde þat lady gaye;
Hir hare it hange all ouer hir hede,
Hir eghne semede owte, þat are were graye.

24
And alle þe riche clothynge was a-waye,
Þat he by-fore sawe in þat stede;
Hir a schanke blake, hir oþer graye,
And all hir body lyke the lede.

25
Thomas laye, and sawe þat syghte,
Vndir-nethe þat grenewod tree.
. . . . . . .
. . . . . . .

26
Þan said Thomas, Allas! allas!
In faythe þis es a dullfull syghte;
How arte þou fadyde þus in þe face,
Þat schane by-fore als þe sonne so bryght[e]!

27
Scho sayd, Thomas, take leue at sone and mon[e],
And als at lefe þat grewes on tree;
This twelmoneth sall þou with me gone,
And medill-erthe sall þou none see.'

28
He knelyd downe appone his knee,
Vndir-nethe þat grenewod spraye,
And sayd, Lufly lady, rewe on mee,
 Mylde qwene of heuene, als þou beste maye!

29
'Allas!' he sayd, 'and wa es mee!
I trowe my dedis wyll wirke me care;
My saulle, Jhesu, by-teche I the,
Whedir-some þat euer my banes sall fare.'

30
Scho ledde hym in at Eldone hill,
Vndir-nethe a derne lee,
Whare it was dirke as mydnyght myrke,
And euer þe water till his knee.

31
The montenans of dayes three,
He herd bot swoghynge of þe flode;
At þe laste he sayde, Full wa es mee!
Almaste I dye, for fawte of f[ode.]

32
Scho lede hym in-till a faire herbere,
Whare frwte was g[ro]wan[d gret plentee];
Pere and appill, bothe ryppe þay were,
The date, and als the damasee.

33
Þe fygge, and alsso þe wyneberye,
The nyghtgales byggande on þair neste;
Þe papeioyes faste abowte gane flye,
And throstylls sange, wolde hafe no reste.

34
He pressede to pulle frowte with his hande,
Als mane for fude þat was nere faynt;
Scho sayd, Thomas, þou late þame stande,
Or ells þe fende the will atteynt.
35
If þou it plokk, sothely to saye,
Thi saule gose to þe fyre of helle;
It commes neuer owte or domesdaye,
Bot þer in payne ay for to duelle.

36
Thomas, sothely I the hyghte,
Come lygge thyne hede downe on my knee,
And [þou] sall se þe fayreste syghte
Þat euer sawe mane of thi contree.

37
He did in hye als scho hym badde;
Appone hir knee his hede he layde,
Ffor hir to paye he was full glade;
And þane þat lady to hym sayde:

38
Seese þou nowe ȝone faire waye,
Þat lygges ouer ȝone heghe mountayne?
ȝone es þe waye to heuene for aye,
Whene synfull sawles are passed þer payne.

39
Seese þou nowe ȝone oþer waye,
Þat lygges lawe by-nethe ȝone rysse?
ȝone es þe waye, þe sothe to saye,
Vn-to þe joye of paradyse.

40
Seese þou ȝitt ȝone thirde waye,
Þat ligges vndir ȝone grene playne?
ȝone es þe waye, with tene and traye,
Whare synfull saulis suffirris þaire payne.

41
Bot seese þou nowe ȝone ferthe waye,
Þat lygges ouer ȝone depe delle?
ȝone es þe waye, so waylawaye!
Vn-to þe birnande fyre of helle.

42
Seese þou ȝitt ȝone faire castelle,
[Þat standis ouer] ȝone heghe hill?
Of towne and towre it beris þe belle;
In erthe es none lyke it vn-till.

43
Ffor sothe, Thomas, ȝone es myne awenne,
And þe kynges of this countree;
Bot me ware leuer be hanged and drawene,
Or þat he wyste þou laye by me.

44
When þou commes to ȝone castelle gay,
I pray þe curtase mane to bee;
And whate so any mane to þe saye,
Luke þou answere none bott mee.

45 My lorde es seruede at ylk a mese

With thritty knyghttis faire and free;
I sall saye, syttande at the desse,
I tuke thi speche by-ȝonde the see

46
Thomas still als stane he stude,
And he by-helde þat lady gaye;
Scho come agayne als faire and gude,
And also ryche one hir palfraye.

47
Hir grewehundis fillide with dere blode,
Hir raches couplede, by my faye;
Scho blewe hir horne with mayne and mode,
Vn-to þe castelle scho tuke þe waye.

48
In-to þe haulle sothely scho went,
Thomas foloued at hir hande;
Than ladyes come, bothe faire and gent,
With curtassye to hir knelande.

49
Harpe and fethill bothe þay fande,
Getterne, and als so þe sawtrye;
Lutte and ryhyne bothe gangande,
And all manere of mynstralsye.

50
Þe most meruelle þat Thomas thoghte,
Whene þat he stode appone the flore;
Ffor feftty hertis in were broghte,
Þat were bothe grete and store.

51
Raches laye lapande in þe blode,
Cokes come with dryssynge knyfe;
Thay brittened þame als þay were wode;
Reuelle amanges þame was full ryfe.

52
Knyghtis dawnesede by three and three,
There was revelle, gamene and playe;
Lufly ladyes, faire and free,
That satte and sange one riche araye.

53
Thomas duellide in that solace
More þane I ȝowe saye, parde,
Till one a daye, so hafe I grace,
 My lufly lady sayde to mee:

54
Do buske the, Thomas, þe buse agayne,
Ffor þou may here no lengare be;
Hye the faste, with myghte and mayne,
I sall the brynge till Eldone tree.

55
Thomas sayde þane, with heuy chere,
Lufly lady, nowe late me bee;
Ffor certis, lady, I hafe bene here
Noghte bot þe space of dayes three.

56
'Ffor sothe, Thomas, als I þe telle,
Þou hase bene here thre ȝere and more;
Bot langere here þou may noghte duelle;
The skylle I sall þe telle whare-fore.

57
'To morne of helle þe foulle fende
Amange this folke will feche his fee;
And þou arte mekill mane and hende;
I trowe full wele he wolde chese the.

58
'Ffor alle þe gold þat euer may bee,
Ffro hethyne vn-to þe worldis ende,
Þou bese neuer be-trayede for mee;
Þerefore with me I rede thou wende.'

59
Scho broghte hym agayne to Eldone tree,
Vndir-nethe þat grenewode spraye;
In Huntlee bannkes es mery to bee,
Whare fowles synges bothe nyght and daye.
60
'Fferre owtt in ȝone mountane graye,
Thomas, my fawkone bygges a neste;
A fawconne es an erlis praye;
Ffor-thi in na place may he reste.

61
'Ffare well, Thomas, I wend my waye,
Ffor me by-houys ouer thir benttis browne:'
Loo here a fytt: more es to saye,
All of Thomas of Erselldowne.

FYTT II.
 1
'Fare wele, Thomas, I wend my waye,
I may no lengare stande with the:'
'Gyff me a tokynynge, lady gaye,
That I may saye I spake with the.'

2
'To harpe or carpe, whare-so þou gose,
Thomas, þou sall hafe þe chose sothely:'
And he saide, Harpynge kepe I none,
Ffor tonge es chefe of mynstralsye.

3
'If þou will spelle, or tales telle,
Thomas, þou sall neuer lesynge lye;
Whare euer þou fare, by frythe or felle,
I praye the speke none euyll of me.

4
'Ffare wele, Thomas, with-owttyne gyle,
I may no lengare duelle with the:'
'Lufly lady, habyde a while,
And telle þou me of some ferly.'

5
'Thomas, herkyne what I the saye:' etc.

Here begin the prophecies.

& and j are replaced by and and I.

21. throstyll cokke: throstell, Cambridge MS.
22. menyde hir.
101. Wanting. She led, etc., Cambridge.
124, 134. Lansdowne, elden; Cambridge, eldryn, eldryne.
162. prysse.
171. prysee.
173. wysse.
434. me by. Cambridge, be me.
464. also.

Fytt 2.
21. þou gose. Cambridge, ȝe gon.

FOOTNOTES:

[304] See the letter of Dr Anderson to Bishop Percy, December

29, 1800, in Nichols's Illustrations of the Literary History of the
Eighteenth Century, VII, 178 f.
[305] Chambers' Popular Rhymes of Scotland, 1870, pp. 211-224.
See, also, Scott's Minstrelsy, IV, 110-116, 129-151, ed. 1833. But,
above all, Dr J. A. H. Murray's Introduction to The Romance and
Prophecies of Thomas of Erceldoune, 1875.
[306] Hector Boece (1527) says the surname was Leirmont, but
there is no evidence for this that is of value. See Murray, p. xiii.
[307] The five copies have been edited by Dr J. A. H. Murray, and
printed by the Early English Text Society. A reconstructed text by
Dr Alois Brandl makes the second volume of a Sammlung
englischer Denkmäler in kritischen Ausgaben, Berlin, 1880.
[308] Murray, pp xxiv-xxvii. As might be expected, the Latin texts
corrupt the names of persons and of places, and alter the results
of battles. Dr Murray remarks: "The oldest text makes the Scots
win Halidon Hill, with the slaughter of six thousand Englishmen,
while the other texts, wise after the fact, makes the Scots lose, as
they actually did." This, and the consideration that a question
about the conflict between the families of Bruce and Baliol would
not be put after 1400, when the Baliol line was extinct, disposes
Dr Murray to think that verses 326-56 of the second fit, with
perhaps the first fit, the conclusion of the poem, and an indefinite
portion of fit third, may have been written on the eve of Halidon
Hill, with a view to encourage the Scots.
[309] The poem, vv 675-80, says only that Thomas and the lady
did not part for ever and aye, but that she was to visit him at
Huntley banks.
[310] The relations of Thomas Rhymer and Ogier might, perhaps,
be cleared up by the poem of The Visions of Ogier in Fairy Land.
The book is thus described by Brunet, ed. 1863, IV, 173: Le
premier (second et troisième) livre des visions d'Oger le Dannoys
au royaulme de Fairie, Paris, 1542, pet. in-8, de 48 ff. Brunet
adds: A la suite de ce poëme, dans l'exemplaire de la
Bibliothèque impériale, se trouve, Le liure des visions
fantastiques, Paris, 1542, pet. in-8, de 24 ff. The National Library
is not now in possession of the volume; nor have all the inquiries
I have been able to make, though most courteously aided in
France, resulted, as I hoped, in the finding of a copy.
[311] Excepting the two satirical stanzas with which Scott's
version (C) concludes. "The repugnance of Thomas to be
debarred the use of falsehood when he should find it convenient,"
may have, as Scott says, "a comic effect," but is, for a ballad, a
miserable conceit. Both ballad and romance are serious.
[312] Eildon Tree, the site of which is supposed now to be
marked by the Eildon Tree Stone, stood, or should have stood, on
the slope of the eastern of the three Eildon Hills. Huntly Banks
are about half a mile to the west of the Eildon Stone, on the
same hill-slope. Erceldoun, a village on the Leader, two miles
above its junction with the Tweed, is all but visible from the
Eildon Stone. Murray, pp l-lii.
[313] In B 2, absurdly, the lady holds nine bells in her hand.
Ringing or jingling bridles are ascribed to fairies, Tam Lin, A 37,
Cromek's Remains of Nithsdale and Galloway Song, p. 298
("manes hung wi whustles that the win played on," p. 299). The
fairy's saddle has a bordure of bells in the English Launfal,
Halliwell's Illustrations of Fairy Mythology, p. 31, but not in Marie's
lai. The dwarf-king Antiloie, in Ulrich Von Eschenbach's Alexander,
has bells on his bridle: Grimm, Deutsche Mythologie, I, 385.
These bells, however, are not at all distinctive of fairies, but are
the ordinary decoration of elegant "outriders" in the Middle Ages,
especially of women. In the romance of Richard Cœur de Lion, a
messenger's trappings ring with five hundred bells. Besides the
bridle, bells were sometimes attached to the horse's breastplate,
to the saddle-bow, crupper, and stirrups. Conde Claros's steed has
three hundred around his breastplate. See Weber's Metrical
Romances, R.C. de Lion, vv 1514-17, 5712-14, cited by T. Wright,
History of Domestic Manners in England, 214 f; Liebrecht,
Gervasius, p. 122; Kölbing, Englische Studien, III, 105; Zupitza
and Varnhagen, Anglia, III, 371, IV, 417; and particularly A.
Schultz, Das höfische Leben zur Zeit der Minnesinger, I, 235, 388-
91.
[314] The original I suppose to be the very cheerful tale of Ogier,
with which the author of Thomas of Erceldoune has blended a
very serious one, without any regard to the irreconcilableness of
the two. He is presently forced to undo this melancholy
transformation of the fairy, as we shall see. Brandl, 'Thomas of
Erceldoune,' p. 20, cites from Giraldus Cambrensis, Itinerarium
Cambriæ, I, 5, a story about one Meilyr, a Welshman, the like of
which our poet had in mind. This Meilyr was a great soothsayer,
and "owed his skill to the following adventure:" Being in company
one evening with a girl for whom he had long had a passion,
desideratis amplexibus atque deliciis cum indulsisset, statim loco
puellæ formosæ formam quamdam villosam, hispidam et
hirsutam, adeoque enormiter deformem invenit, quod in ipso
ejusdem aspectu dementire cœpit et insanire. Meilyr recovered
his reason after several years, through the merits of the saints,
but always kept up an intimacy with unclean spirits, and by their
help foretold the future. It is not said that they gave him the
tongue that never could lie, but no other tongue could lie
successfully in his presence: he always saw a little devil capering
on it. He was able, by similar indications, to point out the lies and
errors of books. The experiment being once tried of laying the
Gospel of John in his lap, every devil instantly decamped.
Geoffrey of Monmouth's history was substituted, and imps
swarmed all over the book and him, too.

[315] B 83,4 "It was a' that cursed fruit o thine beggared man
and woman in your countrie:" the fruit of the Forbidden Tree.
[316] Purgatory is omitted in the Cotton MS. of the romance, as
in the ballad.
[317] Ogier le Danois hardly exceeded the proportion of the
ordinary hyperbole of lovers: two hundred years seemed but
twenty. The British king Herla lived with the king of the dwarfs
more than two hundred years, and thought the time but three
days: Walter Mapes, Nugæ Curialium, ed. Wright, p. 16 f
(Liebrecht). The strongest case, I believe, is the exquisite legend,
versified by Trench, of the monk, with whom three hundred years
passed, while he was listening to a bird's song—as he thought,
less than three hours. For some of the countless repetitions of the
idea, see Pauli's Schimpf und Ernst, ed. Oesterley, No 562, and
notes, p. 537; Liebrecht's Gervasins, p. 89; W. Hertz, Deutsche
Sage im Elsass, pp 115-18, 263; A. Graf, La Leggenda del
Paradiso Terrestre, pp 26-29, 31-33, and notes; J. Koch, Die
Siebenschläferlegende, kap. ii.
[318] In an exquisite little ballad obtained by Tommaseo from a
peasant-girl of Empoli, I, 26, a lover who had visited hell, and
there met and kissed his mistress, is told by her that he must not
hope ever to go thence. How the lover escaped in this instance is
not explained. Such things happen sometimes, but not often
enough to encourage one to take the risk.

Sono stato all' inferno, e son tornato:

Misericordia, la gente che c'era!
V'era una stanza tutta illuminata,
E dentro v'era la speranza mia.
Quando mi vedde, gran festa mi fece,
E poi mi disse: Dolce anima mia,
Non ti arricordi del tempo passato,
Quando tu mi dicevi, "anima mia?"
Ora, mio caro ben, baciami in bocca,
Baciami tanto ch'io contenta sia.
È tanto saporita la tua bocca!
Di grazia saporisci anco la mia.
Ora, mio caro ben, che m'hai baciato,
Di qui non isperar d'andarne via.

[319] A 8, 9, R 34, 35. It was not that Thomas was about to

pluck fruit from the Forbidden Tree, though B understands it so:
cf. R 32, 33. The curse of this tree seems, however, to have
affected all Paradise. In modern Greek popular poetry Paradise
occurs sometimes entirely in the sense of Hades. See B. Schmidt,
Volksleben der Neugriechen, p. 249.
[320] Jamieson, in Illustrations of Northern Antiquities, p. 398:
'Child Rowland and Burd Ellen.'
[321] Niedersächsische Sagen und Märchen, Schambach und
Müller, p. 373. Shakspere has this: "They are fairies; he that
speaks to them shall die;" Falstaff, in Merry Wives of Windsor, V,
5. Ancient Greek tradition is not without traces of the same ideas.
It was Persephone's eating of the pomegranate kernel that
consigned her to the lower world, in spite of Zeus and Demeter's
opposition. The drinking of Circe's brewage and the eating of
lotus had an effect on the companions of Ulysses such as is
sometimes ascribed to the food and drink of fairies, or other
demons, that of producing forgetfulness of home: Odyssey, X,
236, IX, 97. But it would not be safe to build much on this. A
Hebrew tale makes the human wife of a demon charge a man
who has come to perform, a certain service for the family not to
eat or drink in the house, or to take any present of her husband,
exactly repeating the precautions observed in Grimm, Deutsche
Sagen, Nos 41, 49: Tendlan, Das Buch der Sagen und Legenden
jüdischer Vorzeit, p. 141. The children of Shem may probably
have derived this trait in the story from the children of Japhet.
Aladdin, in the Arabian Nights, is to have a care, above all things,
that he does not touch the walls of the subterranean chamber so
much as with his clothes, or he will die instantly. This again, by
itself, is not very conclusive.
[322] Historia Danica, l. viii: Müller et Velschow, I, 420-25.
 38
THE WEE WEE MAN
A. a. 'The Wee Wee Man,' Herd's MSS, I, 153; Herd's
Scottish Songs, 1776, I, 95.
B. Caw's Poetical Museum, p. 348.
C. 'The Wee Wee Man,' Scott's Minstrelsy, II, 234, ed.
1802.
D. 'The Wee Wee Man,' Kinloch MSS, VII, 253.
E. a. 'The Wee Wee Man,' Motherwell's Note-Book, fol. 40;
Motherwell's MS., p. 195. b. Motherwell's Minstrelsy, p.
343.
F. 'The Wee Wee Man,' Motherwell's MS., p. 68.
G. 'The Little Man,' Buchan's Ballads of the North of
Scotland, I, 263.
This extremely airy and sparkling little ballad varies but slightly in
the half dozen known copies. The one in the Musical Museum, No
370, p. 382, and that in Ritson's Scotish Songs, II, 139, are reprinted
from Herd.
Singularly enough, there is a poem in eight-line stanzas, in a
fourteenth-century manuscript, which stands in somewhat the same
relation to this ballad as the poem of Thomas of Erceldoune does to
the ballad of Thomas Rymer, but with the important difference that
there is no reason for deriving the ballad from the poem in this
instance. There seems to have been an intention to make it, like
Thomas of Erceldoune, an introduction to a string of prophecies
which follows, but no junction has been effected. This poem is given
in an appendix.
A is translated by Arndt, Blütenlese, p. 210; B, with a few
improvements from E b, by Rosa Warrens, Schottische Volkslieder, p.
12.

A.
Herd's MSS, I, 153, Herd's Ancient and Modern Scottish
Songs, 1776, I, 95.

1
As I was wa'king all alone,
Between a water and a wa,
And there I spy'd a wee wee man,
And he was the least that ere I saw.

2
His legs were scarce a shathmont's length,
And thick and thimber was his thigh;
Between his brows there was a span,
And between his shoulders there was three.

3
He took up a meikle stane,
And he flang't as far as I could see;
Though I had been a Wallace wight,
I couldna liften 't to my knee.

4
'O wee wee man, but thou be strang!
O tell me where thy dwelling be?'
'My dwelling's down at yon bonny bower;
 O will you go with me and see?'

5
On we lap, and awa we rade,
Till we came to yon bonny green;
We lighted down for to bait our horse,
And out there came a lady fine.

6
Four and twenty at her back,
And they were a' clad out in green;
Though the King of Scotland had been there,
The warst o them might hae been his queen.

7
On we lap, and awa we rade,
Till we came to yon bonny ha,
Whare the roof was o the beaten gould,
And the floor was o the cristal a'.

8
When we came to the stair-foot,
Ladies were dancing, jimp and sma,
But in the twinkling of an eye,
My wee wee man was clean awa.

B.
Caw's Poetical Museum, p. 348.

1
As I was walking by my lane,
Atween a water and a wa,
There sune I spied a wee wee man,
He was the least that eir I saw.
2
His legs were scant a shathmont's length,
And sma and limber was his thie;
Atween his shoulders was ae span,
About his middle war but three.

3
He has tane up a meikle stane,
And flang 't as far as I cold see;
Ein thouch I had been Wallace wicht,
I dought na lift 't to my knie.

4
'O wee wee man, but ye be strang!
Tell me whar may thy dwelling be?
'I dwell beneth that bonnie bouir;
O will ye gae wi me and see?'

5
On we lap, and awa we rade,
Till we cam to a bonny green;
We lichted syne to bait our steid,
And out there cam a lady sheen.

6
Wi four and twentie at her back,
A' comely cled in glistering green;
Thouch there the King of Scots had stude,
The warst micht weil hae been his queen.

7
On syne we past wi wondering cheir,
Till we cam to a bonny ha;
The roof was o the beaten gowd,
The flure was o the crystal a'.

8
 When we cam there, wi wee wee knichts
War ladies dancing, jimp and sma,
But in the twinkling of an eie,
Baith green and ha war clein awa.

C.
Scott's Minstrelsy, II, 234, ed. 1802, incorporated with
'The Young Tamlane.' From recitation.

1
'Twas down by Carterhaugh, father,
I walked beside the wa,
And there I saw a wee wee man,
The least that eer I saw.

2
His legs were skant a shathmont lang,
Yet umber was his thie;
Between his brows there was ae span,
And between his shoulders three.

3
He's taen and flung a meikle stane,
As far as I could see;
I could na, had I been Wallace wight,
Hae lifted it to my knee.

4
'O wee wee man, but ye be strang!
Where may thy dwelling be?'
'It 's down beside yon bonny bower;
Fair lady, come and see.'

5
On we lap, and away we rade,
 Down to a bonny green;
We lighted down to bait our steed,
And we saw the fairy queen.

6
With four and twenty at her back,
Of ladies clad in green;
Tho the King of Scotland had been there,
The worst might hae been his queen.

7
On we lap, and away we rade,
Down to a bonny ha;
The roof was o the beaten goud,
The floor was of chrystal a'.

8
And there were dancing on the floor,
Fair ladies jimp and sma;
But in the twinkling o an eye,
They sainted clean awa.

D.
Kinloch MSS, VII, 253. From Mrs Elder.

1
As I gaed out to tak a walk,
Atween the water and the wa,
There I met wi a wee wee man,
The weest man that ere I saw.

2
Thick and short was his legs,
And sma and thin was his thie,
And atween his een a flee might gae,
 And atween his shouthers were inches three.

3
And he has tane up a muckle stane,
And thrown it farther than I coud see;
If I had been as strong as ere Wallace was,
I coud na lift it to my knie.

4
'O,' quo I, 'but ye be strong!
And O where may your dwelling be?'
'It 's down in to yon bonnie glen;
Gin ye dinna believe, ye can come and see.'

5
And we rade on, and we sped on,
Till we cam to yon bonny glen,
And there we lichted and louted in,
And there we saw a dainty dame.

6
There was four and twenty wating on her,
And ilka ane was clad in green,
And he had been the king of fair Scotland,
The warst o them micht hae been his queen.

7
There war pipers playing on ilka stair,
And ladies dancing in ilka ha,
But before ye coud hae sadd what was that,
The house and wee manie was awa.

E.
a. Motherwell's Note-Book, fol. 40, "from Agnes Lyle;"
Motherwell's MS., p. 195, "from the recitation of Agnes
Laird, Kilbarchan." b. Motherwell's Minstrelsy, p. 343.

1
As I was walking mine alone,
Betwext the water and the wa,
There I spied a wee wee man,
He was the least ane that eer I saw.

2
His leg was scarse a shaftmont lang,
Both thick and nimble was his knee;
Between his eyes there was a span,
Betwixt his shoulders were ells three.

3
This wee wee man pulled up a stone,
He flang't as far as I could see;
Tho I had been like Wallace strong,
I wadna gotn't up to my knee.

4
I said, Wee man, oh, but you're strong!
Where is your dwelling, or where may't be?
'My dwelling's at yon bonnie green;
Fair lady, will ye go and see?'

5
On we lap, and awa we rade,
Until we came to yonder green;
We lichtit down to rest our steed,
And there cam out a lady soon.

6
Four and twenty at her back,
And every one of them was clad in green;
Altho he had been the King of Scotland,
The warst o them a' micht hae been his queen.
 7
There were pipers playing in every neuk,
And ladies dancing, jimp and sma,
And aye the owre-turn o their tune
Was 'Our wee wee man has been lang awa.'

F.
Motherwell's MS., p. 68, "from the recitation of Mrs
Wilson, of the Renfrewshire Tontine; now of the
Caledonian Hotel, Inverness."

1
As I was walking mine alane,
Between the water and the wa,
And oh there I spy'd a wee wee mannie,
The weeest mannie that ere I saw.

2
His legs they were na a gude inch lang,
And thick and nimble was his thie;
Between his een there was a span,
And between his shouthers there were ells three.

3
I asked at this wee wee mannie
Whare his dwelling place might be;
The answer that he gied to me
Was, Cum alang, and ye shall see.

4
So we'll awa, and on we rade,
Till we cam to yon bonnie green;
We lichted down to bait our horse,
And up and started a lady syne.
 5
Wi four and twenty at her back,
And they were a' weell clad in green;
Tho I had been a crowned king,
The warst o them might ha been my queen.

6
So we'll awa, and on we rade,
Till we cam to yon bonnie hall;
The rafters were o the beaten gold,
And silver wire were the kebars all.

7
And there was mirth in every end,
And ladies dancing, ane and a,
And aye the owre-turn o their sang
Was 'The wee wee mannie's been lang awa.'

G.
Buchan's Ballads of the North of Scotland, I, 263.

1
As I gaed out to tak the air,
Between Midmar and bonny Craigha,
There I met a little wee man,
The less o him I never saw.

2
His legs were but a finger lang,
And thick and nimle was his knee;
Between his brows there was a span,
Between his shoulders ells three.

3
He lifted a stane sax feet in hight,
 He lifted it up till his right knee,
And fifty yards and mair, I'm sure,
I wyte he made the stane to flee.

4
'O little wee man, but ye be wight!
Tell me whar your dwelling be;'
'I hae a bower, compactly built,
Madam, gin ye'll cum and see.'

5
Sae on we lap, and awa we rade,
Till we come to yon little ha;
The kipples ware o the gude red gowd,
The reef was o the proseyla.

6
Pipers were playing, ladies dancing,
The ladies dancing, jimp and sma;
At ilka turning o the spring,
The little man was wearin's wa.

7
Out gat the lights, on cam the mist,
Ladies nor mannie mair coud see
I turnd about, and gae a look,
Just at the foot o' Benachie.

A.
22. The printed copy has thighs.
43. dwelling down.
 There is a copy of this ballad in Cunningham's Songs of
Scotland, I, 303. Though no confidence can be felt in the
genuineness of the "several variations from recitation and
singing," with which Cunningham says he sought to
improve Herd's version, the more considerable ones are
here noted.
13. O there I met.
21. a shathmont lang.
33. been a giant born.
41. ye're wonder strong.
44. O ladie, gang wi me.
51. away we flew.
52. to a valley green.
53. down and he stamped his foot.
54. And up there rose.
61. Wi four.
62. the glossy green.
72. stately ha.

8.
And there were harpings loud and sweet,
And ladies dancing, jimp and sma;
He clapped his hands, and ere I wist,
He sank and saunted clean awa.

E. a.
41. your.
 Motherwell has made one or two slight changes in copying
from his Note-Book into his MS.
b. Besides some alterations of his own, Motherwell has
introduced readings from F.
24. there were.
33 as Wallace.
54. lady sheen.
61. Wi four.
62. And they were a' weel clad.
After 6 is inserted F 6, with the first line changed to

So on we lap, and awa we rade.

APPENDIX.

This piece is found in Cotton MS., Julius, A, V, the ninth article in the
manuscript, fol. 175, ro, (otherwise 180, ro). It is here given nearly
as printed by Mr Thomas Wright in his edition of the Chronicle of
Pierre de Langtoft, II, 452. It had been previously printed in Ritson's
Ancient Songs, ed. 1829, I, 40; Finlay's Scottish Ballads, II, 168; the
Retrospective Review, Second Series, II, 326. The prophecies,
omitted here, are given by all the above.

1
Als y yod on ay Mounday
Bytwene Wyltinden and Walle,
Me ane aftere brade waye,
Ay litel man y mette withalle;
The leste that ever I sathe, [sothe] to say,
Oithere in boure, oithere in halle;
His robe was noithere grene na gray,
Bot alle yt was of riche palle.
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