Hi Steve,

I emailed the Bodleian library and told them that E. David Gregory wrote in Victorian Songhunters that Rimbault got the "Miller's Melody" broadside from the Anthony Wood Collection. I asked them if they had the broadside under either title since there is no record of it in their catalogue online. Neither "The Miller and the King's Daughter" nor "Miller's Melody" have shown up as a broadside in any searches at Copac, Google books, or Bodelian so the broadside is not only missing but seems to never have existed. If so, why did Rimbault fabricate that evidence and "Miller's Melody" title?

Here's the article by Edward F. Rimbault in Notes and Queries 1852 p. 591 (Child has p. 316.), which is nearly the identical text posted by Lighter from Musarum Deliciae 1658 (in the Musarum Deliciæ text the second refrain ends with an "o" as "With a hy downe, downe, a downe-o.":

"THE MILLERS MELODY," AN OLD BALLAD

The original ballad of "The Miller's Melody" is the production of no less a person than a "Doctor in Divinity," of whom the following are a few brief particulars.

James Smith was born about 1604, educated at Christ Church and Lincoln Colleges, in Oxford; afterwards naval and military chaplain to the Earl of Holland, and domestic chaplain to Thomas Earl of Cleveland. On the Restoration of Charles II. beheld several Church preferments, nnd ultimately became canon and "chauntor" in Exeter Cathedral. Ha was created D.D. in 1661, and quitted this life in 1667. Wood informs us he was much in esteem "with the poetical wits of that time, particularly with Philip Massinger, who call'd him his son."

I have an old "broadside" copy of the ballad in question, "Printed for Francis Grove, 1656," which is here transcribed, verbatim et literatim, for the especial benefit of your numerous readers. It may also be found in a rare poetical volume, entitled Wit Restored, 1658, and in Dryden's Miscellany Poems (second edition, which differs materially from the first).

The Miller And The King's Daughter         
By Mr. Smith

"There were two sisters they went playing,
With a hie downe, downe, a downe-a,
To see their father's ships come sayling in.
With a hy downe, downe, a downe-a.

"And when they came unto the sea-brym,
With, &c.
The elder did push the younger in;
With, &c.

"O sister, O sister, take me by the gowne,
With, &c.
And drawe me up upon the dry ground,
With, &c.

"O sister, O sister, that may not bee,
With, &c.
Till salt and oatmeale grow both of a tree,
With, &c.

"Sometymes she sanke, sometymes she swam,
With, &c.
Until she came unto the mill-dam;
With, &c.

"The miller runne hastily downe the cliffe,
With, &c.
And up he betook her withouten her life,
With, &c.

"What did he doe with her brest bone?
With, &c.
He made him a violl to play thereupon,
With, &c.

"What did he doe with her fingers so small?
With, &c.
He made him peggs to his violl withall;
With, &c.

"What did he doe with her nose-ridge?
With, &c.
Unto his violl he made him a bridge,
With, &c.

"What did he doe with her veynes so blew?
With, &e.
He made him strings to his violl thereto;
With, &c.

"What did he doe with her eyes so bright?
With, &c.
Upon his violl he played at first sight;
With, &c.

"What did he doe with her tongue so rough?
With, &c.
Unto the violl it spake enough;
With, &c.

"What did he doe with her two shinnes?
With, &c.
Unto the violl they danc'd Mall Syms;   
With, &c.

"Then bespake the treble string,
With, &c.
O yonder is my father the king;
With, &c.

"Then bespake the second string,
With, &c.
O yonder sitts my mother the queen;
With, &c.

"And then bespake the strings all three;
With, &c.
O yonder is my sister that drowned mee.
With, &c.

"Now pay the miller for his payne,
With, &c.
And let him bee gone in the divel's name.
With, &c."

As this old ditty turns upon the making "a viol," it may be as well to add that this instrument was the precursor of the violin: but while the viol was the instrument of the higher classes of society, the "fiddle" served only for the amusement of the lower. The viol was entirely out of use at the beginning of the last century.

Moll (or Mall) Symms (mentioned in the thirteenth stanza) was a celebrated dance tune of the sixteenth century. The musical notes may be found in Queen Elizabeth's Virginal Bonk, in the Fitzwilliam Museum, Cambridge; and in the curious Dutch collection, Neder Lanttche Oedenck clank, Uberlem, 1626.

Edward F. Rimbault.