In Wanton seed we reproduced the version selected by Frank Purslow in the first edition. The Bold Dragoon was Hampshire text and tune. Text from Mrs Hopkins of Axford and tune of Moses Blake from Lyndhurst.

Here are the relevant bits of what I wrote in the notes.

This version of the ballad, like almost all English oral versions, derives directly from the widely printed nineteenth century English broadsides, with the same 6 stanzas but under a variety of titles whereby the dragoon can be 'jolly', 'bold', 'valiant', 'light' or just simply a 'dragoon'. All but the last stanza of these broadsides derive from 'The Masterpiece of Love Songs', in 16 stanzas, 1685 (Pepys Ballads, Vol.5, Appendix 2, p29). which in turn appears to derive from the slightly earlier 'The Seaman's Renown in Winning his Fair Lady', of 20 stanzas, (Roxburghe Ballads, Vol 3, p120). 'Masterpiece' continued to be printed into the 18th century. The designated tune for both of these ballads was the well-known 'The Week before Easter'. Both utilise an AAAB rhyming pattern. However by the 19th century The Bold Dragoon was beginning to run ABAB, until oral tradition into the 20th century all but 2 stanzas ran ABAB. It is quite likely that, as often happened, a broadside writer took a few stanzas from the longer ballad, crystallised the new one to meet the 19th century fashion for shorter pieces, and tacked a typical moralising 'come all ye' on the end. However, at least 2 English, and most American, oral versions show some evidence of harking back to the longer ballads so there could have been a slightly longer 18th century interim version.

It has often been suggested that this ballad has some details in common with 'Earl Brand' (Child 7) - the maid's request to the dragoon to stay his hand and spare one or more of his assailants, for example - but which came first is anyone's guess. It is likely that 'Earl Brand' has been influenced in some way by the broadsides.