Here's an American version, which is remarkably similar in places.

The Maid on the Mountain Brow

Come, all young men and maidens, come listen to my song,
I'll sing to you a verse or two, I won't detain you long,
It's all about a young man I'm going to tell you now,
Who had lateli (sic) fell a-member to the maid of the Mountain Brow.

He says, "My pretty fair maid, you can go along with me,
We'll join our hands in wedlock bands, and married we will be."
"Oh no, kind sir," the maid replied, "you must excuse me now,
I must tarry another season at the foot of the Mountain Brow."

"Well," he says, "my pretty fair maid, I'm sure you can't say no:
Look down in yonder valley where my crops so gen-tie-ly grow,
Look down in yonder valley at my horses and my plow:
They are laboring late and earli for the maid of the Mountain Brow."

"Your horses and your plow, they're not laboring for me:
After hearing of your character, 'tis none of the best, I see;
There is a place in this town, I've heard the people say,
Where you rap and call and pay for all, and go home at the break o'day."

"If I rap and call and pay for all, my money, it is my own;
I'll not spend any of your fortune, love, for they tell me you've got none;
You thought you had my poor heart won by happening on to me now,
But I'll leave you where I found you, at the foot of the Mountain Brow."

Oh, it's "Johnny, dearest Johnny, how can you be so unkind?
The girl that loves you dearly you're going to leave behind,
The girl that loves you dearly, you're going to leave her now?
Don't leave her broken-hearted at the foot of the Mountain Brow!"

He hung his head in silence, not knowing what to say
While gazing upon the pretty fair maid, she looked so neat and gay.
He took her by the lily-white hand, saying, "You've consented now,
We will tarry here no longer at the foot of the Mountain Brow."

as sung by George Edwards
Source: Folk Songs of the Catskills (1982, by Cazden, Haufrecht, Studer)

And the background notes:

26. The Maid on the Mountain Brow

This conversation piece originated as an Irish broadside, and it seems to have gone the rounds of the lumbercamps in this country and in Canada. Where the maid lives varies from the "Logan Bough" to the "Sweet Brown Knowe," this last being explained as an alternative term for "Knoll." Yet the foot of a mountain's brow may be as good a place to dwell between heaven and earth as any poet might wish.
Most curious is the way the "moral" or the outcome of the song, if there be one at all, seems to vary among the versions known, chiefly through the inclusion or the omission of stanzas. Thus Michael C. Dean's version places the man beyond criticism, and it borrows lines from other songs, to end on a clear note of superior male prerogatives. An Irish text (Colum) makes much of initial flirtation:

Now this young and pretty fickle thing, she knew not what to say,
Her eyes did shine like silver bright and merrily did play...

A version from Maine (NA Ives 1.85) seems rather to excuse the maid's uncertainty, "she being young and ficklesome," while in a subtly more critical text from Nova Scotia (Mackenzie) she is described as a "wigglesome young thing."
The course of true love does not always trickle down as gently as does the melting snow from the mountain's brow. The maid's coy retreat may well induce rebuff, and the tale usually ends with pouting, confronting defiance. Only in the George Edwards version is a solution found in reconciliation and marriage. Flirtatiousness is only implied, and if the maid's character and attitudes are thereby supported and touched up, and the man made to feel his shame properly, we are sure the moral promises a better future for their relationship.
The refreshing frankness of the lines containing reproach is common to all versions, and it takes the naïveté of a scholar to accept skimpy euphemism in its place. Sung distinctly as:

You rap and call, and pay for all, and go home at the break of day,

one collector explains what is involved as payment for something called "'hol," taken to be a local abbreviation for "alcohol," so that the line then ends with "and get drunk at the break of day."
The expression "lateli fell a member" is as unsatisfactory in #26 as in the cognate "lately become a member" of other versions. Coim 0 Lochlainn, who made some adaptations from a broadside text, gives this as "lately came a-courting," which is somewhat closer to sense. A more likely derivation for the expression would be "lately fell enamoured," just the sort of literary wording that would fall readily into sound mimicry when no longer understood.
Unusual in its jagged, strident formation, the tune strain here seems proper to this ballad, though it appears for a number of other traditional texts, notably in the Northeast. The succession of four descending thirds, embracing a span of a minor ninth within the second measure, would seem to constitute precisely the sort of involved and sophisticated musical treatment that we are often assured cannot occur in the simple tunes of "the folk." The Dublin Comic Songster of 1841 has the notation "air: Mountain's Brow" for a different text. That may tell us the ballad was familiar at that date, but it cannot be concluded that the reference would be to a tune like that of #26, for it is not found for versions from Ireland. Catskill singers Frank Edwards and his son James Edwards have sung the ballad to the same tune strain (ATL 604, 605). But save for a version sung by Tom Brandon in Ontario (Fowke, FSC io), the text with this tune seems otherwise limited in its provenance to the Northeast-Maritimes region, and almost the same may be said for the appearance of the tune with other texts. A number of versions use the Manchester Angel tune found for #41, My Love Is Like a Dewdrop.

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And yes, I'll get around to transcribing the tunes, sooner or later.
-Joe Offer-