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The Dramatic and Poetical Works of Joanna Baillie

Complete in One Volume
Baillie, Joanna (1762-1851)

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A SERIES OF PLAYS: IN WHICH IT IS ATTEMPTED TO DELINEATE THE STRONGER PASSIONS OF THE MIND EACH PASSION BEING THE SUBJECT OF A TRAGEDY AND A COMEDY.
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BASIL:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
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SCENE III.
  
SONG.— a glee.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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DE MONFORT:
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ACT I.
 I. 
SCENE I.
  
SCENE II.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
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ETHWALD:
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PART FIRST.
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
  
SCENE III.
 IV. 
SCENE IV.
  
SCENE V.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
 VII. 
SCENE VII.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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PART SECOND.
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV
 V. 
SCENE V.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
  
SCENE IV.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT V
 I. 
SCENE I.
  
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
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ORRA:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT II.
 I. 
SCENE I.
 III. 
SCENE III.
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ACT III.
 I. 
SCENE I
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
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THE BEACON:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT II.
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SCENE I.
  
SONG.
 II. 
SCENE II.
 III. 
SCENE III.
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ROMIERO:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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HENRIQUEZ:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
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MISCELLANEOUS PLAYS.
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RAYNER:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT II.
 I. 
SCENE I.
 2. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT IV.
 1. 
SCENE I.
 2. 
SCENE II.
 III. 
SCENE III.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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CONSTANTINE PALEOLOGUS;
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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THE FAMILY LEGEND:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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THE MARTYR:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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THE SEPARATION:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionIV. 
ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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THE PHANTOM:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
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ACT II.
 1. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
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THE BRIDE:
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ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
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ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
 VII. 
SCENE VII.
 VIII. 
SCENE VIII.
 IX. 
SCENE IX.
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ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
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MISCELLANEOUS POETRY.
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METRICAL LEGENDS.
  
A METRICAL LEGEND OF WILLIAM WALLACE.
  
THE LEGEND OF CHRISTOPHER COLUMBUS.
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THE LEGEND OF LADY GRISELD BAILLIE.
  
[prologue]
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI.
 XVII. 
XVII.
 XVIII. 
XVIII.
 XIX. 
XIX.
 XX. 
XX.
 XXI. 
XXI.
 XXII. 
XXII.
 XXIII. 
XXIII.
 XXIV. 
XXIV.
 XXV. 
XXV.
 XXVI. 
XXVI.
 XXVII. 
XXVII.
 XXVIII. 
XXVIII.
 XXIX. 
XXIX.
 XXX. 
XXX.
 XXXI. 
XXXI.
 XXXII. 
XXXII.
 XXXIII. 
XXXIII.
 XXXIV. 
XXXIV.
 XXXV. 
XXXV.
 XXXVI. 
XXXVI.
 XXXVII. 
XXXVII.
 XXXVIII. 
XXXVIII.
 XXXIX. 
XXXIX.
 XL. 
XL.
 XLI. 
XLI.
 XLII. 
XLII.
 XLIII. 
XLIII.
 XLIV. 
XLIV.
 XLV. 
XLV.
 XLVI. 
XLVI.
 XLVII. 
XLVII.
 XLVIII. 
XLVIII.
 XLIX. 
XLIX.
 L. 
L.
 LI. 
LI.
 LII. 
LII.
 LIII. 
LIII.
 LIV. 
LIV.
 LV. 
LV.
 LVI. 
LVI.
  
LORD JOHN OF THE EAST:
  
MALCOLM'S HEIR:
  
THE ELDEN TREE:
  
THE GHOST OF FADON.
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FUGITIVE VERSES.
  
[dedication]
  
A WINTER'S DAY.
  
A SUMMER'S DAY.
  
NIGHT SCENES OF OTHER TIMES.
  
ADDRESS TO THE MUSES.
  
A MELANCHOLY LOVER'S FAREWELL TO HIS MISTRESS.
  
A CHEERFUL-TEMPERED LOVER'S FAREWELL TO HIS MISTRESS
  
A PROUD LOVER'S FAREWELL TO HIS MISTRESS.
  
A POETICAL OR SOUND-HEARTED LOVER'S FAREWELL TO HIS MISTRESS.
  
A REVERIE.
  
A DISAPPOINTMENT.
  
A LAMENTATION.
  
A MOTHER TO HER WAKING INFANT.
  
A CHILD TO HIS SICK GRANDFATHER.
  
THUNDER
  
THE HORSE AND HIS RIDER.
  
FRAGMENT OF A POEM
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MISCELLANEOUS POETRY
  
LINES ON THE DEATH OF SIR WALTER SCOTT.
  
EPILOGUE
  
THE BANISHED MAN.
  
TO A CHILD.
  
SONG
  
LONDON.
  
LINES ON THE DEATH OF WILLIAM SOTHEBY, ESQ.
  
VERSES TO OUR OWN FLOWERY KIRTLED SPRING.
  
LINES TO A PARROT.
  
LINES TO A TEAPOT.
  
THE MOODY SEER:
  
THE MERRY BACHELOR
  
TWO SONGS.
  
SONG
  
TO SOPHIA J.BAILLIE.
  
THE KITTEN.
  
SCHOOL RHYMES FOR NEGRO CHILDREN.
  
RHYMES.
  
RHYMES FOR CHANTING.
  
DEVOTIONAL SONG FOR A NEGRO CHILD.
  
SECOND DEVOTIONAL SONG.
  
THIRD DEVOTIONAL SONG.
  
A NURSERY LESSON (DEVOTIONAL).
  
SECOND NURSERY LESSON
  
HYMN.
  
RECOLLECTIONS OF A DEAR AND STEADY FRIEND.
  
TWO BROTHERS.
  
LINES TO AGNES BAILLIE ON HER BIRTHDAY.
  
VERSES SENT TO MRS. BAILLIE ON HER BIRTHDAY, 1813.
  
VERSES WRITTEN IN FEBRUARY, 1827.
  
THE TRAVELLER BY NIGHT IN NOVEMBER.
  
LINES FOR A FRIEND'S ALBUM.
  
ADDRESS TO A STEAMVESSEL.
  
SONG,
  
A SONG
  
FY, LET US A' TO THE WEDDING.
  
HOOLY AND FAIRLY.
  
THE LADY IN HER CAR.
  
TO JAMES B. BAILLIE,
  
THE WEARY PUND O' TOW.
  
TAM O' THE LIN.
  
NEW WORDS TO THE OLD SCOTCH AIR OF “THE WEE PICKLE TOW.”
  
SONG,
  
VOLUNTEER'S SONG,
  
SONG,
  
SONG,
  
A SCOTCH SONG.
  
SONG,
  
SONG,
  
A SAILOR'S SONG.
  
SONG,
  
SIR MAURICE:
  
TO MRS. SIDDONS.
  
A SONG,
  
SONG,
  
SONG.
  
SONG.
  
THE BLACK COCK,
  
SONG,
  
SONG,
  
SONG,
  
SONG.
  
ON THE DEATH OF A VERY DEAR FRIEND.
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VERSES ON SACRED SUBJECTS.
  
HYMN.
  
HYMN.
  
HYMN.
  
HYMN.
  
HYMN.
  
HYMN FOR THE SCOTCH KIRK.
  
A SECOND HYMN FOR THE KIRK.
  
A THIRD HYMN FOR THE KIRK.
  
ST. MATTHEW, v. 9.
  
ST.LUKE, XVIII. 16.
  
ST.JOHN, XXI. 1.
  
ST. LUKE, VII. 12.
  
JOB, XIII. 15.
  
HYMN.
  
A HYMN FOR THE KIRK.
  
A HYMN.
  
SELECT VERSES FROM THE 147TH PSALM.
  
THOUGHTS TAKEN FROM THE 93RD PSALM.
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[subsection]
  
AHALYA BAEE:

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XV.

She pauses oft.—“What whispers near?—
“The babbling bourn sounds in mine ear.
“Some hasty form the pathway crosses:—
“'Tis but a branch the light wind tosses.
“What thing is that by church-yard gate,
“That seems like spearman tall to wait?
“'Tis but the martyr's slender stone
“Which stands so stately and alone:
“Why should I shrink? why should I fear?
“The vault's black door is near.”
And she with icy fingers knock'd,
And heard with joy the door unlock'd,
And felt the yawning fence give way
As deep and harsh the sounding hinges bray.
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