University of Virginia Library

Search this document 
The Dramatic and Poetical Works of Joanna Baillie

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

collapse section 
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.
collapse section 
BASIL:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionIII. 
SCENE III.
  
SONG.— a glee.
collapse sectionIV. 
ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse section 
DE MONFORT:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
  
SCENE II.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionIV. 
ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
collapse section 
ETHWALD:
collapse section1. 
PART FIRST.
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
  
SCENE III.
 IV. 
SCENE IV.
  
SCENE V.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
collapse sectionIV. 
ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
 VII. 
SCENE VII.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse section2. 
PART SECOND.
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV
 V. 
SCENE V.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
  
SCENE IV.
collapse sectionIV. 
ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionV. 
ACT V
 I. 
SCENE I.
  
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
collapse section 
ORRA:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 III. 
SCENE III.
collapse sectionIII. 
ACT III.
 I. 
SCENE I
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse sectionIV. 
ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
collapse section 
THE BEACON:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionII. 
ACT II.
collapse sectionI. 
SCENE I.
  
SONG.
 II. 
SCENE II.
 III. 
SCENE III.
collapse section 
ROMIERO:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionII. 
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.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse section 
HENRIQUEZ:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
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.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
collapse section 
MISCELLANEOUS PLAYS.
collapse section 
RAYNER:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 2. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
collapse section4. 
ACT IV.
 1. 
SCENE I.
 2. 
SCENE II.
 III. 
SCENE III.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse section 
CONSTANTINE PALEOLOGUS;
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionIV. 
ACT IV.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse section 
THE FAMILY LEGEND:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionII. 
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.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse section 
THE MARTYR:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse sectionII. 
ACT II.
 I. 
SCENE I.
 II. 
SCENE II.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse section 
THE SEPARATION:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
collapse sectionII. 
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.
collapse sectionV. 
ACT V.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse section 
THE PHANTOM:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
collapse sectionII. 
ACT II.
 1. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
 V. 
SCENE V.
 VI. 
SCENE VI.
collapse section 
THE BRIDE:
collapse sectionI. 
ACT I.
 I. 
SCENE I.
 II. 
SCENE II.
 III. 
SCENE III.
 IV. 
SCENE IV.
collapse sectionII. 
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.
collapse sectionIII. 
ACT III.
 I. 
SCENE I.
 II. 
SCENE II.
collapse section 
MISCELLANEOUS POETRY.
collapse section 
METRICAL LEGENDS.
  
A METRICAL LEGEND OF WILLIAM WALLACE.
  
THE LEGEND OF CHRISTOPHER COLUMBUS.
collapse section 
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.
collapse section 
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
collapse section 
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.
collapse section 
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.
collapse section 
[subsection]
  
AHALYA BAEE:

collapse section Collapse All | Expand All expand section
previous section The Dramatic and Poetical Works of Joanna Baillie
next section

TO A CHILD.

Whose imp art thou, with dimpled cheek,
And curly pate, and merry eye,
And arm and shoulder round and sleek,
And soft and fair?—thou urchin sly!
What boots it who with sweet caresses
First call'd thee his,—or squire or hind?
Since thou in every wight that passes,
Dost now a friendly play-mate find.
Thy downcast glances, grave, but cunning,
As fringed eye-lids rise and fall;
Thy shyness, swiftly from me running,
Is infantine coquetry all.
But far a-field thou hast not flown;
With mocks and threats, half lisp'd, half spoken,
I feel thee pulling at my gown,
Of right good will thy simple token.
And thou must laugh and wrestle too,
A mimic warfare with me waging;
To make, as wily lovers do,
Thy after-kindness more engaging.
The wilding rose, sweet as thyself,
And new-cropt daisies are thy treasure:
I'd gladly part with worldly pelf
To taste again thy youthful pleasure.
But yet, for all thy merry look,
Thy frisks and wiles, the time is coming,
When thou shalt sit in cheerless nook,
The weary spell or horn-book thumbing.
796

Well; let it be!—through weal and wo,
Thou knowst not now thy future range;
Life is a motley, shifting show,
And thou a thing of hope and change!
previous section The Dramatic and Poetical Works of Joanna Baillie
next section