The black-letter edition of Private Occurrences, / OR, / The Transactions of the four Last Years was published anonymously, alongside two white-letter editions, in November or early December 1688.
Historical Context
Private Occurrences came out as London awaited the arrival of William of Orange with his Dutch army. The reasons for his invasion (the subject of the ballad), were laid out in Orange's printed Declaration of Reasons, which was distributed far and wide.
On 30 June 1688, Orange had been invited to come to England in force by a group of seven noblemen, later known (by supporters of the Revolution) as the ‘immortal seven’. The letter begged for his help and described the widespread discontent across the country:
'We have great reason to believe that we shall be every day in a worse condition than we are and less able to defend ourselves, and therefore we do earnestly wish we might be so happy as to find a remedy before it be too late for us to contribute to our own deliverance; … the best advice we can give is to inform your Highness truly both of the state of things here at this time and of the difficulties which appear to us. As to the first, the people are so generally dissatisfied with the present conduct of the Government in relation to their religion, liberties, and properties (all which have been greatly invaded), and they are in such expectation of their prospects being daily worse that your Highness may be assured there are nineteen parts of twenty of the people throughout the Kingdom who are desirous of a change.'
The 'conduct of the government' that lay behind the discontent described in the letter had been building up since 1685 but worsened in 1687 when James II (thought to be in thrall to his hated Jesuit confessor, Father Petres), issued a Declaration of Indulgence giving religious freedom to Roman Catholics and Nonconformists. James' declaration effectively overturned the Test Acts, which Anglicans and most parliamentarians believed offered the best protection for the supremacy of the Protestant Church of England. When seven Bishops wrote to James outlining their reasons for refusing to have the declaration read in their diocesan churches, they were summarily imprisoned and tried for seditious libel.
Meanwhile, James replaced the holders of key government posts with Roman Catholics. He had also recruited Catholics as officers and imported many Irish Catholics into the infantry of what looked increasingly like a standing army. Moreover, before calling new elections, government agents had been sent to threaten and cajole key voters in the counties in a bid to ensure a new parliament would be entirely loyal to him.
The final straw, however, came in June 1688. Until that point, James II’s heir was the Protestant Princess Mary Stuart, the eldest child of his first wife Ann Hyde, and wife of Prince William of Orange. But, on 10 June, the certainty of a Protestant succession collapsed. James II’s Queen, Mary of Modena, gave birth to a healthy son. In the view of a political nation steeped in distrust and hatred of Catholicism, the country now faced the likelihood of a long succession of Catholic Stuart kings who would use their political and military powers to attack their subject's liberties, to undermine the Church of England, and who, under the guise of offering religious toleration to all, would ultimately return Britain’s three kingdoms to the church of Rome.
On receipt of the letter, William prepared to invade, but it was 5 November 1688 before he and his Dutch army landed in England. Meanwhile, Whigs and many Tories combined to launch a press campaign against James II and his ministers on the streets and in the army. Given the extreme nature of James II's censorship regime (see The Ballad Business essay) the stakes were high for those who risked producing, selling, or performing sediitous songs while the outcome of the Revolution was unclear. Indeed, even songs that promoted loyalty, such as Private Occurrences, did not risk open publication.
Content
Private Occurrences, / OR, / The Transactions of the four Last Years claims it is written by 'A Protestant Muse, yet a lover of Kings', who has refused to 'read declarations': a reference to William's Declaration of reasons issued just before he landed at Torbay. At the time of William's landing, there was no explicit intention to remove the crown from James II's head. Aiming to restore some confidence in their sadly misled monarch, the ballad's reference to 'private occurrences' was an indication that no foreign interference was needed in the country's private affairs. The ballad reminded its listeners that James II had been widely acclaimed and welcomed as king in 1685. It blamed the king's confessor, Father Edward Petres, for acting on behalf of Rome and giving the monarch the wrong advice, which had led to discontent across the country.
The song further argued that the resounding defeat of the duke of Monmouth and his 'army of fools' in 1685 had inadvertently served to encourage both 'papists' and the Irish. Warned (by Petres) to protect himself from other rebellions, the king had raised a large army (including many Irish recruits) and had allowed Catholics and non-conformists to take over key positions, sparking widespread fears. Finally, the song warned listeners that, because of their discontent, the Dutch army and navy were coming. It admonished the English, who 'never couldst value thy peace', and argued,
Had matter been now as in Elizabeths days,
The Dutch had never ventured to fish in our Seas.
Then curse of popery, pox of popery, plague of popery'
Publication History and Popularity
The black-letter and white-letter versions of Private Occurrences were identical even though its many allusions demanded an excellent knowledge of government ministers (Anthony Wood filled in all the gaps by hand on his copy). The only extant black-letter sheet (our featured edition) survives because it was later used as printing waste by the printer R. Kell, who printed another ballad on the verso. This might suggest that Kell also printed Private Occurrences, although the woodcut was first used for another Williamite song by the printers John Wallis and Jeremiah Wilkins. The song enjoyed considerable success, however, because, as well as the three broadside editions, it was reprinted in several large song anthologies printed after the Revolution. The success of the song is also suggested by a playing card, part of a 'political' pack celebrating the Revolution now held in the Pepys Library, Magdalene College, Cambridge: this depicts two ballad-singers, lustily singing 'O brave popery delicate Popery Oh', based on the refrain of Private Occurrences (we are very grateful to Tim Somers for this information).
Angela McShane
References
For the 'immortal seven's letter to William of Orange see: https://www.nationalarchives.gov.uk/education/resources/significant-events/glorious-revolution-1688/#:~:text=This%20letter%20was%20signed%20by,the%20Fleet%20and%20leading%20politician.
For The declaration of His Highnes William Henry, by the grace of God Prince of Orange, &c. of the reasons inducing him, to appear in armes in the kingdome of England, for preserving of the Protestant religion, and for restoring the lawes and liberties of England, Scotland and Ireland (1688), see https://quod.lib.umich.edu/e/eebo/A66129.0001.001?view=toc
Tim Harris, Revolution. The Great Crisis of the British Monarchy, 1685-1725 (London, 2006).
To an unspecified tune
The purpose of this section is to provide brief notes on the melody followed by detailed evidence relating to its career, paying particular attention to the ‘echoes’ (inter-song associations and connections) that may have been set up if it was nominated for the singing of more than one ballad. In the list presented in the ‘Songs and Summaries’ section below, we have endeavoured to include as many of the black-letter ballads that used the tune as possible, under any of its variant names. Titles from our chart of best-sellers are presented in bold type (these are also in colour when there is a link to the relevant ballad page on the website). It should be noted that it is extremely difficult to date many ballads precisely and the chronological order in which the songs are listed is therefore very approximate (we have drawn on previous attempts to date the ballads, making adjustments when additional evidence can be brought into play). In most cases, we list the earliest surviving edition of a ballad, though in many instances there may have been earlier versions, now lost
Versions and variations
No tune is specified for the singing of Private Occurrences, and the earlier ballad upon which it was based – Hey brave Oliver, Ho brave Oliver – has not been found.
Echoes (an overview)
Without a named tune, it is impossible to provide information on other ballads that may have been set to the same music.
Songs and Summaries
Private Occurrences , OR, The Transactions of the four Last Years, Written in Imitation of the Old Ballad of Hey brave Oliver, Ho brave Oliver (no imprint, 1688-89). Pepys 4.317v; EBBA 21980. Politics – controversy, domestic, foreign affairs; Religion – Catholic/Protestant, Protestant nonconformity, church, clergy; Royalty – authority, criticism, praise; Humour – satire, mockery; Emotions – scorn; Places – European. A somewhat cryptic political survey of the period 1685-89, criticising the Catholic advisors of James II and anticipating, with mixed feelings, the arrival of William of Orange.
Christopher Marsh
Back to contentsStandard woodcut name: Horseman slaying Catholics
The purpose of this section is to provide evidence relating to the career of the image under discussion, paying particular attention to the ‘reflections’ (inter-song associations and connections) that may have been set up if it was chosen to illustrate more than one ballad. The list given below includes all ballads from the Pepys and Roxburghe collections that feature this woodcut or a close variant (these are the two largest collections, including approximately 3300 sheets, in total). References to ballads from other collections occur only when the featured edition of the song under consideration here (or the featured edition of another song from our list) comes from such a source. Ballads from our chart of best-sellers are presented in bold type, and they also appear in colour where there is a link to another song in the database. Please note, however, that the editions of hit songs listed below are not necessarily those for which digital images are presented on this website. Cross-references to other examples of our featured woodcuts are also presented in bold. It is extremely difficult to date many ballads precisely and the chronological order in which the songs are listed is therefore very approximate (we have drawn on previous attempts to date the ballads, making adjustments when additional evidence can be brought into play).
Reflections (an overview)
This was clearly one of the pictures of 1688-89, and all the ballads listed below seem to have been issued in this period. It must have been specially drawn to represent the arrival of William of Orange and the defeat of James II and his Catholic supporters. Its role in creating and disseminating the now well-established image of William III rearing up on his horse might be worth considering (the murals of loyalist Belfast demonstrate the longevity of this motif).
For reasons that are not entirely clear, the woodcut does not occur on ballads in the Pepys and Roxburghe collections that were published after 1689. Unusually for a ballad woodcut, it was almost entirely of the moment. There were two or more woodblocks in existence, and the damage they sustained within the course of a single year must reflect the intensity with which they were put to work. Several publishers issued ballads with the image, but the name of John Wallis crops up with particular regularity. All of the surviving songs that carry the picture celebrated the events of 1688-89, though some ballad-makers went for straight Protestant triumphalism while others instead imagined Catholics expressing anguish and dismay at their defeat in England and Ireland. Most other editions of Private Occurences were in white-letter format and issued without woodcuts. The song was clearly such a hit, however, that a black-letter version was issued to maximise the market.
Songs and summaries:
Private Occurrences , OR, The Transactions of the four Last Years, Written in Imitation of the Old Ballad of Hey brave Oliver, Ho brave Oliver (no imprint, 1688-89). Pepys 4.317v; EBBA 21980. Politics – controversy, domestic, foreign affairs; Religion – Catholic/Protestant, Protestant nonconformity, church, clergy; Royalty – authority, criticism, praise; Humour – satire, mockery; Emotions – scorn; Places – European. A somewhat cryptic political survey of the period 1685-89, criticising the Catholic advisors of James II and anticipating, with mixed feelings, the arrival of William of Orange (picture placement: the scene appears beneath the title, and there are no other woodcuts).
Englands Happiness Reviv'd, OR, A Farwell to Popery (no publisher named, 1689). Pepys 2.279; EBBA 20893. Politics – celebration, controversy, domestic, foreign affiars, Royalist; Religion –Catholicism/Protestantism; Royalty – praise. This celebrates the arrival of William of Orange, the scourge of Catholicism (picture placement: the scene appears beneath the title on the left side of the sheet, accompanied on the right by a Couple with tree [William and Mary]).
Englands TRIUMPH, OR Valiant King William's MARCH on his Expedition, TO IRELAND (J. W., 1689). Pepys 2.308; EBBA 20925. Politics – celebration, domestic, foreign affairs, Royalist; Religion – Catholic/Protestant; Royalty – praise; Emotions – joy, scorn; Humour – mockery; Employment – sailors/soldiers; Violence – between states, civil war. This celebrates William III’s mission in Ireland and describes the pitiful fear of his Catholic foes (picture placement: the scene appears beneath the title and there are no other woodcuts).
The Jesuits Lamentation; OR, The Downfall of the Whore of BABYL[ON] (J. Wallis, 1689). Pepys 2.286; EBBA 20901. Religion – Catholic/Protestant, church; Politics – controversy, domestic, satire, celebration; Emotions – confusion, anxiety; Humour – satire. This imagines the dismay of Catholics at the sudden destruction of their plans for England by the new Protestant regime (picture placement: the woodcut appears beneath the title and there are no others).
THE Lord Chancellors Villanies Discovered. Or, His Rise and Fall in the Four Last Years (no publisher named, 1689). Pepys 2.288; EBBA 20904. Politics – domestic, celebration, power; Emotions – hatred; Death – execution, unlawful killing; Religion – Catholic/Protestant; Violence – punitive. An expression of contempt for Lord Chancellor Jeffreys and the unjust policies he implemented as part of the Catholic regime of James II (picture placement: the image appears beneath the title and there are no other woodcuts).
A New Copy of Verses, INTITULED ENGLANDS GLORY: OR, THE IRISH-MANS LAMENTATION (J. W., 1689). Pepys 2.289; EBBA 20905. Politics – celebration, domestic, foreign affairs, Royalists, Tories/Whigs; Religion – Catholic/Protestant; Royalty – criticism, praise; Violence – at sea, between states, civil war; Emotions – hatred, joy; News – political; Places – Irish; Crime - treason. A fiercely anti-Irish ballad, celebrating the recent successes of William’s forces at Carrickfergus and elsewhere (picture placement: it appears beneath the title and there are no other woodcuts).
A NEW SONG (John Wallis, 1689). Pepys 2.293; EBBA 20909. Politics – celebration, domestic, foreign affairs, Royalist; Religion – Catholic/Protestant; Royalty – praise; Recreation – alcohol; Emotions – hatred, joy. This celebrates the defeat of Catholicism in England and Ireland, and promises that Louis XIV of France is next on the list (picture placement: it appears beneath the title and there are no other woodcuts).
THE PAPIST PRAYERS FOR / Father PETERS: OR, Their sad Lamentation for the Downfal of POPERY (James Bissel, 1689). Pepys 4.346; EBBA 22009. Humour – mockery, satire; Politics – celebration, controversy, domestic, satire; Family – pregnancy/childbirth; Religion – Catholic/Protestant; Emotions – sorrow, anxiety. This ballad imagines the defeated Catholics of England blaming Father Petre and the recent birth of a royal heir for the sad ‘Downfal of Popery’ (picture placement: it appears beneath the title).
POPERY'S Downfal, and The Protestants Uprising By the CROWNING of King WILLIAM and Queen MARY (G. C., 1689). Pepys 2.316; EBBA 20935. Economy – hardship, livings; Employment – crafts/trades; Religion – Catholic/Protestant; Politics – celebration, domestic, Royalist; Emotions – joy, hope, patriotism; Royalty – praise. This celebrates the arrival of William and Mary, predicting that England’s economy will improve now that ‘Popery’ has been rooted out (picture placement: it appears beneath the title and there are no other woodcuts).
The Protestant's Jubile: OR, A Farewel to Popery. Being an Excellent Cordial to Chear a Protestant's Heart: Made of the Juice of an Orange (H. Wallis, 1689). Pepys 2.285; EBBA 20900. Politics – celebration, domestic, foreign affairs; Religion – Catholic/Protestant, divine intervention, heroism; Emotions – joy, anger, patriotism; Royalty – praise; Violence – between states, civil war; Gender – masculinity; Recreation – food. A ballad in exuberant praise of William of Orange, sent by God to save English Protestantism from its internal and external enemies (picture placement: the scene appears beneath the title and there are no other woodcuts).
The Royal HEALTH (John Wallis, 1689). Pepys 2.343; EBBA 20962. Politics – celebrartion, domestic, Royalist; Recreation – alcohol, good fellowship, music; Royalty – praise; Religion – Catholic/Protestant, heroism; Emotions – joy, patriotism. This urges the drinking of loyal healths to William and Mary for saving the nation from ‘Romes cruel Tyranny’ (picture placement: the scene appears beneath the title and there are no other woodcuts).
Christopher Marsh
Back to contentsAs noted in the Song history, Private Occurrences was reprinted in several large song anthologies after the Revolution. See for example, A Collection of the newest and most ingenious poems, songs, catches &c. against popery relating to the times. (1689), pp. 13-14. and The muses farewel to popery & slavery, or, A collection of miscellany poems, satyrs, songs, &c. made by the most eminent wits of the nation, as the shams, intreagues, and plots of priests and Jesuits gave occasion (1690), p. 47.
Angela McShane
Private Occurrences,/ OR,/ The Transactions of the four Last Years, Written in Imitation of the Old Ballad of/ Hey brave Oliver, Ho brave Oliver, &c.
[We have not made a recording because the tune is unknown]
A Protestant Muse, yet a lover of Kings:
On th’ Age, grown a little Satyrical, Sings,
Of Papists, their Counsels, and other fine things,
Sing hey brave Popery, ho rare Popery, oh fine Popery
Oh dainty popery, oh.
She hopes she offends no Englishman’s patience;
Tho Satyr’s forbid on such occasions,
She’s too good a Subject to Read Declarations.
Sing hey brave popery, &c.
If that saying be good, of Let him Laugh that Wins.
Sure a Loser may smile without any offence:
My Muse then is gamesome, and thus she begins;
With hey brave popery, &c.
When Ch--- deceas’d, to his Kingdoms dismay,
By an Appoplex, or else some other way;
Our Brother with Shouts was proclaim’d the same day.
Sing hey brave popery, &c.
His first Royal promise was never to touch,
Our Rights, nor Religion, Priviledge grutch
But Pet-=- he said that he granted [t]oo much.
Sing hey brave popery, &c.
Then Mon====== came in with an Army of Fools:
Betray’d by his Cuckold, and other dull Tools
That painted the Turfe of Green Sedgmore with Gules,
Sing hey brave popery, &c.
That Victory gotten, some think to our wrong:
The Priests braid out Joy in a Thanksgiving Song,
And Teague with their Bald=pates were at it ding dong.
Sing hey brave popery, &c.
Then straight a strong Army was levy’d in hast,
To hinder Rebellion; a very good Jest;
For some Rogues will swear ‘twas to murder the Test.
Sing hey brave popery, &c.
A politique Law which Recusants did doom;
That into our Senate, they never might come,
But Equivalent since, was propos’d in its room.
Sing hey brave popery, &c.
As if a true Friend should in kindness demand
A Tooth in my Head, which firmly doth stand,
To give for’t another he had in his hand.
Sing hey brave popery, &c.
Then Term after Term, this great Matter was weigh’d,
Old Judges turn’d out, and new Block====ds made:
That Cook or Wise Litteton never did read.
Sing hey brave popery, &c.
The good Church of England with speed was run down,
Whose Loyalty ever stood fast to the Crown
And Presbiter John was made Mayor of the Town.
Sing hey brave popery, &c.
The Bishops Disgrace made the Clergy to sob:
A prey to Old Pet===== and president Bob;
And hurried to prison as if they did Rob.
Sing hey brave popery, &c.
Then into the World a dear P======== of W======= slipt;
‘Twas plain, for we hear a great Minister peep’d.
The Bricklayer for prating dah liket’t bin whip’d.
Sing hey brave popery, &c.
Thus England Distresses more fierce than the plague,
That during three Years, of no Quiet could bragg.
The brave Prince of Orange is come to the Hague.
sing hey brave popery, &c.
A strong fleet and Army they hither are bent,
We know well the cause that there is something in’t,
And we doubt not e’re long we shall see it in print.
sing hey brave popery, &c.
Ah England, that never couldst value thy peace,
Had matter been now as in Elsabeths days,
The Dutch had never ventured to fish in our Seas.
Then curse of popery, pox of popery, plague of popery,
Oh sensless popery, oh.
FINIS.
This ballad is included according to the criteria for List B (see Methodology). The evidence presented here is accurate, to the best of our knowledge, as of 1st January 2024.
No. of known editions c. 1560-1711: 3
No. of extant copies: 12
Appearances on publishers' lists: none.
Other registrations with Stationers' Company: none.
3-year periods that produced multiple editions: 1688-90 (3).
New tune titles generated: 'Hey/O brave/fine/rare popery' (8 ballads).
Specially-commissioned woodcuts: none known.
Pre-1640 bonus: no.
POINTS: 6 + 12 + 0 + 0 + 18 + 16 + 0 + 0 = 52
[On this ballad, see also Angela McShane, Political Broadside Ballads of Seventeenth-Century England, no. 892X].
This box will be used to highlight any new information on this song that might come to light after the launch of the website.
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