In 1790 Longman & Broderip published a dance named Duke of Perth's Reel, but it has a different figure.

Rutherford published a dance named "Keep the Country, Bonny Lassie" in 1775, but with a different figure.

Pease Straw has an even longer history with Johnson publishing a dance of that name in 1744, but again with a different figure.

According to the Fletts (Traditional Dancing in Scotland, 1964, p. 247) William Boag was the first to publish this figure under the title "Keep the Country, Bonny Lassie".

First Cu Swing the Right hand and cast off one Cu: Swing the Left hand round Swing the Corners and your Partner each time Set Corners and turn lead outsides.

The Fletts also quote the Blantyre MS. (~1805), titled "Duke of Perth":

Hook right hand with partner — turn round — throw off a couple. Hook with partner with left turn round downmost Ladies with right partner with left uppermost Lady with right partner with left twice round, Sett cross p^r reels.

The (R)SCDS claims this dance comes from J. P. Boulogne's The Ball-Room, or the Juvenile Pupil's Assistant; Containing the Most Fashionable Quadrilles, with Les Lanciers of Sixteen, As Danced in the Public & Private Assemblies in Paris, Glasgow, 1827, titled "Duke of Perth" or "Keep the Country, Bonnie Lassie".

1. The first couple turn by the right hand and pass one couple, they turn left hands, the lady turns the second gentleman, and the gentleman the third lady; the first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman, they turn half round. (16)
2. Set at corners and turn. (8)
3. Reel of three. (8)

Kate Hughes (in Ireland) recorded a slightly different version in 1867:

1. The top couple turn by the right hand and pass one couple turn with the left hand
2. The lady turns the seceaond gent and the top gent turn the seceaond ladie
3. The first couple turn agin with the left hand
   The gent turns the seceaond ladie and the top ladie turns third gent
4. Set to corners and turn
5. Reell of three

J. F. Wallace, in ~1872, published:

1. The first couple turn by the right hand and pass one couple; they turn with left hand, the lady turns the second gentleman, and the gentleman the third lady. The first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman, turn half round, (16)
2. Set at corners and turn, (8)
3. Reel of three, (8)

D. Anderson, 1897 published something almost word for word from Wallace:

1. The first couple turn by the right hand and pass one couple; they turn with left hands, the lady turns the second gentleman, and the gentleman the third lady. The first couple turn again with the left hand, the gentleman the second lady, and the lady the third gentleman—turn half round. (16)
2. Set at corners and turn. (8)
3. Reel of three. (8)

Note that by Blantyre's time the "lead out sides" has become a reel.

In 1781 Longman & Broderip published a dance with this name but a different figure. Book 1 attributes this to Nathaniel Gow, but I have been unable to find any choreographies published by him (though lots of music). The earliest source I can find is from the Lowes who write:

Down the middle, and up again; reel three and three across the dance, the Lady with the first couple, and the Gentleman with the second; set and turn corners; then set, and turn partners.

Longman & Broderip, and Preston both published dances with this name but their figures do not match.

In Scottish Country Dances, Books 1-6 the RSCDS published a facsimily of the Boulogne's original:

1. The first couple turn right hands and cast off, turn left hands and cast off, (8)
2. Lead down the middle and up again, (8)
3. Set at corners and reel, (16)

Wilcock's figure appears to match, but the scan I have is missing half the dance.

In The Excelsior Manual of Dancing, Glasgow, ~1872 Wallace writes:

1. The first couple turn with right hands and cast off, turn with left hands and cast off, (8 bars)
2. Down the middle and up again, (8 bars)
3. Set at corners and reel, (16 bars)

Also found in Kate Hughes's manuscript, Dancing Book, Ireland, 1867.

1. The top couple turn with rights and cast of a couple turn with left hands (8 bars)
2. Lead down the centre up (8)
3. Set at corners and reell (16)

The RSCDS says this dance was "Collected in the town of Lanark", and also states it is found in A Companion to the Reticule, published, London, ~1840 (for young Ladies and Gentlemen, whose birth, connexions, or society, can lay claim to any district NORTH of the TWEED. While the Companion claims this was danced all over Scotland prior to the year 1815.

The SCDDB says the dance was devised by Walsh in 1754, and Book 2 says the dance was published in Walsh's Caledonian Country Dances 1748-1760. As far as I can tell Walsh did not publish a dance called "The Bumpkin", but he did publish "The Country Bumkin" in ~1750, but the figure is nothing like this one.

Walsh writes:

Two Cu. fall back•foot it and change over the like again cross over twice to below lead to the top•foot it and cast off•

However, William Campbell did publish The Country Bumpkin in his 14th Book (~1799), and he writes:

Six Ladies and 3 Gentlemen in 3 Lines — the middle Gentleman dances with his Hat on — all nine foot up the Room to the top in 3 Lines and turn and foot back again to their places — then the Gentleman in the middle sets to the Lady at the right hand corner, turn her the set to the Lady on the left hand corner and turn her and Hey:— the other two Gentlemen do the same with their corners and Hey at the same time then fall back to their places and foot up the Room as Before and then down again then the Gentleman in the middle foots to the other right hand corner turn round and Hey the other two Gentlemen do the same with their other corner and turn round and hey all at the same time then fall back to their places foot up as before and back again then the three Gentlemen foot to the three Ladies on their right hand turn then to the three Ladies on their Left turn and all Hey then foot up as before and back again then the middle line set to the bottom line turn round and set to the top line then turn round and all Hey up and down the room the Gentleman in the bottom line takes the Hat off the Gentleman of the middle line then falls into the middle line with his two Ladies repeats all the Figure over again the Gentleman of the top line then takes the Hat off the Gentleman of the middle line and with his two Ladies falls in the middle line and repeats all the figure over again — then finish with a threesom Reel across the Room.

Is Campbell making a distinction between "heys" (in the first parts of the dance) and "reels" in the last line, or is he just careless?

As written in the Companion to the Reticule:

4	3	8
9	5	1
2	7	6

This favourite SCOTCH DANCE is performed by six Ladies and three Gentlemen, arranged as the annexed figure, with their backs near the extremity of the room. The centre Gentleman (King), wearing a hat is represented by the figure 5, and the other two by 3 and 7, while the six outside figures represent the Ladies; and it may be remarked, that by adding these figures up or down, across or by the corners, the result will always amount to FIFTEEN.

It is necessary to premise, that the figure of the BUMPKIN consists of three separate parts, viz.,

THE (DANCING) PROMENADE, THE SETTING, AND THE REELING;

that the Bumpkin tunes consist also of three Parts, and that each of these must be played TWICE over. When the "Old Country Bumpkin" (p. 30) begins, the whole nine promenade to the further end of the room, the Gentlemen holding each of their partners by the hand;— they then all turn round by the right, join hands again, and return promenading to their starting place during the first part of the tune. While the second part is played, 5 sets to and turns 8 & 2 — 3 do 4 & 9 — 7 do 6 & 1; and so soon as the third part begins 3, 5, 7 reel with those they had set , and then return to their places as before. The tune is now begun for the third time, and the whole start again, turn and return as formerly, during the first part • When the second part begins, 5 sets to 9 & 1 — 3 do to 8 & 4 — 7 do to 6 & 2 and the gentlemen (3 5 7) now reel with their own partners during the third part of the tune, and return to their original places as before. The same tune being begun a fourth time, 5 sets to 3 & 7 — 9 do. to 2 & 4 — 1 do. 6 & 8 and after reeling during the third part, 4, 3, 8, exchange places with 9, 5, 1; and 3 (now King) taking the Hat, the Bumpkin is now danced over again in the very same manner to the tune of "Ailsey Marley" (p.30). Upon 4, 3, 8 then exchanging places with 2, 7, 6, and 7 (now King) taking the Hat, the Dance is repeated to the tune of the "New Bumpkin," (p.30), and carried on as formerly to where the second part of the Old Bumpkin tune has begun for the third time, viz., at this mark • 5 now sets to 9 — 3 do. to 4, — 7 do. to 2; and at that moment there additional Gentlemen join the Dance by setting to the unoccupied Ladies, 8, 1, 6, the music omitting the third part of the tune, and changing to the common time reel of Tullochgorum, which is played three times over; and thus concludes the BUMPKIN, as danced all over Scotland prior to the year 1815.

D. Anderson's Ball-Room and Solo Dance Guide, Dundee, ~1900 calls it simply "The Reel of Nine":

This Dance is done with either a majority of ladies or gentlemen, but ladies are more suitable.

Stand in three lines of three, each gentleman facing down the hall between two ladies; Reel of three across (i.e. each gentleman with his two partners) finishing in places — This occupies 8 bars.

All set and turn both partners, one after the other — other 8 bars.

Reel of three at corners, at same time the other three at the corners go hands round to left and back to right — other 8 bars.

All set and turn both partners, one after the other — other 8 bars.

These movements are repeated round the whole square, occupying 96 bars.

All join hands and go round to left, with the exception of the gentleman between the middle three (or where the gentlemen form a majority, the lady between the middle three) who sets to the others as they go round to the left.

The SCDDB says that the reels are left shoulder reels, though I can find no indication of this in RSCDS Book 2, nor in any of the original sources.

My copy of Book 2 claims this was devised by the Earl of Dunmore, but later sources seem unsure. The The Thistle has an article on its origins.

The RSCDS numbers couples clockwise (while modern square dance numbers them counter clockwise).

Arthur Miller, Leeds, 1900 writes:

1. All join hands in circle, and turn round to places.
2. Gentlemen take hold of partner's hand, and ladies give hands across and round, gentlemen give left hands across and back to places.
3. All set and turn partners.
4. Grand chain

Please see SCDDB for a discussion of the provenance of this dance.

An early version of this dance may be found in D. Anderson's Ball-Room and Solo Dance Guide, from ~1897:

16 Bars of Music 2-4 Time, and 16 Bars of Music, Strathspey Time.

The top couple going down the dance commence always at the gent's side. Each gent, in turn crosses over to partner, and always have partners on right hand before commencing.

Top lady cross over to partner.

Second Gent. cross over to partner.

First and second couples rights and lefts.

Second gent. down the centre with the two ladies arm-in-arm, top gent. following behind.

Ladies change to top gent., lead up to top of dance arm-in-arm, with ladies, second gent, following behind.

Gents. face partners, ladies outside gents inside, back to back.

Set to partners (eight bars of music, Strathspey), then reel four across the dance, second gent, finishing at the gent.'s side, second lady at ladies' side, and pass up 1 couple.

Top couple repeat with third couple, etc.

On a second chord before the dance begins, the first lady moves into the second man's place. The second man into the second lady's place, and the second lady into the first lady's place. This is like a counter-clockwise becket dance with everyone standing on the same side of the set as his/her partner (ladies on their partner's right).

At the end of the first iteration (bars 31-32), during the reel, the first lady moves into the third man's place. The third man into the third lady's place and the third lady into where you'd expect the first lady to be (the original place of the second lady).

The step suggest for the setting is Forward on right, hop; back on left, hop; step behind with right, step left, right and hop.

I can't track down Boag's publication, but I have found it in Lowes' Ball-Conductor and Assembly Guide in ~1830 published by the Messrs. Lowe who write:

First couple turn by the right hand, and the Gentleman passes one couple down the middle; then turn quite round by the left hand, and set, three and three, in lines across the dance; turn round with both hands; then the Lady goes between the second and third Gentlemen, and the Gentleman between the second and third Ladies; set, holding the hands; set corners, and reel.

The Lowes title it Greig's Pipes, or the Cameronian Rant.

The tune was composed around 1820 by Sir Henry Rowley Bishop.

The RSCDS has trios alternately of 1 man and two women facing 1 woman and two men.

This is (intended to be) the official RSCDS version, according to The SCD Dictionary at Ceilidhs it is danced slightly differently, with right hand turns instead of two hand turns, a right shoulder reel (or chain) rather than a left, and in the final pass through the 2s make arches while the 1s dive through.

Note: J.P. Boulogne published a very different dance (standard duple minor formation) in 1827 in his book The Ballroom.

Note: this is completely different from the traditional contra dance with the same name.

This dance was probably danced for about a hundred years before anyone bothered to publish it. The earliest Scottish source I can find is Smyth in 1830 who writes:

At the commencement, the Gentlemen place their partners at the end of the room, and stand either before or beside them.— If before them, all four begin at once, but if otherwise the Ladies must begin first, each person describing the figure eight, and the Gentlemen set to the Ladies alternately.

The Lowes in ~1831 write:

Before commencing the Reel of Four, the Gentlemen place their partners upon opposite sides of the room, or at the ends, and stand either before or beside them; if before them, all the four must begin at once; but if otherwise, the Ladies ought to begin first; each person describes the figure of eight, and the Gentlemen set to the Ladies alternately.

Arthur Miller, Leeds, 1900 writes:

In commencing the Reel of Four, the gentlemen stand back to back, with their partners opposite them, all commence at the one time. Each person describes the figure 8. The gentlemen pass the ladies on the right hand; gentlemen pass each other in the centre, pass on the left; the ladies always return to their first places, gentlemen change places every time with each other, eight bars.

All set to each other, eight bars.

Unfortunately this description is misleading. The figure of a reel for four people is not a figure eight, it's a figure eight with an extra loop. The Fletts kindly point this out.

The Fletts also mention that the reel should be performed "giving shoulders", that is when passing someone of the opposite sex in the reel the shoulder closest to that person should lead (so the dancers are almost back to back), while when passing someone of the same sex the outside shoulder should lead (so the dancers are almost face to face). The RSCDS says nothing of this, but doesn't say not to do it either...

Although the glory of the dance is in the various setting steps used, the arms were also involved. The Fletts say that the most common position was for the dancers to hold their arms akimbo. Though the gentlemen often raised their arms (one, or both, or alternating), and the ladies sometimes raised theirs, and sometimes used them to hold their skirts out.

The earliest written description of the dance actually comes from Thomas Wilson's Analysis of Country Dancing, London, 1808 (page 120). His version is rather different. It starts with two facing couples, each couple turns (I presume a two hand turn), and then everyone turns their opposite, that repeats (turn partner, turn opposite), then the 1st couple crosses in between the second and hey with them. On the second iteration the 2nd couple cross to hey with the 1st.

It has some resemblance to a dance of the same name in Skillern's Twenty Four Country Dances for the Year 1788. Which begins with cast, turn, cast, turn, circle. But that is followed by rights and lefts rather than reels.

It does appear in Kate Hughes's manuscript (Dancing Book) Dundalk Ireland, ~1867, (only she calls it "Merry Dance" (not "Dancers")) where she writes:

1. Top couple turn with right hands cast of(f) one couple turn with left hands cast of(f) a seceaond (second) couple (8 bars)
2. Six hands round (4 bars)
3. Lead up to places (4 bars)
4. Set at corners and turn (8 bars)
5. Reell of three (8 bars)

		Bars
1.	Turn right hands and cast off one couple, turn left hands and cast off a second couple,	8
2.	Six hands round,	4
3.	Lead up to places	4
4.	Set at corners and turn,	8
5.	Reel of three,	8

Courtesy of the RSCDS archives
(and Mary Nisbet who went there for me)

Campbell did publish a dance with this title in his 19th Book, but I do not know whether its figure matches that of the RSCDS dance. Campbell is also said to be the devisor (and not just the publisher) of this dance.

Wilson writes (on page 40):

SINGLE FIGURE (Tune played straight thro')
Hey on your own sides lead down the middle up again & set to top Cu:

OR THUS Set & change sides with the 2^d. Cu: set & back again lead down the middle up again & right & left with the top Cu:

DOUBLE FIGURE (Each strain repeated)
The 3 ladies lead round the 3 gent: the 3 gent: lead round the 3 ladies   lead down the middle up again allemande & set 3 across & set 3 in your places  

Wilson usually gives multiple figures for a tune, the (R)SCDS appears to have conflated the first figure and the last. They seem to have taken the first 8 bars from the first figure (the hey), and added the last 16 bars of the final figure, except these have been reinterpreted to take up 24 bars.

The music consists of two 8 bar strains.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
The 3 ladies lead round the 3 gent: may be found on pages 48-49 and means: "all the ladies take hands, lady 1 leads counter-clockwise above, and then behind the men, at bottom looping back to original places."
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back".
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
set 3 across & set 3 in your places is only described as "set three in their places and set three across" (opposite order) and is found on pages 76-77, and means: "Two lines of three across set, the ones move to their own places, everyone sets again." Wilson does not say whether they take hands when setting. Wilson does not indicate whether the corners set when the 1s move.

RSCDS Book 5 attributes this to Caledonian Country Dances, ~1754. Several people were publishing works with that title around that time, but I can't find this dance in any of them (or none that I have access to).

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Johnson calls the dance The Scotch Ramble and writes:

First Cu. cast off two Cu. Lead up to the Top and cast off Hands 4 round with the 3^d. Cu. Right hands and Left with the 2^d. Cu. foot it at both Corners & turn Lead out on both sides and turn

I can't track down Boag's publication, but it appears (as "I'll Make You Be Fain To Follow Me") in J.P. Boulogne's The Ballroom from 1827:

		Bars
1.	The first Gentleman follows his partner two couples half round, the same back to their places,	8
2.	The cross over, giving the right hand, cast off one couple, then cross over again, giving the left hand, and cast off a second couple, and lead up to top,	8
3.	Set at the corners and turn,	8
4.	Reel of three,	8

Courtesy of the RSCDS archives
(and Mary Nisbet who went there for me)

Lowes' Ball-Conductor and Assembly Guide in ~1830 published by the Messrs. Lowe who write:

The first Gentleman follows his partner round two couples; the first Lady goes down backs two couples, while the Gentlemaan goes down the middle; The Lady then goes up the middle; and the Gentleman up behind the back, passing in between the second and third couples; six hands round; swing corners.

From the Holmain MS (dated sometime between 1710 and 1750):

First Cross hands and go 3/4 round and cast down below the first pair then Cross hands with the third pair set below them and cast up one pair, then right & left, then sett to the 2d woman, She to the first man & turn them then to the 1st woman She to the 2d man & then reel the man with the two women & the woman with the two men then Sett to their partner & turn her.

Originally spelled "Lennons Love to Blanter".

According to The Regency Dance site Campbell wrote:

Foot it & cast off 2 Cu Foot it & cast up again lead down 2 Cu up again & cast off Sett Corners & turn lead outsides

Wallace published a dance with this name, but it has a different figure.

		Bars
1.	Four hands across and back,	8
2.	Down the middle and up again,	8
3.	Set and corners and turn,	8
4.	Reels of three,	8

Courtesy of the RSCDS archives
(and Mary Nisbet who went there for me)

It seems pretty clear here that Down the middle and up again is a progressive move.

It is also present in Smyth's A Pocket Companion for Young Ladies and Gentlemen Containing Directions for the Performance of Quadrilles, Scotch, English, Irish, French, and Spanish Country Dances, Reels, &c., Edinburgh, 1830, and in the Lowes's Lowes' Ball-Conductor and Assembly Guide, Edinburgh, ~1831. Like Boulogne, both of them call it "Mrs. McLeod" though. Smyth writes:

Four hands across and back again.   Down the middle and up again,   Set corners, and turn round,   Set opposite corners and turn round,   a reel of three on each side.  

RSCDS Book 6 claims this was "collected in Oxton, Berwickshire."

Clearly based on The Eightsome Reel just as in quadrilles where The Lancers for 16 was based on The Lancers.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair goes cross hands round with the 2^d pair then back again & casts off, then the 1^st woman and the 1^st man leads up and sets to the 2^d pair then leads down and sets to the 3^d pair; then the 1st woman turns the 2^d man & sets to her partner, then turns the 3^d man and sets again to her partner who was doing the same on the woman's side: then reels at the sides, & falls into their places.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man turns 2^d woman & casts off, then the 1^st woman does the same then the 1^st pair goes figure of eight through the 2^d pair; then the 1^st man sets to the 2^d woman & turns her, then the 1^st woman the same; then the 1^st pair goes four hands round with the 2^d pair & right & left

Playford writes:

The 1. cu. meet and set, and cast off into the 2. cu. place Then meet and set again, and cast off into their own places The 1. man cast off below the 2. man, and go above the 2. wo. into the 2. man's place, his wo. folloing him at the same time Then the 2. wo. cast up above the 1. wo. and go below the 1. man into her own place, the 1. man following her at the same time Then the 1. cu. and 2. man go the Hey till they come into their own places Then the 1. cu. and 2. wo. go the Hey on the other side, and so cast off into the 2. cu. place

The Castle Menzies manuscript entitles this "He'll Aye Be Welcome Back Again".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman & turns her the 1^st woman does the same then the 1^st pair dances down two couple & up again (the woman going down the midle the man behind backs, & returning the contrary way) then casts off; then the 1^st man turns the 3^d woman, then his own partner half round, then turns the 2^d woman, the 1^st woman does the same on the man's side att the same time; then the 1^st pair leads out at the sides

The Castle Menzies manuscript entitles this "You'r Wellcome Charly Stuart".

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair sets to each other & casts off then the 2^d pair does the same then goes cross hands, back again & casts off, then sets cross, & reels att the sides

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man goes figure eight round the 2^d man & the 3^d woman the 1^st woman does the same round the 2^d woman & 3^d man then the 1^st pair leads forward to the 2^d pair then leads up & casts off, then does the same below and casts up; then the 1^st woman goes round the 2^d man & turns her partner, who was doing the same round the 3^rd woman then she goes round the 2^d woman then the 1^st pair leads out att the sides

Walsh writes:

The 1st Cu. foots it and cast off The 1st Cu. foots it again, 1st Man casts down and the 1st Wo. cast up The 1st Man Heys with the 2d and 3d Wo. 1st Wo. Heys at the same Time with the 2d and 3d Men First Man Heys with the 2d and 3d Men, 1st Wo at the same Time Heys with the 2d and 3d We. The 1st Man foots it with the 3d Wo. and turns her, the 1st Wo. does the same at the same Time with the 2d Man Then the 1st Man foots it with the 2d Wo. and turns her, the 1st Wo. does the same at the same Time with the 3d Man The 1st Cu. leads through the 2d and 3d Men, and turn in the 2d Cu. Place Then the 1st Cu. leads through the 2d and 3d We. and turn in the 2d Cu. Place.

Walsh's music consists of four 4 bar strains, each repeated.

Walsh spells the title "Athol Brays".

RSCDS Book 8 says this was "collected in Galloway."

The RSCDS attributes this to William Campbell, and he did publish a dance named Tulloch Gorum, but I can't check whether the figure matches.

In 1796 Skillern published Tulloch Goram and later Skillern (again), and Bland and Wilson all published dances named Tulloch Gorum whose figures do not match.

Smyth and the Lowes (~1830) published a dance called Tullochgorum but again the figure does not match that of the RSCDS.

Allan (~1895) also published a Tullochgorum but his figure does not match that of the RSCDS.

RSCDS Book 9 says "collected in the Border Country."

Longman & Broderip published a dance called The Braes of Bushbie in 1795, but its figure does not match this one.

RSCDS Book 9 says that Walsh published this in Caledonian Country Dances, ~1748, but the earliest I have been able to find is ~1760.

Walsh writes:

First Cu. hey contrary sides then on your own sides the 1st Cu. foot it to the 2d Wo. and turn her the same to the 2d Man the 1st and 2d Cu. foot it and Right hands across Foot it and Left hands across back again cross over one Cu. and turn Right and Left at top

Walsh spells "Canongate" as "Conongate".

Cannongate is a major street in historic Edinburgh (gate=street), and a "cadger" is a carter who brings produce to market.

RSCDS Book 9 says "collected in the Border Country."

RSCDS Book 9 says "collected in the Border Country."

Longman & Boroderip first published a dance called "The Duchess's Slipper" in 1790, and republished it in 1796 (with the same figure) in Twenty Four Country Dances for the Year 1796.

The 1^st. Lady hay with her partner and the 2^d. Gent: The 1^st. Gent: hay with his partner and the 2^d. Lady Lead down two Cou: up again one Cou: Allemande

The music consists of a four bar strain and an eight bar strain, both repeated.

As always, note the lead down and back is progress in the original, while the allemande is not.

The instructions say the 1s should lead down, but dancing down with nearer hands joined flows more easily from the two hand turn, and that's what the videos I've watched show, so that's what I'm doing here.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

[1^st man] casts off & turns the 3^d woman then the 1^st woman the same, then cross hands above & below, the 1^st pair sets cross & reels at the sides.

Campbell (~1795), Bland & Weller (~1800), Preston (1804), Wilson (1809 & 1816) and Tegg (1825) all published dances with this name, but none matches this figure.

RSCDS Book 9 attributes the dance to Blantyre MS, 1805. A claim I cannot verify.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st man sets to the 2^d woman, & casts off, then the 1^st woman does the same, then the 1^st man turns the 3^d woman by the right hand & goes half round his partner, who was turning the 2^d man by the right hand then the 1^st man turns the 2^d woman by the left hand, while the 1^st woman turns the 3^d by the left hand; then the 1^st pair setts cross, & then to each other, & reels att the side.

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Mary Douglas:, wherein he writes:

SINGLE FIGURE Tune played straight thro and Da Capo
Whole figure at top   lead down the middle up again turn your partner   & lead outsides  

OR THUS Cross over 2 Cu:   cross up 1 Cu: towards the top and half figure round the top Cu:   & the double triangle  

DOUBLE FIGURE Tune played twice thro and Da Capo
Hey on your own sides   chain figure 6 round   lead down the middle up again lead thro the top Cu:   whole figure round the bottom Cu:   turn corners   whole figure contrary corners  

The music consists of 2 eight bar strains. The RSCDS has chosen the DOUBLE FIGURE which means the music should be played ABBABB (I think). " " indicates a strain.

Wilson defines his figures in his An Analysis of Country Dancing.

• Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
• Chain figure of six may be found on page 78 of the 3rd edition of the Analysis (1811). The top couple face their partner, as the others face their neighbor then everyone does rights and lefts until they return to where they started. Wilson does not specify how to fit the 6 changes into 8 bars of music.
• lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
• lead thro the top Cu: is half of through bottom and top on page 23 and means "the active couple take hands, lead above the top, drop hands, and cast up to their own places.
• whole figure round the bottom Cu: is defined as whole figure at top (that is when the 1s are at top so they figure through the couple below them) may be found on pages 12-13 and means "the active lady starts and crosses down, looping around the man below her then she again cross between the couple below, looping around the woman below and casts up to her own place. The active man starts a little after her and mirrors her motions, looping the woman below and then the man below."
• turn corners may be found on pages 28-32 and appears to mean: the 1s pass partner right shoulder to turn first corners with both hands, then pass each other right shoulder to turn second corners (presumably again with both hands, though Wilson does not specify), finally passing each other left to return to places.
• whole figure contrary corners is found on page 104 of the 3rd edition of the Analysis (1811). Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

The 1^st pair goes back to back & casts off then back to back again & 2^d woman casts up, & the man down, then reels above & below then the 1^st pair sets hand in hand to the 2^d woman then to the 3^d man then to the 3^d woman & then to the 2^d man; then leads out att the sides.

In his A Companion to the Ball Room, 1816, Thomas Wilson published There's Nae Luck About the House:, wherein he writes:

SINGLE FIGURE (Each strain repeated)
Hands 3 round on the ladies side hands 3 round on the gent: side   lead down the middle up again & right & left at top  

OR THUS Set & change sides with 2^d. Cu: set & back again   lead down the middle up again & hands four round at top  

DOUBLE FIGURE (Tune played twice thro' with repeats)
Cast off 2 Cu: & back again   swing with right hands top & bottom   set contrary corners   & the double triangle.

The music consists of 2 four bar strains, both repeated. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABBAABB. " " indicates two repetitions of a strain.

Wilson defines his figures in his An Analysis of Country Dancing.

• Cast off 2 Cu: (& back again) is defined on pages 8-9 and means: "active couple cast down, go outside the set, passing two other couples, then turn away from each other to face up, and return to places."
• swing with right hands top and bottom this is defined on pages 87-88: "Partner right turn half, using the momentum to loop round your partner's place, and cast down below the 2s to meet in the middle between them and the 3s, again right turn half casting up on their own sides back to original places.
• set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back.
• the double triangle does not appear until the 3rd edition of the Analysis on page 113 and means: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
  This is completely different from the RSCDS version of double triangles.

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

Anderson published a dance called Perth Inch in 1897 but the figure is different.

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

According to Hugh Thurston's Scotland's Dances, 1954 (on page 98) this dance was taught by Mr. William Seymour for Kilbride in 1805.

I do not have a description of the figure so I can't check that it matches the modern one.

In many ways this is a three couple dance in a four couple set with the 1s progressing one space down, but there are a number of whole set figures.

Monymusk is an estate in Aberdeenshire is Scotland.

Cracking Chestnuts says the tune was written by Daniel Dow and published in Thirty Seven New Reels and Strathspeys in 1776. Francis Werner set figures to the tune in his 8 Cotillions, 6 Favorite Contry Dances and two Minuets, with their proper Figures for the Harp, Harpsichord and Violin Book xvii for the year 1785. John Preston in 1786 published a different set of figures in 1786 and this version of the dance appears to be based on those.

Hugh Thurston in Scotland's Dances (1954) claims: "'Monymusk' is not a traditional Scottish dance. It was resurrected in 1934 (out of a book published in England in 1786) and there is no evidence that it was ever danced in Scotland before that date." (as quoted in Cracking Chestnuts)

Werner Book XVIII For the Year 1785 (London, 1785) writes:

Turn your partner with the right hand; quite round, and cast off one Cu. Turn with the left quite round, Set three and three top and bottom, and turn your Partner, Set three and three sideways and turn your Partner. Hands six quite round and back again Lead out sides and turn your Partner with both hands.

John Griffiths in The Gentleman & Lady's Companion (Norwich, CT, 1798) has a different figure:

Six hands half way round and back, first and second gentlemen balance together and turn round, the 1st and 2nd ladies do the same, down the middle, up again, cast off, right and left

In A Treatise on Dancing (Boston, 1802) Saltator writes:

First couple cross over, down the out side, promenade round the gentleman, fall between the second couple, the lady between the third, six dance address, first couple promenade and fall below the second, six demicircinate, right and left atop.

Wilson Treasures of Terpsichore, page 80 (London, 1809)

Single Figure

Whole figure at top   down the middle, up again, and foot it to the top couple  .

Double Figure

The top couple swing with right hands round one couple, then with the left   set three across and three in your places   hands six round and back again  , and lead through bottom and top  .

Howe Complete Ball-room Hand Book, page 82 (Boston, 1858)

First couple join right hands and swing once and a half round, go below second couple (the first lady goes below second gentleman on the outside) (first gentleman at the same time goes below and between second and third ladies) — forward and back six, first couple swing three quarters round — first gentleman goes between second couple (on the inside) first lady goes between third couple (on the indside) forward and back six, first couple swing three quarters.

Burchenal American Country-dances, page 55 (New York/Boston, 1912)

Swing Once and a Half Around
Cast
Forward and Back Six
Swing Three-Quarters Around
Forward and Back Six
Swing Three-Quarters Around to Place
Right and Left

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

The RSCDS attributes this dance to Alexander Bowman. Hugh Thurston's Scotland's Dances, 1954 refers to something called the Bowman MS (held in the Laing Collection at the University of Edinburgh) dated somewhere between 1750 and 1800.

RSCDS Book 12 says "collected in the Border Country."

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

According to Robert Keller's site this appeared in Walsh's 2nd Edition of Caledonian Country Dances, but I only have access to the 3rd wherein Walsh writes:

The 1st Cu. foots it and casts off then foot it again, and the Man casts off, and the Wo. casts up figure contrary sides figure on your own sides Foot it corners and turn ∴ foot it other corners and turn ∵ Hey contrary sides foot it to your Partner and turn it out.

Johnson published the same figure in about 1742.

The music consists of four 4 bar strains.

There are 8 sub-figures with a mark between them, suggesting that each strain should be repeated. Unfortunately the figures seem take different amounts of time. I'd expect The 1st Cu. foots it and casts off to take 4 bars, but I'd expect figure contrary sides to take 8.

So perhaps Walsh means only half of a figure of eight. That would take 4 bars.

But we still have Hey contrary sides. That takes 8 bars (or maybe 6, but not 4). Could we do half a hey? No, that leaves the corners in the wrong place. Could the 1s do half a hey while everyone else does a full hey? Then we need to make sure the 1s don't bump into the 2s+3s as the 1s set and the corners finish.

This solution does not seem a good one, but I can't think of a better. I doubt it's what Walsh intended.

Could the final strain be played 3 times? Walsh does use a pecular mark at the end of this sub-figure. That just seems worse.

Does Walsh intend the music to be played at four counts per bar rather than two? But most of the sub-figures fit into 4 bars...

The RSCDS attributes this dance to Johnson (who published it in ~1748), but Walsh published it first.

Walsh writes:

Hey on the Men's side Then foot it to Partners then to sides turn single after Each then the 1st Man turn 3d. Cu. half round and cast up into the 2d Place The Wo. do the same back again change sides and foot it cast up change sides and foot it cast off

The music consists of two 4 bar strains.

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

Walsh published Kiss Quick Mother's A'Comeing (sic) in his The Compleat Country Dancing-Master Book 2, 3rd Ed. ~1740 Given that this is the third edition, the dance may well have appeared earlier but I don't have access to the earlier editions.

Johnson republished it a few years later in his Caledonian Country Dances of ~1748.

In 1735 Walsh a different figure named Kiss me fast my Mother's coming. The Merry Medley, 1749 published yet another figure named Kiss me quick my Mother's coming.

Anyway in 1740 Walsh writes:

Each strain twice

First Man kiss quick the 2d Wo. and cast off and go the whole figure round the 3d Cu. and stand in 2d Cu. place And the 1st Wo. do the same 1st man heys with 3d Cu. at the Bottom and the 1st Wo. heys at top with 2d Cu. at the same time Then 1st Cu. cast up to top and go the whole Figure and cast off into the 2d Cu. place

Music consists of two 8 bar strains both repeated.

Note the kiss has been replaced by a bow

Walsh writes:

The 1st Man Heys with the 3d Cu. his Partner at the same Time heys with the 2d Cu. Then the 1st Man Heys with the 2d Cu. 1st Wo. at the same Time Heys with the 3d Cu. First Cu. leads thro' the 2d and 3d We. and turn in the 2d Cu. Place First Cu. leads through the 2d and 3d Men and turns at Top The 1st Cu. Back to Back and cast off and turn The 2d Cu. does the same First Man leads the 2d Wo. off and turns her First Wo. leads the 2d Man off and turns him, 1st Man cast off at the same Time.

Walsh spells the dance "Soldier Ladie" rather than "Sodger Laddie".

Walsh uses a 32 bar jig tune repeated twice, while the RSCDS has cut the dance length in half.

RSCDS Book 13 says "collected in Angus.

The earliest source I can find for this was published in London, in 1844. The next two sources I have were both published in 1848. One in the US, and the other in the UK.

John Johnson published a dance with this name in 1744, David Rutherford published one in 1756 but they both have a different formation and figure.

In his The Ball-Room Polka, Polka Cotillon, and Valse à Deux Tems. (London, 1844), page 63, Eugene Coulon writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room as follows :— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom or the room. It is generally danced with the Highland step.

In his The Ball-Room Companion, A Hand-Book For The Ball-Room And Evening Parties (New York, 1848), page 61, George Appleton writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room, as follows:— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom of the room. It is generally danced with the Highland step.

This is exactly the same as the RSCDS version (except that the RSCDS has men in the middle, and women on the outside, and is a round the room dance.

In London, at the same time, Charles Mitchell published A Guide to the Ball-Room & Illustrated Polka Lesson Book:

(As danced at Blair Athol.)

Usually danced by two couples; but being a favourite, the admission of many is not unusual. The company form parties of three along the room; the lady's position being between two gentlemen, and fronting the opposite three: all then advance and retire, each lady performing the reel with her right-hand partner and the opposite gentleman to places: hands three round, and back again: all six advance and retire; after which lead through to the next three, continuing the figure to the end of the room.

Adopt the Highland step, and music, of three parts tune.

The wording is almost the same on both sides of the Atlantic

In London, ~1857, in Milner and Sowerby's Etiquette for Ladies and Gentlemen, they write:

This is a favourite dance, and is easily learned. It is performed by the company arranged in parties of three, all down the room, in the following manner: a lady between two gentlemen facing the opposite three; they all advance and retire, each lady then performs the reel with the gentleman on her right hand, and the opposite gentleman, to places; hands three round and back again; all six advance and retire; then lead through to the next trio and continue the figure to the bottom of the room, as in the Spanish Dance.

And his note at the end of The Spanish Dance reads:

The dance is executed either in a line or in a circle; and sixteen or twenty couples may engage in it.

In his Complete Ball-room Hand Book (Boston, 1858), page 88 Howe writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right hand partner, and then with her left hand partner to place — three hands round, and back again — all forward and back, all forward again and pass to the next couple, (as in the Haymakers.)

Basically the same as Appleton except that the reels are with the people in the trio instead of with the left hand person in the opposite trio.

In his Squire's Practical Prompter: or, Ball Room Call Book (Cincinnati, 1887), page 75, A. Squire writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right-hand partner, and then with her left-hand partner to place; three hands around and back again; all forward and back, forward again and pass through opposite and face next three.

Which is basically a repeat of what Howe wrote.

In his The Excelsior Manual of Dancing, Glasgow, ~1872, J. F. Wallace writes:

This dance is arranged in three's, a lady between two gentlemen, facing the opposite three. As many as the room will accomodate may thus be arranged.

1. They all advance and retire twice (8 bars)
2. Each lady then performs the Reel with the gentleman on her right hand, and the opposite gentleman to places, (8 bars)
3. Three hands round and back, (8 bars)
4. Six advance and retire, then lead through to the next three, (8 bars)

Continue until the bottom is reached

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Bremner writes:

The 1^st Cu: cast off one Cu: hands four round with the 3^d. Cu: cast up and hands four round with the 2^d. Cu: cross over two couples lead up to the Top, foot it and cast off turn corners with your right hands and turn Partner with your left the other corners the same Hey contrary sides then your own sides

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

May be found in the Vaughan Williams Memorial Library online collection: Johnson Vol. 8.

Johnson writes:

First and 2^d. Cu. foot Partners then foot sideways Cross over 2 Cu. Lead up to the Top and cast off the Man whole figure at Bottom and Wo. the same at top at the same time Hands across at Bottom Right and Left at Top

The original music consists of a 4 bar A strain and an 8 bar B strain. The A music appears to be repeated 4 times, the B twice.

Johnson's book is undated, Robert Keller provides 1752 as a date. The RSCDS attributes this dance to Thompson, 1755, but Johnson probably published the figure (the same words even) earlier.

The RSCDS has changed Cross over 2 Cu. Lead up to the Top and cast off (which means, 1s cross by right, go below 2s, cross by left, go below 3s, then lead up and cast down) into a weaving pattern through the other couples which catches the spirit of the movement if not the exact nature of it.

They also changed the figure of eights into reels, which basically follow the same tracks for the 1s but give the others something to do.

Finally they have changed Right and Left at Top to a "left hands across". The right and left would have needed to fit into four bars, instead of the normal 8, and 70% of the time Johnson follows a right hands across with a left hands back, so RSCDS may be right to consider this a misprint.

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford published essentially the same figure in 1759. Both Johnson and Rutherford spell this dance as "Willie with his tartan Trues". The RSCDS credits this dance to Rutherford

Hey Contrary sides Hey on your Own sides Cross over two Couple Lead up to Top, foot it And Cast off Foot it Corners & turn Foot it the Other Corners & turn Lead out Each side & turn your Partner

Hey contrary sides Hey on your own sides Then the Man falls in at Bottom & the Wo. falls In at Top Foot it all six & turn your own Partner Then the Wo. falls in of the Man's side & the Man on the Woman's side foot it all 6 & turn y^r. Partn^er

Thompson writes:

The 1^st. Cu. gallop down two Cu. up again and cast off the 2^d. Cu. do the same the two Men lead between the two We. and turn the We. do the same between the two Men the 1^st. Cu. heys with the 2^d. Wo then with the 2^d Man cross over half figure Right and Left

In his A Companion to the Ball Room, 1816, Thomas Wilson published Lady Harriet Hope's Reel:, wherein he writes:

SINGLE FIGURE (1^st. strain repeated 2^d. played straight thro')
Swing with right hands round 2^d. Cu: then with left   lead thro the bottom & half poussette with top Cu: 

OR THUS Set & hands across quite round with 2^d. Cu: set & back again   lead down the mid: up again & right & left with top Cu:  

DOUBLE FIGURE (Tune played twice thro' as marked)
Set ¿3? hands 6 round & back again   whole figure at top   lead down the middle up again set to top   & whole figure contrary corners  

The music consists of a four bar strain and an eight bar strain. The RSCDS has picked the third figure (the one marked "DOUBLE FIGURE") which means the music should be played AABAAB. " " indicates two repetitions of a of the first strain, and " " indicates one repetition of the second (each accounting for 8 bars of music).

Wilson defines most of his figures in his Analysis of Country Dancing, but he does not define what he means by set 3 hands 6 round & back again. It seems unlikely that he would have people do two bars of setting, then three bars circling left and three right; the RSCDS's suggestion of set, circle left half, set, circle right half seems better.

The RSCDS has changed the first figure eight into a reel of four, and made it progressive.

Wilson's lead down the middle up again takes only four bars, not the 6 given to it by the RSCDS and doesn't involve changing sides. Wilson's set should be for four bars, not two (he liked things in four bar chunks).

Wilson's whole figure contrary corners means half figure eight down around the 3s then half figure eight up around the 2s (see his description). The RSCDS has turned this into a finishing reel with a cross by the right.

The dance was originally published in 1771, presumably in a "Twenty four country dances for the Year 1771", a work now lost.

SINGLE FIGURE 1^st. strain played straight thro 2^d. repeated
Hey on your own sides  
swing with right hands round 2^d. Cu: then with left
OR THUS Cross over one Cu: half figure round the 3^d. Cu:   & lead outsides  

DOUBLE FIGURE Tune played twice thro as marked
Whole figure at top   Chain figure 6 round   lead down the middle up again & right & left with top Cu:   & lead through the bottom & top  

The music is an eight bar strain and a four bar strain. In the double figure (which is what the RSCDS uses) these should be played ABBABB.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Whole figure at the top may be found on page 39. The active lady starts and crosses down, looping around the man below her then she again cross between the couple below, looping around the woman below and casts up to her own place. The active man starts a little after her and mirrors her motions, looping the woman below and then the man below.
2. Chain figure of six may be found on page 78. The top couple face their partner, as the others face their neighbor then everyone does rights and lefts until they return to where they started. Wilson does not specify how to fit the 6 changes into 8 bars of music.
3. Lead down the middle, up again may be found on page 7. The top couple meet and join hands, then lead down to between the 3s, and lead back to 2nd place as the 2s move up. This usually takes 4 bars.
4. right and left may be found on page 46-49. It does not mean what I expect, instead: 2nd corners change by left shoulders, 1st corners right, 2nd corners change back by left, 1st corners by right. And all of this in four bars
5. Wilson does not seem to define lead through the bottom & top but it seems self-explanatory.

Thompson writes:

Hey contrary sides Hey your own sides cross over 2 Cu. Lead up the middle and cast off Hands 6 round and right and left at Top

Thompson writes:

The 1^st. Cu. half figure down on their own sides and turn the same up again and turn Gallop down and up and cast off Right hands and Left

The standard progression is a little tricky here. I have the 1s pass both 2s and 3s in the final rights and lefts.

RSCDS Book 17 attributes this to "Caledonian Country Dances", 1754.

Walsh published books with "Caledonian Country Dances" in their titles in about 1735, 1737, 1740, 1745, 1748, 1751 and 1755, and Johnson published one in 1750. None of these works contains a dance with anything approaching this name.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Donald Bane is an anglicization of Domnall Bán (Donald the Fair) and was the great-grandson of the king killed by MacBeth.

Wilson writes (on page 80):

SINGLE FIGURE Each strain repeated
Hands 3 round on the ladies side hands 3 round on the gents side   lead down the middle up again & right & left with the top Cu:  

OR THUS Set & change sides with the 2^d. Cu: set & back again   lead down the middle up again & allemande  
DOUBLE FIGURE
Hey on your own sides   swing with right hands round 2^d. Cu: then with left   hands 6 round & back again   set contrary corners  

Wilson usually gives multiple figures for a tune, this is an attempt to understand the double figure he describes.

The music consists of two 4 bar strains. Wilson's usual statement for double figures (which he gives on the dance above this) is Tune played twice through with repeats. So the music should probably be played AABBAABB.

Wilson spells the dance "Donaldbane".

Wilson defines most of his figures in his An Analysis of Country Dancing.
swing with right hands round 2^d. Cu: then with left may be found on pages 85-86 and means: right hand turn half (swing) to cross the set, loop partner's starting place, cross the set again above the 2s, ending proper between 2s & 3s.
left hand turn half to cross the set, loop partner's place, crossing below the 2s and ending home.
Wilson does not specify which shoulder to use when crossing the second and fourth times. set contrary corners may be found on pages 55-57 and means "move to 1st corner and set, pass partner right moving to 2nd corner, set, return to places the easiest way". Wilson does not show the corners setting back, but I expect modern dancers would want to.

It is not obvious to me where in this sequence Wilson expects progression to happen. Perhaps the first movement of set contrary corners has the 1s moving down and the 2s up.

RSCDS Book 18 says "collected in Orkney."

The starting position is best described by looking at the crib diagram.

1. L1 is where M1 normally is
2. M1 is where M2 normally is
3. L2 is where L1 normally is
4. M2 is where L2 normally is
5. L3 is where she normally is
6. M3 is where L4 normally is
7. L4 is where M3 normally is
8. M4 is where he normally is

The axum reel is best described by looking at the crib diagram.

1. The person where M1 normally is moves to L2's normal place (across the set and down one) and faces up.
2. The person where M2 normally is moves to M1's normal place (and faces down).
3. The person where M3 normally is moves to M4's normal place (and faces up).
4. The person where M4 normally is moves to M2's normal place.
5. The person where L4 normally is moves to M3's normal place (across the set and up one) and faces down.
6. The person where L3 normally is moves to L4's normal place (and faces up).
7. The person where L2 normally is moves to L1's normal place (and faces down).
8. The person where L1 normally is moves to L3's normal place.

RSCDS Book 18 says "collected in Aberdeenshire (Hill MS - adapted)."

Wilson writes:

SINGLE FIGURE1^st. strain repeat 2^d. played straight thro & D.C.
Set & half right & left with 2^d.; set & back again   lead don the middle up again & half poussette with top Cu:

OR THUSHands 3 round on the ladies side hand 3 round on the gent: side   lead down the middle up again & set to the top Cu:

DOUBLE FIGURE Tune played twice thro' as marked
Swing with right hands round 2^d. Cu: then with left   set 3 across set 3 in your places whole figure contrary corners   chain figure four round with top Cu: & allemande

Wilson has a different figure for this tune in his earlier book Treasures of Terpsichore, 1809. Preston has yet another figure in 1796. Cahusac gives two figures in 1795. Campbell has a figure in Campbell's 9th Book of New and Favorite Country Dances & Strathspey Reels from about 1794. While Rutherford, 1756 and Johnson, 1742 give the same figure (Rutherford's compleat Collection of 200 of the most celebrated Country Dances both Old and New, Vol. 1) — but the music they give is a different tune (for one thing it is a jig, not a reel).

The following is an attempt to understand Wilson's DOUBLE FIGURE which is the basis of the Scottish Country Dance.

In An Analysis of Country Dancing Wilson defines some of the terms he uses. A "whole figure" is just a "full figure eight" (as you might expect, Playford uses the same phrase). Wilson does not explicitly define "whole figure contrary corners" in his first edition, but he does in his second on page 104 of the 2nd edition of the Analysis (1811). Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

Chain figure for four is also defined in the second edition, on page 76 and it is what anyone else would call rights and lefts.

Wilson gives a very unclear definition of "allemande" it might be a modern gypsy, or a back to back (he defines neigther of these figures). He says the two people doing the allemande walk in circles around one another, he does not mention taking hands, he does not say how their faces are oriented.

Wilson, on page 96, writes:

SINGLE FIGURE Tune played straight thro
Cross over 1 Cu: half figure round the 3^d Cu:   & lead outsides  
OR THUSCast off 2 Cu: & back again   & whole poussette  
DOUBLE FIGURE Each strain repeated
Hey on your own sides   lead down the middle up again allemande   turn corners   & the double triangle  

This is an interpretation of the DOUBLE FIGURE. The music is two 8 bar strains (jigs) both repeated.

Wilson defines most of his figures in his An Analysis of Country Dancing.
Hey on your own sides is only defined as part of "Hey Contrary Sides, and Hey of your own Sides" on page 83 and he shows a mirror/reflection hey.
lead down the middle up again may be found on pages 10-11 and means: "lead down two couples, turn, lead up to the place of the couple who were below (who move up)" Wilson does not specify a hand hold for the lead, nor whether the 2s take hands.
allemande may be found on page 7 and appears to mean going about your partner in a circle. In a later edition of Analysis Wilson adds the phrase "back to back". Wilson does not define a "back to back" figure. His allemande is a bit rounder than a normal back to back but perhaps that is the closest equivalent.
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.
turn corners may be found on pages 28-32 and appears to mean: the 1s pass partner right shoulder to turn first corners with both hands, then pass each other right shoulder to turn second corners (presumably again with both hands, though Wilson does not specify), finally passing each other left to return to places.
the double triangle does not appear until the 3rd edition of the Analysis on page 113 and means: the middle couple loop first corner right shoulder pass outside partner's place, then loop 2nd corner right shoulder and return to place.
This is completely different from the RSCDS version of double triangles.

According to the the Regency Dance site Wilson devised, and Button & Whitaker published, a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Since the dance contains double triangles, it seems likely Wilson was its deviser.

The first Cu. sets to the 2^d. Wo. & Hands round all three The same to the Man Hands round all four with the 2^d. Cu. Right Hand & Left into the 2^d. Cu.^s place Foot it Corners & turn Hey Contrary sides Foot it to your Partner and turn it out

According to the the Regency Dance site Wilson devised, and Button & Whitaker published, a dance with this name but whether its figure matches the RSCDS's, I cannot say.

Since the dance contains double triangles, it seems likely Wilson was its deviser.

The RSCDS attributes this dance to William Campbell, and he did publish it, but he attributes it to "D. Mackenzie".

On page 17 of book 10, Campbell writes:

The 1^st. & 2^d. Cu Reel on the Ladys side the same on the Gents. side the 1^st. Cu. lead down the middle up again to the top and Allemande.

The music consists of a four bar strain and an eight bar strain. I assume it is intended to be played AABB.

I think the RSCDS's interpretations of the reels is unlikely, given how crowded that would make the duple minor set.

Thompson calls this dance And thou wart mine only Dear, and writes:

The 1^st. Cu heys with the 2^d. Wo. then with the 2^d. Man the 1^st. Cu lead down one Cu cast up and turn then the 2^d Cu. lead up and cast off and turn the 1^st. Man set across and turn the Wo. do the same Gallop down and up cast off Right Hands and Left

The music is a jig with two eight bar strains. From Thompson's markings I'm guessing it should be played ABABABAB.

Book 21 has a note: "Collected in Aberdeenshire."

I have not yet found a copy of Anderson's earlier work but this dance also appears in D. Anderson's Ball-Room and Solo Dance Guide, of 1897, wherein he writes:

Reel Time.

Top couple down the centre and back.

Top gent. set and turn second lady.

Top lady set and turn second gent.

Reel four across.

Promenade round with own partners.

First and second couples pousette.

Repeat to bottom of dance.

Courtesy of National Library of Scotland, licensed under:

On page 117 Anderson claims to be the devisor of this dance.

Book 21 has the comment "Collected from an old manuscript."

Playford published a dance called "The Maid in the Mill" in 1698, Thompson published a different figure in 1780. Walsh published a dance called "Maid of the Mill" in 1766, and Hime published a different figure in 1795. None of these matches the RSCDS figure.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Bourne, ~1820 in Admired Cottillions for Balls and Private Parties, 4th Sett (New York) published a dance with this name, but a different figure.

In 1805 Preston published a dance called Miss Maxell's Reel, but the figure does not match.

Thompson writes:

Swing right hands & cast off one Cu the same again lead to the top & cast off lead to the bottom & cast up one whole figure at top & bottom then the same on your own sides 4 hnds round at bottom right and left at top .

Also published in The London Magazine:

Swing right hands and cast off one couple , the same again , lead to the top and cast off , lead to the bottom and cast up one , whole figure at the top and bottom , then the same on your own sides , four hands round at bottom , right and left at top .

Smyth writes:

Place the Ladies as for a set of Quadrilles, and the Gentleman in the centre. The Gentleman with the first and third Ladies make a reel of three, while the other two Ladies circle round them. All set, during which the gentleman turns to each Lady alternately, he then forms the reel of three with the other two Ladies, and set as before.

A year later, the Lowe brothers published a very similar version:

(Places — one Lady at the top of the room, one at the bottom, one at each side, and the Gentleman in the middle.) The Gentleman, with two of the Ladies, makes a reel of three, while the other two Ladies circle round them; all set, during which the Gentleman turns to each Lady alternately; he then forms the reel of three with the other two Ladies.

The earliest written description of the dance actually comes from Thomas Wilson's Analysis of Country Dancing, London, 1808 (page 125). Wilson provides two versions, the first is similar to this one, except that instead of orbiting the set during the reel, the inactive dances cross through the reel (and then cross back) instead. The other version, which he claims is the "common reel" reads:

The Lady in the middle at B, heys with the Ladies at A C, then sets to them, she then sets to the Gentlemen at F D; then heys with the Gentlemen at F D, which brings one of them into the centre, so that they all progressively occupy every situation in the figure.

Unfortunately his description of the progression omits some vital movements.

The RSCDS claims that J. Grahamsley Atkinson, Jun. was the source for this dance in his Scottish National Dances - A Practical Handbook, Edinburgh, 1900, but Smyth was there first, and Wilson before him. Atkinson doesn't mention music; the RSCDS says it should be a strathspey/reel medley.

SINGLE FIGURE Each strain repeated
Set & change sides with 2^d. Cu: set & back again   lead down the middle up again & right & left with top Cu:  

OR THUS Cast off 2 Cu: & back again   lead down the middle up again & allemande  

DOUBLE FIGURE Tune played twice thro with repeats
Hands 3 round on the ladies side, hands 3 round on the gent: side   lead down the middle up again cast round the top Cu:   set 3 across set 3 in your places   half poussette with top Cu: & lead thro the bottom  

The music consists of two eight bar strains. So if you repeat each strain you get 32 bars, which doesn't make sense for a SINGLE FIGURE. I think Wilson must have a misprint.

None of Wilson's figure's matches the RSCDS version very closely. The DOUBLE FIGURE at least begins with the two circles, followed by a lead down, up and cast. After that things are completely different.

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

1. Hands 3 round on the ladies side, hands 3 round on the gent: side this figure does not seem to be defined in any of Wilson's books - which is odd because Wilson uses it frequently. In The Sutherland Reel the RSCDS interpreted it as: "Hands three round at top on the Ladies' side, etc." which has the 1s circling with L2, and then the 1s circling with M2. Whereas in Ruffian's Rant they have the three ladies circling, and then the three gents - which seems a more obvious reading of the words.
2. lead down the middle up again cast round the top Cu: may be found on page 27 Top couple leads down to between the third couple, 1s turn and lead up to the top and cast down as the second couple moves up. (Wilson's pictures show them moving up the sidelines and not leading)
3. set 3 across & set 3 in your places is defined on page 21 and means: "L1 moves between the 2s as M1 moves between 3s, then the lines of three across set, then L1 moves back to her place and M1 back to his, and then lines of three on the sides set to each other.
4. half poussette is defined on page 14 and means "top two couples join hands with partner, circle, counter-clockwise, around the other couple to return to places."
   Note: that this is actually two thirds of the whole poussette as defined by Wilson, and what most people would call a full poussette.
5. lead thro the bottom does not seem to be defined. I assume it means lead through the bottom couple and cast back to the middle.

John Young (of the Playford family) published two figures to this tune and with this name. The first was published in 1710, and the second in 1718. The RSCDS claims to be interpreting the second figure.

The first Cu. cast off and whole Figure at Top Then cast off and whole Figure at Bottom Then lead quite thro' the Top and cast off in the 2d Cu. Place, and Right and Left quite round with the 2d Cu Then cross over below the 3d Cu. and half Figure with the 3d Cu. and lead up thro' the Top and turn your Partner.

The music is in 3/2 time and consists of a 4 bar strain and an 8 bar strain, both repeated.

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st pair joins cross right hands & 1^st woman turns under her own right arm, then they join cross left hands & the 1^st man turns under his own left arm, then the 1^st pair leads down & up between the 2^d pair & casts off, then leads down between the 3^d pair & casts up, then goes the figure of eight, the man on the womans side & the woman on the man's side, (setting en passant to each other) & then foots it into their own places

The full title is "Couteraller's Rant a Strathspey Reel".

RSCDS Book 34 says "collected in Canada."

The Castle Menzies Register of Dances also contains a dance called O'er the Watter to Charly but it's figure does not match this one.

Thomas Wilson also published dances with this name, but again, none matches this figure.

Elias Howe, in Boston, also published a dance with this name.

Both Johnson, in 1753, and Rutherford, in 1759 published dances with this name, but neither matches this figure.

I have not yet found a copy of Anderson's earlier work but this dance also appears in D. Anderson's Ball-Room and Solo Dance Guide, of 1897, wherein he writes:

Reel Time.

Top couple down the centre and back.

Top lady turn second gent. by right arm half a measure, then turn by left arm half a measure.

At the same time top gent. turns second lady by right arm half a measure, then turn by left arm half a measure.

Reel four across the dance.

Pousette with own partners.

Repeat figure to bottom.

Courtesy of National Library of Scotland, licensed under:

On page 117 Anderson claims to be the devisor of this dance.

SINGLE FIGURE Tune played straight thro
Set & change sides with 2^d. Cu: set & back again   lead down the middle up again & right & left with the top Cu:  

OR THUS Cast off 2 Cu: & back again   & whole poussette  

DOUBLE FIGURE Each strain repeated
The 3 ladies lead round the 3 gent:   the 3 gent: lead round the 3 ladies   set & change places with 2^d Cu: allemande   & whole figure contrary corners  

SINGLE FIGURE Tune played straight thro
Hands across with 2^d. Cu: & back again   lead down the middle up again & allemande  
DOUBLE FIGURE
Hey contrary sides   hey on your own sides   swing with right hands round the 2^d. Cu: then with left   chain figure 4 round with bottom Cu: & half poussette with top Cu:  

Wilson spells the title as "Captain Macintosh".

The music consists of two 8 bar strains.

The RSCDS is interpretting Wilson's first DOUBLE FIGURE

Wilson defines most of his figures in his An Analysis of Country Dancing, 3rd Edition.

• The 3 ladies lead round the 3 gent: may be found on page 16 and means: "all the ladies take hands, lady 1 leads counter-clockwise above, and then behind the men, at bottom looping back to original places."
• The 3 gent: lead round the 3 ladies may also be found on page 16 and means: "all the men take hands, man 1 leads clockwise above, and then behind the ladies, at bottom looping back to original places."
• set & change places is defined on page 51 and means: "the active couple face the couple below, a set to them (they set back), then change places passing right shoulders. (Wilson also shows how to change back)
allemande may be found on page 3 mean going about your partner in a circle, "back to back". Wilson does not define a "back to back" figure. His allemande is a bit rounder than a normal back to back but perhaps that is the closest equivalent.
This is an unusual meaning for "allemande", but, as best as I can understand, that is what Wilson describes.

• whole figure contrary corners is defined on page 104. Rather awkwardly, Wilson provides two different (contradictory) directions. In the first "the 1s cross down, W1 in front of M1, W1 around M3, M1 around W3, then cross up, W1 around W2, M1 around M2, and return home". In the second the "1s cross up, W1 around M2, M1 around W2, then cross down W1 around W3, M1 around M3, and return home.

The RSCDS gives no source for this dance, but Robert Keller's site says The Ladies' Pocket-Book for the Year 1794 contained a dance which consisted of two reels, lead down the middle, back and cast off, and then rights and lefts.

Rutherford spells this dance "Lads of Saltcots" and writes:

The first Cu. Hey with the 2^d. Man Then with the 2^d Wo. Gallop down the middle up again & cast off Right & Left at Top

Kate Hughes writes:

1. Top couple swing in the centre (8)
2. Down the centre at the same time the seceaond gent cross over to his partner (8)
3. Top and seceaond couples set in the centre facing each other and turn partners (8)
4. Reel four down the dance (8)
5. Pousett (8)

The RSCDS attributes this to Thomas Skillern's Twenty Four Country Dances for the Year 1781 but according to Robert Keller that work does not contain any dance with a name like "Willie's Rare and Willie's Fair", nor does it contain a dance whose figure matches this one.

The RSCDS claims the dance "What You Please" is also found in the 1781 work, when, in fact, it is in the 1780 publication, so I checked that as well and found no dance with this name nor with this figure.