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                    <text>BRAVE WOLFE
Cheer up my young men all,
Let nothing fright you;
Though aft abjections rise
Let it delight you.
Let not your fancy move,
Whenever it comes to trial;
Nor let your courage fail,
At the first denial.
I sat down by my lave,
Thinking that I wooed her,
I sat dawn by my lave,
But sure nat to delude her.
But when I got to speak,
My tongue it do so quiver,
I dare not speak my mind,
Whenever I am with her.
Love here' s a ring of gold,
It is l0ng that I have kept it;
My dear, now for my sake,
I pray you to accept it.
When you the posy read,
Pra.y think upon the giber,
My dear remember me,
Or I am undone forever.
Then Wolfe he took
Of his nost lovely
Although it seemed
To him an act ~ast

his leave,
jewel;
to be,
cruel.

Although its for a span,
I am foreed to leave my lave
My dear wherever I rove
I'll never forget my dove.
So then this valiant youth,
Embarked an the ocean;
T·:) free America,
From factions dire commotion.
He la.ndec at Q.1 ebec,
1.
Being all brave and hearty;
The cityto attack;
With his most gallant party.
Then Wolfe drew up his men
In rank and file so pretty,
On ~bra:nhlltn' s to fly heights,
Before thiR noble city.

�-

BRAVE WOLFE
A distance fro~ the town,
The noble French did meet themj
In d-:&gt;uble m1mber there,
Resolved for t-:&gt; beat them.
M-:&gt;ntca lm and this bra.ve y-:&gt;uth,
T-:&gt;gether tbey arewalking;So well they do agree,
Like brothers they are talking.
Then each one tD his post,
As they no now retire,
Oh, then their nuwberous hosts,
Began their c'lreadful fire.
Then instant from his horse,
Fell this most noble hero;
May we lament his bss,
In words -:&gt;f deepest sorrow,.
The French are seen to break,
Their column all are flying;
Then Wolfe he seems to wake,
Though in the act of dying.
And lifted up his !"lead,
The drums did sound and rattle;
And t-:&gt; ris army said,
I pray how go the battle.
His Aid-de-Camp replyed,
Brave general 'tis in our favour
Quebec and all her pride,
'Tis nothing now can save her.
She falls into our hands,
With all her wealth and treasure;
0 then brave Wolfe reply~d;
I ruit the w:&gt;rld with pleasure.

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                  <text>I.G. Greer Folksong Collection</text>
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                  <text>&lt;p&gt;The I. G. Greer Folksong Collection, presented here as part of the Documenting Appalachia digital initiative, consists of approximately 1,100 document pages that comprise more than 300 individual song titles, some with as many as ten distinct variants. The documents in this collection include manuscripts (some written as early as the mid-19th century), typescript transcriptions produced by Dr. Greer’s secretarial staff, and handwritten musical notations. Songs represented herein range from traditional Child Ballads, traditional English and Scottish ballads as well as their American variants, to 19th century popular music to musical compositions of local origin.&lt;/p&gt;&#13;
&lt;p&gt;Biographical Note. Isaac Garfield Greer (4 December 1881 - 24 November 1967) was a history and government professor for Appalachian State Teacher's College from 1910 to 1932. A native of Watauga County, North Carolina, he was born to Philip and Mary Greer of Zionville and initially worked as a public school teacher and principal until he was hired at Appalachian State Teacher's College. From 1932 to 1948, he worked as superintendent of Mills Baptist Children's Home in Thomasville, North Carolina. From 1948 to 1954, Greer was the Executive Vice-President of the Business Foundation of North Carolina. Greer and his first wife Willie Spainhour had two sons I.G. Greer, Jr. and Joseph P. Greer. Greer's second wife was Hattie O'Briant. Dr. Greer was an avid collector and singer of folk songs. He was a nationally recognized authority of mountain folk music during his lifetime. A bass player, Greer and his wife, who played the dulcimer, performed at various regional school and civic functions. They were recorded singing several folk songs by Library of Congress from 1941 to 1946. Appalachian State Teacher's College dedicated the I.G. Greer Music Hall in 1966. Greer also had an active civic life. He was the president of the Southern Appalachian Historical Association and also served as a Boone City Alderman and in the North Carolina House of Representatives.&lt;/p&gt;&#13;
&lt;p&gt;Note: University Libraries Special Collections Research Center (SCRC) believes in providing access to the historical record in support of the teaching, learning, and research endeavors of the communities it serves. Users should be advised that, due to the historical nature of some resources, users may encounter language or content that is harmful or difficult to view.&lt;/p&gt;</text>
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              <text>Randolph, 664&lt;br /&gt;Laws, A 1&lt;br /&gt;Combs, 43</text>
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                <text>Brave Wolfe</text>
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                <text>&lt;a title=" I. G. Greer Folksong Collection" href="https://omeka.library.appstate.edu/collections/show/15" target="_blank"&gt; I. G. Greer Folksong Collection &lt;/a&gt;</text>
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                <text>&lt;a href="https://appstate-speccoll.lyrasistechnology.org/repositories/2/resources/197"&gt; AC.113 Isaac Garfield (I.G.) Greer Papers and Recordings &lt;/a&gt; </text>
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                <text>Greer, I. G. (Isaac Garfield), 1881-1967</text>
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                <text>Folk songs--United States</text>
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                <text>Wolfe, James, 1727-1759--Songs and music</text>
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                <text>Plains of Abraham, Battle of the, Quebec, 1759--Songs and music</text>
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                <text>Love--Songs and music</text>
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                <text>W. L. Eury Appalachian Collection, Appalachian State University</text>
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                <text>This item is part of the I. G. Greer Folksong Collection which consists of more than 300 individual song titles and their variants as collected by Isaac Garfield Greer (1881-1967) from informants, primarily in Ashe, Wilkes and Watauga counties. The collection includes manuscripts, typescript transcriptions produced by Dr. Greer’s clerical staff, and handwritten musical notations. Songs range from traditional Child Ballads, traditional English and Scottish ballads as well as their American variants, to 19th century popular music to musical compositions of local origin.</text>
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