"The Boyne Water" (in Gaelic "Briseadh na Bóinne"), also known as "As Vanquished Erin", "The Battle of the Boyne Water", "When the King came o'er the water", "Barbara Allan" (Pa.), "The Bottom of the Punch Bowl", "King William's March", "Leading the Calves/The Driving of the Calves", "Wee German Lairdie", "Wha the Deil hae We Gotten for a King?" and many other variations, is an Irish air or march in 4/4 time and A Minor (Howe), A Dorian (Breathnach, O'Neill, Perlman, Roche) or E Minor (Haverty, Joyce). The parts are played AB (most versions), AAB (Howe), AA'BB (Breathnach) or AABB (Manson). Bayard collected it from two of his sources, fiddler Sara Armstrong and fifer Hiram Horner. The name Boyne itself is derived from the name of the goddess Boinn, literally 'cow-white', "a name well suited to a pastoral people whose wealth was chiefly in cattle" (Matthews, 1972). The name of the tune commemorates the Battle of the Boyne (named for the Boyne River in County Meath, eastern Ireland, though the battle itself was fought three miles west of Drogheda), fought July 1st, 1690, in which the English monarch King William III defeated the Irish forces under King James II. It is very popular among the Orangemen of Ulster. The ballad follows the historical accounts of the battle correctly enough. The air is well known in the south of Ireland, where it is commonly called "Sebladh na n-gamhan", "Leading the Calves". A setting is given by Bunting in his second collection, the Munster and Connaught versions are given by Petrie in his Ancient Music of Ireland, vol. II. O'Neill (1913) lists "Boyne Water" as one of the "splendid martial airs" of Irish music. However old it actually is in oral tradition, Bayard (1991) finds the earliest printed appearances of the tune in William Graham's Lute Book of 1694 (as "Playing Amang the Rashes") and in D'Urfey's Pills to Purge Melancholy (where it appears as an untitled air). The melody remained in popular usage throughout the British Isles for well over two hundred years. Robert Burns set three songs to it in Johnson's Scots Musical Museum and it was the vehicle for the Scots songs "The Wee Wee German Lairdie" and "Andrew and His Cuttie Gun" in Alan Ramsay's 1740 edition of the Tea-Table Miscellany. One of the earliest sound recordings of this tune is by English musician John Locke, Leominster, Hereford, described as a "gipsy fiddler"; recorded by Cecil Sharp in 1909 on a cylinder machine. In Ireland, Sir Thomas Moore used the melody for his c. 1825 song "As Vanquished Erin". The air was widespread in American usage, often heard as the tune the popular song "Barbara Allan" was sung to, as has been noted by several writers (Bayard, Cowdery, Cazden). It was printed in Aird's Selection of Scotch, English, Irish and Foreign Airs, vol. 2 (1785), Bayard's Dance to the Fiddle (1981), Breathnach's CRÉ 2 (1976), Davie's Davies Caledonian Repository (1829-30), Gow's The Beauties of Niel Gow (1819), P.M. Haverty's One Hundred Irish Airs, vol. 1 (1858) (as "Cavalcade of the Boyne"), Howe's Complete Preceptor for the Accordeon (c. 1843), Jordan's Whistle and Sing! (1975), Joyce's Old Irish Folk Music and Songs (1909), R.M. Levey's Dance Music of Ireland, 1st Collection (1858), Manson's Hamilton's Universal Tune-Book, vol. 1 (1844), O'Neill's Music of Ireland: 1850 Melodies (1903), O'Neill's O'Neill's Irish Music (1915), Perlman's The Fiddle Music of Prince Edward Island (1996) and Roche's Collection of Traditional Irish Music, vol. 1 (1912). Songs from Irish uprisings and rebellion in this collection are: "Bold Fenian Men" "Boulavogue" "The Boys of Kilmichael" "Croppies Lie Down" "The Croppy Boy" "Kevin Barry" "The Old Orange Flute" "The Protestant Boys" "The Rising of the Moon" "The Wearing of the Green" "The Wind That Shakes the Barley"