LADIES LAST STAKE (THE).
English, Country Dance Tune and Jig (6/8 time). D Major. Standard tuning (fiddle). AA'B. The tune, and accompanying dance steps, appeared in all four volumes of London publisher John Young's Second Volume of the English Dancing Master  (1710-1728), and in John Walsh's The Second Book of the Compleat Country Dancing-Master (London, 1719).
The Ladies Last Stake, by William Hogarth (c. 1757)
The Ladies Last Stake; or The Wives Resentment (1707) is a play by Colley Ciber  (1671-1757), one of twenty-five the actor-playwright wrote for his company at Drury Lane. Wikipedia says of the play:
The Lady's Last Stake (1707) is a rather bad-tempered reply to critics of Lady Easy's wifely patience in The Careless Husband. It was coldly received, and its main interest lies in the glimpse the prologue gives of angry reactions to The Careless Husband, of which we would otherwise have known nothing (since all contemporary published reviews of The Careless Husband approve and endorse its message). Some, says Cibber sarcastically in the prologue, seem to think Lady Easy ought rather to have strangled her husband with her steinkirk:
Yet some there are, who still arraign the Play,
At her tame Temper shock'd, as who should say—
The Price, for a dull Husband, was too much to pay,
Had he been strangled sleeping, Who shou'd hurt ye?
When so provok'd—Revenge had been a Virtue.
T:Ladies Last Stake, The
B:Young – Second Volume of the Dancing Master, 1st edition (1710, p. 147)
f/g/|afd ecA|d3 A2=c|BAG gBe|1 c3-c2:|2 D3-D2:||
c/d/|ecA ecA|a3 e2f|ecA AB^G|A3-A2 F/G/|
AFD BGE|c3 d2 f/g/|afd dec|d3-d2||
Why there is a need for the Traditional Tune Archive
Although we are not trained musicologists and make no pretense to the profession, we have tried to apply such professional rigors to this Semantic Abc Web as we have internalized through our own formal and informal education.
This demands the gathering of as much information as possible about folk pieces to attempt to trace tune families, determine origins, influences and patterns of aural/oral transmittal, and to study individual and regional styles of performance.
Many musicians, like ourselves, are simply curious about titles, origins, sources and anecdotes regarding the music they play. Who, for example, can resist the urge to know where the title Blowzabella came from or what it means, or speculating on the motivations for naming a perfectly respectable tune Bloody Oul' Hag, is it Tay Ye Want?
Knowing the history of the melody we play, or at least to have a sense of its historical and social context, makes the tune 'present' in the here and now, and enhances our rendering of it.
Please register as a user to make the most of the many functions of the TTA, and enjoy the many ways that information about traditional tunes can be elicited and combined, from simple to complex situations. Users may make contributions, which, when reviewed by an editor, become part of this community project. Serious user/contributors may become editors through the TTA's autopromotion process, in which quantity and quality of entries allows increased levels of permission to edit and review the entire index.
Above all, the developers wish you joy in the use of the TTA.
Andrew Kuntz & Valerio Pelliccioni