The DT file is Martin Carthy's rewrite, though it is not credited to him; more than half of it is his own work. The tune given in the DT is the one Carthy attached to the text; it is not known what tune it was traditionally sung to.
F.J. Child's English and Scottish Popular Ballads has two texts:
THE BONNY LASS OF ANGLESEY
(Herd's MSS, I, 148; Herd's Ancient and Modern Scottish Songs, 1776, II, 231)
Our king he has a secret to tell,
And aye well keepit it must be:
The English lords are coming down
To dance and win the victory.
Our king has cr'd a noble cry,
And aye well keepit it must be:
"Gar saddle ye, and bring to me
The bonny lass of Anglesey."
Up she starts, as white as the milk,
Between him and his company:
"What is the thing I hae to ask,
If I sould win the victory?"
"Fifteen ploughs but and a mill
I gie thee till the day thou die,
And the fairest knight in a' my court
To chuse thy husband for to be."
She's taen the fifteen lord[s] by the hand,
Saying, "Will ye come dance with me?"
But on the morn at ten o'clock
They gave it oer most shamefully.
Up then rais the fifteenth lord-
I wat an angry man was he-
Laid by frae him his belt and sword,
And to the floor gaed manfully.
He said, "My feet shall be my dead
Before she win the victory;"
But before 't was ten o'clock at night
He gave it oer as shamefully.
THE BONNY LASS O ENGLESSIE'S DANCE
(Buchan's Ballads of the North of Scotland, II, 63; 1828)
Word has gone thro a' this land,
And O well noticed it maun be!
The English lords are coming down
To dance and gain the victorie.
The king has made a noble cry,
And well attended it maun be:
"Come saddle ye, and bring to me
The bonny lass o Englessie."
She started up, a' dress'd in white,
Between him and his companie;
Said, "What will ye gie, my royal liege,
If I will dance this dance for thee?"
"Five good ploughs but and a mill
I 'll give you till the day ye die;
The bravest knight in all my court,
I'll give, your husband for to be."
She's taen the first lord by the hand,
Says, "Ye'll rise up and dance wi me;"
But she made a' these lords fifeteen
To gie it up right shamefullie.
Then out it speaks a younger lord,
Says, "Fye for shame! how can this be?"
He loosd his brand frae aff his side,
Likewise his buckler frae his knee.
He sware his feet should be his dead
Before he lost the victorie;
He danc'd full fast, but tired at last,
And gae it up as shamefullie.
Child's notes are as follows:
"This little ballad might perhaps rightfully have come in earlier, if I had known what to make of it. There is a resemblance, remarkable as far as it goes, to Little Kirstin's Dance, Grundtvig, V, 118, No 263. Here the dance is for a match; the lass asks what she will have if she wins, and is promised fifteen (five) ploughs and a mill, and her choice of the king's knights for a husband. In the Danish ballad (A) a king's son, to induce Little Kirstin to dance before him, promises a succession of gifts, none of which avail until he plights his honor and troth. The remainder of the story is like the conclusion of Gil Brenton, No 5: see especially I, 66. (Danish A is translated by Prior, III, 89, No 112.)
Kirstin tires out fifteen knights in Danish A 12, B 10, D 14 (in C 7 eleven); and a Kirstin tires out fifteen partners again in Grundtvig, No 126, F 32, No 245, A 16. In Norwegian versions of No 263, given by Grundtvig in an appendix, numbers are not specified; Kirstin in Norwegian A 6, D 18, tires out all the king's knights.
Buchan quite frightens one by what he says of his version, II, 314: It is altogether a political piece, and I do not wish to interfere much with it."
Child 220: Roud 3931
The point of Child's remark about Buchan is not, as Russ and Capri Uni seem to think, that he accepted Buchan's assessment of the song. Buchan was not exactly unknown to interfere with texts that passed through his hands; the fact that, on this occasion, he expressed an unwillingness to do so suggests that, for once, he was prepared to admit, tacitly at least, that he had no idea what to make of it. Child's comment shows a dry sense of humour with which he is (quite unfairly) not always credited.
If you remove Martin Carthy's input, the song loses all reference to any contest for "crown and lands"; the king could just as easily have made a trivial bet with better dancers than he and his own court, and simply required a champion to save face. No example of this song seems to have been found in tradition in more than 170 years, so the information given by Child may well be all that there is to be had.