jcapntar ia SS mae Seago t a = : - = : 7 a fe ee - - . : ,* ° - x . Soe : =e eee _— » : Se pone : a fe so Seg ieee, Re ge: « tour A ees nts < Pedra a ak ie = nesest say aliens. ai — SS * te Nee SSS ews = - = =—. << bas ae > — - - - os ik ~ tan ’ r =. ¢ = eae = i os = . ee oe ee ——————eoe > ae anne Ballads and Sea Songs oc from Nova Scotia ¥ 4 sigy ¢ , - m4 RICHARD HINES ABLE SEAMAN Ballads and Sea Songs from Nova Scotia COLLECTED BY W. ROY MACKENZIE Cambridge HARVARD UNIVERSITY PRESS 1928 COPYRIGHT, 1928 ‘BY THE PRESIDENT AND FI HARVARD COLLEGE _ : B tb THE HAR ED AT Hien tf TO | WHOSE FRIENDSHIP I CAN REPAY IN KIND BUT WHOSE GENEROSITY HAS PLACED ME ay UNDER A LASTING OBLIGATION ah :) . tee 0 oo ae . Mary ON Tar SILVERY Te 2. 2). 0 eee . LHE SAILOR AND THE SHEPHERDESS...°. 7 (9) 0o ae . LHe Carppewa STREAM 2.0.09 0.0. Poe OLDS A ILLY Bt ae. cen, ee . 0) ie ee page . THe DAWNING OF THE Day. REPRE SS . Term Inpian LASS 2.00.0 20 5 DO ~ Dae LASS OF MOREE: *.° 2 59S ca eee hth gs ea HE BUTCHER BOY): faeces err ser he 5 Re . YOUNG CHARLOTTE... -. 05) 4.3L) ee ea. sp . MARY OF THE Wirrp Moor ...°... <8 2 Se . THe Fatat SNOWSTORM ©. 9. . >>.) Jo) 300 ee . THe SINGLE SAILOR .. 2 kN A . THE: DARK-EYED SAILOR... 5. 1.36 Par eee . JOHNNY GERMAN «os oy. 40s tel) 2S . JANIE: ON tHE: Moor oo. oe PUR . THE LADY or THRE LAKE... 3) 6,0 6 ie ge eee . DOoNALD’s RETURN TO GLENCOE . ~ 5). 955eo) ee = WATERLOO! Gk al 2c ee Oa ee «eo ple ice eg ge ea . THE BANKS oF CLAUDIEB . 2. . ssc) ©) fee . THe Banxs oF BRANDYWINE . =. . so) ene . [HE Bonny Buncw OF ROSES .. 3 .. 2.0 Gee . THE PLAINS OF WATERLOO .. . . THE HEIGHTS OF ALMA... ee es Se Se NG ee ey UT! . PAUL JONES... 0. 36 ee es ww be ie ea . THE CHESAPEAKE AND THE SHANNON . 4° 4))05)05 ee . THE BATTLE OF THE SHANNON AND CHESAPEAKE ....... . KELLY THE PIRATE 2.0. 8 eo 8 el . Tae ZLirrre FIGHTING CHANCE .. . . } see . Botp DIGHTON . .) 2.0. 2.2 0 2 8 ee ee ee . AS WE WERE A SAILING . 9.00.50 200 6 eee » THE Op RAMILIIBS.. . 2°. eee Cn ey te Se . By THe LIGHTNING WE LOST OUR SIGHT .|. 0 pee . NEWFOUNDLAND .0.. 3.060 © eb we eee 88. 80. go. QI. Q2. 93- 94. O5- 96. 97- 98. 99. 100. Io. 102. 103. 104. 105. 106. 107. 108, 109. IIo. £1t. II2. Ae a II4. ER r16. 117. 118. IQ. 120. T2%, 122. 123. 124. 325. 126. tee. 128. 129. 130. 53. 132. 133. 134. 735. 136. ¥37. CONTENTS mene OreTHe ATLANTIC 2 2 60k 6 ek we ee ke PIPER COV es ep i eo bw eee bes EINSTEIN EL eg Ero cro Bee ORE, TRADER... 2... 6 woe ee ee De Se. DR PP RAGEDY 3 GGG or ene ME ee a EO Soe ee MII ey yy a es WO eEORe OLD... 6 ee Pam Car B., teee, IMR ee ey OO rr WRAL ERTL. eat ae key UEPRWAT TO OFA ... 2.6. ewe ew eee es Jigs a ay ere aka ge hoe ke eas A a ee BRD PE AS. TE Retest So ee ee Meme CtOMEWARD BOUND ...... 2.6. 0s wee de pet Mee wUASBANDE | 2 1. we ke peak Mem Peete A is Ug Oy, Menta IVER . =. 3... Boe Wa ees Aire cat Ok COA Bn a el Ae. Serie ollie Si ee Racaieg op Semen aN JJOWN. .9. 2... ee ew ew Ug ii eon eee owe ke ws MREANS 2) | eek SS emerreraCZOUD 6. wk es eUObas ONES. |. we ke CHARLES AUGUSTUS ANDERSON Be MOR Bat er ee ol eG ON Ie cee a Tue WEXFORD GIRL. . oe Dy RDA tes eg Bh TAN 2 ESD a PAM eA OE femme tsa ttLe IT WAS WON . . 4. .%4 .'...4 4. eeeineTi me Of FREDERICKSBURG... ..'. 5... feet otete S LAMENT... 2... wus ee ne MeO IWHOY 60. ke le ew we Meer esOnge 6s SONG... 5... . 2.5.4. NASIR AN ee eo or Wat tewANS LAND....... Be Ah APY eI. BI tae NMMOIMONAMUE. 2. wd wks PO SE DAN cnt A Mes BRENNAN ON THE Moor ...... FE pi she Og OBR Pee eeerin AND THE LAWYER... ...0:. . are nies FSS Fk et ew OE RS D ares MEE i ey ee ee 8 satel eaeek Brees : REET SLOIMTAL, DOW... ne ele he ele Mata doe ee SP a gig ay el ww at Bh ee he IM MICA UI 05 5). Ag Ae Ba ghee l Wea ye, SJOMCAM AGCAMPBELL .. 2.0.0. si Pea CRO 2 ie Gai Gk Be a! PS ae MorRRISSEY AND THE RUSSIAN. ..... OE Ree tig an ee ee eeeN A a1) THE UAC oe cess: AR tee tee RS AUIS UTI Ooo 7c His) in Ry eee Sak ok, OO oe a xii CONTENTS 138. DoORAN’S ASS. 56 ek eS 338 139. ‘LARRY MCGEE 0.0.06 00) 1055 2 340 140. THE WEDDING OF BALLYPOREEN .-..- 2.9 slau 342 141. THe Rose or TRALEE... 2... 3°... 344 142. THE Poor MAn’s LABOUR’S NEVER DONE .........-.- 345 143. WHEN I was SINGLE ...0506 000 2.00 347 144. THE Poor Harp-WorkING MAN. . ....0. 4) 349 145. THE FELLOW THAT LOOKS IIKE ME . . 9. 0)0po0 ene eee 351 146,’ BETSY BAKER. 4000) 32 7 Oe ‘ey ae 's54 147. COURTING IN THE KITCHEN . . 5 2.5) 050) pe 355 148. KieTLE GAOL 2. 6 2.8 a ba i 358 149. THE FENIAN SONG’. 2.0.0.0. 5 0400 0 361 rso. Tae LumprrmMan’s LIFE 2.0.05: . 4.) ee 362 tot. McLecran’s SON. 0.0. 608)... a 363 rs2. Tur Brar RIVER MURDER .-.>. 2°.) oe ee 365 153. GERRY’S ROCKS . . 2 sip 020% (526 367 154. THE GIRL WHO WAS DROWNED AT ONSLOW. ......... 371 155. A FROG HE WOULD A WOOING GO . - /).) 2) 9) $73 156. THe TAILOR AND THE CROW ... .0.) 10) i 375 157. LITTLE JOHNNY GREEN... . 2). °. 3 Se ee 379 158. THe QUAKER’S WOOING ... 2.0.0 S000 oe 380 159. THE BUILDING OF SOLOMON’S TEMPLE . . 17.99). 9s eee 381 160. Tur LovEty BANKS OF BOYNE . |.) . 20). 384 161. THE BANKS OF NEWFOUNDLAND. . . 2.20 ees eee 385 162. THE WRECK OF THE GLENALOON. . - 49.9%, 0) 387 FOLK TUNES Pretry Potty (No.1C). ..)) 2. )).). 4) 305, THe GrREeENwoop Sipine (No. 3). 2 2.0.) 301 Srx QUESTIONS (NO. 4) 2 5 eo.) 2 301 Lorp BateMAN (N0.'5) 50.0405 els see 392 Lorp THomas (No. 6B) 9. ...0. 8 uo 392 Tarte Mata Grove (No.8 A) . .°.°. . 2 2 ee 302 BarBary Even (No.9 C): 205. 2 2 etn oe a eee 303 JOHNSON AND THE COLONEL (NO. 10)... 2. 1° ee 303 Sir JAMES THE Rose (No. 11 A). . 2. 39 29 304 BoLenpER Maritim (No. 13) 20... 0... « - ee 304 Tue Sea Caprain (No. 19 A) . 2...) 2. 304 Sik Nem AND GLENGYLE (NO. 20) .-<. .. ~ 395 Tue GOLDEN GtLove (No. 21) ....... ie ee tens teen Tar Lapy’s Fan (No. 22)... 2-6). 2 306 Tue GaspARD TRAGEDY (NO. 29)... . ss see 306 WHO Is AT MY BepRoom WINDOW? (No. 30) ..........+-. 306 THE GREEN Mossy BANKS oF THE LEA (NO. 47) ......... 307 THE CHIPPEWA STREAM (NO. 54) ......, +. 27) (ee 397. THE DAWNING OF THE Day (No. 56). <2). «2 308 Tue Butcaer Boy (No. 50 A)... :). .°. 42> 2 ee 398 THe Bonny Bunce or Roses (No. 72). 9... 2. gah See 399 CONTENTS THE CHESAPEAKE AND THE SHANNON (NO. 79) KELLY THE PIRATE (No. 81 B) MMR A CY Co ee da ee eee Pepe PILING, 04) 005. ee BR Re (NOLTO2) 6 6 ke ke ee le MEP eHOPMINODIOA) 6. fk ce OS a ee a ea MIME NOC TOG) he a ke ce ee de BLow THE MAN Down (No. 107). ...... CHARLES AUGUSTUS ANDERSON (NO. 113) . Mure ee OONG (NO, £21) 2 00.1. ww ke ea MT AN NOCT22) 1 ee ee NT O2) hg i ee ee we ae a! Fie.) cet ip wi Se a ey. pp ee ie ar kee ae eee Se Se ae ey eae RPS Le eS ey ta) ae en dela eg Oe! Pee Oe Gl Sete a Le lee Ll uihe et ve Aten ace. ei a Ce er ea Pe eee Te ey ae Mere eee INGie (INO, T43) 9. ke Mera te KITCHEN (NO. 147) ... 2 1 6 ce ee ee MEAG 8 kk ee ek we ee ee eee WOULD A WOOING GO (No.155). ......2. 0.3... MmcriomNNy (cRePN (NO.157) . . . 2. 2 ee ee ee ee Meemieee Ss) WOOING (NO,3158) . . . .. ee ee THE BUILDING OF SoLomoN’s TEMPLE (NO. 159). ..... ep MOP Te Peeves bANKS OF BOvNE (NO.160)...........46. Meee PETES wk Mae a ce ent ea 5 MPC Weer INES 1). gy lk kk tw kl wt we te kl et INTRODUCTION NCE a fellow-countryman.of mine, having taken occasion to write an autobiography, set down a statement to the effect that he had on two occasions paid visits to the city of Boston, and then made haste to assure his readers that he was not saying so “‘for the sake of boast.” I am now preparing to speak brave words about my collection of ballads, and I think that I, also, shall do well to issue a modest disclaimer of “‘boast”’ so far as my part in the collection is concerned. The folk-songs which I have encountered in Nova Scotia I have eagerly gathered and preserved, and it is due to no judgment or merit in me that these songs, in the sequel, array themselves in goodly fashion. That the assemblage is a fair one will not be de- nied, I believe, even by the casual overlooker of its numbers, and as for the interested student of such matters, he will agree with en- thusiasm that it shows a range and variety of matter not often to be found in a regional collection. The peninsula of Nova Scotia is, or was, rarely adapted to the culture of a folk-song ranging from the traditional ballads of mediaeval England and Scotland to the impro- vised shanties of the nineteenth-century sailormen. No part of this narrow province is very far removed from the sea, and no member of the groups which, in the old days, chanted the folk-songs or listened to them, could fail to respond to the ballads which recorded the perils and the brave deeds which, in balanced measure, attended the lives of seagoing men or to the songs of labour which lightened and steadied their daily toil. This awareness of the sea and its romance is the factor which must lend to any representative collection from Nova Scotia a variety not to be found in the records of an inland state or province. The inhabitants of the hills in the southern states of America have preserved more variants of the old traditional bal- lads of Great Britain than have the scattered singers of Nova Scotia, but the latter have been richly compensated by the acquisition of q songs, later in their composition, but steadily available by reason of the maritime cosmopolitanism of a province which, until the turn of the last century, sent many of its best singers a-questing on the ‘seven seas. In the collection that follows I have made a rough sort of grouping or arrangement of material. The casual reader could hardly be ex- : pected to notice this without the aid of a set of instructions, and XVI INTRODUCTION since I have been at some pains to place each song where I think it should be I shall do myself no more than justice by explaining what the groups are and why they have been made. The first group (1-16) includes the relics of the old English and Scottish popular ballads which came to Nova Scotia in the wistful memories of the Scottish settlers who migrated westward during the late years of the eighteenth and the early years of the nineteenth century. The story of these settlers and their songs I have told in The Quest of the Ballad, and if any chance reader of these lines should ever feel moved to provide himself with something like an adequate introduction to my songs and ballads I advise him very heartily to apply himself to that book, which was prepared expressly for the purpose of introducing the collection which I intended to publish in the course, if not in the fullness, of time. The few facts of the case I shall set down — briefly, as consorts with the expository rigour of — a formal Introduction — and shall leave the limbs and outward ~ flourishes of my history to be scanned at leisure by him who has the leisure, and the desire, to scan them. And now for the facts. The north coast of Nova Scotia, where I have done most of my collecting, was inhabited in the. good days of ballad-singing by a composite population of Scotch, English,and French. The ancient and genuine ballads of this first group were, in the main, imported by the Scotch and preserved by the French. This, to be sure, is a very curt expo- sition of a leisurely process. When the Scotch settlers arrived in Nova Scotia with their songs they had no intention of turning them over to the members of an alien race. The evidence, which here as elsewhere in such matters is dim and faint, all suggests that they loved the mellowed growth of their national balladry and cherished 2 it to keep it alive as lonely men will always cherish the customs which can take them on brief imagined excursions to the byres and the ingle-nooks of former days. But to the Scotchmen of Nova Scotia there came a time when all customs were to be subjected to the most rigorous standards that could be derived from or ascribed — to the tenets of Holy Writ, —a time when all things which, so scrutinized, could not be adjudged as lovely and of good report must be consigned to the merely ungodly, where, it might secretly be hoped, they would remain as a visible sign of unregeneracy in the world. Fortunately for such as the reader and I, who may be sup- posed to be labouring still in the bonds of iniquity, by the time this _ crisis arrived many of the best songs of Scotland were being sung by - the French neighbours of the men who were making up their minds to purge and live cleanly. These new-comers —of mingled French, INTRODUCTION XV Alsatian, and Swiss parentage — were in a mood to acquire fresh traditions when they crossed the ocean. They and their forebears had suffered for the Protestant faith, and now, safely ensconced in a land of their own adoption, they lost little time in the exchange of their French dialect for an English speech often savouring richly of the Highland lilt; they as quickly absorbed the manners of their hospitable neighbours; and in the matter of allegiance few of their newly acquired fellow-countrymen could match their enthusiastic reverence for the British crown. They were a singing and a song- loving race, and their admiration of the Scotch ballads soon bred a familiarity with them which was as inevitable as it was fortunate. I have seemed to indicate something like a complete transference of the old ballads from one racial group to another, but in the affairs of men as distinguished from those of triangles no operation is likely to be as complete or as precise as that. There were unredeemed Scots who refused to subject themselves to the laws of Moses and the precepts of Saint Paul, and there were pious children of Hugue- not fathers who believed that the cause of righteousness could be better served on earth by singing the songs of Zion than by enter- taining their friends with ballads of profane love and adventure. But so much at least is certain: in my time the only districts in which the ancient ballads of Scotland have appreciably survived are those where the Huguenot settlers built their homes near those of the Scotch farmers. These districts are indented by the harbours and bays of the northern coast. In the upland region the case is sadly different. Here the Scotch alone cleared the land for their hamlets and farms in the early days, rejoicing sternly in the specta- cle of hills that strangely materialized their recollections of the older Scotland. A regional song composed over a hundred years ago by Alexander McRae of the West River (and happily preserved in a broadside presented to me by Dr. George H. Cox of New Glasgow) ends with the significant lines: Now [’ll pass on to the head of the river, For there I do mean for to dwell, For there it wants nothing but heather To make it like bonnie Dunkeld. In those brave days the Scots of the West River could not only compose new songs about the country of their adoption but could also draw at will from a goodly store of old songs which had sprung from the soil of their parent land; and now the popular ballads which made glad their hearts have survived only as a vaguely xVili | INTRODUCTION remembered tradition or have failed to perpetuate even the faint — record of a title or a name. | But I see no good reason for abandoning myself to the melan- choly mood, as I seem likely to do if I continue much longer with this topic. I have, to be sure, been baffled many a time after catch- ing eagerly at a name or a phrase from some old song of which no other remnant could be found, but I have also been blessed witha very fair increase of versions and variants of the true “English and © Scottish popular ballads,”’ and in the ordering of my groups in this book I have provided for a transition from them to the next main division, which will receive its comment when its turn comes. Num- bers 17-20 are not specimens of the genuine popular balladry, but they are the next thing to it: they are songs, of a late vintage, but so similar in story to certain ballads of the older type that they make a proper space for themselves between these, which are their direct ancestors, and the typical broadside ballads that follow. Three out — of the four can be traced easily enough: “‘The Turkish Lady” is an — inferior later rendition of the ‘‘Lord Bateman” or “‘ Young Beichan ”’ story; ‘‘The Blaeberry Courtship” is a retelling of the old tale of “‘Lizie Lindsay’’; and ‘‘The Sea Captain” is a version of the “‘Lady Isabel and the Elf Knight” story, one of the most familiar ballad motifs known to the remote forefathers of the English and Scottish peasantry — that of the beautiful and resourceful maid whose wits _ enable her to escape unharmed from a lover who is sometimes de- monic and sometimes human, but whose designs upon her are never good. The fourth, “‘Sir Neil and Glengyle,” can prove no such un- — mixed ancestry. It has affiliations with the family of “‘The Cruel Brother” and with that of ‘‘Sir James the Rose,” it is an obvious and thwarted imitation of the strong old ballad manner, and, at Sy) tia rate, it seems to belong here rather than elsewhere. The next group is a main division indeed. I look over the titles in it, which range from “‘The Golden Glove” (No. 21) to “The Banks of Brandywine” (No. 71), and for the moment at least I do not know what to say about it. Numbers 21 to 71 were, however, ar- — ranged by me as a group, and as a group I must persuade the diffi- cult reader to accept them. They are all songs of a familiar broad- _ side type, but this same vague specification could be applied equally well to songs which I have chosen to place in others of my more or less arbitrary groups. The safest definition for me to hazard is prob- © ably this: all of the numbers in the present group are dramatic — ) scenes illustrating, In some fashion or other, that strange thing which the Wisest Man himself could not understand — the way of INTRODUCTION XIX a man with a maid. The first two scenes of this composite drama, indeed, (‘‘The Golden Glove” and ‘‘The Lady’s Fan’’) are con- cerned with an even harder thing to understand in the confusion of human relationships — the way of a maid with a man — but in these cases our perplexity may comfortably lose itself in gratifica- tion at the lovers’ meetings which end the two brief journeys. In the group as a whole we shall find romantic comedy and tragedy commingled in about equal proportions. The old mediaeval ballad, when it deals with such persons and such events, is fairly certain to stir our emotions of pity and fear with the spectacle of such star- crossed pairs as Lord Thomas and fair Annet, who love deeply through all their strange vicissitudes, and who are as surely marked for death as are Romeo and Juliet; but the later ballad of the so- called broadside period is likely to be less sombre in tone, and happy iulustrations of the fortunate dénouement are to be found here and there throughout the group which I am now labouring to define. I might have arranged matters differently here, with the sombre tales in one continuous series and the cheerful ones in another, but I be- lieve that I shall have more chance of holding the reader’s attention if I keep his emotions hovering between grief and satisfaction, and yield him the opportunity, while the kindly tear is still moistening his cheek by reason of his recollection of the woes of Mary and the death of her Constant Farmer’s Son, to reanimate his faith in the essential happiness of a wholesome world by regarding the case of loyal Nancy, who is sailing over the main with her true lover Wil- liam, both of them nourishing the reasonable hope that they shall presently return to shore and live happy ever after. Thus far, I think, the composition of the present group will justify itself with- out much difficulty. There are, however, sporadic examples here of ballads which do not easily find their places in these elemental schemes of tragedy and romantic comedy: there is the song of the mysterious Rinordine, who may, for all our baffled scrutiny can avail us in the Celtic night, be a faery lover or a merely human out- law, and who — whether sorrowfully or cynically we cannot tell — reminds the infatuated maid who has followed him, that, if she should seek him again, ‘‘perhaps you’ll not me find”’; there is the tale of the brave lady who, out of pure love, disguises herself as a man and follows her unworthy Willie Taylor to sea, shoots him down _ when she finds him proceeding to the altar with another lady, and then, amid laughter and rejoicing, is nominated as ‘‘captain and chief commander” over the sailors with whom she has been toiling; and there is — to select one final illustration where more could be XX INTRODUCTION found — the case of the lover who proposes marriage to a “‘pretty fair maid”’ by the Chippewa Stream, and who, when the maiden exhibits a coyness which is surely her prerogative, informs her with an indifferent air that he has changed his mind and now thinks it “far better for single to remain.” I could easily proceed with a more extended recital of my difficulties in choosing songs for this group, but I am sure that I have said enough to demonstrate that the only, and the sufficient, basis of agreement for these songs is their common presentation of the vicissitudes in the amatory affairs of young men and maidens. A special explanation must now be given to cover the nine songs which conclude this division. ‘‘The Single Sailor” (No. 63) and the ~ ensuing ballads ending with ‘‘The Banks of Brandywine” (No. 71) are all variations of one common theme, the return of the lover from the sea or from the wars and the testing of his sweetheart with the aid of some indeterminate disguise or behind the veil of night. His regular device is to pay court, unavailingly, to the faithful maiden and to assure her, without making the slightest impression upon her loyalty, that her absent lover is either a false young man or is dead in some foreign country. The “‘single sailor,” for instance, after seven long years at sea comes riding by the garden where his sweet- heart is walking, and, in full confidence that he will not be recog- nized with his altered “shape and colour,” asks her a simple but searching question, “‘ Fair maid, can you fancy I?” In the course of the dialogue that follows the maid convinces him that she can fancy one man only, her absent sailor who, living or dead, loyal or faith- less, will continue to engross her thoughts to the end of her days. Then does the happy sailor put his hand down in his pocket and bring forth his half of the ring which he and this maid have divided, seven years ago, as a pledge of faith. What more need I say? To church they went and they both got married With their two hearts full of love and content. Now he stays at home and takes his ease, And he goes no more on the raging seas. With the assurance that this happy dénouement is illustrative of the journey’s end in each of the nine tales in this minor division, I may now conclude my remarks upon Group 21-71 and its recital of the joys and the woes of fifty men and fifty women. ; My next main division begins five numbers hence with “The Battle of the Nile,” which leads the van of my sea songs with a blare of trumpets and a thunder of ordnance. In the intervening space - Pee ee ee ee ee ee ae ee Ee ale i ati ahibcl RST PEE eee ae INTRODUCTION XX1 I have inserted four songs which deal with victories of England on land — a small group which will serve as a prelude to the more stir- ring narratives of the ensuing battles at sea. Of these four songs two (“The Plains of Waterloo” and the “Heights of Alma’’) deal in comparatively plain fashion with the discomforts and dangers of the humbler sort of fighting man, but the other two (“The Bonny Bunch of Roses” and “Brave Wolfe”) are ambitious attempts, not greatly successful, to build the lofty rhyme upon the epic of Na- poleon’s career and the vainly imagined romance of young General Wolfe. “The Plains of Waterloo” and ‘‘The Heights of Alma” have the great virtues of sincerity and unstrained realism, and one need not doubt that they were first sung by men who underwent the moving accidents by flood and field which are detailed in them. “The Bonny Bunch of Roses” and “Brave Wolfe” are lovely and pleasant to me by virtue of my recollection of the emotion which they stirred in the singers who gave them to me, but they are obvi- ously composed of rumors and embellishments, and they have little of the stark quality which lends its unique value to the purer type of folk-song. I must be prepared for the criticism that my offering of ballads and songs is of no great value aside from its interest as a record of the material used in the self-entertainment of a humble society, but I am not even inclined to accept such a criticism as a valid one. In the careless and free process of oral transmission the songs of the folk are often strangely distorted, and we can have no recourse to authorized texts; but if intensity, vigour, and an utter sincerity in dealing with the subject in hand are attributes to be valued in literature I think it may be admitted that there is some- thing to say in praise of such songs as ‘‘The Heights of Alma”’ and “The Plains of Waterloo.” The songs that follow, from the “Battle of the Nile” (No. 76) to ‘Charles Augustus Anderson” (No. 113), have to do in one fashion or another with the labours, the adventures, and the tragedies of sea- faring men. Some of them are forecastle songs and some are shan- ties, and they have all in their time played their parts in the daily round of the sailor’s life, whether by way of entertaining him when he was off duty or by regulating his efforts when he was tugging on the halliards or heaving at the capstan. A division as large as this one, and defined only by the generic term “‘sea songs,”’ will naturally fall into several smaller groups, and the first of these includes the fighting songs, which begin with “The Battle of the Nile” and end with ‘‘As We Were A Sailing” (No. 84). With one exception these songs were composed to celebrate the prowess of the British fleet or Xxii INTRODUCTION of some doughty war-craft upon which for the nonce lay the respon- | sibility of defending England’s title on the seas. The exception is “‘Paul Jones”’ (No. 78), and I have never been able to figure to my- self why an enemy so resourceful, so determined, and so successful in his opposition to the arms of England should have been made the hero of a song composed and enthusiastically sung by British people. I have asked myself if the ballad purveyors could, in this case, have made the odd mistake of confusing an enemy with a friend, —a foolish question, for the composers and singers of popular ballads do not make such mistakes, and, besides, Paul Jones enters the song in an American frigate, hailing from Baltimore or New York. I have ~ made trial of the very tentative hypothesis that the British sense of sportsmanship is here displaying itself in a burst of admiration for a brave antagonist, and although I cannot quite rid myself of a linger- ing speculation to this effect I am not able to justify the speculation by means of analogy. When I attempt to do so my memory is per- sistently assailed by the concluding line of another of these fighting sea songs: | We’ll smother all those Frenchmen wherever we do meet. The popular balladist is sometimes capable of pity for the widows and orphans of his slaughtered enemies, but he is not the man to ~ congratulate a living and triumphant foe. Failing here, I remind myself that Paul Jones was a Scotchman, and that his victories, even _ though accomplished with base instruments, might be supposed to reflect glory upon the land of his birth; but whatever I personally may feel in such matters it is certain that the song gives me no war- — i rant for this hypothesis. My last position is briefly occupied with the question, May not this song have been inspired by an obsessive terror for a Grendel-like antagonist who was likely at any moment to swoop down upon any point of the English coast? If there were the slightest indication of such terror in a line or phrase of any ver- sion of the song —if ‘Paul Jones’? were even comparable to the — French ‘‘ Malbrook”’ — this position could be held indefinitely, but the fact is that after the first stanza the vicarious singer cheerfully takes his place in Paul Jones’s crew, listens with admiration when the commander announces, “Tf we can’t do no better let her sink alongside!” and heartily drinks from the can after victory is made sure. The ancient who first sang the song for me was a loyal and true subject of the British crown, and yet he found no offence in it. Nothing a ee INTRODUCTION XX1il could exceed the gusto with which he had delivered to me, a few minutes before, the triumphant song of “‘The Chesapeake and the Shannon.” And when he had concluded and had drunk from the can to the success of ‘“‘Captain Brookes”’ (no vicarious performance this time) he advised me as a friend to refrain from singing the song, good as it was, to my adopted American neighbors. “‘Ye might git a thrashing if ye do,” he cautiously remarked, — ‘‘but here’s one that they ll be very pleased to hear,” and he proceeded lustily and without a sign of rancour through the sounding lines of “Paul Jones.” ’S blood, there is something in this more than natural, if philosophy could find it out. Of the other fighting songs in this group I can only say that if the reader should chance to find them as invigorating as I do he will be none the worse for running his eye over them, or, if he has a voice to carol withal, for trying two of them with the airs which I have set down in the Appendix. ‘The Chesapeake and the Shannon”’ has an uncommonly lively tune, and as for ‘‘ Kelly the Pirate,” I hope that I am not unduly influenced by my recollection of Dick Hines’s victorious progress through the stately music of its verse and the impassioned minor of its chorus when I pronounce it one of the best folk-tunes that I have ever recorded. The numbers that follow, from “‘The Old Ramillies” (No. 85) to “The Sailor’s Tragedy” (No. 92), are concerned with misfortunes at sea or with the ultimate tragedy of the total wreck. Some of them, as I have shown in the head-notes, are of native Nova Scotian origin, and they are, alas, none the better for it. The ballad-singers of Nova Scotia I am willing to match against the ballad-singers of any other clime or region, but I have no inclination, and no warrant, to become boastful about the achievements of my fellow-country- men in the matter of ballad composition. The art of ballad-making, indeed, has never risen to any great heights in any part of this west- ern continent, and if we have cause for gratulation in our dealings with folk-song, as I believe we have, this is due mainly to the affec- tionate persistence of our singers in cherishing the ballads which they and their forefathers brought to these shores from the British Isles. But, to return to the small group of songs which I should be discussing, there are, I believe, some numbers here that will be found to merit the reader’s attention. If he is interested in story rather than in song he may abandon himself, in the safe retreat of his closet, to the supernatural terrors of “‘Captain Glen,” ‘‘The New York Trader,” and “‘The Sailor’s Tragedy”’; and if he is at one with the ballad-singers in holding that a song should be sung and not XXIV INTRODUCTION merely read or repeated he may take my word for it that ““Green _ Beds” and ‘Frank Fidd” are worth the singing with the music which I have provided in the Appendix. ‘‘Green Beds” is a good and rollicking tale, and the music and the story go hand in hand; “Frank Fidd” in mere print seems no great matter, but when it was made complete in the singing of Dick Hines the sailor, it became a thing of vibrant magnificence. I cannot encourage the reader to suppose that he will ever be able to approach Dick’s performance, but if he has a moderately strong baritone voice he will be the hap- pier and the richer for making the assay. We have now reached the sailors’ shanties, for which, even in the abbreviated texts in which it is necessary for me to present them, I have a peculiar affection. It is a question whether this group should or should not include “Spanish Ladies” (No. 97), but, as I have ex- plained in the head-note to my version, I have reasons for believing it to have been, not a shanty, or labour song, but a “‘forebitter,” or forecastle song, employed by the sailors when they assembled, dur- ing the dog-watch, to sing, to dance, or to spin yarns. In that case the group begins with ‘“‘We’re All Away to Sea” (No. 98) and ends with “Lowlands” (No. 109). For those whose observation of sailors _ has been confined to a few brief glimpses of the silent efficiency of the workmen in our contemporaneous hotels of the sea it will be hard to realize how important in the routine of the seaman’s activ- ities, not many years ago, were these hearty and tuneful songs of labour. That they were actually of first-rate importance I shall — presently show, and since, of all the types of folk-song that I present in this book, the shanty is the only one which I have not discussed at some length in The Quest of the Ballad, I shall, I hope, be pardoned for seeming to give it undue space here. _ It may be assumed that any man who is much interested in the old seafaring custom of shanty-singing will now find himself rather puzzled in his efforts to realize exactly how this ritual was observed and what attributes the shanty possessed in the days when it miti- gated the penalty of Adam for the sailorman. Not much more than a generation ago the ritual was still being practised and few questions were asked about it, but now that it has gone the way of the square- rigged ship we landlubbers are becoming aware of its importance in the history of communal song. We are writing books and articles of belated explanation, and we are in the habit of disagreeing vaguely with each other. Sometimes we convey the impression that every — shanty had its fixed form, and even go so far on a false course as to state that a free and variable song like ‘‘ Blow the Man Down” had ae INTRODUCTION XXV nine specified verses. Sometimes we announce without reservations that each crew had its shantyman who took upon himself the duty of supplying all but the refrains and the choruses, and sometimes we proceed on the other tack to the extent of asserting that shanty- singing was the freest form of communal composition, where any sailor could supply a line or a verse as the inspiration seized him. It may be that a great deal of what we say is true, but it can hardly be that our explanations are all true for all occasions. For my own part I have lately been doing what I should have done long ago and have been resorting for information to the only true authorities, who are the surviving members of the old square-rigger crews. If I had been moved by this scientific impulse eight years ago I should now be in a position to record the decisions of my departed friend Dick Hines, who in his time had sailed the seven seas bearing his reputa- tion as one of the most gifted and resourceful of shantymen; but the impulse came too late, and although I recorded those shanties which Dick, at his own good pleasure, chose to sing for me I never asked him for an explanation of the practice of shanty-singing. It is obvi- ous that the best authority in this matter is the shantyman himself, but next to him stands the deep-sea man of the old days who was a singer even if he did not occupy the supreme position; and during the last two or three years I have been able to interview some sailor- men who in their time were forecastle singers and lusty bearers of the shanty chorus. Their evidence did not tally at every point, but they were all in hearty agreement in one matter, namely, the great virtue of the shanty in lightening their toil and in giving the crew a sense of unity and fellowship. “I’ve put in a good many hard years on ship- board,” old Tom Shea told me, “‘and I’ve shipped with some queer- lookin’ crews, but let me tell ye that when the shanties was started everything got jolly and cheerful at once, and the men that never seen each other before acted like wot they was old friends. — And . ye needn’t think,” he added, ‘‘that the shanties was all noise and yellin’. ingers i : it was ; _ great to hear them at the shanties.” It is now time for me to introduce my authorities. They fall into two groups exhibiting a measure of agreement and also some diver- gences on certain details of the ritual. The main spokesman for the _ first group is a sailor whom, for the convenience of the moment, I shall designate as George Creighton, and he is a scion of a family _ which sent all of its men down to the sea in the days when good men __-were needed to belay the sheets and keep the halliards from fouling. _ George is, and for many years has been, a singer, a fiddler, and an XXV1 INTRODUCTION able seaman. It seems strange to me that, with his clear, strong voice and his easy knowledge of the old songs, he should never have been a shantyman himself, but the probable reason is that, with all his ability to reproduce, he was never what he himself would call “‘a good composer.” Your first-rate shantyman must always be able to spin lines and stanzas out of the mere fabric of his brain and with no more time to serve him than is occupied in the roaring of the re- frains. But, at any rate, George had no doubts about the way in which the shanties were made and delivered. He was as positive on this score as if he had been a scholar writing an article to disprove an- other scholar’s theory. To begin with, in his sea-going days all group work was done to the accompaniment of songs. It was simply un- thinkable that any crew should begin hoisting sails or heaving up the anchor without the appropriate shanties to ease and regulate the — toil. At the beginning of each voyage the shantyman for that voyage was selected, and the process of selection was usually automatic and . unobtrusive. The crew would get ready for work, one of their num- ber would, without preliminary comment, start them off with a shanty, and the whole conduct of the ceremony was thus settled for that particular voyage. The man who first took the lead was the self-constituted and accepted shantyman to the end. Sometimes, however, the crew would be ready to start work but no potential leader would raise his voice. Then the mate would address the crew, calling for a shantyman to come forward and assume his high re- sponsibilities. Such a man could always be found. Indeed, as George remarked, he had to be found, since the work could not go forward without the singing. But the task of finding him was not a difficult one, and it was a rare occasion when the mate was forced to engage _ in it. The shantyman did more than undertake a responsibility; he ~ also received honours and enjoyed prerogatives. While the other men were pulling on the halliards or heaving at the capstan he stood by, a designated and distinguished figure, intent upon his high occu- pation of supplying the verses for the song which was necessary to sustain the work in hand. Sometimes he merely stood aside from the group or sat on the capstan head while the men were straining at the bars, and sometimes he “‘held the turn,” that is, handled the end of the rope and took in the slack. Also, he boreno partin therefrainor chorus; he simply delivered his line, and then, when the sailors began to shout the refrain he fell silent, apparently utilizing this period for the composition of the next line. I asked George if the men never — needed to be trained, at the start of the voyage, on the choruses. — “Oh, no,” he answered in the tone of quiet conviction that marked _ 4 Toe ee Se ee y ' i‘ j : INTRODUCTION XXV1 his testimony from beginning to end, ‘‘the men never needed any training. They would always know how to come in with the chorus.” Obviously, according to this authority, the ceremonial was the smoothest and most automatic one that could be conceived. The crew assembled for work, a leader proclaimed himself by the simple act of starting a song, and the crew joined in, at the proper moment, with the chorus which was an organic part of the good seaman’s knowledge in those days — as regular and as important a part of his equipment as the ability to tie a sailor’s knot or to shake out a reef. When I began my investigating I had a vague impression that any member of the crew might feel himself free to contribute a line or a verse as the shanty proceeded, but George made short work of clarifying my mind on this point. The contributing of the lines was the sanctified duty and privilege of the shantyman, and no one else ever thought of interfering. “‘If he had,” said George in his quiet way, ‘‘he would soon have been called to account for it,” — and I draw a merciful veil over any consideration of the form that this ac- counting might have taken. As for the length of the shanty that accompanied any particular piece of work the rule was simple and consistent: the singing began when the work began and lasted until that particular job was finished. George made no comment at this point on the shantyman’s need of the old improvising faculty, and it . is surely unnecessary for me to supply such a comment. So ran the testimony of George Creighton, Able Seaman. I have received from other deep-sea labourers many statements corrobora- tive of this and that detail in George’s explanation, and it seems cer- tain that we have here a true account of the ritual in its most strictly codified form. But a sailor, as I have remarked, is in some respects not unlike a scholar, and it is well known that the latter, when he is devoting himself to the elucidation of a theory, is too likely to treat with disdain or indifference any other theories which might interfere with the smoothness of his exposition. Other sailors have explained shanty-singing to me with a difference, which may be summed up briefly in the statement of Henry Shea, who followed the sea for eighteen years, and who should therefore have some notion of what he is talking about. The shantyman, according to Henry, was one of the gang or shift, and pulled on the halliards or heaved on the cap- stan like anyone else. Also, it was not necessary that one shantyman should continue as leader during the whole trip; there might be several good shantymen in a crew, and any one of them might, for any special occasion, assume the office of leadership. Concerning the manner of rendition of any individual shanty, however, Henry XXVIil INTRODUCTION asserted as emphatically as George himself that the leader gave all the lines, or, to use his own conclusive words, ‘‘ The shantyman made up the verses and the rest of the crew gave the choruses.”’ Obviously, then, one must allow for some differences when one is discussing the obsolete ritual of shanty-singing. The testimony that I have presented is all reliable, but the various parts of it do not apply to all cases, and there remains the necessity of distributing these parts over different voyages and among changing crews. The standard scheme I believe to have been the one outlined by George Creighton, but it seems probable that this scheme was subject to variations within certain carefully prescribed limits. But, though the variations in the scheme were confined within the modest limits of prescribed order, those of the shanty which stood in the centre of that scheme were as boundless as the sea itself. I shall presently consider the question of lines and verses and occasional complete songs that were comparatively static, but the most familiar of these could at any time be discarded by a shantyman and replaced by his own improvisation. The one verbal element in the shanty that was supposed to remain static was the refrain. Even this varied occasionally to a slight degree, but it was conventionally regarded as the constant and inviolable part of the song. As for the lines, how- ever, they depended solely upon the whim or the inspiration of the shantyman who was mitigating the rigours of the particular task which was engaging the energies of the crew at the particular mo- ment. One day last June when I was making myself at home in George’s cottage on the harbour front, as he had courteously en- treated me to do, I received from my host and copied down on paper the following brief version of the old capstan shanty “Rio Grande”: I shipped on a vessel the other day. Way, Rio! OI shipped on a vessel the other day, And we’re bound for the Rio Grande. Way, Rio! Way, Rio! So fare you well, my bonny brown gal, For we’re bound for the Rio Grande. This was not the only shanty that I heard that day, but it was all that I heard of that particular one. George, like other shanty-singing sailors, is likely to put the helm a-lee and lie to after a verse or so, with the remark that this is the way the shanty runs and any lines may be tacked on when the occasion arises for singing it. In Sep- tember, however, when I chanced to be in his neighbourhood again a ee ee a Ce a a ee ero en INTRODUCTION XXIX I dropped in to mingle smoke with him, and incidentally to learn a tune or two. I was not quite sure of the tune for ‘Rio Grande,” and when I asked him to run it over for me he blew out one final vast cloud of tobacco smoke, settled himself in his chair, and lifted his robust baritone voice to the following effect: O Johnny came over the other day. Way, Rio! O Johnny came over the other day, For we’re bound for the Rio Grande. Way, Rio! Way, Rio! Sing, Fare you well, my bonny brown gal, For we’re bound for the Rio Grande. “‘Now give me your hand, my dear lily white. Way, Rio! If you will accept me I’ll make you my wife, For we’re bound for the Rio Grande.”’ ““O Johnny, I love you and don’t want you to go, Way, Rio! And if you will stay I will love you so, For we’re bound for the Rio Grande.” While George was rewarding himself for this effort by overhauling a trimly built vessel of a smaller size which lay at anchor between us on the table, I remarked that this was a longer shanty and a better one than the “Rio Grande” which he had sung for mein June. “T never heard,”’ said George, as he felt around for a match, “‘that these shanties had any particular lines fitted to them. Ye have the chorus, and the lines come jist as the shantyman takes it into his head to give them to ye. I’ve heard the ‘Rio Grande’ sung a good many different ways in me time.” I shall return presently to the melodious and convivial atmosphere _ of George’s land quarters, but in the meantime I must make a short excursion to the home of Henry Allen, retired seaman, for a line or two of the famous shanty ‘“‘ Blow the Man Down.” Henry’s version was in the familiar strain: Blow the man down, bullies, blow the man down. Way, hay, blow the man down! Blow the man down, bullies, blow the man down. O give me some time to blow the man down! As I was a walking down Manchester street, Way, hay, blow the man down! A nice little damsel I chanced for to meet. So give me some time to blow the man down! XXX INTRODUCTION Everyone who is familiar with the labour-songs of the sea will re- member how this prelude is followed by a description of the damsel and a report of the conversation which she holds with the sailor who ~ has chanced for to meet her. But when I went to George for a few staves of this classic he accommodated me with a robust version in which nice little damsels and casual love-making were completely and manfully ignored. This is the shanty according to George Creighton: Blow the man up and we’ll blow the man down. To me way, hay, blow the man down! Blow the man up and we’ll blow the man down. So give me some time to blow the man down! The Old Man is worried about us, you know. To me way, hay, blow the man down! He worries a lot, but he need worry no more. So give me some time to blow the man down! We got full last night and aboard we all came. To me way, hay, blow the man down! I told him we’d never do that again. So give me some time to blow the man down! For the Old Man’s a good one, and so we all know. To me way, hay, blow the man down! He says, “‘We’ll have a drink and all go below.” — So give me some time to blow the man down! Now he brought out a bottle and gave us a drink. To me way, hay, blow the man down! It was very kind of him, don’t you think? So give me some time to blow the man down! Paddy West is my boarding-master, you know, To me way, hay, blow the man down! And I’ve got a record away back, you know. So give me some time to blow the man down! When we get to China we’ll all let you know — To me way, hay, blow the man down! How the Old Man used us, and so and so. So give me some time to blow the man down! George’s only response to my remarks upon the originality of his — song was, ‘‘O well, this one has been a favouryte of mine for a long while.”’ There can be little doubt that he himself was one of the be- lated revellers who partook of the Old Man’s bounty before they all went below on that night before the shanty came out of the skies and made light work of the business of hoisting the squaresails. The ver- M sion is, I think, a peculiarly interesting one. It furnishes confirma- ; i : : INTRODUCTION XXXI tion — if that is necessary — for the statement that ‘‘ Blow the Man Down” was used to accompany the hoisting of sails when the ship was outward bound, and in spite of its crudities it has vividness and reality. The shantyman who composed it stands revealed before us, a fluent improviser, a wag, a shrewd rascal, — with his good words for the Old Man and his hint that a continuance of generosity on the long trip to China will merit an additional eulogy, — and a frankly confessed rascal withal, making no secret of his ‘‘ record away back.” I seem to be labouring along in a general direction which would ultimately bring me into port with the conclusion that no shanty has any constant element except the refrain. As a matter of fact, Ido not intend to do quite that. There were many shanties which, like “Blow the Man Down,” could ordinarily be depended on to start off with a familiar stanza, although, as we have just seen, the shanty- man with a new story to tell might set his sails for an entirely differ- ent tack. There were others like ‘“‘Santy Anna,” the song which dealt with the campaigns of the Mexican general, sometimes hailing him as the conquering hero and again exhibiting him in precipitous flight before the Yankees, but invariably based on some phase of his military fortunes. And, most constant of all, were the shanties like “Reuben Ranzo” and “Whisky Johnny,” which could be relied on for subject and, usually, for the form of the preluding stanza. The first of these, a halliard shanty, devoted itself to a frank recital of the attributes and exploits of the mythical protagonist, Reuben Ranzo, and regularly began with the simple formal stanza: Poor old Reuben Ranzo! Ranzo, boys, Ranzo! O, poor old Reuben Ranzo! Ranzo, boys, Ranzo! After this sympathetic prelude, however, there is no telling what we may hear of the character and adventures of Reuben except that he was no sailor, and that for this reason — or in spite of this fact — he shipped on board a whaler. In my version he is reputed, notwith- standing his lack of seamanship, to have “‘lots of money,” and in other versions he is said to have married the Captain’s daughter and to be sailing the high seas with the lofty title of Captain Ranzo; but the truth of these reports is challenged by many shantymen who aver that he received thirty-five lashes ‘‘because he was so dirty”’ and that he ultimately came to a sad end. The famous old halliard shanty “Whisky Johnny” as regularly begins with the axiomatic statement, ‘‘ Whisky is the life of man,’’ and then proceeds to cata- as INTRODUCTION logue the virtues and accomplishments of this great sustaining fluid, with the shantyman more than ever on his mettle to find matter which will rise to the height of his argument. There are other songs of sea labour which are as constant as these, but that is not to say much for the principle of constancy in the shanty. At most one can rely upon a central theme or an open- ing line in the shantyman’s performance; and the crew, whose re- frains were familiar and unchanging, could never be sure, as they — heaved at the capstan bars or took a fresh grip on the halliards, whether they would be entertained next with an old remembered line or delighted with a fire-new one straight from the mint of the shantyman’s invention. And herein consists the remarkable differ- ence between the shanty and the other varieties of folk-song. Any true ballad will exhibit variations from time to time, from singer to singer, and from place to place, but these are for the most part com- paratively slight variations in phraseology, unconsciously intro- duced, and they do not often lead us far from the familiar tale as it was in the beginning. The ballad of ‘‘ Willie Taylor,” which has been a solace to the illiterate for several generations in England and in this continent as well, shows about as many variations as one is likely to find in this species of song, and I shall cite some of these briefly for the purpose of contrast. Willie Taylor, who has been courting a gay lady, is suddenly interrupted in his courtship by the King’s officers, who press him into service and send him to sea. His lady dresses in sailor’s attire and follows in his wake, but when she is about to recover him she is informed by the captain of her ship that the recreant Willie is going to be married on the following morning to a lady of the foreign land at which they have just ar- rived. Then she calls for sword and pistol, confronts the wedding ~ party, and shoots young Willie Taylor “and his bride at his right hand.” The versions of the song practically all agree on these mat- ters, but they disagree in a variety of ways about the dénouement which follows the lady’s climactic revenge. An English text con- tributed to the Journal of the Folk-Song Society ends with a clear — visualization — and audition — of Willie’s last agonies: He rolled over, he rolled over, He rolled over on every side. “* Adieu, adieu to my true love Sally! Once I thought you’d have been my bride.” A broadside version (Such, No, 344) more pleasantly proceeds from the killing to the lady’s reward for an act well and featly done: eee ns ee ee ee ee ee Me IN. ST ee INTRODUCTION XXXII] Then the Captain loved her dearly, Loved her dearly as his life, And it was but three days after Sarah became the Captain’s wife. The American versions hitherto collected, however, take a very gloomy view of the case. One from North Carolina does not even represent her as shooting her faithless lover, but invites us to believe that she threw herself overboard upon receiving the news of his de- fection; and a West Virginia text informs us that she was brought to trial after her accomplishment of a good revenge, crying for death to end her sorrows. I am happy to relate that in my version from Nova Scotia — or, rather, in the Widow Palmer’s version, which she was graciously pleased to sing to me — resolution is not thus curbed with the rusty bit of old Father Antic the law. After the shooting is over the lady is heartily applauded by an intelligent bystander in the following wise: When the Captain saw this wonder He laughed loudly at the fun, Saying, ‘‘ You shall be captain and chief commander Over my sailors every one.” And the approving singer adds a concluding apologia: If Willie Taylor was as constant a lover, As constant a lover as he could pretend, She never would have been so cruel As her true love’s life to end. In this ballad, then, whatever the time and the place of its ren- dition, the essence of the original story appears, and the differences which I have just cited are differences in opinion, or feeling, or tra- dition, among the various singers who know the song and who have no thought except to reproduce it as they learned it. “‘He that told the tale in older times,” says Tennyson after he has finished the story of Sir Gareth, He that told the tale in older times Says that Sir Gareth wedded Lyonors, But he that told it later says Lynette. The ballad, while it lives, is subject to change. New details may be added and old details omitted, but always the essential story re- mains, and no singer has license to alter it. But the sailor’s shanty, by virtue of its own tradition, might be one thing to-day and another to-morrow. The only part of it that tradition attempted to main- pea ai? oe AES XXXIV INTRODUCTION tain was the chorus, and any set of lines, no matter how popular they might have become by repeated singing, could at any moment be thrown aside by any shantyman who was assailed by the divine urge to compose. There is one shanty which for a time I regarded as a clear exception to this rule — the one entitled “‘We’re All Bound to Go,” or, ‘‘We’re all Away to Sea.” In its usual form it has a marked resemblance to a certain type of broadside ballad, and as a matter of fact it has in Ireland been transformed into a ballad by the simple process of dropping the sailor’s refrains. It may be found in my collection (No. 98) as it was sung to me by Dick Hines the shan- tyman, and in this form it resembles most of the other versions as much as one text of a ballad will resemble another. One might sup- pose that so good a song, with a narrative so picturesque, would re- tain at least as much of its original character as is permitted in the case of the popular ballad; but versions of it have been found, in England by Cecil Sharp and in America by Joanna C. Colcord, which have not an idea or a line in common with the old Black Baller version of Dick’s rendition — nothing but that one constant — element, the refrain. In those old sonorous days of packet boats and clipper ships any shanty — barring the chorus — could be what — any shantyman, in the exercise of his great prerogative, at any time chose to make it. If I have said too much about one of my varieties of songs of the sea, and one, furthermore, that is all too meagrely represented in my collection, I can only plead in my own defense that I have, in the title of this book, given some prominence to the deep sea andits ) melodies, and that I can in no wise convey the atmosphere of marine ~ activity in the days of sailing-ships better than by discussing the — songs which were an integrated part of the seaman’s daily life. The — weary reader may be comforted now by my assurance that there is little more that I need say for his guidance, and that I shall presently reach the comfortable haven of the period to this Introduction. “Vl tell ye,’”’ said Dan Thompson to me one day after we had weathered an August gale on the north coast and had rounded the cape which ~ guarded the entrance to the harbor of our destination, — “‘T’ll tell ye what I’m a goin’ to do now. I’m a goin’ to put a becket on the wheel and go below for coffee.”” As soon as I can clear away the litter — that remains upon the deck I shall follow my good friend Dan. And now let me explain, in some haste, that the remaining sea songs in this division record the last remorseful confessions of sinful seafaring men. The story of Captain Kidd I have told in outline in my head-note to the song which retails the episodes in his mis- 7) ee ee ee ee : 7 4 E a fs : 4 Z: E. INTRODUCTION XXXV guided career, and the reader is, here and elsewhere, invited to con- sider the bare exposition of the head-note together with the richly clad narrative of the song. The background of the ballads of George Jones and Charles Augustus Anderson may be seen in The Quest of the Ballad if the reader is not satisfied with the rather detailed stories in the ballads themselves. Next to this division stands the tale and confession of Jack Wil- liams, who had something in common with the protagonists who are arrayed immediately before him in my list. He is “‘by his trade” a boatman, not a seaman, but. he has sought other than legitimate means of enrichment, and for doing so he is by way of paying a sore penalty. Then, in due order, come a series of laments or complaints, ending with the unrestrained outcries of the nameless one who sings ““The Prisoner’s Song” (No. 121). In “‘Van Dieman’s Land,” which follows, the lament is merely woven into the texture of a song which has also strands of adventure sufficiently predatory in its character to prepare us for the brave group of highway ballads that stand be- yond it. We may now make, or renew, our acquaintance with such heroes as Dick Turpin, Jack Donahue, and Will Brennan, who broke their country’s laws without, somehow, forfeiting the affectionate and admiring regard which we, in common with the singers of their fame, shall continue to accord them. It is to be noted that the pirates who appear in folk-song are always regarded with fear or hostility, though they sometimes receive the meed of a melodious tear when they are captured and bound in Newgate, while the highwaymen, even in the successful pursuit of their trade, are heroes to the folk. The explanation is not far to seek. The pirate slew and plundered his victims with a ferocity as indiscriminate as his greed, while the high- wayman of legend was the terror only of those who could afford to pay. The activities of the former with the ships that he has over- hauled are characterized by the line, ‘‘Their crews he made them walk the plank’’; the selective dealings of the latter are summed up in another line, traditional since the old days of Robin Hood: “He robbed the rich to pay the poor.”’ I have now ended my introductory comment upon those songs that will permit themselves to be sorted and labeled. The numbers that follow, from the merry tale of ‘‘Kate and Her Horns” (No. 132) to the ceremonious narrative of ‘‘The Building of Solomon’s Temple”’ (No. 159), are inserted, for the most part, as I chance to lift them from my manuscript; and after these there are a few numbers which should be in the earlier groups, but which came to my hand too late for such consideration. In this heterogeneous list there are songs of XXXVI INTRODUCTION the invincible prize-fighter John Morrissey, jocund accounts of such Irish festivities as erstwhile took place at the Wedding of Bally- poreen, and complaints of the fickleness of such maids as Betsy Baker and Henrietta Bell and of the severity or indifference of wives who cause their sad husbands to exclaim, ‘‘I wish I was single again!” I would not have the reader fail to acquaint himself with Dave Rogers’s tuneful rendition of that old story of ‘‘The Tailor and the Crow” which is a part of all true nursery lore, — and so I might proceed with commendations of the several numbers in this part of my list. But if a good wine needs no bush then a good song is found to be so in the savouring of it, and therefore, without more ado, I shall leave my ballads and sea songs to be judged by the qualities which may be found in them. W.R. M. > e A ee? oe ABBREVIATIONS OS a Phillips Barry, Ancient British Ballads, etc. (A privately printed list.) a ee H. M. Belden, A Partial List of Song-Ballads and Other Popular Poetry known in Missouri. Second edition. IQIO. CAMPBELL AND SHARP Olive Dame Campbell and Cecil J. Sharp, English Folk Songs from the Southern Appalachians. New York, IQI4. Dn ase ee, Francis James Child, The English and Scottish Popular Ballads. Boston, 1883 ff. BORED es a 8 Joanna C. Colcord, Roll and Go, Songs of American Sailormen. Indianapolis, 1924. Oe a yy a as nis 8 John Harrington Cox, Folk-Songs of the South. Cam- bridge, 1925. PEN et ra cah es tae 3 M. C. Dean, The Flying Cloud, and 150 Other Old Time Poems and Ballads. Virginia, Minnesota, 1922. ES Roland Palmer Gray, Songs and Ballads of the Maine Lumberjacks with Other Songs from Maine. Cam- bridge, 1924. RRMA io oMaivig a's +s The Journal of American Folk-Lore. hes 1? Siglo rn John A. Lomax, Cowboy Songs and Other Frontier Bal- lads. New York, 1910, 1922. SPOONOR 020.06 ss.. Manus O’Conor, Old Time Songs and Ballads of Ireland (also called Irish Com-all-ye’s). New York, 1901. Pounp (with page reference only) Louise Pound, Folk-Song of Nebraska and the Central. West, A Syilabus! Nebraska Academy of Sciences, Peblosions: vol. ix, no. 3. Pounp (with number reference) Louise Pound, American Ballads and Songs. New York, 1922. OE vise a vies s « W. Roy Mackenzie, The Quest of ihe Ballad. Princeton, IQIQ. ) Le 2 5 a Franz Rickaby, Ballads and Songs of the Shanty-Boy. Cambridge, 1926. SHEARIN AND Comps Hubert G. Shearin and Josiah Combs, A Syllabus of Ken- tucky Folk-Songs. (Transylvania Studies in English, vol. ii.) Lexington, Kentucky, 1o1tI. SHOEMAKER........ Henry W. Shoemaker, North Pennsylvania Minsirelsy. Second edition. Altoona, Pennsylvania. EEBANES ooo ola c's ae Alfred Williams, Folk Songs of the Upper Thames, 1923. BROADSIDES........ Almost all the broadsides cited are in the Harvard Col- lege Library. References to broadsides by volume and page (as, “iv, 16”) are to the bound collection num- bered 25242.17. a : ; Ballads and Sea Songs ye from Nova Scotia crt, ae ee aie NOVA SCOTIA —A NEW BALLAD To the tune of “King John and the Abbot of Canterbury” Let’s away to new Scotland, where Plenty sits queen O’er as happy a country as ever was seen; And blesses her subjects, both little and great, With each a good house, and a pretty estate. Derry down, etc. There’s wood, and there’s water, there’s wild fowl and tame; In the forest good ven’son, good fish in the stream, Good grass for our cattle, good land for our plough, Good wheat to be reap’d, and good barley to mow. Derry down, etc. No landlords are there the poor tenants to teaze, No lawyers to bully, nor stewards to seize; But each honest fellow ’s a landlord, and dares To spend on himself the whole fruit of his cares. Derry down, eic. They ’ve no duties on candles, no taxes on malt, Nor do they, as we do, pay sauce for their salt; But all is as free as in those times of old, When poets assure us the age was of gold. Derry down, etc. From the Gentleman’s Magazine, February, 1750. LADY ISABEL AND THE ELF-KNIGHT (CuILp, No. 4) _ A COMPOSITE version of this ballad, made up of a combination of the best stanzas from the following versions, has been printed by me in Journal, xxi, 374, and in The Quest of the Ballad, pp. 93-95. In Nova Scotia the ballad is usually de- livered without title, but in one case “‘Pretty Polly,” a title which is also cur- rent in West Virginia, was suggested. Many variants have been collected and printed, in recent years, both in Great Britain and in America. For later British references see Journal, Xxxv, 338; Campbell and Sharp, p. 323. For American references see Journal, meet s0-157;, XXX, 286; Cox, p. 3. cA No local title. From the singing and recitation of John Langille, River John, Pictou County. 1 There was a lord in Ambertown, He courted a lady gay, And all he wanted of this pretty maid Was to take her life away. 2 ‘Go get me some of your father’s gold, And some of your mother’s fee, And two of the best nags out of the stable, Where there stands thirty and three.”’ 3 She went and got some of her father’s gold, And some of her mother’s fee, And two of the best nags out of the stable, Where there stood thirty and three. 4 She mounted on the milk-white steed, And he on the rambling grey, And they rode till they came to the salt seaside, Three hours before it was day. 5 “Light off, light off thy milk-white steed, And deliver it unto me, For six pretty maids have I drownded here, And the seventh one thou shalt be. IO i I2 13 14 BALLADS AND SEA SONGS ‘Take off, take off thy silken dress, Likewise thy golden stays. Methinks they are too rich and too gay To rot in the salt, salt seas.’ ‘“‘Tf I must take off my silken dress, Likewise my golden stays, You must turn your back around to me And face yon willow tree.” He turned himself around about, To face yon willow tree; She grasped him by the middle so tight, And she tumbled him into the sea. ‘Lie there, lie there, you false-hearted man, Lie there instead of me, For six pretty maids thou hast drownded here; Go keep them company!”’ So he rolléd high and he rolléd low, Till he rolléd to the seaside. ‘Stretch forth your hand, my pretty Polly, And I’ll make you my bride.” ‘Lie there, lie there, you false-hearted man, Lie there instead of me, For six pretty maids thou hast drownded here, But the seventh hath drownded thee!” She mounted on her milk-white steed, And she led her rambling grey, And she rode forward to her father’s door, An hour before it was day. The parrot being up so early in the morn, It unto Polly did say, **T was afraid that some ruffian Had led you astray.” The old man on his pillow did lie, He unto the parrot did say, ‘What ails you, what ails you, you pretty Poll parrot, You prattle so long before day?” FROM NOVA SCOTIA 5 15 ‘The old cat was at my cage door, And I was afraid he was going to eat me, And I was calling for pretty Polly To go drive the old cat away.” 16 ‘Well turned, well turned, my pretty Poll parrot! Well turned, well turned!” said she. “Your cage it shall be of the glittering gold, And the doors of ivory. 17 “No tales, no tales, my pretty Poll parrot, No tales you will tell on me. Your cage it shall be of the glittering gold, And hung on yon willow tree.” B From the singing and recitation of David Rogers, Pictou, Pictou County. 1 There was a lord in Ambertown, He courted a lady gay, And all he wanted of this pretty maid Was to take her life away. 2 ‘‘Go get me some of your father’s gold, And some of your mother’s fees, And two of the best horses out of the stable, Where there stands thirty and three.” 3. She got him some of her father’s gold, And some of her mother’s fees, And two of the best horses out of the stable, Where there stood thirty and three. 4 She mounted on the milk-white steed, And he the rambling grey, And they rode till they came to the river side, Two hours before it was day. 5 “Slack off, slack off, my pretty Polly, Slack off, slack off,” said he, ‘‘For six pretty maids I have drownded here, And the seventh you shall be!”’ IO If I2 13 14 BALLADS AND SEA SONGS ‘‘O turn your back, you villain,” she said, ‘“And face yon willow tree, For you are not fit to see A naked woman like me.” “Take off, take off those silken gowns, Likewise those golden stays, For they are too rich and costly To be rotting in the seas.” “If I’ve got to take off those silken gowns, And all those golden stays, You must turn your back, you villain,” she says, ‘* And face yon willow tree.” | And as he turned his back around To face yon willow tree, She caught him by the waist so small And plunged him into the sea. ‘‘Lie there, lie there, you villain,” she says, ‘‘Lie there, lie there,” says she, ‘‘For six pretty maids you have drownded here, And the seventh has drownded thee!’ She mounted on the milk-white steed And led the rambling grey; She rode till she came to her father’s house, Two hours before it was day. The parrot in the window high Heard what she had to say. ‘“Where have you been, my pretty Polly, That you’re out so long before day?” The old man in the tower high Heard what the parrot said. ° ‘“‘What’s the matter, my parrot,” he said, . ‘“That you’re hooting so long before day?” ‘“The old grey cat was at my cage door, And swore she would devour me. I was only calling for fair MacConnell To hiss the cat away.” T5 16 FROM NOVA SCOTIA 7 ‘‘Well said, well said, my pretty parrot! Well said, well said!” said she, Your cage shall be made of the glittering gold, And the door of the white ivory. ‘Hush up, hush up, my pretty parrot, And don’t tell tales on me. Your cage shall be made of the glittering gold, And hung on yon willow tree.” C “Pretty Polly.” From the singing and recitation of Mrs. Levi Langille, Marshville, Pictou County. I There was a lord in Ambertown Courted a lady fair, And all he wanted of this pretty fair maid Was to take her life away. ; “Go get me some of your father’s gold And some of your mother’s fees, And two of the best horses in your father’s stall Where there stands thirty and three.” So she mounted on her steed white milk, And he on his dappling grey, And they rode forward to the sea Two hours before it was day. “Light off, light off thy steed white milk, And deliver it unto me, For six pretty maids I have drownded here, And the seventh one thou shalt be.. “Take off, take off thy bonny silk plaid, And deliver it unto me. Methinks they are too rich and gay To rot in the salt salt sea.” ‘“‘Tf I must take off my bonny silk plaid, Likewise my golden stays, You must turn your back around to me And face yon willow tree.” Io Il I2 3 BALLADS AND SEA SONGS He turned himself around about To face yon willow tree; She grasped him by the middle so small, And she tumbled him into the sea. So he rolléd high and he rolléd low Till he rolléd to the seaside. ‘Stretch forth your hand, my pretty Polly, And I’ll make you my bride.” ‘Lie there, lie there, you false-hearted man, Lie there instead of me, For six pretty maids thou hast drownded here, But the seventh hath drownded thee!”’ She mounted on her steed white milk, And she led her dappling grey, And she rode forward to her father’s door An hour before it was day. The old man he, it’s being awoke, And heard all that was said. _ “What were you prittling and prattling, my pretty Polly, And keeping me awake all night long?” “The old cat had got up to my littock so high, And I was afraid she was going to eat me, And I was calling for pretty Polly To go drive the old cat away.” ‘Don’t prittle, don’t prattle, my pretty Polly, Nor tell any tales on me. Your cage shall be made of the glittering gold Instead of the greenwood tree.”’ FROM NOVA SCOTIA 9 2 EARL BRAND (Cu1Lp, No. 7) THE Nova Scotia version of “Earl Brand”’ corresponds to Child B, the Scot- tish version which was published by Sir Walter Scott as “‘The Douglas Tra- gedy.” It is in an excellent state of preservation, with only minor changes in phraseology, and it lacks little of Child B except a few lines at the beginning and the rose-and-briar motive at the end. This concluding motive appears in the text printed by Gavin Greig (Folk-Song of the North-East, tv), but it has disappeared in the transition to a new land, and the disappearance is to me no cause for sorrow. I have read my version to American audiences, and they have been amused at what they have evidently regarded as a naive suddenness in the ending of the tale; but a story which begins without preamble, and which proceeds with grim words to grim deeds, may not unfittingly show a laconic abstention at its close. For references to American versions see Cox, p. 18. “The Seven Brethren.” From the singing and recitation of Robert Lan- gille, Tatamagouche, Colchester County (printed, Quest, pp. 60-62). 1 ‘‘Arise, arise, ye seven brethren, And put on your armours bright. Arise and take care of your younger sister, For the eldest went away last night.” 2 I was on the road, ’t was away they rode, ”T was all by the light of the moon, Until he looked over his left shoulder And saw her seven brethren drawing nigh. 3 ‘‘Lie down, lie down, Lady Margaret,” he said, ‘“And by my two steeds stand, Until I fight thy seven brethren And thy father who’s nigh at hand.” 4 She stood and saw her seven brethren fall Without shedding a tear, Until she saw her father fall, Whom she lovéd so dear. ite) Io it 12 13 BALLADS AND SEA SONGS ‘‘Withhold thy hand, Lord William,” she said, ‘‘For thy stroke it is wonderful sore. For it’s many the true lover I might have had, But a father Ill never have more.” She took her white pocket-handkerchief That was made of the Hollands fine, And wiped her father’s bloody bloody wound That ran redder than wine. ‘“Choose ye, choose ye, Lady Margaret,’ he said, ‘*Will you here abide?’”’ ‘‘O no, I must go wheresoever you go, For you have left me here no guide.” He mounted her on his milky-white steed, And he on his dappled grey. The bugle-horn swung by his side, And slowly they rode away. *T was on the road, ’t was away they rode, *T was all by the light of the moon, Until that they came to the Erint waters That was raging like the main. He lighted down to take a drink Of the spring that run so clear; And down the stream run his good heart’s blood. Sore she begun to fear. ‘‘Lie down, lie down, Lord William,” she said, ‘‘For you are a slain man.” ‘*O no, it is your scarlet red cloak That’s reflecting on the main.” ”T was on the road, ’t was away they rode, *T was all by the light of the moon, Until they came to his mother’s chamber door And there they lighted down. ‘‘Arise, arise, dear mother,” he says, *‘ Arise and let us in, For by all the powers that is above, This night my love I’ve won. a ae ocean by my side, And sound sound sleep we'll take.” Fiord William he died in the middle of the night, ___ Lady Margaret ere it was day, And every true lovers that goes together. I wish them more luck than they. ted eer 12 Tuts version follows Group I-L in Child, where the babes, who have proph- £ BALLADS AND SEA SONGS 3 THE CRUEL MOTHER (CuItp, No. 20) esied only hell-fire for the mother in the preceding versions, now include in their prophecy a list of seven-year penances as a prelude to the eternity in hell. For references to American texts see Journal, XxX, 293; Cox, p. 20. “The Greenwood Siding.” From the singing and recitation of Mrs. Ellen Bigney, Pictou, Pictou County (printed, Journal, xxv, 183; Quest, pp. 104- 106). I IO There was a lady came from York, Down alone in the lonely She fell in love with her father’s clerk, Down alone by the greenwood siding She loved him well, she loved him long, Till at length this young maid with child she did prove. She leaned her back against an oak, When first it bowed and then it broke. She leaned herself against a thorn, And then her two babes they were born. She took her pen-knife keen and sharp, And she pierced it through their innocent hearts. She dug a hole seven feet deep, She threw them in and bid them sleep. It’s when this young maid was returning home, She saw two babes a playing ball. ‘“O babes, O babes, if you were mine, I would dress you up in silks so fine.” ‘‘O mother, O mother, when we were thine, You did not dress us in silks so fine. ‘“‘But you took your pen-knife keen and sharp, And you pierced it through our innocent hearts. Il I2 13 14 FROM NOVA SCOTIA be: “You dug a hole seven feet deep, You threw us in and bid us sleep.” ‘““O babes, O babes, what shall I do, For the wicked crime I have done unto youP”’ *“O mother, O mother, it’s us can tell: For seven long years you shall ring a bell. ‘*And seven more like an owl in the woods, And seven more like a whale in the sea. “The rest of your time you shall be in hell, And it’s there you’ll be fixed for eternity!”’ 14 BALLADS AND SEA SONGS oat 4. CAPTAIN WEDDERBURN’S COURTSHIP (Cuitp, No. 46) THE following text was published by me in Journal, xxm, 377, and in The © Quest of the Ballad, pp. 108-110. In Journal, xxiv, 335, Barry prints a ver- sion found in Boston, and sung by a native of County Down, Ireland. See also Journal, XXIX, 157-158, for a version from Illinois and references by Tol- man and Kittredge. I “Six Questions. ville, Pictou County. 39 From the singing and recitation of John Adamson, West- — | The Duke of Merchant’s daughter walked out one summer’s day; She met a bold sea captain by chance upon the way. He says, ‘‘ My pretty fair maid, if it was n’t for the law I would have you in my bed this night, by either stock or wa’.” She avin and said, ee man, O do not me ie You. eee answer me in ouetioas six chee that I gang jan Or before that I lie in your bed by either stock or wa’.” ‘“‘O what is rounder than your ring? What’s higher than the trees? | Or what is worse than women’s tongue? What’sdeeperthanthe — seas? a What bird sings first? What bird sings last? Or where does the dew first fall? Before that I lie in your bed by either stock or wall.” ‘The globe is rounder than your ring; sky’s higher than the The devil’s worse than women’s tongue; Hell’s deeper than the 3 | The ee sings first, the thirst sings last; on earth the dew first ; Lent I lie in your bed by either stock or wall.” ‘““You must get for me some winter fruit which in December ~ grew; You must get for mea silken cloak that ne’er a waft went through; A sparrow’s thorn, a priest new-born, before I gang awa, Before that I lie in your bed by either stock or wa’.” FROM NOVA SCOTIA 15 6 “My father’s got some winter fruit which in December grew; My mother’s got a silken cloak that ne’er a waft went through; A sparrow’s thorns they’re easy found —there’s one on every claw; So you and I lie in one bed, and you lie next the wa’.” “You must get for my wedding supper a chicken without a bone; You must get for my wedding supper a cherry without a stone; You must get for me a gentle bird, a bird without a gall, Before that I lie in your bed by either stock or wall.” ~I 8 “O when the chicken’s in the egg I’m sure it has no bone; And when the cherry’s in full bloom I’m sure it has no stone; The dove it is a gentle bird — it flies without a gall, Before that I lie in your bed by either stock or wall.” He took her by the lily-white hand and led her through the hall; He held her by the slender waist for fear that she would fall; He led her on his bed of down without a doubt at all, So he and she lies in one bed, and he lies next the wall. \o Chale, i oe ae Rd” Fon Pe eT i OBS 16 BALLADS AND SEA SONGS 5 YOUNG BEICHAN (Curtp, No. 53) THE three variants of this ballad that were sung for me in Nova Scotia agree substantially in phraseology. They all specify India (instead of London, Northumberland, or England) as the home of the noble lord, and in no case do they mention the boring of his shoulder while he is in captivity (as in Child A, B, D, E, H, I, N, and in a version orally circulated in the United States) or the tree to which he was chained in his prison (as in Child L, and in the version in oral circulation in England). The status of the Nova Scotia version may therefore be readily determined by reference to Kittredge’s notes on the bal- lad (Journal, Xxx, 294-296): it corresponds to the “Lord Bakeman” of early American broadsides, which was printed also in The Forget Me Not Songster (New York, Nafis and Cornish, about 1840), pp. 171-174, and in The Old — Forget Me Not Songster (Boston, Locke and Dubier), pp. 171-174. For references to British and American texts and a discussion of their varia- tions and peculiarities see notes by Kittredge referred to above; also, Cox, p. 36. cA “Lord Bakeman.” From the singing and recitation of Alexander Harrison, Maccan, Cumberland County. 1 In India there lived a noble lord, His riches was beyond compare. He was the darling of his parents, And of their estate an only heir. 2 Hehad gold and he had silver, And he had houses of high degree, But still he never could be contented Until a voyage he had been to sea. 3 He sailéd east and he sailéd west Until he came to the Turkish shore, Where he was taken and put in prison, Where he could neither see nor hear. 4 For seven long months he lay lamenting, He lay lamenting in iron bands, There happening to see a brisk young lady, Who set him free from his iron chains. oe ak da Sead > ey 2 4 IO II I2 T3 FROM NOVA SCOTIA 17 The gaoler had one only daughter, A brisk young lady gay was she; As she was walking across the floor, She chanced Lord Bakeman for to see. She stole the keys of her father’s prison, And said Lord Bakeman she would set free. She went unto the prison door And opened it without delay. ‘““Have you got gold, or have you got silver? Have you got houses of high degree? What will you give the fair lady, If she from bondage will set you free?”’ “Ves, I’ve got gold and I’ve got silver, And I’ve got houses of high degree. I'll give them all to the fair lady, If she from bondage set me free.” ‘*Tt’s not your silver nor your gold, Nor yet your houses of high degree; All that I want to make me happy And all that I crave is your fair body. ‘‘Let us make a bargain and make it strong, For seven long years it shall stand: You shall not wed no other woman, Nor I'll not wed no other man!”’ When seven long years were gone and past, When seven long years were at an end, She packed up all her richest clothing, Saying, ‘“‘ Now I’ll go and seek my friend.” She sailéd east, she sailéd west, Until she came to the Indian shore, And there she never could be contented Till for her true love she did inquire. She did inquire for Lord Bakeman’s palace At every corner of the street. She inquired after Lord Bakeman’s palace Of every person she chanced to meet. 18 14 15 16 17 18 19 20 2I 22 BALLADS AND SEA SONGS And when she came to Lord Bakeman’s palace She knocked so loud upon the ring, There’s none so ready as the brisk young porter To rise and let this fair lady in. She asked if this was Lord Bakeman’s palace, ‘Or is the lord himself within?”’ | ‘Yes, yes,” replied the brisk young porter, ‘‘He and his bride have just entered in.” ‘Ask him to send me one ounce of bread, And a bottle of his wine so strong, And ask him if he’s forgot the lady That set him free from his iron chains.” The porter went unto his master And bowed low upon his knees. ‘‘ Arise, arise, my brisk young porter, And tell me what the matter is.” ‘“There is a lady stands at your gate, And she doth weep most bitterly. I think she is as fine a creature As ever I wish my eyes to see. ‘‘She’s got more rings on her four fingers, And round her waist has diamond strings. She’s got more gold about her clothing Than your new bride and all her kin. ‘‘She wants you to send one ounce of bread, And a bottle of your wine so strong, And asks if you have forgot the lady That set you free from your prison chains.” He stamped his feet upon the floor, He broke the table in pieces three. ‘‘Here’s adieu to you, my wedded bride, For this fair lady I will go and see!”’ Then up spoke his new bride’s mother, And she was a lady of high degree: ‘Tis you have married my only daughter.” ‘Well, she’s none the worse for me!” id ST RBA Eg WS ee ag Ce OR eee et Oe a es FROM NOVA SCOTIA 19 23 “But since my fair one has arrived, A second wedding there shall be. Your daughter came on a horse and saddle, She may return in a coach and three.” 24 He took this fair lady by the hand, And led her over the marble stones. He changed her name from Susannah fair, And now she is the wife of Lord Bakeman. 25 He took her by the lily-white hand, And led her through from room to room. He changed her name from Susannah fair, And she is called the wife of Lord Bakeman. B “Lord Bateman.” From the singing and recitation of David Rogers, Pictou, Pictou County. Printed, Quest, pp. 115-118. This text supplies (after B 15) one stanza that is not found in A: She wept, she wept and wrung her hands, Crying, “Alas, I am undone! I wish I was in my native country, Across the seas there to remain.” But B lacks some of the lines elsewhere that A preserves. iy “Lord Bateman.” From the singing and recitation of John Rogers, River John, Pictou County. Though not quite so complete as A, C preserves the first two lines of the stanza quoted from B (above). (CuItp, No. 73) Tue two Nova Scotia versions are both closely related to Child’s D. ue several texts of the same version from West Virginia, pp. 46-64, and erences for American texts, pp. 45-46. cA “Lord Thomas and Fair Ellinor.” From the singing and Lr tat Alexander Harrison, Maccan, Cumberland County. Sh G ee t Lord Thomas he was a bold ‘acter : And a chaser of the king’s deer. on . eg Fair Ellinor was a fine woman ain And Lord Thomas he loved her dear. x, eee es 2 ‘Come riddle my riddle, dear mother,” ‘f And riddle us both in one; 5a Whether I shall marry with Fair Ellinor And let the brown girl alone.” é bai 3 ‘**The brown girl she has got money, Fair Ellinor she hasnone; Therefore I charge thee on my blessing, i; Bring the brown girl home.” ee 4 And as it befell on a holiday As many more do beside, He knockéd at the ring, | paar. Then who was so ready as Fair Ellinor To let Lord Thomasin. - : ss ; ‘§ Io ha IZ 13 14 15 FROM NOVA SCOTIA “*Q God forbid, Lord Thomas,” she said, _ ‘““That such thing should ever be done! I thought to have been thy bride myself, And thou to have been the bridegroom.” ““Come riddle my riddle, dear mother,” she said, ‘“And riddle it all in one, Whether I shall go to Lord Thomas’s wedding, Or whether I shall let it alone.” ‘““There’s many that are our friends, daughter, And many that are our foes; Therefore I charge thee on my blessing To Lord Thomas’s wedding don’t go.” *“There’s many that are our friends, mother, If a thousand were our foes. Betide me life, betide me death, To Lord Thomas’s wedding I’ll go!” She clothed herself in gallant attire, And her merry men all was seen. As she rode through every place They took her to be some queen. When she came to Lord Thomas’s gate She knockéd at the ring, And who was so ready as Lord Thomas To let Fair Ellinor in. He took her by the lily-white hand And led her through the hall, And he sat her in the noblest chair Among the ladies all. ‘‘Ts this your bride?”’ Fair Ellinor said, ‘Methinks she looks wondrous brown. Thou mightst have had as fair a woman As ever had trod the ground.”’ ‘‘Despise her not,’ Lord Thomas he said, ‘“Despise her not unto me; For better I love her little finger Than all your whole body!” os | 2 16 17 18 TQ 20 2a BALLADS AND SEA SONGS This brown girl had a little pen-knife Which was both keen and sharp, And betwixt the short ribs and the long She pricked Fair Ellinor to the heart. ‘‘O Christ now save me, Lord Thomas,” she said, ‘*Methinks you look wondrous wan; Thou usedst to look as good a colour As ever the sun shone on. ‘“*O art thou blind, Lord Thomas,” she said, ‘Or canst thou not very well see? \ O dost thou not see my own heart’s blood Run trickling down my knee?’”’ ‘*O dig my grave,’ Lord Thomas replied, ‘*Dig it both wide and deep; And lay Fair Ellinor by my side, And the brown girl at my feet.” Lord Thomas he had a sword by his side ~ As he walked about the hall; He cut his bride’s head from off her shouldars And flung it against the wall. He set his sword upon the ground And the point against his heart. There never was three lovers, sure, That sooner did depart. B “Lord Thomas.” From the singing and recitation of Mrs. Jacob Langille, Marshville, Pictou County. ia Lord Thomas he was a worthy man, He wore a sword by his side; Fair Ellinor was a beautiful bride, Lord Thomas he loved her full well. ‘*Come riddle, come riddle, dear mother,” he said, ‘*Come riddle us all in one, Whether I’ll marry Fair Ellinor Or bring the brown girl at home.” IO II FROM NOVA SCOTIA 35 ‘““The brown girl she’s got house and land, Fair Ellinor has got none; My son, if you will take my blessing, O bring the brown girl at home.” Lord Thomas he was a worthy man, He wore a sword by his side; Fair Ellinor was a beautiful bride, Lord Thomas he loved her full well. When he came to Fair Ellinor’s door He knocked so loud at the ring; There was none so ready as Fair Ellinor To rise and let him in. ‘What news, what news, Lord Thomas?”’ she said, ‘‘What news do you bring to me?” ‘“*T come to invite you to my wedding; It is bad news for thee.”’ “The Lord forbid, Lord Thomas,”’ she said, ‘“Tf any such things should be. I’m in hopes myself to be the bride And you to be the bride’s groom.” ‘“‘Come riddle, come riddle, dear mother,” she said, ‘*Come riddle us all in one, Whether I’ll go to Lord Thomas’s wedding Or will I stay at home.”’ ‘Many a one has been your friend Many more has been your foe; My girl, if you will take my blessing To Lord Thomas’s wedding don’t go.” ‘“‘Betray my. life, betray my death, To Lord Thomas’s wedding I’ll go.” She dressed herself in riches so gay, Her merry maids all in green; And every gate that she passed by They took her to be a queen. ae 1s i “uC iS : " ba are oa ae oy a ig es a ar 24. "BALLADS ANE To rise and let her in. 13 He took her by the lily-white hand And led her through the hall; He set her on a golden chair Among the ladies all. 14 “Is this your bride, Lord Thomas?” she said, — ‘T think she looks wonderful black. 3 You might have had asfairaone As ever the sun rose on.” 15 ‘‘Despise her not, Fair Ellinor,”’ he said, ‘‘Despise her not to me, ‘te ae For better do I like your little finger ae Than all her whole body.” Se 16 The brown girl she being standing by - With a pen-knife in her hand, © " Betwixt the long rib and the short Pierced Fair Ellinor to the heart. 17 ‘‘O what is the matter?”’ Lord Thomas he sai . ‘‘T think you look wonderful pale. You used to have as bright a colour — As ever the sun rose on.” 18 ‘‘Are you blind, Lord Thomas?” she said, m ‘‘Or can you not very well see? — sf Don’t you see my own heart’s blood — Come dribbling down to my knees?” 2 19 Lord Thomas he was a worthy man, | He wore a sword by hisside;- ~~ He off with his own bride’s head) iane! oe And dashed it against the Tae 4% va 20 He ordered a coffin to be made, — A coffin both wide and deep; hea He ordered Fair Ellinor at his soe side a ie And the brown girl at his feet. = FROM NOVA SCOTIA 25 7 FAIR MARGARET AND SWEET WILLIAM (Cuitp, No. 74) THE Nova Scotia version omits the preliminary stanzas which, in Child A and B, convey the sinister prophecy of a wedding in which the Lady Margaret is to bear no part; it omits, also, the bride’s dream of a bower filled with swine and a chamber full of blood; and, by way of compensation, it adds two stanzas (2 and 3) introducing the mother and sister of Margaret. In other respects it is very much like Child B. For references to American texts see Cox, p. 65. A great many versions have been found in the United States, and a text from Ontario is printed in Journal, XXXI, 74. “William and Margaret.”’ From the recitation of Mrs. George Forbes, Little Harbour, Pictou County. Learned at her former home in Stewiacke, Halifax County (printed, Quest, pp. 124-126). t As Margaret was in her pretty bouree A combing her locks so fair, She saw the rich wedding of William go by, Which struck her to the heart. 2 ‘‘O mother, come quickly, come bind up my head, O sister, come make up my bed; For I have a pain that lies at my heart, That will bring me to my grave.” 3 Her mother she quickly came bound up her head, Her sister she made up her bed, And she had a pain that lay at her heart, That brought her to her grave. 4 In the middle of the night, about twelve o’clock, All people in bed and asleep, The ghost of Margaret rose up again And stood at William’s bed feet. 5 ‘O how do you like your pillows?”’ she said, ‘And how do you like your sleep? And how do you like your widow lady, That sleeps in your arms so sweet?”’ Io II I2 “Well do I like my pillow. . hes sai ee ‘‘And well do I like my sleep, But ten thousand times better do I ‘ike ae g That stands at my bed feet.” ae er And ran to Margaret’s hall. There’s none so ready as Margaret’s mother ; To answer William’s night call. ee a ‘‘Is Margaret in her pretty bouree, Or is she in the hall?” ‘‘She is laid out in a long white robe, With her lips as cold as clay.” He kissed her once, he kissed her twice, He kissed her three times 0’er; He made an oath, a solemn oath, | And never kissed woman more. — Margaret died on one good day, And William died on the morrow; ~ Margaret died with a heart full of love, And William died for sorrow. Margaret was buried at the chancel gate, — ve as And William was buried at the choir; Out of Margaret’s grave grew a beautiful rose, Out of William’s there grew a sweet-bilar, : The rose grew tall and the sweet-briar too, , Till they could grow no higher: 05) ciate They twined together in a true lover’ e-knob, The rose wrapped around the sweet ria. - FROM NOVA SCOTIA 27 8 LITTLE MUSGRAVE AND LADY BARNARD (Cur1tp, No. 81) THE versions in oral circulation in Nova Scotia correspond, on the whole, to Child A. They exhibit, however, the inevitable list of omissions and changes: Little Musgrave has become Little Matha Grove, and Lord Barnard is Lord Arnold (A) or Lord Daniel (B and C); after the duel between the husband and the lover the tale comes more swiftly to its conclusion; A has a final stanza which is an importation from “Lord Thomas and Fair Annet” (as in Child D, last stanza); in B, Little Matha Grove recognizes Lord Daniel’s wife by the ring on her hand, a detail which is not in Child A, but which appears in Child Poot it, J, K, and L. A composite text, made up from the following versions, was published by ‘me in Journal, Xxitl, 371-374 (additional stanzas in Journal, xxv, 182-183), and in Quest, pp. 14-18. For references to versions found in the United States see Kittredge, Journal, xxx, 309; Cox, p. 94. cA “Little Matha Grove.”’ From the singing and recitation of Mrs. James Gammon, River John, Pictou County. 1 7*I was.on a day, a high holiday, The best day of the old year, When little Matha Grove he went to church The holy word to hear. 2 Some came in in diamonds of gold, And some came in in pearls, And among them all was little Matha Grove, The handsomest of them all. 3 Lord Arnold’s wife was standing by. On him she cast an eye, Saying, “‘ You little Matha Grove, this very night I invite you to lie with me. 4 ‘Lord Arnold is away to the New Castle, King Henry for to see,”’ 28 IO If I2 13 BALLADS . AND SEA \ sc NGS So the little foot-page was standing by, | ; And he heard all that was said, And he took to his heels to the river side, A . And he bended his breast and he swum. And when he came to Lord Arnold’s bower He knocked so hard at the ring; There was none so ready as Lord Arnold For to rise and let him in. ‘What news, what news, my little foot page, © Do you bring unto me?”’ “This very night little Matha Girone Is in bed with your wedded lady!”’ ‘“‘Tf this be true, be true unto me, Be true you bring unto me, I have an only daughter dear 2 And your wedded lady she shall be. ‘Tf this be a lie, a lie unto me, A lie you bring unto me, I’ll cause a gallows to be rigged And hangéd you shall be.” So he put the bugle to his mouth, And he sounded loud and shrill: ‘If there’s any man in bed with another man’s" It is time to be hastening away.” ea, So Lord Arnold he ordered up all his men, And he placed them in a row. ‘‘For I know the sound so well. | | % It must be the sound of Lord Arnold’s bul j es ‘Lie still, lie still, you little Matha Grove, And keep me from the cold. It’s only my father’s shepherd boy, Pree That’s driving the sheep down in the fold 14 T5 16 17 18 19 20 21 22 FROM NOVA SCOTIA So they tossed and tumbled all that night Till they both fell fast asleep, And they never knew another word Till Lord Arnold stood at their bed’s feet. **How do you like my bed?”’ said he, ‘*And how do you like my sheet? And how do you like my wedded lady, That lies in your arms and sleeps?”’ ‘Well do I like your bed,” said he, ‘‘Well do I like your sheet, Better do I like your wedded lady, That les in my arms and sleeps.”’ “Get up, get up, you little Matha Grove, And some of your clothes put on, That it can’t be said after your death That I slew a naked man.” ‘How can I get up,” little Matha replied, *‘And fight you for my life, When you have two bright swords by your side, And I have ne’er a knife?” “‘Tf I have two bright swords by my side, They cost me deep in purse, And you shall have the best of them, And I shall have the worst. ‘*And you shall have the very first blow, And [I shall have the other. What more then could I do for you If you were my own born brother?’’ The very first blow that Matha Grove struck, He wounded Lord Arnold sore. The very first blow Lord Arnold struck, Little Matha could strike no more. **So curséd be my hand,” said he, ‘fAnd curséd be my bride! They have caused me to kill the handsomest man That ever trod England’s ground.” 29 mF ~ And he never spoke anothes ai oe Till he split her head in twain. 24 He put his sword against the orotaaes The point against his heart. __ ~ e ‘ There never was three lovers Bali That sooner did depart. B “Tittle Matha Grove.” From the singing and recitation of Mr . Bigney, Pictou, Pictou County. wane 1 ’*T was on a day, a high holiday, The best day of the old year, When little Matha Grove he went to church — The holy word to hear. 2 Some came in in diamonds of gold, And some came in in pearls, | And among them all was little Matha Grove, The handsomest of them all. 3 Lord Daniel’s wife who was standing by, On him she cast her eye, | bi Saying, ‘“‘This very night, you little Matha Gro ey You must come with me andlie.” = = ~— 4 ‘I wouldn’t for the world, I would n't for my e, ks For fear Lord Daniel should hears: For I know you are Lord Daniel’s wife By the ring on your hand you do wean” cs 5 ‘Well, what if I am Lord Daniel’s wife, As you suppose me to be? 4 ee Lord Daniel is away to the N ew Castle, ee King Henry for to see.” | 6 So the little foot-page was standing by, And he heard all that was said, vo as And he took to his heels to the river side, oa Ste And he bended his breast and he swum. bene eee ee! Io It I2 T3 14 15 FROM NOVA SCOTIA 31 And when he came to Lord Daniel’s bower He knocked so hard at the ring, There was none so ready as Lord Daniel For to rise and let him in. “What news, what news, my little foot-page, Do you bring unto me?” ‘This very night little Matha Grove Is in bed with your wedded lady!”’ So he put his bugle to his mouth, And he sounded loud and shrill: *‘Tf there’s any man in bed with another man’s wife, It is time to be hastening away.” So Lord Daniel ordered up all his men, And he placed them in a row. ‘*What’s that? what’s that?”’ said little Matha Grove, **For I know the sound so well. It must be the sound of Lord Daniel’s bugle,” *‘Lie still, lie still, you little Matha Grove, And keep me from the cold. It’s only my father’s shepherd boy, That’s driving sheep down in the fold.” They rumbled and tumbled till they both fell asleep, And not a word did they say Till Lord Daniel stood by the bedside, Little Matha for to slay. “Get up, get up, you little Matha Grove, And fight me for your life!”’ ‘“How can I fight when you have two bright swords, And I’ve got scarcely a knife?” “You shall have the best one, And I shall have the worst, And you shall have the very first blow, And I shall have the next.” ; pe (Rae wg GP ee ee ’ aie Oe 32 BALLADS AND SEA SONGS 16 The very first blow that Matha Grove struck, He wounded Lord Daniel sore. The very first blow Lord Daniel struck, Little Matha could strike no more. 17 ‘‘Curséd be my wife,” said he, **And curséd be my hand! They have caused me to slay the prettiest lad That ever trod England’s land.” C “Little Matha Grove.” From the singing and recitation of Mrs. Levi Langille, Pictou, Pictou County. 1 ”T was on a day, a high holiday, The best day of the old year, When little Matha Grove he went to church ~ The holy word to hear. 2 Some came in in diamonds of gold, And some came in in pearls, And among them all was little Matha Grove, The handsomest of them all. 3 Lord Daniel’s wife was standing by. On him she cast an eye, Saying, ‘‘ You little Matha Grove, this very night ; I invite you to lie with me. 4g 4 “Lord Daniel is away to the New Castle . King Henry for to see,” 5 So the little foot-page was standing by, And he heard all that was said,- And he took to his heels to the river side, And he bended his breast and he swum. 6 And when he came to Lord Daniel’s bower He knocked so hard at the ring, There was none so ready as Lord Daniel For to rise and let him in. 10 Ae 12 13 14 15 FROM NOVA SCOTIA “What news, what news, my little foot-page, Do you bring unto to me?”’ “This very night little Matha Grove Is in bed with your wedded lady.” So he put the bugle to his mouth And he sounded loud and shrill: “Tf there’s any man in bed with another man’s wife, It’s time to be hastening away!” So Lord Daniel ordered up all his men, And he placed them in a row. ““What’s that? what’s that?” said little Matha Grove. ‘*For I know the sound so well. It must be the sound of Lord Daniel’s bugle,” “Lie still, lie still, you little Matha Grove, And keep me from the cold. It’s only my father’s shepherd boy, That’s driving sheep down in the fold.” So they hustled and they tumbled till they both fell asleep, And nothing more did they hear Till Lord Daniel stood at their bedside, *‘How do you like my bed?” said he, ‘*And how do you like my sheet? And how do you like my wedded lady, That lies in your arms and sleeps?”’ “Well do I like your bed,” said he, ‘Well do I like your sheet, Better do I like your wedded lady, That lies in my arms and sleeps.” “Get up, get up, you little Matha Grove, And some of your clothes put on, That it can’t be said after your death That I slew a naked man.” 33 When von have nee Waiclit swords ving dor | side, And I’ve got scarcely a knife?” 17 The very first blow that Matha Grove struck, He wounded Lord Daniel sore. The very first blow Lord Daniel struck, Little Matha could strike no more. 18 ‘‘So curséd be my hand,” said he, ‘And curséd be my bride! | Mag ee They have caused me to kill the hindapeey man” Bea That ever trod England’s ground.” | is D Voniey ani Hone “Little Matha Grove.” Fragment contributed by io > ? John, Pictou County. : ie Lord Daniel’s away to the New Castle King Henry for to see; jae : And this very night Little Matha Groue: Shall lie with his wedded lady. a4 s e e ° . e e e e ‘‘Cursed be my wife,” said he, ‘*And cursed be my hands, For I have slain the best-looking man _ That ever trod England’s lands.” & “Little Matha Grove.” Fragment contributed by Mrs. ‘Jac Marshville, Pictou County. pak Aes came - . So he took to his heels to the river 1 side nh And when he came to the eps land oe He took to his heels and he run. eS FROM NOVA SCOTIA RE 7 BONNY BARBARA ALLAN (Cuitp, No. 84) OF the three Nova Scotia versions the first is based upon Child A, and the second and third are fairly good representatives of group B in Child. Ver- sion A, however, cannot be dismissed with the mere remark that it is based on Child A. It corresponds closely to that version in several stanzas, but in sev- eral others it departs for distant regions, charted and uncharted. Tosum up the correspondences first: — stanza 1 represents Child A, stanza 1; stanza 11, with a slight change, represents Child A, stanza 3; stanza 12 corresponds in its first line to Child A, stanza 4, and then goes a-roving; stanzas 13, 14, and 18 correspond, respectively, to stanzas 5, 7, and 9 of Child A. Of the remain- ing twelve stanzas in my version A the most interesting — since they are the most eccentric — are 4 and 1o. As for stanza 4, it may possibly be accounted for by the amplified version of the Buchan MS., in which the dying lover leaves the freights of nine ships to Barbara Allan, although there is no other evidence of connection with that version. As for stanza ro, it is a brief and strange excursion into the phraseology of “Sir Patrick Spens,” or “Lord Derwent- water,” or ‘‘Geordie.”” Version A from Nova Scotia, take it for all in all, is a queer and unaccountable composite. Versions B and C present no special difficulties. Version B roughly re- sembles Child Bd (Percy’s Reliques), though it differs in the following respects: it sends a letter, instead of a messenger, to Barbara Allan; it introduces the slighting of Barbara during the drinking of healths at the tavern, as in Child A; it adds the rose-and-briar motive at the end. As for Version C, it is re- markably reminiscent of Child Bd; it retains “yong Jemmye Grove” (slightly modified to ‘‘ Young Jimmy Groves’’) as the lover, and in all other respects, except for the omission of a few stanzas, it corresponds closely to that version. For references to American texts see Journal, XxIX, 160; XXX, 317; XXXV, 343; Cox, p. 96. cA “Barbara Allan.” From the singing and recitation of Alexander Harrison, Maccan, Cumberland County. i It fell about the Martinmas day When the green leaves were falling, Sir James the Graeme in the West Country Fell in love with Barbara Allan. 2 She was a fair and comely maid, And a maid nigh to his dwelling, Which made him to admire the more The beauty of Barbara Allan. 36 IO Um BALLADS AND SEA SONGS ‘* O what’s thy name, my bonny maid, Or where has thou thy dwelling?” She answered him most modestly, ‘“My name is Barbara Allan.” ‘‘O see you not yon seven ships, So bonny as they are sailing? I'll make you mistress of them all, My bonny Barbara Allan.” But it fell out upon a day, At the wine as they were drinking, They toasted their glasses round about And slighted Barbara Allan. O she has taken it so ill out That she’d no more look on him, And for all the letters he could send Still swore she’d never have him. “‘O if I had a man, a man, A man within my dwelling, That will write a letter with my blood, And carry it to Barbara Allan, ‘‘Daring her to come here with speed, For I am at the dying, And speak one word to her true love, For I’ll die for Barbara Allan.” His man is off with all his speed To the place where she is dwelling: ‘‘Here’s a letter from my master dear, Give ye to Barbara Allan.” O when she looked the letter upon, With a loud laughter gi’ed she; But ere she read the letter through, The tears blinded her eye. O hasty, hasty rose she up, And slowly gaed she to him, And slightly drew the curtains by; ‘“Young man, I think you’re dying!” a 3 4 4 7 a. ig FROM NOVA SCOTIA 37 12 ‘‘OJam sick and very sick, And my mast is at the breaking; One kiss or two from thy sweet mouth Would keep me from the dying.” 13 ‘“‘O mind you not, young man,”’ said she, ‘When you sat in the tavern, Then you made the health go around And slighted Barbara Allan?”’ 14 And slowly, slowly rose she up, And slowly, slowly left him, And, sighing, said she could not stay Since death of life had reft him. 15 She had not gone a mile from the town Till she heard the dead-bell knelling, And every knell that dead-bell gave Was woe to Barbara Allan. 16 Now when the virgin heard the sound, Sure, she was greatly troubled. When in the coffin his corpse she viewed Her sorrows all were doubled. 17 ‘*‘What, has thou died for me!”’ she cried, a ‘Let all true lovers shun me. Too late I may this sadly say, That death has quite undone me. ; 18 ‘‘O mother, mother, make my bed, O make it soft and narrow! Since my true love died for me to-day I'll die for him to-morrow.” B ; “Barbara Ellen.” Contributed by Mrs. Willard Thompson, Cape John, Pictou County. 1 In Charlotte Town where I was born There was a fair maid dwelling. Every youth cried, ‘‘ Well away!”’ Her name was Barbara Ellen. 38 2 3 IO BALLADS AND SEA SONGS ”*T was very early in the spring When the flowers they were blooming, A young man on his death bed lay For the love of Barbara Ellen. He wrote a letter to the town, To the town where she was dwelling; He wrote it wide and wrote it long, Addressed to Barbara Ellen. Then slowly, slowly she arose, Slowly she went to him. When she got to his bedside She said, ‘‘ Young man, you’re dying!” ‘A dying man indeed I am, — One kiss from you will save me.” ‘One kiss from me you ne’er shall get While your false heart is beating!’’ She said, ‘‘ Young man, do you forget, While drinking at the tavern, You drank success to all your friends, And you slighted Barbara Ellen?” He turned his face to the wall, And he began a sighing: ‘‘ Adieu, adieu to all my friends, Adieu to Barbara Ellen!” Slowly, slowly she arose, And slowly she went from him, And when she got two miles from town She heard the death-bells tolling. She turned to the east and to the west, She saw the cold corpse coming, She begged the buriers to set him down That she may gaze upon him. She pressed the cold form to her heart And she began a sighing. All the words that she could say Was, ‘‘God have mercy on him! — = Au * FROM NOVA SCOTIA 39 1z ‘‘Father dear, dig me a grave, Go dig it deep and narrow! My true love died for me today, I'll die for him tomorrow.”’ 12 Soin the churchyard they were laid, Those two and only lovers. On her grave there grew a rose, On his there grew a briar. 13 They grew, they grew to the steeple’s top, Till they could grow no higher, Then they formed a true love’s-knot For the lovers to admire. “Barbary Ellen.” From the singing and recitation of Mrs. Jacob Langille, Marshville, Pictou County. t It was the very month of May, And the green buds they were swelling. Young Jimmy Groves on his death-bed lay For the love of Barbary Ellen. 2 He sent his man down to the town In the place where she was dwelling: “Make haste and come to my master’s house, If your name is Barbary Ellen.”’ 3 Slowly, slowly she got up, And so slowly she came nigh him. “‘I cannot keep you from your grave; Young man, I think you’re dying.” 4 He turned his back unto her then, A deadly swound he fell in; He bid adieu to all his friends, And adieu to Barbary Ellen. 5 As she was walking in the plain She heard the death-bell tolling, And every stroke it seemed to say, ‘“‘O cruel Barbary Ellen.” 40 Io BALLADS AND SEA SONGS As she was walking on the road She met the corpse a coming. ‘‘Lay down, lay down the corpse,” she said, ‘That I may look upon him.” The more she looked the more she laughed For the love that he had for her, While all of her friends cried out, “‘ For shame, O cruel Barbary Ellen!” When he was dead and laid in grave Her heart was struck with sorrow: ‘‘O mother, mother, make me a bed, For I will die to-morrow. ‘‘Hard-hearted creature that I was, Who lovéd me so dearly. O that I had more kinder been When he was alive and near me. ‘‘Come young and old, both great and small And shun the fall I fell in; Henceforth take warning by the fall Of cruel Barbary Ellen.” FROM NOVA SCOTIA 41 1 ge) YOUNG JOHNSTONE (CurLp, No. 88) THE two interesting texts found in Nova Scotia differ markedly in form, and are obviously derived from two distinct traditions. Version A does not fol- low any of the Child versions closely, nor does it seem to have been influenced by the altered text in Pinkerton’s Select Scotish Ballads (1, 69) or the free ver- sion in Chambers’s Twelve Romantic Scottish Ballads (p. 293). In the absence of the dream, and in the description of the hawk, hound, and steed (coloured, respectively, dark gray, light gray, and milk-white), it is reminiscent of Child C, but in most respects it is very unlike that version. As for Version B, it is clearly enough a variant of Child D, which begins: ‘‘ Johnston Hey and Young Caldwell.” It has the same dreams of swine and the bride’s bed, and of lions and ravens (the latter strangely transformed, through the medium of corbies, to “corbet”’), and the same evasive explanation from the slayer, to account for his absence, that he has been at ‘‘ yon state house” — a corruption of “‘ yon slate house” in Child D. Here, however, there is a curious composite of influence in the lines I have been at yon state house, Learning young Clark to write. In Child B Johnstone tells his sister, I hae been at the school, sister, Learning young clerks to sing, repeating the explanation, later, to his sweetheart. In Child D he tells his mother, his sister, and his sweetheart, in answer to their successive questions, OI hae been at yon new slate house Hearing the clergy speak. cA “Johnson and the Colonel.” From the singing and recitation of John Henderson, Tatamagouche, Colchester County (printed, Quest, pp. 120-124). 1 As Johnson and the young Colonel Together were drinking wine, Says Johnson to the young Colonel, “Tf you’ll marry my sister, Ill marry thine.” 2 “No, I’ll not marry your sister, Nor shall you marry mine, For I will keep her for a miss As I go through the town.” 42 Io a BALLADS AND SEA SONGS Young Johnson has drawn his broad bright sword Which hung low down to the ground, And he has given the young Colonel A deep and deadly wound. Then mounting on his milk-white steed, He swiftly rode away Until he came to his sister’s house Long, long ere the break of day. “‘Alight, alight, young Johnson,” she said, ‘‘And take a silent sleep, For you have crossed wide wide waters, Which are both wide and deep.” ‘“‘T cannot light, I cannot light, Nor neither sleep can I, For I have killed the young Colonel, And for it I did fly.” ‘**O have you killed the young Colonel? O woe be unto thee! ~To-morrow’s morn at eight o’clock It’s hangéd you shall be.” ‘O hold your tongue, you cruel woman, O hold your tongue,” said he, ‘How can I trust to a strange lady If I cannot trust to thee?” He’s mounted on his nimble steed And swiftly rode away, Until he came to his own true love Long, long ere break of day. “‘Alight, alight, young Johnson,” she said, ‘‘And take a silent sleep, For you have crossed the stormy waters, Which are both wide and deep.” “I can’t alight, I cannot stop, Nor either sleep can I, For I have killed the young Colonel And for it I must fly.” ~ ee ~* 5 “ — . 2 Sere Te Ww one bi ae rr : Soy ee sh ee es DP I2 13 14 T5 16 17 18 79 20 FROM NOVA SCOTIA ““O have you killed my brother?” she said, ‘“‘O what shall now be done? But come into my chamber, I’ll secure you from all harm.” She’s lockéd up his hawks And she’s lockéd up his hounds, And she’s lockéd up the nimble steed That bore him from the ground. She’s lockéd one, she’s lockéd two, She’s lockéd three or four, And then she stood for his life-guard Behind the entry door. On looking east and looking west She happened for to see Four and twenty of the King’s Life Guards Come riding merrily. ““O did you see young Johnson?”’ they said, ‘fOr did he pass by this way? For he has killed the young Colonel, And for it he did fly.” ‘What color was his hawk?”’ she said, ‘And what color was his hound? And what color was his nimble steed That bore him from the ground?” ‘fA dark gray was his hawk,” they said, ‘‘And a light gray was his hound, And a milk-white was the nimble steed That bore him from the ground.” ‘Then ride away, O ride away, And quickly ride, I pray; Or I fear he’ll be out of London Town Long, long ere the dawn of day.” She went into his chamber For to tell him what she had done, And he has pierced his lovely dear That ne’er did him any wrong. 43 44 21 22 23 24 25 PARSE iy a OTE ts a ye see OE Sha me 7a hbte fut Rte ES 3 a Bk Lai PY BALLADS AND SEA SONGS Young Johnson being in a silent sleep And dreaming they were near, He has drawn his bright broad shining sword And pierced his lovely dear. ‘‘What cause for this, dear Johnson?” she said, ‘“‘O what is this you’ve done? For you have pierced your dearest dear That ne’er did you any wrong.” ‘‘O can you live? O can you live? Can you live but one single half hour? And all the doctors in London Town Shall be within your bower.”’ ‘‘T cannot live, I cannot live! O how can I live?”’ said she, ‘For don’t you see my very heart’s blood Come trickling down from my knee? ““O ride away, you ride away, And quickly get over the plain, And never let it once enter your mind That your own true love you’ve slain.” B “Johnson and Coldwell.” From the singing and recitation of David Rog- ers, Pictou, Pictou County. 1 As Johnson and the young Coldwell Was a drinking of their wine Says Johnson unto young Coldwell, “Tf you marry my sister I’ll marry thine.” ‘‘T’ll not marry your sister, Or you'll not marry mine, © But as I go through yonder town I’ll make her my Clementine.” 3 Johnson had a broadsword by his side, Which was both keen and bright, And ’twixt the long ribs and the short He pierced young Coldwell’s heart. 1 a Eon Pt alae Io II I2 FROM NOVA SCOTIA 45 He got up and he rode down By the clear light of the moon, Until he came to his mother’s tower, And there he lighted down. “Where have you been, dear son,” she said, ‘‘So far and so late in the night?” *“‘I’ve been down to yon state house, Learning young Clark to write.” **T dreamt a dream, dear son,’”’ she said — ‘‘And I hope it may be for your good — That the lions were nopping your noble blood, And corbet be your flesh for food.” ‘To dream of lions, dear mother,” he said, ‘‘Is the losing of a friend, For I have murdered young Coldwell, And I’m afraid in my heart I’ll be slain.” He got up and he rode down By the clear light of the moon, Until he came to his sister’s tower, And there he lighted down. ‘Where have you been, dear brother,”’ she said, **So far and so late in the night?” ‘It’s I’ve been down to yon state house, Learning young Clark to write.” ‘“‘T dreamt a dream, dear brother,”’ she said — ‘*T hope it may be for your good — That the lions were nopping your noble blood, And corbet be your flesh for food.” ‘“To dream of lions, dear sister,” he said, ‘Ts the losing of a friend, For I have murdered young Coldwell, ‘And I’m afraid in my heart I’ll be slain.” He got up and he rode down By the clear light of the moon, Until he came to his true love’s tower, And there he lighted down. 13 14 I5 16 | 18 19 20 21 BALLADS AND SEA SONGS ‘Where have you been, my dear,” she said, ‘So far and so late in the night?” ‘It’s I’ve been down to yon state house, Learning young Clark to write.” ‘“‘T dreamt a dream, my dear,” she said — ‘‘And I hope it may be for your good — That your bride’s bed was covered with young swine, And the sheets were stained with blood.” ‘To dream of swine, my dear,” he said, ‘Is the losing of a friend, For I have murdered your brother Coldwell, And I’m afraid in my heart I'll be slain.” ‘Lie down, lie down, my dear,” she said, ‘And your guard I now will be, For I love your little finger better Than my brother’s whole body.” She went unto her tower window To see what she could see. There she spied four and twenty young English lords Come riding towards her tower. ‘‘Did you see the murderer?”’ they said, “‘Or did he pass this way? White was the steed that he rode on, And blue was the clothes that he wore.” *“‘O yes, I saw the murderer,” she said, ‘“‘He passed about twelve in the day. If that be the description you give of him, He’s near to London Town.” She went unto her own true love With good tidings for to bring, And with a penknife in his hand He pierced her to the heart. ‘Can you live at all?”’ he said. ‘Can you live one half hour? I’ll have all the doctors in this land To come within your tower.” ’ > realy ekg eae eg a ean eee a Mfr ns ; -“T cannot live See halt es _ I tried your precious life to save To the utmost of my power.”’ He stuck his sword all in the ground, a _ And the point fornent his heart, = _And for the sake of his own true love Ry: He pierced his faithful heart. ¥ 7 pe 2<4 or ~* Yad a; it ea /~ - RB MME yh Ls of, Pea PrN Ue YSN a | } 7 A Se 48 BALLADS AND SEA SONGS Il SIR JAMES THE ROSE (Curtp, No. 213) THE two substantially similar versions that follow represent “Sir James the Ross,”’ an unacknowledged adaptation, by Michael Bruce, of the old Scottish ballad “Sir James the Rose” (Child, No. 213). It first appeared in The Weekly Magazine or Edinburgh Amusement, September 20, 1770, IX, 371-373, with the superscription “Sir James the Ross, an Ancient Historical Ballad.” See Grosart, The Works of Michael Bruce, pp. 197-205, for a reprinted copy, and the same work, pp. 257-260, for notes and a copy of Bruce’s ballad as it was pub- lished, with alterations, by Logan in 1770. Child remarks that this adapta- tion “‘has perhaps enjoyed more favor with ‘the general’ than the original” (English and Scottish Popular Ballads, tv, 156). The current title in Scotland, apparently, was not “Sir James the Ross,” but “Sir James the Rose” (see, — for instance, Whitelaw’s Book of Scottish Ballads, p. 41). The Nova Scotia — versions, derived from Scottish tradition, regularly employ this older title and - the corresponding designation of the hero throughout the ballad. cA “Sir James the Rose.”’ From the singing and recitation of Robert Reid, River John, Pictou County. 1 Of all the Scottish northern chiefs Of high and warlike name, The bravest was Sir James the Rose, A knight of muckle fame. 2 His growth was like the youthful oak That crowns the mountain brow, And waving o’er his shoulders broad The locks of yellow flew. 3 Wide were his fields, his herds were large, And large his flocks of sheep, And numerous were his goats and deers Upon the mountains steep. 4 In bloody fight thrice had he stood Against the English keen, Ere two and twenty opening springs The blooming youth had seen. IO II I2 I3 FROM NOVA SCOTIA 49 The fair Matilda dear he loved, A maid of beauty rare; Even Margaret on the Scottish throne Was never half so fair. Long had he wooed, long she refused With seeming scorn and pride. At length her eyes confessed the love Her fearful words denied. Her father, Buchan’s cruel lord, Their passion disapproved; He bade her wed Sir John the Graeme, And leave the youth she loved. One night they met as they were wont, Down by a shady wood, Where on the bank beside the burn A blooming saught tree stood. Concealed beneath the underwood The crafty Donald lay, A brother to Sir John the Graeme, To hear what they might say. And thus the maid began, ‘‘My sire Our passion disapproves. He bids me wed Sir John the Graeme, So here must end our loves. ‘“My father’s will must be obeyed, Naught boots me to withstand. Some fairer maid in beauty’s bloom Shall bless thee with her hand. *“Soon will Matilda be forgot And from thy mind effaced, But may the happiness be thine Which I can never taste.” ‘“What do I hear? Is this thy vow?” Sir James the Rose replied, ‘‘And will Matilda wed the Graeme, Though sworn to be my bride?”’ 50 14 15 16 17 18 9 20 21 22 ss Se ee See ees f a a San 1 1 te on Fa BALLADS AND SEA SONGS ‘His sword shall sooner pierce my heart Than reave me of my charms” — Then clasped her to his throbbing breast, Fast locked within his arms. ‘‘T spoke to try thy love,”’ said she, ‘*T’ll ne’er wed man but thee. The grave shall be my bridal bed Ere Graeme my husband be. ‘Take then, dear love, this faithful kiss In witness of my troth. May every plague become thy lot The day I break my oath!” They parted thus, the sun was set, Up hasty Donald flies; Then, ‘Turn thee, turn thee, beardless youth!” He loud, insulting cries. Then turned about the fearless chief, And soon his sword he drew, For Donald’s blade before his face Had pierced his tartans through. ‘“*T is for my brother’s slighted love, His wrongs sit on my arm.” Three paces back the youth retired, And saved himself from harm. Returning swift his sword he reared Fierce Donald’s head above, And through the head and crashing bone The furious weapon drove. Life issued at the wound. He fell A lump of lifeless clay. **So fall my foes!’ quoth valiant Rose, And stately strode away. Through the green woods in haste he passed Unto Lord Buchan’s hall, Beneath Matilda’s window stood, And thus on her did call: 23 24 25 26 27 28 29 390 ot FROM NOVA SCOTIA *‘Art thou asleep, Matilda dear? Awake, my love, awake! Behold, thy lover waits without, A long farewell to take. “For I have slain fierce Donald Graeme, His blood is on my sword; And far, far distant are my men, Nor can assist their lord. ‘To Skye I will direct my flight, Where my brave brothers bide, To raise the mighty of the Isles To combat on my side.” ‘Oh do not so,” the maid replied, “With me till morning stay, For dark and dreary is the night, And dangerous is the way. “All night I’ll watch you in the park, My faithful page I’ll send In haste to raise the brave clan Rose Their master to defend.”’ He laid him down beneath a bush, And wrapped him in his plaid, While trembling for her lover’s sake At distance stood the maid. Swift ran the page o’er hill and dale, Till in a lonely glen He met the furious John the Graeme With twenty of his men. ‘Where goest thou, little page?’’ he said, ‘*So late who didst thou send?”’ ‘*T go to raise the brave clan Rose, Their master to defend. ‘*For he has slain fierce Donald Graeme, His blood is on his sword, And far, far distant are his men Nor can assist their lord.” $1 §2 32 33 34 35 36 37 38 39 40 BALLADS AND SEA SONGS ‘And he has slain my brother dear,” The furious chief replied; ‘‘Dishonour blast my name, but he By me ere morning dies! ‘“‘Say, page, where sleeps Sir James the Rose, And I’ll thee much reward.” ‘He sleeps in Lord Buchan’s park, Matilda is his guard.” They spurred their steeds and furious flew Like lightning o’er the lea; They reached Lord Buchan’s lofty towers By dawning of the day. Matilda stood without the gate Upon a rising ground, And viewed each object in the dawn, All ear to every sound. ‘Where sleeps the Rose?”’ began the Graeme, ‘*Or has the villain fled? This hand shall lay the wretch on earth By whom my brother’s bled.” At this the valiant knight awoke, The virgin shrieking heard. Straight he rose and drew his sword When the fierce band appeared. ‘Your sword last night my brother slew, His blood yet dims its shine, But ere the sun shall gild the morn Your blood shall reek on mine.” ‘Your words are brave,” the chief replied, ‘“‘But deeds approve the man. Set by your men, and hand to hand We'll try what valour can.” Four of his men, the bravest four, Fell down beneath his sword, But still he scorned the poor revenge, But sought their haughty lord. 42 43 44 45 46 47 48 FROM NOVA SCOTIA Till basely behind him came the Graeme And pierced him in the side; Out spouting came the purple stream, And all his tartans dyed. But yet his hand dropped not the sword, Nor sank he to the ground, Till through his enemy’s heart the steel Had pierced a mortal wound. Graeme like a tree by wind o’erthrown Fell breathless on the clay, While down beside him sank the Rose, Who faint and dying lay. Matilda saw and fast she ran. ‘Oh spare his life!”’ she cried. ‘Lord Buchan’s daughter begs his life; Let her not be denied.” Her well-known voice the hero heard, And raised his death-closed eyes, And fixed them on the weeping maid, And weakly this replies: ‘In vain Matilda begs a life By death’s arrest denied. My race isrun. Adieu, my love Then closed his eyes and died. {”? The sword yet warm from his left side With frantic hand she drew. ‘“‘I come, Sir James the Rose,” she cried, ‘fT come to follow you!” The hilt she leaned against the ground And bared her snowy breast, And fell upon her lover’s face, And sank to endless rest. 53 54 BALLADS AND SEA SONGS B “‘Sir James the Rose.”’ From the singing and recitation of George Forbes, Little Harbour, Pictou County. I Of all the northern Scottish chiefs Of high and warlike fame, The bravest was Sir James the Rose, That knight of muckle fame. His growth was like the tifted fir That crowns the mountain’s brow, And waving o’er his shoulders broad His locks of yellow hue. The chieftain of that brave clan Rose, A firm undaunted band, Five hundred warriors drew their swords Beneath his brave commands. In bloody fights thrice had he stood Before the English keen, _ Ere two and twenty opening springs That blooming youth had seen. One fair Matilda dear he loved, A maid of beauty rare; Even Margaret on the Scottish throne Was never half so fair. Long had he wooed, long she refused With seeming scorn and pride. After her eyes convinced her love Her faithful tongue denied. One day they met as they had wont Down by a shady wood, All on a bank beneath the blawn A blooming saw-tree stood. Concealed beneath the underwood The crafty Donald lay, A brother to Sir John the Graeme, To hear what they would say. A in ee Io II I2 13 14 15 16 17 FROM NOVA SCOTIA With this the maid began, ‘‘ My sire Our passion disapproves, And bids me wed Sir John the Graeme, So here must end our love. ‘‘My father’s will must be obeyed, Naught puts me to withstand. Some fairer maid of beauty rare Will bless you with her hand.” ““What’s this I hear? Is this thy vow?” Sir James the Rose replied, ‘‘And will Matilda wed the Graeme Though sworn to be my bride? *“My sword will sooner pierce my heart Than reft me of thy charms.” Then clasped her to his beating breast, Fast locked up in his arms. “*T only spoke to try your love, No one [’ll wed but thee. My grave shall be my bridal bed Ere Graeme my husband be.” The sun being set, they parted thus; Up hastily Donald flies. “O turn! O turn, you beardless youth He bold insulting cries. {?? Then turned about the fearless chief, And quick his sword he drew, For Donald’s blade before his breast Had pierced his tartan through. ‘This for my brother’s slighted love! His wrongs lie on my arm.”’ Three paces back the youth retired, And saved himself from harm. Then turning round, his sword he reared O’er Donald’s head above, And through his brains and shattering bone His sharp-edged weapon drew. 55 56 18 IQ 20 2i 22 23 24 25 26 BALLADS AND SEA SONGS Graeme like a tree by wind o’erthrown Fell breathless on the clay. ‘““There falls my foe!”’ said valiant Rose, And quickly strode away. Then through the greenwood quick he hied Without the least delay. He reached Lord Buchan’s lofty bowers And softly then did say: ‘‘Art thou asleep, Matilda dear? Awake, my love! Awake! A luckless lover calls on thee A long farewell to take. ‘‘For I have slain Sir Donald Graeme, His blood yet dims my sword, And far, far distant are the men That would me help afford. “To Skye I’ll now direct my way Where my bold brethren bide. I’ll raise the chiefest of that isle To combat on my side.” ‘“‘O, do not so!” the maid replied, ‘With me till morning stay; For dark and dismal is the night And dreary is the way. ‘All night I’ll watch thee in the park. My faithful page I’ll send To run and raise the Rose’s men, Their master to defend.” Swift runs the page o’er hill and dale, Till in a lonely glen He met the furious Sir John Graeme With twenty of his men. “Where run you so, my little page? Who did thee so late send?”’ ‘‘T run to raise the Rose’s men Their master to defend. 27 28 “9 30 a 32 33 34 35 FROM NOVA SCOTIA “For he has slain Sir Donald Graeme, His blood yet dims his sword, And far, far distant are the men That should him help afford.” ‘‘O has he slain my brother dear?” The furious Graeme replies. ‘“‘Dishonour blast my name but he By me ere morning dies! ‘Tell me where is Sir James the Rose? I will thee well reward.” ‘He lies into Lord Buchan’s park, Matilda is his guard.” They swiftly pricked their sweating steeds, And scoured along the lea, And reached Lord Buchan’s lofty bowers By dawning of the day. Matilda stood without the gate, To whom the Graeme did say, ‘‘Saw ye Sir James the Rose last night, Or did he pass this way?”’ ‘“‘Last night at noon,” Matilda said, ‘*Sir James the Rose passed by. He furious pricked his sweating steed And onward past did ride. ‘‘He’s by this time in Edinboro ‘Town If horse and man hold good.” ‘Your page then lies who said he was A sleeping in this wood!” She wrung her hands and tore her hair. ‘‘Brave Rose, thou art betrayed, And ruined by those very means By which I hoped thine aid.” With this the hero he awoke, Her well-known voice he heard, He quickly rose and drew his sword Ere the fierce band appeared. Si] 58 36 oF 38 39 40 AI 42 43 44 BALLADS AND SEA SONGS ‘‘Last night your sword my brother slew, His blood yet dims its shine, But ere the rising of the sun Your blood shall shine on mine.” ‘‘You’re worded well,” the youth replies, ‘“‘But it’s deeds that prove the man. Lay by your men and, sword to sword, We'll try what valour can.” Then forward trod with dauntless steps And dared him to the fight, But Graeme gave back and feared his sword, For well he knew its might. Four of his men, the bravest four, Sank down beneath his sword, But still he scorned that poor revenge And sought their haughty lord. Then basely came the Graeme behind And stabbed him in the side; Out spurting came the purple gore, And all his tartans dyed. His hand yet never quit the grip, Nor fell he to the ground, Till through his enemy’s heart his sword Had pierced a mortal wound. Graeme staggered, reeled, and tumbled down, A lump of breathless clay; Then down beside him sank the Rose, And faintish dying lay. The sad Matilda saw him fall. ‘*O spare his life!’’ she cried, ‘Lord Buchan’s daughter begs a life. Let her not be denied!”’ Her well-known voice the hero heard And raised his death-closed eyes. He fixed them on the weeping maid, And weakly thus replies: roger _ FROM NOVA SCOTIA - “Matilda begs a life in vain, Denied by death’s arrest.” Then bowed his head and closed his eyes, And sank to endless rest. 46 His sword yet warm by his right side With frantic hand she drew. ‘IT come, Sir James the Rose,” she cried, “T come to follow you!” 47 She put the hilt unto the ground, Then bared her snow-white breast, And fell upon her lover’s sword, And sank to endless rest. 59 60 BALLADS AND SEA SONGS I2 ANDREW LAMMIE (Curtp, No. 233) Tue three stanzas of the following fragment are all that I have been able to collect of a ballad that was once current among the Scotch people in the north- ern counties of Nova Scotia. The first of these was given to me by John Hen- derson of Tatamagouche, Colchester County, a veteran who had sung this song and many others in his youth, but who, when he tried to go beyond the first verse of “Andrew Lammie”’ for me, was estopped by the weariness and the mere oblivion of a hundred years. The second and third stanzas were con- tributed by Alexander Sutherland of Toney River, Pictou County, who could almost, but not quite, recollect a good many others. The resultant constitutes a slight fragment of Child C, the first stanza corresponding to stanza 1 of the Child version, the second combining stanzas 37 and 38, and the third cor- responding to stanza 40, but modified by the influence of a stanza from “Bar- bara Allan.” Versions of the ballad are printed by Whitelaw (Book of Scottish Ballads, pp. 265-267), and by Greig (xv, xvI, XxxIv). It is also in the following chap- book collections in the Harvard College Library: 25263.23, No. 13; 25252.19 (second chapbook in collection made by John Bell, Newcastle; printed by R. Hutchison, Glasgow). 1 In Mill o’ Tiftie there lived a man, | In the neighbourhood of Fyvie. He had an only daughter fair, Her name was bonny Annie. 2 Her father beat her wondrous sore With heavy strokes a many. Her mother did her daily scorn, But woe be to her brother! 3 ‘‘O mother dear, make me my bed, And make it soft and bonny. My true love died for me today, T’ll die for him tomorrow.” FROM NOVA SCOTIA 61 13 HENRY MARTYN (CurLp, No. 250) ONE of the songs that Little Ned Langille sang for me before he left this world was “Bolender Martin,” and the only excuse that I can offer for my shameful inability to reconstruct more than the following fragment is that of my ex- treme youth and unawareness at the time of the singing. When I began my work of collecting (after Ned’s death) I made special efforts to recover some version of this ballad, and, failing in these efforts, I present the bit that I can recollect with certainty as a remnant and reminder of an old Nova Scotia tradition. The tune I remember clearly enough, and I shall set it down in the Appendix. As for the title ““Bolender Martin,” it is, pretty obviously, a cor- ruption (introduced by Little Ned himself or by some of his singing predeces- sors) of “Bold Andrew Martin.” The ballad, which was probably derived from the older “Sir Andrew Barton,” was current both as ‘Henry Martyn” and as “Andrew Bartin,” and the process of fusion and corruption which re- sulted in Little Ned’s title will be readily imagined by the student of such matters. For references to American and recent English versions see Kittredge, Journal, XXX, 327. Cox prints a version from West Virginia (pp. 150-151), and Gray reproduces a text from Journal, XvttI, 302-303 (pp. 80-81). 1 There lived three brothers in fair Scotland, In Scotland there lived brothers three. And they drew lots to see which would go A robbing all on the salt sea. 2 The lot it fell on Bolender Martin, The youngest of the three, That he should turn robber all on the salt sea To maintain his two brothers and he. “‘T am the rich merchant from fair Engeland, And I pray you to let me pass by.” 4 ‘Ohno, oh no,” says Bolender Martin, “That thing can never be, For I have turned robber all on the salt sea, To maintain my two brothers and me.” SETS OS ee Pele | Uy Ay aor 7 ee paeen 62 BALLADS AND SEA SONGS 14 OUR GOODMAN (Cur, No. 274) THE following version, so far as it goes, corresponds pretty closely to Child A. The song used to be a great favourite in the Scotch communities in the north of Nova Scotia, but the Scotch inhabitants of Nova Scotia for the most part gave up their ballads many years ago. The fragment which I present was recollected by my mother from the singing of a maid in her home at Durham, Pictou County. For references see Journal, XXIX, 166; XXX, 328; Xxxv, 348; Cox, p. 154. Cox presents three variants of Child A from West Virginia. t O hame came our goodman at e’en, And hame came he, And there he saw a horse Where nae a horse should be. 2 ‘‘O how came this horse here? And how came he here? O how came this horse here Without the leave 0’ me?”’ 3. “Oye puir blind doted body, Blinder mat ye be! It’s but a bonny milk cu Me mither sent to me.” 4 ‘A milk cu?” quo’ he. “Aye, a milk cu,”’ quo’ she. 5 ‘“O lang hae I ridden, And muckle hae I seen, But a saddle on a milk cu Saw I never nane.”’ 6 Ohame came our goodman at e’en, And hame came he, And there he saw a coat Where nae a coat should be. 7 “O how came this coat here? And how came it here? O how came this coat here Without the leave o’ me?” IO it I2 T3 14 a) FROM NOVA SCOTIA 63 **O ye puir blind doted body, Blinder mat ye be! It’s but a bonny blanket Me mither sent to me.”’ ‘fA blanket?” quo’ he. *‘Aye, a blanket,’’ quo’ she. **O lang hae I ridden, And muckle hae I seen, But buttons on a blanket Saw I never nane.”’ O hame came our goodman at e’en, And hame came he, And there he saw a sword Where nae a sword should be. “‘O how came this sword here? And how came it here? O how came this sword here Without the leave o’ me?”’ ‘“‘O ye puir blind doted body, Blinder mat ye be! It’s but a bonny parritch stick Me mither sent to me.”’ ‘*A parritch stick?’’ quo’ he. ‘Aye, a parritch stick,’’ quo’ she. ‘*O lang hae I ridden, And muckle hae I seen, But tassels on a parritch stick Saw I never nane.”’ BALLADS AND SEA SONGS is) THE FARMER’S CURST WIFE (Curtp, No. 278) THE following version is fairly similar to Child A. Several versions and frag- ments of the song have been found in the United States: see Journal, xxx, 320; Cox, p. 164. “The Devil’s Song.” From the singing of David Rogers, Pictou, Pictou County. I It ’s of a farmer who lived in York, He had an old wife and he wished her in hell. Chorus Sing fal the di daddy Sing fal the di daddy Sing fal the di daddy Sing fal the di day The devil came to him when he was at plough, Saying, ‘“‘One of your family I must have now.” ‘OQ take her, O take her with all of my heart, T hope you two devils you will never part!” The devil he took her, put her into a sack; He off to hell with her onto his back. She saw three little devils all dancing in chains. © She off with her cloak to knock out their damn brains. The three little devils to their father did bawl, “This old devil will murder us all!” The women, they say, are ten times worse than the men, For when they ’re in hell they ’re kicked out again. eo ee FROM NOVA SCOTIA 65 16 THE MERMAID (CuILp, No. 289) Tuis slight fragment is all that I have been able to recover in Nova Scotia of the true folk rendition of ‘““The Mermaid.” The ballad is well known there and elsewhere as a college song, and it has been printed times without number in broadsides and song-books both in Great Britain and in America. As a sailor song it is reproduced in such collections as Davis and Tozer’s Sailor Songs or “‘Chanties” (pp. 92-93) and Ashton’s Real Sailor-Songs (pp. 41-42). The old man who sang the fragment for me is not himself a sailor, but he has spent a good part of his life working in and about the vessels at the wharves of his native town, and there he acquired this bit and other snatches of the sailors’ songs. For references to British and American texts see Kittredge, Journal, xxv1, 175; Cox, p. 172. Add Spaeth, Read ’em and Weep, 1927, pp. 81-83. “The Royal George.’’ From the singing and recitation of Ephraim Tat- trie, Tatamagouche, Colchester County. 1 ‘OI thought more of my greasy pots and pans As you did of your three wives, All three, all three, all three, As you done of all your three wives.” 2 Othe Royal George turned round three times, And down to the bottom she did go, She did go, she did go, she did go, All down to the bottom of the sea. 66 BALLADS AND SEA SONGS ick THE TURKISH LADY THE title of this song is sometimes used for “ Young Beichan” (“Lord Bate- man’’), and one may suppose that the song itself, with its jingling lines and rather colourless narrative, is simply an inferior retelling of the tale in the old ballad. Logan (A Pedlar’s Pack, p. 11) conjectures that it was composed about the middle of the seventeenth century, and compares it with “ ~ Spanish Lady’s Love to an Englishman.” “The Turkish Lady”’ has been printed many times in England, and it ap- peared in some of the American songsters of the last century. For references see Kittredge, Journal, xxx, 296-207. cA “The Turkish Lady.” From the singing and recitation of Peter Hines, Tatamagouche, Colchester County. 1 Young virgins all, I pray draw near, A pretty story you shall hear. ’T was of a Turkish lady brave That fell in love with an English slave. 2 Amerchant ship at Bristol lay As we were sailing o’er the sea. By a Turkish slaver took were we, And all of us made slaves to be. 3 They bound us down in irons strong, They whipped and lashed us all along; No tongue can tell, I’m certain sure, What we poor sailors could endure. 4 Come set you down and listen a while, And hear how Fortune did on me smile. It was my fortune for to be A slave unto a rich lady. 5 She dressed herself in rich array, And went to view her slaves one day. Hearing the moan the young man made, She went to him and thus she said: 6 ‘“‘What countryman, young man, are you?” ‘An Englishman, and that is true.” *‘I wish you were some Turk,” said she, ‘I would ease you of your misery. IO re FROM NOVA SCOTIA 67 ‘*T’ll ease you of your slavish work Tf you'll consent and turn a Turk. I’ll own myself to be your wife, For I do love you as my life.” ‘*No, no,” then said he, ‘‘Your conscience slave, madam, I’ll be. I’d sooner be burnt at a stake Before that I’d my God forsake!” This lady to her chamber went, And spent that night in discontent. Little Cupid with his piercing dart Did deeply wound her to the heart. She was resolvéd the next day To ease him of his slavery, And own herself to be his wife, For she did love him as her life. She dressed herself in rich array And with the young man sailed away; Unto her parents she bade adieu. By this you see what love can do. ay “The Turkish Lady.” From the singing and recitation of Alexander Har- rison, Maccan, Cumberland County. I Young virgins all I pray draw near, A pretty story you shall hear. ’T is of a Turkish lady brave, Who fell in love with an English slave. A merchant’s ship at Bristol lay As they were sailing o’er the sea. By a Turkish rover took were we And all of us made slaves to be. They bound us down in irons strong, They whipped and lashéd us along. No tongue can tell, I’m certain sure, What us poor souls did endure. 68 IO Il 12 BALLADS AND SEA SONGS Come, sit you down and listen a while, And hear how Fortune did on me smile. It was my fortune for to be A slave unto a rich lady. She dressed herself in rich array, And went to view her slaves one day. Hearing the moan the young man made, She went to him and thus she said: ‘“‘What countryman, young man, are you?” ““T am an Englishman, that’s true.” ‘“‘T wish you was a Turk,” said she, ‘“‘T’d ease you of your misery. ‘‘T’ll ease you of your slavish work, If you’ll consent to turn a Turk. I’ll own myself to be your wife, For I do love you as my life.” “No, no, no,” then said he, ‘‘Your constant slave, madam, I'll be. I’d sooner be burnt there at the stick _ Before that I’ll my God forsake!” This lady to her chamber went, And spent that night in discontent. | Little Cupid with his piercing dart Had deeply wounded her to the heart. She was resolvéd the next day To ease him of his misery, And own herself to be his wife, For she did love him as her life. She dressed herself in rich array, And with the young man sailed away. Unto her parents she bid adieu. Now you see what love can do. She is turned a Christian brave, And is wed to her own slave That was in chains and bondage too. ° By this you see what love can do. “i FROM NOVA SCOTIA 69 18 THE BLAEBERRY COURTSHIP Tais romantic Scots ballad is remarkably reminiscent of “Lizie Lindsay”’ (Child, No. 226), and Professor Tolman suggests (Journal, xxxv, 345) that it is founded on the older ballad. There is a chapbook copy, printed in 1810 by T. Johnston, Falkirk, in the collection by John Bell of Newcastle (25252.19 in Harvard College Library). For references to other Scottish and English texts and for a version procured in the United States from “an aged Scotch- woman, who learned the words from her mother,” see Journal, xxxv, 345- 346. Add Christie, Traditional Ballad Airs, I, 150-151. cA From the singing and recitation of John Henderson, Tatamagouche, Col- chester County (printed, Quest, pp. 230-234). rt ‘Will ye gang to the Highlands, my jewel, wi’ me? Will ye gang to the Highlands my flock for to see? It is health to my jewel to breathe the fresh air, And to pw’ the blaeberries in the forest sae fair.”’ 2 “To the Highlands, my jewel, I’ll no gang wi’ thee, For the road it is lang and the hills they are hie, For I love these low valleys and the sweet cornfields Before all the blaeberries your wild mountains yields.” 3 “O the hills are bonny when the heather’s in bloom. *T would cheer a fine fancy in the month o’ June To pu’ the blaeberries and carry them home, And set them on your table when December comes on.” 4 Then up spake her faither, that saucy old man: “Ye might ’a’ chosen a mistress amang your ain clan. It’s but poor entertainment for our Lowland dames, For to promise them berries when the wild heather blooms. 5 ‘Tak up your green plaidie, walk over yon hill, For the sight o’ your Hielan’ face does me much ill. I’ll wed my own daughter, and spend pennies too, To whom my heart pleases, and what’s that to you?”’ 6 He called on his daughter, he gave her advice, Saying, “If ye’ll gang wi’ him I’m sure ye’re not wise. He’s a poor Hielan’ fellow, he’s as poor as a crow, Of the clan o’ the caterans for aught we may know. 7O Io II I2 13 14 15 BALLADS AND SEA SONGS ‘‘But if ye gang wi’ him I’m sure ye’ll gang bare, Ye’ll get naething that faither or mither can spare; Of all ye possess I’ll deprive ye for aye, _ If ower the hills, lassie, ye gang away.” ‘“‘Keep back your hand, faither, ye’re no willin’ to give, But I’ll fain go wi’ him as sure as I live! What signifies gold or treasure to me When the Highland hills is ’tween my love and me?” Now she’s awa wi’ him in spite o’ them a’, Awa to a place which her eyes never saw. He had no a steed for to carry her on, But aye he said, “‘Lassie, think na the road long.” In a short time thereafter they came to a glen. The lass being weary she sat hersen doon. ‘‘Rise up, my brave lassie, and let us gang on, For the sun will be gane doon before we get hame.” ‘“My shoes are all torn and my feet are all rent, I’m weary wi’ travellin’ and like to faint. Were it not for the sake o’ your kind companie I wad lie in this desert until I wad dee.” In a short time thereafter they cam to a grove Where the flocks they were feeding in numberless droves. While Alan stood musing his flocks for to see, ‘Step on,” said the lassie, ‘‘that’s na pleasure to me.” Twa bonnie laddies wi’ green tartan trews And twa bonnie lassies were butting the yoes: ‘““Ye’re welcome, honoured master, ye’re welcome again, This while we’ve been lookin’ for ye comin’ hame.” ‘‘Put in your yoes, lassies, and gang awa hame. I hae brought a swan frae the north to tame. Her feathers are fallen, and where can she fly? The best bed in all the house, there shall she lie.” The laddies did whistle and the laddies did sing, And they made to the lassie a broad bed of down. The lassie’s heart was doon and couldna’ well raise Till mony a lad and lass came in wi’ mony a phrase. 16 17 18 19 20 2i 22 23 24 FROM NOVA SCOTIA 71 Early next morning he led her to the high, And bade her !ook round her as far as she could spy: ‘“These lands and possessions — I have no debt to pay — Ye scarce can walk round them in a long summer’s day.” *‘O Alan, O Alan, I’m indebted to thee, A debt, dear Alan, I never can pay. O Alan, O Alan, how cam ye to me? Sure I’m not worthy your bride for to be.” ‘Why call ye me Alan when Sandy’s my name? Why call ye me Alan? Ye’re surely to blame. For don’t ye remember, when at school wi’ me, I was hated by all the rest, lovéd by thee? ‘“‘How oft have I fed on your bread and your cheese When I had naething else but a handful o’ peas. Your hard-hearted faither did hunt me wi’ dogs; They rave all my bare heels and tore all my rags.” ‘“‘Is this my dear Sandy whom I lovéd so dear? I have not heard of you for mony a year. When all the rest went to bed, sleep was frae me For thinkin’ whatever had become o’ thee.”’ ‘*In love we began and in love we will end, And in joy and mirth we will our days spend; And a trip once more to your faither we’ll go To relieve the old farmer of his toil and woe.” Wi’ men and maidservants to wait them upon Awa in a chaise to her faither they ’ve gone. The laddie went foremost, that brave Highland loon, Till they cam to the gate that leads to the toon. When they cam to the gate he gave a loud roar: ‘“Come doon, gentle farmer, Katherine’s at your door!” He looked out at the window and saw his daughter’s face; Wi his hat in his hand he made a great phrase. ‘“‘Haud on your hat, faither, and don’t let it fa’. It’s not for the peacock to bow to the craw!” “‘O haud your tongue, Sandy, and don’t taunt me, My daughter’s nae worthy your bride for to be!”’ Seal gO a Sree ae hye Fila om ney Yaa 72. BALLADS AND SEA SONGS 25 Then he’s held the bridle-rein until he came doon, And then he conveyed him into a fine room. Wi’ the best o’ Scotch whisky they drunk o’ a toast And the son and the faither drunk baith in one glass. B “The Blaeberry Courtship.” From the singing and recitation of Alex- ander Sutherland, Toney River, Pictou County. 1 In the Highlands of Scotland there lived a young man, He was well situated with houses and lands; He’s away to the Highlands to look for a bride, And he’s dressed himself up in a braw suit of Clyde. 2 “Will ye gang to the Highlands, bonny lassie, with me? Will ye gang to the Highlands, bonny lassie?” said he. ‘“‘It’s good for your health, love, to breathe the fresh air, And go gathering blueberries on our wild mountain plains.” 3. “T’ll nae gang to the Highlands, bonny laddie,” said she, ‘‘T’ll nae gang to the Highlands, bonny laddie, with you; I would rather stop home in those low cornfields, Nor go gathering blueberries on your wild mountain plains.” 4 Then down came her father, a saucy old man: “Could n’t you get a mistress in all your Highlands? It’s a poor invitation for Lowlander dame To go gathering blueberries on your wild mountain plains.” 5 Then up spake the young man and said, ‘‘Tf you be a farmer, as farmer you are, Some of your spare pennies with her you must share, Or you'll ne’er see your daughter gang o’er the hill there.” 6 ‘Gang awa wi’ your tartan plaid ower yon hill One sight of my daughter will do. you no ill; You’ll not get my daughter nor spare pennies three. I will wed her to whom I like. What’s that to thee?” 7 Then down came her mother her child to advise, Saying, ‘‘If you do take him I’m sure you’re not wise. He’s a poor naked fellow, as bare as a crow; He has fled from his country, and that youll soon know.”’ IO It I2 13 14 FROM NOVA SCOTIA But this lassie gang awa to a place she ne’er knew, From her dadda and mamma now she’s gang awa. And he had no steed for to carry her on, Saying, ‘‘Gang on, bonny lassie, to sweet Milltown.” It’s they gang along till they came to a glen. This lassie being weary she sat herself down, Saying, “If it was fit for your sweet company, I would lie in these deserts until break of day.” ‘Rise up, bonny lassie, the sun’s gangin’ down. Gang on, bonny lassie, unto sweet Milltown; It’s there we’ll get lodgings for you and me.” And she wished for a barn or a byre to lay in. It’s they gang along till they came to Milltown, Where drovers were driving their drove after drove. This young man stood viewing his flocks passing by, Saying, ‘‘Gang on, bonny lassie, to sweet Milltown.” It’s they gang along till they came to Milltown, Where two pretty maidens were milking their cows, 73 Saying, ‘‘You’re welcome home, master, with your Lowland dame, For it’s long we’ve been waiting for your coming hame.” Now this lassie is home to her place of abode, And she is much weary of her lonesome road. With rum, gin, and brandy they drunk their health round, And they made for this lassie a braw bed of downs. ”"T was early next morning he led her to the high; He bade her look round her as far as she could see: ‘“This is my lands and possessions, my debts they’re all paid, And you would not ride round them on a long summer’s day.” 74 BALLADS AND SEA SONGS 19 } THE SEA CAPTAIN Tus tuneful ballad, which has much more of the pure lyrical quality than is usual in narrative folk-song, is one of the numerous developments of the mo- tive of “Lady Isabel and the Elf Knight.” It is rather closely related to “The Broomfield Hill” (Child, No. 43), a ballad still orally current in England: see Journal of the Folk-Song Society, m1, 69; Iv, 110-116; Vu, 31-33; Gillington and Sellers, Songs of the Open Road, No. 8, pp. 18-19; Williams, p. 75; cf. Barry, Journal, XXIV, 14-15. cA “The Sea Captain.” From the singing and recitation of Mrs. James Camp- bell, River John, Pictou County (printed, Quest, p. 129). I It was of a sea captain that followed the sea. Let the winds blow high or blow low O. ‘TI shall die, I shall die,” the sea captain did cry, ‘If I don’t get that maid on the shore O, If I don’t get that maid on the shore.” This captain had jewels, this captain had gold, This captain had costly a ware O. And all he would give to this pretty fair maid, If she’d please take a sail from the shore O, If she’d please take a sail from the shore. With great persuasions they got her on board, The weather being fine and clear O. She sang so sweet, so neat and complete, That she sang all the seamen to sleep O, That she sang all the seamen to sleep. She took all his jewels, she took all his gold, She took all his costly a ware O. She took his broadsword to make her an oar, And she paddled her way to the shore O, And she paddled her way to the shore. “‘O were my men mad or were my men drunk, Or were my men deep in despair O, To let her away with her beauty so gay To roam all alone on the shore O, To roam all alone on the shore?” FROM NOVA SCOTIA fe 6 ‘‘Your men were not mad, your men were not drunk, Your men were not deep in despair O. I deluded your men as well as yourself. I’m a maid again on the shore O, I’m a maid again on the shore!”’ B “The Sea Captain.”’ From the singing and recitation of Miss Greta Brown, River John, Pictou County. 1 There was a sea captain that followed the sea. Let the winds blow high or blow low, boys. “‘T will die, I will die,’’ was the seaman’s reply, “Tf I don’t get that maid from the shore, shore, If I don’t get that maid from the shore!” 2 One night at the ocean he took her on board, The captain he gave her a share O. He gave her big gun from the cabin below. And farewell all sorrow and care, care, And farewell all sorrow and care. 3. The night being so still and the water so calm, She sat on the stern of the ship O. Her voice was so sweet, so neat and complete, She sang seamen and captain to sleep, sleep, She sang seamen and captain to sleep. 4 She took off his jewels, she took off his ring, She took off his gosbear to wear O. She took his broadsword for to make her an oar, And she paddled her way to the shore, shore, And she paddled her way to the shore. 5 ‘‘O was your men mad, or was your men drunk? Or was your men deep in despair O? But to let me roam all alone by the shore, I’m a maid most again on the shore, shore, I’m a maid most again on the shore!” 76 BALLADS AND SEA SONGS 20 SIR NEIL AND GLENGYLE PETER BucHAN, in Ancient Ballads and Songs of the North of Scotland (1828), II, 16-20, printed ‘‘Sir Niel and MacVan,” which is substantially reproduced in the Nova Scotia version. He remarks (p. 307): ‘I have read of a Sir Niel Campbell who followed the fortune of Sir William Wallace, and, along with ' that brave champion, shared much of his hardships and toil; but I cannot say, to a certainty, that he was the man so dishonourably slain by one of his own clansmen, Campbell of Glengyle. This tragical affray originated in lay- ing both their loves on one lady, a rich heiress in Argyleshire.” For other versions see Greig, crx (‘‘Sir Niel and M’Van’’); Christie, Tra- ditional Ballad Airs, I, 82-83 (“Sir Niel and MacVan”); Whitelaw, Book of Scottish Ballads, pp. Once, No. 4 of a collection of Chap-book Ballads (25263.23 in the Harvard College Library). “Sir Neil and Glengyle.” From the singing and recitation of Robert Lan- gille, Tatamagouche, Colchester County (printed in part, Quest, pp. 237-238). 1 In yonder isle beyond Argyle Where flocks and herds were plenty, Lived airy squire ! whose sister fair Was the flower of all that country. 2 The knight Sir Neil had wooed her long, Expecting soon to marry. A Highland laird his suit preferred, Young: handsome, brisk, and airy. 3 Long she respected brave Sir Neil Because he wooed sincerely, But as soon as she saw the young Glengyle He won her most entirely. 4 ‘Till some lies unto her brother came That Neil had boasted proudly Of favours from that lady young, Which made him vow thus rudely: 5 ‘I swear by all our friendships past This hour again next morning This knight or me shall lose our lives. He shall know whom he’s scorning!”’ 1 Probably a corruption of a rich squire. ee ee ee es eS ee a ee ee, Ne ee Oe ee) ee OT ee , el) ~~ =) ss) aw a ew _ ah - eg ee ee —— eS a rie - ws ie - — " er es Io II I2 13 14 FROM NOVA SCOTIA To meet on the shore where the proud billows roar In a challenge he defied him. Ere the sun was up these young men met, No living creature nigh them. “What ails, what ails my dearest friend? Why want you to destroy me?”’ “‘T want no flattery, base Sir Neil, But draw your sword and fight me.” “Why should I fight with you, MacVaughn? You’ve never me offended; And if I aught to you have done I’ll own my fault and mend it.” “Is this your boasted courage, knave? Who would not now despise thee? But if thou still refuse to fight, I'll like a dog chastise thee.”’ “‘Forbear, fond fool, tempt not thy fate, Presume not now to strike me. There’s not a man in all Scotland Can wield a broadsword like me.”’ “‘Combined with guilt thy wondrous skill From fate shall not defend thee. My sister’s wrongs shall brace my arms. This stroke to death shall send thee.”’ But this and many a well-aimed blow The generous baron warded; Being loath to harm so dear a friend Himself he only guarded. Till mad at being so rebused, A furious push he darted Which pierced the brains of bold MacVaughn, Who with a groan departed. ‘Curse on my skill, what have I done! Rash man, but thou wouldst have it. Thou’st forced a friend to take a life Who would have bled to save it.”’ 78 1) 16 17 18 TQ 20 21 22 23 BALLADS AND SEA SONGS But turning round his mournful eyes To see if one was nigh them, There he espied the young Glengyle, Who like the wind came flying. ‘‘I’m come too late to stop the strife, But since thou art victorious, I’ll be revenged or lose my life. My honour bids me do this.”’ ‘“‘T know your bravery, young Glengyle, Though of life I am regardless. Why am I forced my friends to kill? See bold MacVaughn lies breathless.” ‘‘Does it become so brave a knight? Does blood so much affright thee? Glengyle shall never disgrace thy sword; Unsheathe it then and fight me.” Again with young Glengyle he closed, Intending not to harm him. Three times with gentle wounds him pierced, But never did disarm him. ‘‘Yield up thy sword to me, Glengyle, Whereon is our quarrel grounded? I could have pierced thy dauntless breast Each time I thee have wounded. ‘‘But if thou thinkest me to kill, In faith thou art mistaken, And if thou scorn’st to yield thy sword In pieces straight I’ll break it.” While talking thus he quit his guard. Glengyle in haste advancéd . And pierced his generous manly heart; The sword right through him glancéd. And down he fell and cried, ‘‘I’m slain! Adieu to all things earthly! Adieu, Glengyle, this day’s thine own, But thou hast won it basely!”’ i : 7 FROM NOVA SCOTIA 24 When tidings came to Lady Ann Time after time she fainted. She ran and kissed their clay-cold lips, And thus their fate lamented: 25 “‘Illustrious, brave, but dauntless men, This horrid sight does move me, My dearest friends rolled in their blood, The men that best did love me. 26 “Oh thou, the guardian of my youth, My dear and only brother, For this thy most untimely fate T’ll mourn till life is over! 27 ‘‘Thou, Sir Neil, how art thou fallen And withered in thy blossom! No more I[’ll love that trait’rous man That pierced thy erest + bosom. 28 ‘‘A kind and generous heart was thine Thy friendship was abuséd. A braver man ne’er faced a foe Had thou been fairly uséd. 29 ‘‘For thee a maid I’ll live and die, Glengyle shall ne’er espouse me. And for the space of seven long years The dowie black shall clothe me.”’ 1 Probably dearest. 80 BALLADS AND SEA SONGS 21 THE GOLDEN GLOVE In England, where this song has enjoyed an unusual popularity for well over acentury, the title is either ‘The Golden Glove”’ or ‘The Squire of Tamworth.” It was printed as a broadside in the United States early in the nineteenth cen- tury, and in recent years versions have been collected in many parts of the country. See Journal, XXIX, 171-172; Cox, P. 384. The title most often found in the United States is “Dog and Gun.” No local title. From the singing and recitation of Robert Langille, Tata- magouche, Colchester County. 1 ’T was of a young squire in Yarmouth did dwell. He courted a nobleman’s daughter so fair, And for to be married was all their intent, When friends and relations had given their consent. 2 A farmer was chosen to give her away, To wait on the squire and give him his bride; But as soon as the farmer the lady she espied, ‘““My heart is all inflamed, dear jewel!” she cried. 3 In place of being married she went to her bed, Thoughts of the farmer still ran in her head, Thoughts of the farmer still ran in her mind, And a way for to gain him she quickly did find. 4 Coat, waistcoat, and breeches the lady she put on, And she has gone a hunting with her dog and her gun. She hunted all round where the farmer he did dwell, And often she fired, but nothing did kill. At length the young farmer appeared in the field, un ‘“‘T thought you’d been at the wedding,” the lady she cried, ‘““To wait on the squire to give him his bride!” 6 “Ono,” said the farmer, ‘‘the truth and I must tell, I won’t give her away, for I love her too well.” This pleaséd the lady to hear him so bold, And she gave him a glove that was flowered with gold. “ >. BS cre ; ee a FROM NOVA SCOTIA SI She said she had found it in coming along As she was a hunting with her dog and her gun; So this lady goes home with her heart full of love, And she put out a speech that she had lost her glove. ~I co “The man that does find it and bring it to me, The man that does find it his loving bride I'll be.” This pleaséd the farmer to hear of the news. With his heart full of love to the lady he goes. 9 Saying, ‘‘Honourable lady, I have picked up your glove, If you should be pleased to grant to me your love.” ‘Tis already granted,’’ the lady she said, ‘For I love the sweet breath of a farmer,” she cried. 10 ‘While I’ll be mistress of my dairy and a milking of my cows My brisk young farmer will go whistling at his plough.” *T was after they were married she told of her fun, How she had hunted out the farmer with her dog and her gun. I = ‘“”T is now I have got him so fast in my snare, And forever Ill enjoy him, I vow and declare!”’ 82 BALLADS AND SEA SONGS 22 THE LADY’S FAN THE story of the ensuing song has been known and has been recorded in a variety of ways throughout Europe since the sixteenth century. Schiller’s Der Handschuh, Leigh Hunt’s The Glove and the Lions, and Browning’s The Glove are only the most familiar of a great many versions. The relation of the folk ballad to the more literary versions is one of the minor mysteries in a sub- ject where mysteries abound. Kittredge points out (Modern Language Notes, XXVI, 167) that the earliest text of the ballad is in one of Bishop Percy’s broad- sides. In this and in the other recorded English versions the lady’s suitors are a Captain and a brisk Lieutenant from the Tiger: One of them had been made a Captain And was commanded by brave Colonel Carr; The other was a brisk Lieutenant On board the Tiger, a Man-of-War. (See Christie, Traditional Ballad Airs, u, 126.) The Captain proves to be a timid creature, and the brisk Lieutenant rescues the fan and wins the lady. In all of these matters my version agrees. In the Kentucky version published by Shearin (Modern Language Notes, Xxvi, 113) the Tiger has disappeared and the lady is won by the Captain, not the Lieutenant. For references and texts see Kittredge (as above), and Shearin, The Sewanee Review, April, 1911. | From the singing and recitation of Miss Greta Brown, River John, Pictou County. 1 Come and sit down and I’ll sing you a ditty Concerning a pretty fair maid. She was fair, fair-agéd beauty, Worth ten thousand pounds a year. 2 Many a young man came for to see her, Many a one she did adore. She had two lovers, and they were brothers, And one of them she did adore. 3 One of them was a great sea captain That sailed the largest ship that sailed, The other of them was a lieutenant Of the Tiger man-of-war. 4 As they were seated by the dinner table, A woman unto them made this reply, “Us three take a walk out together, Content our hearts with them must try.” IO If FROM NOVA SCOTIA 83 As they were walking down by the river, Where there was a lion’s den, She threw her fan into the den, And one like that she held right there. ‘*Anybody here for to do me a favour, Anybody here my heart to win, Anybody here for to do me a favour, Will return my fan again.” Up speaks the faint-hearted captain, And unto the lady made this reply, ‘In the den there lies great danger; Life and death I dare not try.” Up speaks the bold lieutenant, And unto the lady made this reply, ‘In the den there lies great danger; I’ll return your fan or die.” Into the den he quickly bolted Where the lions drew fierce and strong. For his sword for his protection, He returned the fan again. When she saw that her true lover was coming, And no harm was done to him, She threw her head into his bosom: ‘““You’re the one my heart did win.” Up speaks the faint-hearted captain, And unto the lady made this reply, ‘Many a desert lands I’ve travelled; For your life I’ll repent and die.” 34 BALLADS AND SEA SONGS 23 THE BANKS OF SWEET DUNDEE RoBERT Forp (Vagabond Songs and Ballads of Scotland, First Series, p. 77) wrote in 1808, “It [z.e., ‘The Banks of Sweet Dundee’’] cannot be less than a hundred years old. Fifty years ago, when harvest work in Scotland was almost wholly done by the hand-hook, it was a common song among the bands of — shearers in the Carse of Gowrie and thereabout when songs went round in the bothies at night.”” We may suppose, then, that the song has been in existence for well over a century, and during a considerable part of that time, at least, it has been a particular favourite in England and Scotland. It has appeared frequently in songbooks and broadsides in both England and America. For references see Kittredge, Journal, xxxv, 355. Cox prints two versions from } E West Virginia, pp. 379-381. From the singing and recitation of Robert Langille, Tatamagouche, Col- — chester County (printed, Quest, pp. 47-48). 1 ’T was of a beautiful young damsel, as I have heard it told, Her father died and left her five thousand pounds in gold. She livéd with her uncle as you may plainly see, And she lovéd a ploughboy on the banks of sweet Dundee. Her uncle had a ploughboy, young Mary loved him well, And in her uncle’s garden her tale of love would tell. NS 3 One morning very early just at the break of day Her uncle came to Mary and then to her did say, ‘Arise, young lovely ey and come along with me, For the young squire’s waiting for you on the banks of sweet — . Dundee.”’ 4 “A fig for all your squires, your dukes and lords besides, For young William he appears to me like diamonds in mine eyes.” “‘Hold on,” said her uncle, ‘‘for revenged on you I’ll be, For I will banish William from the banks of sweet Dundee.” — 5 The press-gang came on William as he was all alone. He boldly fought for liberty though there was ten to one. The blood did flow in torrents, he fought so manfully; He’d rather die for Mary on the banks of sweet Dundee. FROM NOVA SCOTIA 85 6 One morning as young Mary was lamenting for her love, She met the wealthy young squire down by her uncle’s grove. He put his arms around her. ‘‘Stand off, base man,”’ said she, + He put his arms around her and strove to throw her down. Two pistols and a sword she spied beneath his morning-gown. Young Mary took the pistols, the sword she handled free; She fired and shot the squire on the banks of sweet Dundee. 8 Her uncle overheard the noise and hastened to the ground: “Now since you’ve killed the squire I’ll give you your death- wound.” “Keep off,”’ then says young Mary. ‘‘Undaunted I shall be.” She fired and shot her uncle on the banks of sweet Dundee. 9 A doctor he was sent for, a man of noted skill, Likewise there came a lawyer for him to sign his will. He signed all his gold to Mary who fought so manfully, He closed his eyes no more to rise on the banks of sweet Dundee. 10 Young William he was sent for and speedily did return. As soon as he arrived upon the shore young Mary ceased to mourn. The banns were quickly published, their hands were joined so free, She now enjoys her ploughboy on the banks of sweet Dundee. 86 BALLADS AND SEA SONGS 24 THE LOST LADY FOUND THERE are many titles for this song in the English collections. The ordinary broadside title is “The Lost Lady Found.” The song was a very popular one throughout England. For English versions see M. H. Mason, Nursery Rhymes and Country Songs, p. 56 (“’T is of a Young Damsel”’); Reynardson, Sussex Songs, pp. 20-21 (“Gipsy Song”’); Broadwood, English Traditional Songs and Carols, pp. 86- 91 (with music); Gillington, Eight Hampshire Folk Songs, No. 6, pp. 12-13 (“As Down in a Valley”; with music); R. V. Williams, Folk-Songs from the Eastern Counties, pp. 12-15 (with music); Barrett, English Folk-Songs, No. 43, pp. 74-75; Proceedings of the Dorset Natural History and Antiquarian Field Club, xxv, 33; Journal of the Folk-Song Society, 1, 99-101. See also broad- sides: Catnach (vu, 185); Bebbington, Manchester, No. 396 (x, 139); Such, No. 22 (xt, 22); T. Batchelar, London, No. 376 (with “Lovely Ann’); Cat- nach (with ‘The Fox Chase’); W. Fortey, Catnach Press (with the same); Pitts; imprint obliterated, No. 396 (with “Bonny Jean” and ‘The Old Oak Table’’). No local title. From the singing and recitation of Alexander Sutherland, Toney River, Pictou County. 1 It’s of a rich lady in England did dwell. She lived with her uncle, I know it right well. It’s down in the valley by lowlands so sweet The gypsies betrayed her and stole her away. 2 She had been missing and could not be found. Her uncle had searched the country all round, Till he met with a trustee, a trustee of old. The trustee replied him that she had not been there. 3 Then up speaks the trustee with courage so bold, “I’m afraid she’s been murdered for the sake of her gold So we'll have life for life,” the trustee did say, ‘We'll send you to prison and there you may stay.” ? 4 But she had a rich squire who loved her right well. Saying, ‘“My mind is tormented, and great is my fear. If I had the wings of a dove I would fly to my dear.” Peet one Te a LE ale 51, hl or a : ang ar Wee cae, 6 Seo ae ae eae Dee ‘rm fe ya oe ante Py af 4 a “g ; Be: 3 , o f FROM NOVA SCOTIA 87 I traveled through England, through France, and through Spain, I ventured my life o’er the deep raging main, Brought up, came on shore, came took lodgings one night, And in that same room felt my own heart’s delight. I gazed on her features, she flew in my arms, I gazed on her features, I told her the charm, Saying, ‘‘What brought you to Dublin, my dear?” he did say. “The gypsies betrayed me and stole me away.” ‘Your uncle in England in prison do lie, And for your sweet sake he’s condemned for to die.”’ “‘O carry me to England, my dear,” she did say, “Ten thousands I’ll give you, and I'll be your bride.” The cars being running, as it happened to be, The cars being under the high gallows tree, ‘**O pardon, O pardon, O pardon,” cried she, Don’t you see I’m alive your sweet life for to save!” It’s then from the gallows he quickly was led. The drums they did beat and sweet music did play. Every house in the valley did murmur with sound As soon as they heard the lost lady was found. 88 BALLADS AND SEA SONGS 25 THE PRENTICE BOY Tuis favourite English song is sometimes entitled ‘“‘The Prentice Boy” and sometimes “‘Cupid’s Garden.” ‘The Journal of the Folk-Song Society (m1, 195- 196) has a version with the title “Covent Garden,” which begins: “It was in Covent Garden in sweet pleasure I did walk.” See also The Cheerful Songster (Boswell Chapbooks, Harvard College Library, xvu, No. 17); Pitts broad- side, etc. The song occurs in two of Coverly’s Boston broadsides (about 1814): see Ford, Massachusetts Broadsides, No. 3308, and The Isaiah Thomas Collection, No. 216 (“The Prentice Boy”). It is common in American song books: see, for example, The Echo, or Columbian Songster (Brookfield, Massa- chusetts), 2d ed., pp. 154-155; Kenedy, The American Songster (Baltimore, 1836), pp. 248-250; The Forget Me Not Songster (New York, Nafis and Cornish), — pp. 197-198; The New American Singer’s Own Book (Philadelphia, 1841), pp. 55-56; The American Songster (Philadelphia, 1850), p. 79; Home Sentimental Songster (New York, T. W. Strong), pp. 224-225.. See also Shearin and Combs, p. 11; Shearin, Sewanee Review, July, 1911 (‘‘Cubeck’s Garden”); Pound, No. 31 (“The Prentice Boy”); Journal, Xxv1, 363-364. There is another broadside song (Such, No. 385) entitled “Down in Cupid’s Garden” and beginning in the same fashion: ‘‘As down in Cupid’s Garden for pleasure I did go.” It must not, however, be confused with “The Prentice Boy.” It is, in fact, an entirely different type of song, setting forth the test- ing of a maid’s faith by her sailor lover, her satisfactory response, and the consequent beatification of both. The only correspondence between the two songs is in the title and introductory lines. See Chappell, Popular Music of the Olden Time, 11, 727-729; Vocal Library, p. 539; R. Brimley Johnson, Popular British Ballads, 1, 246; Hullah, The Song Book, 1866, pp. 94-05; Greig, ctv (“Covent Garden”); Notes and Queries, oth Series, x1, 6; broad- sides of Catnach (“The Lovers’ Meeting,” vu, 152) and H. Such, No. 385 (“Down in Cupid’s Garden,” xm, 79). “The Prentice Boy.”” From the singing and recitation of Alexander Har- rison, Maccan, Cumberland County. t As down in Cupid’s garden for pleasure I did walk, I heard two loyal lovers most sweetly for to talk. It was a brisk young lady and her prentice boy, And in private they were talking, for he was all her joy. 2 He said, ‘Dear honoured lady, I am your prentice boy; However can I think a fair lady to enjoy?” His cheeks as red as roses, his humour kind and free. She said, ‘‘Dear youth, if e’er I wed, I’ll surely marry thee.” FROM NOVA SCOTIA 89 3 But when her parents came this to understand, They did this young man banish to some foreign land. While she lay broken-hearted, lamenting she did cry, ‘“‘For my honest charming prentice a maid I’ll live and die.” 4 This young man to a merchant a waiting-man was bound, And by his good behaviour great fortune there he found. He soon became his butler, which prompted him to fame, And for careful conduct the steward he became. 5 For a ticket in a lottery his money he put down, And there he gained a prize of twenty thousand pounds. With store of gold and silver he packed up his clothes indeed, And to England returned to his true love with speed. 6 He offered kind embraces, but she flew from his arms: “No lord, duke, or nobleman shall e’er enjoy my charms, The love of gold is cursed, great riches I decry; For my honest charming prentice a maid I’ll live and die!” 7 He said, ‘‘Dear honest lady, I have been in your arms. This is the ring you gave for [toying] ! in your charms. You vowed if ever you married, your love I should enjoy. Your father did me banish, I was your prentice boy.” 8 When she beheld his features, she flew into his arms; With kisses out of measure, she did enjoy his charms. Then so through Cupid’s garden a road to church they found, And there in virtuous pleasure in Hymen’s bands were bound. 1 Word supplied from text in The Forget Me Not Songster. gO . BALLADS AND SEA SONGS 26 THE CONSTANT FARMER’S SON In both England and America the story which has been familiarized by Boc- caccio’s Decameron and Keats’s Isabella is current in two ballad variants. One of these is known in England as “In Bruton Town” and in America as “The Bramble Briar”; the other, in England occasionally called “The Mer- chant’s Daughter,”’ is ordinarily, in both countries, entitled “‘The Constant Farmer’s Son.” For a discussion of the background and associations of the ballads see Belden’s article, “‘Boccaccio, Hans Sachs, and The Bramble Briar (Publications of the Modern Language Association, xxxim, 327). See also Journal, XX1X, 168; XXXv, 359; Cox, p. 305; Pound, No. 22 (two versions of “The Bramble Briar”) and No. 32 (“The Constant Farmer’s Son’’). From the singing and recitation of John Adamson, Westville, Pictou County (printed in part, Quest, p. 154). t In London there lived a pretty fair maid. She was comely, fair, and handsome, her parents loved her well. She was courted by forts and noblemen: but all their love was in vain. There was but one, the farmer’s son, poor Mary’s heart could gain. S Long time young William courted her; they fixed the wee day. Her parents they did give consent. Her brothers they did say, ‘There is a lord has pledged his word, and him she shall not shun. First we’ll betray and then we’ll slay the constant farmer’s son.” 3 There was a fair not far from town, her brothers they did say. They asked young William’s company to spend with them the day, But back returning home again they swore his race had run, And with a stake the life did take of the constant farmer’s son. 4 These villains returning homewards, to Mary they did say, **O think no more of your false love, but let him go his way. O think no more of your false love. He’s courted some other one, And we the same have come to tell of the constant farmer’s son.” 5 As Mary on her pillow lay she dreamt a shocking dream, She dreamt she saw her own true love down by a purling stream. So Mary rose, put on her clothes, to meet her love did run. In yonder vale lies cold and pale her constant farmer’s son. FROM NOVA SCOTIA gI 6 She kissed him once, she kissed him twice, she kissed him ten times o’er, She gathered green leaves from the trees to keep him from the sun. A night and a day she passed away with her constant farmer’s son. 7 At length her hunger grew very great. Poor maid, she sicked for woe, And home unto her parents poor Mary she did go, Saying, “‘Parents dear, you soon shall hear the dreadful deed’s been done, — In yonder vale lies cold and pale my constant farmer’s son.” 8 It’s up and speaks her oldest brother and swore it was not he, And so did the younger one, and swore most bitterly. “You need n’t turn so red,” says she, ‘‘nor try the law to shun. You’ve done the deed and you shall bleed for my constant farmer’s son.” 9 Those villains confessed the murder and for the same did die. Young Mary she did fade away but never ceased to cry. Her parents they did fade away. ‘The glass of life had run. Poor Mary sighed and then she died for her constant farmer’s son. (Ob nea) ane ae Pale Fak Ee oe ths Rept pie» ‘pet teg Pam Ve ee ee ne , Sree | uy 92 BALLADS AND SEA SONGS 27 YOUNG EDMUND THE hero of this humble tragedy is variously known as Young Edwin, Young Edward, and Young Edmund, and any given version of the song will appear under a corresponding title. The song has been current in England, Scotland, and Ireland, and several versions have been found in the United States. For references see Journal, XX, 274; XXXV, 421-423. Add Campbell and Sharp, No. 46; Cox, No. 106; Wyman and Brockway, Twenty Kentucky Mountain Songs, pp. 42-45. “Young Edmund.” From the singing and recitation of Carl Langille, River John, Pictou County (printed, in part, Quest, p. 155). 1 Young Emily was a servant maid, She loved a sailor bold; And for much gain he crossed the main, For love as I’ve been told. 2 Seven long years or better Since Edmund’s been at home, He came unto young Emily’s house And she was all alone. 3 He came unto young Emily’s house His gold all for to show, That he had gained upon the main. He plowed the Lowlands low. 4 ‘‘My father keeps a public house Down yonder by the shore, And you this night shall enter in And there to morning dwell. 5 ‘*You’ll meet me in the morning. Don’t let my parents know That your name it is young Edmund That plowed the Lowlands low.” 6 Young Emily in her chamber She dreamt a dreadful dream: She dreamed she saw young Edmund Float in yon crystal stream. IO Il I2 FROM NOVA SCOTIA She rose at day in the morning, To meet her love did go, Because she loved him dearly. He plowed the Lowlands low. ‘“‘O mother, where’s that stranger Came here last night to dwell?”’ “‘He is dead,” and says her father, ‘And you no tales shall tell.” Saying, ‘‘Father, cruel father, You will die a public show For the murdering of young Edmund That plowed the Lowlands low!” She went unto the justice, And there her case made known. He is taken on suspicion, His trial soon comes on. The jury found him guilty, And hanged he was also For the murdering of young Edmund Who plowed the Lowlands low. **T’ll build myself a little house Down yonder by the shore. The ship that’s on the ocean The wind tossed to and fro, Reminds me of young Edmund That plowed the Lowlands low.” 93 94 vabsen bee ae BALLADS AND SEA SONGS = 28 CAROLINE OF EDINBORO TOWN Tus song has appeared in many song books and broadsides in Great Britain and America: see Journal, xxxv, 362; Cox, pp. 362-363; Dean, p. 53; Shoe- maker, pp. 206-207. The following version was recollected by my mother from the singing of a maid in her father’s house at Durham, Pictou County. I i) Come all young men and maidens, attend unto my rhyme. ’T is of a young damsel that was scarcely in her prime. She beat the blushing roses, admired by all around Was comely young Caroline of Edinboro ‘Town. Young Henry was a southern man a courting to her came, But when her parents came to know they did not like the same. Young Henry was offended and unto her did say, ‘‘Arise, my dearest Caroline, and with me run away. ‘“We will both go to London and there we’ll wed with speed, And then young Caroline shall have happiness indeed.” Enticed she was by Henry, put on her other gown, And away went young Caroline of Edinboro Town. O’er hills and lofty mountains together they did roam, In time arrived at London far from her happy home. She said, ‘‘My dearest Henry, pray never on me frown, Or you'll break the heart of Caroline of Edinboro Town.” They had not been in London not more than half a year When hard-hearted Henry proved to be severe. Said Henry, ‘‘I’ll go to sea. Your friends did on me frown, So beg your way, without delay, to Edinboro Town.” Oppressed with grief, without relief, this maiden she did go Into the woods to eat such fruit as on the bushes grow. Some strangers they did pity her, and some did on her frown, And some did say, ‘‘What made you stray from Edinboro Town?” Beneath a lofty spreading oak this maid sat down to cry, A watching of the gallant ships as they went passing by. She gave three shrieks for Henry, then plunged her body down, And away went young Caroline of Edinboro Town. a ee Ee Ae eee SI EAL NS) Beer Maar We ve fat ©) 4 feos Fee eT er he ae Lat’ i ¢ aes a ee ‘ babe? ate : yi FROM NOVA SCOTIA 95 , ina fast asleep while 3 in the Aen. rhe elie watching round, Lies comely young Caroline of Edinboro Town. 9 And now, ye tender parents, ne’er try to part true love; _ You’re sure to see in some degree the ruin it will prove. _ Likewise, young men and maidens, ne’er on your lovers frown; Think on the fate of Caroline of Edinboro Town. 96 BALLADS AND SEA SONGS oo THE GASPARD TRAGEDY EsswortH (Roxburghe Ballads, vit, 143, 173) reproduces the text of “The Gosport Tragedy, or, Perjured Ship Carpenter,’ a garland of about 1750, “Printed and Sold at the Printing Office in Bow Church-yard, London.” This is the earliest known text of the song. The Nova Scotia version has twenty- three stanzas as against the thirty-five in the Garland, but, aside from that difference, it is in substantial and interesting agreement with the old text. For references to texts, British and American, see Kittredge, Journal, xx, © 261; Cox, p. 308. Add Wyman and Brockway, Twenty Kentucky Mountain Songs, pp. 110-115. Cox prints three short versions from West Virginia under the titles ‘‘Come, Pretty Polly,” ‘Polly and Sweet William,” and “ Young Beeham” (pp. 308-310). These texts represent “‘Polly’s Love, or, The Cruel Ship Carpenter,” an English song in eleven stanzas which is a condensation of the original ‘Gosport Tragedy.” “The Gaspard Tragedy.” From the singing of Mrs. Margaret Curry, Tatamagouche, Colchester County (printed, Quest, pp. 55-58). 1 In Gaspard of late a young damsel did dwell, For wit and for beauty few did her excel. A young man did court her for to be his dear, And he by his trade was a ship carpenter. 2 He said, ‘‘Dearest Mary, if you will agree And give your consent, dear, to marry me, Your love it can cure me of sorrow and care; Consent then to wed with a ship carpenter.” 3 With blushes as charming as roses in bloom She answered, ‘‘Dear William, to wed I’m too young, For young men are fickle, I see very plain; If a maiden is kind, her they quickly disdain.” 4 ‘‘My charming sweet Mary, how can you say so? Thy beauty is the heaven to which I would go. And if there I find channel if I chance for to steer, I there will cast anchor and stay with my dear.” 5 But yet ’t was in vain she strove to deny, For he by his cunning soon made her comply, And by base deceptions he did her betray; In sin’s hellish path he led her astray. 6 7 Io II I2 I3 14 FROM NOVA SCOTIA 97 Now when this young damsel with child she did prove, She soon sent her tidings to her faithless love, Who swore by the heavens that he would prove true, And said, ‘‘I will marry no damsel but you.” Things passed on a while. At length we do hear His ship was a sailing, for sea he must steer, — Which pained this poor damsel and wounded her heart, To think with her true love she must part. Cried she, ‘‘ Dearest Will, ere you go to sea Remember the vows you have made unto me. If at home you don’t tarry I never can rest; Oh, how can you leave me with sorrows oppressed? ”’ With tender expressions he to her did say, “‘T’ll marry my Mary ere I go to sea, And if that to-morrow my love can ride down, The ring I can buy our fond union to crown.” With tender embraces they parted that night And promised to meet the next morning at light. William said, ‘‘Mary, you must go with me Before we are married our friends for to see.” He led her through groves and valleys so deep. At length this young damsel began for to weep, Crying, “‘ Willie, I fear you will lead me astray On purpose my innocent life to betray.” He said, ‘‘ You’ve guessed right. All earth can’t you save, For the whole of last night I was digging your grave.” When poor Mary did hear him say so, The tears from her eyes like a fountain did flow. “Oh, pity my infant! Oh, spare my poor life! Let me live full of shame if I can’t be your wife. Oh, take not my life lest my soul you betray, And you to perdition be hurried away.” ‘“‘There is no time disputing to stand,” — But instantly taking a knife in his hand, He pierced her fair breast, whence the blood it did flow, And into the grave her fair body did throw. OL NS nn a oe APRS 3 hoe Reratice ch ays a Ye ie P ae St AC d 8 I y ies 98 BALLADS AND SEA SONGS 15 He covered her body and quick hastened home, Left nothing but the small birds her fate for to moan. On board ship he entered without more delay, And set sail for Plymouth to plough the salt sea. 16 A young man named Stuart, of courage most bold, One night happened late for to go in the hold, Where a beautiful damsel to him did appear, And she in her arms held an infant most dear. 17 Being merry with liquor he went to embrace, Transported with joy at beholding her face, When to his amazement she vanished away, Which he told to the captain without more delay. 18 The captain soon summoned his jovial ship’s crew, And said, ‘“‘My brave fellows, I’m afraid some of you Have murdered some damsel ere you came away, Whose injuréd ghost now haunts on the sea. 19 ‘‘Whoever you be, if the truth you deny, When found out you’ll be hanged on the yard so high; But he who confesses, his life we’ll not take, But leave him on the first island we make.” 20 Then William immediately fell to his knees. The blood in his veins quick with horror did freeze. He cried, ‘‘Cruel murderer, what have I done! God help me, I fear my poor soul is undone. 21 ‘Poor injuréd ghost, your full pardon I crave, For soon must I follow you down to the grave!” No one else but this poor wretch beheld this sad sight, And raving distracted he died that same night. 22 Now when her sad parents these tidings did hear Soon searched for the body of their daughter so dear. In the town of Southampton in a valley so deep Her body was found, which caused many to weep. 23 In Gaspard’s green churchyard her ashes now lie, And we hope that her soul is with God in the sky. So let this sad tale be a warning to all Who dare a young innocent maid to enthrall. FROM NOVA SCOTIA 99 30 WHO IS AT MY BEDROOM WINDOW? THis is one of a large group of English and Scottish songs on the “‘ Night Visit” (see Baskervill, Publications of the Modern Language Association, XXXVI, 565- 614). It is, as Kittredge points out (Journal, xx, 260), a variant of a song known, in a Nithsdale version, to Allan Cunningham, and cited in part in a note to ‘“‘O my luve’s like a red, red rose”’ in his edition of Burns, 1834, Iv, 285. For English and Scottish references see Journal, Xx, 260; XXX, 338; XXXV, 356; Campbell and Sharp, p. 330; Hudson MS. of Irish Airs, Vol. I, No. 181. (Boston Public Library). For American references see Cox, No. 108. “Who Is at My Bedroom Window?” From the singing of Miss Greta Brown, River John, Pictou County. 1 ‘‘O who is at my bedroom window, Disturbing me from my night’s rest?” ‘It is, it is your own true lover, The very one that you love best. 2 ‘Go, Maggie dear, go ask your father, See if our wedding bride may be. If he says ‘No,’ love, come and tell me, And I’ll no longer troubled be.” 3 “It is no use of asking father, For he is on his bed of rest, And by his side a silver dagger To stab the one that he loves best.” 4 ‘Go, Maggie dear, go ask your mother, See if our wedding bride may be. If she says ‘No,’ love, come and tell me, And I’ll no longer troubled be.” 5 ‘It is no use of asking mother, For she is on to set us free. You’d better go and court some other, For you cannot marry me.” 6 “I can climb the highest mountains, I can rob the eagle’s nest, I can go and court some other, But you’re the one that I love best.” 100 BALLADS AND SEA SONGS 7 She drew the dagger from her pocket And buried it deep, deep in her breast, Sang adieu to her cruel parents: ‘fT’ll die with the one that I love best.” 8 He drew the dagger from her bosom And buried it deep, deep in his breast, Sang adieu to her cruel parents, And she died with the one that she loved best. FROM NOVA SCOTIA IOI 3 I BESSIE OF BALLINGTON BRAE M. C. DEAN prints a version of this song, entitled ‘‘Ballentown Brae,” in The Flying Cloud, pp. 44-45. It tells the story of the betrayal of Bessie by the Lord of Morelands, of her death, and of her appearance (or that of her ghost) before her betrayer during the night. At this point the fragment which I present, and which is all that I have been able to find of a song once popular in Nova Scotia, takes up the tale. An English broadside (without printer’s imprint) on file in the Harvard College Library contains a song entitled “Sweet Ballenden Braes” — a lament by a deserted maiden who is going back to Ballenden Braes to die. It is in the same measure and stanza form as the song under discussion, and is, I think, quite certainly to be connected with it. The first stanza is: as ’T was down in a glen where the holly grows green I espied a young lassie, tears fell frae her een, And thus she lamented — how wretched my days Since I was decoyed from sweet Ballenden Braes. “Bessie of Ballington Brae.’”’ From the recitation of Frank McNeil, Little Harbour, Pictou County. Me ee then he saddled his steed And o’er hills and high mountains he rode with great speed, Until he arrived at the noontide of day, Where he courted pretty Bessie of Ballington Brae. 2 Then out from the scabbard his short sword he drew, And without repenting he pierced his heart through. 102 BALLADS AND SEA SONGS 32 RINORDINE In Irish Country Songs, 1, 4-6, Herbert Hughes prints the following fragment, entitled ‘“‘Reynardine”’: If by chance you look for me Perhaps you’ll not me find, For I’ll be in my castle. Enquire for Reynardine. Sun and dark I followed him, His eyes did brightly shine. He took me o’er the mountains, Did my sweet Reynardine. This is described by Hughes as a “fragment of an Ulster ballad,” and the fol- lowing explanation is added: “‘In the locality (7.e., Donegal) where I obtained this fragment Reynardine is known as the name of a faery that changes into the shape of a fox.” In Notes and Queries, roth Series, rx, 12, John I. Crone surmises that the story refers to an attachment formed by a member of an English or Scottish “‘planter’s”’ family for one of the original Celtic owners early in the seventeenth century: — ‘These latter being the original Tories, and frequently outlawed, would require ‘concealment’ from the edict of the judges.” The Journal of the Folk-Song Society prints a fragment, with music (I, 271- 272), and the song is to be found on several English broadsides in the Har- vard College Library: — H. Such, London, No. 109 (25242.17, XI, 109; here ' the title is “‘The Mountains High,” and the hero is called Randal Rhine); 3 broadside without imprint, numbered 885; T. Batchelar, London (with “The Monkey Turned Barber”); Catnach (with “The Monkey Turned Barber”). See also Notes and Queries, toth Series, vit, 468, 518; IX, 12, 33. For American texts see Combs, Folk- Songs du Midi des Etats-Unis, 1925, pp. 165-166 (“Ryner Dine,” West Virginia); The American Songsier (Bal-= 24 timore, collected and published by John Kenedy, 1836), pp. 191-1933 The Forget Me Not Songster (New York, Nafis and Cornish), pp. 199-200; the same (Philadelphia and New York, Turner and Fisher, pp. 25-26; The Old Forget Me Not Songster (Boston, Locke and Dubier), pp. 199-200; The Ameri- “a can Singer’s Own Book (Philadelphia, M. Kelly, 1841), pp. 47-49; The Ameri-— can Songster (New York, Nafis and Cornish), pp. I9T-193; The American Vocalist (New York, Richard Marsh, 1856), pp. 47-49; Howe’s roo Old Favorite . Songs (Boston, Elias Howe Co.), p. 26h. The song occurs in a Boston broadside ¥ of about 1813: “‘N. Coverly, Jr., Printer” (see Ford, Massachusetts Broad- _ sides, No. 3316, and The Isaiah Thomas Collection of Broadsides, No. 218; cf. another broadside in the same collection, No. 1). Cf. Belden, No. 34. “‘Rinordine.” From the singing and recitation of Alexander Harrison, Maccan, Cumberland County. FROM NOVA SCOTIA 103 One evening as I rambled two miles below Pomroy, I met a farmer’s daughter all on the mountain high. I said, “‘My pretty fair maiden, your beauty shines most clear, And upon these lofty mountains I’m glad to meet you here.” She said, ‘‘ Young man, be civil, my company forsake, For to my great opinion I fear you are a rake; And if my parents should know, my life they would destroy For keeping of your company all on the mountains high.” I said, ‘My dear, I am no rake, but brought up in Venus’ train, And looking out for concealment all in the judge’s name. Your beauty has ensnared me, I cannot pass you by; And with my gun I[’ll guard you all on the mountains high.” This pretty little thing she fell into a maze, With her eyes as bright as amber upon me she did gaze, Her cherry cheeks and ruby lips they lost their former dye, And then she fell into my arms all on the mountains high. I had but kissed her once or twice till she came to again. She modestly then asked me, ‘‘ Pray sir, what is your name?” ‘“‘Tf you go in yonder forest my castle you will find, Wrote in ancient history — my name is Rinordine.”’ I said, ‘‘My pretty fair maiden, don’t let your parents know, For if you do they ’ll prove my ruin and fatal overthrow. But when you come to look for me perhaps youll not me find; But I'll be in my castle, and call for Rinordine.”’ Come all ye pretty fair maidens, a warning take by me, And be sure you quit night walking and shun bad company, For if you don’t you’ll surely rue until the day you die; And beware of meeting Rinor all on the mountain high. yr — 104 BALLADS AND SEA SONGS 33 THE GAY SPANISH MAID Cox prints a short version of this song from West Virginia (p. 371). From the singing and recitation of Mrs. James Campbell, River John, Pictou County. 1 A gay Spanish maid at the age of sixteen O’er meadow did roam far and wide, And under a beech tree she sat down to rest With a gay gallant youth by her side. 2 “Our ship sails to-night, O my darling Onette, And with you I can’t wander no more; But when all in the cottage retire to rest, Will you meet me to-night on the shore?” 3. When all in the cottage retired to rest, Onette she crept out the hall door. With her hat in her hand she went down the dry sand, And she sat on a rock by the shore. 4 The moon was fast rising far over the lake, Where the water and sky seemed to meet, And from over the lake came a murmuring wave, And it broke on the shore at her feet. 5 The moon was fast rising far over the lake, And their sorrows no one can tell. He kissed her once more as they sat on the shore, And he bade her a sad farewell. 6 That night passed away with a wild crushing storm, And the rain in great torrents did fall. Onette she awoke from her long troubled dreams, And she offered a prayer to her God. 7 Attention we’ll turn to that ship in the storm As the wind through her rigging did moan. There was nothing to cheer the sad hearts of the crew, And the ship she was lost in the storm. IO If i Satelit jae FROM NOVA SCOTIA 10S All through that night I was out in the storm, And the ship riding wave after wave. I jumped on a plank to escape from the wreck, While the rest found a watery grave. All through the night found me out on a plank, And for safety I prayed in despair. I thought of the maid I had left on the shore, And a thousand times wished myself there. Early next morning a sail I espy, And for safety I prayed to my God. My signal they spy and so bore down on me, And so joyfully took me on board. Attention we’ll turn to the maid on the shore When she heard of the ship in the storm: She died like a rose that was bit by the storm, And she left him in sorrow to mourn. 106 BALLADS AND SEA SONGS om JOHNNY DOYLE THIS was once a popular broadside song in England and Ireland. In the United States several texts have been published. For British versions see Greig, cm; Journal of the Folk-Song Society, v, 142-146; Journal of the Irish Folk-Song Society, 1, 66 (air only); broadsides in Harvard College Library, 25242.17, X, 98 (Bebbington, Manchester, No. 354); xm, 3 (Such, No. 310). For texts published in the United States see: The “Love Among the Roses” Songster (New York, Robert M. De Witt, 1869), p. 26; “The Rovin’ Irish Boy” Songster (De Witt, 1870), p. 22; The Singers’ Journal, 1, 53; De Marsan broadside, List 11, No. 50; O’Conor; Campbell and Sharp, pp. 281-283. Re- ported by Shearin and Combs, p. 27. Professor Hudson has found the song in Mississippi. “Johnny Doyle.” From the singing and recitation of John Brown, River John, Pictou County. 1 It’s of a Saturday evening as we made up the plan Early Monday morning to be jogging on. Our waiting-maid being listening and heard all we did say, She went unto my mother and told tales on me. 2 Early Sunday morning when my mother then arose, She conveyed me unto her own bedroom; My clothes she made ready for me to put on, This fair maid being slowly of putting them on. 3 Acoach and a postilion for her they did provide, And six gallant horsemen to ride alongside. They rode and they rode till they came to the upper town, They rode and they rode till they lighted themselves down. 4 She says, “‘ You’ve got pleasure, but me, I’ve got my toil. My heart lies at home with my own Johnny Doyle.” 5 The church door being opened the minister walked in, Her earrings broke and fell unto the ground, And to excuse the matter her father made this reply, ‘“‘My daughter is an innocent and harmless young bride.” ~ a TN K peas we pane ‘ : eae atc ans fee - = ee BEI te a SS ee ee ee ee Pe) ae ”y ee FROM NOVA SCOTIA 107 6 The marriage being over and then returning home On a soft downy pillow she hove herself down. Sick, sore, and tired, and like unto die, On a soft downy pillow her body they found. ‘‘Shut the door, dear mother, don’t let Tom Moore come in; Shut the door, dear mother, don’t let him see the ring; For on this very night I shall surely end my life. He shall never enjoy me nor call me his wife!” ~ 8 “TI would send for Johnny Doyle if I thought he was home; I would send for Johnny Doyle if I thought that he would come. 9 ‘You need not send for Johnny Doyle, for now it is too late; Far, far is the distance, and death is my fate. You need not send for Johnny Doyle, for now it is too late, And now I will die for my own Johnny’s sake.” 108 BALLADS AND SEA SONGS 35 WILLIAM AND NANCY Exssworts (Roxburghe Ballads, vit, 55) prints a song entitled ‘‘The Undaunted Seaman, who resolved to fight for his King and Country; Together with His Love’s Sorrowful Lamentation at their Departure”; date, about 1690. It begins: | My Love, I come to take my leave, yet prithee do not sigh and grieve; On the wide ocean I will fight, for to maintain the Nation’s Right. Under noble chief Commanders I resolve to take my chance; _ On Board I’ll enter, hope I’ll venture, to subdue the Pride of France. A little later it introduces the following conversation, the substance of which, with infinite changes in form, is common to all versions of the ballad: With sighs and tears this Damsel said, ‘‘If you resolve to go to Sea, In Sailor’s Robes I’ll be array’d, and freely go along with thee; Life and Fortune I will venture, rather than to stay on shore; Grief will oppress me, and possess me, that I ne’er shall see thee more. Said he, ‘‘My Dearest, stay on Land, such idle fancies ne’er pursue, Thy soft and tender milk-white Hand a Seaman’s labour cannot do; Here I leave both Gold and Treasure, to maintain my Dear on shore.” But still she crying, and replying, ‘‘I shall never see thee more.” In this early version the story ends with the lover’s departure and the maid’s lament. Many of the later versions have the same conclusion, and one special group, with the title ‘The Banks of the Nile,” exhibits it consistently. But in many others, with varying titles, the maid’s pleading breaks down the lover’s scruples, and she dons her male attire and accompanies him to sea. Aside from this detail, the versions fall into two main groups: the first a loosely constituted one, with a great variety of titles and many differences in details, in which the lover is preparing to go to sea, sometimes with Lisbon as the destination; the second a fairly integrated one, with a common title (“The Banks of the Nile’’) and only minor differences in phraseology and detail, in which the lover is preparing to sail for the Nile. The two groups are repre- sented, respectively, by the two Nova Scotia versions. Z A version of this song is printed in a chapbook entitled Five Excellent New Songs, printed by J. Morren, Edinburgh (42d in series of chapbooks collected by John Bell, Newcastle — No. 25252.19 in Harvard College Library), and another in a chapbook entitled The Jaunting Car (52d in the same series). For other British texts see Greig, Folk-Song of the North-East, xxv (“The Banks of the Nile”); The Newcastle Song Book, 1, section entitled The Canary, pp. 10- 11 (“William and Nancy’s Parting’); Journal of the Folk-Song Society, U, 22-23 (“Lisbon’’), vi, 17-18 (“The Hills and Dales”); Ashton, Modern Street Ballads, pp. 253-255 (‘““Young Henry of the Raging Main”; here Emma goes to sea with Henry, and almost half of the ballad is devoted to an account of her life on board ship). See also the following broadsides: Harkness, Pres- ton, No. 231 (with ‘The Braes o’ Gleniffer”); Harkness, No. 250 (with “Ox- ford City”); Harkness, No. 313 (with “The Wandering Boy”); J. Catnach (with ‘‘The Gallant Maid’’); Pitts; P. Brereton, Dublin; T. Pearson, Man- chester, No. 227; John Ross, Newcastle, No. 100 (Iv, 130); Bebbington, Manchester, No. 4 (Ix, 4); Bebbington, No. 227 (1x, 219); Such, No. rox (x11, 37). A text of “The Banks of the Nile” from a broadside (Taylor, Bethnal Green) was printed in the Boston Transcript, December 14, 1907, p. 8. For American versions see Campbell and Sharp, No. 68; Dean, pp. 105-106; Belden, No. 15 (‘William and Polly’’); and Journal, xxv, 9-10. No local title. From the singing and recitation of Robert Langille, Col- FROM NOVA SCOTIA cA chester County (printed, Quest, pp. 135-137). I ”T was in one summer season, The twentieth of May, That we hoisted up our English colours, And we did make for sea. The sun did shine most glorious, To Lisbon we were bound; The hills and dales were covered With pretty maids all around. I spied a handsome sailor Just in his blooming years, Just coming to his true love To let her understand That he was going to leave her And sail for some foreign land. ‘““The King has wrote for seamen, And I for one must go, And for my very life, my love, I dare not answer no.” ‘“‘O stay at home, dear Willie, And I will be your wife; For the parting with you, Willie, Is the parting of my life.” ‘‘But if I was to stay at home Another would take my place; And that would be a shame for me, Likewise a sad disgrace.”’ Io II TZ 13 14 15 “My alee hair I will cut off, f Men’s clothing I’llputon, I’ll be thy body-servant, te Likewise thy waiting-man.” “‘Thy waist it is too slender, love, Thy fingers are too small | To wait on me in battle : saath? Where many a man does fall, ihe ‘Where cannon they do rattle, And bullets they do fly, And silver trumpets they dosound, To drown the dismal cries.” _ oe ‘‘My yellow hair I will cut off, Men’s clothing I’ll put on, | No storms or dangers do I fear, Let the winds blow high or low!”” ‘But if I was to meet some other In sweeter charms than thee, — And she was to please my fancy, What would my Nancy say?” ‘‘What would I say, dear Willie? And I would love her too, ; And I would gently step aside ~ mee While she would be talking to you.” ot “Dear Nancy, all these words ay They are enough to break my heart ts Pray let usnow be married Ss Me Before that we depart!” Now this young couple: 5 maededee And they sail o’er the main. I hope good luck may attend them = Till they return again. Pie se ee: > FROM NOVA SCOTIA III B “The Banks of the Nile.” From the singing and recitation of Robert Reid, River John, Pictou County. 1 ‘Our corporal drums are beating, So I must away; The bugle horns are sounding, No longer can I stay. 2 ‘*We’re ordered off to Portsmouth, *T is manys a weary mile, To fight like British heroes On the banks of the Nile.” 3 “O Willie, dearest Willie, Don’t leave me here to mourn, Or I will curse and rue the day That ever I was born. 4 ‘For parting with you, my love, Is parting with my life; So stay at home, dear Willie, And I will be your wife. 5 “I'll put on my velveteen And go along with you, T’ll cut off my yellow locks And I’ll see Egypt too. 6 ‘‘We’ll stand by our banner While kind Fortune seems to smile, And we’ll comfort one another On the banks of the Nile.” 7 ‘Your waist it is too slender, And your fingers are too small, Your cheeks too red and rosy To face a cannon ball. 8 ‘Your delicate constitution Would not bear the unwholesome clime Of the dark and sandy desert On the banks of the Nile.” I12 Io ‘“O curse be to the cruel wars Since first that they began! — They ’ve robbed us of our country _ And manys a clever man. S ‘“They ’ve robbed us of our sweethearts, e The protectors of our soil, , And their bodies feed the lions On the banks of the Nile.” ee =| FROM NOVA SCOTIA 113 36 DIXIE’S ISLE THIS song is obviously an American adaptation of the previous number, “The Battle of the Nile’ (No. 35 B). New Orleans and Dixie’s Isle are sub- stituted for Egypt and the banks of the Nile, New York and Boston are in- serted for local colour, and that is about all. The other differences between “‘Dixie’s Isle”’ and my version of ‘‘The Banks of the Nile” are as ordinary as the differences that one expects to find between any two versions of a folk- song that has adapted itself to successive generations and changing communi- ties. “Dixie’s Isle.” From the singing and recitation of Harry Sutherland, River John, Pictou County. 1 ‘The drums and fifes are a beating, No longer can I stay; The trumpet it doth loudly roar ’ That calls me far away. 2 ‘‘We’re ordered down to New Orleans To that unfruitful soil, To go fight those Southern soldiers Way down upon Dixie’s Isle.” 3. ‘‘O Willie dear, to leave me here, How could you be so cruel? For I will curse and rue the day, The hour that I was born.. 4 “OT'll cut off my curly locks And go along with you, I’ll cut off my golden locks And go to Orleans too. 5 ‘We'll fight the enemy man for man, May the heavens upon us smile! And we’ll comfort one another Way down upon Dixie’s Isle.”’ 6 ‘The parting from you, Jennie dear, It will only be for a while, To go fight those Southern soldiers Way down upon Dixie’s Isle. Io Il I2 The women fa were to a | oN H The captain he gave orders, And his orders they remain 80. ‘“‘The scorching suns of New Orleans * Would your tender rest spoil, =» Among those swamps and deserts Way down upon Dixie’s Isle.” Same ‘“‘O may the curse be on New Orleans ~ And the day the war began! It robbed New York and Boston Of manys a gallant son. ‘“‘Tt robbed them from their sweethearts And from their native soil, hd And the bloody stain doth yet remain | . Way down upon Dixie’s Isle.” , And now the war is over And home we will return To our wives and sweethearts And those we left behind. We'll kiss them and caress them, — May the heavens upon us smile! And we’ll go no more a fighting Way down upon Dixie’s Isle. - 5 Bk ae hy © la KP a FROM NOVA SCOTIA IIs AVE THE ROSE OF BRITAIN’S ISLE THOUGH this song was often printed in English broadsides, its absence from the more recent collections would indicate that it was not widely sung in the later years of the nineteenth century. The broadside song of “The Constant Pair, or The Pretty Prentice Boy” (W. Taylor) is remarkably similar to this one. The two songs have many phrases in common, and present the same story, including the enmity of the father, the following by the maid of her lover to sea, and the repentance and reconciliation of the father. Broadside copies of “The Rose of Britain’s Isle’? were issued by George Walker, Durham, No. 104 (11, 9); Catnach (vu, 102); W. Taylor (with “We Parted”’; here the song is ascribed to “J. Morgan’); another without im- print, numbered 14 (with “The Wild Rover’). “The Rose of Britain’s Isle.” From the singing and recitation of Mrs. James Palmer, Waldegrave, Colchester County. 1 Come all you people far and near, It’s quickly you shall hear; It’s of a lady tall and slim, That lived in Cankershire. 2 Her cheeks like blooming roses All in her face did shine; This maiden’s name was lovely Jane, She was the rose of Britain’s Isle. 3 Her father was a farmer, And Jane his only child; At sweet sixteen she fell in love With her father’s servant boy. 4 It’s when her father came to know This couple a courting were, He in a fatal passion flew. How he did stamp and swear! 5 Saying, “If you bring disgrace on me I’ll send you manys a mile. With great disdain you’ll cross the main From the rose of Britain’s Isle!” ei 116 hie Biase aAitis are IO IT I2 1) 14 , ms Pee i ns si i es : nt bea he a Sia a Pt PLAN he t abe ida ‘> "BALLADS AND SEA Young Edward he was ie And sent across the main, _ & While Jane at home did sigh and molene oye Her bosom swelled with pain. : She dressed herself in men’s attire, And in a little while On board with Edward she was shipped, The rose of Britain’s Isle. They had not been very long at sea Till a storm it did arise, aa And when young Edward went aloft Jane stood with watery eyes. It’s when they came to the coasts of Spain The enemy gave the alarm, tin And by a ball young Jane did fall And sprainéd her left arm. The seamen ran to lend her aid, While Jane with an innocent smile To Edward said, ‘‘Behold your maid, She’s the rose of Britain’s Isle!” It’s when they came to shore, It’s married they was with speed. And when they came unto him © It’s on them he did smile, To Edward said, ‘‘You’re welcome home With the rose of Britain’s Isle. ‘‘Five hundred pounds I’ll give you ~ If you but stay with me, And when that I do come to die My heiress you shall be.” Young Edward lives contented, And on each other smile. Young Edward he is happy now With the rose of Britain’s Isle. oe a ol Bt FROM NOVA SCOTIA t17 38 ERIN’S LOVELY HOME TuIs is probably an Irish song, but it has been current in many parts of Eng- land also, and during the sixties and seventies of the last century it appeared in many of the popular songsters published in the United States. For British versions see: Gavin Greig, Folk-Song of the North-East, XLvil; Sharp and Marson, Folk-Songs from Somerset, 11, 24-25; Journal of the Folk- Song Society, 1, 117; I, 167-168, 211; Journal of the Irish Folk-Song Society, I, 11-12; Sharp, One Hundred English Folk-Songs, pp. 124-125 (with music). The following broadside copies are in bound collections in the Harvard Col- lege Library: 25242.17, Iv, 71 (John Gilbert, Newcastle, No. 26); Iv, 159 (John Ross, Newcastle); v, 217 (Ryle); vi, 73 (Cadman, Manchester, No. 239); IX, 95 (Bebbington, Manchester, No. 99); x1, 31 (Such, No. 31). The following broadside sheets containing the song are on file in the Harvard Col- lege Library: J. Harkness, Preston, No. 457 (with “The Landing of Royal Charlie”); Ryle & Co., London (with ‘‘Don’t be too Particular’’). For texts published in America see: The “We Parted By the River Side”’ Songster (New York, American News Co., 1869), p. 38; Dan Bryant’s “Shaun the Post’? Songster (New York, Robert M. De Witt, 1870), p. 168; The “When the Corn is Waving, Annie” Songster (New York, The American News Co.), Pp. 35; Wehman’s Irish Song Book, No. 1, 1887, pp. 107-108; Wehman broad- side, No. 181; J. H. Johnson (Philadelphia) broadside; Manus O’Conor, p. 25. “Erin’s Lovely Home.”’ From the singing and recitation of David Rogers, | Pictou, Pictou County. 1 When I was young and in my prime, my age being twenty-one, I hired as a servant unto a gentleman. I served him true and honest, and very well, it’s known, And lately he banished me from Erin’s lovely home. 2 The reason that he banished me I soon shall let you know — I owned I loved his daughter, and she loved me as well. She had a very large portion, and riches I had none, And that’s the reason he banished me from Erin’s lovely home. 3 It was in her father’s garden all in the month of June, A viewing of the roses all in their youthful bloom. She says, ‘‘My dearest Willie, if with me you will roam, We'll bid adieu to all our friends in Erin’s lovely home.”’ 4 He gave consent that very night away with her to go. Far from her father’s dwelling they both set off alone. The night being bright by the moonlight they both set off alone And thinking to get safe away from Erin’s lovely home. vis love she got ready our passage ‘ai oo pay Five hundred hone she counted, saying, “Lov own, He marched me back to Homeford jail in the county 0 iT : _ It’s there I was confinéd in Erin’s lovely home.. 4 Bae Hi. more. x There’s seven links all in my chain and every tak’ a Before that I return again to the arms of my dear. ies FROM NOVA SCOTIA 11g Says, MY FATHER’S SERVANT BOY Tue Harvard College Library has broadsides of this song by Such, No. 346 (xm, 39), Catnach, and Pitts. “My Father’s Servant Boy.” From the singing and recitation of Richard Hines, River John, Pictou County. 1 Come all you old, both great and small, attend unto my fame; _ There’s none of you will pity me but those who felt the same. I lived between Duncannon and the town of Duncalloy, And now I’m in America with my father’s servant boy. 2 My father he would have me wed unto a gentleman; Next day in church we were to meet to join in wedlock band. The night before, I stole from them unto a village nigh, Where I did meet my own true love, my father’s servant boy. 3 I took my love along with me, I cared for nothing more; I bid farewell to all my friends, likewise to the Shamrock shore. To Belfast town we both went down and soon found Captain Coy, And in his ship I sailed away with my father’s servant boy. 4 When we got to America our money we did spend, And some time was supported by a true Irish friend, Till a gentleman from Ireland he did my love employ. Two pounds a week I do receive from my father’s servant boy. 5 They wrote me a letter to Philadelphia town: If I would go home again I would get five hundred pound. This news I sent to them from Philadelphia town: Where they are worth a shilling there, here I am worth one pound. 120 BALLADS AND SEA SONGS 4.0 MARY RILEY ; THE following text, after the fourth stanza, corresponds to the Maine version —_— printed by Gray, pp. 82-83, (“Mary Aclon”’); but in Gray’s text there is no ‘ mention of the ring or of the father’s eavesdropping; the lover is betrayed by Venus and Cupid, and is, on a more rational count, arrested and imprisoned for making love to the squire’s daughter. “Mary Riley” is probably a modified version of that most popular of Irish folk-songs, “‘ Willy Reilly.” The story has all the elements of the longer nar- rative in “Willy Reilly”: the courting of the lady, the enmity of her father, the arrest and imprisonment of the lover and his trial on the two charges of making love to the squire’s daughter and of stealing her ring (and, in “ Willy Reilly,”’ her money and jewels also), the appearance of the lady at the trial, and the freeing of the lover by virtue of her testimony. ‘Willy Reilly” may be found in O’Conor, p. 86, and in many Irish and American song books. It — is also common in English broadsides (Bebbington, No. 367, Harkness, No. 69, etc.), usually with the title ‘Riley and Colinban” — a modification of the title ‘Reilly and his Colleen Bawn.” Cf. Cox, p. 336. “Mary Riley.”” From the singing and recitation of David Rogers, Pictou, Pictou County. 1 One evening as I went a walking, Conversing with me and my dear, Her old agéd father stood in ambush And heard the fond words that we said. 2 A gold ring she put on my finger, Saying, ‘‘ Johnny, keep me in your mind, And if ever you roam from this island, I hope you'll not leave me behind.” 3. They kissed and shook hands and they parted, | Expecting to meet the next noon; : : But hard was the heart of her father, ee He locked my love up in her room. 4 With a coach of police he got ready, f He swore to the ring on my hand. a And for the squire’s young daughter sd I’m afraid a hard trial I'll stand. . 5 But Mary being constant and loyal, | : Straightway to my trial she came; She was dressed like some lady of honour, ae. The best of gold robes she had on. i IO FROM NOVA SCOTIA Which made all the nobles to wonder, And all the grand jury to stare, It’s then she addresséd the jury, Those words unto them she did say: ‘“‘In case you love a young female, Why should you be banished away? ‘“‘It’s seven long years we’ve been courting; I own that I gave him my heart; And there’s nothing but death will relieve me If Jimmy and I has to part.” Now this young couple are married, Their fortune on both sides paid down; They live on the banks of the Shannon, Although they ’ve caused manys a frown. They live on the banks of the Shannon In love and sweet unity. Here’s a health unto young Mary Riley, For loyal she’s provéd to be! T2Q1I bg Ard BALLADS AND SEA SONGS 41 ELLEN THE FAIR Tus song is also known as “Helen the Fair.” It was a common broadside ballad, but is not included in the recent English collections. See broadsides: R. Evans, Foregate Street, Chester (25242.18, collected in 1831); T. Birt, London (25242-62); J. Kendrew, York (11, 89); M.S. Dodds, Newcastle, No. IIo (m1, 129); W. Forth, Bridlington, No. 131 (mm, 171); J. Cadman, Man- chester, No. 390 (v, 4); Bebbington, Manchester, No. 147 (rx, 142); Ann Batchelor, London (with ‘‘Down in Our Village”); no imprint (with “The American Stranger’? and “March to the Battle Field”); T. Birt, London, No. 188; another without imprint (with “If I had a thousand a year’’). For American texts see: The Forget Me Not Songster (New York, Nafis and Cornish), p. 141; the same (Philadelphia and New York, Turner and Fisher), p. 32; The Old Forget Me Not Songster (Boston, Locke and Dubier), p. 141; The ‘“‘Low Backed Car” Songster (New York, Richard Marsh), pp. 61-62; The New American Song Book and Letter Writer (Louisville, Ky., C. Hagan & Co., 1847), pp. 129-130. “Ellen the Fair.”” From the singing and recitation of Alexander Harrison, Maccan, Cumberland County. 1 Fair Ellen one morn from her cottage had strayed; To the next market town tripped the beautiful maid. She looked like a goddess, so charming and fair. ‘‘Come buy my sweet posies!” cried Ellen the Fair. 2 ‘‘T’ve cowslips and jessamines, and harebells so blue, Wild roses and eglantines, glistening with dew, And the lily, the queen of the valley, so rare. Come buy my sweet posies!” cried Ellen the Fair. 3 Enraptured I gazed on this beautiful maid, For a thousand sweet smiles on her countenance played; And while I stood gazing, my heart I declare A captive was taken by Ellen the Fair. 4 Oh, could I but gain this fair nymph for my wife How gladly would I change my condition in life. I’d forsake the gay follies of the town and repair To dwell in a cottage with Ellen the Fair. iB hat Heed I care for the lordly or ae - My parents are dead, I’ve a noble estate; _ And no lady on earth, nor a princess shall share My hand and my fortune with Ellen the Fair. In a little time after, this nobleman’s son | Did marry the maid his affections had won. When presented at Court, how the Monarch did stare, And the ladies all envied sweet Ellen the Fair. ae ae THE MAID OF THE MOUNTAIN BROW om M. C. DEAN prints a version of this song from Minnesota in The Flying ( Cloud z and 150 Other Old Time Poems and Ballads, pp. 83-84, under the title “The Maid of the Logan Bough.” 3 “The Maid of the Mountain Brow.” From the singing and recitation | John Brown, River John, Pictou County. | 1 Come all ye men and maidens and listen to my song, And if you’ll pay attention I’ll not detain you long. ’T was of a wealthy young man I’m going to tell you now, And he’s lately become a member of the Maid of the iets: Brow. | 2 He said, ‘‘ My lovely fair maid, if you’ll come along with me no} We'll go and we’ll get married and it’s happy we willbe. We'll join our hands in wedlock bands if youll come along wit me now. ee I will labour late and early for the Maid of the eee Brow.” 3 Shebeinga wigglesome young thing she did n’t know what to say Her eyes did sparkle like diamonds and as merrily she did play ‘“‘Kind sir, I would rather be excused, I can’t go with you no I will tarry another season at the foot of the Mountain Brow. 4. He said, ‘‘My lovely fair maid, how can you answer no? > Look down in yonder valley where my crops do gently grow. — Look down in yonder valley stands my horses and my plow. _ They work both late and ane for the Maid of ne: Moun Brow.” 5 ‘If they work both late and early, kind sir, it’s not forme. __ Your conduct it is none of the best, for I can plainly see. There is an inn where you call in, for I’ve heard the people say, Where you Tap and call and pay for all, and go home at the brea ] of day.” | i er ) FROM NOVA SCOTIA 125 4 oon Bed none of your ccs: ie I’ve understood you have >) a none: ~ You thought you had my poor heart gained by happening on me a now, But I'll leave you where I met you at the foot of the Mountain Brow.” wei) it’s Fees dear, it’s Jimmy, how can you be so unkind! - To a girl you loved so dearly how quickly you’ve changed your e mind, _ Toa girl you loved so dearly, and you’re going to leave me now. O don’t leave me broken-hearted at the foot of the Mountain Brow!” 126 BALLADS AND SEA SONGS 43 REILLY’S FAREWELL THE unfortunate hero of this ballad had, like Shakspere, a name that could be represented by a practically infinite variety of spellings, and the recorders of his tragedy have overlooked few of the possibilities. The title of the ballad also can be, and has been, varied to an almost equal degree. The Irish versions (published, for the most part, in America) are usually “O’Reilly [or O’Riley] the Fisherman.” The English versions may have this caption or any other one including the name Reilly or O’Reilly spelled in any manner whatsoever. Some of the variants will be noted below. In the Nova Scotia text the hero is con- sistently referred to as “‘ Young Reilly,”’ and this phrase would seem to be the natural one to employ as a title. There is, however, another broadside song, entirely independent of this one, entitled “Young Reilly,” and I am avoid- ing unnecessary confusion by borrowing one of the more distinctive English titles. For a brief discussion of “Young Reilly” see my note on “‘ Waterloo,” pp. 182-183. For British versions of the song see: Greig, cx (“John Rylie”); G. B. Gar- — diner, Folk-Songs from Hampshire, pp. 9-11 (with music); Ashton, Modern Street Ballads, pp. 390-391 (“‘Riley’s Farewell”); Journal of the Folk-Song Society, I, 256-257 (“Young Riley the Fisherman”); v, 147-148 (“John Riley”); Journal of the Irish Folk-Song Society, 1, 5 (“One Evening Fair”; fragment, with music). See also the following broadside copies: Manchester, “Riley’s Farewell” (25242.71); W. R. Walker, Newcastle-on-Tyne, No. 20 (tv, 17); J. Cadman, Manchester, No. 265 (v1, 192); Ryle (vm, 32); Bebbing- ton, Manchester, No. 22 (Ix, 22); Such, No. 121 (x1, 121); John Harkness, Preston, No. 262 (with “The Sailor Boy’s Farewell to his Mother”); Beb- bington, Manchester, No. 22 (with “Youth and Bloom’”’). For texts published in America see: The “We Paried By the River Side” Songster (New York, American News Co., 1869), p. 6; Dan Bryant’s “Shaun the Post’’ Songster (New York, Robert M. De Witt, 1870), p. 119; Paddy’s Own Song Book (De Witt), pp. 23-25; De Marsan broadside, List 6, No. 91; Wehman broadside, No. 782; Delaney’s Irish Song Book No. 3, p. 24; O’Conor, p. 49; Pound, No. 39 (“‘Jack Riley’’). No local title. From the singing and recitation of John Adamson, West- — ville, Pictou County. 1 As I walked out one evening down by a river clear, I overheard a fair maid and the tears fell from her eye, Saying, “This is a dark and a stormy night — ” these words I heard her say — ‘My love is on the raging main bound to America. 2 ‘“‘My love he is a sailor bold. His age is scarce nineteen. He is as fine a young man as ever you have seen. My mother took me by the hand, these words to me did say, ‘If you are fond of Reilly let him leave this country.’ FROM NOVA SCOTIA Lay ***O mother dear, don’t be severe. How can I part my love? For his very heart lies in my breast as constant as a dove.’ ‘O daughter dear, I’m not severe; here is one thousand pound. Send Reilly to America to purchase there some ground.’”’ As soon as Ellen received the money, to Reilly she did run, Saying, ‘“‘This very night for to take your life my father has charged his gun. Here is one thousand pound in gold my mother sent to you. You will sail away to America and I will follow you.” In two or three days after, young Reilly sailed away, And when he put his foot on board, these are the words he said: “‘Here is a token of true love. I’ll break it fair in two. You have my heart, so take this ring till I will find out you.” In two or three months after I was walking down the gate. Young Reilly he came back again and took his love away. The ship was wrecked, all hands were lost, her father wept full sore. Young Reilly and his true love were found dead on the shore. 7 Andon her breast a letter was found, and it was wrote with blood, Saying, “‘Cruel was my father when he thought to shoot my love. Let this be as a warning to all young maidens gay For not to let the lads they love sail to America.” 128 BALLADS AND SEA SONGS) 44 JIMMY AND HIS OWN TRUE LOVE Tuts song has been printed on broadsides with various titles —— sometimes — “The Sailor and his Truelove,’”’ and sometimes “ Jemmy’s Farewell”: 25242.4, I, 63 (J. Jennings, London); m1, 62 (Pitts); also, on file, Pitts; “Printed and sold at 60 Old Street.” s Bee “Jimmy and His Own True Love.” From the singing and recitation of a" Mrs. James Campbell, River John, Pictou County. ee: 1 As Jimmy and his own true love went walking out one day To view the hills and the valleys, for they were young and gay, It was in the spring when the birds did sing, and the larks ere loud on high, It was so sweet and charming to hear their melody. an 2 The very first time she saw her love she called out, : ‘Jimmy, my dear, I hear you are going to leave me in sorrow to lament.” as She hung down her head and her rosy cheeks Mica many a tear that fell: ts well.” 3 ““O now, my weeping Annie, why do you so remind? ; What makes it run in your fancy that I will never returnP If I were away for seven long years, it ’s faithful IT would be; I ’ll never forsake the girl I love while I sail on the sea.” « three, ; oC ea Saying, ‘‘Lovely Jimmy, take these while you sail on the sea, 5 You will think of lovely Annie, the girl whom you adore. 5 ‘‘My father and my mother chastising me full sore For keeping of your company, but I will keep it more. The chastisement they gave to me will never ek: my heart, dark. Being pee I can no longer stay. 1 topsails they are hoisted, our anchor waits array.” he hung down her head and her rosy cheeks with many a tear - that fell: Bey ihe Mecas above ae you, dear Jimmy, I fare you vi we ES gee, A CaS 130 BALLADS AND SEA SONGS ag THE JOLLY PLOUGHBOY THIS song— variously entitled “The Simple Ploughboy,” “The Pretty Ploughboy,” and “The Jolly Ploughboy’’ — was once a very popular one in England and Scotland. Robert Ford, writing in 1901, says: “In the rural districts of Perthshire, I am sure, no song was better known fifty years ago, and it is still occasionally sung, I am told, both in Aberdeenshire and Rox- burghshire” (Vagabond Songs and Ballads of Scotland, Second Series, p. 150). For English and Scotch texts see Baring-Gould, Songs of the West, 5th edi- tion, No. 59, pp. 122-123; Greig, cxvu; Ford, Vagabond Songs and Ballads of Scotland, 11, 150-152; Sharp, Folk-Songs from Somerset, v, No. 111, 20-23 (“The Pretty Ploughing-Boy”’); Broadwood, English Traditional Songs and Carols, pp. 72-73 (“The Valiant Lady, or the Brisk Young Lively Lad”); Merrick, Folk-Songs from Sussex, pp. 10-11; Baring-Gould and Sharp, Eng- lish Folk-Songs for Schools, No. 29, pp. 60-61; Journal of the Folk-Song Society, I, 132-133; Il, 146-147; Iv, 303-310. See also the following broadside copies: Harkness, No. 488 (m1, 133); Catnach (vu, 70); Bebbington, Man- chester (xX, 93); Such (xm, 74); James Paul & Co. (with “The Old Girl at Home”’); W. S. Fortey, at the Catnach Press (with ‘‘The Spotted Cow” and “Canadian Boat Song’’); Such (with ‘‘ Young Edwin in the Lowlands Low”’). In America a version has been published by Campbell and Sharp, No. 4o, p. 278. “The Jolly Ploughboy.”” From the singing and recitation of Mrs. James Campbell, River John, Pictou County. 1 Jack, the jolly ploughboy, was ploughing up his land; His horses lie beneath the shady tree. He did whistle, he did sing, caused the valleys for to ring; His intentions were to court a pretty maid. 2 When thus her old father the news came to hear That his daughter was a courting on the plain, He rose and oppressed and sent him off to sea, And sent him to the war to be slain. 3 She dressed herself up in full sailor’s array With a sword and bright pistol by her side. She rode down the street, the tears rolled down her cheeks, She looked just like a jovial sailor bold. 4 The first man she met was in sailor’s array. “‘O where is my ploughboy?”’ cried she. ‘He is in yonder fleet ploughing up the deep; Pass along, my pretty fair maid, pass along {?? Be Rota. oe P PALS a Free FROM NOVA SCOTIA ye dh She went to the harbour where’er the fleet did lay, And thus to the captain did say, ‘You have stolen away my ploughboy to send him off to sea, And sent him to the war to be slain. *“*O here, O here is my purse full of gold, And this I will freely give o’er.” She threw it on the deck, threw her arms around his neck, And she rowed him in her arms to the shore. O happy are they when true lovers do meet, When their troubles, their trials are all o’er. She did whistle, she did sing, caused the valleys for to ring, When she gained the love of him whom she adore. 132 BALLADS AND SEA SONGS 46 WILLIE TAYLOR UNDER the slightly varying titles ‘William Taylor,” ‘Bold William Taylor,” and “ Willie Taylor, ” this song has had remarkable currency in Great Britain. Several versions, also, have been collected in the United States. It seems a work of supererogation to parody a ballad which might itself serve as a trav- esty of the Lovers’ Separation theme, but about the end of the eighteenth century ‘‘ Willie Taylor” was given a slightly different garment of phraseology, including a “Toll de loll” chorus, and was thus presented as an avowedly comic song with the title “Billy Taylor.” This production served its turn — chiefly on the stage, while the original song continued on its round pis: the singers of the people. The versions of “Willie Taylor” exhibit a good many variations in ‘the treatment of the last phase of the story, and some of these I have discussed in the Introduction. It is quite certain that the original ending was the triumphant one that is retained in the Nova Scotia version, but occasionally this is turned ee into tragedy of a sentimental sort. For references see Journal of the Folk-Song Society, V, 163-164; Cox, p. 785, “Willie Taylor.” From the singing and recitation of Mrs. James Palmer, Waldegrave, Colchester County. cA t Willie Taylor, brisk young sailor, Courted by a lady gay, A day or two before the marriage, Pressed he was and sent away. 2 She dressed herself in men’s attire, Boldly entered for Jacky Tar. | Her lily white hands and slender fingers Daubed they were with pitch and tar. 3. When she came to the field of battle, There she stood among the rest. A silver button flew off her waistcoat; There appeared her milk-white breast. 4 When the captain saw this wonder, He said, ‘‘What wind has blown yale heme : ‘‘T am in search of my true love, Whom you pressed and I love dear.” FROM NOVA SCOTIA 133 5 “If you ’re in search of your true lover, Tell me your true lover’s name.” “‘My true lover’s name is Willie Taylor, Whom you pressed to the Isle of Man.” 6 “If your true love is William Taylor, I find he is a false young man, For he is to be married to-morrow To a lady of this land. 7 “Tf you rise early in the morning, Early by the break of day, © There you’ll see young Willie Taylor Walking with his lady gay.” 8 She rose early in the morning, Early by the break of day, And there she saw young Willie Taylor Walking with his lady gay. 9 She called out for sword and pistol, Sword and pistol at her command, And then she shot young Willie Taylor And his bride at his right hand. 10 When the captain saw this wonder, He laughed loudly at the fun, Saying, ‘‘You shall be captain and chief commander Over my sailors every one!” tz If Willie Taylor was as constant a lover, As constant a lover as he could pretend, She never would have been so cruel As her true love’s days to end. B “Willie Taylor.” From the singing and recitation of Robert Reid, River John, Pictou County. t Willie Taylor was a brisk young sailor, Courted by a lady gay. A little before they were to be married, Pressed he was, and sent to sea. 134 She eee herself in man’s le And boldly entered for Jack Tar. aaae Her lily-white hands and her long slender fingers ae Daubed they were with pitch and tar. aN It ’s when she came to the front of battle, O she fought most manfully, Till a silver button flew from her waistcoat And her milk-white breast was seen. _ When the captain saw this wonder, ; Says he, ‘‘What winds have blown you here? ” ‘“Q I am in search of my own true lover, is Whom you pressed the other year.” ‘‘Tf you ’re in search of your true lover, Pray tell to me his name.” — ‘“‘His name is Willie Taylor, Whom you pressed from the Isle of Man.” ¢ ‘Tf Willie Taylor is your true lover, He’sa false young man, For he’s to be married to-morrow To a lady of this land.” She rose up in the morning early, Gaily at the break of day, : And there she saw young Willie Taylor Walking with his lady gay. Then she called for sword and pistol, Sword and pistol at her command, And there she shot false Willie Taylor And his bride at his right hand. When the captain heard this wonder O he laughéd at the fun, Over the sailors every one!”’ FROM NOVA SCOTIA 135 asi THE GREEN MOSSY BANKS OF THE LEA It seems probable that this is an English song, not an Irish one, in spite of the presumptive evidence of the line “I quickly sailed over to Ireland’’; and the Lea of the refrain may be the river which joins the Thames near the Isle of Dogs. In the English versions, which appear in a great many broadsides, this line usually reads, ‘“‘We quickly sailed over to England.” For English texts see: Sharp and Marsan, Folk-Songs from Somerset, 11, 34-38; Journal of the Folk-Song Society, UW, 150-151; IV, 91; VII, 24; broadside copies: Walker, Durham (25242.71); John Ross, Newcastle, No. 62 (Iv, 20); Cadman, Manchester, No. 126 (v, 70); no imprint (vu, 172); Bebbington Manchester, No. 125 (Ix, 120); Such, No. 130 (x1, 130); Harkness, Preston, No. 88 (with ‘‘The Banks of Sweet Dundee”’); Walker, Durham, No. 5 (with “‘Child of Good Nature”’); Elias Keys, Devonport (with “‘The Croppy Boy’’); another, without imprint (with “Masonic Hymn”’). In America the song was published in Wehman’s Irish Song Book No. 1, pp. 9-10, and in Delaney’s Irish Song Book No. 5, p. 24. It appeared also as a Wehman broadside (No. 924). Barry has published a melody, Journal, Xx, 81. From the singing and recitation of Richard Hines, River John, Pictou County. 1 When first from my country, a stranger, curiosity caused me to roam, Over Europe I resolved to be a ranger, when I left Philadelphia my home. | I quickly sailed over to Ireland, where forms of great beauty doth shine. It was there I beheld a fair damsel, and I wished in my heart she was mine. 2 One morning I careless did ramble where the sweet wind’s pure breezes did blow; *T was down by a clear crystal river where the sweet purling waters doth flow. It was there I beheld a fair damsel, some goddess appearing to be, As she rose from the reeds by the waters on the green mossy banks of the Lea. 3. Istepped up and bid her good morning; her fair cheeks did blush like the rose. , Said I, ‘‘These green banks looks charming; your guardian I’ll be if you choose.” She says, ‘‘Sir, I ne’er wants a asec) 2 stranger to me; For yonder’s my father a potas on the green the Lea.” . more; | Said I, “Sip if this be your daughter, she’s a beautiful we adore ae be: She’ll ride in her chariot and horses on the green mossy | b ve the Lea.” ao They welcomed me home to their cottage; soon after i in we did j join. . shine. Laps the Lea. Come all you pretty fair maids, take warning, no matte poor you may be, ee There’s many a poor girl that’s handsome as : those that large property. . if By flattery let no man deceive you, no matter how poor yO be, | Like adorable gentle Matilda on the green mossy hanks i Lea. (ate FROM NOVA SCOTIA 137 48 THE NEW RIVER SHORE Tuis strange composite ballad is interesting chiefly because of its echoes, here and there, of lines and stanzas from a variety of other songs. The first stanza corresponds to the final stanza of the broadside ballad “Can’t You Love Whom You Please,” printed by J. Evans, Long Lane, London. See also stanzas 1 and 2 of “The Green Laurels” (Cox, p. 417). Cox’s note refers to other songs which have this motive: ‘The Orange and Blue,” ‘‘The Irish Transport,” “The Wagoner’s Lad,” “Forsaken,” and “The Rue and the Thyme.” The second and last stanzas correspond to stanzas 3 and 4 of the version of “The Wagoner’s Lad” printed in Journal, xx, 268-269. See also Shearin and Combs, p. 27. The last stanza corresponds to the final stanza of Version B of “The Wag- oner’s Lad” in Campbell and Sharp, No. 64, pp. 215-219, and to the first stanza of “Loving Nancy” in Wyman and Brockway, Lonesome Tunes, pp. 62-64. It is really the first stanza of the following brief song (“‘The Ladies’ Case’’), which dates from early in the eighteenth century: : How hard is the Fortune of all Womankind, For ever subjected, for ever confined; The Parents controul us until we are Wives, The Husband enslaves us the rest of our lives. Ti fondly we love, yet we dare not reveal, But Secretly languish, compell’d to conceal; Deny’d every freedom of Life to enjoy, We’re sham’d if we’re kind, we ’re blam’d if we’re coy. This two-stanza song was published (with the music) about 1734 in The Brit- ish Musical Miscellany, or, The Delightful Grove, 1, 5 (London, I. Walsh), with the heading ‘“‘The Ladies Case. Sung by Miss Raftor at the Theatre Royal. The Words by Mr. Carey. The Tune by Mr. Gouge”; and, with the same heading, in The Universal Musician: or Songster’s Delight (London, Printed and Sold by the Booksellers, ca. 1734), p. [113]. Miss Raftor’s first appear- ance was in 1728; she became Mrs. Clive in 1732. “‘Mr. Carey’”’ is, of course, Henry Carey, the author of “Sally in Our Alley.” The song may be found also in A Compleat Collection of Old and New English and Scotch Songs, I (1735), 105; Zhe Robin (London, 1749), Song 103; The Muses Delight (Liverpool, 1754), p. 143; The Busy Bee, or, Vocal Repository [17-], m, 186; The Goldfinch (Glasgow, ca. 1782), p. 55; The Nightingale, 1791, pp. 22-23 (with six additional lines); Dalrymple, A Collection of English Songs, 1796, p. 20 (with “The Other Side”; ‘‘How happy’s the State of Fair Womankind”’); The British Melodist, or, National Song Book, 2d ed., ca. 1819, pp. 251-252; The Vocal Library, 1822, No. 107, p. 36. It occurs in an early nineteenth-century American broadside as “A Married Woman’s Lamentation” (Ford, Massachusetts Broadsides, No. 3261a), and in De Marsan’s Singer’s Journal (New York), I, 34. The Massachusetts Mercury for August 19, 1800 (a Boston newspaper), contains an imitation or adaptation entitled ““Woman’s Hard Fate. — By a Lady.” ‘This begins, “How wretched is poor woman’s fate.” 138 BALLADS AND SEA SONGS “The New River Shore,” as it is called in Nova Scotia, has been sung, though perhaps not widely, in the United States with the title ‘““The Green- briar Shore.” There is a version, corresponding fairly closely to mine, in the Sharp MS. of Songs from the Southern Appalachians (Harvard College Library), fol. 616, and the song is reported by Shearin and Combs, p. 27. For an interest- ing variant (“‘The New River Shore’’) see Frank Moore, Anecdotes, Poetry and Incidents of the War: North and South, 1866, pp. 180-181. “The New River Shore.”” From the singing and recitation of Mrs. James Palmer, Waldegrave, Colchester County (printed, Quest, p. 162). 1 Ocan you love little? O can you love long? Can you love an old sweetheart till the new comes on? Can you tell them you love them their minds for to ease? And when their backs is turned to you, you can love who you please. | 2 Yes, I can love little, I can love long; I can love an old sweetheart till the new comes on. I can tell them I love them their minds for to ease, And when their backs is turned to me, I can love who I please. 3 AsI was a walking one morning in spring To hear the birds whistle and the nightingales sing, I saw a pretty fair maid, she’s the one I adore. I’ll be her own true love on the New River shore. 4 It’s when my love’s parents they came for to hear, They pressed me away from my dearest dear. They sent me away where loud cannons did roar, And left her lamenting on the New River shore. 5 It was three months after a letter she sent, ‘‘Come back, my dearest Jimmie, you’re the lad I adore. And straight I’ll go with you from the New River shore.” 6 I picked up my broadsword; it glittered all round; A short time after laid seven to the ground, Some bleeding, some dying, some wounded full sore: I gained my own true love on the New River shore. 7 O hard is the fortune of all womenkind; They’re always controlled, they ’re always confined, Controlled by their parents until they ’re married wives, Then slaves to their husbands all the rest of their lives. Cox prints a version of this song, found in Kentucky, under the title ‘The This version, however, exhibits in the last two stanzas affiliations with “The Rebel Soldier” (Cox, p. 279), whereas the Nova Scotia version ignores the proffered aid of the latter song and introduces Bright Sunny South” (p. 280). FROM NOVA SCOTIA 139 49 THE SUNNY SOUTH a reference to the Fenians — a palpable Canadian modification. “The Sunny South.” From the singing and recitation of Alexander Murphy phy, Cape John, Pictou County. I In the sweet sunny south there was peace and content, In the days of my boyhood I quietly spent, Near a broad flowing river and a bright flowing stream, Ever fresh in my memories and sweet in my dreams. I pondered a while and I counted the cost; I buckled my sword and I mounted my horse; For I must away for I can’t no longer stand. I am going in defense of my own native land. Oh father, dear father, oh for me do not weep, For all your kind advice I will forever keep. You thought me to be loyal from a boy up to a man; I will go in defense of my own native land. Oh mother, dear mother, oh for me do not weep, For on some lonely mountain I longing to sleep, With my knapsack for my pillow and my rifle in my hand. I am going in defense of my own native land. My dear and loving sister stood pale into her woe. She kissed me and embraced me, she bade me for to go; So I must away for I can’t no longer stand; I will go in defense of my own native land. My dear and loving sweetheart, the girl I love the best, In sorrow and anguish she clasped me to her breast: “For you must away for you can’t no longer stand; You must go in defense of your own native land.” Time points the way when this conflict will be over, When from Yankees and Fenians our country will be free. When this cruel war is over and this bloody work is done, I will return to my loved ones that is weeping at home. 140 BALLADS AN D SEA SONGS 50 THE ROCKS OF SCILLY | Tus song is fairly common in English broadsides, and before the middle o the nineteenth century it was being reproduced in American song-books. For English versions see Baring-Gould, Songs of the West, No. 52 (“The Wreck off Scilly”); Journal of the Folk-Song Society, v, 173 (‘Scilly Rocks”) and the following broadsides: Pitts (25242.4, m, 46); Spey Bradfor _ (25242.17, I, 140); George Walker, Durham, No. 133 (1, 114); W. Dickin son, York (n, 196); no imprint (v1, 166); Pitts (with “Kelvin Grove”) James Paul & Co. (with “The Trysting Tree’); F. Jennings, Sheffield (wi “The Soldier’s Wives’ Complaint for the Loss of their Husbands”); T. But London, No. 75. For American texts see: The Forget Me N ot Songster (New York, Nafis and Cornish), pp. 51-53; the same (Philadelphia and New York, Turner an Fisher), pp. 155-157; The Old Forget Me Not Songster (Boston, Locke an Dubier), pp. 51-53; Uncle True Songster Sans ete., Fisher & Brother PP. 75-77: ; “The Rocks of Scilly.””. From the singing and recitation of Alexander Har rison, Maccan, Cumberland County. 1 Come all you jolly sailors bold That plough the raging main, And listen to my tragedy Whilst I relate the same. 2 I parted with my wedded wife Whom I did still adore. To the seas we were commanded Where the lofty billows roar. 3 To the East Indies we were bound, Our course we then did steer, And all alone I still thought o’er My lovely Molly dear. 4 Sometimes on deck, sometimes aloft, Sometimes I am below; But Molly she’s still in my eye, Fond love commands me so. — 5 She’s charming, beautiful, and fair; She’s all my soul’s delight; The brightest day appears to me Like the shades of night. Io II I2 13 14 FROM NOVA SCOTIA By myself alone I sigh and moan _Whilst others sport and play; Were Molly she along with me, It would be always day. My very heart’s lodged in her breast, Which does increase my pain, But night and day I do think still We shall never meet again. When we our loading had received, And when to England bound, We little thought it was our fate On Scilly rocks to drown. On the rocks of Scilly we were cast By the tempest of the main; Of all our good ship’s jolly crew But few could reach. the shore. We had not sailed a day but seven When the storm began to rise; The swelling seas run mountains high And dismal were the skies. “Aloft, aloft!’”’ our boatswain cries, ‘‘Each man to his post observe, And reef your sails both fore and aft, Our ships and lives to save.” ““To the top!” then cried our captain bold, ‘*And he that first sees land, For his reward he shall receive Full fifty pounds in hand.” ‘To the top!” then our boatswain’s mate, ‘To the maintop so high!” He looked around on every side, But no land could he spy. In head of us a light he saw, Which did his spirits cheer. ‘Take courage, hearts of oak,”’ he cried, “‘Some harbour we are near.”’ 141 142 T5 16 17 18 Ag BALLADS AND SEA SONGS ‘Sail on, sail on,” the captain cried, ‘“‘We’re right before the wind, _ For by the light which I have seen, The land we soon shall find.” But as we sailed before the wind And thought all dangers past, On the rocks of Scilly we poor souls That fatal night were cast. The first stroke that our ship did get, Our captain he did cry, ‘The Lord have mercy on our souls, For in the deep we die.” Of eighty jolly sailors bold, But four could reach the shore; Our gallant ship in pieces went And never was seen more. When Molly heard the fatal news Her tender heart did break, And like a faithful lover She died for her true love’s sake. Version A corresponds pretty closely to the English song of ‘‘The Paisley Officer,” which may be found in a broadside issued by Walker, Newcastle, No. 169 (Iv, ror). The text printed by Gray, pp. 85-87, is also similar to the broadside copy. Version B — with its plunge in medias res and its additional stanzas at the end — has less the appearance of a fragment than of a separate version. “Bonny Scotland.” FROM NOVA SCOTIA 51 THE PAISLEY OFFICER cA River John, Pictou County. x In bonny Scotland blithe and gay, Where bluebells they do grow, There lived a shepherd’s daughter Down in the valley low. She herded sheep the whole day long Upon the banks of Clyde; Although her lot in life was low, She was called the village pride. An officer down from Paisley town Came hunting down that way; He hunted on these lowland glens Where Mary’s cottage lay. A long and loving eye he bent Upon her form so fair; He wondered how so fair a flower Could blow and flourish there. It’s many a day young Henry came A hunting down that way; It’s many a day young Henry came To hide his grief and woe. He hunted on those Lowland glens, And on the banks so gay, Still thinking that his lonely hours Would pass the time away. From the singing and recitation of Robert Reid, Io Na i I2 13 14 15 “Our regiment has got the rout, She fought her way right manfully, Vote Beaty came to ae eee His heart oppressed with woe, Saying, ‘‘Mary, lovely Mary, Far from you I must go. While I must give command erases To leave these bonny Highland glens For India’s burning sand. A ““O Mary, lovely Mary, I love you in my heart. I wish you were my wedded bride This night before we part.” ‘‘ All for to go along with you Would be my whole desire, And I will pass as your servant _ - Dressed up in men’s attire.” As they marched up through Paisley town, They were wondered much at there, ; To see there such a fine recruit __ So beautiful and fair. The ladies all admired her While she stood on parade, But little they knew that a soldier’s coat Concealed so fair a maid. So Henry and his Mary Across the sea did go, But little they knew the hardships great They had to undergo. While Henry done his best, But while she strove to heal his wounds A ball went through her breast. Young Henry came to Mary And unto her did say, Lik ‘I’m afraid you’re deadly wounded, love, - Re gh Your lips are like the clay.” ng FROM NOVA SCOTIA 145 16 ‘The very first time that I saw you *T was you I did adore.” And she closed her eyes, no more to rise, On India’s burning shore. B No local title. From the singing and recitation of Mrs. James Campbell, River John, Pictou County. 1 Young Henry came to Mary His heart being full of woe, Saying, ‘‘Mary, lovely Mary, Far from you I must go. 2 ‘Our regiment they are on the road, And I have got command To leave these lovely hills and dales For India’s burning sands.” 3 “O Henry, lovely Henry, Those words will break my heart; I wish I were your wedded wife Before tonight we part. 4 “For me to go along with you ’T would be my real desire, For me to be your waiting-maid Dressed up in men’s attire.” 5 When they arrived at Paisley town, The people wondered there For to see a young recruit So beautiful and fair. 6 The ladies all admired him As he stood on parade; But little they thought a soldier’s coat Concealed so fair a maid. 7 Now to cross the ocean Young Henry’s forced to go, But little knows the danger He has to undergo. 146 IO If I2 BALLADS AND SEA SONGS Young Henry fought right manfully While Mary did her best, And when she stooped to dress his wounds A bullet pierced her breast. ‘‘T fear you’re deadly wounded, love,” Young Henry he did say, ‘‘T fear you’re deadly wounded, love, Your lips are like the clay. ‘*T was ever since I first saw you, *T was you I did adore.” They closed their eyes, no more to rise, On India’s burning shore. With gentle hands the soldiers laid These fair ones in their grave, Side by side young Henry So manful and so brave. A simple hill now marks the spot Where their remains doth lie. May the Lord have mercy on their bones, Young Henry and his bride. FROM NOVA SCOTIA — 147 52 MARY ON THE SILVERY TIDE THE song of faithful Mary and her sad passage down the silvery tide was fairly common in broadsides, and it has remained in currency in England. In the United States it is practically unknown. The English broadside title is usually ‘‘Poor Mary in the Silvery Tide.” For English texts see Sharp, Folk Songs from Somerset, 5th Series, No. 112, pp. 24-28; Journal of the Folk-Song Society, 1, 216; and broadsides: Walker, Newcastle, No. 23 (iv, 74); Catnach (vu, 57); Bebbington, Manchester, No. 144 (IX, 139); Such, No. 303 (xt, 148); without imprint, No. 41 (with “The Black Band’s Downfall’’); Catnach (with ‘The Blessings of a Good Little Wife”). See also Notes and Queries, 5th Series, vi, 344-418. A version from Michigan has been printed by R. W. Gordon in the Adventure magazine. ““Mary on the Silvery Tide.”” From the singing and recitation of Paul Brown, River John, Pictou County. 1 There was a fair young creature who lived by the seaside, Who was handsome in form and feature, she was called the village pride. It was a young sea-captain who Mary’s heart did win, And true she was to Henry while he was on the raging main. 2 It was in Henry’s absence another mener came A courting pretty Mary, but she refused the same. “Your vows are vain while on the main has won my heart,”’ she cried, ‘‘And then begone, I love but one, and he is on the silvery tide.” 3 This nobleman went walking all out to take the air, When he spied pretty Mary down on the silvery tide. “Now,” says this heartless villain, ‘‘Consent and be my bride Or I’ll send your body a floating down on the silvery tide!” 4 ‘Ono, no, dear captain, my vows I’ll never break, For it’s Henry I love dearly; I’ll die for his sweet sake!”’ With his handkerchief he bound her hands and threw her o’er the side, And screaming she went floating down on the silvery tide. 5 Shortly afterwards young Henry returned from the sea, Expecting to be happy and appoint the wedding day. “Young Mary she is murdered,” her wretched parents cried, ‘She has proved her own destruction down on the silvery tide!”’ ee Ven, RO ee Oy ee | oe re oe aa i 57 4 Jie PA taay at iS | Ti hm { - 3 THE SAILOR AND THE SHEPHERDESS 3 In broadsides this song is usually entitled “The Sailor’s Courtship.’ amet" Harvard College Library has copies, on file, by Pitts, London; T. Birt, Lo don; Catnach, London; Henson, Northampton; Forth, Pocklington, No. The Forth broadside | is entitled ‘‘The Pretty Young Shepherdess. i a | “The Sailor and the Shepherdess.” From the singing and recitation ° ist Alexander Murphy, Cape John, Pictou County. oy 1 It’s of a bonny shepherdess A watching of a flock, Down by the seaside all alone; Chance there came that way Was a bright young sailor gay, And he fain would make her his bride. 2 The weather it being warm as As she laid on the grass, She caused the young sailor to draw nigh; He kissed her ruby lips While she lay fast asleep, Saying, ‘‘My dear, you have stolen my heart away.” 3. She woke in surprise, She opened her eyes, She saw the young sailor standing by. ‘‘Sailor,” said she, ‘What brought you here by me?” And by that she began to cry. 4 “I’m lately come From that little ship you see. | I have landed on a rock all alone.” Cae And he says, ‘‘My dearest dear, | I must find some comfort here, Or else I am forever anlenen 5 ‘Osailor,” said she, ‘‘How can this ever be, Or how can I give my consent? For while you’re on the sea My mind will have no ease, It will cause me to sigh and lament.” 7 Wealden” said a “Tf you will but marry me, You'll have gold and silver in store. The sea I will forsake, And the promise I will make To be true to you forevermore.” This couple joined in peace To love and increase. The sailor and the shepherdess Ill adore. Take a sailor for your life If theyll have you for their wife, For sailors are blessed forevermore. 150 BALLADS AND SEA SONGS 54+ THE CHIPPEWA STREAM From the singing and recitation of Miss Greta Brown, River John, Pictou County. 1 AsI went a walking one evening in June, A viewing the roses — they were in full bloom — I met a pretty fair maid as I passed along; She was washing some linens by the Chippewa Stream. 2 I went up beside her and I made a low bow, And what I said to her I’ll tell to you now: “Tt’s been twelve months or better my mind’s been on thee, And it’s now we’ll get married if you will agree.” 3 “Oto marry, to marry, kind sir, I’m too young; Besides all you young men have a false flattering tongue. How cross would my mother and my father would be If I was to wed with a rover like thee.” 4 He turned around quickly, knowing well what to say: ‘“‘I wish you a good man, a good man I pray. The sky it looks heavy, I think we’ll have rain.’”’ — So they shook hands and parted on the Chippewa Stream. 5 ‘‘Ocome back, love, come back, love, you’ve quite won my heart; It is now we’ll get married and never depart. *T is now we’ll get married and happy I’ll be, And live happy together till the day we do die.” 6 ‘Othe last words you spoke, love, was far out of tune. O the last words you spoke, love, I’ve quite changed my mind. I think it’s far better for single to remain Than to court some pretty fair maid on the Chippewa Stream.” FROM NOVA SCOTIA ISI 55 POLLY OLIVER THIS popular English broadside song is usually entitled either “‘ Polly Oliver” or “Polly Oliver’s Ramble.” For references to English and American texts see Cox, p. 387. The fragment which is all that I have hitherto been able to find in Nova Scotia breaks so abruptly into the middle of a good tale that I must supply the introductory stanzas. Bebbington’s broadside (No. 267) proceeds as fol- lows to the point where my fragment takes up the story: One night as Polly Oliver lay musing in bed A comical fancy came into her head: “‘Neither father nor mother shall make me false prove; I’ll list for a soldier and follow my love.” Early next morning this fair maid arose, She dressed herself in a suit of men’s clothes; Coat, waistcoat, and breeches, and sword by her side, On her father’s black gelding like a dragoon she did ride. She rode till she came to fair London town, She dismounted her horse at the sign of the Crown; The first that came to her was a man from above, The next that came down was Polly Oliver’s true love. ‘““Good evening, good evening, kind captain,” said she; ‘‘Here ’s a letter from your true love Polly Oliver,” said she. He opened the letter and a guinea was found — “For you and your companions to drink her health round.” No local title. From the singing and recitation of Mrs. James Campbell, River John, Pictou County. I And Polly being drowsy she hung down her head; She called for a candle to light her to bed. “Upstairs,” said the captain, ‘‘I lie at my ease. You may lie with me too, countryman, if you please.” ‘““To lie with a captain is an unbecoming thing. I am a poor soldier who fights for my king; I fight for my king on land or at sea. Begone, pretty captain, and bother not me.” Early next morning young Polly arose; She dressed herself up in her old former clothes. Coming downstairs she appeared like a dove, Saying, ‘‘Here’s your Polly, your old loyal love.”’ 152 BALLADS AND SEA SONGS . 56 THE DAWNING OF THE DAY In story, and to some extent in phraseology, there is a noticeable resemblance __ between this song and the stall ballad of ‘‘The Shannon Side.” In each the maiden is seduced by a stranger, is deserted, and ends the song with a warning > to other maidens who may find themselves in circumstances like those at the beginning of the episode. The maid of ‘‘The Shannon Side” thus exhorts her sisters, in words almost identical with those at the conclusion of “The Dawn- ing of the Day”: Now may I be a warning to all young maids beside, And never trust a man again upon the Shannon side. For texts of ““The Shannon Side” see broadsides by Such (No. 77), Bebbing- ton (No. 263), Walker (No. 119), Forth (No. 90), Harkness (No. 580), etc. For English versions of “‘The Dawning of the Day” see Gillington, Eight Hampshire Folk Songs, No. 5, pp. 10-11 (with music); and broadsides: Pitts (25242.4, I, 72); Forth, Pocklington, No. 50 (25242.17, 1m, 57); John Gilbert, Newcastle, No. 31 (Iv, 139); Forth, Pocklington, No. 115 (tv, 204); J. Cad- man, Manchester, No. 113 (VI, 130); Ryle (vm, 104); Bebbington, Manchester, No. 108 (IX, 104); Such, No. 232 (x, 78); Harkness, Preston, No. 59 (with “Future Prospects of Taxation”); Hurd, Shaftesbury (with “The Wife Well Managed’’); Pitts, No. 159. For a tune see Journal, xxv, 282. In America the song was published in The Forget Me Not Songster (New York, Nafis and Cornish), pp. 178-180; The Popular Songsier (Philadelphia and New York, Fisher & Brother). A fragmentary text appeared in a Wehman broadside (No. 998). From the singing and recitation of Harry Sutherland, River John, Pictou County. 1 As I walked out one morning fair all in the month of June, Each bush and tree was decked in green and the flowers were in their bloom. Returning home all from a walk through a field I took my way; I chanced to see a pretty fair maid at the dawning of the day. 2 No shoes or stockings, hat or cloak did that pretty fair maiden wear; Her hair in golden ringlets hung down o’er her shoulders fair. Two milking-pails were in her hands so jovial and so gay; She seemed to me like Venus fair at the dawning of the day. 3 ‘‘O where are you going, my pretty fair maid? O where are you going so soon?”’ “T’m going a milking, sir,’’ she said, “‘all in the month of June. Those pasture fields that I go to are so, so far away : That I have to be there each morning fair at the dawning of the day.” , FROM NOVA SCOTIA 153 “‘O there’s time enough, my pretty fair maid, suppose it were a mile. Come sit down on those primrose banks and chat with me a while.” ‘‘O no, O no,” replied this maid, ‘‘to that I can’t obey. Look around, the skies are breaking clear, ’tis the dawning of the day.” Those words she spoke. My arms entwined around her slender waist. I laid her on the primrose banks and her I did embrace. ‘Leave off your freedom, kind sir,”’ she said, ‘‘and let me go my way. Look around, the sky is breaking clear, ’tis the dawning of the day.” We arose, shook hands and parted, and I crossed o’er the way. In the course of seven months after, I met her on my way. She appeared to me quite dropsical as I crossed o’er the way, And carelessly I passed her by at the dawning of the day. The tears rolled down her lily-white cheeks and bitterly she did cry, | “T hope you’ll gain no credit, sir, by thus deluding me, That I may be a warning to all other maids so gay To never trust a lad they meet at the dawning of the day.” “For to marry you, my pretty fair maid, ’tis a thing that cannot be. To join our hands in wedlock bonds, to that I can’t agree, For I’ve been lately married to a girl from Bathly Bay, Of whom I gained ten thousand pounds, at the dawning of the day.” The tears rolled down her lily-white cheeks and bitterly she did cry, | ‘“‘T hope you'll gain no credit, sir, by thus deluding me, That I may be a warning to all other maids so gay, To ne ver trust a lad they meet at the dawning of the day.” 154 BALLADS AND SEA SONGS ons THE INDIAN LASS THERE is so Close a similarity between this song and the one that follows it (“The Lass of Mohee”’) that I have hesitated between the alternatives of printing them separately or including them under one title. For English versions see Kidson, Traditional Tunes, pp. to9-111 (with two airs); Journal of the Folk-Song Sova II, 262 (fragment, with music); broad- sides: Forth, Pocklington, No. 146 (a1, Teas John Gilbert, Newcastle, No. 74 (IV, 70); no imprint (vI, 213); Bebbington, Manchester (x, 124); Such, No. 36 (x1, 36); Nichols, Wakefield (with “The Rose of Ardee’’); Such (with “The Banks of Inverness’”’); Bebbington, No. 380 (with “The Jolly Light Dragoon”’). The song has been found in oral circulation in North Carolina (Minish MS.) and was printed as a De Marsan broadside (New York), List 14, No. 4o. “The Indian Lass.” From the singing and recitation of John Adamson, Westville, Pictou County. t AsI went a walking by yon far distant shore I went into an ale-house to spend half an hour, And as I was musing and taking my glass, By chance there came in a fair Indian lass. 2 She sat down beside me, she squeezéd my hand: ‘‘Kind sir, you’re a stranger and not of this land. It’s I’ve got good lodgings, so with me you'll stay; My portion you'll have then without more delay.” 3. With a glass of good liquor she welcomed me in: ‘‘Kind sir, you are welcome to everything.” And as I embraced her it was all of her moan: “You are a poor sailor and far from your home.” 4 We tossed and tumbled in each other’s arms; All night I enjoyed her sweet lovely charms. With love and enjoyment time soon passed away; I did not go and leave her till nine the next day. 5 The day was arrived, we were going to sail, For to leave this fair maid on the beach to bewail. She pulled out her handkerchief and wipéd her eye, Saying, ‘‘Don’t go and leave me, my sailor,” she cries. 6 Our anchors being weighed, away then we flew; With a sweet pleasant gale parted us from her view. And now we are over, and taking our glass, And here’s a good health to the Indian lass. FROM NOVA SCOTIA Ig¢ 58 THE LASS OF MOHEE KITTREDGE suggests (Journal, xxxv, 408) that ‘‘The Lass of Mohee’”’ is a chastened American remaking of ‘‘The Indian Lass.”” The latter song, although it appeared on a De Marsan broadside (List 14, No. 40), has had little circula- tion in the United States, while the former has been found in North Carolina, Kentucky, Virginia, West Virginia, Mississippi, Missouri, Michigan, Iowa, Montana, and Minnesota. For references see Journal, xxxv, 408; Cox, p. 372; Dean, pp. 17-18; Pound, No. 91; Henry, New Jersey Journal of Education, (1926), xv 5 (North Carolina). The song is known by various titles, the most common of which is ‘‘The Pretty Mohee [or Mohea].” “The Lass of Mohee.” From the singing and recitation of Mrs. James Campbell, River John, Pictou County. 1 As I went a walking one evening in June, A viewing the roses — they were in full bloom — As I was a sitting down on the green grass, Who did I happen to spy but a young Hindoo lass. 2 She stepped up towards me, she gave me her hand. Said she, ‘‘ You’re a stranger from some foreign land. If you will follow, you’re welcome to come; I live by myself in a snug little home.”’ 3 The sun was a setting all o’er the salt sea As I rambled along with that pretty Mohee. Together we rambled, together we roamed, Till we came to the cot where the cocoanut grew. 4 With fondest expression she said unto me, “If you will consent to live here with me And go no more rambling across the salt sea, I will teach you the language of the lass of Mohee.” 5 ‘O fairest of creatures, that never could be! I have a dear girl in my own counteree. I'll never forsake her for her poverty, For her heart is as true as the lass of Mohee.”’ 6 ’Twas early the next morning as the sun it arose; She seemed much surprised and these words I did say, “T’m now going to leave you, so farewell, my dear. Our ship hoist her anchor and homeward must steer.” 156 BALLADS AND SEA SONGS The last time I saw her was down on the sand. As the boat passed by her, she waved her hand, And that was a signal to bid me adieu. She still kept a waving till the boat lost her from view. So now we’re safe landed on our native shore; My friends and relations gather round me once more, They all gather round me but none can I see Whose heart was as true as the lass of Mohee. This Hindoo was beautiful, she was loving and kind, She acted her part in a heavenly design. I being a stranger she took me to her home; I’ll remember the Mohee as I ramble along. FROM NOVA SCOTIA 157 a THE BUTCHER BOY THis song, which has had an enormous circulation in Great Britain, Canada, and the United States, seems to be mainly the result of a combination of two songs, “The Squire’s Daughter” (also known as ‘The Cruel Father, or, De- ceived Maid’’) and ‘‘There is an Alehouse in Yonder Town.” The latter, modi- fied to ‘There is a Tavern in the Town,” is a widespread college song. As for the heartless butcher boy, he seems to have that divinity in his nature ‘of here and everywhere.” In the English versions he usually makes his home ‘‘in London city” or ‘‘in London town” (though a version in the Journal of the Folk-Song Society, 11, 159, begins, ‘‘In Jessie’s city, oh, there did dwell’’). In Ireland he courts his successive maids ‘‘in Dublin city.”” In the United States he is claimed by “‘New York City” (Shearin, p. 24; Cox, p. 431), and by “Jersey City,” or ‘““New Jersey City” (Belden, No. 21; Cox, p. 430; Tolman, Journal, XxIx, 169), although even here he is sometimes reported as living “in London city” (Barry, No. 41; Cox, p. 432). I remember once hearing the ballad sung in Nova Scotia with the follow- ing stanza included: I wish my baby it was born, And sitting on its father’s knee, And I myself was in my grave. Perhaps he then would think of me. A variant of this stanza may be found in the version of ‘‘A Brisk Young Sailor Courted Me”’ printed in the Journal of the Folk-Song Society, v, 181-187. For . references to versions of this ballad, which has close affiliations with “The _, ©/-~ « Butcher Boy,” see Cox, p. 353 (“Sweet William”’). The stanza in the follow- ing form is the concluding one in the beautiful song “Waly, waly, but love is | |, ../, bonny,” first published in A New Miscellany of Scots Sangs (London, Printed | é none? for A. Moore, 1727), p. 182: lant, uF Oh, oh, if my young babe were born, Fe Pe And set upon the nurse’s knee, an And I mysell were dead and gane! For a maid again I’ll never be. It occurs also in “‘ Arthur’s-Seat shall be my Bed,” a song thought to have been printed in the seventeenth century (see Child, Iv, 93, 105). For references to British and American versions of ‘‘The Butcher Boy” see Journal, XXIX, 169-170; XXXI, 73; XXXV, 360-361; Cox, p. 430. cA From the singing and recitation of Mrs. Ellen Bigney, Pictou, Pictou County (printed, Quest, pp. 9-10.) t In London town where I did dwell, A butcher boy I loved him well. He courted me for many a day; He stole from me my heart away. 158 BALLADS AND SEA SONGS There is an inn in that same town, And there my love he sits him down; He takes a strange girl on his knee And tells her what he wouldn’t tell me. The reason is, I’ll tell you why, Because she’s got more gold than I. But gold will melt and silver fly, And in time of need be as poor as I. T’ll go upstairs and make my bed. ‘There is nothing to do,” my mother said. My mother she has followed me, Saying, ‘‘What is the matter, my daughter dear?” ‘‘O mother dear, you little know What pains or sorrow or what woe! Go get a chair and sit me down, With pen and ink [ll write all down.” She wrote a letter, she wrote a song, She wrote a letter, she wrote it long; On every line she dropped a tear, At every verse cried, ‘‘ Willy dear!” Her father he came home that night Enquiring for his heart’s delight; He went upstairs, the door he broke, He found her hanging on a rope. He took a knife and cut her down, And in her bosom these lines he found: ‘“‘O what a foolish girl was I To hang myself for a butcher’s boy. ‘Go dig my grave both wide and deep, Put a marble stone at my head and feet, And on my grave place a turtle dove To show the world that I died for love.” FROM NOVA SCOTIA 159 B “The Butcher Boy.” Contributed by Mrs. Willard Thompson, Cape John, Pictou County. t In Dublin city where I did dwell, A butcher boy I loved him well. He courted me for many a day, He courted me my life away. 2 lIremember the time not long ago He would follow me through rain and snow. But oh, he changed his mind since then; He passes my door and he ne’er looks in. 3. There is a house all in this town — And take a chair and set ye down — And he’ll take a strange girl on his knee, And he'll tell to her what he ne’er told me. 4 But oh, I know the reason why, Because she’s got more gold than I; But her gold will melt and her silver fly. She’ll see the day she’s as poor as I. 5 She went upstairs to make her bed, And never a word to her mother said. Her mother following after, inquiring, ‘*What’s the matter, my darling girl?” 6 ‘‘O mother dear, if you only knew! My trials and troubles I cannot tell you, But take you a chair and set ye down. With pen and ink I'll write it down.” 7 She wrote a letter, she wrote a song, She wrote a letter and she wrote it long; And every line she dropped a tear, And every word cried, ‘‘ Johnny dear!” 8 Her father coming home that night, Inquiring for his heart’s delight, He ran upstairs and the door he poked, He found her hanging to a rope. 160 | BALLADS AND SEA SONGS 9 He took his knife and cut her down, And in her bosom found these few lines: ‘“‘O was n’t I a foolish girl, To hang myself for a butcher boy. to “QO dig my grave both wide and deep, Place a marble stone at my head and feet, And on my breast place a turtle dove, Let the wide world know that I died for love.” FROM NOVA SCOTIA 161 60 YOUNG CHARLOTTE A FULL account of this song, with texts and tunes, is given by Phillips Barry, Journal, XXTI, 367, 442; XXv, 156. He places it before 1833, and ascribes it to William Lorenzo Carter of Benson or Bensontown, Vermont. For many years it has been current in practically every part of the United States and also in Canada. Cox prints two versions from West Virginia, pp. 286-291, and gives references, p. 286. See also the version from Michigan in Rickaby, Dp. 735-138. “Young Charlotte.” From the singing and recitation of John Brown, River John, Pictou County. t Young Charlotte lived on the mountain side On a very lonely spot; There was no friends for miles around Except her father’s cot. i) On manys the cold and frosty night Kind friends would gather there, For Charlotte’s people were sociable folks, And she was very fair. 3 Her father loved to see her dressed As gay as a city belle, For she was the only child he had, And he loved his darling well. 4 One New Year’s Eve as the sun went down Beneath the starry sky, The moon into the window peeped As the merry sleighs passed by. 5 In yonder village sixteen miles away There is a ball tonight, And though the air is piercing cold, Our hearts are warm and light. 6 Her anxious look and her roguish eye As she darted here and there, And rattling to the cottage door Young Charlie’s sleigh appeared. 162 BALLADS AND SEA SONGS 7 ‘‘O Charlotte dear,”’ her mother said, ‘“‘Those blankets round you fold, For it is a bitter cold night abroad, And you’d get your death of cold.”’ 8 ‘Ono, O no, mamma,” she said, As she looked like a gypsy queen, ‘To drive in blankets muffled up, I never could be seen. g ‘My silken cloak is warm enough, _You know it’s well lined through, And then I have a silken scarf To fold around me too.” 10 Her bonnet was on, her gloves were off As they jumped into the sleigh, And away they drove on the mountain side Far over the hills away. 11 Young Charlie said, “It’s a bitter cold night, For the reins I can scarcely hold.” Young Charlotte low a murmuring, ‘IT am exceeding cold.” 12 He cracked the whip and the steed flew on Much faster than before, And away they drove on the mountain side Far over the hills away. 13 Young Charlie said, “It’s a bitter cold night, For the frost glistens on my brow.” Young Charlotte murmuring replied, ‘I’m getting warmer now.” 14 He cracked the whip and the steed flew on Still faster than before, Till the village drew near ana the lights appeared, _ And the ballroom hove in view. 15 When they reached the door young Charlie jumped out And offered her his hand: ‘Why sit you there like a monument? You’ll neither speak nor stand!” 16 T7 18 IQ 20 FROM NOVA SCOTIA He called her once and he called her twice, But she answered ne’er a word. He called her once and he called her twice, But still she never stirred. He took her by the lily-white hand, It was as cold as ice, And rushing to the ballroom door He screamed out for a light. A lifeless corpse young Charlotte was, For she froze with him in the sleigh. A lifeless corpse young Charlotte was, For she froze by the mountain way. Young Charlie sat down by the ballroom fire And the bitter tears did flow: ‘“*You’re there, my own, my blooming maid, You never more will go.” He clasped his arms around her neck And kissed her marble brow, And his thoughts did wander when she said, ‘‘T’m getting warmer now.” 164 BALLADS AND SEA SONGS 61 MARY OF THE WILD MOOR AccorDING to the proportion of one’s sensibilities this will be regarded as an affecting song or as a merely sentimental one. Obviously it has been accepted in the former character by a great many people both in Great Britain and in America. Few songs have appeared more frequently in broadsides and in song-books. Kidson remarks, in his note on the text which he prints in T7a- ditional Tunes (p. 77): “‘I have found that the song is known in the North and East Ridings. . . . Both air and song appear to be not much earlier than the beginning of the present [7.e., the nineteenth] century. It is often seen on bal- lad sheets of this and of later date.” The song was printed in many English broadsides; for example: Such, No. 73; Bebbington, Manchester, No. 44; Harkness, Preston, No. 60 (with “William of the Man of War”); Barr, Leeds, No. 110 (with “Flora the Lily of the West”’). In America it was printed, together with ‘’The Waterman,” in a broadside “Sold, wholesale and retail, by L. Deming, 62 Hanover St., Boston.” See also: The Shilling Song Book (Boston, Oliver Ditson & Co., 1860), p. 41; The “Wait- ing for a Broadway Stage” Songster (New York, Robert M. De Witt, 1868), p. 29; The “Up In A Balloon” Songster (De Witt, 1869), p. 50; The ‘‘ Sweet Genevieve”’ Songster (De Witt, 1869), p. 46; Jennie Engel’s “Courting in the Rain” Songster (De Witt, 1872), p. 36. For further references see Journal, XXIX, 185; XXXvV, 389; Cox, p. 437. “The Village Pride.” From the singing and recitation of Mrs. Ellen Bigney, Pictou, Pictou County. 1 ’I'was one cold winter’s night when the winds They blew bitter across the wild moor, When poor Mary she came with a child in her arms Wandering home to her own father’s door. 2 ‘“‘Owhy did I leave this fine cot, Where once I was happy and free? Now doomed for to roam without friends or a home, O father, take pity on me! 3 “O father, O father,’’ she cries, ‘Pray come down and open your door, Or this child at my bosom will perish and, die From the winds blown across the wild moor.” 4 But her father was deaf to her cry, Not a sound of his voice reached her ear; But the watch-dogs did bark and the village bells rang, And the winds blew across the wild moor. FROM NOVA SCOTIA 165 But what did her old father say When he came to the door the next morn, Where he found Mary dead but her child still alive, Fondly clasped in its dead mother’s arms? With grief the old man pined away, And the child to its mother went soon, And there’s none that is left to this very day, For the cottage is going to ruin. But the village points out the spot Where the willows weep over the door, Where Mary died, once the village pride, From the winds blown across the wild moor. ar, Bee oe aol he Yoke Re rea rey tae 166 BALLADS AND SEA SONGS 62 THE FATAL SNOWSTORM I HAVE found no exact equivalent of this song in the recent collections and song-books. There is on file in the Harvard College Library a Pitts broadside containing the three songs ‘‘The Fatal Snowstorm,” ‘‘ Poor Rose,” and “The Letter,” the first of which is so similar to the following song in motive and, to a lesser degree, in phraseology that I have adopted its title. In the broadside the mother, wandering in a snowstorm, comes to a house, knocks at the door, is denied admission, and dies. Some of these harrowing circumstances are pre- sented indirectly, in my version, but the stories, at least, are alike. The song in the Pitts broadside is ascribed to John Embleton. In Journal, xxv, 170, there is a song (‘The Orphan Girl’’), contributed by E. C. Perrow from North Carolina, which has a good deal in common with the present one. The girl comes through the snowstorm to the rich man’s door, is denied entrance, and dies. It is not the same song, but it bears marks of relationship. No local title. From the singing and recitation of Mrs. Ellen Bigney, Pictou, Pictou County. 1 T'was on a winter evening, When the frost came down like snow Over hill and valley, Where wintry winds do blow, 2 I spied a female form All in a depth of snow With an infant in her arms; aa She knew not where to go. 3 “‘O cruel was my father, Who barred the doors on me; And cruel was my mother — She might have pitied me. 4 ‘And cruel was the wintry wild That pierced my heart with cold, And cruel was the young man That sold his heart for gold. 5 “But still, my pretty baby, I’ll fold you to my breast. It’s little does your father know This night we’re in distress. IO FROM NOVA SCOTIA 167 ‘‘Tt’s little does your father know What we must undergo. I'll fold you to my bosom, love, Through this cold frost and snow. ‘““Come all you pretty fair maids, And a warning take by me: Don’t believe a young man Or anything he’ll say. “For theyll court you and they’ll kiss you Until your love they ’ll gain: And then they’ll go and leave you In sorrow, grief, and shame. ‘‘T’ll go to some lonely valley And then kneel down and pray; T’ll ask of the almighty God To have mercy on my soul.” She kissed her baby’s cold white lips, She laid him by her side, She raised her hands to heaven And then lay down and died. 168 BALLADS AND SEA SONGS 63 THE SINGLE SAILOR UNDER such varying titles as “‘The Broken Token,” “A Pretty Fair Maiden,” “The Young and Single Sailor,” and ‘‘The Sailor’s Return,” this song has been current in Great Britain and has been printed repeatedly in broadsides and song collections. Many versions have also been found in circulation in the United States. It is representative of a fairly large group of ballads (including the eight ensuing numbers in this collection) in which the lover, after being absent for some time at sea or in the wars, returns and tests the fidelity of his sweetheart, who for some reason or other fails to recognize him, while he pre- tends to be a stranger and plies her with requests to accept his advances and forget the absent Johnny or William. Only when he proclaims his identity is he recognized by the maiden, and as a rule the tellers of the tale make no attempt to motivate the preliminary deception. One version of ‘‘The Single Sailor”? mentions the lapse of seven years and the change in ‘‘shape and col- our,”’ and “The Banks of Claudie” regularly includes one explanatory line, — “‘T own she did not know me, I being in disguise,’’— but in most cases we are simply to infer that the dim light: of evening or the shadows of night enable the lover to maintain his assumption of strangeness until his test is completed and his faith in the maiden established. In the Percy Collection of Broadsides and Garlands (Harvard College Library), m1, fol. 64, there is an interesting earlier ballad of this type, entitled ‘‘The Valiant Seaman’s Return to his Love,” which definitely mentions a disguise, employed by the sailor while he is test- ing the maiden and thrown off when he is convinced of her faithfulness. An- other broadside in this same collection (mt, fol. 79) is equally interesting for a different reason: it transforms, or rather develops, Gay’s “ Black-Eyed Su- san’? into a Return and Test ballad series, beginning with Gay’s song under the title ‘‘William and Susan,” proceeding to “Sweet William’s Return to his Dear Susan,” and ending with “Sweet Susan’s Loyalty.” For references to British texts of “The Single Sailor” see Campbell and Sharp, p. 334; Cox, p. 316. Cox adds American references. cA No local title. From the singing and recitation of John Brown, River John, Pictou County. The last two stanzas were added by John Adamson, Westville, Pictou County. 1 Asa maid was walking in her garden, A single’sailor came riding by. He stepped up to her, he thought he knew her; He said, ‘‘ Fair maid, can you fancy I?” Ts pe sally NT * '™ 1s k Xx wo FROM NOVA SCOTIA ‘“You appear to me like some man of honour, Like some noble lord you appear to me. How can you impose on a poor young creature, Who is not fitted your servant to be?”’ ‘Tf you’re not fitted to be my servant I have some great reward for thee. I’ll marry you, I’ll make you my lady, And I'll have servants to wait on thee.” ‘*T have a true love all of my own, sir, And it’s seven long years he has been to sea. And it’s seven long years I’ll wait all on him, If he’s alive he’ll return to me.” ‘How can you fancy a roving sailor? How can you fancy such a slave? He may be dead in some foreign country, Or else the ocean has proved his grave.” “If he’s alive I’d hope to see him, And if he’s dead I hope he’s blest. *Tis for his sake I’d never marry, For he’s the man that I love best.” ‘‘Such a girl as you I do admire, Such a girl as you to be my wife. You shall have gold and silver plenty, And treasures flowing on every side.”’ ‘““O what care I for your gold and silver? O what care I for your birth and land? O what care I for your old maid-servant, If my own sailor returns to me?” He slipped his hand into his pocket, His fingers were both slim and small; He pulled out a ring that was broken between them. Soon as she seen it she down did fall. He picked her up into his arms, And kisses he gave her, one, two, by three, Saying, ‘“‘I am your young and your single sailor; I’ve just returned to marry thee.” 170 ae I2 BALLADS AND SEA SONGS “Tf you’re my true and my single sailor Your shape and colour do not agree. But seven years makes a great alteration, And sure there’s seven since I did you see!”’ To church they went and they both got married With their two hearts full of love and content. He stays at home and he takes his ease, And he goes no more on the raging seas. B “The Single Sailor.”’ From the singing and recitation of Miss Greta Brown, River John, Pictou County. I A maid was walking in her garden, A single sailor came gliding by. He stepped up towards her, he thought he knew her; And said, “‘Fair maiden, do you fancy I?” ““You seem to me like a man of honour, A noble lord you appear to be. How could you ask a lonely creature, Fit enough your servant to be?” ‘fA girl like you I’d like to marry, A girl like you to be my wife. I’ll marry you, make you my lady, Have maid-servants to wait upon you.” ‘‘What care I for your gold and silver? What care I for your wealth and worth? What care I for your maids of honour, If my true love will return? ‘Seven long years he has been to ocean, Seven long years he’s got to stay, Seven long years I’ll wait upon him, And if he’s alive he’ll return to me. ‘And if he’s dead he’ll have my blessing; We'll meet on that other shore. *T was for his sake I’d never marry, Treasures blooming on every side.” es (my RS a a ea int eae 7 er, fa at ua wick ee : . ; o 4 Rast a ahs : reel a8 ; FROM NOVA SCOTIA — 0" ara Ai ea brought out a ring they had broken between them, And when she saw it, down did fall. 7 He picked her up in his arms _ And gave her kisses one by two: “YT am your own true lonely sailor; I just came back to marry you.” 172 BALLADS AND SEA SONGS 04 THE DARK-EYED SAILOR Tuts song has been popular both in England and in America, and it has ap- peared in several song-books and broadsides in both countries. The regular English title is ‘‘Fair Phoebe and her Dark-eyed Sailor.” For references see Cox, p. 319. Add: broadsides by Harkness, Preston (No. 53), Forth, Pock- lington (No. 78), Willey (No. 17), and H. Disley, London; The “That’s the Style for Me” Songster (New York, Robert M. De Witt, 1869), and The “Oh, How is That for High” Songster (De Witt, 1870). “The Dark-eyed Sailor.”” From the singing and recitation of Richard Hines, River John, Pictou County. I NO As I walked out one evening fair Down by the river to take the air, I met a female upon my way, And I paid attention to hear what she would say. Said William, ‘“‘Lady, why roam alone? The night is coming and the day is gone.” She said, while tears from her eyes did fall, ‘“‘Tt’s my dark-eyed sailor that proved my downfall. ‘‘Tt’s seven years since he left the land. He took a gold ring from off his hand; He broke it in two. Here’s one half with me, And the other’s rolling in the bottom of the sea.” Said William, “‘Lady, shake him from your mind; Some other sailor as good you'll find. Love turns aside are cold doth grow Like a winter’s morning when the lands are leben with snow.’ ‘His coal-black eyes and his curly hair, His flattering tongue did my heart ensnare. Gentle he was, but no rake like you, To advise a maiden to slight the jacket blue.” Then half of the ring William he did show. She seemed distressed with joy, not woe. ‘“You’re welcome, William, I’ve got lands and gold For my dark-eyed sailor who’s manly, true, and bold.” They joined in wedlocks and did well agree. They live in a cottage down by the sea. So, maids, be true while your love’s away, For a cloudy morning ofttimes brings a pleasant day. FROM NOVA SCOTIA 173 65 JOHNNY GERMAN A TEXT of this song, from West Virginia, is printed by Cox (pp. 328-329), and another, from Missouri, by Belden in Herrig’s Archiv, cxx, 63. For references see. Cox, p. 328. From the singing and recitation of John Rogers, River John, Pictou County. 1 AsI walked out one morning All for to take the air, It’s there I spied a pretty fair maid; Her countenance looked quite sad. 2 I says, ‘‘My pretty fair maid, What’s the cause of your sad woe?”’ ‘““My true love’s gone and left me, And where I do not know. He’s left me no true token Whether he’ll return or no.” 3 ‘‘Perhaps I’ve seen your true love The last time I’ve been to sea. He was proper, tall, and handsome. They call him Handsome John. 4 ‘He sails aboard of the Rainbow, And under Captain Roe; His name is Johnny German — Is that the lad or no?”’ 5 When this fair maid heard this news She fairly jumped for joy, 6 ‘‘Come tell to me immediately Whether he’s alive or no.” ‘Your true love Johnny German Just died five months ago.” + When this fair maid heard this news She fell in deep despair, A wringing of her lily-white hands, And a tearing of her hair. IO II I2 T3 14 She Heth Hilde ae cUambeed q And on her bed did lie With a sad lamentation, And wishing she could die. ~When her true love came to know Py | How he’d treated her severe, How he’d treated her ie Although she loved him so pak as He dressed himself in scarlet, And to pretty Polly did go With a kind resolution To welcome her sad woe. ‘Open the door, pretty Polly, And leave your tears behind, ““T only done it to try you, ‘ To see if you’d prove true, For I never met with a pretty fair maid Could gain my heart but you!” She’s lovelier than the morning, She’s beautiful as the rose; On Polly’s lovely bosom There lies a sweet repose. Adieu to the gallant Rainbow Since Polly has won my heart. We'll be joined together ae That ee but death can pat FROM NOVA SCOTIA 176 66 JANIE ON THE MOOR Tuis broadside song appeared sometimes with the above title and sometimes with the title ““Sweet Jenny of the Moor.” See broadsides by Such, No. rar (x1, 121); H. Disley (with “Sally in Our Alley”); W. S. Fortey (with “Wait for the Waggon”’). For texts published in America see: Jennie Hughes’ Rose of Erin Songster (New York, Robert M. De Witt, 1874), p. 54; Delaney’s Irish Song Book No. 4, p. 22; De Marsan broadside, List 16, No. 81. cA ‘Janie on the Moor.”’ From the singing and recitation of Mrs. James Campbell, River John, Pictou County. 1 One morning for recreation as I roamed by the seaside The hills all were covered with flowers bedecked with pride. I spied a handsome fair maid as she roamed along the shore; Like roses blooming were the cheeks of Janie on the Moor. 2 Said I, ‘‘My handsome fair maid, why thou so early rise?”’ ‘Tis for to breathe the morning air while the larks are in the skies; I love to roam the beach alone where loud the billows roar That make the bosom of the deep,” cried Janie on the Moor. 3 We both sat down together on yonder mossy side. Said I, ‘‘My handsome fair maid, I will make you my bride. I have both gold and silver brought from some foreign shore, And with me you may tarry, dear Janie on the Moor.” 4 ‘‘T havea true love of my own. Long since he’s gone from me, But with pleasure I’ll wait on him till he’ll return from sea. I’ll wait on him without a doubt till he’ll return on shore. We'll join our hands in wedlock bands,” cried Janie on the Moor. 5 ‘‘If your true love was a sailor pray tell to me your name.” ‘His name was Dennis Ryan, from New York town he came; But with pleasure I’ll wait on him till he returns on shore, And we'll join our hands in wedlock bands,” cried Janie on the Moor. 176 BALLADS AND SEA SONGS 6 “Tf your true love was a sailor I know the young man well. He was in the battle at Vendons Town, by an angry ball he fell. Here is a token of true love which he on his finger wore.” She fell a fainting in his arms, dear Janie on the Moor. 7 When he saw she was tender-hearted, ‘“‘Behold, my love,’ he cried, ‘This is your Dennis Ryan a standing by your side! So come and we’ll get married and be happy evermore. We'll join our hands in wedlock bands, dear Janie on the Moor.” B “Janie on the Moor.” From the recitation of Alexander Brown, River John, Pictou County. I One morning for recreation as I strolled the beach seaside, The hills and all were covered with flowers decked with pride. I overheard a damsel, as she strolled along the shore; -It’s blooming roses were the cheeks of Janie on the Moor. Says I, ‘‘My lovely fair maid, why do you so early rise?”’ “For to breathe the morning air while the lark sings in the sky; I love to roam the beach along where so loud the breakers roar; It would wake the bosom of the deep,” cried Janie on the Moor. We both sat down together down yonder moss seaside. Says I, ‘‘My lovely fair one, I will make you my bride. It’s I’ve got gold and silver fetched from a foreign shore, And with me you may tarry, sweet Janie on the Moor.” ‘‘T’ve got a true love of my own, long time he’s gone to sea, And with pleasure I’ll wait on him till he returns to me. I'll wait on him without a doubt till he returns on shore, And we'll join our hands in wedlock bands,” cried Janie on the Moor. ‘Tf your true love be a sailor lad, pray tell to me his name.” ‘His name is Dennis Riley, from New York town he came.” FROM NOVA SCOTIA 177 6 “If his name be Dennis Riley I know the young man well. It was in a fearful battle by an angry bullet fell; And here’s a ring of true love, which he on his finger wore.”’ She fell and fainted in his arms, sweet Janie on the Moor. 7 When he saw she was tender-hearted, ‘‘Behold your love!”’ he cried. “Your dearest Dennis Riley is standing by your side. Arise and we’ll get married, live happy on the shore. We'll join our hands in wedlock bands and go to sea no more.” 178 BALLADS AND SEA SONGS 67 THE LADY OF THE LAKE - Tuts song is preserved in broadsides: J. Cadman, Manchester, No. 356 (v1, 202); Bebbington, Manchester, No. 172 (1x, 166). Greig also prints a version (Lxxxvi). Apparently the song was current chiefly in the south of Scotland and in the northern counties of England. From the singing and recitation of Mrs. James Palmer, Waldegrave, Col- chester County (printed in Journal, xxv, 185-186). As I walked out one evening down by the river side, Along the banks of sweet Dundee, a lovely lass I spied. First she sighed, and then did say, ‘‘I fear I’ll rue the day, re 2 “Once I had a kind sweetheart, his name was Willie Brown, And in the Lady of the Lake he sailed from Greenwich town, With full five hundred immigrants bound for America, And on the banks of Newfoundland I am told they were cast away.” 3 When she made mention of my name, I to myself did say, ‘‘Can this be you stands by my side, my own dear Liz Gray?”’ I turned myself right round about, my tears for to conceal, And with a sigh I then begun my mournful tale to tell. 4 ‘TI own this loss of Greenock Quay, for I in that vessel went; Along with your true love Willie Brown some happy hours I spent. Along with your true love Willie Brown some happy hours spent we; He was my chief companion upon the raging sea. 5 ‘‘We tossed upon the raging main five hundred miles from shore, The nor’west winds and fields of ice down on our vessel bore. That night the Lady of the Lake to pieces she was sent, And all the crew but thirty-two down to the bottom went.” FROM NOVA SCOTIA 179 6 She said, “Kind sir, if that be true, what you relate to me, Unto all earthly pleasures I’ll forever bid adieu. And in some lonely valley I’ll wander for his sake, And I'll always think of the day he sailed in the Lady of the Lake.” 7 “O Liza, lovely Liza, from weeping now refrain, For don’t you see the Lord spared me to see your face again? For don’t you see what you gave me when I left Greenock Quay?” In his hand he bore the likeness of his own dear Liza Gray. 180 BALLADS .AND SEA SONGS 68 DONALD’S RETURN TO GLENCOE TuHIs song is frequently entitled ‘‘McDonald’s Return to Glencoe.” It is as- signed by Gavin Greig to the early part of the nineteenth century. The style is a little more bookish and a little less picturesque than that of the average folk ballad, but the song seems to have had a wide currency in both Great Britain and Ireland, and it was especially popular in Scotland. For British versions see Ford, Vagabond Songs and Ballads of Scotland, 1, 64-66; Greig, Lv (“Glencoe”); Journal of the Folk-Song Society, 11,171 (music only); v, 100-103. See also the following broadside copies: no imprint (25242. 71); “Sold at Dalton’s Public Library, York,’’ No. 49 (m1, 172); J. Gilbert, Newcastle, No. 47 (Iv, 113); Forth, Pocklington, No. 127 (Iv, 181); no im- print (vI, 181); Ryle (vm, 118); Bebbington, Manchester (rx, 119); Such, No. 108 (x1, 108); Walker, Durham, No. 24 (with “The Moon is on the Water”’); Hodges (late Pitts); 5 Paul & Co.; another, without printer’s imprint, No. 424 (with “The Deserter’’). In America the song has been published as a De Marsan broadside (List 5, No. 87) and as a Wehman broadside (No. 437). See also O’Conor, p. 136. “The Pride of Glencoe.” From the singing and recitation of John Adam- son, Westville, Pictou County. 1 As I went a walking one evening of late Where Flora’s gay mantle did the fields decorate, I carelessly wandered where I didn’t go,! To the foot of a fountain that lies in Glencoe. 2 Like the pride of Mount Aetna the prize he had won, ' There approached me a damsel as fair as the sun, With ribbon and tartans that round her did flow, Was one Miss MacDonald, the pride of Glencoe. 3. I said, ‘My gay lassie, your enchanting smiles And comely sweet figure doth my heart beguile; If you'll place your affections you'll on me bestow, Youll bless the happy hour we met in Glencoe.” 4 ‘‘Young man,” she made answer, “‘your suit I disdain, For I once had a lover, young Donald by name. He is gone to the war about ten years ago, And a maid I’ll remain till he returns to Glencoe.” 1 Should be know. FROM NOVA SCOTIA 181 ‘It’s perhaps that young Donald regards not your name, But has placed his affections on some foreign dame. He might have forgotten for all that you know The bonnie Scotch lassie that he left in Glencoe.” ‘It’s young Donald would never from his true love depart, For love, truth, and honour are found in his heart; And if never I see him then single Ill go And mourn for MacDonald, the pride of Glencoe.” It’s finding her true-hearted, he pulled out a glove That in parting she gave him as a token of love. She flew in his arms and the tears down did flow, Saying, “‘O you MacDonald, you’ve returned to Glencoe!”’ “Cheer up, my gay lassie, your sorrow’s all o’er; Since we have once met, love, we’ll never part more. The French and the Spaniards at the distance may blow, But in peace and contentment we’ll reside in Glencoe!”’ 2 BALLADS AND SEA SONGS 69 WATERLOO THE spirited old lady who sang this ballad for me, entitling it “Waterloo,” prefaced her performance by assuring me, with a sort of demoniacal glee, that I had never heard the song before and would never hear it again, for the sim- ple reason that the unique copy of it existed in her own proper brain. Since then I have been inclined more than once to accept her pronouncement as authoritative, and have had to remind myself that the investigator must not be overruled by prophecies. The hypothesis that I have finally excogitated is that ‘‘Waterloo” is a fragmentary and modified version of the early nine- teenth-century English ballad entitled ‘““The Mantle So Green,” and that “The Mantle So Green” is in its turn a modified version of the late eighteenth- century English ballad ‘George Reilly.” The background of ‘‘George Reilly” is a sea-fight between the British and the French; that of “‘The Mantle So Green” is the Battle of Waterloo, as it is in my ‘“ Waterloo” fragment.. The name of the hero is variable within cer- tain limits: in “George Reilly” it corresponds to the title, in “The Mantle So Green” it is William Reilly, and in ‘“‘ Waterloo” it is William Smith. The theme (return of the lover in disguise and testing of the sweetheart’s loyalty) is the same for all three, but since it is common also to several other ballads I mention this similarity only to establish a foundation for the special evidence which it will be necessary for me to present. It is in the details of the common story (aside from the battle, which is not the same for all three), and in the phraseology at important points, that the correspondence of the three songs becomes manifest. I shall cite a few instances of these (using Cox’s version of “George Reilly,”’ O’Conor’s version of ‘‘The Mantle So Green,” and my own mysterious fragment entitled ‘‘Waterloo”’). 1. ‘*George Reilly”’: Then said the gallant sailor: ‘‘What is your true love’s name? Both that and the description, I wish to know the same.” ‘Mantle So Green”’: ‘‘Since you are not married tell me your love’s name. I have been in battle, I might know the same.” ‘“Waterloo”’: “‘Can I but be so bold as to ask your true love’s name? For I have been in battle where cannons loudly rattle, And by your description I might have known the same.” 2. “George Reilly”: ‘“Three years we spent together on board the old Belflew, And such a gallant comrade before I never knew.” ‘Mantle So Green’: ‘‘He was my chief comrade in famed Waterloo.” ““Waterloo”’: ‘‘Through Portugal and Russia we often marched together, He was my loyal comrade through France and through Spain.” FROM NOVA SCOTIA 183 3. ‘George Reilly”: “Your true love he fell by a French cannon ball. Whilst wallowing in his blood your generous lover lay, With faltering voice and broken sighs, these are the words I heard him say: ‘Farewell, my dearest Nancy! were you but standing by, To gaze your last upon me, contented would I die.’”’ ‘Mantle So Green’’: ‘We fought so victorious where bullets did fly, And in the field of Nervon your true lover does lie; We fought for three days to the fourth afternoon, He received his death summons on the 18th of June. “‘ As he was a dying I heard his last cry: ‘Were you here, lovely Nancy, contented I would die ‘*Waterloo’’: ‘*As by the French we were all surrounded, Like bold British heroes we did them subdue. We fought three days together until we did subdue them, Like bold Napoleon oor on the Bee of Waterloo. 999 ce By French soldiers. your true love was slain. It’s there I saw him lie, there I saw him bleed and die. With his low faltering voice he bid me adieu.” “George Reilly” and “‘The Mantle So Green”’ exhibit the same scheme of metre and rhyme and the same story with the one difference which I have noted (i.e., a sea-fight in the former and the Battle of Waterloo in the latter), while “The Mantle So Green” and ‘‘Waterloo,” with a difference in rhyme scheme, have exactly the same story. As for the passages that I have cited for comparison, they all exhibit, not ballad commonplaces, but special phrase- ology and special narrative. details, It is certainly not unreasonable to con- clude that the three songs are related. A version of ‘George Reilly” is printed by Greig (Cxxxvut). Cox prints a version from West Virginia (pp. 323-325) and gives American references. “The Mantle So Green” appears in the following English broadsides: J. Cadman, Manchester, No. 166 (v, 40); Ryle (vm, 40); Such (xu, 63); with- out imprint, No. 197 (with ““The Happy Tar”). For texts published in the United States see The Ten Cent “‘Clodoche’” Songster (New York, Robert M. De Witt, 1869), p. 24; The “ That’s the Style for Me” Songster (De Witt, 1869), p. 59; De Marsan broadside, List 14, No. 51; Wehman broadside,No. 438; Delaney’s Irish Song Book No. 3, p. 7; O’Conor, p. 38. Campbell and Sharp print a different song under the title “‘George Reilly” (No. 82). It must not be confused with the ‘‘George Reilly” of the trio which I have been discussing. Both it and the song printed as “John Riley” by Wyman and Brockway (Lonesome Tunes, pp. 34-37) are versions of the com- mon broadside song “Young Riley.” For references to this song see Cox, p, 323. | “Waterloo.” From the singing and recitation of Mrs. James Palmer, Waldegrave, Colchester County. 1 As I walked out on a fine summer’s evening, There I overheard a damsel make a sad lamentation About her absent lover on the plains of Waterloo. 184 BALLADS AND SEA SONGS 2 I said, ‘‘My pretty fair maid, ye pride of all nations, Can I but be so bold as to ask your true love’s name? For I have been in battles where cannons loudly rattle, And by your description I might have known the same.’ b 3 “‘O, William Smith’s his name, he’s a hero of fame.” ‘“Many’s the battle him and I have been in. Through Portugal and Russia we often marched together, He was my loyal comrade through France and through Spain.”’ 4 ‘‘And ere that he left me he gave me a token, A gold diamond ring that was broken in two. ‘You have my heart and ring, dear lovely Sally, To remember your dear Willy when he’s far at Waterloo.’”’ 5 ‘‘As by the French we were all surrounded Like bold British heroes we did them subdue; We fought three days together until we did subdue them Like bold Napoleon Boney on the plains of Waterloo. ‘* By French soldiers your true love was slain. It’s there I saw him lie, there I saw him bleed and die, ~ With his low faltering voice he bid me adieu.” 7 When he found her so loyal he pulled out the token, The gold diamond ring that was broken in two, Saying, ‘“You have my heart and ring, dear lovely Sally, To remember your dear Willy, but he’s far from Waterloo.” FROM NOVA SCOTIA 185 7O THE BANKS OF CLAUDIE THis song has been widely sung in Great Britain and Ireland, and also in Canada and the United States. For references see Journal, xxv1, 362; XXXV, ete) COX, 'P,. 321. “The Banks of Claudie.” From the singing and recitation of Mrs. James Palmer, Waldegrave, Colchester County. I dS ~ As I walked out one evening down by the river side I overheard a damsel, the tears fell from her eyes, Saying, “This is a dark and stormy night” — those very words did say — “And my love is on the raging seas bound for America.” I stepped up to this fair maid and put her in surprise; I own she did not know me, I being in disguise. I said, ““My pretty fair maid, my joy and heart’s delight, How far do you wander this dark and dreary night?” ‘Kind sir, the way to Claudie would you be pleased to show? And pity the distresséd, for there I have to go. I am in search of a young man, and Johnny is his name, And upon the banks of Claudie I am told he does remain.” ‘“This is the banks of Claudie, the ground whereon you stand, But do not trust young Johnny, for he’s a false young man. O do not trust young Johnny, for he’ll not meet you here. Come along with me to yonder banks, no danger need you fear.” “If Johnny he was here this night he’d shed me from all harm; He’s dressed in his readiness all in his uniform; He’s gone to plough the ocean, his foes he will defy. Like a rolling king of honour he fought in the wars of Troy.” When he found her so loyal he could no longer stand; He jumped into her arms, saying, ‘‘ Betsy, I’m the man. O Betsy, I’m the young man that caused you all your pain, And since we’re met on Claudie banks we’ll never part again.” “Ye purling streams of Claudie, ye waters that roll by, And all ye little small burns that prove your destiny, Had I a tongue to flatter I’d tell ye some love tale About a bonny boy from Claudie that in my mind remains.” 186 BALLADS AND SEA SONGS fais THE BANKS OF BRANDYWINE THE Nova Scotia version of this ballad corresponds pretty closely to the texts in the following collections: The American Songster (Baltimore, collected and — published by John Kenedy, 1836), pp. 240-242; The Forget Me Not Songster- (New York, Nafis and Cornish), pp. 158-160; the same (Philadelphia and New York, Turner and Fisher), pp. 22-24; The Old Forget Me Not Songster. (Boston, Locke and Dubier), pp. 158-160; The American Singers’ Own Book (Philadelphia, M. Kelly, 1841), pp. 52-54; The American Songster (New York, Nafis and Cornish, 1847), pp. 240-242; The New American Song Book and Letter Writer (Louisville, C. Hagan & Co., 1847), p. 134; Leary’s American Songster (Philadelphia, W. A. Leary and Co., 1850), p. 9; The American Star Songster (New York, Richard Marsh; published also as vol. m1 of Marsh’s Selection, or, Singing for the Million, 1854), pp. 9-12; The American Vocalist (New York, Richard Marsh, 1856), pp. 52-54; The Singer’s Journal, 1, 221; Wehman’s Irish Song Book No. 1, 1887, pp. 56-57; De Marsan broadside, List 3, No. 87; Wehman broadside, No. 358; J. Wrigley broadside (New York), No. 230. “The Banks of Brandywine.” From the singing and recitation of Mrs. Ellen Bigney, Pictou, Pictou County. 1 One morning very early, in the pleasant month of May, As I walked out to take the air, all nature being gay, The moon had not yet veiled her face, but through the trees did shine, As I wandered forth to take the air on the banks of Brandywine. 2 At such an early hour I was surprised to see A lovely maid with downcast eyes upon those banks so gay. I modestly saluted her, she knew not my design, And requested her sweet company on the banks of Brandywine. 3 “I pray, young man, be civil, my company forsake, For in my real opinion I think you are a rake. My love’s a valiant sailor, he’s now gone to the main, While comfortless I wander on the banks of Brandywine.” 4 ‘‘My dear, why do you thus give up to melancholy cries? I pray give up your weeping and dry those lovely eyes, For sailors in each port, my dear, they do a mistress find. He will leave you to wander on the banks of Brandywine.” FROM NOVA SCOTIA 187 5 ‘“‘O leave me, sir, do leave me! Why do you me torment? My Henry wont to see me, therefore I am content. Why do you thus torment me, and cruelly combine To fill my heart with horror on the banks of Brandywine?” 6 “I wish not to afflict your mind, but rather for to ease. Such dreadful apprehensions, they soon your heart will seize. Your love, my dear, in wedlock bands another one has joined.” She swooned into my arms on the banks of Brandywine. 7 The lofty hills and craggy rocks reéchoed back her strains; The pleasant groves and rural shades were witness to her pains. “How often has he promised me in Hymen’s chains to join! Now I’m a maid forsaken on the banks of Brandywine.” 8 “Ono, my dear, that ne’er shall be. Behold your Henry now! I clasp you to my bosom, love, I’ve not forgot our vow. It’s now I know you’re true, my dear, in Hymen’s chains we’ll join, And bless the happy morn we met on the banks of Brandywine.” 188 BALLADS AND SEA SONGS 72 THE BONNY BUNCH OF ROSES THIS was a very popular stall ballad in the earlier days of the nineteenth century. Christie, in Traditional Ballad Airs, prints a version which he took down in 1850 from the recitation of a native of Aberdeenshire, who learned it from his father, a Peninsular veteran. The broadside copies usually have a double title, ‘‘ Young Napoleon, or The Bonny Bunch of Roses,” but in later times the second phrase has been used alone. The ancients who sang the ballad for me took pains in each case to elucidate the symbolism of the “bunch of roses” (7.e., England, Scotland, and Ireland) before beginning the per- formance, and I suspect that this is a traditional circumstance accompanying the rendition of the song. ‘‘The Bonny Bunch of Roses” is composed in the stanza form of an older broadside song, ‘‘The Bunch of Rushes,” and, as was sometimes indicated on the broadsides, could be sung to the same tune. ‘‘The Bunch of Rushes” begins: As I walked out one morning, it was to take some sport Down by a crystal fountain, where few people did resort. It was there I saw a fair maid apparently a-going astray With a bunch of rushes in her hand that she’d been gathering all the day. For British texts of “The Bonny Bunch of Roses” see Greig, xctv; Christie, Traditional Ballad Airs, UW, 232-233; Baring-Gould, Songs of the West, No. 27; Herbert Hughes, Irish Country Songs, 11, 92-100 (with music); Journal of the Folk-Song Society, 1, 276-277 (a fragment to which is appended the Fortey broadside version); and 11, 56-57 (music only); Journal of the Irish Folk-Song Society, XV, 31 (fragment, with air). See also the following broadsides: G. Jaques, Manchester (1, 79); George Walker, Durham, No. 179 (a1, 98); W. R. Walker, Newcastle, No. 13 (Iv, 153); Forth, Pocklington, No. 79 (tv, 209); Cadman, Manchester, No. 150 (v1, 135); Catnach (vi, 67); Bebbington, Man- chester, No. 23 (rx, 23); Such, No. 30 (x1, 30); Harkness, Preston, No. 106 (two copies, each with a “‘Plaintive Pastoral”); W. Taylor (with “Within a Mile of Edinboro’ Town”); Catnach (with ‘Adventures of Little Mike’’); W. S. Fortey (with the same song); Pitts (with “The Frolicksome Farmer”); Paul (with ‘‘The British Man of War’’); Hillat & Martin, London. For texts printed in America see The Forget Me Not Songster (New York, Nafis and Cornish), pp. 222-223; the same (Philadelphia and New York, Turner and Fisher), pp. 120-122; The Old Forget Me Not Songster (Boston, Locke and Dubier), pp. 222-223; The Forget Me. Not Songster (New York, D. J. Sadlier & Co., 1847), pp. 90-92; Leary’s American Songster (Philadel- phia, W. A. Leary & Co., 1850), p. 42; The American Star Songster (New York, Richard Marsh; published also as vol. m1 of Marsh’s Selection, or Sing- ing for the Million, 1854), pp. 42-44; The “ Low Backed Car” Songster (Marsh), pp. 55-57; Wehman’s Irish Song Book, No. 1, 1887, pp. 49-50; De Marsan broadside, List 9, No. 5; Wehman broadside, No. 411; O’Conor, p. 127. FROM NOVA SCOTIA 189 cA “The Bonny Bunch of Roses O.” From the singing and recitation of Robert Langille, Tatamagouche, Colchester County. t By the dangers of the ocean, In the bonny month of June, Those little warbling songsters Their notes so cheerfully did tune. ’T was there I spied a damsel, All seemingly in grief and woe, Conversing with young Buonaparte Concerning the bonny bunch of roses O. 2 Then up steps young Napoleon And took his mother by the hand, Saying, ‘“‘ Mother, pray have patience Till I am able to command, For [ll raise a terrible army And through tremendous dangers go, And in spite of all the universe Ill gain you the bonny bunch of roses O.” 3 “‘Oson, don’t speak so venturesome, For England is a heart of oak. There is England, Scotland, and Ireland, Their unity has never been broke. Now, son, look at your father, In Saint Helena his body lies low, And you might follow after him, So beware of the bonny bunch of roses O! 4 ‘‘He took three hundred thousand men, And likewise kings to join his throne. He was so well provided, Enough to sweep the world along. He took a terrible army, And over frozen realms did go. He swore he’d conquer Moscow, Then to the bonny bunch of roses O. 190 BALLADS AND SEA SONGS ‘“But when he came to Moscow, Near overpowered by driven snow, All Moscow was a blazing; Then he lost the bonny bunch of roses O.” Then up spake young Napoleon, Saying, ‘‘ Mother, adieu forever now, For if I had lived I should have been clever, But now I drop my youthful head. But while our bones do moulder, And weeping willows over us grow, By the deeds of great Napoleon We’ll stain the bonny bunch of roses O.” B “The Bonny Bunch of Roses.”’ From the singing and recitation of Alex- ander Harrison, Maccan, Cumberland County. I By the borders of the ocean One morning in the month of June, For to hear those warlike songsters Their cheerful notes and sweetly tune, I overheard a female Who seemed to be in grief and woe, Conversing with young Buonaparte Concerning the bonny bunch of roses O. Then up steps young Napoleon And takes his mother by the hand, Saying, ‘Mother dear, havé patience, Until I am able to command; Then I will take an army, Through tremendous dangers I will go. In spite of all the universe I will conquer the bonny bunch of roses O!” The first time I saw young Buonaparte Down on his bended knees fell he; He asked the pardon of his father, Who granted it most mournfully. ‘Dear son,” he said, “‘I’ll take an army And on the frozen Alps will go; Then I will conquer Moscow, And return to the bonny bunch of roses O.” FROM NOVA SCOTIA IgI 4 He took five hundred thousand men, With kings likewise to bear his train. He was so well provided for That he could sweep this world alone. But when he came to Moscow He was overpowered by the driven snow, When Moscow was a blazing, So he lost his bonny bunch of roses O. 5 ‘‘Oh, son, don’t speak so venturesome, For in England are the hearts of oak. There is England, Ireland, Scotland; Their unity was never broke. Oh, son, think of thy father — On the isle of Saint Helena his body lies low, And you must soon follow after him, So beware of the bonny bunch of roses QO.” 6 ‘‘Now do believe me, dearest mother, Now I lie on my dying bed; If I had lived I would have been clever, But now I droop my youthful head. But whilst our bodies lie mould’ring, And weeping willows over our bodies grow, The deeds of great Napoleon Shall sing the bonny bunch of roses O.”’ 192 BALLADS AND SEA SONGS 13 THE PLAINS OF WATERLOO TuIs song is plainly derived from the English song ‘‘The Plains of Waterloo,” which begins: On the sixteenth day of June, my boys, in Flanders where we lay, Our bugles the alarm did sound before the break of day. The British, Belgians, Brunswickers, and Hanoverians too, All Brussels left that morning for the plains of Waterloo. (Ford, Vagabond Songs and Ballads of Scotland, 1, 59-63). There is no invoca- tion or introduction, as in my version A, but the account of the battle is much more detailed. See also The Linnet (J. Marshall, Newcastle, 25276.1.6, No. 10), pp. 17-20; Logan, A Pedlar’s Pack of Ballads and Songs, pp. 106-100; Kidson, Traditional Tunes, pp. 120-123; Christie, Traditional Ballad Airs, 1, 266-267; Notes and Queries, 7th Series, v, 106; Greig, txxrx (with an intro- ductory ‘‘Come all” stanza). Most of the texts designate “the sixteenth day of June,”’ but one of Kidson’s begins: On the eighteenth day of June, my boys, Eighteen hundred and fifteen. Apparently the song, in some form or other, and with a regular iteration of “the plains of Waterloo,” was composed very soon after the event and sung by the veterans. Greig remarks that it ‘‘is said to have been written by John Robertson, a bugler in the 92nd Highlanders.” The text printed by Dean, pp. 118-119, corresponds fairly closely to version A. cA “The Plains of Waterloo.” From, the singing and recitation of Harry Sutherland, River John, Pictou County (printed, in part, in Quest, pp. 165- 166). 1 Come all you brisk and lively lads, come listen unto me, While I relate how I have fought through the wars of Germany. I have fought through Spain, through Portugal, through France and Flanders too; But it’s little I thought I’d be reserved for the plains of Waterloo. 2 On the eighteenth day of June, brave boys, as you shall now soon hear, | And the drums and fifes they played so sweet, we knew the French were near. There was Boney with his gallant troops, his numbers being not few; He boldly went and pitched his tents on the plains of Waterloo. a FROM NOVA SCOTIA 193 3 There was Wellington our countryman, he commanded us that day ; While Boney commanded the Prussian troops, he swore would gain the day. The French they gained the first two days, and would the third one too, While Blucher deceived poor Buonaparte on the plains of Waterloo. 4 It would fill your heart with grief, brave boys, for to see those Frenchmen’s wives, Likewise their little children with tears flowing from their eyes, Crying, ‘‘ Mother dear, O mother, we shall forever rue The day we lost our dear fathers on the plains of Waterloo.”’ 5 It’s manys the river I’ve crossed o’er through water and through mud; And it’s manys the battle I’ve fought through with my ankles deep in blood. But Providence being kind to me in all that I’ve come through, ’T was there we pitched our last campaign on the plains of Waterloo. B “Wellington and Waterloo.” From a broadside printed by James Barry at Six Mile Brook, Pictou County. The eighteenth day of June, my boys, Napoleon did advance, With the choicest troops that he could raise Within the bounds of France. With the glittering eagles showing all around, And proud to face the foe; But the British lines they tore their wings On the plains of Waterloo. Chorus So with Wellington we'll go, So with Wellington we'll go, For Wellington commanded us On the plains of Waterloo. 194 BALLADS AND SEA SONGS The fight did last from ten o’clock Until the close of day; When limbs, and blood, and cannon balls In thick confusion lay. Their cuirassiers did so furious charge, Their squares to overthrow, Whilst Britainers maintained their ground On the plains of Waterloo. It’s now the cheering of the charge Was heard amidst the fight; Whilst Belgium’s troops in confusion stood, And like cowards took their flight; And left bold Britons in the field, All single with the foe; Whilst Britainers undaunted stood On the plains of Waterloo. And now the dreary night comes on, Comes creeping o’er the plain; The Prussians with the English join Amidst the heaps of slain; The Prussians with the English join All ready for the foe; And Buonaparte’s Imperial crown Was lost at Waterloo. O peace be to those honoured souls That fell that glorious day; And may the plough never raise their bones, Nor cut that sacred clay. But may this place remain a waste, And a terror to the foe; Whilst trembling Frenchmen pass that way, They will think of WATERLOO. FROM NOVA SCOTIA 195 74 THE HEIGHTS OF ALMA AFTER the Crimean War this apparently became a popular street song through- out Great Britain. Robert Ford prints a version (Vagabond Songs and Ballads of Scotland, 11, 73-76) which has a few more stanzas than the one which I pre- sent, but the latter may be considered as compensated by the addition of a rousing chorus. For a text from Minnesota see Dean, pp. 40-41. For a Canadian fragment (with tune) see Journal, xxxI, 163-164. “The Heights of Alma.”’ From the singing and recitation of Alexander Murphy, Cape John, Pictou County (Quest, pp. 5-6). 1 Come all you Britons, I pray give ear To those few lines I’ve brought you here, To those few lines I’ve brought you here, The victory gained at Alma. Chorus Sing tantinaray ri til di day Sing tantinaray ri til di day To those few lines I’ve brought you here, The victory gained at Alma. 2 It was on September the twentieth day, In spite of all salt dash and spray We landed safe on the Crimea, All on the route for Alma. Chorus Sing tantinaray ri til di day Sing tantinaray ri til di day We landed safe on the Crimea, All on the route for Alma. 3 All night we lay on the cold ground, No shade nor shelter to be found, And while with rain we were almost drowned, To cheer our hearts for Alma. Chorus Sing tantinaray ri til di day Sing tantinaray ri til di day And while with rain we were almost drowned, To cheer our hearts for Alma. i thie 2 retcA ta BALLADS AND SEA SONGS Next morning a burning sun did rise Beneath the eastern cloudless skies, When our great chief, Lord Raglan, cries, ‘Prepare your march for Alma!” Chorus Sing tantinaray ri til di day Sing tantinaray ri til di day When our great chief, Lord Raglan, cries, ‘Prepare your march for Alma!” When Alma’s heights did heave in view, The stoutest hearts it would subdue To see the Rooshians’ monstrous crew On the towering heights of Alma. Chorus Sing tantinaray ri til di day Sing tantinaray ri til di day To see the Rooshians’ monstrous crew On the towering heights of Alma. But when the heights we did command, We boldly fought them hand to hand; The Rooshians could no longer stand Our British charge at Alma. Chorus Sing tantinaray ri til di day Sing tantinaray ri til di day The Rooshians could no longer stand Our British charge at Alma. The Rooshians to Sebastopol fled, They left their wounded and their dead; They thought next day the river run red With the blood was spilt at Alma. Chorus Sing tantinaray ri til di day Sing tantinaray ri til di day They thought next day the river run red With the blood was spilt at Alma. ihe a be he . / . Tae Pap ‘yaaa 197 ee ae 9; 8 The English I have heard them say _ They lost ten thousand men that day, ‘While thirteen thousand Frenchmen lay In their bloody gore at Alma. Chorus — Sing tantinaray ri til di day Sing tantinaray ri til di day While thirteen thousand Frenchmen lay In their bloody gore at Alma. 198 BALLADS AND SEA SONGS ine) BRAVE WOLFE In both England and America the death of young General Wolfe in 1759 stimulated the ballad-makers to the production of songs of admiration and sorrow. The sample which follows is evidently of American composition. It occurs in Boston broadsides of the eighteenth and the early nineteenth cen- — tury (see Ford, Massachusetts Broadsides, Nos. 1157-1160, 3049-3052, and Isaiah Thomas Collection, Nos. 55, 58). It may be found also in The Echo, or Columbian Songster (Brookfield, Massachusetts), pp. 152-154; The Forget Me Not Songster (New York, Nafis and Cornish), pp. 45-47; the same (Phila- delphia and New York, Turner and Fisher), pp. 133-135; The Old Forget Me Not Songster (Boston, Locke and Dubier), pp. 45-47; The New American Song Book and Letter Writer (Louisville, C. Hagan & Co., 1847), pp. 118-121; Home Sentimental Songsier (New York, T. W. Strong), pp. 242-243; The Soldier’s Companion (New York, Leavitt and Allen), pp. 8-10; Baker and Southard, The Boston Melodeon, tt (1850), 42 (with music); Uncle True Songster (Phila- delphia and New York, Turner and Fisher), pp. too—102; McCarty, Songs, Odes, and other Poems on National Subjects, 1842, mt, 8-10; Howe’s too Old Favorite Songs (Boston, Elias Howe Co.), p. 242; Stevenson, Poems of Ameri- can History, pp. 122-123; Shoemaker, pp. 105-107. The English song entitled ‘Bold General Wolfe” (see Williams, Folk-Songs of the Upper Thames, pp. 162-163) has nothing in common with this one ex- cept subject and sentiment. “Quebec.” From the singing and recitation of Richard Hines, River John, Pictou County. t Come all you old men all, Let me delight you. Come all you young men all, Let naught affright you. Nor let your courage fail When it comes to trial, And do not be dismayed At the first denial. 2 I walked out with my love Thinking to move her, © I sat down by her side And gazed upon her. But when I looked on her My tongue did quiver; I could not speak my mind When I was with her. FROM NOVA SCOTIA ‘Love, here’s a diamond ring, Long time I’ve kept it All for your sake alone, If you’ll accept it. When you view the roses red Think on the giver; All for your sake alone I’m done forever.” . This brave undaunted youth Went on the ocean, ~ Crossed to America To seek promotion; And landing at Quebec With all his party The city to attack, Being brave and hearty. He landed on the beach And the heights he mounted; When marching on the plain His men he counted. ‘‘T’ve got an army strong Who fight for honour; Brave Wolfe here at their head, We’re bound to conquer.” Brave Wolfe called out his men In a line so pretty On the plains of Abraham Before the city. The French came marching down In hopes to meet them, With men three to one Resolved to beat them. Each man fell in the ranks At brave Wolfe’s desire; The French went running down And poured in their fire. Brave Wolfe received a shot; His days were ended. By all his valiant men He was sore lamented. 199 | vy" o . es And cae ae his head Ne ‘How goes the battle?” “Quebec is allourown And they can’t prevent itt He said without a groan, “T die contented.” FROM NOVA SCOTIA 201 76 THE BATTLE OF THE NILE THERE are several English songs and ballads dealing in one fashion or another with Nelson’s victory at the Nile, but most of them differ markedly from the one presented here. The closest correspondence seems to be in the song en- titled “The Battle of the Nile” in a chapbook printed by C. Randall, Stir- ling, included in the “Ballads collected by John Bell, Newcastle” (Harvard College Library, 25252.19, No. 11). ““Nelson’s Victory.” From the singing and recitation of John Henderson, Tatamagouche, Colchester County. e "Twas on the ninth day of August in the year ninety-eight, We'll sing the praise of Nelson and the bold British fleet, For the victory we’ve gained o’er the rebellious crew, And to the Mediterranean Sea, brave boys, we’ll bid adieu. Chorus So come, you British tars, let your hands and hearts agree To protect the lives and liberties of the mother country. At four o’clock that evening he brought that fleet in sight, And like undaunted heroes we were eager for the fight. They were lying at an anchor near the Egyptian shore, Superior to our British fleet, and to take us they made sure. Our noble captain he was slain soon after we began; Brave Cuthbert in succession he boldly took command. For full four hours that evening we engaged them on the main, And early the next morning we renewed the fight again. Full fifty seamen we had slain, which grieved our hearts full sore; Two hundred more were wounded, lay bleeding in their gore. But early the next morning most glorious for to see, Our British ships of war, brave boys, were crowned with victory. Buonaparte’s pride we demolished, and that very soon; We made his crew to rue the day that ever they left Toulon. But now he’s got among the Turks where he’ll be forced to stay, And besides he has lost the title of The Conqueror of Italy. 202 BALLADS AND SEA SONGS 6 A building castles in the air and doing these great feats, And threatening of Albania’s plans in our united states, Planting the Tree of Liberty all on our native shore; But Nelson’s stars have nipped the bud will never flourish more. 7 And now the fight is over and we have gained the day. Nine sail we took and four we burnt, the rest they ran away. But when we come home to England so loudly we will sing, ‘‘Success to our Majestic boys and long live George the King!” FROM NOVA SCOTIA 203 77 NELSON’S VICTORY AT TRAFALGAR Locan (A Pedlar’s Pack of Ballads and Songs, pp. 67-69) has a song entitled “‘Nelson’s Glorious Victory at Trafalgar,” which is palpably a sister version of this song. It has the same metre and a good deal of the same phraseology, though there are also many verbal variations. My version corresponds pretty closely to that in Ashton’s Modern Street Ballads, pp. 298-299. See also chap- book printed by R. Hutchison, Glasgow, 12th in set of chapbooks collected by John Bell, Newcastle, Harvard College Library, 25252.19 (‘‘Arise, Brave Britons”); 96th chapbook in the same set (‘‘Tak’ your Auld Cloak about Ye, etc.”); broadsides: H. Andrews, Leeds, No. 323 (xiv, 26); Harkness, Preston, No. 81 (with “The Prentice Boy”); another by Harkness, containing this song alone. “Nelson’s Victory at Trafalgar.” From the singing and recitation of Rich- ard Hines, River John, Pictou County. 1 We got ready for the battle To face the daring foe. Our ships were numbered twenty-seven To shake the Spanish shore. Lord Nelson on the poop stood high, And to his men he then did cry, ‘“My lads we’ll conquer them or die!” Said brave Nelson. 2. He formed a line of battle, He struck the fatal blow, When some went into the air, And others sank below. When victory was on his side A fatal ball his life destroyed; In the midst of glory he did die, Did brave Nelson. 3. To view the hero dying, He prayed for England’s fame; He prayed for Britain’s glory Till his last breath was drawn. He said, ‘‘ My lads, my glass is run, This day it is my setting sun, The victory I know is won,” Said brave Nelson. They fought for England’s f Collingwood in the Royal So He well deserved the name. — Nor land upon our British Unless he goes in London Tow Though Nelson is no more oe a - 5 ie FROM NOVA SCOTIA 205 78 PAUL JONES APPARENTLY several folk-songs with Paul Jones as the hero sprang up in Eng- land and Scotland during the days when he was a potential figure of danger off any part of the coast. Maidment, in the Norik Countrie Garland, repro- duces one of these. But by far the most popular of the Paul Jones songs was the one which is represented here. It appeared in innumerable broadsides in England and in many song-books in the United States. In Ebsworth’s Roxburghe Ballads, vit, 332, there is a version which begins: ““A noble fine frigate, called Percy by name,” and the English ship, which is defeated, is the Richards. In most of the versions, however, Paul Jones’s leaky but victorious ship is the “Richard by name.” See also for English versions: Firth, Naval Songs and Ballads, pp. 259-260 (a composite text); Logan, A Pedlar’s Pack of Ballads and Songs, pp. 32-38 (“Paul Jones the Pirate”); W. A. Barrett, English Folk-Songs, pp. 56-57; Journal of the Folk- Song Society, 1, pp. 206-213; Baring-Gould, Songs of the West, No. 108. For broadside copies see: Forth, Pocklington, No. 114 (1m, 192); W. R. Walker, Newcastle, No. 119 (iv, 60); John Ross, Newcastle-on-Tyne, No. 119 (Iv, 128); Catnach (vu, 99); Bebbington, Manchester, No. 287 (x, 35); Such, No. 10 (x1, 10); T. Birt (with “Pretty Star of the Night”); Catnach (with “The Wandering Savoyard” and “I Love Her, How I Love Her”); another, without imprint (with “The Shannon Side” and “My Mother’s Voice’’); W. S. Fortey, at the Catnach Press (with ““Woodman, Spare that Tree’’; here the Richard has become “the Rachel by name’’); Such (with “Catch ’em Alive”). See also Notes and Queries, oth Series, 1, 306, 353, 495; Il, 34, 200. For early American broadside texts see Ford, American Broadsides, Nos. 3004, 3005, 30904 and The Isaiah Thomas Collection, Nos. 202, 204. See also for American texts The Forget Me Not Songsier (New York, Nafis and Cornish, pp. 24-25); the same (Philadelphia and New York, Turner and Fisher), pp. 204-205; The Old Forget Me Not Songster (Boston, Locke and Dubier), pp. 24- 25; The American Sailor’s Songster (New York, Philip J. Cozans), pp. 200-202; The New American Song Book and Letter Writer (Louisville, C. Hagan & Co., 1847), pp. 100-102; Leary’s American Songsier (Philadelphia, W. A. Leary & Co., 1850), p. 159; The Rough and Ready Songster (New York, Nafis and Cor- nish, 1851), pp. 84-87; The American Star Songster (New York, Richard Marsh; published also as vol. m1 of Marsh’s Selection, or, Singing for the Mil- lion, 1854), pp. 159-161; McCarty, Songs, Odes, and Other Poems on National Subjects (New York, 1842), 0, 85-86; Journal, xxxt, 171-173 (Quebec ver- sion); S. B. Luce, Naval Songs, 2d ed., pp. 44-45; Eggleston, American War Ballads, 1, 83-86; B. E. Stevenson, Poems of American History, pp. 224-225. 206 (6 rie le Len Fine Kh ee se pass te hi ans BALLADS AND SEA SONGS cA “Paul Jones.” From the singing and recitation of Alexander Murphy, Cape John, Pictou County. I It’s American frigate from Baltimore came, Mounted guns forty-four, called the Rzchard by name, Came to cruise in the Channel of old England’s fame, With a noble commander, Paul Jones was his name. We had not sailed far till there we espied A large forty-four and a twenty likewise, Those two noble warships well laden with store. We’ll toss up the can to our country once more. At the hour of twelve, Pierce came alongside. With a fond speaking-trumpet, ‘‘Who are you?” he cries, ‘“Come answer me quickly! I shall hail you no more, Or else a broadside into you I will pour.” Our carpenter being frightened to Paul Jones did say, ‘‘Our ship she leaks water from fighting to-day.” Paul Jones he made answer in the height of his pride, ““Tf we can’t do no better let her sink alongside!” We fought them four glasses, four glasses so hot, Till fifty bold seamen lie dead on the spot, When fifty-five wounded and bleeding in gore, While the thundering loud cannons of Paul Jones did roar. Come now, my brave boys, we have taken a prize, A large forty-four and a twenty likewise. Those two noble warships well laden with store. We’ll drink of the can to our country once more. God help the poor widow who shortly must weep For the loss of her husband now sank in the deep. We will drink to Paul Jones with his sword in his hand, Who showed us an action and give the command. FROM NOVA SCOTIA ete) 2 5°, B “Paul Jones.” From the singing and recitation of Nelson Langille, River John, Pictou County. 1 There was a flash frigate, from New York she came, Mounted guns forty-four, called the Richard by name, For to cruise in the Channel of old England’s fame With a noble commander, Paul Jones was his name. 2 We had not cruised long when two sail we spied, A large forty-four and a twenty likewise, And fifty bright ships well loaded with store, Whilst the convicts stood in for the old Yorkshire shore. 3 About twelve in the day we came up alongside. With a loud speaking-trumpet, ‘‘Whence come you?” we cried, ‘“‘Come answer us quickly! I will hail you no more, Or else into you a broadside I will pour.” 4 Paul Jones then he smiled, unto his men did say, ‘“‘Let every man stand the best of his play.” Then broadside for broadside we fought on the main; Like true buckskin heroes we returned it again. 5 Our carpenter being frightened unto Paul Jones did say, “‘Our ship she leaks water since fighting to-day.” Paul Jones then made answer in the height of his pride, “Tf we can’t do no better we’ll sink alongside!”’ 208 BALLADS AND SEA SONGS Lh THE CHESAPEAKE AND THE SHANNON THIS song was a product of the War of 1812, and one need not doubt that it was composed very soon after June 1, 1813, which was the date of the fight between the Shannon and the Chesapeake. On August the roth of the preced- ing year the American frigate Constitution had encountered the British frigate Guerriére, and after a two-hour fight the Guerriére surrendered and was burned. Out of the celebrations over this victory grew the American song “The Con- stitution and the Guerriére” (see Cox, No. 60), which began: It oftimes has been told How the British seamen bold Could flog the tars of France so neat and handy O; But they never found their match Till the Yankees did them catch. O the Yankee boys for fighting are the dandy O! Now the case was reversed with a literal vengeance, and it may be sup- posed that the time was short before the British tars began to sing their reprisal- song neatly fashioned on the model of the American song of triumph. This was received with enthusiasm in a good many quarters. Thomas Hughes, ap- parently from personal recollection, represents the Rugby boys as singing it in the course of an evening’s jollification (Tom Brown’s School Days, chap. vi). It is possible, of course, that the British song was composed first and was imitated, sarcastically, by the Americans. The question of priority has not been settled. For texts see Logan, A Pedlar’s Pack, pp. 69-72; Firth, Naval Songs and Ballads, pp. 311-312; Whall, Sea Songs and Shanties, pp. 44-46; Sharp, Folk-Songs from Somerset, V, 56-57, and Folk-Songs from Somerset (in Novello’s School Song Series), Set 4, pp. 4-5; E. E. Hale, New England History in Bal- lads, pp. 135-136; B. E. Stevenson, Poems of American History, pp. 301-302. See also Notes and Queries, 6th Series, va, 374; IX, 156; oth Series, v, 435 (J. K. Laughton holds that the English song preceded the American); 11th Series, XI, 454, 500; XII, 58. “The Chesapeake and the Shannon.” From the singing and recitation of Alexander Murphy, Cape John, Pictou County. 1 The Chesapeake so bold Out of Boston as we’re told, : Came to take the British frigate neat and handy O. The people all in port They came out to see the sport, And their music played up Yankee Doodle Dandy O. Pri «. ere Sir eke Gn TE Cat YY) a ae FROM NOVA SCOTIA 209 Before this action it begun The Yankees made much fun, Saying, ‘“‘We’ll tow her up to Boston neat and handy O; And after that we’ll dine, Treat our sweethearts all with wine, And we’ll dance a jig of Yankee Doodle Dandy O.” Our British frigate’s name All for the purpose came In so cooling Yankee’s courage neat and handy O, Was the Shannon, Captain Brookes, And his crew all hearts of oaks, And in fighting they were allowed to be the dandy O. The action scarce begun When they flinchéd from their guns. They thought they had worked us neat and handy O; But Brookes he wove his sword, Saying, “‘Come, my boys, we'll board, And we'll stop this playing up Yankee Doodle Dandy O.” When Britons heard this word They all sprang on board; They hauled down the Yankees’ ensign neat and handy O. Notwithstanding all their brags The British raised their flags On the Yankees’ mizzen-peak was quite the dandy O. Brookes and all his crew In courage stout and true They worked the Yankee frigate neat and handy O. O may they ever prove In fighting or in love That the bold British tars will be the dandy O! 110 BALLADS AND SEA SONGS 80 THE BATTLE OF THE SHANNON AND CHESAPEAKE Tue fragment which follows is all that I have been able to find of this broad- side version of the famous sea-fight. It carries us into the battle, and then, with a delicate international courtesy, suppresses that part of the narrative — which might be painful to the sensibilities of a defeated foe. The preceding ‘Chesapeake and Shannon” song is not so much a narrative as a triumphant lyric. The present one is, in its entirety, a fairly straightforward recital, and it apparently has not retained its popularity as has the other song, with its rollicking jingle and its ear-capturing refrains. In the earlier part of the nineteenth century, however, it appeared on several broadsides, always with the title “The Battle of the Shannon and Chesapeake.” ‘This title, although it was not used by the Nova Scotia singer, I have borrowed as an aid in the somewhat difficult task of distinguishing the one song from the other. Broadsides containing the song are: Pitts (25242.4, 1, 72); Catnach (v, 206); Such, No. 154 (xt, 1); reprinted by Firth, Naval Songs and Ballads, PP. 312-313. “The Chesapeake and the Shannon.” From the singing and recitation of Peter Hines, Tatamagouche, Colchester County (printed, Quest, pp. 139-140). 1 ’T was of the Shannon frigate in the merry month of May; To watch those bold Americans off Boston light she lay. The Chesapeake lying in harbour, a frigate stout and fine, She had four hundred and sixty men on board, and her guns was forty-nine. 2 Captain Brooke he commanded us; a challenge he did write To the captain of the Chesapeake to bring her out to fight. He says, ‘‘My noble Lawrence, don’t think it’s through enmity, For it’s to show to all the world that Britain rules the sea.” 3 The challenge being accepted, the Chesapeake she bore down, And she was as fine a frigate as belonged to the British crown. Yard-arm and broadside for a quarter of an hour, When that enemy’s ship drove up alongside, and her yards got locked in ours. FROM NOVA SCOTIA 211 81 KELLY THE PIRATE A COMPARISON of Version A with Versions B and C suggests a rather interest- ing problem: Are they, all three, variants of the same ballad, or does A repre- sent one “ Kelly the Pirate” song and B another, with C coming in as a variant of B? Version A corresponds to the texts in English broadsides (which are entitled either ‘‘The Bold Pirate” or “Kelly the Pirate”). Versions B and C are similar to the texts (entitled “Kelly the Pirate’’) in the American song- sters, which, however, have no chorus. The verbal correspondences between A on the one hand, and B and C on the other, are so slight that it is hardly possible that all three can be variants in the proper sense of the word. It seems much more reasonable to suppose that Version A alone represents the original English song, and that B and C represent an American song, derived from and reproducing several of the lines of the English original, but apart from this re- lationship to be regarded as an independent composition. For the English song see, for example, A New Garland, containing three Choice Songs (Preston, E. Sergent, ca. 1793), and broadsides: Ryle (vit, 129); C. Croshaw, York (with ‘‘The Hardy Tar’”’). The American song was printed in The Forget Me Not Songster (New York, Nafis and Cornish), p. 75; the same (Philadelphia and New York, Turner and Fisher, about 1840), pp. 205-206, in The Old Forget Me Not Songster (Bos- ton, Locke and Dubier), p. 75, and in Uncle Sam’s Naval and Patriotic Songster (New York, Philip J. Cozans), p. 29. cA “Kelly the Pirate.” From the singing and recitation of Robert Langille, Tatamagouche, Colchester County. t Come all ye jolly tarsmen, come listen to my song; If you pay good attention I’ll not keep you long. ’T was of the Stag frigate, that ship of great fame, That fought the arch-pirate, bold Kelly by name. 2 It was on the first of January all on the fifth day That we spied a large cutter, to the leeward she lay. The man on the masthead so loudly did cry, Saying, ‘‘There’s a sail and she seems to lie by.” 3 Our captain he viewed her all round, Saying, ‘‘That’s Kelly the pirate, I’ll bet fifty pound. So it’s keep up undaunted, keep all snug and tight, For I mean to abide with bold Kelly to-night. 212 BALLADS AND SEA SONGS ‘‘Keep all up undaunted, make all snug and clear. Around with your helm and after him steer.” We steadied a little till we came within shot, But this bold sassy pirate seemed to value us not. We steadied a little till we came within hail, Then a few English pills we let fly in his tail. Bold Captain Kelly on the deck he did stand, Saying, ‘‘Boys, be brave, valiant, and stout, For if we are taken you plainly must see Like dogs on the gallows we hangéd must be!” Bold Captain Cooper on the deck he did stand; With a voice like the thunder he gave the command: ‘Point your guns, blow your matches, and fire away.” With a round of large metal we did them so gall That down came the mainmast, their colours, and all. With canister-shot we did pepper them so That down to the bottom they quickly did go. ’T was of that sassy frigate if you — your name, She’s a foe to Great Britain, from Dunkirk she came, To rob our rich merchant-ships all on the wave, But bold Captain Cooper her soon did invade. B “Kelly the Pirate.” From the singing and recitation of Richard Hines, River John, Pictou County (printed, Quest, pp. 142-143). I Admiral Kelly gave orders on the first of May To cruise in the Channel for our enemy, To protect our commerce from that daring foe, And all our merchant-ships where they would go. Chorus Then it’s O Britons, stand true, Stand true to your colours, stand true! EB ; FROM NOVA SCOTIA 213 2 It was early one morning, by the wind we did lie, A man from the masthead a sail he did spy. ‘fA sail! Oa sail!” he loudly did cry, ‘She is a large cutter and seems to lay by.” 3. Our noble commander he pulled out his glass, So did our lieutenant to see what she was. Our captain stepped up and he viewed her all round, Says, ‘‘That’s Kelly the pirate, I’ll bet fifty pound!” 4 “Don’t you see that villain?” he cried, ‘“‘ Make sail! We'll soon overtake him, my boys, I’ll give bail. Lay aloft, shake your reefs out, make everything clear, And up with the helm and for him we'll steer.” 5 We sailed till we came within gunshot, Bold Kelly he seemed for to value us not. With a loud voice like thunder, Kelly did say, ‘‘Load your guns, light your matches, and fire away!” 6 We engaged with that cutter four hours and more, Till the blood from our scuppers like water did pour. With round and grape metal we peppered his hull, Till down came his mizzenmast, colours, and all. 7 We towed him in Portsmouth that very same day, And then on to Newgate sent Kelly away. Here’s a health to our captain and officers too! Here’s a health to Siag frigate and all of her crew! g “Kelly the Pirate.” From the singing and recitation of Alexander Harri- son, Maccan, Cumberland County. zr Our Admiral gave orders on the same day To cruise in the Channel for our enemy, To protect all our merchants from the brave foe, And all interlopers, as you may suppose. 2 On the twenty-first of January so clear was the day, A man from our masthead a sail he spied. ‘fA sail! O a sail!” he loudly did cry, ‘‘She is a large cutter, and seems to lay by.” Our noble Bataiic he pulled out this. er Sj an So did our lieutenant to see what she was. sits Our captain jumped up and surveyed her all round: “It’s Kelly the pirate, I’ll lay fifty pounds! ‘“‘Do you see that proud villain?” he cried, ‘‘Make sail! ‘‘We’ll soon overhaul him, my boys, I’ll give bail! Jump up and shake out your bags all snug and clear, — ie And up with your helm, and after them steer.” We sailed till we came within gunshot. Bold Kelly he seemed to value us not. With a loud voice like thunder bold a did say, away!” We engaged this cutter for four hoursand more, Till the blood from the scuppers like water did pour. __ With round and grape metal we peppered his hull __ Till down came her ensign, staff, colours, and all. We have taken this prize all on the same day, And straight to our prison sent Kelly away. NY re Here’s a health to our captain, and lieutenant too, __ Likewise the Hart frigate and all her crew! Be ——— = « FROM NOVA SCOTIA ars 8 2 THE LITTLE FIGHTING CHANCE THE Nova Scotia version of this militant song corresponds to the English ver- sion printed by Reynardson, Sussex Songs, pp. 18-19 (“The Fourteenth of July”). The English song ends: ‘We will smother all those Frenchman where- ever we do meet.” The transfer of the ultimate threat to the “ Yankee dogs” of my version was probably made in Nova Scotia itself. “The Little Fighting Chance.” From the singing and recitation of Robert Langille, Tatamagouche, Colchester County. I On the fourteenth of July once so clear was the sky, A came bearing down so nigh, Came bearing down upon us as we sailed out of France. The name that she was called was the Little Fighting Chance. Chorus So cheer up, my lively boys, let it never be said That the sons of old Britannia would ever be afraid. We gave to them a gun and the battle had begun; The cannons they did roar and the bullets they did fly. It was broadside for broadside, we showed them gallant sport; And to see the lofty yards and topmasts they came rolling over- board. We fought them four hours, the battle was so hot, Till four of our foremost men lay dead upon the spot. Sixteen were wounded, made twenty in al., And down with the French lily, boys, the Frenchmen one and all! 4 O now, my brave boys, since the prize is our own, What shall we do for jury-masts, for spars we have none? So we tore in with a sweet and pleasant gale, And early the next morning at the head of our king sail. 5 O now, brave boys, since we have gotten safe to shore, Well make the ale-houses and the taverns for to roar. Here’s a health unto King George and all his gallant fleet. We'll smother all the Yankee dogs that ever we do meet! 1 Reynardson: ‘‘at the head of Old Kinsale.” 216 BALLADS AND SEA SONGS 33 BOLD DIGHTON THE Nova Scotia versions correspond, with a few variations, to the texts found in American songsters, under the title ‘Bold Dighton.” See The Forget Me Not Songster (New York, Nafis and Cornish), pp. 67-71; the same (Phila- delphia and New York, Turner and Fisher), pp. 219-223; The Old Forget Me Not Songster (Boston, Locke and Dubier), pp. 67-71; The American Sailor’s Songster (New York, Philip J. Cozans), pp. 89-93. The original title of this piece was ‘‘The Escape from Basseterre.” The 3 a = ant be aoa [: author was P. Russel. The Harvard College Library has two broadside copies of the early nineteenth century. One is headed: “‘The Escape from Bassa- terre. Being the account of an action fought off Guadaloupe, in 1805, where ninety-five Americans, and near three hundred Britons made their escape at that place. — Composed by P. Russet, while lying in irons in the Moro Castle, who received two wounds in the action.” The other is headed: “The Escape from Basseterre SOLD by the AUTHOR only: who composED the FOLLOWING LINES while in the MORO CASTLE. {== From WOUNDS which the Author received in BATTLE, he is unable to obtain a LIVELIHOOD in the ordinary pursuits of life: — And it is hoped that every GENEROUS AMERICAN will be ready to participate in the SUFFERINGS of the UNFORTUNATE as well as to APPLAUD the BRAVE.” Other poems by Russel are extant in broadsides of about the same date: “Filial Affection. Composed while the author was lying in irons in the Moro Castle, with an intention of sending it to his mother”; “Russell’s Reflec- tions. Occasioned by a retrospective review of the events of his own life, while lying in irons in the Moro Castle.—Tune— Mouldering Cave”; ‘“ Capt. Lawrence’s Victory, or The Capture of the Peacock” and “Death of Lawrence” — both in one broadside with the following introductory note: ‘The lines of this sheet, were composed by the unfortunate RussELL, who has been pre- vented from obtaining a livelihood in the ordinary pursuits of life from wounds received in battle” (Ford, Massachusetts Broadsides, No. 3328); “Love and Misfortune. Sold by the Author only, who composed the FOLLOWING LINES while suffering in a loathsome PRISON; at a time when he had reason to con- sider himself on the verge of ETERNITY.” The last of these is autobiographical. For example, They took us on board, we at Guadaloupe landed, And there was I gall’d by the French Tyrant’s chains, I thought on my love, whilst my heart it expanded; While sickness and famine augmented my pains. Escap’d from the French, being wounded full sorely; The Spaniards a prisoner soon made me once more, In the Castle call’d Moro, I suffer’d severely, From pain, thirst and hunger, ere I left their sad shore. Releas’d from those foes, I arrived in Columbia; And there I experienced misfortune and pain, For wants then oppress’d, whilst mankind seem’d to shun me; But shrinking at trifles is what I disdain. FROM NOVA SCOTIA ZU By falsehood imprison’d forlorn and neglected; On straw now I rest, but no longer can sleep; Such heart rending pangs I could ne’er have expected, But yet at life’s troubles, I scorn’d for to weep. cA “Bold Dighton.” From the singing and recitation of Alexander Harrison, Maccan, Cumberland County. I Come all you bold heroes that plough the rough main, Give ear to our story, the truth I ll explain. It was our misfortune which happened in great war, And how we escaped from the French at Bastar. We were then confined on the Guadaloupe shore, Of true valiant seamen four hundred or more, Shut up in a small compass being greatly distressed, With painful disease and famine oppressed. A gallant young hero, from Saint Lucia he came, Both generous and wealthy, called Dighton by name. He had the heart of a lion, the soul of a prince, And friendship’s kind impulse to us did evince. He came to our prison, he mourned our sad fate, He launched out his gold to relieve our sad state. Five hundred bright guineas he gave, I am sure, Which did greatly relieve us in this distressed hour. At this generous action the French did complain. They soon did confine him with fetters and chains With us in the prison, it was them we might see, But from his chains and fetters we soon set him free. Says Dighton, ‘‘My boys, if youll take my advice, Now if you’ll prove constant it is done in a trice. Down by the Umpire the Tiger doth lie,! A stout and fine coaster, she is fit for the sea. ‘““The captain’s on shore and we have all things on board, A plenty of cannons, pikes, pistols, and swords. Now if you will prove constant and stand by my side, We will board her, my boys, and we will sail the next tide.”’ 1 The broadsides read, “‘For ’tis down by yon pier, the Tyger does lay.” 218 8 Io II L2 13 14 15 16 BALLADS AND SEA SONGS — Then at this adventure we all did agree, Each breast loaded with ardor to fight and be aes ‘“Come give us your signal,” each sailor replied, ‘We are ready to conquer, or die by your side.” ‘‘Prepare for the conflict, no longer delay. But keep yourselves cool, boys, my orders obey.” Three gallant young seamen as seconds he chose. Our signal for freedom was, ‘‘Death to our foes!” Then out of prison we all rushed amain. The three guns were fired, the French guards were slain. On board of the Zzger we soon rushed our way. We cut both her cables and stood out to sea, Which caused a sad rumpus, it being midnight. The Frenchmen bawled out in a terrible fright, ‘“‘Mon Dieu, fracter engie!””! Drums beat and bells toll, Our hero shouts, ‘‘ Freedom!” to each valiant soul. Their fortress was open, their cannon did play, Their shot flew like hail as we got under way. They shattered our spars as we sailed from the shore. To bid them good-bye we a broadside let pour. Then out of all danger we thought ourselves clear, But for this mistake we did pay very dear. Next morning at daylight it was there we espied The Lion, a corvette, hang down on our side. She plied us with grapeshot with broadside so sore, Which caused the Tiger to make her guns roar. With thirty-six eighteens the Lion did growl, And eighteen brass nines the fierce Tiger did howl. Yard-arms and broadsides, for three glasses we lay, At length our broadside cut her mainmast away. Says Dighton, ‘‘My boys, if you are tired of this fun You now have your choice, to fight or to run!” To spare blood and slaughter the crew did incline. To run down the corvette it was our design. But at this same moment she grappled us fierce, And then sword in hand was our only resource. 1 An attempt to reproduce phonetically a phrase unintelligible to the singer. The broadsides read, ‘‘ Mon Dieul footer Engla.” FROM NOVA SCOTIA 219 17 To board and to slaughter they were fully bent. To give us no quarters was their sole intent. To board us thrice over they tried with this view, But they were repulsed by the Tiger’s bold crew. 18 Then Dighton cried out as each hero should feel, Whose eyes transferred fury like bright burnished steel, ‘There is death to each man on the point of my sword. Come all my bold heroes, let us jump overboard!” 19 Then over the bulwark he jumped like a roe. One stroke from his sabre laid two Frenchmen low. On board of the corvette we all rushed so fierce That soon from their quarters the French did disperse. 20 Steel sparkle, pikes rattle, and swords loudly clash, And the blood on her decks like salt water did dash. Her scuppers with huge streams of crimson did pour, And the blue seas all round us rolled purple with gore. 21 Three hundred brave seamen were slain of their crew, When the Frenchmen gave out and they cried, ‘‘Mon Dieu!” ‘They fell on their knees and their weapons let fall, And then our bold hero for quarter did call. 22 We soon gave them quarter and then we did hear That for to engage us they did volunteer. They trebled our metal with e’en two for one, But Fortune’s kind favor saved Freedom’s bold son. 23 Then Dighton cried out, “‘ Now the battle is o’er, Let the French learn this lesson and teach it on shore, Go back to their country and friends and take care To treat well in future each prisoner of war!” 24 To.conduct the French back we the Tiger then gave, Our seamen were generous and valiant and brave; Then down to Antigua with our corvette we bore, And on the next morning we all jumped ashore, 25 Drink a health to each seaman that ploughs the rough main. May each crowned with laurels return home again. May the fair of our country some gratitude show To the sons of the ocean that fight the proud foe. 220 BALLADS AND SEA SONGS 26 And as for brave Dighton, our true valiant friend, May glories pursue him while honors attend, And when he does die may each:seaman draw near, Come kneel at his tombstone and let fall a tear. B “The Tiger and the Lion.” From the singing and recitation of Richard Hines, River John, Pictou County (printed, Quest, pp. 71-74). I we) Come all you bold seamen that ploughs the rough main, Give ear to my story, the truth I’ll explain. There was a misfortune in sad time of war, And how we escaped from the French at Bastar. There were seamen bold three hundred and more Was shut up in prison on Guadeloupe shore; They were chained down in prison and sorely oppressed, By painful diseases and famine oppressed. There was a bold seaman, from St. Lords he came; He was generous in action, called Dighton by name. He had the heart of a lion, the soul of a prince, Through honour and friendship to us did advance. He came to the prison to bemoan our sad fate, He launched out his gold to relieve our sad state; Five hundred guineas he paid down, and more, Which much did relieve us in that distressed hour. At this generous action the French did complain. It was then they bound him in fetters and chains. They threw him in prison with us, you may see. From his fetters and chains, boys, we soon set him free. 6 ‘Come all you bold seamen, if you take my advice, Stand true to my side, it is done in a trice. Down in yon portway the Tiger she lays; | She’s a well-found staunch cruiser, she’s fit for the sea. 7 “*The captain’s on shore and all things on board, There’s plenty of cannon, pikes, pistols, and swords. And if you prove valiant and stand by my side Never fear but we’ll board her and sail the next tide.” pi oc ae ai ad © 8 9 IO Il I2 13 14 15 16 FROM NOVA SCOTIA ahah At this generous action we all did agree To break out of prison to die or be free. Two gallant young sailors as his seconds he chose, And a signal of freedom was, ‘‘ Death to his foes!” Then out of the French prison we all rushed amain, Two big guns was fired, the French guard was slain, And down to the Tiger we all took our way, We slipped both her cables and steered out for sea. Their ports being opened, right on us did play. The shot flew like hail as we got under way. They shattered our spars as we sailed from the shore. To bid them a good-night a broadside did pour. Then early next morning we thought ourselves clear, But for our mistake, boys, we paid very dear. ”T was early next morning just as day we spied The Lion of Pervert bearing down alongside. She supplied us with broadsides, which grieved our hearts sore, Which caused the bold Tzger to make her guns roar. With twenty-six eighteens the Lion did howl. With eighteen brass fours the Tzger did growl. ”T was yard-arm and broadside together did lay Till a shot from the Tzger took his mizzen away. “Now,” said bold Dighton,” if you’re tired of the fun, You have got your choice, to fight or to run.” To shun blood and slaughter we all did incline. To run from the Tziger it was our design. But to our misfortune and our sad distress, That very same moment they grappled us fast. They tried for to board us thrice over in view, But they were opposed by the Tzger’s bold crew. They thribled our metal with men three to one, But Fortune still favoured old Britain’s bold sons. Then up speaks bold Dighton, like a hero did feel. His eyes glanced like fury like the bright varnished steel. ‘“‘Come each of you seamen on the point of your sword! It’s death, boys, or freedom! We'll all jump on board!” 222 BALLADS AND SEA SONGS 17 Then over the bulwarks we crushed on our foe. One clip from his sword laid the French captain low. Then down on the decks, boys, their weapons let fall, And on us brave heroes for mercy did call. 18 Swords rattled, pikes, pistols, the swords loud did clash, The blood on our decks like water did splash. The huge streams of crimson from our scuppers did pour, And the blue sea around us ran purple with gore. 19 ‘‘It’s now,” says bold Dighton, “since the battle is o’er, Let the French learn a lesson, go teach it on shore. Let them go home to their country and tell them beware For to treat well in future the prisoners of war!” 20 We cleared our decks that very same day. The wind from the sou’west, we got under way, And down to Antigua away then we bore, And early next morning we all went on shore. 21 Here’s a health to bold Dighton, a true valiant friend. May honour protect him and glory attend! And when he is dead I pray you’ll draw near And kneel at his tombstone and let fall a tear. FROM NOVA SCOTIA 20K 84 AS WE WERE A-SAILING It may be that this ballad derives in some fashion from “Captain Ward and the Rainbow” (Child, No. 287). In Kidson’s Traditional Tunes there is a frag- ment, obtained on the coast of Yorkshire, in which the ship is the Rainbow. It ends thus: Good health unto this damsel who fought all on the main, And here’s to the royal gallant ship called Rainbow by name. A version in Williams’s Folk Songs of the Upper Thames ends, Here’s a health to the girl, she’s a girl of great fame, She’s on board the ship that’s called Newrion by name — which helps to explain the transmutation of the ship to the Union of some of the later versions, including my own. It is to be noted that the ship is the “Union by name” in the American texts cited below. For British versions see Kidson, Traditional Tunes, pp. 99-100 (with music); Williams, p. 261 (‘Aboard the Resolution’’); Christie, Traditional Ballad Airs, 11, 176-177 (“The Bold Damosel”’). Among the broadsides on file in the Har- vard College Library there is one containing a version of this song with the title “Down by the Spanish Shore” (on the same sheet with ‘The Brave Collier Lads”), issued by W. Harris, Birmingham. For American texts see The American Songster, collected and published by John Kenedy (Baltimore, 1836), pp. 245-246; The American Songster (New York, Nafis and Cornish, 1847), pp. 245-246. No title. From the singing and recitation of Robert Langille, Tatama- gouche, Colchester County (printed, Quest, p. 52). 1 As we were a sailing down by the Spanish shore, Our drums they did beat and the guns loudly roar. We spied a lofty admiral ship come plowing down the main, Which caused us to hoist our topsails again. 2 Come boys, let us be hearty! come boys, let us be true! And after our enemy we quickly shall pursue. Soon as we overtake them upon the ocean wide, And with foresail we’ll give them a broadside. 3 They gave to us another as good as we sent. For to sink each other was our whole intent. At the very second broadside our captain he was slain. Up steps a damsel his place for to maintain. 224 BALLADS AND SEA SONGS 4 “Oh quarters, oh quarters, my brave British boys.” “No quarters, no quarters,” the damsel she replies, ‘You have the best of quarters I can to you afford. You must fight, strike, or sink, my boys, or jump overboard!” 5 Now since we gained the victory we’ll drink a glass of wine. Drink to your own true love here, and I’ll drink to mine. Here’s a health unto the damsel, the damsel of Ame,} So boldly she fought on the Union by name! 1 Kidson: ‘Who fought all on the main.” H. M.S. Ramillies was wrecked off the south coast of Devon on the 15th of February, 1760, and of several hundred men on board only twenty-six were saved. Various songs were composed in commemoration, but to the printed texts of these the Nova Scotia version is related only in subject-matter, not in phraseology. One of the songs, entitled “The Fatal Ramillies,” is in a Pitts broadside. See also Williams, Folk-Songs of the Upper Thames, p. 144 (‘‘The Fate of the Ramillies”); Journal of the Folk-Song Society, 11, 286-287. “The Old Ramiilies.”” From the singing and recitation of Richard Hines, FROM NOVA SCOTIA 85 THE OLD RAMILLIES River John, Pictou County. I It happened to be on the first of May While the Ramullies to her anchor lay. At twelve o’clock a gale came on, And she from her anchor cut and run. The storm increaséd more and more, The billows was rolling on the shore. Our close-reefed tops’ls we quickly spread In hopes to weather the old Ram Head. The rain poured down in a dreadful shock, While the sea beat over our fore-top. She would neither stay nor wear, Nor yet gather way enough to steer. The bos’n on the deck did stand, He blowed his call and gave command: ‘Launch out the boats your lives to save, Or the sea this night will be your grave.” Some in one place, some in another, Five hundred men they all got smothered. There was only four saved to tell the tale How the Ramullies behavéd in the gale, When the news to Plymouth came That the Ramullies was lost and all her men, All Plymouth town was flowing in tears To hear the dreadful sad affair. Come, all you pretty fair maids, weep with me, Who lost your loves in the Ramillies. There was only four saved to tell the tale How she behavéd in the gale. BOG) 8) BALLADS AND SEA SONGS 86 BY THE LIGHTNING WE LOST OUR SIGHT THERE is an eighteenth-century English song, quite different from this, which records a similar misfortune: ‘‘The Blind Seaman’s Lamentation, Addressed — to his Brother Sailors’ (in a chapbook printed by E. Sergent, Preston, ca. 1793: Harvard College Library, 25276.43.58, No. 21). The sailor was struck blind at the wheel. The song begins: Good people all I pray draw near, Till I relate my misery, Of the misfortune to me befel, How I was blinded on the Sea. From the singing and recitation of Harry Sutherland, River John, Pictou County. 1 Come all you lads bound over the deep, I hope you will attend, And listen unto those few lines which I have lately penned. I was once as hardy a sailor lad as ever furled a sail, Till by the lightning I lost my sight in that tremendous gale. 2 On the eighteenth of September last from Cork we did set sail. We were bound for Gibraltar in a fair and pleasant gale. The weather being fine, our course did steer our ship before the wind, And still my love grew warmer for the girl I left behind. 3 Scarce had we reached our distant port, we lay a few days there, When our orders ran for old England with the wind still blowing fair. We shoved our good ship out to sea, and on her did crowd sail, While a storm arose, the sun eclipsed, it blew a hurricane. 4 The storm it still continued, and then it bee a gale. Our captain cried, ‘‘My heroes bold, close reef your main top- sail!” Scarce had he those words uttered when like tars aloft did they, Like hardy tars through storm and wind his orders to obey. FROM NOVA SCOTIA 227 5 Scarce had we reached the main top when a heavier flash rolled by. Dear God, I ought to remember it, the last sight with my eyes! Our to’gallantmast to pieces went all by a ball of light, Which leaves me and four sailors more, by the lightning we lost our sight. 6 Next morning when the sun arose we were a sight to view. Our chief mate was washed overboard, and four more of the crew. The storm it still continued, the lightning sharp did flash, The foaming seas washed over her, and on her sides did smash. ods ae eee ex! c.. 4 a EF yee .? - ag 228 | BALLADS AND SEA SONGS S 87 NEWFOUNDLAND TuHIs song is of Nova Scotian composition. The singer who delivered it to me stated that it was made by Captain Cale White of Maitland, Colchester County. From the singing and recitation of Peter Hines, Tatamagouche, Colchester County (printed, Quest, pp. 199-201). 1 Saint Patrick’s day in ’sixty-five from New York we set sail. Kind Providence did favor us with a sweet and pleasant gale. We bore away from America, as you shall understand. With courage brave we rode the waves bound down to New- foundland. When two days out, to our distress our captain he fell sick, And scarcely was enabled to show himself on deck. The fever raged, which made us fear that death was near at hand. For Halifax we bore away bound down to Newfoundland. N 3 The land we made, but knew it not, for strangers we were all, Our captain not being able to come on deck at all. So we were all obliged again to have her off from land. With saddest hearts we put to sea bound down to Newfoundland. 4 All that night we run our brig till early the next day. ‘“‘Our captain’s getting worse,” we all with one accord did say. ‘““We’ll square away for Cape Canso. My boys, now bear a hand.” : In Arishat that afternoon we anchored safe, bound down to Newfoundland. 5 Unto the board of health we then for medical aid did go. Our captain near the point of death, that symptoms it did show. The small-pox now was breaking out, for that it proved to be, And eight days after we arrived, at God’s just command, He breathed his last in Arishat, bound down to Newfoundland. 6 Both day and night may we lament for our departed friend, And pray to be protected from what has been his end. Be with us and protect us, God, by Thy almighty hand, And guide us safe while on the seas bound down to Newfound- land. — FROM NOVA SCOTIA 229 88 THE WRECK OF THE ATLANTIC ON March 20, 1873, the Aflantic, a crack ship of the new White Star fleet, left Liverpool for New York with about one thousand people, including passengers and crew, on board. She was a four-masted barque-rigged iron vessel of 3707 tons gross, and was classed Ar on the Liverpool register. During this voyage she was battered by westerly gales, and after ten days at sea the engineer re- ported a shortage of coal, whereupon the Captain, James Agnew Williams, de- cided to change her course and put into Halifax. On the night of March 31st she was steaming through heavy seas on a course intended to take her about five miles east of the Sambro light, which marks the outer entrance of Halifax Harbour. About two hours after midnight the ship struck a ledge off the settle- ment of Prospect, seven miles west of Sambro light. Many of the passengers were trapped in their berths and drowned when the ship heeled over ten minutes after the first shock. The rigging and bow remained awash, and the surviving passengers and members of the crew sought a precarious refuge there, but many of them were caught by the waves, which were rising higher with an increasing wind, and by noon 535 persons had perished by drowning or from exposure. In the meantime, however, the fisher folk of Prospect had gone bravely to work with their dories, and during the morning they succeeded in rescuing some 450 survivors from the wave-beaten spars and rigging. Some notable acts of heroism were performed, and these are duly — and truly — set forth in the following ballad, which, as I was informed by the singer who intro- duced me to it, was brought out in broadside form shortly after the event. For another song on the ‘“ Wreck of the Atlantic”’ see Delaney’s Song Book No. 12, p. 26. “The Wreck of the Aflantic.”’ From the singing and recitation of Robert Langille, Tatamagouche, Colchester County. 1 Dear friends, come listen to the tale, The loss which we deplore, Of the gallant ship Atlantic lost On Nova Scotia’s shore. 2 The most terrific accident Befell that fated ship, As she approached those rocky shores On her way across the deep. 3. The sun had set behind the hills, Night spread her wings around, A night that will remembered be For many a year to come. 230 Io If I2 BALLADS AND SEA SONGS Alas, a ship, a noble ship, That had the ocean crossed, And on the lonely Prospect shores That night was wrecked and lost. With full a thousand souls on board, Her captain had no fear, And heeded not the rocky coast Which he was drawing near. Till, oh, alas, it was too late! The final shock was given. That noble ship had struck the rock, Amidships she was riven. The terror-stricken souls on board, Oh, who could give them aid? Unto each other looked for help, Each praying to be saved. Numbers overboard were washed, And perished in the deep, While others frozen with the cold, Died on the sinking ship. Poor helpless women down below, Of whom not one was saved, Dear little children too, All met a watery grave. Amongst the women there were two Who down the waves that night Had each of them a little babe That scarce had seen the light. A lady with her babe in arms Had reached the deck, we’re told, With nothing but her night-clothes on To shield her from the cold. To save her life her slender form Was fastened to a mast, Where ten long hours she there remained Before she breathed her last. — « 13 14 qT) 16 17 18 19 20 21 FROM NOVA SCOTIA But ere she died her little babe Was swept into the sea. What misery did that mother bear In her hours of agony! ; Third officer Brodie, a brave man, Swum over to the shore, And quickly got a rope on board To help the others o’er. The kind-hearted fishermen Did kindly them receive, Giving them freely of their stores, Supplying all their needs. Next morning when the sun arose And the angry billows swelled, The people on the Prospect shore A dreadful sight beheld. The rocks around were strewn with dead, And as each wave broke o’er, Bearing its burden to be laid With sorrow on the shore, Both men and women, young and old, With flesh and clothes all torn Upon the sharp and craggy rocks The angry waves had borne. A lady with her little babe Clasped tightly to her breast Upon the tangled seaweed lay, Gone to her long, long rest. All who came there to see the sight With heartfelt grief bemoaned The fate of those who left their homes To cross the ocean foam. And far away from friends and home In a foreign land to die, A stranger’s home their burial place, No friend to close an eye. 231 234 22 23 24 26 27 28 29 30 BALLADS AND SEA SONGS Amongst the men on Prospect shore Who risked a watery grave, And spurred the men around him » Lhe shipwrecked men to save, Was their kind and loving clergyman, Mr. Ancient was his name; 3 His name deserves to be enrolled Upon a list of fame. He said, ‘“‘ My friends, come take the boats, And try whom we can save,” And boldly took the foremost part, The bravest of the brave. Those hardy men who gave such help Deserve the highest praise. Oh, never forget their noble deeds When thankful songs we raise! The captain in that trying hour Spoke kindly to the men, Saying, ‘‘Be calm, good men,” while angry waves Swept angry over them. One Mr. Street, a gentleman, Quite frantic with despair, From cabin came, and in his arms His little daughter bare. And to one Ellery he said, ‘“‘Pray, Charlie, take my child, That I may go my wife to seek, The billows raging wild!” And as the steward gazed on the child And saw her face so fair, His thoughts went quickly to his home — He had one like her there. The father did the mother seek, But neither one came back; The angry waves soon swept them off From off the sinking wreck. Ree 32 33 34 a5 36 aT 38 39 _ FROM NOVA SCOTIA Poor suffering little innocent, It cried, ‘‘Papa, come!”’ Its clothes were then just taken from Its little bed so warm. !?? It cried, ‘‘ Papa!” a short time, But papa never came, Expiring in the steward’s arms In agony and pain. Its little soul to heaven flew To call its papa there. I hope they hand in hand will walk Through heavenly mansions fair. Amongst those rescued from the wreck Was John Andrew, a brave lad, Who boldly struggled to the wreck Bereft of all he had. Father, mother, brother too, Had sunk to rise no more, But he with help from some strong men Got safely to the shore. Kind friends then took him to their homes, His wants they did supply. Strangers with pity in their hearts Beheld the orphan boy. When he arrived in Halifax Warm welcome he received, And now we have him journeying home With his sisters dear to live. Oh, never may those cruel rocks Another victim gain. Let life ships guard our rocky coast, To those who perished in the deep We give a friendly grave. Our joys would aye be greater far Had we the power to save. 233 234 40 AI 42 43 45 46 47 And now that noble steamer, The Atlantic, she is lost, 6s Which o’er the stormy ocean So oftentimes had passed. And many sad and touching scenes _ Be ( That never can be told, eae And many a hundred lives were lost, And many hearts made cold. & Now she will never sail again Unto that distant shore, | To those who look with tearful eyes For friends who come no more. The dreadful sight will never ~~ From our memories fade away, Till children that surround us now | Are feeble, old, and grey. Oh, angry sea, give up thy dead, Oh, rocky reefs, sink low! 7 How could you part so many friends? Why did you cause such woe? Oh, gallant ship that proudly sailed An hour before the shock, Why did you not keep far away And shun that sunken rock? — With all our friends around us We close our eyes in sleep, Our thoughts will often wander Across the dreary deep, In grief for those who closed their eyes. No thoughts of death were near, _ But to wake a sinking in the deep, — Shrieks sounding in their ears. 8 So it is with us, my loving friends. __-‘There’s breakers all around, _ And in an unexpected hour The last great trump will sound. _ The shrieks and groans and cries of those Who fear the chastening rod, All unprepared must then come forth To meet Almighty God! 235 236 BALLADS AND SEA SONGS 89 THE CEDAR GROVE For such information as I am able to present concerning the wreck of the Cedar Grove I am indebted to Mr. Francis J. Audet, Chief of the Index and Information, Public Archives of Canada, who procured the facts from Mr. E. M. Hurst, Collector of Customs at the Port of Canso. The Steamship Cedar Grove, of about 2000 tons’ register, was wrecked off Canso, Nova Scotia, on the night of November 30, 1882. She had sailed from London, and was bound for St. John, New Brunswick, with a cargo principally of liquors. The captain and two engineers were lost, also a Mrs. Farrell, the only female pas- senger on board. The particular rock on which the ship split is the so-called Cedar Grove Breaker on the southeast side of St. Andrews Island. The text that follows was printed in The Quest of the Ballad, pp. 201-204. It was taken from the singing and recitation of Harry Sutherland, River John, Pictou County. 1 It’s of a noble steamer, the Cedar Grove by name, She crossed the briny ocean, from London city came. - She was strongly built on the banks of Clyde, five hundred tons or more; But her strength it proved of no avail on the rocks of Canso shore. N The night was dark and stormy, the lookout was at his post; The first he saw of danger was breakers on the coast. The sailor at the helm, he thought that he could tell They were too nigh the land by the heaving of the swell. 3 He wished to give the warning, but thought ’t was not his place; Discipline must be followed whatever be the case. The signal it was given our engines to reverse. ‘To starboard your helm!” the captain cries, ‘Our ship is off her course.” 4 But still our noble steamer, she nobly boomed along, Till in one moment a dreadful crash brought fear to everyone. Two engineers and firemen were hard to work below, And by their perseverance it’s backward she did go. 5 Once more we gained the deep water, but yet our doom was sealed. The briny waves rolled in her bows, and then to port she keeled. With a heavy weight of water from forward it did flow, Burst into aft compartments, and down our ship did go. Se eee ee ee FROM NOVA SCOTIA 237 6 The saddest of my story which yet it doth remain, We had one lady passenger — Miss Farrel was her name. For to visit some relations in the city of St. John She ventured on the stormy deep, but now she’s dead and gone. 7 A sailor said he saw her in the cabin door stand by, Did grieve his heart with pity to hear her weep and cry. He offered to console her, and said, ‘‘ You'll not be lost.” And a moment later that lady’s form in the breaking waves was tossed. 8 Our steward held her bravely out o’er the ship’s dark rail, And waiting for the boats to pull up against the gale. A giant wave swept over, which did prevail his grip, And then that lady’s tender form went floating from the ship. 9g The same wave took our captain, and he was seen no more. Through heavy mist and darkness the boats still lingered near. Two engineers were also lost just as the ship went down. Their bodies or the lady’s have never yet been found. to And now the ill-fated Cedar Grove on the bottom she doth lie. To save the most of her cargo the divers hard did try. A disfigured body was carefully sent on — Our aged honoured captain who died while in command. 11 Our cargo was for Halifax from the city of St. John, And to the latter port our steamer did belong. She was strongly built on the banks of Clyde, five hundred tons or more, But her strength it proved of no avail on the rocks of Canso shore. 238 BALLADS AND SEA SONGS go CAPTAIN GLEN THERE is a group of ballads — including ‘Brown Robyn’s Confession” (Child, No. 57), ‘The Gosport (or Gaspard) Tragedy,” ““The New York Trader” (No. 91), “The Sailor’s Tragedy”’ (No. 92), and “ Captain Glen” — which deal with the motive of a ship containing a criminal who during the voyage is detected by supernatural means and punished for his sins (see Kittredge, Journal, xx, 261- 264; XXVI, 177-178). In “The Gosport Tragedy” and “The Sailor’s Tragedy” this motive appears toward the end and supplies the ideal revenge finale, but in the present ballad, as in “ Brown Robyn’s Confession” and “The New York Trader” (No. 91) it is dominant, and in each of the three the ship is held back by a storm until the crew discover the criminal and throw him overboard. For British texts of ‘‘Captain Glen” see: Ebsworth, Roxburghe Ballads, vu, 141-143 (“‘An Excellent New Song, entitled Captain Glen”); Motherwell’s Minstrelsy, Appendix, XxxiI (one stanza with music); Logan, A Pedlar’s Pack of Ballads and Songs, pp. 47-50 (‘‘Captain Glen’s Unhappy Voyage to New Barbary,” from a broadside of about 1815, collated with a copy dated 1794); Christie, Traditional Ballad Airs, 1, 240-241; Greig, cxxx; Ashton, Real Sailor Songs, p. 82; Christopher Stone, Sea Songs and Ballads, pp. 100-103; Masefield, A Sailor's Garland, pp. 199-202. See also Notes and Queries, 3d Series, x1, 419-498; Journal of the Folk-Song Society, v, 263-265. In America the song was printed in an early nineteenth-century broadside, “Captain Glen’s Unhappy Voyage to New Barbary” (Ford, Massachusetis Broadsides, No. 3003); The Forget Me Not Songster (New York, Nafis and Cornish), pp. 76-78; the same (Philadelphia and New York, Turner and Fisher), pp. 210-213, and The Old Forget Me Not Songster (Boston, Locke and Dubier), pp. 76-78. “Captain Glen.”” From the singing and recitation of Alexander Harrison, Maccan, Cumberland County. 1 There was a ship and a ship of fame Launch’d off the stocks, bound to the main, With a hundred and fifty brisk young men Was picked and chosen every one. 2 William Glen was our captain’s name. He was a tall and brisk young man, As bold a sailor as ever went to sea, And he was bound to New Barbary. 3. The first of April when we did set sail, Blest with a sweet and prosperous gale, For we were bound to New Barbary With all our whole ship’s company. 4 Wehad not sailed a day but two Till all our whole ship’s jovial crew Io If I2 13 FROM NOVA SCOTIA 239 They all fell sick but sixty-three, As we went to New Barbary. One night the captain he did dream There came a voice which said to him, ‘‘Prepare you and your company. To-morrow night you must lodge with me.” This wak’d the captain in a fright, Being the third watch of the night; Then for his boatswain he did call, And told to him his secrets all. “When I in England did remain The holy Sabbath I did profane; In drunkenness I took delight, Which doth my trembling soul affright. ‘“There’s one thing more I’m to rehearse, Which I shall mention in this verse, A Squire I slew in Staffordshire All for the love of a lady fair. ‘“‘Now ’tis his ghost, I am afraid, That hath to me such terror bred; Although the king has pardoned me, He’s daily in my company.” ‘‘O worthy captain, since ’t is so, No mortal of it e’er shall know; So keep your secret in your breast, And pray to God to give you rest.” They had not sailed a league but three Till raging grew the roaring sea; There rose a tempest in the skies Which filled our hearts with great surprise. Our mainmast sprung by break of day, Which made our rigging all give way. This did our seamen sore affright, The terrors of that fatal night. Up then spoke our foremost man As he by the fore-yard did stand. He cried, ‘‘ The Lord receive my soul!” So to the bottom he did fall. 240 14 15 16 17 18 23 20 21 22 The sea did Wee both fore ee aes r Till scarce one sail on board was left; Our yards were split and our rigging ee The like was never seen before. The boastwain then he did declare The captain was a murderer, Which did enrage the whole ship’s crew. Our captain overboard they threw. Our treacherous captain being gone, Immediately there was a calm; The winds did calm and the raging sea As we went to New Barbary. _ Now when we came to the Spanish shore Our goodly ship for to repair, The people all were amazed to see Se Our dismal case and misery. —~— - * But when our ship was in repair To fair England our course did steer; And when we came to London town Our dismal case was then made known. Now many wives their husbands lost, Which they lamented to their cost, And caused them to weep bitterly These tidings from New Barbary. | A hundred and fifty brisk young men Did to our goodly ship belong; Of all our whole ship’s company Our number was but seventy-three. Now seamen all, where’er you be, I pray a warning take by me: As you love your life, still have a care You never sail with a murderer. *T is never more I do intend For to cross over the raging main; — But I’ll live in peace in my own country, And so I end my tragedy. ; FROM NOVA SCOTIA 241 Ol THE NEW YORK TRADER “THE New York Trader” is one of the group of English ballads in which a criminal on board a ship is detected and punished through supernatural agencies (see note on “Captain Glen,’’ No. 90). For English texts see Williams, pp. 265-266 (‘‘The Guilty Sea Captain’’); Ashton, Modern Street Ballads, pp. 268-270; Journal of the Folk-Song Society, Vil, 2-5 (where it is confused with ‘“‘Captain Glen”’). See also broadsides: Spencer, Bradford (1, 118); George Walker, Durham, No. 110 (m1, 31); Cat- nach (vu, 87); Such, No. 446 (xim, 140); Catnach (with “Little Jessey” and “Happy Land”’); T. Batchelar (with “The Bold Privateer”); Catnach (with “The Bold Privateer’’). 7 For American copies see The Forget Me Not Songster (New York, Nafis and Cornish), pp. 100-101; The American Sailor’s Songster (New York, Cozans), pp. 123-124; The Washington Songster (New York, Turner and Fisher), pp. 123-124. From the singing and recitation of Peter Hines, Tatamagouche, Colchester County (printed, Quest, pp. 155-157). t Toa New York trader I did belong. She was well built, both stout and strong, Well rigged, well manned, well fit for sea, Bound for New York in America. 2 Our cruel captain, you do understand, Meant to starve us before we made the land; At length our hunger grew very great, We had but little on board to eat. 3 Being in necessity All by our captain’s cruelty, Our captain in his cabin lay, He dreamt a dream, those words did say: 4 ‘Prepare yourselves and ship’s company, For to-morrow night you must lie with me.” Our captain awoke in a terrible fright, It being the first watch of that night. 5 Loud for the bos’n he did call, And to him related his secret all. “Captain,” said he, ‘‘if this be so, O let none of your ship’s crew know, But keep your secrets in your breast, And pray to God to give you rest.” shih es Te cd Aa e oa + Whe og Io II I killed my master, a merchant there, 4a All for the sake of his lady fair, = “T killed my wife and children three All through that cursed jealousy, ee ae And on my servant laid the blame, And hangéd he was for the same.” Early next morning a storm did rise, Which caused the seamen much surprise; The sea broke over us fore and aft rae Till scarce a man on the deck was left. Then the bos’n he did declare Our captain was a murderer. That so enraged all the ship’s crew They overboard the captain threw. When this was donea calm wasthere, Our good light ship homeward did steer; The wind abated and calmed the sea, apey And we sailed safe to America. And when we came toanchor there Our good light ship for to repair, = 8 — The people wondered much to see iene What poor distressed mates were we. FROM NOVA SCOTIA 243 Q2 THE SAILOR’S TRAGEDY THis must be the song that intrigued the youthful imagination of George Crabbe when he was a schoolboy in Aldborough. He encountered it there, however, not in the singing of the villagers, but in a sheet of poems and songs attached to a number of Martin’s Philosophical Magazine, and years afterwards he was in the habit of repeating the couplet which had particularly impressed : The boat went down in flames of fire, Which made the people all admire. (See The Life and Poetical Works of the Reverend George Crabbe, edited by his son, London, 1847, p. 5.) If this is actually a couplet from ‘The Sailor’s Tragedy,” as it seems to be, the song was current in England at least very soon after the middle of the eighteenth century. Greig prints a version entitled “The Ghost So Grim” (cxxx), which begins, “I am a sailor at home aright.” On March 25, !1805, Laurie and Whittle (London) published an engraved and illustrated broadside containing a full text of the English song: ‘‘The Sailor and the Ghost: A whimsical Ballad. — As sung by Mr. Moody, Mr. Suett, and Mr. R. Palmer.” Thus it appears that the ballad was a favourite on the English stage in the latter part of the eighteenth century. For the same text see The Universal Songsier; or Museum of Mirth (London, 1834), 1, 273 (“The Sailor and the Ghost of his Deserted Deary”’). Cf. Journal of the Folk-Song Society, VII, 46-47. At some time in its career — not later than the early nineteenth century — the ballad appeared in a longer form, and in a different style, with the title “Handsome Harry.” As this version is to be found only in American broad- sides and songsters, it is to be presumed that it originated in the United States. It is more “‘literary” than the original song, and decidedly less vivid. Quite possibly it was a version specially prepared for the broadside press in Boston. See Ford, Massachusetts Broadsides, Nos. 3146-3150, and The Isaiah Thomas Collection, Nos. 107-108; Kittredge, Journal, XXvI, 177-180. No local title. From the singing and recitation of Mrs. Ellen Bigney, Pictou, Pictou County (printed in part, in Quest, pp. 157-158). 1 Tamaseaman... And on the sea I take great delight. The female sex I did beguile, And two of them I had with child. 2 I promised to be true to both, And bound myself under an oath To marry them if I had life. The one of them I made my wife. 3. The other being left alone, Crying, ‘‘O false and deluding man, To me you have done a wicked thing, Which public shame will upon me bring!’ 244 IO pi I2 BALLADS AND SEA SONGS To the silent woods this young maid she goes Her public shame for to disclose, And on a tree herself did hang, Which broke the tender thread of life. Two men of hunting did her see, Straightway they went and cut her down, And from her bones her flesh was beastly tore, Which made these young men weep full sore. And in her bosom a note was found. These words were written out in large: ‘Bury me not, I do you charge, But on the ground do let me lie, ‘“That every man who passes by May warning take not to delude poor womankind.” It was often said she vexed him sore, That on the sea he was forced to go. One day as he was sailing on the mainmast high, A little boat he chanced to spy; And in that boat was a ghost so grim, Which made him tremble in every limb. It’s on the deck this young man goes His mind to the captain for to disclose: ‘‘O captain, captain, stand on my defense, For here’s a spirit coming hence!” It’s on the deck the captain goes To help this young man to face his foes. ‘It is well known I was a maid When first by you I was betrayed. ‘You betrayed me once. I have you now. I am a spirit come for you. And now I’ve told you my mournful song, All you who know where love belongs.” With great persuasions unto the boat The young man he was forced to go. The boat it sunk in a flame of fire, Which made the ship’s crew all admire. FROM NOVA SCOTIA 245 ye GREEN BEDS THIS is a song popular both in the fo’c’s’le and in the cottage. Many versions in recent oral circulation have been recovered in England and America. For references see Journal, XXXV, 373; Cox, p. 390. There are other songs so similar to this in motive that the resemblance must be regarded as due to influence, not to accident. The most important of these is “The Saucy Sailor” (a title also used occasionally for ‘‘Green Beds’’), in which the ragged sailor, with his pockets full of gold, comes on shore and visits his sweetheart to make trial of her constancy. There is no mother here, and no boarding-house. The test is applied directly to the sweetheart, who is no more disinterested than is the Liverpool landlady, and who is made in the end to endure the same tortures of enlightenment and of abandonment by the gold-laden tar. For versions of this song see Sharp, Folk-Songs from Somerset, Iv, 42-43 (No. 92), and One Hundred English Folksongs, No. 45; Baring-Gould, Songs of the West, No. 21; Ashton, Real Sailor-Songs, p. 47 (‘The Tarry Sailor’’); Barrett, English Folk-Songs, p. 55; Baring-Gould and Sharp, English Folk- Songs for Schools, pp. 76-77; Journal of the Folk-Song Society, 1V, 342-345. See also the following broadsides: no imprint (v, 63); Ryle (vu, 113); Bebbington, Manchester, No. 350 (x, 96); Such, No. 260 (xm, 105); Catnach (with ‘Dame Durden”); Ryle and Co. (with “My Skiff is on the Shore” and “A Lowly Youth”); Such (with ‘Canada I,O”’’). A Pitts broadside has the song under the title ‘‘The Tarry Sailor”: here, after the sweetheart fails to meet the test, Jack departs and goes into business as proprietor of a public house. For a short American version see Cox, p. 380. In another song which also lacks the mother and the boarding-house, the testing of the sweetheart is only the first stage in the progress of a Murder and Retribution ballad. After the sailor goes away jingling the gold in his pockets, the abandoned sweetheart persuades another man to join her; they follow the sailor, murder and rob him, and later are hanged. See Broadwood, English Traditional Songs and Carols, pp. 66-67 (‘The Little Lowland Maid”); Journal of the Folk-Song Society, 1, 188-189 (‘The Pretty Sailor, or The Lowland Maid”’). | The final change is rung in a variation with a happy ending. Here the sailor comes to his sweetheart in ragged apparel and with no hint of the gold in his pockets, but the sweetheart, like Emma, shows herself a pattern of constancy, and she is richly rewarded with gold and marriage. See Hammond, Folk-Songs from Dorset, pp. 22-23 (‘‘It’s of a Sailor Bold”’). Along with this happy variant should be mentioned the sentimental song of ‘‘The Shipwrecked Tar,” in which Jack, with tattered garments and pockets lined with gold, comes ashore and calls successively upon the false jades Poll, Pegg, Doll, and Kitty, who in suc- cession turn him out of doors. Then he goes to Nancy, whom he had formerly deserted for these faithless wenches. She receives him with My arms shall be the haven For my poor shipwrecked tar, 246 BALLADS AND SEA SONGS and her reward is immediate: Heaven and my love reward thee. I’m shipwrecked but I’m rich. All shall with love regard thee, Thy love shall so bewitch. There are broadsides of this song, issued by Pitts and by Jennings (London) on file in the Harvard College Library. cA “The Liverpool Landlady.”” From the singing and recitation of Richard Hines, River John, Pictou County (printed, Quest, pp. 190-192). 1 I’ll tell you a story, I’ll not keep you long, Concerning a sailor whose name it was John. He had made a gallant voyage to sea and just returned to shore; He was ragged and dirty as though he was poor. 2 He went to the house where he used to lodge in; He called for a glass of the very best gin. ‘““You’re welcome home, dear Johnny, you’re welcome home from sea. Last night my daughter Polly was dreaming of thee. 3 ‘She dreamed that you made a successful voyage; She dreamed that you brought home a lot of foreign toys.” O John he sighed and said, ‘‘My voyage it had been crossed; Upon the wide ocean our ship and cargo lost. 4 ‘‘Call down your daughter Polly and set her down by me, And fetch in some liquor for us to have a spree.” ‘My daughter Polly is busy, John, nor shall she come to thee, Nor neither will I trust you for a glass, two, or three.” 5 O John he being drowsy he hung down his head; He asked for a candle to light him to bed. ‘‘My beds are all full, John, and has been all the week; Therefore some other lodgings you must go and seek.” 6 ‘‘How much do I owe you?” the sailor then he said, ‘‘Come make out your bill and down it shall be paid.” ‘“‘Five and forty shillings, John, you owed to me of old.” With that he pulled out his two hands full of gold. FROM NOVA SCOTIA 247 7 The sight of the money made the old woman rave, To see that the sailor had plenty for to gave. “While you were in earnest, John, I am only in jest. Of all my old boarders, John, I like you the best. 8 “T’ll call down my daughter Polly and set her on your knee; I’ll bring in plenty liquor for you to have a spree. The green bed is empty, John, and has been all last week, Where you and my daughter Polly can take a silent sleep.” 9 “Before I’d lie in your house I’d lie into my grave. You thought I had no money. On me you played the knave. It’s when a man’s got money he can rant and roar, With brown jugs and quart mugs and tumblers in galore.” 10 Come all you bold sailors that ploughs the rough main, That do earn your money in cold winds and rain, When you do get it pray lay it up in store. Without that companion you’re turned out of door. B “Green Beds.”’ From the singing and recitation of Robert Langille, Tata- magouche, Colchester County (printed Quest, pp. 193-194). 1 ’T was of a young sailor Who’s lately come ashore. He’s ragged in his apparel Like one that is poor. 2 Hecame unto the boarding house That he used to board in. He came unto the old woman To see what she would say to him. 3 ‘‘You’re welcome home, dear Johnnie, You’re welcome home from sea. Last night my daughter Mollie Was dreaming of thee. 4 ‘‘What news, what news, dear Johnnie? What news you brought from sea?” ‘‘Bad news, bad news,” says Johnnie, ‘For all is gone from me. ‘The ship has sprung a leaking, Andallis gonefromme, | And the last of my money | Is drowned in the sea. 6 ‘Call down your daughter Mollie, Call her down to me, \ paral And we'll drink and dees our sorrow, - And married we shall be.” 7 ‘My daughter she is busy, Nor can she come to you; Neither will I trust you With one bowl or two.” 8 When Johnnie heard this oS ae ; ; ah He hung down his head, 72 Se SG And called for a candle reen ae To light himself to bed. cS ee 9 ‘The green beds are full, John, And have been for a week; So for some other lodgings You must go for to seek.” 10 When Johnnie heard this He hung down his head, And called for his reckoning Which he had to pay. tz ‘You owe me thirty shillings, John, With something of the old.” tae With that he pulled out ie Se His two hands fullof gold. | 12 When the old woman saw this She began to rue, Ps. Saying, ‘‘For the future, Johnnie, pe I’m not quitedoneof you. | 13 ‘‘If you had been in earnest, John, a As I was in a jest. gah te ie ck By my reputation, Johnnie, ‘en at I love you the best.

211 Come all ye men and maidens and listen tomy song. .....-+..-: 124 Come all you aged people, I pray youlendanear.........-. 207 Seem cuewou pees and beaux 9... . .) 4s ee be ew ee 455 Come all you bold heroes that plough the rough main .......-- 217 418 INDEX OF FIRST LINES Come all you bold seamen that ploughs the rough main. . ...... 220 Come all you bold shanty boys and list whileI relate... ...... 367 Come all you brisk and lively lads, come listen untome ....... 1092 Come ali you Britons, I pray give ear . . <%. >.

. 5). ee 246 If you happen to walkout. 5... 5 6 6 76 es a 361 In bonny Scotland blithe and gay . . «9. «5 ss) s 9 143 In Charlotte Town where I was born = ..) «4/55 as) ue 37 In Dublin city where I did dwell’. . 4 5. % = 555) ee 159 In Gaspard of late a young damsel did dwell ............ 96 In history we read of a freemason king . . - + + #3) ieee 381 In India there lived a noble lord... - (.) 2) + 4 16 In London there lived a pretty fair maid’. .°. ~ =: 35) ae 90 In London town where I did dwell . . . ... x 4S Slee 157 In Mill o’ Tiftie there lived aman. ...... oie 4S a 60 In sad despair I wandered, my heart was filled with woe ....... 351 In the Highlands of Scotland there lived a youngman ........ aD In the sweet sunny south there was peace and content. ....... 139 In yonder isle beyond Argyle... 2°). 6) s.r Sey 3. It fell about the Martinmas day .* : 0.9. °.° 0° ose 35 It happened to be on the first of May ....... ee ee 225 It’s American frigate from Baltimore came . . . . . 29s) 5) pee 206 ee en oe a ee Ce R hs Sa INDEX OF FIRST LINES eee ered in Fugee in South America)... 3. wk ee emererbe 1OCKeC UP in Prison... 6 ke oe eee Serer SNePNETCESS Se ee a. Deeeatiner Wio lived in;York ..°. 2. 2 55 we ee ereretnetiocame young lady vay .). 6 ek eee a tiebway ropper a story I willtell .. . - 2... 2 we a 201 a noble steamer, the Cedar Grove by name .......... Peeertiendadyimiingland did dwell ....-:.. 2-4 1 sane, at eo. atic merchant in London did dwell. . ........4... It’s of a Saturday evening as we made upthe plan ......... ee reer ior who was cutting outa coat ........5..8.4. Meeuueey ero amna wiisky there... ... . + eee ee ee Me OW OU WateriOrd’. 650. Fe ee ee ee Seemeemuenperore thatlast great charge... . 2-5 2 ee we es Etewaa. 2 cea Captain that followed thesea ..... 2.6.2... iteyne Om september the eighteenth day .......--.....6. Bue ery Onin Of May... we ee Jack the jolly ploughboy was ploughing up hisland ......... Pemeiteesta success toa truce Irish bawd .....--+....4... Deeeerirree Ne was hold forester . 00.7. ee ee ee Sereerewoee te Wasa worthy man .9..0. -. 66 se ee ee ee Sei nive tome acourtng” 6. 2 6 9. 25 ek ee ee peer oiner mow l’mmatried” . . 2-2. ee ee te ee My grandmother lived on yonder little green . ...-.-....... My name is Duncan Campbell from the town of Argyle ....... Me eter Abelay 2 ek i ee My name it is Robert Anderson, I’ll have you understand ...... Now it was in the county of Wicklow lived Larry McGee. ...... Now me name is Bull Morgan McCarthy from Thrim ........ (Va umberman’s lifeisa wearisome life ...... + 2+ + eee - O can you love little? Ocan youlove long? ............ O come all ye men of learning, and rambling boys beware! ..... . Meme marae OU Poodman ate’en. . . . 2 6. 6 ele eee we ee ive you Ieard the latest news? . . ... -06 6 6 ee ee we ee eames OOD Mard-working man 2.0. 206 6s ee ee we “O I thought more of my greasy pots and pans” .......... toned a dog would call him Hunter... .. 1 «2 2 ee we © Johnny came over the other day . - . 2s 1 ee eee we ees Mae ODOT: RANZO ee ek Ree ele O where are you going, my pretty fair maid? .....-+-+-+-++-. Deimeto ne OL man... 20s ee ee ke i ee es “O who is at my bedroom window?” . . 2. ee ee ee ee ees Of a wild colonial boy, Jack Davis washisname ...-..-++-+.-. Ofall the northern Scottish chiefs . . . 2.06 6 8 fee ee wee Of all the Scottish northern chiefs... . 2. - + es + © se ee ee ee tere Te 420 INDEX OF FIRST LINES On the fourteenth of July once so clear wasthe sky ......... 215 One early morning as I rode over... 2.) 3,2) One evening as I rambled down by the Clarence dock . ....... 260 One evening as I rambled two miles below Pomroy ......... 103 One evening as I went a walking . . . 2°.) Ge 120 One morning for recreation as I roamed by the seaside. ....... 175 One morning for recreation as I strolled the beach seaside ...... 176. One morning very early, in the pleasant month of May ....... 186 One Paddy Doyle lived in Killarney .°.. ... 2 0 See tg38 Our Admiral gave orders on the same day. ; . 1°. 73) 213- “Our corporal drums are beating” . . ...%.°. 7 290 eee Fix Saint Patrick’s day in ’sixty-five from New York we set sail ..... 228 Sally Brown had a danghter Nellie. 5 . 4 “i: (age 275 Some years ago, perhaps.a hundred ©. . . 4." 3) ee 315 The Chesapeake so bold) se 0.0. 2. 208 The drums and fifes are beating ... . . . < 3°) 113 The Duke of Merchant’s daughter walked out one summer’s day ... 14 The eighteenth day of June, my boys. ©. 0". 4) ye 193 The pale moon was rising o’er yonder high mountain. ........ 344 . «+ then he saddled his steed... 2. ., (0; Rea IOI There lived three brothers in fair Scotland. , 3 yas ee 61 There was a fair young creature who lived by the seaside. . .... . 147 There was a flash frigate, from New York shecame ......... 207 There was a lady came from York... . J°\)3) (Op ne 12 There was a lord in Ambertown . >, . ..). 2 he There was a sea captain that followed the sea. . .......2..--. 75 There was a ship and a ship of fame . .-. .. <°) 0; gee 238 To a New York trader E.did belong >>.) . . 5 (5p 241 *T was in a summer season’... 5 35) 2 5 1 Kore) ’T was of a beautiful young damsel, as I have heard it told ...... 84 *T was of a young sailor 9. ...°. 3, Sc selves oe ’T was of a young squire in Yarmouth did dwell. .......... 80 ’T was of the Shannon frigate in the merry month of May ...... 210 *T.was on a day, a high holiday ... .°/ 2°. 9 See 27, 30, 32 é *T was on a winter eventing . 2.0.64)... 0) Se TOG Or *T was on. one Sunday morning . . . >. 0° cl Pie 368 ”T was on the ninth day of August in the year ’ninety-eight ..... 2) *T was one cold winter’s night when the winds ........... 164. -\4 *T was only a ripple and just a puff that stirred our old brown sails . . . 387 We’re homeward bound, come let us sing. . . ., . ) J) 267 We got.ready for the battle.) 2." 2 G03. ee gy gt 8 1 ee 203 What mournful news that we did hear . . > > .° 53) S75 | When first from my country a stranger, curiosity caused me toroam. . 135 When Fortune’s blind goddess had fled my abode .......... aio When I was single, O then’ . 20.0. 2 4). 0 2 347 When I was young and in my prime, my age being twenty-one Mee AS Par ye, ‘Will ye gang to the Highlands, my jewel, wi? me?” . ........ 69 brisk young sailor Se Ae ie Fhat i in merriment it delight ee ng Charlotte lived on the mountain side. . 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