Part 12
23. 'Ye needna cast off your gowns of red, It's only a sham, the begging o' my bread.'
24. The bridegroom he had wedded the bride, But young Hind Horn he took her to bed.
[Footnote A: After stanza 2 there is a gap in the story. Other versions say that Hind Horn goes, or is sent, to sea.]
[Annotations: 10.2: The bride has lingered six weeks in hopes of Hind Horn's return. 12.1: 'rung,' staff.]
EDWARD
+The Text+ is that given by Percy in the _Reliques_ (1765), with the substitution of _w_ for initial _qu_, and _y_ for initial _z_, as in _Young Waters_ (see p. 146). In the fourth edition of the _Reliques_ Percy states that 'this curious song was transmitted to the editor by Sir David Dalrymple, Bart., late Lord Hailes.'
Percy's adoption of antique spelling in this ballad has caused some doubt to be thrown on its authenticity; but there is also a version _Son Davie_, given in his _Minstrelsy_ by Motherwell, who, in referring to the version in the _Reliques_, said there was reason for believing that Lord Hailes 'made a few slight verbal improvements in the copy he transmitted, and altered the hero's name to Edward, a name which, by the bye, never occurs in a Scottish ballad except where allusion is made to an English king.'
+The Story+ has a close parallel in Swedish, the form of the ballad remaining in dialogue.
Motherwell points out that the verses of which _Edward_ consists generally form the conclusion of the ballad of _The Twa Brothers_, and also of certain versions of _Lizie Wan_; and is inclined to regard _Edward_ as detached from one of those ballads. More probably the reverse is the case, that the story of _Edward_ has been attached to the other ballads.
The present version of the ballad exhibits an unusual amplification of the refrain. The story is told in two lines of each eight-lined stanza; but the lyrical effect added by the elaborate refrain is almost unique.
EDWARD
1. 'Why dois your brand sae drap wi' bluid, Edward, Edward? Why dois your brand sae drap wi' bluid, And why sae sad gang yee, O?' 'O, I hae killed my hauke sae guid, Mither, mither: O, I hae killed my hauke sae guid, And I had nae mair bot hee, O.'
2. 'Your haukis bluid was nevir sae reid, Edward, Edward. Your haukis bluid was nevir sae reid, My deir son I tell thee, O.' 'O, I hae killed my reid-roan steid, Mither, mither: O, I hae killed my reid-roan steid, That erst was sae fair and frie, O.'
3. 'Your steid was auld, and ye hae gat mair, Edward, Edward: Your steid was auld, and ye hae gat mair, Sum other dule ye drie, O.' 'O, I hae killed my fadir deir, Mither, mither: O, I hae killed my fadir deir, Alas! and wae is mee, O!'
4. 'And whatten penance wul ye drie for that, Edward, Edward? And whatten penance will ye drie for that. My deir son, now tell me, O, 'Ile set my feit in yonder boat, Mither, mither: Ile set my feit in yonder boat, And Ile fare ovir the sea, O.'
5. 'And what wul ye doe wi' your towirs and your ha', Edward, Edward? And what wul ye doe wi' your towirs and your ha', That were sae fair to see, O?' 'Ile let thame stand tul they doun fa', Mither, mither: Ile let thame stand tul they doun fa', For here nevir mair maun I bee, O.'
6. 'And what wul ye leive to your bairns and your wife, Edward, Edward? And what wul ye leive to your bairns and your wife, Whan ye gang ovir the sea, O?' 'The warldis room, late them beg thrae life, Mither, mither: The warldis room, let them beg thrae life, For thame nevir mair wul I see, O.'
7. 'And what wul ye leive to your ain mither deir, Edward, Edward? And what wul ye leive to your ain mither deir? My deir son, now tell me, O.' 'The curse of hell frae me sall ye beir, Mither, mither: The curse of hell frae me sall ye beir, Sic counseils ye gave to me, O.'
[Annotations: 3.4: 'dule,' grief; 'drie,' suffer. 6.5,7: _i.e._ The world is wide.]
LORD RANDAL
+The Text+ is from Scott's _Minstrelsy of the Scottish Border_ (1803). Other forms give the name as _Lord Ronald_, but Scott retains _Randal_ on the supposition that the ballad originated in the death of 'Thomas Randolph, or Randal, Earl of Murray, nephew to Robert Bruce, and governor of Scotland,' who died at Musselburgh in 1332.
+The Story+ of the ballad is found in Italian tradition nearly three hundred years ago, and also occurs in Dutch, German, Swedish, Danish, Magyar, Wendish, etc.
Certain variants of the ballad bear the title of _The Croodlin Doo_, and the 'handsome young man' is changed for a child, and the poisoner is the child's step-mother. Scott suggests that this change was made 'to excite greater interest in the nursery.' In nearly all forms of the ballad, the poisoning is done by the substitution of snakes ('eels') for fish, a common method amongst the ancients of administering poison.
Child gives a collation of seven versions secured in America of late years, in each of which the name of Lord Randal has become corrupted to 'Tiranti.'
The antiphonetic form of the ballad is popular, as being dramatic and suitable for singing. Compare _Edward_, also a dialogue between mother and son.
LORD RANDAL
1. 'O where hae ye been, Lord Randal, my son? O where hae ye been, my handsome young man?' 'I hae been to the wild wood; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'
2. 'Where gat ye your dinner, Lord Randal, my son? Where gat ye your dinner, my handsome young man?' 'I din'd wi' my true-love; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'
3. 'What gat ye to your dinner, Lord Randal, my son? What gat ye to your dinner, my handsome young man?' 'I gat eels boil'd in broo'; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'
4. 'What became of your bloodhounds, Lord Randal, my son? What became of your bloodhounds, my handsome young man?' 'O they swell'd and they died; mother, make my bed soon, For I'm weary wi' hunting, and fain wald lie down.'
5. 'O I fear ye are poison'd, Lord Randal, my son! O I fear ye are poison'd, my handsome young man!' 'O yes, I am poison'd; mother, make my bed soon, For I'm sick at the heart, and I fain wald lie down.'
[Annotations: 3.3: 'broo',' broth.]
LAMKIN
+The Text+ is from Jamieson's _Popular Ballads_. He obtained it from Mrs. Brown. It is by far the best version of a score or so in existence. The name of the hero varies from Lamkin, Lankin, Lonkin, etc., to Rankin and Balcanqual. I have been informed by Andrew McDowall, Esq., of an incomplete version in which Lamkin's name has become 'Bold Hang'em.'
Finlay (_Scottish Ballads_) remarks:-- 'All reciters agree that Lammikin, or Lambkin, is not the name of the hero, but merely an epithet.'
+The Story+ varies little throughout all the versions, though in some, as in one known to Percy, it lacks much of the detail here given.
LAMKIN
1. It's Lamkin was a mason good As ever built wi' stane; He built Lord Wearie's castle, But payment got he nane.
2. 'O pay me, Lord Wearie, Come, pay me my fee': 'I canna pay you, Lamkin, For I maun gang o'er the sea.'
3. 'O pay me now, Lord Wearie, Come, pay me out o' hand': 'I canna pay you, Lamkin, Unless I sell my land.'
4. 'O gin ye winna pay me, I here sail mak' a vow, Before that ye come hame again, Ye sall hae cause to rue.'
5. Lord Wearie got a bonny ship, To sail the saut sea faem; Bade his lady weel the castle keep, Ay till he should come hame.
6. But the nourice was a fause limmer As e'er hung on a tree; She laid a plot wi' Lamkin, Whan her lord was o'er the sea.
7. She laid a plot wi' Lamkin, When the servants were awa', Loot him in at a little shot-window, And brought him to the ha'.
8. 'O whare's a' the men o' this house, That ca' me Lamkin?' 'They're at the barn-well thrashing; 'Twill be lang ere they come in.'
9. 'And whare's the women o' this house, That ca' me Lamkin?' 'They're at the far well washing; 'Twill be lang ere they come in.'
10. 'And whare's the bairns o' this house, That ca' me Lamkin?' 'They're at the school reading; 'Twill be night or they come hame.'
11. 'O whare's the lady o' this house, That ca's me Lamkin?' 'She's up in her bower sewing, But we soon can bring her down.'
12. Then Lamkin's tane a sharp knife, That hung down by his gaire, And he has gi'en the bonny babe A deep wound and a sair.
13. Then Lamkin he rocked, And the fause nourice sang, Till frae ilkae bore o' the cradle The red blood out sprang.
14. Then out it spak' the lady, As she stood on the stair: 'What ails my bairn, nourice, That he's greeting sae sair?
15. 'O still my bairn, nourice, O still him wi' the pap!' 'He winna still, lady, For this nor for that.'
16. 'O still my bairn, nourice, O still him wi' the wand!' 'He winna still, lady, For a' his father's land.'
17. 'O still my bairn, nourice, O still him wi' the bell!' 'He winna still, lady, Till ye come down yoursel'.'
18. O the firsten step she steppit, She steppit on a stane; But the neisten step she steppit, She met him Lamkin.
19. 'O mercy, mercy, Lamkin, Hae mercy upon me! Though you've ta'en my young son's life, Ye may let mysel' be.'
20. 'O sall I kill her, nourice, Or sall I lat her be?' 'O kill her, kill her, Lamkin, For she ne'er was good to me.'
21. 'O scour the bason, nourice, And mak' it fair and clean, For to keep this lady's heart's blood, For she's come o' noble kin.'
22. 'There need nae bason, Lamkin, Lat it run through the floor; What better is the heart's blood O' the rich than o' the poor?'
23. But ere three months were at an end, Lord Wearie came again; But dowie, dowie was his heart When first he came hame.
24. 'O wha's blood is this,' he says, 'That lies in the chamer?' 'It is your lady's heart's blood; 'T is as clear as the lamer.'
25. 'And wha's blood is this,' he says, 'That lies in my ha'?' 'It is your young son's heart's blood; 'Tis the clearest ava.'
26. O sweetly sang the black-bird That sat upon the tree; But sairer grat Lamkin, When he was condemn'd to die.
27. And bonny sang the mavis Out o' the thorny brake; But sairer grat the nourice, When she was tied to the stake.
[Annotations: 6.1: 'limmer,' wretch, rascal. 7.3: 'shot-window': see special section of the Introduction. 12.2: 'gaire'; _i.e._ by his knee: see special section of the Introduction. 13.3: 'bore,' hole, crevice. 14.4: 'greeting,' crying. 23.3: 'dowie,' sad. 24.2: 'chamer,' chamber. 24.4: 'lamer,' amber. 25.4: 'ava,' at all. 26.3: 'grat,' greeted, wept.]
FAIR MARY OF WALLINGTON
+The Text+ is from _Lovely Jenny's Garland_, as given with emendations by Professor Child. There is also a curiously perverted version in Herd's manuscript, in which the verses require rearrangement before becoming intelligible.
+The Story+ can be gathered from the version here given without much difficulty. It turns on the marriage of Fair Mary, who is one of seven sisters fated to die of their first child. Fair Mary seems to be a fatalist, and, after vowing never to marry, accepts as her destiny the hand of Sir William Fenwick of Wallington. Three-quarters of a year later she sends to fair Pudlington for her mother. Her mother is much affected at the news (st. 22), and goes to Wallington. Her daughter, in travail, lays the blame on her, cuts open her side to give birth to an heir, and dies.
In a Breton ballad Pontplancoat thrice marries a Marguerite, and each of his three sons costs his mother her life.
In the Scottish ballad, a 'scope' is put in Mary's mouth when the operation takes place. In the Breton ballad it is a silver spoon or a silver ball. 'Scope,' or 'scobs' as it appears in Herd, means a gag, and was apparently used to prevent her from crying out. But the silver spoon and ball in the Breton ballad would appear to have been used for Marguerite to bite on in her anguish, just as sailors chewed bullets while being flogged.
FAIR MARY OF WALLINGTON
1. When we were silly sisters seven, Sisters were so fair, Five of us were brave knights' wives, And died in childbed lair.
2. Up then spake Fair Mary, Marry woud she nane; If ever she came in man's bed, The same gate wad she gang.
3. 'Make no vows, Fair Mary, For fear they broken be; Here's been the Knight of Wallington, Asking good will of thee.'
4. 'If here's been the knight, mother, Asking good will of me, Within three quarters of a year You may come bury me.'
5. When she came to Wallington, And into Wallington hall, There she spy'd her mother dear, Walking about the wall.
6. 'You're welcome, daughter dear, To thy castle and thy bowers'; 'I thank you kindly, mother, I hope they'll soon be yours.'
7. She had not been in Wallington Three quarters and a day, Till upon the ground she could not walk, She was a weary prey.
8. She had not been in Wallington Three quarters and a night, Till on the ground she coud not walk, She was a weary wight.
9. 'Is there ne'er a boy in this town, Who'll win hose and shun, That will run to fair Pudlington, And bid my mother come?'
10. Up then spake a little boy, Near unto a-kin; 'Full oft I have your errands gone, But now I will it run.'
11. Then she call'd her waiting-maid To bring up bread and wine; 'Eat and drink, my bonny boy, Thou'll ne'er eat more of mine.
12. 'Give my respects to my mother, She sits in her chair of stone, And ask her how she likes the news, Of seven to have but one.
13. 'Give my respects to my mother, As she sits in her chair of oak, And bid her come to my sickening, Or my merry lake-wake.
14. 'Give my love to my brother William, Ralph, and John, And to my sister Betty fair, And to her white as bone:
15. 'And bid her keep her maidenhead, Be sure make much on 't, For if e'er she come in man's bed, The same gate will she gang.'
16. Away this little boy is gone, As fast as he could run; When he came where brigs were broke, He lay down and swum.
17. When he saw the lady, he said, 'Lord may your keeper be!' 'What news, my pretty boy, Hast thou to tell to me?'
18. 'Your daughter Mary orders me, As you sit in a chair of stone, To ask you how you like the news, Of seven to have but one.
19. 'Your daughter gives commands, As you sit in a chair of oak, And bids you come to her sickening, Or her merry lake-wake.
20. 'She gives command to her brother William, Ralph, and John, [And] to her sister Betty fair, And to her white as bone.
21. 'She bids her keep her maidenhead, Be sure make much on 't, For if e'er she came in man's bed, The same gate woud she gang.'
22. She kickt the table with her foot, She kickt it with her knee, The silver plate into the fire, So far she made it flee.
23. Then she call'd her waiting-maid To bring her riding-hood, So did she on her stable-groom To bring her riding-steed.
24. 'Go saddle to me the black, [the black,] Go saddle to me the brown, Go saddle to me the swiftest steed That e'er rid [to] Wallington.'
25. When they came to Wallington, And into Wallington hall, There she spy'd her son Fenwick, Walking about the wall.
26. 'God save you, dear son, Lord may your keeper be! Where is my daughter fair, That used to walk with thee?'
27. He turn'd his head round about, The tears did fill his e'e: ''Tis a month' he said, 'since she Took her chambers from me.'
28. She went on . . . And there were in the hall Four and twenty ladies, Letting the tears down fall.
29. Her daughter had a scope Into her cheek and into her chin, All to keep her life Till her dear mother came.
30. 'Come take the rings off my fingers, The skin it is so white, And give them to my mother dear, For she was all the wite.
31. 'Come take the rings off my fingers, The veins they are so red, Give them to Sir William Fenwick, I'm sure his heart will bleed.'
32. She took out a razor That was both sharp and fine, And out of her left side has taken The heir of Wallington.
33. There is a race in Wallington, And that I rue full sare; Tho' the cradle it be full spread up The bride-bed is left bare.
[Annotations: 1.1: 'silly,' simple. 1.4: 'lair,' lying-in. 2.4: 'gate,' way. 5.3: 'her mother' is, of course, her mother-in-law. 9.2: 'shun' = shoon, shoes. 13: This stanza is not in the original, but is supplied from the boy's repetition, st. 19. 13.4: 'lake-wake' = lyke-wake: watching by a corpse. 22: This, in ballads, is a customary method of giving expression to strong emotion. 29.1: 'scope,' a gag. 30.4: 'wite,' blame: _i.e._ her mother was the cause of all her trouble.]
END OF THE FIRST SERIES
INDEX OF TITLES
Page
Barbara Allan 150 Brown Adam 100 Brown Robin 158
Child Maurice 165 Child Waters 37
Earl Brand 44 Edward 189
Fair Annie 29 Fair Annie of Rough Royal 179 Fair Janet 94 Fair Margaret and Sweet William 63 Fair Mary of Wallington 201 Fause Footrage 172
Glasgerion 1
Hind Horn 185
Johney Scot 128
Lady Alice 163 Lady Maisry 70 Lamkin 196 Little Musgrave and Lady Barnard 19 Lord Ingram and Chiel Wyet 135 Lord Lovel 67 Lord Randal 193 Lord Thomas and Fair Annet 54
Old Robin of Portingale 13
The Bonny Birdy 25 The Boy and the Mantle 119 The Brown Girl 60 The Child of Ell 52 The Cruel Brother 76 The Cruel Mother 35 The Douglas Tragedy 49 The Gay Goshawk 153 The Marriage of Sir Gawaine 107 The Nutbrown Maid 80 The Twa Sisters o' Binnorie 141
Willie o' Winsbury 104
Young Bekie 6 Young Waters 146
INDEX OF FIRST LINES Page
About Yule, when the wind blew cule 147 As it fell one holy-day 19 As it fell out on a long summer's day 63
Be it right, or wrong, these men among 81
Child Maurice hunted ithe siluer wood 166 Childe Watters in his stable stoode 37
Glasgerion was a king's own son 2 God! let neuer soe old a man 13
'I am as brown as brown can be 60 In Scotland there was a babie born 186 In the third day of May 120 It's Lamkin was a mason good 196 'It's narrow, narrow, make your bed 30 It was in and about the Martinmas time 150
Kinge Arthur liues in merry Carleile 109 King Easter has courted her for her gowd 173
Lady Alice was sitting in her bower-window 163 Lord Ingram and Chiel Wyet 135 Lord Lovel he stood at his castle-gate 68 Lord Thomas and Fair Annet 54
O Johney was as brave a knight 129 'O well's me o' my gay goss-hawk 153 'O wha will shoe my fu' fair foot? 180 O wha woud wish the win' to blaw 101 'O where hae ye been, Lord Randal, my son? 194 'Oh did ye ever hear o' brave Earl Bran'? 46
'Rise up, rise up now, Lord Douglas,' she says 49
Sayes, 'Christ thee saue, good child of Ell 52 She leaned her back unto a thorn 35
The king but an' his nobles a' 158 The king he hath been a prisoner 104 The young lords o' the north country 70 There was a knight, in a summer's night 25 There was three ladies play'd at the ba' 77 There were twa sisters sat in a bour 141
When we were silly sisters seven 202 'Why dois your brand sae drap wi' bluid 190
'Ye maun gang to your father, Janet 94 Young Bekie was as brave a knight 7
Printed by T. and A. Constable, Printers to His Majesty at the Edinburgh University Press
* * * * * * * * * * * * * *
Errata:
Introduction:
[Footnote 3: _Little Musgrave and Lady Barnard_ (see p. 19, etc.).] _footnote marker missing from text_ [Footnote 5: For the most recent discussions, see Bibliography, p. lii.] _footnote marker missing or invisible_ carefully balanced antitheses, and all the mechanical devices _text reads "aud"_ Coleridge's _annus mirabilis_ was 1797 _"Cole/ridge's" printed at line break without visible hyphen_ his friend Humphrey Pitt of Shifnal, in Shropshire, _text has extra close quote after "Shropshire,"_ 1794. _Joseph Ritson._ Scotish Song. 2 vols. London. _spelling unchanged_
Ballads:
The Douglas Tragedy [Stanza 5.] 'Light down, light down, Lady Margret,' he said, _close quote after "Lady Margret," not visible_ [Annotation to 8.3] 'dighted,' dressed. _reference "8.3" missing in text_ Lord Lovel [Introduction] Of the former the commonest is _Der Ritter und die Maid_ _spelling unchanged_ Fair Annie of Rough Royal [Introduction] 'Lochryan,' says Scott, 'lies in Galloway; _text has extra close quote after "Galloway"_ Lord Randal [Stanza 2.] 'Where gat ye your dinner, Lord Randal, my son? Where gat ye your dinner, my handsome young man?' _text has empty line where "man?'" is expected_
End of Project Gutenberg's Ballads of Romance and Chivalry, by Frank Sidgwick