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DUKE 
UNIVERSITY 


LIBRARY 


n    U    K    E   •     U    N    I    V    R    R    S    I    T    Y    .     PUBLICATIONS 


The  Frank  C.  Brown  Collection  of 

NORTH  CAROLINA 

FOLKLORE 


ALL    DAY    SINGING 


The  FRANK  C.  BROWN  COLLECTION  of 

NORTH  CAROLINA 
FOLKLORE 


Thk   Folklore  of   North   Carolina   collectki)   by   Dr.    Frank   C.    Brown 

DURING  THE  YeARS    I912   TO    1 943    IN   COLLABORATION    WITH   ThE  NoRTH   CARO- 
LINA Folklore  Society  of  which  he  was  Secretary-Treasurer  191 3-1943 

IN    FIVE   VOLUMES 


General  Editor 
NEWMAN   IVEY   WHITE 

Associate  Editors 

HENRY  M.  BELDEN  PAUL  G.  BREWSTER 

WAYLAND  D.  HAND  ARTHUR  PALMER  HUDSON 

JAN   P.   SCHINHAN  ARCHER  TAYLOR 

STITH   THOMPSON        BARTLETT  JERE   WHITING 

GEORGE   P.   WILSON 

PAIJLL    F.  BAUM 
Wood  Engravings  by 

CLARE   LEIGHTON 


DURHAM,   NORTH   CAROLINA 

DUKE     UNIVERSITY     PRESS 


Volume  I 

GAMES  AND  RHYMES    •    BELIEFS  AND  CUSTOMS    •    RIDDLES 
PROVERBS   •   SPEECH   •  TALES  AND  LEGENDS 

Edited  by 

Paul  G.  Brewster,  Archer  Taylor,  Bartlett  Jere  Whiting, 

George  P.  Wilson,  Stith  Thompson 

Volume  II 
FOLK  BALLADS  FROM  NORTH  CAROLINA 

Edited  by 
Henry  M.  Belden  and  Arthur  Palmer  Hudson 

Volume  III 
FOLK  SONGS  FROM  NORTH  CAROLINA 

Edited  by 
Henry  M.  Belden  and  Arthur  Palmer  Hudson 

Volume  IV 
THE  MUSIC  OF  THE  BALLADS 

Edited  by 
Jan  Philip  Schinhan 

Volume  V 
THE  MUSIC  OF  THE  FOLK  SONGS 

Edited  by 
Jan  Philip  Schinhan 

Volumes  VI  and  VII 
SUPERSTITIONS  FROM  NORTH  CAROLINA 

Edited  by 
Wayland  D.  Hand 


The  FRANK  C.  BROWN  COLLECTION  of 

NORTH  CAROLINA 
FOLKLORE 


VOLUME  TWO 


FOLK    BALLADS 

FROM 
NORTH    CAROLINA 


Edited  by 

HENRY   M.    BELDEN 

and 

ARTHUR    PALMER    HUDSON 


DURHAM,  NORTH  CAROLINA 

DUKE     UNIVERSITY     PRESS 


1952 


COPYRIGHT,   1952,  BY  THE  DUKE  UNIVERSITY  PRESS 

Cambridge  University  Press,  London,  N.  W.  1,  England 

Second  Printing,  1959 


The  Library  of  Congress  has  cataloged  this  publication  as  follows: 

Duke  University,  Durham,  N.  C.    Library.   Frank  O.  Brown 
Collection  of  North  Carolina  Folklore. 

The  Frank  C.  Brown  Collection  of  North  Carolina  Folk- 
lore; the  folklore  of  North  Carolina,  collected  by  Dr.  Frank 
C.  Brown  during  the  years  1912  to  1943,  in  collaboration 
with  the  North  Carolina  Folklore  Society  ...  General  edi- 
tor: Newman  Ivey  White;  associate  editors:  Henry  M. 
Belden  (and  others,  Wood  engravings  by  Clare  Leighton. 
Durham,  N.  C,  Duke  University  Press  ,1952- 

V.    lllus.,  port.,  music.    24  cm.    (Duke  University  pubHcatlona) 

Each  vol.  has  also  special  t.  p. 

Includes  bibliographies. 

(Continued  on  next  card) 

62—10967 


Duke  University,  Durham,  N.  C.  Library.  Frank  C.  Broton 
Collection  of  North  Carolina  Folklore.  The  Frank  C. 
Brown  Collection...    ,1952-  (Card  2) 

Contents. — v.  1.  Games  and  rhymes.  BelleCs  and  customs.  Rid- 
dles. Proverbs.  Speech.  Tales  and  legends. — v.  2.  Folk  ballads  from 
North  Carolina. — T.  3.  Folk  songs  from  North  Carolina. — v.  4.  The 
music  of  the  ballads. 


1.  Folk-lore  —  North  Carolina.  2.  Folk-songs,  American  —  North 
Carolina.  i.  White,  Newman  Ivey,  1892-1948,  ed.  n.  Brown,  Frank 
ayde.  in.  North  Carolina  Folklore  Society,  rv.  TlUe.  v.  TlUe: 
North  Carolina  folklore. 


GR110.N8D8  398 

Library  of  Ongress  irSSoS^ 


CONTENTS 

Foreword  xv 

Abbreviations  Used  in  the  Headnotes  xviii 

Introduction  3 

I.  THE  OLDER  BALLADS— MOSTLY  BRITISH  n 

1.  The  Elfin  Knight  I2 

2.  Lady  Isabel  and  the  Elf-Knight  15 

3.  Earl  Brand  27 

4.  The  Two  Sisters  32 

5.  The  Cruel  Brother  35 

6.  Lord  Randal  39 

7.  Edward  41 

8.  Babylon;  or,  The  Bonnie  Banks  0  Fordie  44 

9.  The  Three  Ravens  46 

10.  Thomas  Rymer  46 

11.  The  Wee,  Wee  Man  47 

12.  Captain  Wedderburn's  Courtship  48 

13.  The  Two  Brothers  49 

14.  Young  Beichan  50 

15.  The  Cherry  Tree  Carol  61 

16.  Sir  Patrick  Spens  63 

17.  Child  Waters  65 

18.  Young  Hunting  67 

19.  Lord  Thomas  and  Fair  Annet  69 

20.  Fair  Margaret  and  Sweet  William  79 

21.  Lord  Lovel  84 

22.  The  Lass  of  Rock  Royal  88 

23.  Sweet  William's  Ghost  92 

24.  The  Unquiet  Grave  94 

25.  The  Wife  of  Usher's  Well  95 

26.  Little  Musgrave  and  Lady  Barnard  ioi 

27.  Bonny  Barbara  Allan  hi 

28.  Lady  Alice  131 

29.  Lamkin  140 

30.  The  Maid  Freed  from  the  Gallows  143 

31.  The  Knight  and  the  Shepherd's  Daughter  149 

32.  Robin  Hood  and  Guy  of  Gisborne  151 

33.  Robin  Hood  Rescuing  Three  Squires  152 

34.  Sir  Hugh;  or.  The  Jew's  Daughter  155 

35.  Queen  Eleanor's  Confession  160 

36.  The  Bonny  Earl  of  Murray  160 


1  contents 

37.  The  Gypsy  Laddie  161 

38.  Geordie  168 

39.  Katharine  Jaffray  169 

40.  James  Harris  (The  Daemon  Lover)  171 

41.  The  Suffolk  Miracle  180 

42.  Our  Goodman  181 

43.  Get  up  and  Bar  the  Door  183 

44.  The  Wife  Wrapt  in  Wether's  Skin  185 

45.  The  Farmer's  Curst  Wife  188 

46.  The  Crafty  Farmer  188 

47.  The  Sweet  Trinity  (The  Golden  Vanity)  191 

48.  The  Mermaid  195 

49.  Trooper  and  Maid  198 

50.  The  Dilly  Song  199 

51.  The  Twelve  Blessings  of  Mary  206 

52.  The  Twelve  Days  of  Christmas  208 

53.  I  Saw  Three  Ships  Come  Sailing  In  210 

54.  Dives  and  Lazarus  I  210 

55.  Dives  and  Lazarus  II  211 

56.  The  Romish  Lady  212 

57.  'Let's  Go  A-Hunting,'  Says  Richard  to  Robert  215 

58.  The  Ghost's  Bride  216 

59.  The  Dark  Knight  218 

60.  The  Turkish  Factor  220 

61.  Nancy  of  Yarmouth  223 

62.  The  Bramble  Brier  229 

63.  The  Prince  of  Morocco;  or,  Johnnie  232 

64.  The  Gosport  Tragedy  234 

65.  The  Lexington  Murder  240 

66.  On  the  Banks  of  the  Ohio  247 

67.  Rose  Conn  ally  248 

68.  Handsome  Harry  250 

69.  Beautiful  Susan  251 

70.  The  Lancaster  Maid  253 

71.  The  Drowsy  Sleeper  255 
"jz.  The  Silver  Dagger  258 

73.  Come  All  Young  People  259 

74.  Chowan  River  261 

75.  Pretty  Betsey  262 

76.  Molly  Bawn  263 
yy.  Fair  Fannie  Moore  264 

78.  Mary  of  the  Wild  Moor  265 

79.  Young  Edwin  in  the  Lowlands  Low  266 

80.  The  Three  Butchers  269 

81.  The  Butcher  Boy  271 

82.  The  Lover's  Lament  279 


CONTENTS  IX 

83.  As  I  Stepped  Out  Last  Sunday  Morning  283 

84.  Locks  and  Bolts  284 

85.  New  River  Shore  286 

86.  The  Soldier's  Wooing  287 

87.  Early,  Early  in  the  Spring  290 

88.  Charming  Beauty  Bright  293 

89.  The  Glove  296 

90.  A  Brave  Irish  Lady  299 

91.  Servant  Man  302 

92.  A  Pretty  Fair  Maid  down  in  the  Garden  304 

93.  John  Reilley  305 

94.  Johnny  German  306 

95.  The  Dark-Eyed  Sailor  310 

96.  Lovely  Susan  311 

97.  Polly  Oliver  312 

98.  MoLLiE  and  Willie  313 

99.  Jack  Munro  314 
100.  The  Girl  Volunteer  317 
loi.  Charming  Nancy  319 

102.  A  Rich  Nobleman's  Daughter  320 

103.  Little  Plowing  Boy  322 

104.  The  Sailor  Boy  323 

105.  Scarboro  Sand  (Robin  Hood  Side)  329 

106.  William  Taylor  330 

107.  The  Silk-Merchant's  Daughter  331 

108.  Green  Beds  334 

109.  Poor  Jack  339 
no.  Little  Mohea  340 

111.  The  Faithful  Sailor  Boy  342 

112.  The  Sailor's  Bride  344 

113.  Barney  McCoy  346 

114.  In  a  Cottage  by  the  Sea  347 

115.  A  Song  About  a  Man-of-War  348 

116.  Captain  Kidd  350 

117.  Poor  Parker  351 

118.  High  Barbary  352 

119.  The  Lorena  Bold  Crew  353 

120.  The  Sheffield  Apprentice  353 

121.  The  Rambling  Boy  355 

122.  My  Bonnie  Black  Bess  356 

123.  The  Drummer  Boy  of  Waterloo  357 

124.  Caroline  of  Edinburgh  Town  358 

125.  Roy's  Wife  of  Aldivalloch  360 

126.  I  Wish  My  Love  Was  in  a  Ditch  361 

127.  Shule  Aroon  362 

128.  William  Riley  363 


contents 

129.  Johnny  Doyle  365 

130.  Sweet  William  and  Nancy  366 

131.  The  Irish  Girl  367 

132.  Pretty  Susie,  the  Pride  of  Kildare  368 

133.  I  WAS  Sitting  on  a  Stile  369 

134.  I  Left  Ireland  and  Mother  because  We  Were  Poor  369 

135.  Three  Leaves  of  Shamrock  370 

136.  Skew  Ball  371 

137.  When  You  and  I  Were  Young,  Maggie  371 

138.  The  Happy  Stranger  372 

139.  Sweet  Lily  373 

140.  Once  I  Had  a  Sweetheart  374 

141.  A  False-Hearted  Lover  375 

142.  Mama  Sent  Me  to  the  Spring  375 

143.  Annie  Lee  376 

144.  Hateful  Mary  Ann  377 

145.  The  Girl  I  Left  behind  Me  378 

146.  The  Isle  of  St.  Helena  385 

147.  The  Babes  in  the  Wood  388 

148.  The  Orphan  Girl  388 

149.  The  Blind  Girl  39^ 

150.  Two  Little  Children  394 

151.  The  Soldier's  Poor  Little  Boy  396 

152.  The  Orphan  397 

153.  Fond  Affection  39^ 

154.  You  Are  False,  but  I'll  Forgive  You  408 

155.  We  Have  Met  and  We  Have  Parted  410 

156.  Broken  Ties  41  S 

157.  They  Were  Standing  ry  the  Window  417 

158.  The  Broken  Heart  421 

159.  This  Night  We  Part  Forever  422 

160.  Parting  Words  423 

161.  Bye  and  Bye  You  Will  Forget  Me  424 

162.  The  One  Forsaken  425 

163.  Don't  Forget  Me,  Little  Darling  426 

164.  She  Was  Happy  till  She  Met  You  427 

165.  The  Ripest  Apple  428 

166.  Sweetheart,  Farewell  428 

167.  My  Little  Dear,  So  Fare  You  Well  429 

168.  Dreary  Weather  43^ 

169.  My  Sweetheart's  Dying  Words  432 

170.  The  Homesick  Boy  433 

171.  Over  the  Hills  to  the  Poor-House  434 

172.  You're  the  Man  That  Stole  My  Wife  436 

173.  I'm  Going  to  Get  Married  Next  Sunday  436 

174.  Katie's  Secret  437 


contents  xi 

175.  The  Farmer's  Daughter  438 

176.  The  Derby  Ram  439 

177.  The  Miller  and  His  Three  Sons  44° 

178.  I  Tuck  Me  Some  Corn  to  the  County  Seat  444 

179.  The  Old  Dyer  444 

180.  Father  Grumble  445 

181.  Johnny  Sands  448 

182.  The  Old  Woman's  Blind  Husband  450 

183.  The  Dumb  Wife  452 

184.  The  Holly  Twig  454 

185.  Nobody  Coming  to  Marry  Me  456 

186.  Whistle,  Daughter,  Whistle  457 

187.  Hard  of  Hearing  458 

188.  The  Three  Rogues  458 

189.  Bryan  O'Lynn  459 

190.  Three  Jolly  Welshmen  460 

191.  The  Good  Old  Man  463 

192.  The  Burglar  Man  465 

193.  Billy  Grimes  the  Drover  466 

194.  Grandma's  Advice  467 

195.  Common  Bill  469 

196.  Swapping  Songs  47^ 

197.  Dog  and  Gun  474 

198.  Kitty  Clyde  476 

199.  Father.  Father,  I  Am  Married  477 

200.  If  I  Had  a  Scolding  Wife  478 

201.  The  Scolding  Wife  478 

202.  The  Little  Black  Mustache  479 

203.  No  Sign  of  a  Marriage  481 

204.  Wilkins  and  His  Dinah  482 

205.  Thimble  Buried  His  Wife  at  Night  484 

206.  Boys.  Keep  Away  from  the  Girls  485 

207.  The  Boys  Won't  Do  to  Trust  486 

H.  NATIVE  AMERICAN  BALLADS  487 

208.  Springfield  Mountain  489 

209.  Young  Charlotte  492 

210.  The  Three  Drowned  Sisters  495 

211.  The  Ore  Knob  496 

212.  Floyd  Collins  498 

213.  The  Jam  at  Gerry's  Rock  501 

214.  Lost  on  the  Lady  Elgin  506 

215.  The  Ship  That  Never  Returned  507 

216.  Casey  Jones  510 

217.  The  Wreck  of  the  Old  Ninety-Seven  512 

218.  Wreck  of  the  Royal  Palm  521 

219.  Wreck  of  the  Shenandoah  522 


;u  contents 

220.  Paul  Jones  523 

221.  James  Bird  525 

222.  In  Eighteen  Hundred  and  Sixty-One  528 

223.  On  the  Plains  of  Manassas  529 

224.  Old  Johnston  Thought  It  Rather  Hard  530 

225.  The  Cumberland  530 

226.  The  Merrimac  533 

227.  The  Dying  Fifer  533 

228.  The  Dying  Soldier  to  His  Mother  534 

229.  The  Battle  of  Shiloh  Hill  535 

230.  The  Drummer  Boy  of  Shiloh  536 

231.  The  Last  Fierce  Charge  539 

232.  Kingdom  Coming  541 

233.  Ol'  Gen'ral  Bragg's  a-Mowin'  Down  de  Yankees        543 

234.  The  Texas  Ranger  544 

235.  The  Battleship  Maine  (I)  546 

236.  The  Battleship  Maine  (II)  547 

237.  Marching  to  Cuba  548 

238.  Manila  Bay  549 

239.  That  Bloody  War  550 

240.  Strange  Things  Wuz  Happening  553 

241.  Just  Remember  Pearl  Harbor  553 

242.  The  Boston  Burglar  554 

243.  Jesse  James  557 

244.  John  Hardy  563 

245.  Kenny  Wagner's  Surrender  566 

246.  Claud  Allen  567 

247.  Frank  Dupree  570 

248.  Brady  571 

249.  Charles  Guiteau  572 

250.  Florella  (The  Jealous  Lover)  578 

251.  Frankie  and  Albert  589 

252.  Sadie  597 

253.  Little  Mary  Phagan  598 

254.  Marian  Parker  603 

255.  The  Murder  of  Marian  Parker  604 

256.  Little  Marion  Parker  604 

257.  Edward  Hickman  606 

258.  Joe  Bowers  607 

259.  Sweet  Jane  608 

260.  Jack  Haggerty  610 

261.  The  Ocean  Burial  611 

262.  The  Lone  Prairie  613 

263.  The  Unfortunate  Rake  614 

264.  When  the  Work  Is  Done  This  Fall  618 

265.  A  Jolly  Group  of  Cowboys  619 


CONTENTS  XIll 

266.  Great  Granddad  621 

267.  The  Lily  ok  the  West  622 

268.  Bill  Miller's  Trip  to  the  West  622 

269.  Cheyenne  ^^^ 

270.  John  Henry  623 

271.  Aunt  Jemima's  Plaster  628 

272.  The  Fatal  Wedding  629 

273.  Little  Rosewood  Casket  631 

274.  Jack  and  Joe  635 

275.  They  Say  It  is  Sinful  to  Flirt  638 

276.  The  Little  White  Rose  640 

in.  NORTH  CAROLINA  BALLADS  641 

277-280.  Regulator  Songs  645 

277.  When  Fanning  First  to  Orange  Came  648 

278.  From  Hillsborough  Town  the  First  of  May  649 

279.  Says  Frohock  to  Fanning  652 

280.  Who  Would  Have  Tho't  Harmon  653 

281.  The  Rebel  Acts  of  Hyde  655 

282.  As  I  Went  Down  to  Newbern  658 

283.  Old  Billy  Dugger  658 

284.  The  Brushy  Mountains  Freshet  658 

285.  Man  Killed  by  Falling  from  a  Horse  659 

286.  The  Florence  C.  McGee  660 

287.  The  Titanic  ^^ 

288.  The  Wreck  of  the  Huron  668 

289.  The  Song  of  Dailey's  Life-Boat  671 

290.  The  Hamlet  Wreck  674 

291.  Edward  Lewis  676 

292.  Manley  Pan  key  ^77 
293,294.  William  S.  Shackleford  (alias  J.  P.  Davis)          677 

293.  Last  Words  of  William  Shackleford,  Executed 

in  Pittsboro,  Chatham  Co.,  March  28,  1890      680 

294.  William  Shackleford's  Farewell  Song  As  Sung 

by  Shackleford  682 

295.  Death  of  Birch ie  Potter  683 

296.  Emma  Hartsell  684 

297.  Gladys  Kincaid  ^^7 

298.  The  Lawson  Murder  688 

299.  Lillian  Brown  689 

300.  Poor  Naomi  (Omie  Wise)  690 

301.  Frankie  Silver  699 
302-304.  Tom  Dula  and  Laura  Foster  "03 

302.  The  Murder  of  Laura  Foster  7^7 

303.  Tom  Dula  7^^ 

304.  Tom  Dula's  Lament  7^3 
305,  306,  Ellen  Smith  and  Peter  De  Graff  7H 


Xiv  CONTENTS 

305.  Ellen  Smith  714 

306.  Poor  Little  Ellen;  or,  Ellen  Smith  716 

307.  Nellie  Cropsey  717 

308.  LiLLiE  Shaw  721 

309.  The  Prohibition  Boys  722 

310.  Prohibition  Whiskey  724 

311.  Shu  Lady  7^5 

312.  'Tis  Now,  Young  Man.  Give  Me  Attention  728 

313.  Blockader's  Trail  7^9 

314.  Blockader  Mamma  735 

Index  of  Titles  and  Variant  Titles  737 


ILLUSTRATIONS 

All  Day  Singing  frontispiece 

Centenarian  facing  page  142 

Spring  House  "          "      310 

Wind  and  Pine  "          "      432 

Hatteras  Wreck  "          "      660 


FOREWORD 


TT  WAS  at  first  supposed  that  the  contents  of  the  present  vol- 
"*-umes  II  and  III — the  ballads  and  songs  collected  in  North 
Carolina — would  occupy  only  one  volume.  Professor  Belden  and 
Professor  Hudson,  who  were  to  edit  the  materials  together, 
then  agreed  on  a  division  of  labor  whereby  the  former  was  to 
be  responsible  for  the  ballads  which  were  'British,'  i.e.,  not 
clearly  American  (now  Nos.  1-207  of  volume  II)  and  a  con- 
siderable group  of  songs  (now  Nos.  1-327  of  volume  III)  ; 
and  the  latter.  Professor  Hudson,  was  to  be  responsible  for  the 
American  ballads,  including  those  particularly  concerning  North 
Carolina  (now  Nos.  208-314  of  volume  II)  and  the  remaining 
songs  (now  Nos.  328-658  of  volume  III).  This  division  was 
followed  consistently,  but  there  has  been  constant  co-operation 
during  their  work  of  editing.  The  genera]  introduction  was 
written  by  Professor  Hudson  ;  the  special  introductions  were 
written  each  by  the  editor  of  the  pieces  that  accompany  them. 
These  volumes  contain  probably  the  most  important  part  of 
Dr.  Brown's  Collection  and  certainly  the  part  which  he  most 
highly  cherished.  There  would  be  two  reasons  for  this :  one, 
the  excitement  of  lengthening  the  local  list  of  popular  ballads, 
as  the  arch-priest  of  the  discipline.  Professor  Child,  thought  of 
them,  the  'traditional'  ballads  brought  to  this  country  by  early 
settlers — in  a  word,  the  pleasure  of  the  chase.  The  other  would 
be  the  interesting  possibilities  of  directly  observing  a  process 
of  generation  and  growth  here  and  now,  which  for  the  famous 
traditional  ballads  is  known  largely  by  inference.  It  might  be 
possible  to  observe  some  of  the  phenomena  of  ballad  history, 
owing  to  a  survival  or  recurrence  of  many  of  the  circumstances 
in  which  the  sixteenth-  and  seventeenth-century  ballads  came 
into  existence.  It  would  be  interesting  to  see  what  the  ballad 
makers  of  North  Carolina  have  done  with  that  form  which  they 
received,  or  brought,  from  the  English  and  Scottish  archetypes. 


XVI  FOREWORD 

what  characteristics  of  the  older  ballad  technique  they  preserved 
(incremental  repetition,  refrain,  leap-and-linger  narration,  etc.), 
what  new  combinations  of  local  tradition  and  native  folklore 
they  have  developed. 

'Folk'  ballads  and  'folk'  songs  are  of  course  not  important 
because  they  come  nearer  than  any  other  division  of  the  sub- 
ject to  primary  or  essential  folklore,  or  because  they  reveal  more 
intimately  the  ways  of  the  folk  mind,  but  because  they  exhibit 
an  unlikely  combination,  a  combination  known  elsewhere  less 
abundantly,  of  the  elementary  or  primitive  processes  of  creation 
and  that  mysterious  thing  called  art.  Thus  in  these  ballads  and 
these  songs,  as  we  have  them  here,  extremes  meet,  sometimes 
to  the  disadvantage  of  the  'popular'  form,  as  its  crudity  be- 
comes all  too  apparent,  sometimes  however  to  its  advantage, 
as  the  artificiality  of  sophistication  may  become  all  too  apparent. 
But  the  real  point  of  this  is  that  the  folk  ballad  and  the  folk 
song  differ  from  other  kinds  of  folklore  in  sharing  to  a  greater 
degree,  if  not  exclusively,  the  character  of  artistic  creation. 
Something  of  the  same  is  true  of  certain  forms  of  music,  draw- 
ing, and  sculpture,  but  in  these  the  evidence  is  more  limited 
and  less  easy  to  study. 

The  paradox  has  still  another  side.  'Popular'  means  both 
originating  with  the  unlettered  folk  and  also  acquired  or  adopted 
by  them.  It  means  both  what  belongs  to  them  and  what  is 
suited  to  their  taste  and  finds  favor  with  them.  Since,  there- 
fore, the  folk,  both  in  their  creative  and  their  adoptive  spirit, 
form  a  continuum,  and  today's  novelty  and  a  centuries-old  mem- 
ory may  so  blend  that  it  is  difficult  to  distinguish  them,  it  comes 
about  that  the  folk  ballad  and  folk  song  are  at  the  same  time 
both  'old'  and  'modern.'  It  is  chiefly  when  a  professional  enter- 
tainer or  deliberate  fabricator  of  popular  song — popular  now  as 
we  speak  of  popular  novelists — produces  something  which  ob- 
tains wide  currency  among  those  who  in  less  than  a  generation's 
time  become  'old  people'  and  continues  to  flourish  apart  from 
printed  texts,  that  the  line  is  blurred  and  one  hardly  knows 
which  sense  of  the  word  popular  is  dominant.  Some  of  the 
genuine  'old'  ballads  must  have  been  produced  in  a  then  tradi- 
tionary style  by  then  popular  entertainers.  When  the  same  goes 
on  today,  is  the  product  less  'popular,'  farther  from  the  'folk'? 
How  the  terms  slip  under  one's  own  eyes  is  well  illustrated  by 
the  remark  made  a  short  while  ago  by  the  vice-president  of  a 
radio  station :  "The  fact  is  that  and are  writing 


FOREWORD  XV 

modern  folk  music."  (Those  who  care  to  pursue  this  question 
further  mav  well  read  the  t^rst  and  last  chapters  of  Ballad  Books 
and  Ballad  Men  by  Sigurd  B.  Hustvedt  [Cambridge.  1930  , 
where  the  definitions  and  distinctions  are  learnedly  but  clearly 
set   forth,  with  something  also  of  the  history  of  coUectmg  in 

America.)  ,  ,         ,  .      ^ 

This  continuity  will  strike  every  reader  and  perhaps  raise  a 
critical  question  as  to  the  editorial  principles  of  inclusion  in 
the  present  volumes.  One  answer  has  just  been  suggested.  The 
other  is  more  practical.  Dr.  Brown  and  his  collaborators  were 
still  in  the  earlv  stages  of  collecting;  sifting  was  to  follow. 
The  General  Editor,  no  doubt  out  of  deference  to  Dr.  Brown  s 
methods,  passed  all  the  material  on.  as  he  has  explained,  to  the 
Associate  Editors,  with  responsibility  to  treat  it  as  their  judg- 
ment should  dictate;  and  the  Associate  Editors,  probably  also 
out  of  deference  to  their  predecessors,  have  sometimes  applied 
the  principle  of  exclusion  with  reluctance.  And  the  present 
writer,  last  in  succession,  has  in  turn  deferred  to  precedent  as 
having  neither  authority  nor  competence  to  decide  against  his 
betters.  The  reader  may  therefore  be  grateful  with  the  Psalmist 
and  also  remember  the  words  of  another  Teacher:  'Give,  and 
it  shall  be  given  unto  you;  good  measure,  pressed  down,  and 
shaken  together,  and  running  over." 

The  table  of  contents  lists  the  ballads  (and  for  volume  III 
the  songs)  under  the  titles  assigned  them  by  the  editors.  A 
full  index,  including  the  variant  titles  given  them  by  the  con- 
tributors, will  be  found  at  the  end  of  each  volume.  At  the  end 
of  volume  III  will  be  found  also  a  list  of  the  contributors  repre- 
sented in  both  II  and  III.  together  with  those  whose  contribu- 
tions have  not  been  used  by  the  editors. 

On  some  counts  the  tunes  which  Dr.  Brown  gathered  with 
many  of  these  ballads  and  songs  might  well  have  ^e^n  included 
at  once  with  the  texts;  but  considerations  of  time  and  difficulties 
of  printing  led  to  the  General  Editor's  decision  to  publish  them 
separately  in  our  forthcoming  volume  lY.  with  an  Introduction 
by  Professor  Schinhan.  Meanwhile,  those  ballads  and  songs  or 
which  tunes  have  been  collected  and  transcribed  are  indicated 
by  an  asterisk  in  the  indexes  to  volumes  II  and  111. 
For  Additions  and  Corrections,  see  p.  xxiv. 

p.  F.  B. 


ABBREVIATIONS 

USED    IN    THE    HEADNOTES 


ABFS 
ABS 

AMS 

ANFS 

APPS 

AS 
ASb 

Barry 

BBM 

BFSSNE 

BKH 

BMFSB 

Botkin 
BSI 

BSM 

BSO 
BSSB 


American  Ballads  and  Folk  Songs.  By  John  Avery 
Lomax  and  Alan  Lomax.    New  York,  1934. 

American  Ballads  and  Songs.  By  Louise  Pound. 
New  York,  [1922]. 

American  Mountain  Songs.  By  Ethel  Park  Richard- 
son and  Sigmund  Spaeth.     New  York,  [1927]. 

American  Negro  Folk-Songs.  By  Newman  I.  White. 
Cambridge   [Mass.],  1928. 

The  American  Play-Party  Song.  By  Benjamin  A. 
Botkin.     Lincoln,  Nebraska,  1937. 

American  Speech.     Baltimore,  1926 — . 

The  American  Songbag.  By  Carl  Sandburg.  New 
York,  [1927]. 

Folk  Songs  of  the  North  Atlantic  States.  By  Phil- 
lips  Barry.     Boston,   1908.     Mimeographed. 

British  Ballads  from  Maine.  By  Phillips  Barry, 
Fannie  H.  Eckstorm,  and  Mary  W.  Smyth.  New 
Haven,  1929. 

Bulletin  of  the  Folk-Song  Society  of  the  Northeast. 
Cambridge  [Mass.],  1930-37. 

Ballads  of  the  Kentucky  Highlands.  By  Henry  Har- 
vey Fuson.     London,  193 1. 

Tzventy-Nine  Beech  Mountain  Folk  Songs  and  Bal- 
lads. By  Mellinger  Henry  and  Maurice  Matteson. 
New  York,  1936. 

See  APPS. 

Ballads  and  Songs  of  Indiana.  By  Paul  G.  Brewster. 
Bloomington,  Indiana,  1940. 

Ballads  and  Songs  Collected  by  the  Missouri  Folk- 
Lore  Society.  By  H.  M.  Belden.  Columbia,  Mis- 
souri, 1940. 

Ballads  and  Songs  from  Ohio.  By  Mary  O.  Eddy. 
New  York,  [1939]. 

Ballads  and  Songs  of  the  Shanty-Boy.  By  Franz 
Rickaby.    Cambridge  [Mass.],  1926. 


ABBREVIATIONS 


BSSM  Ballads  and  Songs  of  Southern  Michigan.     By  Eme- 

lyn  E.  Gardner  and  Geraldine  J.  Chickering.  Ann 
Arbor,  1939. 

BSSN  Ballads   and  Sea   Songs   from   Newfoundland.      By 

Elizabeth  Greenleaf  [and]  Grace  Y.  Mansfield. 
Cambridge  [Mass.],  1933. 

BSSNS  Ballads  and  Sea  Songs  from  Nova  Scotia.     By  W. 

Roy  MacKenzie.     Cambridge   [Mass.],   1928. 

BTFLS  Bulletin  of  the  Tennessee  Folklore  Society.     Mary- 

ville,  Tenn.,  1935 — . 

CFLQ  California  Folklore  Quarterly.     1942 — . 

Christie  Traditional   Ballad  Airs.      By    W.    Christie.      Edin- 

burgh, 1876- 1881.    2  vols. 

CS  Cowboy  Songs  and  Other  Frontier  Ballads.    By  J.  A. 

Lomax  and  Alan  Lomax.  New  York,  1938.  (In 
a  few  cases  the  earlier  edition,  1910,  is  cited.) 

CSV  Country  Songs  of  Vermont.     By  Helen  H.  Flanders 

[and]  Helen  Norfleet.     New  York,  [1937]. 

DD  D evil's  Ditties.    By  Jean  Thomas.    Chicago,  193 1. 

Dean  Flying  Cloud  and  One  Hundred  and  Fifty  Other  Old 

Time  Songs  and  Ballads.  By  M.  C.  Dean.  Vir- 
ginia, Minn.,  n.d. 

DESO  Down-East    Spirituals,    and    Others.       By     George 

Pullen  Jackson.     New  York,  [1943]. 

ECS  English   County  Songs.      By   Lucy    Broadwood   and 

J.  A.  F.  Maitland.    London,  1893. 

ETSC  English    Traditional   Songs   and    Carols.      By    Lucy 

Broadwood.    London,  1908. 

ETWVMB  East  Tennessee  and  Western  Virginia  Mountain 
Ballads.     By  Celeste  P.  Cambiaire.     London,  1935. 

FB  Frontier  Ballads.    By  Charles  J.  Finger.     New  York, 

1927. 

Ford  Traditioyial  Music   of  America.      By   Ira  W.    Ford. 

New  York,  1940. 

FSA  Folk-songs    of    America.      By    Robert    W.    Gordon. 

National  Service  Bureau,  1938. 

FSE  Folk-Songs  of  England.     Ed.  Cecil  J.  Sharp.     Books 

I,  II,  III,  IV,  V,  various  editors.    London,  1908-12. 

FSF  Folksongs  of  Florida.     By  Alton  C.  Morris.    Gaines- 

ville, 1950. 

FSKH  Folk-Songs    from     the    Kentucky    Highlands.       By 

Josiah  H.  Combs.    New  York,  1939. 


XX  ABBREVIATIONS 

FSKM  Folk-Songs  of  the  Kentucky  Mountains.     By   Jose- 

phine McGill.     New  York,  [1917]. 

FSM  Folksongs  of  Mississippi  and  Their  Background.    By 

Arthur  Palmer  Hudson.     Chapel  Hill,  N.  C,  1936. 

FSMEU  Folk-Songs  du  Midi  des  £tats-Unis.     By  Josiah  H. 

Combs.     Paris,  1925. 

FSniWV  Folk-Songs  Mainly  from  West   Virginia.     By  John 

H.  Cox.  National  Service  Bureau  of  the  Federal 
Theatre  Project.     W.P.A.     New  York.   1939. 

FSN  Folk   Songs  from   Ne^vfoundland.      By    Maud    Kar- 

peles.     [London],  1934. 

FSONE  Folk  Songs  of  Old  Nexv  England.     By  Eloise  Hub- 

bard Linscott.     New  York,  1939. 

FSRA  Folk-Songs    of    Roanoke    and    the    Albemarle.      By 

Louis  W.  Chappell.     Morgantown,  W.   Va..   1939. 

FSS  Folk-Songs  of  the  South.     By  John  Harrington  Cox. 

Cambridge  [Mass.],  1925. 

FSSC  Franklin  Square  Song  Collection.     Selected  by  J.  P. 

McCaskey.     New  York,  1881-1891.     8  vols. 

FSSH  Folk-Songs  from  the  Southern  Highlands.     By  Mel- 

linger  E.  Henry.     New  York,  [1938]. 

FSSom  Folk-Songs  from  Somerset.     By  Cecil  J.  Sharp  and 

C.  L.  Marson.     London,  1904-1909. 

FSUT  Folk  Songs  of  the  Upper  Thames.     By  Alfred  Wil- 

liams.    London,   [1923]. 

FSV  Folk-Songs  of  Virginia.  A   Descriptive  Index.  .  .  . 

By  Arthur  Kyle  Davis,  Jr.     Durham,  N.  C,  1949. 

FTM  Folk    Tunes  from   Mississippi.      By   Arthur    Palmer 

Hudson  and  George  Herzog.  National  Play  Bureau 
Publication  No.  25.     July  1937. 

GGMS  A    Garland   of   Green   Mountain   Song.      By    Helen 

Hartness  Flanders.     Boston,  1934. 

Gomnie  The   Traditional   Games   of  England,   Scotland,  and 

Ireland.  By  Alice  Bertha  Gomme.  London,  1894- 
1898. 

GSAC  Games  and  Songs  of  American  Children.     By  Wil- 

liam Wells  Newell.  New  York,  1883 ;  new  and 
enlarged  ed.,  1903,  191 1. 

Halliwell  The   Nursey   Rhymes  of  England.      By   James    Or- 

chard Halliwell.    London,  1842. 

HFLB  Hoosier  Folklore  Bulletin.     Bloomington,  Ind.,  1942- 

45.    Thereafter:  Hoosier  Folklore. — HFL. 

JAFL  Journal  of  American  Folklore.     1888 — . 


ABBREVIATIONS  XXt 

JEFDSS  The  Journal  of  the  English  Folk  Dance  and  Song 

Society.    London,  1931 — .    Successor  to  JFSS. 

JFSS  The   Journal   of   the   Folk-Song    Society.      London, 

1899-1931. 

JISHS  Journal    of    the    Illinois    State    Historical    Society. 

Springfield,  1908 — . 

LL  Last  Leaves  of  Traditional  Ballads  and  Ballad  Airs. 

By  Gavin  Greig  and  Alexander  Keith.  [Aber- 
deen], 1925. 

LT  Lonesome   Tunes.     Folk   Songs  from   the   Kentucky 

Mountains.  By  Loraine  Wyman  and  Howard 
Brockway.     New  York,  [1916]. 

MAFLS  Memoirs   of   the   American    Folklore   Society.      No. 

xxix  is  'Folk-Lore  from  Iowa,'  by  Earl  J.  Stout, 
1936. 

Mason  Nursery   Rhymes   and   Country   Songs.      By    M.    H. 

Mason.     London,  1877. 

McLendon  A  Finding  List  of  Play-Party  Games.  By  Altha 
Lea  McLendon,  SFLQ  viii  (1944),  201-34. 

MLN  Modern  Language  Notes.     Baltimore,  1886 — . 

MM  Minstrelsy  of  Maine.     By  Fannie  H.  Eckstorm  and 

Mary  W.  Smyth.     Boston,  1937. 

MMP  Mountain  Minstrelsy  of  Pennsylvania.    By  Henry  W. 

Shoemaker.  Philadelphia,  193 1.  A  revision  of 
NPM. 

MSHF  More  Songs  of  the  Hill  Folk.     By   John   J.   Niles. 

New  York,  [1936]. 

MSNC  Mountain  Songs  of  North   Carolina.     By   Marshall 

Bartholomew  and  Susannah  Wetmore.  New  York, 
1926. 

MWS  Maine  Woods  Songster.     By  Phillips  Barry.     Cam- 

bridge [Mass.],  1939. 

Newell  See  GSAC. 

NGMS  The    Neiv    Green    Mountain    Songster.      By    Helen 

Hartness  Flanders,  Elizabeth  Flanders  Ballard, 
George  Brown,  and  Phillips  Barry.  New  Haven, 
1939- 

Northall  English  Folk-Rhymes.     By  G.  E.  Northall.     London, 

1892. 

NPM  North  Pennsylvania  Minstrelsy.    By  Henry  W.  Shoe- 

maker.    2nd  ed.,  Altoona,  Pa.,  1923. 

NS  The  Negro  and  His  Songs.     By  Howard  W.  Odum 

and  Guy  B.  Johnson.     Chapel  Hill,  N.  C,  1925. 


XXll  ABBREVIATIONS 

NWS  Negro  Workaday  Songs.     By  Howard  W.  Odum  and 

Guy  B.  Johnson.     Chapel  Hill,  N.  C,  1926. 

NYFLQ  New  York  Folklore  Quarterly.     1945 — . 

OASPS  The    Ozarks:  An   American   Survival   of   Primitive 

Society.     By  Vance  Randolph.     New  York,   1931. 

OFS  Ozark   Folksongs.      Collected   and   edited   by    Vance 

Randolph.  Columbia,  Mo.,  1946,  1948,  1949,  1950.. 
4  vols. 

OIFMS  Old  Irish  Folk  Music  and  Songs.     By  Patrick  W. 

Joyce.     London,  1909.     3  parts. 

OMF  Ozark  Mountain  Folk.     By  Vance  Randolph.     New 

York,  1932. 

looEFS  One    Hundred   English    Folk    Songs.      By    Cecil    J. 

Sharp.     New  York  and  Boston,  [1916]. 

Ord  The  Bothy  Songs  and  Ballads  of  Aberdeen,   Banff 

and  Moray,  Angus  and  the  Mcarns.  By  John 
Ord.     Paisley,  [1930]. 

OSC  Our  Singing   Country.     By  John   A.   Lomax,   Alan 

Loniax,  and  Ruth  Crawford  Seeger.  New  York, 
1941. 

OSSG  Old  Songs  and  Singing  Games.     By  Richard  Chase. 

Chapel  Hill,  N.  C,  1938. 

Owens  Szving  and  Turn :  Texas  Play-Party  Songs.     By  Wil- 

liam A.  Owens.     Dallas,  1936. 

Ozark  Life       Ozark   Life    (Outdoors).     Kingston,   Ark.,    1925-31. 

PTFLS  Publications  of  the  Texas  Folk-Lore  Society.     Aus- 

tin, 1916 — . 

PMLA  Publications  of  the   Modern   Language  Association. 

1884—. 

Pound  Folk-Song  of  Nebraska  and  the  Central   West.     A 

Syllabus.  By  Louise  Pound.  University  of  Ne- 
braska, 19 1 5.  Nebraska  Academy  of  Sciences  Pub- 
lications, vol.  IX,  no.  3. 

Rimbault  Nursery  Rhymes,  with  Tunes.  ...     By  Edward  F, 

Rimbault.     London,  n.d. 

SBML  Songs  and  Ballads  of  the  Maine  Lumberjacks.     By 

Roland  Palmer   Gray.     Cambridge    [Mass.],   1924. 

SBNS  Songs  and  Ballads  from  Nova   Scotia.      By   Helen 

Creighton.     Toronto,   [1932]. 

SCB  South  Carolina  Ballads.    By  Reed  Smith.    Cambridge 

[Mass.],  1928. 

SCSM  A  Song  Catcher  in  Southern  Mountains.     By  Dor- 

othy Scarborough.     New  York,  1937. 


ABBREVIATIONS 


SFLQ  Southern     Folklore     Quarterly.       Gainesville,     Fla., 

1937—- 
SFSEA  Spiritual  Folk-Songs  of  Early  America.     By  George 

Pullen  Jackson.     New  York,  [1937]. 
SharpK  English  Folk  Songs  from  the  Southern  Appalachians. 

By  Cecil  J.   Sharp  and  Maud   Karpeles.     London, 

1932.    2  vols. 
Shearin  A   Syllabus  of  Kentucky  Folk-Songs.      By   Herbert 

G.    Shearin   and   Josiah    Combs.      Lexington,    Ky., 

191 1.     Transylvania  Studies  in  English  IL 
SHE  Songs  of  the  Hill-Folk.     By  John  J.   Niles.     New 

York,  [1934]. 
SMLJ  Songs  of  the  Michigan  Lumberjacks.     By   Earl   C. 

Beck.     Ann  Arbor,  1941. 
SS  Slave  Songs  of  the   United  States.     By  William  F. 

Allen.     New  York,  1867  (reprinted  1929). 
SSSA  Songs    Sung    in    the    Southern    Appalachians.      By 

Mellinger  E.  Henry.     London,  [1934]. 
Steely  "The  Folk-Songs  of  the  Ebenezer  Community."     By 

Mercedes    S.    Steely.      Unpublished    M.A.    thesis, 

University  of  North  Carolina,  1936. 
Talley  Negro  Folk  Rhymes.     By  Thomas  W.  Talley.     New 

York,  1922. 
TBmWV  Traditional  Ballads  mainly  from  West  Virginia.     By 

John  Harrington  Co.x.     National   Service  Bureau, 

1939- 
TBV  Traditional  Ballads  of   Virginia.      By   Arthur    Kyle 

Davis.     Cambridge  [Mass.],  1929. 
TKMS  Twenty    Kentucky    Mountain    Songs.      By    Loraine 

Wyman  and  Howard  Brockway.     Boston,   [1920]. 
TNFS  On   the   Trail   of  Negro   Folk-Songs.      By   Dorothy 

Scarborough.     Cambridge   [Mass.],   1925. 
TSSI  Tales  and  Songs  of  Southern  Illinois.     By  Charles 

Neely.     Menasha,  Wis.,  1938. 
VFSB  Vermont    Folk-Songs   and    Ballads.      By    Helen    H. 

Flanders    and    George    Brown.      Brattleboro,    Vt., 

1932.    2nd  ed. 
WNS  White    and   Negro    Spirituah.      By    George    Pullen 

Jackson.     New  York,  [1944]. 
Wolford  The  Play-Party  in   Indiana.     By   Leah   J.  Wolford. 

Indianapolis,  1916. 
WSSU  White    Spirituals    in    the    Southern    Uplands.      By 

George  Pullen  Jackson.     Chapel  Hill,  N.  C,  1933. 


ADDITIONS  AND  CORRECTIONS 

Folksongs  of  Alabama,  collected  by  Byron  Arnold,  University,  Ala- 
bama, 1950,  contains  texts  and  music  of  our  Nos.  2,  3,  18,  19,  21, 
22,  25,  27,  30,  34,  44. 

The  British  Traditional  Ballad  in  America,  by  Tristram  P.  Coffin, 
Philadelphia  (American  Folklore  Society),  1950,  also  contains 
discussions  of  our  Nos.  i  fif. 

p.  300,  1.7 :  add  Arkansas  before  Georgia. 

p.  212,  1. 10  from  bottom:  add  Missouri  (OFS  iv  32-4)  before  Ohio. 

p.   426,  1.16:   add  Randolph    reports    four   texts    from   the    Ozarks 

(OFS  IV  207-9). 
p.  4JI,  1.5  from  bottom:  read  Randolph,  who  reports  four  texts  from 

Missouri   (OFS  iv  234-6),  points  out  the  resemblance  of  various 

phrases  in  it  to  parts  of  other  songs.     Elsew^here  I  have  not  found 

it.    The  last.  .  .  . 
p.  476,  1.5:  for  further  .  .  .  traced  read  Randolph  found  traces  of  it 

in  the  Ozarks  (OFS  iv  157-8). 


Versions  of  the  following  titles  are  published  herein  by  special 
arrangement  with  the  copyright  owners: 

'Casey  Jones'  (Newton-Seibert)    (Vol.  II.  pp.  510-512) 

Copyriglit  1909  by  Newton  &  Seibert.  Copyriglit  renewed.  Shapiro, 
Bernstein  &  Co..  Inc.  copyright  owners. 

'The  Death  of  Floyd  Collins'  (Jenkins-Spain)  (Vol.  II,  pp.  498-501) 

Copyright  1925  by  P.  C.  Brockman.  Copyright  renewed.  Shapiro, 
Bernstein  &  Co.,  Inc.  copyright  owners. 

'The  Prisoner's  Song'  (Guy  Massey)   (Vol.  Ill,  pp.  411-416) 

Copyright  1924  by  Shapiro,  Bernstein  &  Co.,  Inc.    Copyright  renewed. 

'The  Wreck  of  the  Old  97'  ( Whittier-Noell-Lewey)  (Vol.  II,  pp.  512- 
521) 

Copyright  1924  by  F.  Wallace  Rega.  Copyright  renewed.  Copyright 
1939  by  R.  C.  A.  Manufacturing  Co.  Copyright  assigned  to  Shapiro. 
Bernstein  &  Co.,  Inc.  copyright  owners. 

'The  Wreck  of  the  Old  Shenandoah'   (Maggie  Andrews)    (Vol.  II, 
pp.  522-52.3) 

Copyright  1925  by  Shapiro,  Bernstein  &  Co.,  Inc.    Copyright  renewed. 


FOLK    BALLADS 

FROM 

NORTH    CAROLINA 


INTRODUCTION 


A  READER  of  popular  ballads  and  folk  songs  is  hopefully  in- 
vited to  make  a  difficult  imaginative  adjustment — a  more  diffi- 
cult one  than  the  reading  of  an  acting  drama  requires.  From  the 
immediate  emotional  impact  of  the  actual  singing  of  the  song  to 
the  impression  obtained  from  reading  the  text  of  it  on  a  printed 
page  is  a  transition  as  sharp  as  that  of  passing  from  the  splendid 
motion-picture  production  of  Henry  V,  say,  with  Laurence  Olivier 
in  the  title  role,  a  massive  and  brilliant  supporting  cast,  and  all 
the  illusion  of  staging,  costume,  lighting,  and  music,  to  that  of 
reading  an  edition  of  the  text  by  even  a  J.  Q.  Adams  or  a  G.  L. 
Kittredge.  Or,  to  summon  another  comparison,  the  act  of  imagina- 
tion invoked  is  like  that  of  looking  at  butterflies  impaled  in  ordered 
rows  in  the  showcases  of  a  museum  and  trying  to  see  them  as  they 
flutter  in  the  breeze  and  sunlight  over  flowered  fields,  flit  from 
bloom  to  bloom,  hedge-hop  in  jocund  companies,  or  perform  their 
aerial  evolutions  against  a  blue  sky.  Surely,  facing  their  possible 
readers,  all  editors  of  ballads  and  folk  songs  feel  the  sharp  threat 
of  the  implied  curse  pronounced  upon  their  race  by  Sir  Walter's 
auld  ballad  wife — not  merely  that  "they'll  ne'er  be  sung  mair,"  but 
that  they  may  never  be  read. 

Yet,  like  the  book  of  the  play,  in  their  humble  way  these  songs 
have  a  life  of  their  own,  and  they  continue  to  ofTer  suggestions  of  a 
larger  human  life  which  fancy  can  re-create.  And,  unlike  the 
lepidoptera  exhibit  in  the  museum,  they  are  not  actually  dead  things. 
Many  are  still  sung,  outside  the  dry  white  pages  that  seem  to  im- 
prison copies  of  them,  on  the  live  breath  of  a  singer,  in  the  lamp- 
light or  sunlight,  with  the  accompanying  smiles  or  the  misty  eyes 
of  an  audience.  Some  almost  sing  themselves,  without  benefit  of 
printed  tunes — if  not  like  one  of  Burns's  songs,  at  least  like  a 
remembered  snatch  echoed  from  childhood,  or  the  lilt  of  a  mountain 
fiddle,  or  the  strong  rhythm  of  a  banjo,  or  a  lonely  "holler"  from 
a  Blue  Ridge  cove,  or  the  haunting  minor  melody  of  an  old 
spiritual.  With  some  slight  aid  from  the  editors,  perhaps,  their 
settings  and  their  atmosphere  can  be  restored  from  the  reader's 
memory  of  old  and  familiar  things,  directly  experienced  or  made 
real  by  the  cunning  of  fiction  writers  who  knew  and  loved  this 
region — Olive  Tilford  Dargan,  Thomas  Wolfe,  James  Boyd,  Du- 
Bose   Heyward,   Elizabeth   Madox   Roberts,    for   examples — all   of 


4  NORTH  CAROLINA  FOLKLORE 

whom,  by  the  way,  used  folk  songs  to  help  bring  about  "that 
willing  suspension  of  disbelief  for  the  moment  which  constitutes 
poetic  faith"  in  their  own  characters,  settings,  and  actions. 

With,  here  and  there,  a  little  editorial  assistance,  but  chiefly  by 
their  own  imaginative  sympathy,  through  these  songs  readers  may 
now  and  then  come  into  a  part  of  their  cultural  inheritance  as  men 
and  women  of  Old  World  descent,  of  good  American  lineage,  and, 
in  many  instances,  of  North  Carolina  breeding.  They  may  reflect 
upon  the  curious  phenomenon  of  hearing  songs  about  Robin  Hood 
and  Lord  Thomas  and  Fair  Annet  and  Little  Hugh  (of  Lincoln, 
perhaps)  sung  in  a  North  Carolina  cabin.  But  chiefly  they  will 
enjoy  those  spirited  old  ballads  as  good  song-stories.  When  they 
read  the  sprightly  songs  of  the  Regulators,  they  may  be  brought  to 
a  vivid  consciousness  of  the  ghosts  of  colonial  history  lurking  be- 
hind the  filling  stations  and  the  churches,  or  imprisoned  under  the 
concrete  pavement  of  old  towns  like  Hillsboro.  Reading  the  Civil 
War  pieces,  they  may  compare  the  feel  of  the  Second  World  W^ar 
years  with  the  emotions  of  men  and  women  who  sang  'When  This 
Cruel  War  Is  Over'  or  of  Shiloh's  dark  and  bloody  ground.  A 
few,  perhaps,  crossing  Deep  River,  may  recall  the  pathos  of  'Little 
Omie  Wise,'  first  felt  in  Randolph  county  over  a  hundred  years 
ago  and  shared  by  thousands  of  folk  singers  all  the  way  from 
there  to  the  Far  West.  Many  may  simultaneously  smile  and 
shudder  over  the  coarse  brutality  of  'The  Gosport  Tragedy,'  at 
approximately  full  length  in  its  near-British  form,  or  compressed 
into  fifteen  lines  of  the  essence  of  Dreiser's  An  American  Tragedy. 
They  may  share  the  singers'  haunting  horror  of  Tom  Dula's  mur- 
der of  Laura  Foster.  If  they  can  take  their  murder  straight,  they 
may  be  interested  in  Frankie  Silver's  confession  and  speculate  on 
whether  she  actually  composed  it  in  her  cell  and  sang  or  recited 
it  from  the  gallows.  They  may  go  with  Mrs.  Sutton  to  a  mountain 
foot-washing  and  test  their  own  reactions  to  the  spell  of  the  old 
spirituals  sung  as  men  and  women  used  to  sing  them.  Or  they  may 
smile,  with  affectionate  remembrance,  at  old  jingles  about  the  goose 
that  drinks  wine  and  smokes  cigars,  the  'possum  that  shakes  the 
'simmons  down,  and  the  antics  of  Old  Dan  Tucker.  These  and  a 
thousand  other  scenes  and  actions  and  fleeting  emotions  accompany 
a  thoughtful  and  sympathetic  reading  of  the  following  folk  songs. 
Mrs.  Sutton's  long  note  on  'Kitty  Wells'  illuminates  a  background 
of  one  group  of  songs  which  doubtless  lies  behind  many  another : 

"This  song,  widely  known  and  sung  in  North  Carolina,  is  cred- 
ited to  Thomas  Sloan,  Jr.,  and  was  first  published  in  broadside 
form  in  New  York  in  the  sixties.  This  version,  which  is,  I  think, 
practically  correct,  I  learned  from  my  great-aunt,  Mrs.  Harvey 
West.  Aunt  Susie  died  when  I  was  a  little  girl,  but  she  sang  this 
song  a  great  deal,  and  I  learned  it  from  her.  Since  I  have  been 
interested   in  collecting  songs,   I   have  heard   it  in  a  great  many 


INTRODUCTION  5 

places.  I  am  not  sure  that  it  is  an  authentic  folk-song,  for  it  was 
certainly  distributed  first  by  means  of  printed  copies.  But,  it  has 
been  made  the  property  of  the  folk  and  is  handed  down  by  word 
of  mouth  from  mother  to  daughter  in  all  sections  of  the  United 
States.     [Good  definition  of  a  folk  song. — F.  C.  B.] 

"1  heard  'Big  Tom'  Wilson's  granddaughter  sing  it  up  at  the 
foot  of  Mt.  Mitchell  on  the  Yancey  county  side,  one  autumn  after- 
noon. The  Wilson  home,  right  at  the  entrance  to  the  road  up  Mt. 
Mitchell,  is  a  big  white  house  tucked  in  under  the  first  ridge  of 
the  giant  peak.  A  stream  of  icy  water  runs  beside  the  house  and 
empties  into  the  Cane  River  right  where  the  lovely  valley  begins. 
Mrs.  Wilson  is  a  young  woman  with  a  sweet,  plaintive  voice.  She 
plays  folksongs  on  a  guitar  and  sings  them  better  than  any  hill- 
billy singer  I  have  heard. 

"My  friend  Charles  Pegram,  of  the  Lenoir  Nezvs-Topic,  says 
that  most  of  my  songs  can  be  heard  from  the  Caldwell  county  jail 
any  time.  That  the  inhabitants  of  the  cells  in  our  particular  bastile 
often  sing  lonesome  tunes  and  ballads.  That  is  likely  true;  I  have 
collected  a  great  many  during  court  weeks  in  Lenoir.  An  old 
banjo  picker  who  used  to  come  down  from  the  mountains  every 
court  and  sit  around  and  sing,  specialized  on  'Kitty  Wells.'  He 
sang  a  number  of  genuine  mountain  ballads,  as  'Pearlie  Bryan'  and 
'Frankie  Silvers.'  I  don't  know  his  name,  but  I  remember  him 
sitting  on  the  courthouse  lawn  with  his  banjo  and  singing  the  songs 
that  this  audience  asked  him  to  sing.  It  was  his  boast  that  he  knew 
every  one  they  asked  for. 

"Up  in  Avery  there  is  a  ballad  singer  named  Huskins.  He 
spends  a  good  deal  of  his  time  in  Raleigh  or  Atlanta,  due  to  the 
fact  that  he  frequently  operates  a  still  'up  the  branch  sommers.'  I 
came  by  his  home  one  day  and  went  in  out  of  the  rain.  He  and 
his  wife  sang  ballads  for  me  all  the  afternoon.  They  knew  and 
sang  a  number  of  the  best  of  the  traditional  ballads,  but  their  taste 
ran  to  the  outlaw  ballads  and  home-made  songs.  It  was  he  who 
gave  the  idea  that  the  Frankie  and  Johnny  cycle  was  based  on 
the  Silvers  murder.  He  is  the  happiest,  brightest  person  imaginable 
and  it  is  hard  to  understand  how  he  happens  to  fancy  the  mourn- 
fulest,  most  tragic  songs  that  he  can  learn.  He  had  a  home-made 
banjo,  very  old,  that  he  liked. 

"Mountain  homes  a  few  years  ago  often  had  home-made  musical 
instruments.  The  dulcimer,  about  which  a  great  deal  has  been 
written  and  which  is  often  found  in  Kentucky  mountain  homes,  is 
not  so  well  known  in  this  state.  I  had  a  man  to  offer  to  make  me 
a  dulcimer  when  he  heard  I  wanted  to  find  one.  Then,  in  the  loft 
of  a  crib  or  barn  at  my  great-grandfather's  home  six  miles  from 
Lenoir,  I  found  one  once.  It  was  very  crude,  and  of  course  had 
no  strings.  No  one  knew  who  had  made  it,  or  to  whom  it  be- 
longed. The  dulcimer  is  related  to  the  zither  and  was  doubtless 
brought  to  this  country  by  the  Germans. 

"I  wish  that  some  sweet-voiced  North  Carolina  girl  would  get 
an  Irish  harp  and  learn  to  play  it  and  sing  the  lonesome  tunes  to 
that  accompaniment.     It  would  be  a  very  effective  thing.     A  group 


6  NORTH  CAROLINA  FOLKLORE 

of  English  singers,  the  Fullers,  came  to  America  some  15  years 
ago  with  a  concert  that  they  called  'A  Garland  of  English  Country 
Song.'  They  used  an  Irish  harp  to  accompany  three  girls  singing 
ballads.  Three  of  the  songs  they  used  in  that  program  have 
appeared  in  this  series.  It  is  true  that  the  Irish  harp  has  not  been 
used  by  North  Carolina  singers,  and  therefore  might  not  be  authen- 
tic, but  it  is  the  instrument  to  which  the  songs  and  their  sweet, 
plaintive  airs  belong.  If  some  girl  with  a  low-pitched  voice  would 
sing  to  an  Irish  harp  accompaniment  "The  Riddle  Song,'  'The 
Gypso  Davie,'  and  a  lullabye  that  I  have,  it  would  be  as  beautiful 
a  thing  as  anyone  has  done  with  North  Carolina  folk  material.  I 
can't  sing.  If  she  can,  then  I  shall  get  her  an  Irish  harp  and  teach 
her  some  of  tl]e  ballads. 

"In  the  very  upper  end  of  this  county  is  a  settlement  known  as 
Carey's  Flats.  It  is  tucked  in  under  the  long  ridge  of  the  Grand- 
father's Mountain  and  is  one  of  the  wildest  and  most  picturesque 
places  in  the  eastern  end  of  the  Blue  Ridge.  An  old  ballad  singer 
died  up  there  a  few  years  ago,  who  knew  and  loved  every  song  that 
I  have  written  about  in  this  series.  She  was  a  moonshiner.  She 
made  corn-liquor  for  40-odd  years,  and  was  frequently  'up  in  court.' 
The  first  time  that  I  remember  seeing  her,  I  was  sent  by  my  mother 
to  the  courthouse  to  give  a  message  to  my  father.  The  courthouse 
then  stood  in  the  center  of  the  square  in  Lenoir  and  was  a  square 
brick  structure  with  a  door  and  set  of  steps  facing  each  point  of  the 
compass.  The  north  entrance  faced  the  town  pump,  and  I  chose 
that  entrance  to  go  in.  This  old  woman  stood  on  the  lower  step  in 
earnest  conversation  with  'Governor'  W.  C.  Newland  and  Moses 
Harshaw,  two  distinguished  lawyers. 

"She  wore  a  slat  bonnet  and  a  gray  homespun  dress,  and  was  a 
lean,  slab-sided  old  woman,  but  her  smoky  gray  eyes  were  as  keen 
and  strong  as  those  of  a  wildcat.  Just  as  I  slipped  by  her  on  the 
steps,  she  said :  'I  can  prove  by  God  that  I  never  made  nary  drop 
this  side  the  Caldwell  county  line.'  I  shall  never  forget  the  feeling 
with  which  I  paused  on  the  top  step  and  looked  with  awe-stricken 
eyes  at  the  sky  above,  the  blue  sweep  of  mountains  to  the  north. 
I  feared  that  the  awful  thing  the  woman  had  said  would  bring 
immediate  results. 

"Her  home  was  as  picturesque  as  she.  It  was  a  tiny  cabin  in  a 
narrow  hollow  where  the  hills  draw  in  close.  Gray,  weather-beaten, 
and  old,  it  had  sagged  to  a  sort  of  resemblance  of  the  hillside  and 
cliffs  behind  it.  Over  the  door  hung  a  pair  of  buck's  antlers  and 
inside  the  cabin  were  a  great  many  skins  of  animals  and  a  few 
well-preserved  heads  of  deer,  wildcats,  panthers,  and  other  native 
animals.  There  was  a  vacant  place  over  the  mantel,  or  'fireboard,' 
as  she  called  it.  Mr.  Stokes  Penland  declared  that  she  told  him 
she  was  saving  that  space  for  the  head  of  a  'revenue  officer.' 

"The  last  time  she  was  in  court,  the  new  county  of  Avery  had 
been  formed,  and  she  was  tried  in  Newland.  The  judge  was  loath 
to  send  an  old  woman  to  the  State  Prison,  and  she  was  obviously 
guilty.  He  ordered  her  to  leave  the  State.  She  went  'jist  a-little 
piece  yan-side  State-line  Hill.'  There  she  took  up  her  abode.  Two 
or  three  times  a  week  she  would  drag  her  old  form  up  Roan  Moun- 


INTRODUCTION  7 

tain  to  look  at  the  Grandfather.  The  Governor  of  North  Carohna 
then  was  the  gentle  Bickett.  Someone  carried  the  story  to  him,  and 
he  rescinded  the  sentence  and  let  her  come  home. 

"The  last  time  I  saw  her  was  on  the  Yonahlossee  turnpike,  one 
summer  afternoon.  She  strode  along  with  several  boys  and  men — 
sons  and  grandsons.  Her  slat  bonnet  was  folded  in  the  middle  and 
lay  across  her  head.  She  wore  the  same  style  dress  she  had  worn 
on  the  long-ago  morning  when  I  heard  her  appeal  to  the  Deity  to 
prove  her  innocence  of  crime.  Her  smoky  gray  eyes  had  the  film 
of  age,  but  she  smiled  when  I  recalled  myself  to  her  and  wanted 
to  know  if  I  were  still  'traipsin'  over  the  country  huntin'  old 
songs.' 

"She  had  'riccolected'  one  that  I  might  like,  she  thought,  and 
she  stopped,  sat  down  on  a  log  and  sang  it  for  me.  It  was  one  of 
the  best  I  have,  a  traditional  ballad  that  goes  back  to  the  fourteenth 
century  and  was  in  an  excellent  state  of  preservation.  Unfor- 
tunately, it  was  much  too  broad  in  its  subject  matter  for  inclusion 
in  any  published  collection.  It  had  some  interesting  changes.  A 
foot-page  had  become  a  'foot-spade,'  and  a  lord  had  become  a 
landlord.  Otherwise,  the  ballad  was  much  as  it  was  when  some 
minstrel  composed  it.  The  story  was  of  a  girl  who  loved  too  well 
and  followed  her  lover  as  his  'foot  spade'  through  rivers  and  for- 
ests and  across  swamp  and  mountain  to  the  home  of  his  ancestors. 
His  mother  was  puzzled  at  the  beauty  and  charm  of  the  page  and 
warned  her  son  that  his  wife  might  notice  the  'boy.'  I  had  my 
ballad  book  with  me  and  showed  the  singer  the  original  ballad. 
['Child  Waters.'— F.  C.  B.] 

"  'Lord,  I  don't  know  Z  from  bull's  foot,'  she  said.  'If  I  had  to 
git  my  songs  from  ballits  like  you  do,  I'd  have  to  quit  the  practice.' 

"  'It  would  be  mighty  nigh  as  hard  on  the  old  womern  to  quit 
singin'  as  it  was  to  quit  stillin','  one  of  the  men  in  the  party  volun- 
teered.    She  withered  him  with  a  glance. 

"I  read  the  ballad  to  her.  Then  I  told  her  how  old  it  was  and 
how  many  generations  of  singers  had  sung  it. 

"  'Well,  they's  been  a-many  of  a  womern  with  just  about  that 
much  sense,'  the  old  woman  observed.  'When  a  womern  gets  her 
head  set  on  a  man  she's  apt  to  do  any  fool  thing.' 

"She  asked  me  to  go  to  see  her,  and  always  I  meant  to  do  so. 
She  died  several  years  ago,  and  her  cabin  home  is  abandoned.  It 
isn't  far  from  the  falls  of  Gregg's  Prong  of  Wilson's  Crest,  and 
is  included  in  the  new  boundary  of  the  Pisgah  National  Forest. 
I  hope  the  wardens  and  foresters  will  leave  it  alone  and  let  it  stand 
as  a  type  of  the  homes  that  were  built  by  the  earlier   pioneers." 

A  few  warnings  and  spare  promises  may  not  be  inappropriate. 
The  usual  aesthetic  criteria  of  poetry  hardly  apply  to  folk  song. 
Folk  song  style  is  conventional,  but  its  conventions  are  peculiar  to 
it  or  are  the  castoff  habits  of  older  art  poetry.  One  should  not 
expect  to  encounter  often  in  folk  poetry  a  compelling  image,  and 
should  feel  pleased  to  find  it,  now  and  then,  as  in  the  blending  of 
wind  and  train  whistle  in  'Down  in  the  Valley.'     Beauty  and  dis- 


8  NORTH  CAROLINA  FOLKLORE 

tinction  of  line  are  usually  lacking;  curiosa  felicitas  of  phrase  is 
rare.  There  is  little  of  the  reflective  or  subjective  element  that 
one  finds  in  noble  art  poetry.  Human  feeling  is  elemental,  un- 
shaded. To  look  for  these  qualities  in  folk  song  is  vain.  But  to 
read  folk  poetry  is  to  come  close  to  the  preoccupations,  the  tastes, 
and  the  manners  of  our  common  humanity,  to  understand  better  the 
motives  that  have  impelled  average  men  and  women  throughout  the 
ages,  and  the  attitudes  they  have  taken  to  the  casualties  of  the 
human  lot.  Here  is  courage  that  meets  disaster  with  a  series  of 
jests,  as  in  'The  Ballit  of  the  Boll  Weevil';  and  death  with  a 
wistful  farewell  to  a  banjo,  as  in  'Tom  Dula's  Lament,'  in  which 
the  North  Carolina  mountaineer  murderer  precedes  Willa  Gather's 
Spanish  Johnny,  who 

The  night  before  he  swung  he  sang 
To  his  mandolin. 

Here,  too,  is  a  naive  but  sure  grasp  of  the  heart  of  tragedy,  as  in 
'Twenty-one  Years  Is  a  Mighty  Long  Time' — 

I've  counted  the  days,  Babe,  I've  counted  the  nights, 
I've  counted  the  moments,  I've  counted  the  lights, 
I've  counted  the  footsteps,  I've  counted  the  stars, 
I've  counted  a  thousand  of  the  prison  bars. 

This  is  a  collection  of  about  nine  hundred  ballads  and  songs 
(with  a  few  rhymes  recited  rather  than  sung)  recovered  chiefly 
from  oral  tradition  among  the  people  (white  and  colored)  of  North 
Carolina  during  the  period  1912-44.  They  were  collected  by  the 
late  Frank  C.  Brown,  of  Trinity  College  and  Duke  University; 
the  members  of  the  North  Carolina  Folklore  Society,  of  which 
Professor  Brown  was  a  founder  and  was  for  about  thirty  years 
secretary-treasurer  and  archivist ;  friends  and  former  students  of 
Professor  Brown ;  and  various  interested  individuals  who  had  no 
direct  relationship  to  Professor  Brown  or  the  North  Carolina  Folk- 
lore Society.  A  few  of  the  ballads  and  songs  are  known  to  have 
been  sung  as  far  back  as  1765 ;  some,  during  the  Revolutionary 
Period,  the  War  of  1812,  and  the  Civil  War;  many,  during  the 
latter  half  of  the  nineteenth  century;  most  of  them,  during  the  first 
forty  years  of  the  present  century.  A  majority,  perhaps,  are  sur- 
vivals or  modifications  of  ballads  and  songs  imported  from  the  Old 
World,  and  have  been  shared  with  the  people  of  other  states ;  of 
these,  a  considerable  number,  in  particular  the  forty-nine  corre- 
sponding to  ballads  in  Francis  J.  Child's  The  English  and  Scottish 
Popular  Ballads,  have  a  known  history  dating  from  the  seventeenth 
and  eighteenth  centuries.  A  considerable  number  of  pieces  orig- 
inated in  America,  outside  of  North  Carolina;  one  in  1761,  the 
others  during  the  nineteenth  and  twentieth  centuries.  A  compar- 
atively small  number  originated  in  North  Carolina.     Irrespective  of 


INTRODUCTION  9 

age,  origin,  and  period  of  circulation,  these  ballads  and  songs  have 
borne  a  needful  part  in  the  emotional  and  imaginative  life  of  the 
people,  as  connected  with  their  work  and  play,  their  loving  and 
hating,  their  war-making  and  politicking,  their  nurture  of  children, 
and  their  worship  of  God.  Together  with  relevant  facts  about  the 
ballads  and  songs,  this  collection  is  published,  under  the  auspices 
of  Duke  University  and  the  North  Carolina  Folklore  Society,  as  a 
memorial  to  the  scholar  and  teacher  whose  lifelong  love  and  care 
brought  them  together. 

The  Editors  of  the  Ballads  and  Songs  in  the  Frank  C.  Brown 
Collection  of  North  Carolina  Folklore  stand  in  a  somewhat  unusual 
relation  to  the  material  here  presented.  Neither  is  a  native  of 
North  Carolina.  One  has  never  been  in  the  state.  The  other  has 
had  only  about  twenty  years'  residence,  at  Chapel  Hill.  Though 
both  have  had  experience  as  folk-song  collectors  in  other  fields, 
neither  has  collected  extensively  in  North  Carolina.  Thus,  they 
have  lacked  that  intimacy  of  contact  with  the  songs,  the  singers,  and 
the  milieu  of  this  collection  which  they  had  when  they  edited  their 
own  collections. 

Consequently,  for  the  local  background  and  history  of  the  ballads 
and  songs,  they  have  had  to  rely  upon  data  supplied  by  the  various 
collectors'  notes  and  by  Professor  Brown's  (these  in  some  instances 
extensive),  supplemented  by  results  of  such  research  as  accessible 
printed  documents  and  local  inquiry  and  correspondence  yielded. 
For  some  contributions,  especially  those  of  Mrs.  Maude  Minish 
Sutton,  the  notes  have  been  abundant.  For  the  great  majority, 
however,  the  information  furnished  has  been  limited  to  the  bare 
facts  of  local  provenience — the  name  and  (usually)  the  address  of 
the  singer  or  the  informant,  or  of  both,  and  generally,  though  not 
always,  the  date  of  the  singing  or  transmission  of  the  song. 

Such  conditions  affecting  the  editorial  handling  of  the  texts  have 
not,  of  course,  hampered  investigation  of  the  history  of  pieces 
known  to  be  included  in  the  collected  corpus  of  American  folk  song, 
except  (and  this  is  sometimes  an  important  exception)  as  this 
history  has  exhibited  local  features  possible  for  the  field  worker 
himself  to  note,  but  not  always  noted  by  the  collector  or  informant. 
Most  of  the  relevant  general  facts  concerning  the  history  of  pre- 
viously published  songs  are  usually  deducible  from  the  collections 
containing  them.  The  point  where  limitations  of  available  informa- 
tion are  most  felt  is  in  the  handling  of  ballads  and  songs  originated 
in  North  Carolina  or  strongly  flavored  by  their  currency  in  the 
state.  In  dealing  with  these,  the  Editors  have  often  lamented  their 
lack  of  the  original  collector's  firsthand  experience  and  observation, 
which  frequently  throw  upon  a  song  light  obtained  by  no  other 
means.  The  limitations  of  the  Editors'  contact  with  the  ballads 
and  songs  have,  then,  made  themselves  felt  in  various  ways. 


lO  NORTH  CAROLINA  FOLKLORE 

One  of  these  ways  has  had  to  do  with  the  problem  of  classification 
and  arrangement — always  vexing  under  even  the  best  conditions. 
As  the  Editors  worked  with  the  songs,  within  the  frame  of  Pro- 
fessor Brown's  collector's  classification,  it  became  evident  that  this 
frame,  while  good  enough  for  collecting  and  filing  the  texts,  would 
not  be  the  clearest  and  most  effective  for  published  presentation, 
and  that  he  himself  would  probably  have  modified  it.  Many  of  the 
groups  overlapped,  in  a  way  that  he  perhaps  did  not  realize,  as  the 
number  and  the  variety  of  the  songs  began  to  pile  up.  Songs  turned 
up  which  did  not  fit  into  any  defined  category.  Some  could  not  be 
classified  confidently  because  the  Editors  lacked  details  of  informa- 
tion which  they  might  have  noted  or  remembered  if  they  had 
collected  the  songs  themselves,  but  which  it  was  impossible  after 
the  lapse  of  years  to  obtain.  For  example,  some  of  the  songs  look 
like  work  songs,  but  there  is  no  documentary  evidence  that  they 
were  used  as  such;  some  look  like  Negro  spirituals,  but  (if  the 
fact  would  make  any  difference!)  there  is  nothing  to  show  whether 
they  were  sung  by  Negroes  or  by  whites;  some  "religious"  songs 
are  so  naive  or  absurd,  or  seem  to  skate  so  near  the  thin  ice  of 
sacrilege,  that  they  look  like  travesties,  yet  there  is  no  evidence 
that  the  singers  regarded  them  as  such. 


THE  OLDER  BALL ADS— MOSTLY 
BRITISH 


AS  MIGHT  be  expected  from  the  liistory  of  the  state,  North 
•^*-  CaroHna  is  rich  in  the  older  traditional  ballads.  The  Frank 
C.  Brown  Collection  shows  as  many  of  the  ballads  admitted  by 
Child  to  his  English  and  Scottish  Popular  Ballads  as  the  Virginia 
Folklore  Society  found  in  that  state  (as  reported  in  Davis's  Tradi- 
tional Ballads  of  Virginia)  and  more  than  any  other  state  collection 
except  that  of  Maine  (as  reported  by  Barry  in  British  Ballads  from 
Maine).  And  among  them  are  not  only  what  might  be  called  the 
standard  favorites,  ballads  that  appear  in  almost  all  American 
regional  collections — 'Barbara  Allan,'  'Lord  Thomas  and  Fair 
Annet,'  'Sir  Hugh  or  The  Jew's  Daughter,'  'The  Farmer's  Curst 
Wife,'  'The  Golden  Vanity' — but  others  that  have  seldom  or  never 
been  recovered  before  on  this  side  of  the  water.  One  of  them, 
indeed,  'Robin  Hood  and  Guy  of  Gisborne,'  a  broken  and  decayed 
but  none  the  less  indisputable  form  of  the  original,  has  not  been 
found  anywhere  in  tradition  since  someone  wrote  it  down  in  the 
famous  Percy  Folio  three  hundred  years  ago.  'The  Wee  Wee 
Man,'  too,  is  unique  in  modern  tradition.  'Thomas  Rymer'  has 
not  heretofore  been  found  in  America.  Others — 'Babylon,'  'Child 
Waters,'  'The  Lass  of  Roch  Royal'  (as  a  complete  ballad;  certain 
stanzas  of  it  are  ubiquitous  in  American  folk  lyric),  'Sweet  Wil- 
liam's Ghost,'  'The  Knight  and  the  Shepherd's  Daughter,'  'Robin 
Hood  Rescuing  Three  Squires,'  'The  Bonny  Earl  of  Murray,'  'The 
Suffolk  Miracle' — are  unusual  in  American,  some  of  them  also  in 
British,  tradition.  And  there  are  some  very  interesting  old  songs 
outside  the  Child  canon :  'The  Ghost's  Bride,'  'The  Turkish  Factor,' 
'The  Prince  of  Morocco,'  'Nancy  of  Yarmouth,'  'The  Bramble 
Briar,'  and  relics  of  the  old  carols — 'The  Dilly  Song,'  "The  Twelve 
Joys  of  Mary,'  'The  Twelve  Days  of  Christmas.' 

It  is  not  surprising  that  North  Carolina  has  kept  these  old  songs 
as  a  live  tradition.  We  sometimes  forget  that  the  earliest  English 
settlement  in  America  was  made  in  North  Carolina,  on  Roanoke 
Island,  some  twenty  years  before  the  permanent  planting  at  James- 
town. And  when,  not  long  after,  permanent  settlements  were  made 
in  North  Carolina,  they  consisted,  for  the  most  part,  of  simple  folk. 
So  much  so  as  to  arouse  in  William  Byrd  of  Westover,  cultivated 
Virginia  gentleman   (and  shrewd-eyed  appraiser  of  land  values),  a 


12  NORTH  CAROLINA  FOLKLORE 

hundred  years  later,  an  amused  contempt  for  the  people  south  of  the 
Dividing  Line — parsonless,  largely  lawyer-less,  and  lazy,  a  Lubber- 
land  folk.  Of  Edenton.  on  Albemarle  Sound,  a  town  in  1728  of 
some  forty  or  fifty  small  and  inexpensive  houses,  he  opined  that 
it  was  "the  only  metropolis  in  the  Christian  or  Mahometan  world 
where  there  is  neither  church,  chapel,  mosque,  synagogue,  or  any 
other  place  of  public  worship  of  any  sect  or  religion  whatsoever"; 
but  he  added  that  "not  a  soul  has  the  least  taint  of  hypocrisy  or 
superstition,  acting  very  frankly  and  above-board  in  all  their  ex- 
cesses." Plain  people,  evidently ;  the  sort  of  people  that  would 
naturally  retain  the  old  ballads  as  the  poetic  expression  of  their 
life  and  feelings.  And  when,  later  in  Byrd's  century,  the  wave  of 
Scotch  and  Scotch-Irish  came  across  the  water  to  the  New  World, 
they  brought  their  old  songs  with  them.  In  North  Carolina,  as  in 
the  adjoining  colonies  north  and  south,  the  newcomers  found  the 
richer  lands  along  the  coast  already  taken  up  and  went  inland,  to- 
wards the  mountains,  establishing  themselves  there  on  the  frontier 
and  again,  a  generation  or  two  later,  proceeding  over  the  mountains 
to  occupy  a  new  frontier  in  Kentucky  and  Tennessee.  Their 
descendants  are  still  there,  in  the  mountain  counties,  living  much 
as  their  forefathers  did  when  they  first  came  and  singing  many 
of  the  same  songs.  Mrs.  Sutton's  notes  on  the  ballads  she  collected 
in  Caldwell  and  neighboring  counties  provide  many  delightful  pic- 
tures of  these  people,  some  of  which  will  be  found  in  the  headnotes 
to  the  ballads.  They  still  make  ballads  of  their  own,  too.  Thomas 
Smith  of  Zionville  tells  of  a  ballad  singer  of  Watauga  county, 
John  Yarber,  who  was  famous  for  his  renditions  of  'Barbara  Allan' 
and  'The  House  Carpenter'  ('James  Harris')  :  "People  of  our  settle- 
ment used  to  call  on  Mr.  Yarber  to  sing  whenever  he  visited 
them.  .  .  .  Mr.  Yarber  (we  always  called  him  'Uncle  Johnny') 
was  not  an  educated  man,  but  took  great  delight  in  music.  He 
even  composed  songs  on  local  happenings,  etc.,  and  sang  them  to 
his  friends  who  wished  to  hear  them." 


The  Elfin  Knight 
(Child  2) 

This  set  of  courting  riddles,  commonly  known  in  this  country 
as  'The  Cambric  Shirt,'  though  not  very  old  (the  earliest  text  known 
to  Child  was  a  seventeenth-century  broadside),  has  persisted  rather 
well  both  in  the  old  country  and  in  America.  It  has  been  reported 
from  tradition  in  Ireland,  Aberdeenshire,  Yorkshire,  Northumber- 
land, Sussex,  Wiltshire,  and  Somerset,  and  in  Maine,  Vermont, 
Massachusetts,  Rhode  Island,  Pennsylvania,  Virginia,  Kentucky, 
North    Carolina     (apart    from    the    present    collection),    Georgia, 


OLDER     BALLADS MOSTLY     BRITISH  I3 

Florida,  Texas,  Arkansas,  Missouri,  Ohio,  Indiana,  Illinois,  Mich- 
igan, Nebraska,  and  California.  It  has  two  chief  types  of  refrain, 
one  of  which,  "rosemary  and  thyme,"  undergoes  strange  trans- 
formations on  the  tongues  of  singers — none  stranger,  perhaps,  than 
the  "arose  Mary  in  time"  and  "Rose  de  Marian  time"  of  texts  A 
and  B  below.  The  other  type,  represented  in  text  C  below,  seems 
to  be  only  American.  It  is  recognizable  in  Child's  version  J,  which 
came  from  Massachusetts,  and  in  texts  from  Maine,  Vermont, 
Indiana,  Missouri,  and  Texas,  but  I  have  not  found  it  in  British 
texts. 


'The  Cambric  Shirt.'  Sent  in  by  Professor  W.  Amos  Abrams,  formerly 
of  the  Appalachian  State  Teachers  College,  Boone,  Watauga  county,  as 
secured  from  Mary  Bost,  of  Statesville,  Iredell  county. 

1  As  I  went  through  Wichander's  town, 
Arose  Mary  in  time ! 

I  threw  my  specs  to  a  certain  young  woman 
And  told  her  she  could  be  a  true  lover  of  mine. 

2  Tell  her  to  make  me  a  cambric  shirt, 
Arose  Mary  in  time ! 

Without  seam  or  needle's  work 
Before  she  can  be  a  true  lover  of  mine. 

3  Tell  her  to  wash  it  in  a  w^ell 
Arose  Mary  in  time ! 

Where  water  never  ran  nor  rain  never  fell 
Before  she  can  be  a  true  lover  of  mine. 

4  Tell  her  to  hang  it  on  a  thorn, 
Arose  Mary  in  time  ! 

Where  leaves  never  grew  since  Adam  was  born 
Before  she  can  be  a  true  lover  of  mine. 


As  I  went  through  Wichander's  town, 
Arose  Mary  in  time  ! 

I  threw  my  specs  to  a  certain  young  man 
And  told  him  he  could  be  a  true  lover  of  mine. 

Tell  him  to  clean  up  one  acre  of  ground, 
Arose  Mary  in  time ! 
Between  salt  sea  and  Dace  town 
Before  he  can  be  a  true  lover  of  mine. 

Tell  him  to  plow  it  with  a  thorn, 
Arose  Mary  in  time ! 
Plant  it  all  over  with  one  grain  of  corn 
Before  he  can  be  a  true  lover  of  mine. 


14  NORTH     CAROLINA     FOLKLORE 

8  Tell  him  to  reap  it  with  a  pea-fowl's  feather, 
Arose  Mary  in  time ! 

Wrap  it  all  up  with  one  stirrup  of  leather 
Before  he  can  be  a  true  lover  of  mine. 

9  Tell  him  to  thrash  it  against  the  wall, 
Arose  Mary  in  time  1 

For  his  life,  never  let  a  grain  fall, 
Before  he  can  be  a  true  lover  of  mine. 

lo     Tell  him  to  take  it  to  the  mill. 
Arose  Mary  in  time  ! 
Every  grain  a  barrel  shall  fill 
Before  he  can  be  a  true  lover  of  mine. 


'Rose  de  Marian  Time.'  Recorded  by  Professor  Richard  Chase  of  the 
Institute  of  Folk  Music  at  Chapel  Hill  in  1936  from  the  singing  of 
Mrs.  Fannie  Norton  of  Norton,  N.  C.  Similar  to  A,  but  the  refrain 
is  "Rose  de  Marian  Time,"  the  first  stanza  has  "yonder  town"  and 
"young  lady"  instead  of  "Wichander's  town"  and  "young  woman,"  and 
it  lacks  the  odd  expression  "I  threw  my  specs."  Instead  of  "Between 
salt  sea  and  Dace  town"  it  has  "Between  salt  water  and  sea  shore." 

There  is  in  the  collection  another  text  sent  in  by  Professor  Chase  in 
the  same  year,  a  version  "edited  for  teaching."  It  is  not  clear  from 
the  manuscript  just  what  the  editing  consists  of,  nor  whence  this  version 
was  procured.  The  last  six  of  its  ten  stanzas  (without  the  second  and 
fourth  lines,  i.e.,  the  refrain)   run  as  follows: 

5  I  came  back  from  yonder  town — 
She  sent  word  to  that  young  man. 

6  Tell  him  to  clear  me  an  acre  of  land — 
Between  the  sea  and  the  salt  sea  strand. 

7  Tell  him  to  plow  it  with  a  muley  cow's  horn — 
And  sow  it  all  over  with  one  grain  of  corn. 

8  Tell  him  to  reap  it  with  a  stirrup  leather — 
And  bind  it  all  up  in  a  chee-chicken  feather. 

9  Tell  him  to  thresh  it  in  a  shoe  sole — 
And  crib  it  all  in  a  little  mouse  hole. 

10     Tell  him  when  he's  done  this  work — 
Come  to  town  and  get  his  shirt. 

c 

'The  Cambric  Shirt.'  Two  stanzas  only,  contributed  in  1923,  by  Mil- 
dred Peterson  of  Bladen  county. 

I     Can  you  make  me  a  cambric  shirt — 
Flunia  luna  lokey  slomy — 
Without  seam  or  fine  needle  work? 


OLDER     BALLADS MOSTLY     BRITISH  15 

From  a  tastum  tasalum  tenipluni 
Flunia  luna  a  lokey  slomy. 

2     Can  you  wash  it  in  a  well — 

Where  water  never  run  nor  well's  never  full? 


Lady  Isabel  and  the  Elf-Knight 
(Child  4) 

For  the  history  of  this  ballad  in  many  lands  and  tongues,  see 
Child's  headnote  in  English  and  Scottish  Popular  Ballads  and 
Grundtvig's  in  Danmarks  gandc  Folkei'iscr,  and  for  its  occurrence 
since  Child's  time  in  the  British  Isles  and  in  America,  see  BSM 
5-6 — and  add  to  the  references  there  given  Arkansas  (OFS  i  47), 
Florida  (FSF  237-41),  and  Missouri  (OFS  i  45-6).  It  is  a  favorite 
among  the  ballad  singers  of  North  Carolina;  Mrs.  Sutton  reports 
that  it  was  sung  by  Mrs.  Hall  in  Buncombe  county,  by  Mrs.  Gordon 
in  Henderson  county,  by  Mrs.  Brown  in  Avery  county,  and  others. 
Mrs.  Steely  records  three  texts,  with  tunes,  found  in  the  Ebenezer 
community  in  Wake  county.  The  name  of  the  heroine  varies.  Most 
often  it  is  Polly.  The  names  Clovanne  (in  version  C)  and  Cold  Rain 
(in  version  D)  may  be  assumed  to  derive  from  the  May  Colvin  of 
British  broadside  versions.  The  villain,  if  named  at  all — as  gen- 
erally he  is  not  in  the  North  Carolina  versions — is  William.  All 
three  of  the  scenes  that  make  up  the  story,  the  elopement,  the 
drowning,  the  dialogue  with  the  parrot,  are  present  in  all  the 
North  Carolina  versions,  even  the  much  reduced  F.  Versions  D, 
E,  and  G  show  the  shift  of  grammatical  person  from  the  first  per- 
son to  the  third  which  is  so  frequent  in  traditional  balladry. 

A 
'Pretty  Polly.'  Recorded  by  Mrs.  Sutton  but  from  which  of  the  many 
whom  she  heard  sing  it  is  not  clear  from  her  covering  letter.  It  re- 
sembles version  P  of  the  Virginia  collection  by  beginning  with  the  girl's 
warning  to  the  bird  not  to  betray  her — though  the  bird  here  is  a  crow- 
ing chicken  and  seems  to  have  no  connection  with  the  parrot  which 
appears  in  its  accustomed  place  at  the  close.  There  is  in  the  Collection 
another  copy  of  this  version  lacking  the  last  stanza  and  called  'The 
King's  Daughter,'  with  the  tune  as  sung  by  Mrs.  J.  J.  Miller  (the 
Myra  Barnett  from  whom  Mrs.  Sutton  learned  so  many  of  her  ballads). 

1  'My  pretty  little  crowin'  chicken, 
It's  don't  you  crow  too  soon, 

And  your  wings  shall  be  of  the  yellow  beaten  gold 
And  your  comb  of  the  silver  so  gay  gay  gay 
And  your  comb  of  the  silver  so  gay.' 

2  She  stole  her  father's  horses, 
And  she  rode  the  dappled  bay. 

And  she  travelled  till  she  came  to  the  salt-water  sea 


l6  NORTH  CAROLINA  FOLKLORE 

Six  hours  before  it  was  day  day  day, 
Six  hours  before  it  was  day. 

3  'Light  down,  light  down,  pretty  Polly, 
And  stand  by  the  side  of  me. 

For  the  six  king's  daughters  that  I  have  drowned  here. 
And  the  seventh  daughter  you  shall  be  be  be. 
And  the  seventh  daughter  you  shall  be. 

4  TuU  off,  pull  off  those  fine,  fine  clothes 
And  give  them  unto  me; 

For  I  do  think  that  they're  too  costly  and  too  fine 
To  rot  in  the  salt-water  sea  sea  sea. 
To  rot  in  the  salt-water  sea.' 

5  'Oh  turn  your  back  all  unto  me 

And  your  face  to  the  leaves  on  the  tree; 
For  I  do  think  it's  a  scandal  and  a  shame 
That  a  naked  woman  you  should  see  see  see, 
That  a  naked  woman  you  should  see.' 

6  He  turned  his  back  all  unto  her 
And  his  face  to  the  leaves  on  the  tree. 
She  picked  him  up  so  manly  and  so  strong 
And  pitched  him  into  the  salt-water  sea, 
And  pitched  him  into  the  sea. 

7  'Lie  there,  lie  there,  you  false-hearted  man, 
Lie  there  in  the  place  of  me. 

For  the  six  king's  daughters  that  you  have  drowned  there, 
And  the  seventh  daughter  you  shall  be  be  be. 
And  the  seventh  daughter  you  shall  be.' 

8  She  rode  her  father's  horse 
And  she  led  the  dappled  bay, 

And  she  rode  till  she  came  to  her  own  father's  house 
Three  hours  before  it  was  day  day  day. 
Three  hours  before  it  was  day. 

9  'Oh,  where  have  you  been,  pretty  Polly, 
So  long  before  it  is  day?' 

[O     'Oh,  hush,  oh,  hush,  my  little  parrot, 
And  tell  no  tales  on  me, 

And  your  cage  it  shall  be  of  the  yellow  beaten  gold 
And  the  doors  of  the  ivory  ry  ry. 
And  the  doors  of  the  ivory. 

[I     'Oh,  why  do  you  wake,  my  little  parrot, 
So  long  before  it  is  day?' 


OLDER     BALLADS MOSTLY     BRITISH  I7 

'There  came  a  cat  unto  my  nest  to  rob  me  of  my  rest, 
And  I  called  pretty  Polly  to  drive  it  away, 
And  I  called  pretty  Polly  to  drive  it  away.' 


'The  Seven  Sisters.'  Another  version  secured  later  (in  the  summer  of 
1928)  by  Mrs.  Sutton  from  the  singing  of  Mrs.  Rebecca  Gordon  of 
Saluda  Mountain,  Henderson  county.  In  this  the  modesty  motif  is 
omitted  (after  stanza  3).  In  the  manuscript  the  final  syllable  of  each 
stanza  except  the  first  is  twice  repeated  as  in  the  preceding  line.  This 
procedure,  whicli  violates  the  customary  rhythm  of  l)allad  verse,  I  have 
assumed  to  be  an  error  of  transcription  and  have  accordingly  reduced 
each  stanza  to  the  norm  of  stanza  i.  The  "fuss"  of  stanza  5  is  pre- 
sumably a  mis  writing  (it  could  hardly  be  a  mishearing)  of  "fair,"  the 
adjective  commonly  applied  to  Scotland  in  this  place.  For  the  reading 
"maid"  in  the  second  line  I  have  no  explanation  ;  to  read  it  "made"  does 
not  greatly  help.     Stanza  2  has  lost  one  line  and  stanza  4  has  lost  three. 

1  He  followed  her  upstairs  and  down 
And  into  her  chamber  maid ; 

She  had  no  arms  for  to  force  him  away, 
No  tongue  for  to  tell  him  nay  nay  nay, 
No  tongue  for  to  tell  him  nay. 

2  She  told  him  to  go  to  her  father's  stable 
And  choose  two  of  the  best  horses 

Out  of  thirty-two  or  three  three  three, 
Out  of  thirty-two  or  three. 

3  They  rode  and  they  rode  till  the  middle  of  the  night. 
Until  they  came  to  the  sea. 

He  said,  'Here  Fve  drowned  six  king's  daughters. 
And  the  seventh  you  shall  be  be  be, 
And  the  seventh  you  shall  be.' 

4  She  picked  him  up  so  strong  in  her  arms 
And  splunged  him  into  the  sea. 

5  'Come  here,  come  here,  my  pretty  Polly  dear. 
Come  pull  me  out  of  here ; 

I'll  take  you  to  the  fuss  Scotland 
And  there  Pll  marry  thee  thee  thee, 
And  there  Pll  marry  thee.' 

6  'Lie  there,  lie  there,  you  false  young  man. 
Lie  there  in  place  of  me ; 

For  here  you  drownded  six  king's  daughters 
And  the  seventh  drownded  thee  thee  thee. 
And  the  seventh  drownded  thee.' 


7     She  mounted  on  the  milk-white  steed 
And  led  the  dappled  bay. 


lO  NORTH     CAROLINA     FOLKLORE 

She  came  home  to  her  father's  hall 
One  hour  before  'twas  day  day  day, 
One  hour  before  'twas  day. 

8  A-passin'  by  her  parrot's  cage 
He  begun  to  chatter  to  me : 
'What's  the  matter/  pretty  Polly  dear, 
Makes  you  travel  so  long  before  day  day  day, 
Makes  you  travel  so  long  before  day?' 

9  'Hush  up,  hush  up,  pretty  Polly  dear. 
And  tell  no  tales  on  me ; 

I'll  make  your  cage  of  the  new  Buton-  gold 
With  a  door  of  ivory  ry  ry, 
With  a  door  of  ivory.' 

[O     The  parrot  chattered  till  her  father  woke. 
All  in  his  bed  he  lay ; 

Said,  'What's  the  matter,  pretty  parrot  bird. 
Makes  you  chatter  so  long  before  day  day  day, 
Makes  you  chatter  so  long  before  day  ?' 

[  I     'The  cat  he's  a-settin'  at  my  cage  door. 
Saying  he  will  savour  me ; 
I  was  a-callin'  to  pretty  Polly  dear 
To  drive  the  cat  away,  way  way. 
To  drive  the  cat  away.' 


'The  Seventh  King's  Daughter.'  This  appears  twice  among  the  type- 
scripts of  the  Collection,  in  one  of  the  copies  ascribed  to  the  J.  B. 
Henneman  collection  with  a  note  saying  that  it  was  collected  from  a 
Mrs.  Simpkins  (the  source  of  Henneman's  North  Carolina  texts),  in  the 
other  attributed  directly  to  Mrs.  Simpkins  without  saying  who  secured  it 
but  noting  that  Mrs.  Simpkins  thought  "there  was  an  introductory  stanza 
or  more  which  she  could  not  remember."  We  print  the  second  form, 
with  notation  of  the  differences — few  and  slight — between  the  two.  The 
"Wessymore  land"  of  stanzas  5  and  lo  is  presumably  a  corruption  of 
"Westmoreland."  The  spelling  "Covanne"  in  stanza  4  is  doubtless 
merely  a  slip ;  elsewhere  in  this  copy  and  throughout  in  the  other  copy 
the  name  is  spelled  "Clovanne."  The  third  line  of  stanza  i  is  incon- 
sistent with  the  conclusion. 

1  He  followed  her  up,  he  followed  her  down, 
He  followed  her  to  where  she  stayed. 

She  hadn't  no  father  to  bid  him  begone, 
No  time  to  say  hitn  nay. 

2  'Go  get  it's  all  of  your  mother's  gold, 

^  The   manuscript  has   "do"   before   "pretty" ;   presumably   a  meaning- 
less slip  of  the  pen. 
*  Miswritten,  clearly,  for  "beaten." 


OLDER     BALLADS  —  MOSTLY     BRITISH  I9 

And  some  of  your  father's  fee, 

And  you  will  have  a  steed  for  tu  ride  upon, 

The  best  of  thirty  and  three.' 

3  Then  she  mounted  her  milk-white  steed 
And  he  on  his  dapple^  grey. 

They  rode  down  to  the  wide  water 
Four  hours  before  it  was  day. 

4  'Come  get  you  down,  my  pretty  Covanne, 
Come  get  you  down.'  says  he ; 

'For  I  have  drowned  six  king's  daughters; 
The  seventh  you  shall  be.' 

5  'Oh,  if  you  have  drowned  the  six  king's  daughters, 
Oh,  why  should  you  drown  me, 

When  you  promised  to  carry  me  to  the  Wessymore  land 
And  marry  along  with  me?' 

6  'Oh,  pull  ofi  that  satin  silk  gown 
And  spread  it  on  yonder  shore. 
It  is  too  rich  and  over  costlie 

To  rot  in  the  salt  sea  sound.' 

7  'Well,  turn  your  face  to  the  wide  waters, 
Your  back  to  the  leaves  of  the  tree ; 

It  never  became  a  man  like  you 
A  naked  woman  to  see.' 

8  He  turned  his  face  to  the  wide  waters, 
His  back  to  the  leaves  of  the  tree. 

She  picked  him  up  in  her  arms  so  strong, 
She  hove  him  in  the  sea. 

9  'Come  help  me  out,  my  ]>retty  Clovanne, 
Come  help  me  out,'  says  he, 

'And  I'll  double  those  things  three  times  over 
That  ever  I've  told  unto  thee.' 

10  'Lie  there,  lie  there,  thou  false-hearted  William, 
Lie  there  instead  of  me ; 

For  you  promised  to  carry  me  to  the  Wessymore  lands 
And  married  we  would  be.' 

11  'Come  help  me  out,  my  pretty  Clovanne, 
Come  help  me  out,'  says  he. 

*I  will  carry  you  to  the  Wessymore  lands 
And  married  we  will  be.' 
*  The  other  copy  has  here  "topsi." 


20  NORTH  CAROLINA  FOLKLORE 

12  'Lie  there,  lie  there,  you  false-hearted  William, 
Lie  there  instead  of  me. 

You  said  that  you  had  drowned  the  six  king's  daughters; 
The  seventh  you  shall  be.' 

13  Then  she  mounted  the  milk-white  steed 
And  drew  up  her  dapple  grey ; 

She  rode  home  to  her  father's  gate 
Two  hours  before  it  was  day. 

14  The  parrot  to  her  cage  window, 
The  parrot  there  did  stay. 

She  called  unto  her  pretty  Clovanne, 

'What  makes  you  a-stirring  so  long  before  day?' 

15  'Oh,  hush,  oh,  hush,  my  pretty  parrot, 
Don't  tell  no  tales  on  me. 

And  you  shall  have  a  cage  of  the  finest  gold, 
The  finest  you  ever  did  see.' 

16  Her  father  into  his  bed  chamber 
It  is  called-  where  he  did  lay. 
He  called  unto  the  pretty  parrot, 

'Wliar  makes  you  a-talking  so  long  before  day?' 

17  'The  cat  has  come  to  my  cage  window 
My  innocent  life  to  betray ; 

I  called  upon  my  pretty  Clovanne, 
"Come  drive  this  cat  away."  ' 


'Pretty  Cold  Rain.'  From  the  manuscript  book  of  songs  of  Miss  Edith 
Walker  of  Boone,  Watauga  county.  Though  it  does  not  differ  greatly 
from  the  three  preceding  versions,  it  is  given  here  as  illustrating  the 
shift  of  person;  it  begins  as  first  person  narrative  by  the  girl  but  passes 
in  the  third  stanza  to  the  third  person.  At  the  close  is  written  'Repeat 
the  last  two  lines' — which  I  take  to  be  a  direction  governing  the  stanza 
structure  throughout. 

1  He  followed  me  up  and  he  followed  me  down, 
He  followed  me  where  I  lay ; 

I  had  not  the  heart  to  tell  him  to  be  gone 
Nor  tongue  to  say  'Oh  no.' 

2  'Go  bring  me  some  of  your  father's  gold. 
Likewise  your  mother's  fee ; 

And  I  will  take  you  to  the  salt  sea  waters 
And  there  I'll  marry  thee.' 
*  Omitted  in  the  other  copy,  which  has  simply  "It  is  where  he  did  lay." 


OLDER     BALLADS MOSTLY     BRITISH  21 

3  She  brought  him  some  of  her  father's  gold, 
Likewise  her  mother's  fee, 

And  they  went  on  to  her  father's  horse  stables 
Where  his  horses  thirty  and  three. 

4  He  mounted  her  upon  the  Turkish  brown 
And  himself  on  the  iron  grey. 

They  were  at  the  salt  sea  waters 
Three  hours  before  it  came  day. 

5  'Light  down,  light  down,  you  pretty  Cold  Rain, 
Light  down,  I  say  to  thee. 

Right  here  I've  drowned  six  kings'  daughters. 
And  the  seventh  you  shall  be. 

6  'Pull  off,  pull  off  them  gay  new  clothes, 
Throw  'em  on  yonder  stone ; 

For  they  air  too  fine  and  too  costly 
To  be  rotted  in  the  salt  sea  foam.' 

7  'It's  turn  your  back  toward  the  pretty  green  leaves 
And  your  face  toward  the  sea, 

For  you  are  not  fitten,  you  false-lighted  villain. 
For  a  naked  woman  to  see.'^ 

8  He  turned  his  back  to  the  pretty  green  leaves 
And  his  face  toward  the  sea. 

She  picked  him  up  in  her  arms  so  strong 
And  plunged  him  in  the  sea. 

9  'Your  hand,  your  hand,  my  pretty  Cold  Rain, 
Your  hand,  I  say  to  thee ; 

And  all  the  promises  I  ever  made  to  thee 
I'll  double  them  thirty  and  three.' 

10  'Lie  there.  He  there,  you  false-hearted  vissain,^ 
Lie  there,  I  say  to  thee ; 

You  said  you'd  drowned  six  kings'  daughters, 
And  you  yourself  the  seventh  shall  be.' 

1 1  She  mounted  herself  on  the  Turkish  brown 
And  she  led  the  iron  grey. 

She  was  at  her  father's  own  dwelling 
One  hour  before  it  came  day. 

12  It's  up  then  spoke  the  little  parrot 
As  it  sat  in  its  cage : 

*  So  the  manuscript ;  but  the  meaning  clearly  is  "A  naked  woman  for 
to  see." 

*  So  the  manuscript ;  miswritten,  evidently,  for  "villain." 


22.  NORTH  CAROLINA  FOLKLORE 

'Oh,  what's  the  matter,  my  pretty  Cold  Rain, 
Makes  you  walk  so  long  before  day  ?' 

13  'It's  hush  your  mouth,  my  little  parrot. 
And  tell  no  tales  on  me ; 

Your  cage  shall  be  made  of  the  beaten  beaten  gold 
And  doors  of  the  ivory.' 

14  It's  up  then  spoke  her  old  father 
As  he  lay  in  his  room : 

'Oh,  what's  the  matter,  my  little  parrot, 
Makes  yoy  talk  so  long  before  day?' 

15  'It's  here  is  a  cat  at  my  cage  door 
Trying  to  catch  me. 

And  I  was  a-calling  to  my  pretty  Cold  Rain 
To  drive  the  old  catty-puss  away.' 

E  ^ 
'Sweet  William.'  Communicated  by  Mrs.  T.  L.  Perry,  who  earlier 
under  her  maiden  name  of  Isabel  Rawn  had  made  numerous  and  valuable 
contributions  of  North  Carolina  folk  song  to  the  JAFL.  It  is  amusing 
to  find  "steed"  changed  to  "stage"  ;  evidently  the  singer  thought  of  the 
eloping  couple  as  going  oflf  in  the  stagecoach  harnessed  to  the  dappled 
grey — see  stanza  13.  One  wonders  what  relation,  if  any,  existed  in  the 
singer's  mind  between  the  Sweet  William  whose  grave  they  drive  to  in 
stanza  5  and  the  Sweet  William  who  is  the  villain  of  the  story.  This 
version  also  has  the  shift  of  person,  not  passing  definitely  to  the  third 
person  until  stanza  9. 

1  Sweet  WiUiam  rode  across  the  Darkely  Mountain 
And  he  first  came  a-courting  of  me  me, 

And  he  first  came  a-courting  of  me. 

2  He  followed  me  up  and  he  followed  me  down 
And  he  followed  me  into  my  little  chamber 
Where  I  had  no  tongue  for  to  say  him  nay 
Nor  had  no  wings  for  to  fly  away. 

3  He  told  me  to  take  my  father's  gold 
And  part  [of]  my  father's  fee 

And  the  milk-white  stage  and  the  dappled  gray, 
And  the  milk-white  stage  and  the  dappled  gray. 

4  I  took  my  father's  gold 

And  a  part  [of]  my  father's  fee 

And  the  milk-white  stage  and  the  dappled  gray, 

And  the  milk-white  stage  and  the  dappled  gray. 

5  We  rode  the  milk-white  stage 
And  drove  the  dappled  gray, 

We  rode,  we  rode  to  the  grave  of  Sweet  William 


OLDER     BALLADS MOSTLY     BRITISH  23 

One  hour  before  it  was  day  day, 
One  hour  before  it  was  day. 

6  Up  spake  this  false  young  William  and  this  he  did  say: 
'Light  down  here,  pretty  Polly,  light  down  here  beside  of 

me; 
For  three  young  maids  I  have  drowned  here 
And  the  fourth  one  you  shall  be  be, 
And  the  fourth  one  you  shall  be. 

7  'Pull  off  that  costly  robe 
And  hang  it  on  my  knee ; 
For  it  cost  too  much  money 
To  rot  in  the  sea  sea, 

To  rot  in  the  sea.' 

8  'Oh,  turn  your  back  upon  me, 
Upon  the  naked  leaf  tree, 

For  a  naked  woman  is  a  sinful  sight 
For  a  man  to  see  see, 
For  a  naked  woman  is  a  sinful  sight 
For  a  man  to  see.' 

9  He  turned  his  back  upon  her. 
Upon  the  naked  leaf  tree  ; 

She  picked  him  up  by  the  middle  of  the  swalls^ 
And  tossed  him  into  the  sea  sea. 
And  tossed  him  into  the  sea. 

10  'Lay  there,  lay  there,  you  false  young  man, 
Lay  there  in  the  place  of  me ; 

For  three  fair  maids  you  have  drowned  here 
And  the  fourth  one  yourself  shall  be  be. 
And  the  fourth  one  yourself  shall  be.' 

11  'Oh,  give  me  your  hand,  pretty  Polly, 
Oh,  give  me  your  hand,  I  pray ; 
You  shall  not  drown  in  the  sea, 

But  be  my  bride  today  day, 
But  be  my  bride  today.' 

12  'Lay  there,  lay  there,  you  false  young  man, 
Lay  there  in  the  place  of  me ; 

For  three  fair  maids  you  have  drowned  here 
And  the  fourth  one  yourself  shall  be  be, 
And  the  fourth  one  yourself  shall  be.' 

^  Is    this    miswritten — or    misread — for    "smalls,"    i.e.,    small-clothes, 
breeches  ? 


24  NORTH     CAROLINA     FOLKLORE 

13  She  rode  the  milk-white  stage 
And  drove  the  dappled  gray, 

She  drove,  she  drove  to  her  father's  house 
One  hour  before  it  was  day  day, 
One  hour  before  it  was  day. 

14  Up  spake  her  kind  old  father 
And  this  he  did  say : 

'What  made  you  rise,  pretty  Polly, 
An  hour  before  it  was  day  day, 
And  hour  before  it  was  day?' 

15  Then  spake  her  little  parrot 
And  this  it  did  say: 

'The  cat  ran  across  my  cage  door 

And  she  came  for  to  drive  it  away  away, 

And  she  came  for  to  drive  it  away.' 

16  'Oh,  hold  your  tongue,  my  pretty  little  bird. 
And  tell  no  lies  on  me ; 

I  will  line  your  cage  in  yellow  beaten  gold 
And  hang  it  on  the  naked  leaf  tree  tree, 
And  hang  it  on  the  naked  leaf  tree. 

17  'Oh,  hold  your  tongue,  my  pretty  little  bird, 
And  tell  no  lies  on  me ; 

I  will  dress  your  cage  in  ribbon  fine 
And  hang  it  on  the  naked  leaf  tree  tree. 
And  hang  it  on  the  naked  leaf  tree. 

F  ^ 
'The  Six  Fair  Maids.'  Sent  in  by  Thomas  Smith  of  Zionville,  Watauga 
county,  with  the  notation  that  it  was  recited  to  him  February  i,  191 5, 
by  a  relative  of  his,  Mrs.  Rebecca  Icenham,  who  had  always  lived  in 
Watauga  county  and  had  know  this  song  since  her  childhood.  Although 
considerably  reduced,  it  contains  all  the  essentials  of  the  story. 

1  He  jumped  upon  the  milk-white  steed 
And  her  on  the  iron  gray. 

They  rode  till  they  come  to  the  river  side, 
Two  hours  before  it  was  day. 

2  'Light  off,  light  off,  my  pretty  little  miss. 
Light  you  off,  I  say. 

Six  pretty  maids  have  I  drowned  here, 
And  you  the  seventh  shall  be. 

3  'Pull  off  that  fine  silk  dress 
And  hang  it  on  my  knee. 
It  is  too  fine  and  costly 
To  rot  in  the  sea  sandee.* 


OLDER     BALLADS MOSTLY     BRITISH  25 

4  'Turn  your  back,  you  dirty  dog, 
Turn  your  back,'  said  she ; 
'Ain't  it  a  shame  and  a  scandal 
A  naked  woman  for  to  see !' 

5  She  picked  him  up  so  manfully 
And  plunged  him  into  the  sea. 

'Six  fair  maids  you  have  drowned  here, 
And  you  the  seventh  shall  be.' 

6  'Hold  your  tongue,  my  pretty  parrot. 
Don't  tell  no  tales  on  me. 

And  your  cage  shall  l)e  lined  with  gold  dust 
And  your  doors  with  ivoree.' 

'Seventh  King's  Daughter.'  One  of  the  songs  collected  by  Professors 
VV.  Amos  Abrams  and  Gratis  D.  Williams  of  the  Appalachian  State 
Teachers  College  in  1945  from  the  singing  of  Pat  Frye  of  East  Bend, 
Yadkin  county.  Frye  was  then  seventy-three  years  old  and  had  lived 
in  or  near  East  Bend  all  his  life.  He  had  been  a  tobacco  farmer  and  a 
miller,  but  at  the  time  the  songs  were  collected  had  been  for  some  years 
totally  blind.  He  had  a  wide  repertory  of  songs.  The  language  of  this 
text  is  not  always  clear.  Note  that  it  begins  in  the  first  person  of  the 
man  but  after  three  stanzas  of  pure  dialogue  passes  to  third  person 
narration. 

1  She  wrapped  her  mother  up 
She  rolled  her  father  up  in  speed. 

She  stole  the  keys  from  the  stable  door 
And  followed  after  me  me  mc, 
And  followed  after  me. 

2  'Oh,  light,  oh,  light,  my  pretty  fair  miss, 
Oh,  light,  oh,  light,  pretty  Polly. 
There  is  the  place  I  drownded  six. 
And  the  seventh  you  shall  be  be  be. 
And  the  seventh  you  shall  be. 

3  'Pull  oflF,  pull  off  that  little  white  silk 
And  spread  it  on  the  green ; 

It  is  too  costly  of  a  dress 

To  rot  in  the  roaring  sea  sea  sea, 

To  rot  in  the  roaring  sea.' 

4  'Oh,  turn  your  face  it's  all  about. 
Your  back  to  the  leaves  on  the  tree. 
Till  I  pull  off  my  little  white  silk 

And  spread  it  on  the  green  green  green. 
And  spread  it  on  the  green.' 


26  NORTH  CAROLINA  FOLKLORE 

5  He  turned  his  face  'twas  all  about, 
His  back  to  the  leaves  on  the  tree. 
She  didn't  pull  off  her  little  white  silk ; 
She  pushed  him  into  the  sea  sea  sea. 
She  pushed  him  into  the  sea. 

6  'Oh  help,  oh  help,  my  pretty  fair  miss, 
Oh  help,  oh  help,  pretty  Polly, 

And  we'll  go  back  to  your  father's  house 

And  married  we  will  be  be  be, 

And  married  we  will  be.'  f 

7  'Lie  thar,  lie  thar,  oh,  sink  or  swim ; 
It  as  well  be  you  as  me,^ 

And  I  can  get  back  to  my  father's  house 
Without  the  help  of  thee  thee  thee, 
Without  the  help  of  thee.' 

8  She  got  upon  her  milk-white  stage 
And  had  to  trace  her  way ; 

And  when  she  got  to  her  father's  house 
It  was  one  otter^  day  day  day, 
It  was  one  otter  day. 

9  'Where  have  you  been,  my  pretty  fair  miss. 
Where  have  you  been,  pretty  Polly? 
Where  have  you  been,  my  pretty  fair  miss, 
So  long  before  'tis  day  day  day. 

So  long  before  'tis  day?' 

10  'Oh  hush,  oh,  hush,  my  pretty  parrot. 
And  tell  no  tales  on  me. 

Your  ring  shall  be  of  the  neden  nedeu'*  gold 
And  your  combs  of  the  iris-*  gay  gay  gay. 
And  your  combs  of  the  iris  gay.' 

1 1  'Oh,  what  said  what  said,'  the  old  man  says. 
'They*  come  a  scaddy  to  my  stage 

And  swore  he  wrestle  with  me. 
And  I  called  to  my  pretty  Polly 
To  run  the  scaddy  away  way  way. 
To  run  the  scaddy  away.' 

^  This  line  reads  in  the  manuscript  "It  well  as  be  you  as  me,"  which 
possibly  is  really  Frye's  idiom. 

'  So  the  manuscript.     Probably  stands  for  "It  was  one  hour  to  day." 

'  How  "beaten"  becomes  "neden"  and  "ivory"  "iris"  it  is  hard  to  say. 

*  This  spelling  for  the  aphetic  form  of  "there,"  common  in  rustic 
speech,   occurs    not    infrequently    in    the   manuscripts    of   the    Collection. 


OLDER     BALLADS MOSTLY     BRITISH  27 

3 

Earl  Brand 

(Child  7) 

This  admirable  specimen  of  the  tragic  ballad  seems  to  have  held 
its  place  in  the  favor  of  ballad  singers  better  in  America  than  in 
the  old  country.  Greig  reports  it  from  Scotland,  to  be  sure,  both 
in  the  Folk-Songs  of  the  N orth-liast  and  in  Last  Leaves,  and  Ord 
has  it  in  his  Bothy  Songs;  but  the  absence  of  any  mention  of  it 
in  the  Journal  of  the  Folk-Song  Society  seems  to  show  that  it  is 
extinct  in  English  tradition.  On  this  side  of  the  Atlantic  it  has 
been  reported  as  traditional  song  in  Newfoundland  (BSSN  7-8), 
Nova  Scotia  (BSSNS  9-11),  Maine  (BBM  35-40),  Virginia 
(TBV  86-91,  SharpK  i  21-3,  25),  West  Virginia  (FSS  18-19), 
Kentucky  (SharpK  i  24-5),  Tennessee  (FSSH  36-7,  BTFLS  viii 
64-5),  North  Carolina  (JAFL  xxviii  152-4,  SharpK  1  14-19,  SSSA 
45-6,  BMFSB  lo-ii,  SCSM  115-16),  Georgia  (SharpK  i  19-20), 
Mississippi  (FSM  66-8),  Florida  (SFLQ  viii  136-8),  the  Ozarks 
(OMF  219-21,  OFS  I  48-9),  Indiana  (BSI  37-8),  and  IlHnois 
JAFL  LX  241-2).  'The  Soldier's  Wooing,'  reckoned  by  some 
as  a  secondary  form  of  "Earl  Brand,'  is  dealt  with  later  in  the 
present  volume.  The  American  texts  follow  in  general  the  tradi- 
tion of  Scott's  form  of  the  ballad  ('The  Douglas  Tragedy'  of  the 
Minstrelsy,  Child's  version  B),  clinging  in  particular  to  the 
'"buglet  horn"  that  "hung  down  by  his  side,"  recognizable  through 
a  variety  of  transformations.  Old  Carl  Hood  has  vanished  en- 
tirely. Most  of  the  North  Carolina  versions,  and  also  that  from 
Georgia,  have  introduced  a  new  element,  the  question  of  the  hero's 
origin.  W^hen  scornfully  described  by  the  girl's  father  as  "a  stew- 
ard's son"  (transformed  in  texts  A,  C,  F  below  into  "Stuart's 
son"),  he  proudly  declares  that  his  father  is  a  regis  king  and  his 
mother  a  Quaker's  queen.  Possibly  this  has  been  picked  up,  and 
corrupted,  from  the  English  stall  ballad  of  'The  Orphan  Gypsy 
Girl,'  the  opening  line  of  which  in  Cox's  West  Virginia  version 
(FSS  335)  runs:  "My  father  is  king  of  the  gypsies,  my  mother  is 
queen  of  the  Jews." 


'Fair  Ellender.'  Secured  from  Miss  E.  B.  Fish  of  White  Rock,  Madi- 
son county,  in  1913.  The  spelling  "mound"  for  "mounted"  in  stanzas 
3  and  10  appears  also  in  Perrow's  version,  JAFL  xxviii  152-3,  and  is 
perhaps  phonetic.  Indeed,  upon  close  inspection  this  text  is  the  same 
as  Perrow's  except  that  that  has  "steward's"  instead  of  "Stewart's"  in 
stanzas  i  and  2  and  has  "Fair  Ellender  she  sat  still"  instead  of  "Fair 
Ellender  she  still  sat  still"  as  the  first  line  of  stanza  7.  Perrow  says 
that  his  text  is  from  a  manuscript  "lent  E.  N.  Caldwell  1913"  from 
North  Carolina.  Inasmuch  as  Miss  Fish  was  an  independent  collector 
and  had  a  considerable  store  of  ballad  manuscript,  it  seems  probable  that 
the  manuscript  Perrow  used  was  hers.  I  therefore  do  not  print  the 
version  here.  Presumably  the  two  slight  differences  noted  above  are 
editorial  corrections  on  Perrow's  part. 


NORTH  CAROLINA  FOLKLORE 


'Sweet  William  and  Fair  Ellen.'  Contributed  by  I.  G.  Greer  of  Boone. 
Watauga  county,  in  1913.  The  "sight"  of  stanza  6  is  probably  a  mis- 
reading by  somebody  of  "light" — though  A  has  here  "sit."  There  is  in 
the  Collection  another  copy  of  Greer's  version  which  lacks  the  last  two 
stanzas. 

1  Sweet  William  rode  up  to  the  Old  Man's  gate 
And  boldly  he  did  say : 

'The  youngest  daughter  she  may  stay  at  home 
But  the  oldest  I'll  take  away.' 

2  'Come  in,  come  in.  all  seven  of  my  sons, 
And  guard  your  sister  around. 

For  it  never  shall  be  said  that  the  steward's  son 
Has  taken  my  daughter  out  of  town.' 

3  'I  thank  you,  sir,  and  it's  very  kind ; 
I'm  none  of  the  steward's  son ; 

My  father  was  a  rich  Reginer's  king, 
My  mother  a  Quaker's  queen.' 

4  So  he  got  on  his  snow-white  steed 
And  she  on  the  dappled  grey. 

He  swung  his  bugle  horn  around  his  neck 
And  they  went  riding  away. 

5  They  hadn't  gone  more'n  a  mile  out  of  town 
Till  he  looked  back  again. 

And  he  saw  her  father  and  seven  of  her  brothers 
Come  trippling  over  the  plain. 

6  'Sight  down,  sight  down,  fair  Ellen,'  said  he, 
'And  hold  my  steed  by  the  rein 

Till  I  fight  your  father  and  seven  of  your  brothers 
Come  trippling  over  the  plain.' 

7  She  got  right  down  and  she  stood  right  still, 
Not  a  word  did  she  return. 

Till  she  saw  her  father  and  seven  of  her  brothers 
A-rolling  in  their  own  heart's  blood. 

8  'Slack  your  hands,  slack  your  hands,  sweet  William,'  said 

she, 
'Your  wounds  are  very  sore  ; 
The  blood  runs  free  from  every  vein. 
A  father  can  I  have  no  more.' 


So  he  got  on  his  snow-white  steed 
And  she  on  the  dappled  grey. 
He  swung  his  bugle  horn  around  his  neck 
And  they  went  bleeding  way. 


OLDER     BALLADS MOSTLY     BRITISH  29 

10  Soon  they  rode  up  to  his  mother's  gate 
And  tingling  on  the  ring. 

'Oh  mother,  oh  mother,  asleep  or  awake, 
Arise  and  let  me  in ! 

11  'Oh  mother,  oh  mother,  bind  my  head! 
My  wounds  are  very  sore. 

The  blood  runs  free  from  every  vein ; 
For  me  you  will  bind  them  no  more.' 

12  About  two  hours  before  'twas  day 
The  fowls  began  to  crow. 

Sweet  William  died  from  the  wounds  he  received. 
Fair  Ellen  died  for  sorrow. 

13  Sweet  William  died  like  it  was  today. 
Fair  Ellen  died  tomorrow. 

Sweet  William  died  from  the  wounds  he  received, 
Fair  Ellen  died  for  sorrow. 

c  V 
'Seven  Brothers.'  Contributed  by  Thomas  Smith  of  Zionville,  Watauga 
county,  "just  as  sung  by  Miss  Julia  Grogan,  March  17,  1915.  She  heard 
it  over  40  years  ago."  Stanza  9  seems  to  be  peculiar  to  the  southern 
Appalachians ;  it  appears,  sometimes  confused,  in  the  Georgia  text  and 
in  two  of  those  from  North  Carolina  in  the  Sharp-Karpeles  collection. 
In  the  Mississippi  text  it  is  the  woman  who  repents : 

I  wish  myself  in  old  Ireland 

And  you  in  the  middle  of  the  sea. 

1  He  rode  up  by  the  old  man's  gate 
And  boldly  he  did  say : 

'Your  oldest  daughter  you  can  keep  at  home 
But  the  youngest  one  I'll  take  away.' 

2  'Come  in,  come  in,  all  seven  of  my  sons. 
ril  bring  your  sister  down ; 

For  I  never  intend  to  have  it  said 
Stuart's  son  took  my  daughter  ofif.' 

3  'I  thank  you,  sir,  this  is  very  kind. 
Fm  none  of  the  Stuart's  sons. 
My  father's  a  rich  old  king. 

My  mother  she's  a  queen.' 

4  He  mounted  on  a  milk-white  steed 
And  her  on  a  dapple  grey. 

He  swung  his  bugle  horn  around  his  neck 
And  blowed  as  he  rode  away. 

5  He  had  not  got  more'n  a  mile  from  town 
Till  he,  looking  back  again, 


30  NORTH  CAROLINA  FOLKLORE 

He  saw  her  father  and  seven  of  her  brothers 
Come  tripping  over  the  plain. 

6  'Light  you  down,  fair  Ellen,'  said  he, 
'And  hold  my  steed  by  the  rein 

Till  I  fight  your  father  and  seven  of  your  brothers 
That's  tripping  over  the  plain.' 

7  She  got  down  and  stood  right  still 
And  never  turned  a  word 

Till  she  saw  her  father  and  seven  of  her  brothers 
Wallowing  in  their  own  heart's  blood. 

8  'Slack  your  hand,  Willie,'  said  she ; 
'Your  wounds  are  very  sore. 

The  blood  flows  free  from  every  vein. 
But  a  father  I  can  have  no  more.' 

9  'If  you  don't  like  what  I  have  done 
You  may  like  some  other  one. 

For  I  wish  you  was  in  your  father's  chamber 
And  I  in  some  house  or  at  home.' 

10  He  mounted  on  his  milk-white  steed 
And  her  on  the  dapple  grey. 

He  swung  his  bugle  horn  around  his  neck 
And  went  bleeding  away. 

11  He  rode  till  he  came  to  his  mother's  gate 
And  tangled  at  the  ring 

Saying,  'Mother,  are  you  asleep  or  awake? 
Rise  and  let  me  come  in.' 

12  He  went  into  his  sister's  room. 
Where  he  had  often  been  before. 
Saying,  'Sister,  bind  my  head  for  me, 
For  it  you'll  bind  no  more.' 

13  Sweet  William  died  betwixt  that  and  midnight; 
The  fowls  had  begun  to  crow. 

Sweet  William  died  from  the  wounds  he  received, 
Fair  Ellen  died  from  sorrow. 

D 

'As  He  Rode  Up  to  the  Old  Man's  Gate.'  Contributed  by  Mrs.  N.  T. 
Byers  of  Zionville,  Watauga  county,  in  1922.  Corresponds  stanza  by 
stanza  to  version  C  with  slight  verbal  differences,  except  that  it  lacks 
the  ninth  stanza  of  C  entirely,  that  "Stuart"  becomes  "steward."  that  it 
is  the  oldest,  not  the  youngest  daughter  that  he  carries  off,  and  that  he 
asks  his  mother,  not  his  sister,  to  bind  up  his  wounds. 


OLDER     BALLADS MOSTLY     BRITISH  3I 

E     -^ 

'Sir  William  and  Fair  Ellender.'  Reported  by  W.  Amos  Abrams.  It 
belongs  to  the  same  tradition  as  C  and  D,  and  offers  no  significant 
variants  from  C  except  that,  like  D,  it  omits  the  ninth  stanza  of  C,  has 
"steward"  instead  of  "Stuart,"  omits  the  penultimate  stanza  of  C,  and 
has  a  "rich  risen  king"  and  "a  quaker  queen"  in  stanza  3. 

F  ^ 
'Sweet  Willie.'  Reported  by  Mrs.  Sutton  from  the  singing  of  Myra 
Barnett  (afterwards  Mrs.  J.  J.  Miller)  in  the  Brushies  of  Caldwell 
county.  It  was  from  Myra  that  Mrs.  Sutton  (then  Maude  Minish) 
first  learned  many  of  the  ballads  in  her  collection.  Mrs.  Sutton  notes 
that  this  ballad  is  very  widely  known  in  the  South :  "There  is  at  least 
one  ballad  singer  in  every  mountain  county  that  sings  it."  The  text 
belongs  to  the  same  tradition  as  the  others  already  listed.  The  man  is 
Sweet  Willie,  the  girl  is  Lady  Margaret.  Regarding  his  ancestry  Sweet 
Willie  says 

My  father  is  a  raging  king, 
My  mother  she's  a  Quaker's  queen 
and  denies  that  he  is  a  Stuart's  son.    The  ninth  stanza  is  here  retained: 

'If  you  don't  like  what  I  have  done, 

Go  hunt  some  other  man, 

Or  stay  at  home  in  your  mother's  chamberie 

Or  in  some  house  or  room.' 
The  last  three  stanzas  are: 

12  'Oh,  mother,  mother,  come  bind  my  head; 
My  wounds  they  are  very  sore. 

The  blood  runs  from  every  wound. 
My  head  you'll  bind  no  more. 

13  'Oh,  mother,  mother,  make  my  bed, 
And  make  it  long  and  wide, 

Lay  my  good  broadsword  at  my  feet, 
Lady  Margaret  by  my  side.' 

14  Sweet  William  he  died  before  mid-night. 
Lady  Margaret  died  tomorrow. 

Sweet  Willie  died  of  the  wounds  he  received, 
Lady  Margaret  died  of  sorrow. 


'Sweet  Willie.'  Another  text  contributed  by  Mrs.  Sutton,  who  sang  it 
for  Dr.  Brown,  May  15,  1921,  "just  as  they  were  sung  to  me  \\\  a  little 
hut  on  Beach  Mountain"— but  she  does  not  say  by  whom.  It  corresponds 
closely  to  F  except  at  the  close,  where  instead  of  the  last  three  stanzas 
of  F  appear  the  following— taken,  as  Dr.  Brown  has  noted  on  the 
manuscript,  from  'The  House  Carpenter'  (i.e.,  'James  Hams')  :  a  strik- 
ing example  of  the  way  in  which  ballad  elements  may  be  shifted  about. 

II     'I'm  not  a-weepin'  fur  your  silver  er  your  gold 
Er  either  fur  your  store ; 
I'm  just  a-weepin'  fur  my  sweet  little  babe 
That  I  never  shall  see  no  more. 


^2  NORTH  CAROLINA  FOLKLORE 

12  She  had  not  been  on  sea  three  months, 
I'm  sure  it  was  not  four, 

Until  there  sprung  a  leak  in  her  true  love's  ship 
And  sunk  it  to  rise  no  more. 

13  'A  curse,  a  curse  on  all  seamen, 
A  curse  forever  more. 

For  you  have  robbed  me  of  my  house  carpenter 
That  I  never  shall  see  any  more. 


4 

The  Two  Sisters 
(Child  10) 

For  the  range  of  this  story  in  other  lands  and  tongues,  see 
Child's  headnote;  for  its  occurrence  in  Great  Britain  and  America 
since  Child's  time,  consult  BSM  16-17  and  add  to  the  list  there  given 
Vermont  (NGMS  3-4),  Tennessee  (BTFLS  viii  71),  North  Caro- 
lina (FSRA  13),  Florida  (SFLQ  viii  138-9),  Arkansas  (OFS  i 
50-2,  53-5,  59-60,  63),  Missouri  (OFS  i  52-3,  55-8,  60-2),  Ohio 
(BSO  17-8),  Indiana  (BSI  42-50),  and  Michigan  (BSSM  32-4). 
Mr.  Paul  G.  Brewster,  who  has  made  an  intensive  study  (as  yet 
unpublished)  of  this  ballad,  believes  that,  as  ballad,  it  is  definitely 
Scandinavian  in  origin,  starting  in  Norway  some  time  before  the 
seventeenth  century  and  spreading  to  Sweden,  Denmark,  the  Faeroes 
(and  thence  to  Iceland),  Scodand,  England,  and  America;  and  that 
the  corresponding  folk  tale  tradition  is  Slavic,  probably  Polish. 
The  "singing  bones" — the  revelation  of  the  crime  by  a  fiddle  made 
from  the  dead  girl's  body — have  almost  entirely  vanished  from 
American  texts,  but  a  trace  of  them  is  preserved  in  our  version  C. 
All  but  one  of  the  versions  in  our  collection  belong  to  the  common 
American  tradition,  marked  by  the  "bow  down"  refrain. 

A     V' 
'The  Two  Sisters.'     Secured  by  Professor  E.  L.  Starr  of  Salem  College 
from  an  unnamed  informant  and  sent  to  Dr.  Brown  in  1915.     The  inter- 
calated  refrain  runs   without  change  through  all  the  stanzas.     "Knight" 
is  marked  as  a  variant  reading  for  "Squire"  in  stanza  2. 

1  There  was  a  man  lived  in  the  west 
Bow  down,  bow  down 

There  was  a  man  lived  in  the  west 
Bow  once  to  me 

There  was  a  man  lived  in  the  west, 
He  had  two  daughters  of  the  best. 
I  will  be  true,  true  to  my  love. 
And  my  love  will  be  true  to  me. 

2  A  Squire  he  courted  the  eldest  one, 
But  he  loved  the  youngest  one. 


OLDER     BALLADS MOSTLY     BRITISH  ^^ 

3  He  gave  the  youngest  a  gay  gold  ring 
And  to  the  eldest  gave  not  a  thing. 

4  He  gave  the  youngest  a  satin  cap ; 
The  eldest  she  got  mad  at  that. 

5  One  day  as  they  walked  by  the  river  side 

They  sat  at  the  bank  and  they  cried  and  they  cried. 

6  The  eldest  she  pushed  the  youngest  in  ; 
The  youngest  said  it  was  a  sin. 

7  She  swam  till  she  came  to  the  miller's  pond. 
And  there  she  swam  all  around  and  around. 

8  'O  miller,  miller,  save  my  life, 
And  I  will  be  your  loving  wife.' 

9  The  miller  threw  in  his  hook  and  line 
And  pulled  her  out  by  the  hair  so  fine. 

10     The  hook  and  the  line  were  laid  on  the  shelf — 
If  you  want  any  more,  why,  sing  it  yourself. 

B  y 

'Old  Man  from  the  North  Countree.'  Contributed  by  Otis  S.  Kuyken- 
dall  of  Asheville  in  1939.  The  intercalated  refrain  and  repeat  line  run 
through  all  the  stanzas  without  change. 

1  There  was  an  old  man  from  the  North  Countree 
Bow  down 

There  was  an  old  man  from  the  North  Countree 

Bow  down  and  balance  me 

There  was  an  old  man  from  the  North  Countree, 

He  had  daughters  one,  two,  three. 

I'll  be  true  to  you,  my  love,  if  you'll  be  true  to  me. 

2  He  bought  the  youngest  a  silken  hat ; 
The  eldest  daughter  couldn't  stand  that. 

3  They  walked  down  to  the  water's  brink. 
The  eldest  pushed  the  youngest  in. 

4  She  floated  down  to  the  miller's  dam. 
The  miller  pulled  her  to  dry  ground, 

5  From  her  hands  he  took  five  rings, 
And  then  he  pushed  her  in  again. 

6  They  hung  the  miller  on  the  gallows  high  ; 
The  eldest  daughter  hung  near  by. 


34  NORTH  CAROLINA  FOLKLORE 

C  ' 

'The  Two  Sisters.'  Mrs.  Sutton  got  this  from  the  singing  of  Mrs. 
Rebecca  Gordon  of  Cat's  Head  on  Saluda  Mountain,  who  also  sang  for 
her  'The  Earl  of  Murray'  (Child  i8i)  ;  see  p.  i6o  below.  This  version 
is  remarkable  in  two  ways;  it  is  the  only  version  found  in  America,  so 
far  as  I  can  learn,  that  uses  the  "Edinboro"  refrain,  and  it  preserves, 
what  is  almost  as  rare  in  American  versions,  something  of  that  feature 
which  Child  thought  was  the  essential  core  of  the  story,  the  revelation 
of  the  crime  through  a  part  of  the  dead  girl's  body — in  the  older  versions 
some  of  her  bones  as  well  as  her  hair,  but  here  merely  her  hair.  The 
"Edinboro"  refrain  is  found  in  Child's  B  (from  two  of  Mrs.  Brown  of 
Falkland's  manuscripts),  D  (from  Kinloch's  manuscripts),  and  E  (from 
Charles  Kirkpatrick  Sharpe's  Ballad  Book)— all  excellent  versions. 

1  There  were  two  sisters  in  a  bower, 

Edinboro,  Edinboro, 
There  were  two  sisters  in  a  bower, 
There  came  a  boy  to  be  their  love. 

Edinboro  town 

2  He  courted  the  oldest  with  a  ring, 

But  loved  the  youngest  above  everything. 

3  He  courted  the  oldest  to  be  his  wife, 
But  loved  the  youngest  as  his  life. 

4  Upon  one  morning  bright  and  clear 
The  oldest  called  to  her  sister  dear, 

5  And  took  her  down  to  the  old  mill  stream 
And  with  her  hands  she  pushed  her  in. 

6  'Your  rosy  cheeks  and  yellow  hair 
Have  stole  my  love  for  evermore.' 

7  Sometimes  she  sunk,  sometimes  she  swam. 
Till  she  came  down  to  the  old  mill  dam. 

8  The  miller  raised  the  flood  gates  up 
And  pulled  the  drowned  lady  out. 

9  You  couldn't  see  her  golden  hair 
For  jewels  fine  that  were  so  rare. 

10  You  couldn't  see  her  fingers  white 
For  golden  rings  she  wore  on  them. 

11  He  took  three  strands  of  her  yellow  hair 
And  with  them  strung  his  fiddle  rare. 

12  The  first  tune  that  it  did  sing 
Was  'Farewell  to  my  father  king.' 

13  The  second  tune  that  it  did  sing 
Was  'My  sister  Ellen  drowned  me.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  35 

D    ' 

A  single  stanza,  in  Dr.  Brown's  hand,  probably  taken  down  from  some 
student's  recitation.  The  refrain  varies  slightly  from  that  in  A  and  that 
in  B,  but  is  still  basically  the  same. 

Two  little  sisters  living  in  the  west 

Sing  a  dinii.  sing  a  day 
Two  little  sisters  living  in  the  west 

The  boys  all  bound  for  me 
Two  little  sisters  living  in  the  west, 
The  young  man  loved  the  younger  best. 

And  ril  be  true  to  my  true  love 

Because  she's  true  to  me. 


No  title.  One  of  the  songs  secured  by  Professors  W.  Amos  Abrams 
and  Gratis  D.  Williams,  of  Appalachian  State  Teachers  College,  from 
the  singing  of  Pat  Frye  of  East  Bend,  Yadkin  county,  in  1945.  See 
headnote  to  'Lady  Isabel  and  the  Elf-Knight'  G.  It  is  a  reduced  ver- 
sion ;  marked  by  the  contributors  "incomplete." 

1  As  we  war  walking  along  the  sea  brim 

Bow  down 
As  we  war  walking  along  the  sea  brim 

A  bow  to  bend  to  me 
As  we  were  walking  along  the  sea  brim 
The  oldest  pushed  the  youngest  in. 

Prove  true,  true  to  my  love,  prove  true  to  me. 

2  'Oh  miller,  oh  miller,  yonner  swims  a  swan 
I  believe  in  my  soul  'tis  sister  Kate.' 

3  The  miller  was  hung  along  the  mill  gate. 
For  drownding  of  my  sister  Kate. 

There  is  in  the  Gollection  an  anonymous  fragment,  the  first  stanza  with 
the  customary  "bow  down"  lefrain,  which  is  described  as  "sung  on  the 
Michigan  log-rafts." 


The  Cruel  Brother 
(Child  II) 

Although  not  very  old,  at  least  by  the  record  (the  earliest  re- 
corded text  is  Child's  G,  from  Herd's  Scottish  Songs,  1776),  The 
Cruel  Brother'  was  widely  known  in  the  earlier  nineteenth  century; 
Child  has  eleven  versions  (some  of  them  fragmentary),  mostly 
Scotch  but  including  two  from  Ireland  and  one  from  the  west  of 
England,  where  it  was  "popular  among  the  peasantry"  about  1846. 
But   it   is   disappearing.      It    is    included    in    Christie's    Traditional 


36  NORTH  CAROLINA  FOLKLORE 

Ballad  Airs  and  in  Kidson's  Garland  of  English  Folk  Songs  but 
not  in  either  of  Greig's  collections  nor  in  the  Journal  of  the  Folk- 
Song  Society.  In  this  country  it  has  been  reported  only  twice: 
by  Barry  (JAFL  xxviii  300-1)  from  someone  in  Boston  in  whose 
family  it  had  been  "traditional  for  three  generations,"  and  by 
Sharp  from  North  Carolina  (SharpK  i  36-7).  Both  of  these  be- 
long to  the  same  tradition,  which  is — to  judge  from  the  refrain — 
that  of  Child's  J,  from  Ireland,  though  possibly  from  the  Scotch 
or  West  of  England  forms.  There  are  three  sisters  and  three 
wooers  in  all  the  American  texts,  as  there  are  also  in  Child's 
F,  G,  I,  J.  K ;  presumably  simply  because  ballad  singers  are  fond 
of  series  of  three,  for  only  one  lady  and  one  wooer  are  of  sig- 
nificance in  the  story.  There  are  two  texts  in  the  present  collection, 
both  secured  by  Mrs.  Sutton  in  the  mountain  country  of  western 
North  Carolina. 

A  V 
'Oh  Lily  O.'  From  the  singing  of  "Granny"  Houston  of  Bushy  Creek 
in  Avery  county,  "a  doctor-woman  as  well  as  a  ballad  singer,"  says  Mrs. 
Sutton ;  "signs  of  her  profession  of  doctor-woman  hung  all  around  her 
cabin  walls"  and  she  was  "furiously  indignant  over  a  tonsil  clinic  that 
the  State  was  holding  over  at  the  county  seat."  From  Mrs.  Sutton's 
description  one  gathers  that  she  was  of  Irish  extraction. 

1  There  were  three  sisters  playing  at  ball 

Oh  Lily  O 
There  were  three  lawyesr  courting  them  all, 
Lily  O,  sweet  hi  O 

2  The  first  to  come  was  dressed  in  red, 

Oh  Lily  O 
He  asked  if  she  would  he  his  bride, 
Lily  O,  sweet  hi  O 

3  The  next  to  come  was  dressed  in  bltie. 

Oh  Lily  O 
Saying  'Oh  my  sweet,  I've  come  for  you,' 
Lily  O,  sweet  hi  O 

4  'Oh,  you  must  ask  my  father  dear,' 

Oh  Lily  O 
'And  you  must  ask  my  mother,  too,' 
Lily  O,  sweet  hi  O 

5  Oh,  I  have  asked  your  father  dear,' 

Oh  Lily  O 
'And  I  have  asked  your  mother,  too,' 
Lily  O,  sweet  hi  O 

6  'Oh,  you  must  ask  my  sister  Ann,' 

Oh  Lily  O 
'And  you  must  ask  my  brother  John,' 
Lily  O,  sweet  hi  O 


{)  L  I)  K  R     n  A  L  I,  A  I)  S  —  MOSTLY     H  R  I  T  I  S  II 

7  'Oh,  1  have  asked  your  sister  Ann,' 

Oh  Lily  O 
'Your  brother  John  I  did  forget,' 
Lily  O,  sweet  hi  O 

8  Her  father  led  her  down  the  steps, 

Oh  Lily  O 
Her  mother  led  her  to  the  gate, 
Lily  O,  sweet  hi  O 

9  Her  sister  led  her  through  the  close, 

Oh  Lily  O 
Her  brother  put  her  on  the  horse, 
Lily  O,  sweet  hi  O 

10  He  took  a  pen  knife  long  and  sharp, 

Oh  Lily  O 
He  stobbed  his  sister  through  the  heart, 
Lily  O,  sweet  hi  O 

11  'Oh,  lead  me  gently  up  the  hill, 

Oh  Lily  O 
'And  I'll  sit  down  and  make  my  will,' 
Lily  O,  sweet  hi  O 

12  'Oh,  what  will  you  leave  to  your  modier  dear?' 

Oh  Lily  O 
'My  velvet  dress  and  golden  gear,' 
Lily  O,  sweet  hi  O 

13  'What  will  you  leave  to  your  sister  Ann?* 

Oh  Lily  O 
'My  silver  ring  and  golden  fan.' 
Lily  O.  sweet  hi  O 

14  'What  will  you  leave  to  your  brother  John?' 

Oh  Lily  O 
'The  gallows  tree  to  hang  him  on.' 
Lily  O,  sweet  hi  O 


'Lily  O.'  From  the  singing  of  Mrs.  Becky  Gordon,  Saluda  Mountain, 
Henderson  county,  July  1928.  Mrs.  Gordon  "sings  every  song  I  have 
been  able  to  collect  heretofore,  and  then  some,"  Mrs.  Sutton  wrote  to 
Dr.  Brown.  A  fuller  and  more  coherent  version  than  \.  The  "block" 
of  stanza  9,  from  which  to  mount  a  horse,  is.  I  believe,  American ;  it 
appears  in  no  other  version.     The  refrain  is  the  same. 

I     There  were  three  sisters  a-playin'  of  ball, 
O  Lily  O 
There  were  three  lawyesrs  a-courtin'  them  all. 
Lily  O,  sweet  hi  O 


38  NORTH  CAROLINA  FOLKLORE 

2  The  first  one  come  were  dressed  in  white, 
The  next  one  came  were  dressed  in  black. 

3  The  next  one  come  were  dressed  in  blue, 
Sayin',  'Now,  my  dear,  I've  come  for  you.' 

4  'Oh,  you  must  ask  my  father  dear, 
You  must  ask  my  mother  too. 

5  'You  must  ask  my  sister  Ann, 

And  you  must  ask  my  brother  John.' 

6  'I  have  asked  your  father  dear. 
And  I  have  asked  your  mother  too ; 

7  'And  I  have  asked  your  sister  Ann ; 
Your  brother  John  I  did  forget.' 

8  Her  father  led  her  down  the  stairs, 
Her  mother  led  her  to  the  gate. 

9  Her  sister  Ann  went  to  the  block, 
Her  brother  John  for  to  help  her  up. 

10  As  she  stooped  down  to  kiss  him  sweet. 
And  with  his  knife  he  stobbed  her  deep. 

11  'Ride  on,  ride  on,  my  daughter  dear.' 
'No,  I  must  lie  and  bleed  and  die.' 

12  'Oh,  what  do  you  will  to  your  father  dear?' 
'My  house  and  home  that  I  leave  here.' 

13  'And  what  do  you  will  to  your  mother  dear?' 
'My  bloody  clothes  that  I  leave  here.' 

14  'And  what  do  you  leave  to  your  sister  Ann?' 
'My  silver  rings  and  golden  fan.' 

15  'Oh,  what  do  you  will  to  your  brother  John?' 
'A  rope  and  gallows  to  hang  him  on.' 

16  'What  do  you  will  to  your  brother  John's  wife?' 
'Pain  and  sorrow  all  her  life.' 

17  'What  do  you  will  to  your  brother  John's  child?' 
'All  this  wide  world  to  spend  its  life.' 


OLDER     BALLADS MOSTLY     BRITISH  39 


Lord  Randal 
(Child  12) 

Though  not  old,  at  least  in  English,  Lord  Randal  is  very  widely 
known  and  sung;  see  BSM  24-5,  and  add  to  the  references  there 
given  Cumberland  (ETSC  96-9),  Massachusetts  (FSONE  191-3), 
North  Carolina  (FSRA  14),  Tennessee  (SFLQ  xi  120-1),  Florida 
(FSF  247-8),  Arkansas  (OFS  i  64),  Missouri  (OFS  i  64-7), 
Indiana  (BSI  51-2),  and  Michigan  (BSSM  35-6).  There  are  four 
texts  in  the  present  collection. 

A  y 
'Tiranti,  My  Son.'  Contributed  by  Miss  Amy  Henderson,  of  Worry, 
Burke  county,  in  1914.  The  name  "Tiranti"  (more  often  spelled 
"Tyranty")  is  interesting  because  otherwise  it  is  restricted  to  the  New 
England  tradition  of  the  ballad.  That  the  poisoner  is  the  grandmother 
instead  of  the  sweetheart  is  unusual  but  not  unexampled,  being  found  in 
Child  I  (from  New  England)  and  K  (from  Scotland).  "Faint  to"  in 
the  refrain  is  of  course  a  misunderstanding  of  "fain  to." 

1  'Where  have  you  been  to,  Tiranti,  my  son? 
Where  have  you  been  to,  my  sweet  little  one?' 

'I've  been  to  grandmother's;  mother,  make  my  bed  soon, 
I  am  sick  at  my  heart  and  faint  to  lie  down.' 

2  'What  did  you  have  for  your  supper,  Tiranti,  my  son  ? 
What  did  you  have  for  your  supper,  my  sweet  little  one?' 
'Eels  fried  in  soap-grease;  mother,  make  my  bed  soon. 
I'm  sick  at  my  heart  and  faint  to  lie  down.' 

3  'W^hat'l!  you  leave  to  your  father,  Tiranti,  my  son? 
What'll  you  leave  to  your  father,  my  sweet  little  one?' 
'My  houses  and  land ;  mother,  make  my  bed  soon, 

I'm  sick  at  my  heart  and  faint  to  lie  down.' 

4  'What'll  you  leave  to  your  mother,  Tiranti,  my  son? 
What'll  you  leave  to  your  mother,  my  sweet  little  one?' 
'My  jewels  and  silver;  mother,  make  my  bed  soon, 

I'm  sick  at  my  heart  and  faint  to  lie  down.' 

5  'W'hat  will  you  leave  to  your  grandmother,  Tiranti,  my 

son? 
What  will  you  leave  to  your  grandmother,  my  sweet  little 

one?' 
*A  halter  to  hang  her ;  mother,  make  my  bed  soon, 
I  am  sick  at  my  heart  and  am  faint  to  lie  down.' 


'Lord  Randall.'  Reported  by  Mrs.  Sutton,  but  without  notation  of  time 
or  place  or  singer.  The  stanza  structure  is  as  in  A  ;  it  is  given  here 
only  for  the  first  stanza,  but  the  repeats  are  the  same  throughout. 


40  NORTH  CAROLINA  FOLKLORE 

1  'Oh,  where  have  you  been,  Lord  Randall,  my  son? 
Oh,  where  have  you  been,  my  handsome  young  man?' 

*I  have  been  to  the  greenwood  ;  mother,  make  my  bed  soon, 
For  I'm  weary  with  hunting  and  I  want  to  lie  down.' 

2  'Who  cooked  you  your  dinner?' 
'My  true  love  she  cooked  it.' 

3  'What  had  you  for  dinner? 
'Eels  fried  in  fresh  butter.' 

4  'She'«s  fed  you  snake  poison.' 
'Oh,  yes,  I  am  dyin'.' 

5  'What  leave  you  your  mother?' 
'My  lands  and  my  houses.' 

6  'What  leave  you  your  brother  ?' 
'My  hounds  and  my  horses.' 

7  'What  leave  you  your  true  love?' 
'A  rope  for  to  hang  her.' 


'Willie  Ransome.'  Another  text  contributed  by  Mrs.  Sutton,  this  time 
from  the  singing  of  Myra  Barnett  (Mrs.  J.  J.  Miller)  of  Caldwell 
county  in  1928.  Observe  that  here  there  is  no  mention  of  the  sweet- 
heart until  the  last  stanza.  The  stanza  structure  is  as  in  A  and  B ; 
given  here  only  for  the  first  stanza. 

1  'Where  you  been,  Willie  Ransome,  Willie   Ransome,  my 

son? 
Where  you  been,  W'illie  Ransome,  my  own  darling  one?' 
'Been  a-ramblin'   and   a-gamblin' ;   mother,   make   my   bed 

down, 
For  Fm  sick  at  the  heart  and  Fd  fancy  lie  down.' 

2  'What'd  you  have  for  your  supper?' 
'Eels  and  eel  broth.' 

3  'What  d'  you  will  to  your  father?' 
'My  house  and  my  home.' 

4  'What  d'  you  will  to  your  sister?' 
'My  trunk  and  trunk  keys.' 

5  'What  d'  you  will  to  your  brother  ?' 
'My  horn  and  my  hounds.' 

6  'What  d'  you  will  to  your  sweetheart?' 
'A  cup  of  cold  p'isen.' 


O  I-  n  K  R      It  A  I.  I.  A  D  S MOSTLY      H  R  I  T  I  S  H  4I 


'Lord  Randal.'  Contributed  by  Mrs.  R.  C.  Vaught ;  in  pencil  in  a  child's 
hand,  probably  set  down  by  one  of  her  pupils  in  the  school  at  Taylors- 
ville,  Alexander  county.     The  last  four  stanzas  only. 

1  'What  do  you  will  your  father,  Lord  Randal,  my  son? 
\^'hat  do  you  will  your  father,  my  own  dear  one?' 
'My  land  and  my  living;  mother,  make  my  bed  soon. 
For  I  am  sick-hearted  and  fain  would  lie  down.' 

2  'What  do  you  will  your  mother  ?' 
'Ten  thousand  gold  guineas." 

3  'What  do  you  will  your  brother?' 
'My  coach  and  six  horses.' 

4  'What  do  you  will  your  true  love?' 
'The  rope  and  the  galleries.'^ 


Edward 

(Child  13) 

Although  'Edward'  in  the  version  from  which  it  is  named  stands 
at  or  near  the  head  of  English  balladry  in  beauty  and  power,  it  is 
neither  very  old — Percy's  print  of  1765  is  the  earliest  record  of 
it — nor  very  frequent  in  tradition — Child  knew  but  two  versions 
and  a  fragment — nor,  apart  from  the  Percy  and  Motherwell  ver- 
sions, a  very  notable  ballad.  Percy  had  his  version.  Child's  B,  from 
Sir  David  Dalrymple ;  and  the  skill  and  dramatic  power  of  its 
structure,  especially  its  revelation  of  the  whole  meaning  of  the 
story  in  the  final  stanza,  has  occasioned  doubt  of  its  being  really  a 
"popular,"  i.e.,  a  folk  ballad,  at  least  in  this  version. ^  The  only 
record  of  it  in  modern  England  is  in  the  Journal  of  the  English 
Folk  Dance  and  Song  Society  iii   (1938)  205-6,  where  Miss  A.  G. 

^  For  "gallows,"  of  course.  Probably  a  child's  confusion  of  the  two 
words. 


*  Professor  Archer  Taylor,  Edward  mid  Svcn  i  Roscngaard  ( Univer- 
sity of  Chicago  Press,  1931),  has  analyzed  all  the  versions — English, 
Danish,  Norwegian,  Swedish,  Finnish,  and  American — and  concludes 
that  the  Percy-Dalrymple  form  is  not  the  original  form,  though  he 
thinks  that  the  ballad  originated  in  Britain  and  traveled  to  Scandinavia. 
Later,  Professor  Bertrand  H.  Bronson  (SFLQ  iv  [1940]  1-13  and  159- 
61  )  argues  with  considerable  force  that  the  Percy  version  is  a  form  of 
conscious  art,  especially  in  its  climax,  where  it  is  revealed  that  the 
murder  was  devised  by  the  mother.  To  these  it  might  be  added  that  in 
no  other  version  is  it  the  father  that  has  been  killed  ;  commonly  it  is  a 
brother,  and  frequently  on  no  other  provocation  than  his  having  cut 
down  a  bush.  The  Scandinavian  texts  are  numerous  but  generally  late; 
Olrik  mentions  a  "comic"  text  in  a  manuscript  of  the  1640's  and  a 
parody  of  it  printed  as  a  broadside  in  1794,  but  the  other  Scandinavian 
texts  were  taken  down  in  the  nineteenth  century. 


42  NORTH     CAROLINA     FOLKLORE 

Gilchrist  gives  a  seven-stanza  text  as  sung  in  a  Cheshire  "Soul- 
Caking,"  that  is,  the  Cheshire  form  of  the  St.  George  mumming. 
In  this  country  it  has  been  found  in  Virginia  (TBV  120-9,  SharpK 
I  50-2,  SCSM  183-4),  Tennessee  (SharpK  i  47-8),  North  Carolina 
(SharpK  1  46-7,  49,  53),  South  Carolina  (SCSM  181-2),  Florida 
(FSF  248-50),  Mississippi  (FSM  70-2),  Texas  (in  a  release  of  the 
University  of  Texas  News  Service  dated  March  24  [1941?]),  the 
Ozarks  (OMF  207-8,  OFS  i  124-6),  Ohio  (BSD  23-4),  and  Cali- 
fornia (CFLQ  V  310-11 ).  Most  of  the  texts,  both  from  the  English- 
speaking  and  from  the  Scandinavian  countries,  end  with  a  series  of 
bequests,  a  feature  which  this  ballad  shares  with  'Lord  Randal,' 
'The  Two  Brothers,'  and  'Lizzie  Wan.'  Many  texts,  the  Scandi- 
navian especially,  have  various  ways  of  saying  "never"  when  the 
son  is  asked  when  he  will  return  from  exile — or  death. 

A  / 
'Edward.'     Contributed  by  Professor  Fletcher  Collins,  Jr.,  of  Elon  Col- 
lege, Alamance  county,  in  1941  and  printed  here  with  his  permission. 

1  'Hovi^  comes  that  blood  all  over  your  shirt? 
My  son,  come  tell  it  to  me.' 

'It  is  the  blood  of  my  little  guinea  pig — 
O  mother,  please  let  me  be. 
It  is  the  blood  of  my  little  guinea  pig — 
Oh  mother,  please  let  me  be.' 

2  'Your  guinea  pig's  blood  is  not  so  red. 
My  son,  come  tell  it  to  me.' 

'It  is  the  blood  of  my  little  hunting  dog 
That  played  in  the  field  for  me. 
It  is  the  blood  of  my  little  hunting  dog 
That  played  in  the  field  for  me.' 

3  'Your  dog  lies  yonder,  O  my  son, 
And  this  it  could  not  be.' 

'It  is  the  blood  of  my  old  roan  horse 
That  pulled  the  plow  for  me. 
It  is  the  blood  of  my  old  roan  horse 
That  pulled  the  plow  for  me.' 

4  'How  come  that  blood  all  over  your  shirt? 
My  son,  you  must  tell  to  me.' 

'It  is  the  blood  of  my  little  brother  Bill 
Who  I  killed  in  the  field  today. 
It  is  the  blood  of  my  little  brother  Bill 
Who  I  killed  in  the  field  today. 

5  'And  what  will  you  do  when  your  father  comes  home  ? 
My  son,  come  tell  it  to  me.' 

'I'll  put  my  feet  in  the  bottom  of  a  boat 


OLDER     UALLAUS  —  MOSTLY     BRITISH  43 

I'll  put  my  feet  in  the  bottom  of  a  boat 
And  sail  across  the  sea. 
And  sail  across  the  sea.' 

B    ^ 

'Dear  Son.'  Contributed  by  Miss  Jewell  Robbins  (later  Mrs.  C.  P. 
Perdue)  of  Pekin,  Montgomery  county,  some  time  before  1925,  from 
her  manuscript  collection  of  songs. 

1  'Dear  son,  dear  son,  come  tell  to  me, 
What  did  you  kill  your  brother  for?' 
'He  cutted  down  that  hazel-nut  bush 
That  once  would  'a'  made  a  tree.' 

2  'Dear  son,  dear  son,  come  tell  to  me, 
What  will  you  do  with  your  children  three  ?' 
'I'm  going  to  leave  them  to  bear  you  company 
Till  I  sail  over  the  sea.' 

3  'Dear  son,  dear  son,  come  tell  to  me, 
What  will  you  do  with  your  wife?' 

'I'm  going  to  take  her  on  yonders  big  ship 
To  bear  me  company.' 

c  ^ 
No  title.     One  of  the  songs  collected  in  the  summer  of   1945  by  Pro- 
fessors W.  Amos  Abrams  and  Gratis  D.   Williams  from   Pat   Frye  of 
East  Branch,  Yadkin  county.     See  the  headnote  to  'Lady  Isabel  and  the 
Elf-Knight'  G. 

1  '.  .  .  blood  is  that  on  your  knife? 

My  youngest  son,  come  tell  this  to  me.' 
'It  is  the  blood  of  my  old  horse 
Who's  plowed  the  fields  for  me  me  me, 
Who's  plowed  the  fields  for  me.' 

2  'It  is  too  red  for  ye^  old  horse's  blood. 
IMy  youngest  son,  come  tell  this  to  me.' 
'It  is  the  blood  of  my  old  dog 

Who  runs  the  deer  for  me  me  me. 
Who  runs  the  deer  for  me.' 

3  'It  is  too  red  for  ye^  old  dog's  blood. 
My  youngest  son,  come  tell  this  to  me.' 
'It  is  the  blood  of  my  little  brother 
Who's  walked  the  roads  with  me  me  me, 

Who's  walked  the  roads  with  me.' 

4  'What  did  you  and  your  little  brother  fall  out  about? 
My  youngest  son,  come  tell  this  to  me.' 

^  So   the   manuscript.      Probably   meant    to   give    Frye's    pronunciation 
of  "your." 


44  NORTH  CAROLINA  FOLKLORE 

'For  cutting  down  my  haze^  nut  bush, 
Which  might  'a'  made  a  tree  tree  tree, 
Which  might  'a'  made  a  tree.' 

5  'What  will  you  do  when  your  father  finds  it  out? 
My  youngest  son,  come  tell  this  to  me.' 

'I'll  step  my  foot  in  yonders  boat 
And  sail  across  the  sea  sea  sea. 
And  sail  across  the  sea.' 

6  'When  will  you  ever  return  back  i 
My  youngest  son,  come  tell  this  to  me.' 

And  there  the  text  as  reported  ends.  Whether  Frye  was  tired  of  sing- 
ing it  or  the  reporters  simply  forgot  to  finish  this  last  stanza  the  editor 
does  not  know. 

8 

Babylon;  or,  The  Bonnie  Banks  o  Fordie 
(Child  14) 

This  ballad,  like  'Edward,'  is  found  both  in  Scotland  and  in 
Scandinavia ;  in  Scotland  in  the  latter  part  of  the  eighteenth  and 
the  earlier  part  of  the  nineteenth  century,  in  Scandinavia  at  die 
same  time  and  also  somewhat  earlier.  Since  Child's  time  it  has  been 
found  but  seldom,  and  more  often  in  America  than  in  the  old  coun- 
try; in  Newfoundland,  Maine,  and  Vermont  (see  Barry's  note. 
BFSSNE  VII  6),  in  Virginia  (FSV  9),  and  in  Tennessee  (BTFLS 
VIII  69-70).     It  has  been  found  once  in  North  Carolina. ^ 

'Baby  Lon.'  Found  by  Mrs.  R.  C.  Vaught  at  Oakboro,  Stanly  county, 
in  1935 ;  she  does  not  now  remember  from  whom  she  got  it,  but  prob- 
ably from  one  of  her  pupils  in  the  school  there.  Why  there  are  three 
lines  in  the  first  stanza  but  only  two  in  the  others  does  not  appear. 

1  There  were  once  three  ladies  in  a  bower 
Who  went  out  one  sunny  day 

To  gather  the  summer  flowers. 

2  They  hadn't  picked  but  one  flower  each 
When  they  spied  a  young  man  by  their  side. 

3  He['s]  taken  the  oldest  one  by  her  hand. 
He's  put  her  on  a  bank  and  made  her  stand. 

4  'Just  hear ;  will  you  be  my  wife. 

Or  will  you  die  by  my  keen,  sharp  knife?' 

*  Here  again  probably  an  attempt  to  indicate  Frye's  clipped  utterance 
of  "hazel." 

^  There  are  in  the  Collection  two  other  copies  of  the  ballad,  l)ut  they 
seem  to  be  merely  writings  out  of  Child's  A  version  and  are  tlicrefore 
not  presented  here. 


OLDER     BALLADS MOSTLY     BRITISH  45 

5  'Oil,  sister,  sister,  he's  taking  my  life. 

For  I'm  going  to  have  to  die  by  his  keen,  sharji  knife!' 

6  He['s]  taken  her  and  put  her  to  bed, 

To  seek  for  the  love[d]  ones  gone  on  ahead. 

7  He's  taken  the  next  one  by  her  hand, 

He's  put  [her]  on  the  bank  and  there  made  her  stand. 

8  'Now  Hsten,  will  you  be  my  wife. 

Or  will  you  die  by  my  keen,  sharp  knife?' 

9  'Oh.  sister,  sister,  I'll  not  be  his  wife. 
But  rather  die  by  his  keen,  sharp  knife.' 

10  He's  taken  her  and  put  her  to  bed, 

To  see  the  love[d]  ones  who  have  gone  ahead. 

11  He's  taken  the  youngest  one  by  her  hand. 

He's  put  her  on  the  bank  and  there  made  her  stand. 

12  He  says,  'Will  you  be  my  wife, 

Or  will  you  die  by  my  keen,  sharp  knife?' 

13  'I  will  not  be  your  wife. 

Nor  will  I  die  by  your  keen,  sharp  knife. 

14  'For  I  have  a  dear  one  near  by. 

And  if  you  kill  me,  he'll  sure  kill  thee.' 

15  'Who  is  thy  dear  one?     Pray  tell  to  me.' 
'Do  you  not  know  him?    It  is  dear  Baby  Lon.' 

16  'Oh,  is  this  my  sister?    Come,  tell  me  true. 
And  I  have  killed  my  older  sisters,  too?' 

17  'You  have  killed  them,  dear  brother. 
This  evil,  bad  evil  I  have  seen  you  do.' 

18  'God  in  heaven  won't  forgive  me. 

But  he  true^  till  at  judgment  we  meet  thee. 

19  'Then  our  evil  deeds  done  here, 
Will  be  placed  on  us  up  there.' 

20  He['s]  taken  his  keen,  sharp  knife 

An  enticed  his  heart  to  be  nobody's  wife.-'' 

'^  I  do  not  know  how  this  line  should  run.     Should  "he"  be  read  "he"? 
'  Just  how  this  last  line  is  to  be  construed  is  not  apparent,  but  pre- 
sumably it  means  that  he  stabbed  himself. 


46  NORTH  CAROLINA  FOLKLORE 


The  Three  Ravens 
(Child  26) 

The  familiar  American  song  of  the  'Three  Black  Crows*  is  no 
doubt  descended  from  the  song  of  the  three  ravens  that  Child  found 
in  the  161 1  Melismata,  but  it  has  altogether  lost  the  human  interest 
of  that  delightful  bit  of  restrained  tragedy.  The  currency  of  the 
American  song  Kittredge  (JAFL  xxxi  273)  ascribes  to  its  vogue 
on  the  minstrel  stage  in  the  last  century.  For  its  occurrence  as 
traditional  song,  see  BSM  31-2  and  add  to  the  references  there 
given  New  Hampshire  (FSONE  289),  North  Carolina  (FSRA 
15-16),  Florida  (FSF  254),  Missouri  (OFS  i  75-6),  and  Indiana 
(BSI  53-4).  The  only  representative  of  it  in  the  present  collection 
is  the  two  stanzas  given  below — which,  it  may  be  noted,  lack  the 
familiar  "Biddy  McGee  McGaw"  refrain.  Traditional  rhymes  about 
the  crow  as  stealer  of  corn  are  dealt  with  under  "Animal  Jingles" 
in  volume  III. 

'Three    Black    Crows.'      Set    down   by   K.    P.    Lewis    in    1910   from   the 
singing  of  Dr   Kemp  P.  Battle  of  Chapel  Hill. 

There  were  three  crows  sat  on  a  tree, 
And  they  were  as  black  as  black  could  be. 
Said  one  old  crow  unto  his  mate, 
'What  shall  we  do  for  bread  to  eat?' 

'There  lies  a  horse  on  yonder  plain 
Who  was  by  cruel  butcher  slain ; 
We'll  perch  upon  his  bare  backbone 
And  pick  his  eyes  out  one  by  one.' 


Thomas  Rymer 
(Child  37) 

Of  this  ballad,  which  goes  back  to  a  fifteenth-century  romance 
and  that  in  turn  to  a  real  person  of  the  thirteenth  century,  one 
Thomas  of  Erceldoune,  Child  knew  five  texts,  none  of  them  going 
further  back  than  the  latter  part  of  the  eighteenth  century.  Since 
then  it  appears  to  have  pretty  much  vanished  from  the  old  country; 
the  only  recent  record  of  it  that  I  have  found  is  'Sir  John  Gordon,' 
which  Ord  prints  (Bothy  Songs  422-5)  from  a  Scottish  newspaper 
to  which  it  had  been  sent  by  the  headmaster  of  Gordon  Schools, 
who  collected  such  matter  from  old  residents  of  the  district  some 
thirty  years  before  the  publication  of  Ord's  book.  The  North 
Carolina  text  is  unique,  so  far  as  is  known,  in  America.  It  has 
suffered  a  good  deal  in  its  passage  down  the  years ;  compare  any 
of  the  Child  texts. 


OLDER     BALLADS MOSTLY     BRITISH  \J 

'True  Thomas.'  Secured  by  Mrs.  Sutton  from  the  singing  of  Mrs. 
Becky  Gordon  of  Cat's  Head,  Sugar  Loaf  Mountain,  Henderson  county, 
Mrs.  Gordon  was  one  of  Mrs.  Sutton's  most  fully  stocked  singers. 

1  True  Thomas  lay  on  yonder  hill 
And  saw  a  lady  gay, 

A  lady  that  was  bright  and  fair, 
Come  riding  down  the  way. 

2  Her  dress  was  of  the  grass-green  silk, 
Her  cloak  was  velvet  fine, 

And  her  horse's  bridle  was  silver  gay 
And  trimmed  with  gold  so  fine. 

3  She  turned  her  milk-white  steed  about 
And  took  him  up  behind ; 

And  when  she  spurred  her  horse's  side 
They  flew  on  like  the  wind. 

4  On  they  rode  and  on  they  rode 
Till  they  came  to  a  garden  green. 
'Light  down,  light  down,  True  Thomas, 
And  pull  that  fruit  for  me.' 

5  He  ate  the  fruit  of  that  green  tree. 
Laid  his  head  on  the  lady's  knee. 
'Stay  still,  True  Thomas,'  the  lady  said, 
'And  I'll  show  you  fairies  three.' 

6  He  got  him  a  coat  of  the  velvet  cloth 
And  shoes  of  silver  so  gay. 

And  seven  long  years  were  passed  and  gone 
Before  he  returned  this  way. 


The  Wee,  Wee  Man 
(Child  38) 

Child  has  seven  versions  of  this  ballad,  all  rather  closely  alike 
and  all  from  the  late  eighteenth  or  early  nineteenth  century.  Since 
that  time  I  find  no  trace  of  it  until  it  appears  in  the  present  col- 
lection. That  the  North  Carolina  text  is  a  version  of  Child  38 
there  can  be  no  doubt,  though  it  is  modernized  here  and  there  in 
an  interesting  way,  e.g.,  in  stanzas  2  and  7. 

No  title.     Sung  by  Saunders  of   Salem,   Forsyth  county.     The 

manuscript  bears  no  date. 


I     Oh,  I  went  walking  one  fine  day 
Upon  the  Gomont  pier  O. 
I  saw  a  little  fairy  man 
No  bigger  than  my  ear  O. 


48  NORTH     CAROLINA     FOLKLORE 

2  He  wore  a  coat  all  gold  and  green, 
No  bigger  than  a  thimble, 

But  he  was  strong  as  any  buck 
Like  a  gandy  dancer^  nimble. 

3  I  took  him  up  and  I  set  him  down 
And  I  put  him  on  my  knee. 

And  then  he  threw  a  mitched^  stone 
As  far  as  I  could  see. 

4  I  told  him  he  was  a  fine,  brave  man 
And  as  strong  as  he  could  be. 

And  he  said  to  me,  'My  bucko  lad, 
Come  you  along  with  me.' 

5  So  I  went  his  way  along  the  lane ; 
And  soon  we  found  a  castle, 

And  a  fine  naked  ladd^  came  out 
To  see  if  I  would  rassle. 

("One  stanza  Mr.  S.  censored  here,  a  description  of  the  girl's  physical 
qualities.     He  didn't  know  me  well  enough."     Note  on  the  manuscript.) 

7  She  was  the  gayest  wench  for  bed 
I  ever  saw  in  all  my  life ; 

If  Elder  Thomson^  had  been  there 
She  could  have  been  his  wife. 

8  We  lay  in  a  bed  all  covered  with  pearl, 
And  I  did  often  kiss  her. 

And  now  at  night  alone  in  my  bunk 
I  surely  do  miss  her. 

9  When  I  woke  up  and  found  her  gone 
I  knew  I  could  not  stay. 

So  I  spied  around  for  my  little  man ; 
But  he  had  gone  away. 


12 

Captain  Wedderburn's  Courtship 
(Child  46) 

Of  this  riddling  ballad  of  courtship  nothing  is  left  in  our  col- 
lection but  the  riddles,  and  not  all  of  them;  the  story  of  the  court- 

^  A  gandy  dancer,  according  to  Weseen's  Dictionary  of  American 
Slang  and  Berrey  and  Van  den  Bark's  American  Thesaurus  of  Slang, 
is  a  railroad  section  hand.     The  phrase  is  not  entered  in  NED  or  DAE. 

*  Miswritten  or  misheard,  presumably,  for  "mickle. ' 

'What  follows  indicates  that  "ladd"  is  miswritten  for  "lady." 

*  In  this  line  Child's  versions  A-K  have  "the  king  of  Scotland." 
Elder  Thomson  seems  to  be  an  American  figure. 


OLDER     BALLADS  —  MOSTLY     BRITISH  49 

sliip   has    fadeil   away.  Jhe   "perri-merri-dictum   doniine"    refrain 

that  usually  goes   with  this  set  of  riddles  but  does  not  belong  to 

'Captain  Wedderburn's  Courtship'  does  not  appear  in  these  North 
Carolina  texts. 

A 
'The    Riddle    Song.'      Reported   by    Mrs.    Sutton   as    sung   by    "a    young 
girl  who  worked  in  a  mica  mill  and  had  lived  on  the  long,  picturesque 
ridge  above  the  Toe  River   \  alley  all  her  life.     She  didn't  recall   whom 
she  heard  sing  it  first." 

1  I  gave  my  love  a  cherry  that  had  no  stone, 
I  gave  my  love  a  chicken  that  had  no  bone, 
1  gave  my  love  a  ring  that  had  no  end. 
Oh,  I  gave  my  love  a  baby  with  no  crying. 

2  Now  where  is  there  a  cherry  that  has  no  stone? 
And  where  is  there  a  chicken  that  has  no  bone? 
And  where  is  there  a  ring  that  has  no  end? 

Oh,  who  has  seen  a  baby  with  no  crying? 

3  Oh,  when  a  cherry's  budding  it  has  no  stone. 
And  when  a  chicken's  pipping  it  has  no  bone, 
And  when  a  ring's  a-rolling  it  has  no  end, 
Oh,  when  a  bal)y's  slee])ing  there's  no  crying. 


'I  Gave  My  Love  a  Cherry.'  From  the  manuscript  of  Obadiah  John- 
son, Crossnore,  Avery  county,  obtained  in  July  1940.  The  same  set  of 
riddles  as  in  A,  without  A's  misplacing  of  the  opening  line,  and  with 
"blooming"  for  "budding"  in  stanza  3. 

13 

The  Two  Brothers 
(Child  49) 

Another  of  the  ballads  that  are  better  preserved  in  America 
than  in  Great  Britain.  For  its  range  see  BSM  33,  and  add  to  the 
references  there  given  Massachusetts  (FSONE  278-80),  North 
Carolina  (FSRA  17),  Tennessee  (SFLQ  11  66),  Florida  (SFLQ 
VIII  141-2),  Arkansas  (OFS  i  76-7,  79-80),  Missouri  (OFS  i 
77-8),  Ohio  (BSO  26-8),  Indiana  (BSI  55-7),  and  Wisconsin 
(JAFL  Lii  35).  It  is  not  clear  from  the  text  given  below  whether 
the  killing  is  accidental  or  intentional. 

'Two  Little  Boys  Going  to  School.'  Contributed,  probably  in  1923,  by 
Mildred  Peterson  from  Bladen  county. 

I     Two  little  boys  a-going  to  school. 
Two  little  boys  they  be. 


50  NORTH  CAROLINA  FOLKLORE 

Two  little  boys  a-going  to  school 
To  learn  their  A-B-C. 

2  One  says,  'Johnnie,  will  you  toss  a  ball? 
Or  will  you  throw  a  stone? 

Or  will  you  wrastle  along  with  me 
As  we  are  going  home  ?' 

3  'Oh,  no,'  says  Johnnie,  'I'll  not  toss  a  ball, 
Nor  either  throw  a  stone ; 

But  I  will  wrastle  along  with  you 
As  we  are  going  home.' 

4  So  they  wrastled  up  and  they  wrastled  down 
And  they  wrastled  all  around ; 

A  little  p>en-knife  ran  in  Johnnie's  heart, 
Which  gave  a  deadly  wound. 

5  'Oh,  pick  me  up,  my  dearest  little  brother, 
And  carry  me  to  yonder  tree. 

There  I  may  lie,  there  I  may  die ; 
Contented  I  shall  be.' 


14 

Young  Beichan 

(Child  53) 

It  has  been  suggested  that  the  frequent  and  widespread  occurrence 
of  this  ballad  as  traditional  song  may  be  due  to  its  frequent  appear- 
ance in  broadside  and  songbook  print  (for  which  see  Barry,  BBM 
106-22,  and  especially  Kittredge's  bibliographical  note,  JAFL  xxx 
294-7).  The  argument  may  easily,  however,  be  turned  the  other 
way:  that  ballad  printers  used  it  because  it  was  known  to  be  a 
favorite.  Cause  and  effect  are  not  easily  distinguished  in  such 
cases.  There  is  at  least  no  question  that  it  is  a  favorite.  It  has 
been  reported  as  traditional  song  in  recent  times  in  Scotland  (LL 
40-2),  Northamptonshire  (ECS  62-3),  Lincolnshire  (JFSS  iii 
192-9),  Wiltshire  and  Hampshire  (FSUT  147-9;  Williams  says  it  is 
"common  to  the  whole  of  the  Thames  Valley"),  Sussex  (Sharp's 
Folk-Songs  of  England  v  32-3),  Somerset  (FSSom  no.  65),  even, 
the  tune  at  least,  in  the  Isle  of  Man  (JFSS  vii  315)  ;  and  on  this  side 
of  the  water  in  the  Bahamas  (JAFL  xli  585-8),  Newfoundland 
(FSN  88-92,  BSSN  17),  Nova  Scotia  (BSSNS  16-19),  Maine 
(BBM  106-22),  Vermont  (VFSB  204-8),  Pennsvlvania  (JAFL 
XXIII  450-1),  Virginia  (TBV  158-71,  SharpK  i  87,  SCSM  212-13), 
West  Virginia  (FSS  36-41),  Kentucky  (JAFL  xx  251-2,  xxii  64-5, 
SharpK  i  79-80,  83-6,  87,  88,  LT  58-61,  DD  86-7),  Tennessee 
(SharpK  i  81-3.  86,  FSSH  55-9,  BTFLS  viii  68-9),  North  Caro- 
lina (JAFL  xxviii  149-51,  SharpK  i  77-9,  80-1,  FSRA  18-20), 
South   Carolina    (SCB    104-6),    Mississippi    (FSM   75-6),    Florida 


OLDER     BALLADS MOSTLY     BRITISH  5I 

(SFLQ  VIII  144-6),  the  Ozarks  (OMF  197-201,  OFS  i  83-8), 
Ohio  (BSO  28-9),  Michigan  (BSSM  143-5),  and  Nebraska  (ABS 
53-6,  really  from  Indiana). 

There  are  certain  interesting  variations  among  these  many  texts. 
Kittredge,  in  the  note  above  referred  to,  remarks  that  some  of  the 
American  texts  differ  from  the  broadsides  in  retaining  a  detail  of 
the  Turks'  barbarous  cruelty :  a  hole  is  bored  in  Beichan's  shoulder 
bv  means  of  which  he  is  harnessed  and  becomes  a  draft-animal. 
Thus  in  Child  A : 

For  thro  his  shoulder  he  put  a  bore. 
An  thro  the  bore  has  pitten  a  tree, 
An  he's  gard  him  draw  the  carts  o  wine. 
Where  liorse  and  oxen  had  wont  to  be. 

Similarly  in  B  D  E  H  I  N.  The  word  "tree"  here  means  "draught- 
tree,"  the  pole  of  a  wagon  or  cart  by  which  it  is  attached  to  the 
draft  animal.  "Tree"  in  this  sense  was  apparently  not  an  acceptable 
locution,  was  not  understood  in  America ;  Henry's  Tennessee  text 
and  our  version  E  change  it  to  "key,"  two  of  the  West  Virginia 
texts  and  the  only  text  in  TBV  that  retains  this  feature  change  the 
word  to  "rope"  and  the  other  West  Virginia  text  to  "string."  Other 
American  texts  that  keep  the  word  change  the  meaning;  the  "tree" 
is  now  that  to  which  the  captive  is  tied  (chained,  nailed,  bound, 
fastened,  sometimes  around  his  middle),  giving  a  quite  different 
picture.  So  BBM  D,  TBV  E,  SharpK  A  E,  JAFL  xxviii  150, 
XXX  295,  and  our  A  version.  Some  of  the  texts  have  in  the  closing 
scene  what  seems  to  be  a  reference  to  the  heroine's  baptism,  most 
definitely  in  Child  A : 

He's  take  his  bonny  love  by  the  han, 

And  led  her  to  yon  fountain  stane ; 

He's  changed  her  name  frae  Shusy  Pye, 

An  he's  cald  her  his  bonny  love,  Lady  Jane. 

Some  of  the  American  texts,  both  from  the  North  and  from  the 
South,  retain  the  feature  of  the  change  of  name,  but  I  judge  that 
in  each  instance  it  is  understood  of  a  change  of  name  by  marriage, 
not  by  christening.  Finally,  certain  of  the  American  texts  make 
the  heroine  declare  her  love  with  an  un-American  frankness. 
When  the  prisoner  offers  wealth  and  position  to  the  lady  if  she 
will  free  him  from  his  bonds,  she  tells  him  that  all  she  wants  is 
his  "fair  body."  This  locution  is  found  in  none  of  the  Child  texts; 
but  it  is  in  Coverly's  Boston  broadside,  in  The  Forget-Me-Not 
Songster,  and  in  traditional  texts  from  Nova  Scotia,  Maine,  Ver- 
mont, Virginia,  and  North  Carolina  (though  not  in  any  of  the 
texts  in  our  collection).  Whether  the  innovation  originates  with 
Coverly  is  not  clear,  but  it  is  contrary  to  the  general  American 
mores  to  express  desire  so  simply. 

Our  collection  has  six  texts  of  Young  Beichan. 


'Lord   Beham.'     From  the  John    Bell   Henneman   collection,   the    North 
Carolina  part  of  which  came  into  the  possession  of  the  North  Carolina 


52  NORTH     CAROLINA     FOLKLORE 

Folklore  Society  through  Professor  C.  Alphonso  Smith  of  the  Univer- 
sity of  Virginia.  Presumably  this,  like  the  other  North  Carolina  items 
in  the  Henneman  collection,  came  from  the  singing  of  Mrs.  Simpkins, 
but  the  manuscript  does  not  say  so.  In  the  manuscript  it  is  not  divided 
into  stanzas,  but  since  much  of  it  is  clearly  stanzaic  I  have  attempted 
such  division.  The  marginal  notes  are  from  the  manuscript;  the 
punctuation  is  the  editor's.  One  suspects  mishearing,  or  miswriting,  in 
the  matter  of  the  Turkish  lady's  name.  In  most  texts  her  name  is  Susy 
Pye ;  sometimes  Susanna,  less  often  Sophia. 

1  Lord  Beham  was  a  gentleman, 
A  gentleman  of  high  degree. 

He  put  his  foot  on  yon  footboardings, 
Saying,  'Some  foreign  land  I  will  go  see.' 

2  He  sailed  east,  he  sailed  west, 
He  sailed  towards  the  north ; 
There  he  fell  among  the  Turks ; 
They  taken  him  as  a  slave. 

3  In  his  right  shoulder  they  bored  a  hole 
And  into  that  they  put  a  tree ; 

They  bound  him  down  in  prison  strong, 
Quite  weary  of  his  life  to  be. 

4  The  old  Turkish  priest  had  but  one  daughter 

At  night  she  goes  and  steals  the  keys, 
Saying,  'Lord  Beham  I  will  go  and  see. 

5  'Have  you  land  or  have  you  livings? 
Have  you  a  castle  of  high  degree? 
What  will  you  give  one  lady  fair 

If  out  of  the  prison  she  will  set  you  clair?' 

6  'Yes,  I  have  lands  and  I  have  livings, 
I  have  a  castle  of  high  degree ; 

I  will  give  it  all  to  one  lady  fair. 
If  out  of  prison  she  will  me  clair.' 

7  She  took  him  to  her  father's  castle, 
She  treated  him  on  the  best  of  beer. 

And  every  merry  health  she'd  drink  to  him, 
'Lord  Beham,  you're  a  gentleman,' 
And  every  merry  health  she'd  drink  to  him, 
'Lord  Beham,  I  wish  you  were  mine.' 

8  A  gold  ring  then  was  broke  betwixt  'em : 

At  seven  long  years  Susifie  will  cross  the  sea.     [5"».yy  Fyr 

9  She  carried  him  down  to  her  father's  harbour. 
She  put  him  aboard  her  father's  ship  : 


OLDER     BALLADS  —  MOSTLY     BRITISH  53 

'Farewell,  farewell,  my  own  heart's  joy ! 
You  I  fear  I  shall  no  more  see.' 

10  Long  seven  years  come  and  past  over. 

1 1  Lord  Beham  carried  his  new  bride  home. 
And  Susifie  she  crossed  the  sea. 

She  came  into  the  city 

Enquiring  for  Lord  Beham's  dwelling. 

12  'Yes,  this  is  Lord  Beham's  dwelling; 
He's  just  carried  his  new  bride  home.' 

13  'Tell  him  to  send  me  a  piece  of  bread 
And  a  bottle  of  beer. 

Ask  him  if  he'd  forgot  the  lady  fair 
Who  out  of  prison  set  him  clair." 

14  A-going  into  his  master's  dwelling 
And  falling  on  his  knees. 

'Rise  up,  rise  up,  my  bold  porter. 
And  tell  your  story  unto  me.' 

1 5  'There  is  a  lady  at  your  gate, 
She  is  one  perfect  beauty ; 

She's  got  more  gold  about  her  waist 
Than  all  England  can  afTord.' 

16  He  ris  up  from  his  new  royal  dinner, 
He  split  his  table  in  pieces  three : 
Til  lay  you  all  my  lands  and  living 
My  Susilie  has  crossed  the  sea. 

17  'Your  daughter  is  bonny  and  very  bonny. 
Although  she's  none  the  worse  for  me ; 
She  came  to  me  on  a  horse  and  saddle, 
ril  send  her  home  in  coaches  three.' 

18  Her  mother,  being  very  angry: 

'I  wish  in  hell  Susilie  had  have  been     [Siisifyr? 
Before  she  crossed  the  sea.' 


'The  Turkish  Lady.'  Contributed  in  1913  by  Miss  Edith  B.  Fish  from 
her  collection  at  White  Rock,  Madison  county.  The  same,  verbatim  et 
literatim,  as  Perrow's  text  published  in  JAFL  x.xvni  149-51  and  there- 
fore not  printed  here.  Perrow  says  his  text  is  from  a  manuscript  "lent 
E.  N.  Caldwell,  1913,"  which  may  mean  that  Miss  Fish  lent  the  manu- 
script to  Caldwell  at  that  time. 

C 

'Lord  Bateman.'  The  first  of  two  versions  of  the  ballad  found  by  Mrs. 
Sutton.     This   one   she   took   down   from   the   singing  of   a   little   girl   in 


54  NORTH  CAROLINA  FOLKLORE 

the  Brushy  Creek  schoolhouse  in  Avery  county  in  1917.  "Brushy 
Creek,"  Mrs.  Sutton  writes,  "runs  through  a  high  narrow  valley  in  the 
ridge  between  the  Toe  and  Linville  rivers.  The  little  schoolhouse  stood 
on  a  narrow  flat  in  the  ridge  and  was  surrounded  by  a  forest."  After 
singing  the  ballad  the  little  girl,  a  sixth-grade  pupil,  remarked :  "He'd 
ort  to  'a'  knowed  that  she'd  foller  him." 

1  In  London  city  was  Bateman  born. 
He  longed  far  lands  to  see. 

So  he  was  taken  by  a  savage  Turk 
Who  punished  him  cruelly. 

2  He  cast  him  in  a  dungeon  deep 
Where  he  couldn't  hear  or  see ; 
He  shut 'him  up  in  a  prison  dark 
And  handled  him  cruelly. 

3  The  Turk  had  but  one  fair  child, 
As  fair  as  she  could  be. 

She  stole  the  keys  to  the  prison  dark 
And  set  Lord  Bateman  free. 

4  She  said,  'Have  you  any  house  or  land 
Or  rents  in  your  own  country? 
Would  you  give  it  all  to  a  lady  fair 

If  she  would  set  you  free?' 

5  She  gave  him  a  loaf  of  snow-white  bread 
And  a  flask  of  Spanish  wine. 

He  vowed  a  vow  to  marry  her ; 
T  wish  that  she  was  mine.' 

6  She  led  him  down  to  the  salt  sea. 
'Go,  haste  to  your  own  country ; 
Before  seven  years  have  come  and  gone 
Come  back  and  marry  me.' 

7  Before  seven  years  had  come  and  gone 
She  longed  her  true  love  to  see. 

She  set  her  foot  on  a  sailing  ship 
And  started  over  the  sea. 

8  When  she  got  to  Lord  Bateman 's  hall 
She  jingled  at  the  ring: 

'Oh,  Lord  Bateman,  Lord  Bateman,  asleep  or  awake, 
Arise  and  let  me  in ! 

9  'Is  this  Lord  Bateman's  hall  ?'  she  said, 
'Oh,  is  Lord  Bateman  in?' 

'He's  in  the  hall,  with  his  new  bride. 
And  the  wedding  guests  with  him,' 


OLDER     BALLADS MOSTLY     BRITISH  55 

10  'Oh,  he  has  taken  another  bride 
And  forgotten  his  vows  to  me.' 
And  then  the  Turkish  lady  said, 
'I  wish  I  was  in  my  own  country.' 

11  'Oh,  I've  been  a  porter  at  your  gate 
For  seven  years  and  three, 

But  there's  a  lady  out  there  now 
Whose  like  I  never  did  see. 

12  'On  every  finger  she  has  a  ring, 
On  the  middle  one  she  has  three. 

And  there's  as  much  gold  about  her  head 
As  would  buy  a  farm  for  me.' 

13  Then  up  and  started  Lord  Bateman, 
And  oath  he  swore,  did  he. 
Saying,  'That's  my  Turkish  ]>rincess 
Who  has  crossed  the  sea  to  me.' 

14  Then  quickly  he  ran  out  of  the  hall. 
And  when  he  saw  'twas  she 

He  took  his  true  love  in  his  arms 
And  kissed  her  tenderly. 

15  'Oh,  have  you  forgotten,  Lord  Bateman  dear. 
Oh,  have  you  forgotten,'  said  she, 

'That  I  took  you  out  of  the  dark  dungeon 
And  started  you  over  the  sea?' 

16  'Take  home,  take  home  your  daughter  dear; 
She's  none  the  worse  for  me. 

For  I  must  marry  my  own  true  love 
Who  has  followed  me  o'er  the  sea.' 


'Lord  Bateman.'  Another  version  found  by  Mrs.  Sutton  in  Avery  county. 
This  was  sung  by  Mrs.  Brown,  of  Beech  Mountain.  The  elements  of  the 
story  are  the  same  as  in  C,  yet  the  language  is  different — so  much  so 
that  there  are  scarcely  two  identical  stanzas  in  the  two  versions. 

1  Lord  Bateman  sailed  on  the  salt-salt  sea 
Until  he  came  to  Turkey's  shore. 
Where  he  was  caught  and  placed  in  jail ; 
He  feared  he'd  never  travel  more. 

2  The  jailer  had  just  one  fair  child, 
As  pretty  a  girl  as  you  e'er  did  see. 

She  stole  the  key  of  Lord  Bateman's  cell. 
She  stole  the  key  and  set  him  free. 


56  NORTH  CAROLINA  FOLKLORE 

3  'Have  you  got  house?     Have  you  got  land?^ 
Have  you  got  wealth  for  me  to  see? 

Have  you  got  anything  to  maintain  me  on 
For  to  keep  me  from  slavery?^ 

4  'I've  got  house  and  I've  got  land^ 
And  both  of  these  I'll  give  to  thee, 
My  merry  men  shall  you  command 
If  you'll  only  go  to  my  countree.' 

5  She  carried  him  down  to  the  wharf 
And  loosed  a  ship  that  rode  the  foam. 
Seveh  dark  sailor  men  she  gave  to  him, 
Saying,  'Soon,  my  lord,  you'll  be  at  home.' 

6  When  he  reached  his  home  he  forgot  the  maid, 
Forgot  the  maid  who  saved  his  life ; 

He  sought  the  hand  of  a  neighbor  girl ; 
In  a  little  while  she  was  his  wife. 

7  The  Turkish  girl  waited  long  for  him 
Before  she  tried  to  cross  the  sea. 

At  last  she  said,  'I'll  follow  him, 

My  own  true  love,  to  his  far  country.' 

8  She  traveled  many  a  weary  mile 
Before  she  reached  Lord  Bateman's  door, 
Her  body  ached,  her  heart  was  sick, 

Her  little  feet  was  very  sore. 

9  When  she  reached  the  door  of  his  castle  grand 
She  jingled  loudly  at  the  bell. 

'Oh,  who  is  that?'  the  young  wife  said, 
'Oh,  who  is  that?    I  pray  thee  tell !' 

10  'There's  a  lady  there,'  the  servant  said, 
'A  lady  fair  and  richly  clad. 

Your  husband's  name  is  all  she  speaks. 
Her  voice  is  quare  and  very  sad.' 

11  Lord  Bateman  walked  thru  the  long,  long  hall 
To  meet  his  true  love  at  the  door. 

He  took  her  by  her  lily-white  hand 
And  bowed  him  down  unto  the  floor. 

12  'My  own  true  love  has  followed  me 
From  out  a  far-oflf  distant  land. 

^  This  appears  in  the  manuscript,  both  times,  as  "lard" — surely  just 
a  slip. 

'  This  stanza  seems  to  have  been  borrowed  from  'James  Harris' ;  at 
least  it  appears  frequently  in  American  texts  of  that  ballad. 


OLDER     BALLADS MOSTLY     BRITISH  57 

My  pledged  word  belongs  to  her. 
My  life  and  heart  she  does  command. 

13     'You  may  return  to  your  father's  house, 
Ten  thousand  pound  I'll  give  to  thee, 
Six  merry  men  to  guard  you  home ; 
My  own  true  love  will  marry  me.' 

E 
'Susan  Price.'  From  the  manuscript  songbook  of  Miss  Edith  Walker 
of  Boone,  Watauga  county.  This  is  the  same  version  as  that  reported 
by  Henry,  FSSH  55-8,  from  Blount  county,  Tennessee — which  is  only 
a  few  mi'es  away  on  the  other  side  of  the  state  line  from  Watauga 
county.  This  version  is  distinguished  by  deriving  the  hero  not  from 
London  but  from  Glasgow  (there  is  a  trace  of  this  in  Kinloch's  ver- 
sion. Child  H,  where,  though  Beichan  is  London-born  in  stanza  1,  he 
becomes  "the  lord  frae  Scotland"  in  stanza  12  and  "my  Scottish  lord" 
in  stanza  18,  and  comes  home  to  "Glasgow  town"  in  stanza  20,  and  the 
Turkish  lady  comes  to  "the  Scottish  shore"  in  stanza  28)  and  by  hav- 
ing Deham  propose  first  his  oldest  and  then  his  youngest  brother  as 
substitute  before  he  finally  agrees  to  marry  the  lady  himself.  .Although 
the  two  te.xts  correspond  rather  closely  in  the  main,  there  are  variations 
that  make  it  worth  while  to  record  Miss  Walker's  te.xt  here.  In  the 
manuscript  it  is  written  as  couplets,  but  the  rhyme  shows  that  it  is 
really  in  quatrains  and  I  have  so  printed  it. 

1  Young  Deham  from  Glasgow  is  gone 
All  the  Turks  for  to  see. 

And  the  Turks  took  him  as  a  prisoner 
And  bound  him  to  a  thirsty  tree ; 

2  Through  his  left  shoulder  they  bored  a  hole 
And  through  and  through  they  drune^  a  key 
And  they  forced  him  into  the  dungeon  deep 
Where  the  light  of  day  he  ne'er  could  see. 

3  The  jailer  had  a  l^eautiful  daughter — 
A  beautiful  creature,  oh !  was  she — 
The  jailhouse  door  was  open  wide 
And  by  Lord  Deham  did  stand  she. 


'Now  have  you  any  house  or  land, 
Or  any  other  buildings  free? 
What  would  you  give  to  a  pretty  gu'l 
To  set  you  at  your  liberty  ?' 


5     'Glasgow  town  is  all  my  own. 

Besides  other  buildings  two  or  three : 

All  this  I'll  give  to  a  ])retty  girl 

To  set  me  at  my  liberty.' 
'  Henry's  text  has  "drew."     For  the  meaning  of  "key"  see  headnote. 


58  NORTH  CAROLINA  FOLKLORE 

6  She  took  him  by  the  Hberty-  white  hand, 
Through  rooms  and  rooms  went  he  and  she; 
The  sugar  bread  and  wine  so  red 

Was  all  to  nourish  his  fair  body. 

7  They  drew  a  leave^  between  them  both 
For  seven  long  years  and  a  day. 
'And  if  you  don't  come  unto  the  time, 
All  the  blame  on  you  I'll  lay.' 

8  The  seven  year  being  most  gone 
Miss  Susan  thought  the  time  was  long. 
T  must  go  seek  my  young  Deham. 

I  know  not  where  or  what  land.' 

9  Her  father  built  her  a  little  ship 
And  put  it  on  the  raging  sea. 
And  in  it  he  put  gold  enough 
To  bear  her  own  sweet  company. 

10  She  sailed  high  and  she  sailed  low ; 
Some  turquoise  stones  she  chanced  to  spy. 
As  she  sat  cracking  her  milk-white  fingers 
Three  gentlemen  came  riding  by. 

11  Ts  this  Deham's  hall? 

Or  is  there  ary  knight  within?' 
'This  here  is  young  Deham's  hall, 
And  there  is  a  knight  within. 

12  'He's  a-sittin'  at  his  wedding  table, 
Makin'  welcome  with  his  nol)le  kin.' 

13  When  she  came  to  Lord  Deham's  gate 
She  dingled  loudly  at  the  gate. 

'Just  wait  a  while,'  the  proud  porter  says, 
'I'll  quickly  rise  and  let  you  in. 

14  'There's  the  purtiest  woman  at  your  gate 
That  ever  my  two  eyes  did  see.' 

He  kicked  the  table  with  his  foot 
And  caught  all  upon  his  knees ; 

15  The  silver  pans  and  earthen  cans, 
All  to  pieces  they  did  fly. 

'I'll  lay  my  life,'  Lord  Deham  says, 
Miss  Susan  Price  come  over  sea !' 

*  So  the  manuscript ;  perhaps  merely  a  mistake  not  corrected. 
'  The  meaning  seems  to  be  "promise"  or  "agreement" ;  "leave' 
a  strange  word  for  it. 


OLDER     BALLADS MOSTLY     BRITISH  59 

1 6  'Now  are  you  married  to  another  woman? 
I'm  sure  I  hain't  to  another  man. 

Just  pay  me  down  ninety  thousand  pounds 
And  I'll  sail  back  to  the  Turkish  land.' 

17  'My  dearest  jewel,  now  don't  say  so! 
But  if  you  nuirmur,  let  it  be ; 

I'll  wed  you  to  my  older  brother, 
If  contented  with  him  you  will  be.' 

18  'I  wish  you  great  luck  with  your  older  brother, 
But  I  don't  want  no  such  a  man. 

Just  pay  me  down  ninety  thousand  pounds 
And  I'll  sail  back  to  the  Turkish  land.' 

19  'My  dearest  jewel,  now  don't  say  so! 
But  if  you  murmur,  let  it  be; 

I'll  wed  you  to  my  younger  brother, 
If  contented  with  him  you'll  be.' 

20  'I  wish  you  great  luck  with  your  younger  broUier, 
But  I  don't  want  no  such  a  man. 

Just  pay  me  down  ninety  thousand  pound 
And  I'll  sail  back  to  the  Turkish  land.' 

21  'My  dearest  jewel,  now  don't  say  so! 
But  if  you  murmur,  let  it  be ; 

I'll  wed  you  to  my  own  self 
If  contented  you'll  be.' 

22  Up  then  spoke  the  new  bride's  mother : 
'Such  a  thing  was  never  known, 

To  marry  a  damsel  in  the  morning  fair 
And  wed  another  before  it's  noon !' 

23  'You  can  take  your  brown  girl  home, 
I'm  sure  she's  none  the  worse  by  me ; 
I  aim  to  wed  the  lady  fair 

That  set  me  at  my  liberty.' 

F 
'Lord  Batesman.'     Contributed  by  James  York  of  Olin,  Iredell  county, 
in  1939- 

1  There  lived  a  man  in  our  country 
And  he  was  a  man  of  high  degree. 
Lord  Batesman  could  not  be  contented 
Till  he  had  taken  a  voyage  at  sea. 

2  And  he  sailed  east  and  he  sailed  west. 

He  sailed  till  he  came  to  the  Turkish  shore. 


6o  NORTH  CAROLINA  FOLKLORE 

And  there  he's  taken  up  a  prisoner — 
No  hopes  of  freedom  any  more. 

3  The  jailer  had  one  only  daughter, 
And  she  was  as  fine  as  fine  could  be. 
She  gathered  all  her  father's  keys, 
Saying,  'Lord  Batesman  I'll  go  see.' 

4  She  took  him  down  to  her  father's  cellar, 
She  gave  him  wine  so  red  and  strong. 
And  every  glass  she  held  unto  him, 

Saying,  'I  wish  Lord  Batesman  was  my  own. 

5  'Oh,  have  you  house  and  land,'  she  sayeth. 
And  have  you  living  of  high  degree  ? 

And  wril  you  give  it  all  to  the  lady 
Who  out  of  prison  will  set  you  free?' 

6  'Yes,  I  have  houses  and  lands,'  he  sayeth, 
'And  I  have  a  living  of  high  degree. 
And  I  will  give  it  all  to  the  lady 

Who  out  of  prison  will  set  me  free.' 

7  'For  seven  long  years  we'll  make  this  bargain. 
For  seven  long  years — and  here's  my  hand — 
If  you  will  marry  no  other  lady 

I'm  sure  I'll  marry  no  other  man.' 

8  She  took  him  down  to  her  father's  harbor 
And  there  she  gave  him  a  boat  and  car,^ 
Saying,  'Fare  you  well,  my  own  true  lover, 
I  fear  I'll  see  your  face  no  more.' 

9  For  seven  long  years  have  passed  and  ended, 
The  seven  long  years ;  and  it's  one,  two,  three — 
She  gathered  all  her  jewelry  round  her 
Saying,  'Lord  Batesman  I'll  go  see.' 

10  She  sailed  till  she  came  to  Lord  Batesman's  castle 
She  tangled  till  she  made  him  let  her  within. 
Lord  Batesman  sent  his  servant  down  running 

To  see  who  wished  for  to  come  in. 

11  'Is  this  Lord  Batesman's  castle?'  she  sayeth; 
'Doth  he  himself  dwell  here  within?' 

'Yes,  this  is  Lord  Batesman's  castle,'  he  sayeth, 
'And  he's  just  brought  his  new  bride  in.' 

12  'Go  tell  him  I  want  a  slice  of  his  bread, 
And  I  want  a  glass  of  his  wine  so  strong. 

*  Both  sense  and  rhyme  call  for  "oar"  here. 


OLDER     BALLADS MOSTLY     BRITISH  6l 

And  ask  him  if  he's  forgotten  the  lady 
Who's  freed  him  out  of  prison  so  long.' 

13  'There's  the  finest  lady  at  your  gate 
That  ever  my  two  eyes  did  see. 
She  wears  a  ring  on  her  little  finger 
And  on  the  rest  is  one,  two,  three ; 

She  wears  more  jewelry  round  her  body 
Than  is  worn  by  your  bride  and  her  company.' 

14  Lord  Batesman  rising  from  his  table 

As  he  broke  the  bread  and  the  wine  so  strong, 
Saying.  'Are  you  well,  my  lovely  beauty? 
Since  my  sweet  Susan  has  come  to  me. 

15  T  married  your  daughter  just  today, 
I'm  sure  she's  injured  none  by  me; 

I  brought  her  here  on  horse  and  saddle 
But  I'll  take  her  back  in  a  coach  of  three.' 


15 

The  Cherry  Tree  Carol 

(Child  54) 

Of  the  three  carols  admitted  by  Child  to  his  ballad  collection  this 
is  the  only  one  that  has  persisted  in  the  folk  memory  in  America. 
See  Davis's  headnote  in  TBV.  To  the  list  of  its  occurrences  there 
given  may  be  added  Scotland  (LL  45),  Hampshire  (JFSS  in  260), 
Cornwall  (JFSS  v  11-12  and  321-2),  Saskatchewan  (JFSS  viii 
229-30),  Maine  (BBM  446,  a  trace  only).  Vermont  (CSV  48-50), 
Kentucky  (SharpK  i  92-4,  FSSH  59,  JAFL  xlix  45-6,  li  15-16), 
Tennessee  (BTFLS  viii  78),  Florida  (FSF  262-3),  and  Missouri 
(OFS  I  88).  In  the  carol — expressly  in  some  texts,  by  implication 
in  others — the  unborn  child  speaks  from  the  womb ;  in  the  apocry- 
phal gospel  from  which  the  story  derives  the  incident  occurs,  not 
before  the  birth  of  Jesus,  but  during  the  flight  into  Egypt,  and  the 
tree  is  a  palm,  not  a  cherry. 

A 
No  title.  Mrs.  Sutton  secured  this  from  the  singing  of  a  little  girl  in 
the  Miller's  Gap  school,  Madison  county.  It  was  near  Christmas  time, 
and  Mrs.  Sutton  started  to  teach  the  children  'O  Little  Town  of 
Bethlehem' ;  whereupon  one  of  them  said  "I  know  a  tune  about  Beth- 
lehem" and  proceeded  to  sing  the  following. 

I     Joseph  and  Mary  walked  one  day 
All  in  an  orchard  good. 
The  trees  were  full  of  cherries 
As  red  as  any  blood. 


62  NORTH     CAROLINA     FOLKLOl 

2  Mary  spoke  to  Joseph, 

Her  words  were  soft  and  kind : 
'Pick  me  one  cherry,  husband, 
For  they  do  fill  my  mind.' 

3  Then  Joseph  answered  Mary, 
His  words  was  most  unkind: 

'Let  your  lover  pick  your  cherries; 
I  care  not  what's  on  your  mind.' 

4  And  then  the  little  baby  spoke 
Unto  the  cherry  bough : 

'Bend  down  your  branch  to  my  mother 
And  give  her  cherries  now.' 

5  Then  all  the  cherry  tree  bowed  down 
Unto  sweet  Mary's  hand. 

And  she  cried  out,  'See,  Joseph, 
I  have  cherries  at  my  command.' 

6  Old  Joseph  was  ashamed 
That  he  had  done  Mary  wrong. 
And  told  her  to  be  cherry^ 
And  not  to  feel  cast  down. 

7  And  all  the  stones  in  Bethlehem, 
In  the  streets  and  in  the  wall, 
Cried  out  in  praise  of  Mary, 
And  loud  they  cried  to  all. 


'Song.'  Communicated,  probably  in  1922,  by  Mrs.  Nilla  Lancaster  of 
Goldsboro,  Wayne  county.  This  runs  fairly  close  to  Child's  A  version 
which  is  from  the  west  of  England.  The  chief  differences  are  in  the 
concluding  stanzas. 

1  Old  Joseph  was  an  old  man, 
An  old  man  was  he. 

He  married  virgin  Mary, 
The  queen  of  Galilee. 

2  As  Joseph  and  Mary 
Were  walking  one  day, 

'Here  are  apples,  here  are  cherries, 
Enough  to  behold.' 

3  Then  Mary  sjxjke  to  Joseph, 
So  meek  and  so  mild: 

'Joseph,  gather  me  some  cherries, 
For  I  am  with  child.' 
*  Evidently  for  "cheery."     Did  the  child  confuse  the  two  words? 


OLDER     BALLADS MOSTLY     BRITISH  63 

4  Then  Joseph  flew  in  anger, 
In  anger  flew  he : 

'Let  the  father  of  the  baby 
Gather  cherries  for  thee.' 

5  Then  Jesus  spoke  a  few  words, 
A  few  words  spoke  he : 

'Let  my  mother  have  some  cherries. 
Bow  low  down,  cherry  tree.' 

6  The  cherry  tree  bowed  low  down. 
Bowed  low  down  to  the  ground. 
And  Mary  gathered  cherries 
While  Joseph  stood  around. 

7  Then  Joseph  took  Mary 
All  on  his  right  knee : 
'Oh,  what  have  I  done? 
Lord  have  mercy  on  me !' 

8  Then  Joseph  took  Mary 
All  on  his  left  knee: 
'Oh,  tell  me,  little  baby, 
When  thy  birth-day  will  be.* 

9  'On  the  sixth  day  of  January 
My  birth-day  will  be, 

When  the  stars  in  the  elements 
Shall  tremble  with  glee.' 

16 

Sir  Patrick  Spens 
(Child  58) 

Until  a  few  years  ago  it  seemed  that  "the  grand  old  ballad  of 
Sir  Patrick  Spence"  was  extinct  in  American,  as  indeed  also  in 
British,  tradition.  But  in  1937  Mr.  John  Powell,  of  Virginia,  pub- 
lished in  the  first  number  of  the  Southern  Folk-Lore  Quarterly  an 
admirable  text,  with  tune,  as  sung  for  him  by  Mr.  George  Tucker, 
who  learned  it  from  his  grandmother,  as  she  had  learned  it  from 
hers,  on  the  Eastern  Shore  of  Maryland.  And  within  the  year  the 
same  journal  presented  another  version,  this  time  from  the  singing 
of  Miss  Clara  J.  McCauley,  supervisor  of  music  in  the  Knoxville 
schools,  reported  by  Professor  E.  C.  Kirkland  of  the  University 
of  Tennessee.  This  second  version  goes  back,  really,  to  North 
Carolina ;  Miss  McCauley  learned  it  from  her  father's  singing  at 
their  home  near  Chapel  Hill.  Professor  Kirkland  and  the  Quar- 
terly have  very  kindly  consented  to  our  reproducing  it  here  as  part 
of  the  ballad  lore  of  North  Carolina. 


64  NORTH  CAROLINA  FOLKLORE 

'Sir    Patrick    Spence.'      Recorded   by   E.    C.    Kirkland   in   August    1937, 
from  the  singing  of  Miss  Clara  J.  McCauley. 

The  king  he  sits  in  Dumferling  town, 
A-drinking  his  blood-red  wine, 
'Sir  Patrick  Spence  is  the  best  sailor 
That  ever  sailed  the  brine.' 

The  king  still  sits  in  Dumferling  town, 
And  a-sipping  his  red,  red  wine, 
'Now  where  can  I  get  a  good  sailor 
To  man  this  ship  o'  mine?' 

Oh  up  then  said  a  yellow-haired  lad 
Just  by  the  king's  left  knee, 
'Sir  Patrick  Spence  is  the  best  skipper 
That  ever  sailed  the  sea.' 

Oh  up  then  spoke  an  old.  old  knight 
Right  nigh  the  king's  right  knee, 
'Sir,  you  are  the  very,  very  best  sailor 
That  ever  sailed  the  sea.' 

The  king  he  wrote  a  good  letter 
And  a-sealed  it  with  his  hand ; 
And  when  Sir  Patrick  Spence  got  it 
He  was  strolling  on  the  sand. 

Sir  Patrick  read  the  orders  from  the  king 
That  made  him  laugh  at  first, 
But  as  he  read  another  sad  line, 
Sir  Patrick  feared  the  worst. 

He  took  his  ship  to  far  Norway, 
A-sailing  o'er  the  sea. 
To  get  a  lovely  maiden  fair 
And  to  fetch  her  back,  said  he. 

They  sailed  and  sailed  for  many  a  day 
Upon  the  wild,  wild  sea, 
But  our  good  sailor  Sir  Patrick  Spence 
Was  drowned  in  the  deep. 

So  the  king  sits  on  in  Dumferling  town 
A-drinking  his  blood-red  wine, 
'Oh,  where  can  I  get  a  good  sailor 
To  sail  this  ship  of  mine?' 


OLDER      BALLADS MOSTLY      BRITISH  65 

Child  Waters 
(Child  63) 

This  ballad  must  have  been  popular — as  it  deserved  to  be — in 
Scotland  a  hundred  and  fifty  years  ago.  Of  Child's  ten  versions 
all  but  one  (A,  from  the  Percy  Folio  MS)  are  Scotch  and  come 
from  the  late  eighteenth  or  early  nineteenth  century.  But  it  has 
seldom  been  recorded  in  later  times.  Greig  reports  it  from  Aber- 
deenshire (LL  51-2)  ;  there  is  no  mention  of  it  in  the  Journal  of 
the  Folk-Song  Society.  Randolph  (OFS  i  69-70)  reports  a  frag- 
mentary text  of  three  stanzas  from  Arkansas.  Otherwise  it  had  not 
been  found  in  America  until  Mrs.  Sutton  found  the  North  Caro- 
lina text  here  presented.  This  text  belongs  in  the  same  tradition 
as  Child's  B,  which  is  from  Mrs.  Brown  of  Falkland;  indeed,  the 
correspondence  is  fairly  close,  though  the  North  Carolina  version 
omits  some  details  and  modifies  others. 

'Fair    Ellen.'      Reported    by    Mrs.    Sutton    from    the    singing    of    Mrs. 
Rebecca  Gordon  of  Cat's  Head  on  Saluda  Mountain,  Henderson  county. 

1  'I  warn  you  all,  you  maidens  fair, 
That  wear  the  red  and  brown. 

That  you  don't  leave  your  father's  house 
To  run  with  boys  from  town. 

2  'For  here  am  I,  a  maiden  fair 
That  once  wore  red  and  brown, 
And  I  did  leave  my  father's  house 
And  f oiler  a  man  from  town.' 

3  He  sprang  upon  his  milk-white  steed 
And  fast  away  rode  he ; 

She  dressed  herself  like  a  little  foot-page 
And  ran  beside  his  knee 

4  Till  they  came  to  a  deep  river ; 
It  ran  both  swift  and  wide. 

'Oh,  can  you  swim,'  her  lover  said. 
'Or  hang  to  the  horse's  side?' 

5  The  first  step  in  the  water  deep. 
It  came  up  to  her  knee. 

'Alas,  alas,'  the  lady  said, 
'I  fear  you've  drownded  me. 

6  'Lie  still,  lie  still,  my  baby  dear, 
Don't  work  your  mother  woe ; 

Your  father  rides  on  a  milk-white  steed 
And  cares  not  for  us  two.' 


66  NORTH  CAROLINA  FOLKLORE 

7  When  they  reached  the  side  of  the  deep  river 
She  mounted  on  a  stone. 

He  turned  about  his  milk-white  steed 
And  took  her  on  behind. 

8  'Oh,  do  you  see  that  castle  so  high 
That  shines  so  bright  and  free? 
There  is  a  lady  in  that  high  castle 
That  will  part  you  and  me.' 

9  'If  there  is  a  lady  in  that  castle 
That  will  part  you  and  I, 

The  day  I  see  her,'  Ellen  said, 
'That  day  I  surely  die.' 

10  'Oh,  she  shall  eat  the  good  wheat  bread 
And  you  shall  eat  the  corn. 

And  you  will  set  and  curse  the  hour 
That  ever  you  were  born.' 

11  Four  and  twenty  gay  ladies 
Welcomed  him  to  the  castle  green, 
But  the  fairest  lady  of  them  all 
At  the  manger  stood  alone. 

12  When  bells  were  rung  and  the  table  spread 
And  the  guests  sat  down  to  eat, 

Fair  Ellen  at  the  last  table 
With  the  servants  ate  her  meat. 

13  Then  out  and  spoke  his  mother  dear, 
And  a  wise  woman  was  she : 

'Where  did  you  come  up  with  that  fair  foot-page 
That  looks  so  sad  at  thee? 

14  'Sometimes  his  cheek  shines  rosy  red, 
Sometimes  it's  pale  and  thin. 

He  looks  like  a  woman  faint  with  love 
And  caught  in  deadly  sin.' 

15  'It  makes  me  laugh,  my  mother  dear. 
To  hear  such  words  from  thee. 

He  is  a  lord's  own  younger  son 
Who  for  love  has  followed  me. 

16  'Rise  up,  rise  up,  my  little  foot-page. 
And  give  my  horse  his  hay.' 

'Oh,  that  I  will,  my  master  dear. 
As  fast  as  ever  I  may.' 


OLDER     BALLADS MOSTLY     BRITISH  67 

17  She  took  the  hay  in  her  soft  white  hands 
And  ran  from  out  the  hall. 

And  fast  she  went  to  the  great  stable 
And  she  did 

18  His  mother  sat  within  her  bower 
And  pondered  all  alone, 
When  in  the  silence  of  the  night 
She  heard  fair  Ellen  moan. 

19  'Get  up,  get  up,  my  son,'  she  said, 
'Go  see  how  she  does  fare. 

For  I  do  hear  a  woman  mourn, 
And  a  babe  a-crying,  too.' 

20  Oh,  hastily  he  got  him  up, 
Into  the  barn  went  he. 

'Be  not  afraid,  fair  Ellen,'  he  said, 
'There's  no  one  here  but  me.' 

21  Up  he  picked  his  fair  young  son 
And  gave  to  him  some  milk. 
And  up  he  took  fair  Ellen  then 
And  dressed  her  in  the  silk. 


18 

Young  Hunting 
(Child  68) 

For  the  occurrence  of  this  ballad  in  the  United  States  and  the 
interesting  variations  it  has  undergone,  see  BSM  34-5 ;  and  add  to 
the  references  there  given  Tennessee  (BTFLS  viii  71-2),  North 
Carolina  (FSRA  21-2),  Florida  (SFLQ  vm  146-7),  Arkansas 
(OFS  I  92-3),  Missouri  (OFS  i  90-1),  Indiana  (BSI  166-9),  and 
Wisconsin  (JAFL  lii  30,  brought  from  Kentucky).  The  name 
given  to  the  victim  of  jealousy  in  our  text  I  have  not  found  else- 
where; most  commonly  he  is  called  "loving  Henry."  Mrs.  Steely 
found  two  texts  of  this,  one  with  tune,  in  the  Ebenezer  community 
in  Wake  county. 

'Lord   Bonnie.'     Contributed   in   1939  by  James   York   of   Olin,   Iredell 
county. 

1  Lord  Bonnie  he  was  a  hunting  man 
And  a-hunting  he  did  ride 

With  a  hunting  horn  all  around  his  neck 
And  his  sword  by  his  side. 

2  He  rode  till  he  came  to  his  friend  Jesse's^  hall ; 

*  So  the  manuscript ;  one  supposes  that  it  should  be  "Jessie's." 


68  NORTH  CAROLINA  FOLKLORE 

He  knocked  and  loudly  called. 

No  one  so  fair  as  his  own  true  love 

For  to  rise  and  bid  him  come  m. 

3  'Come  in,  come  in,  Lord  Bonnie,'  she  cried. 
'And  stay  the  night  with  me. 

A  rounding-  fire  you  shall  have 
And  a  cup  of  white  chalk  tea.' 

4  'I  will  come  in  and  I  will  come  in, 
But  I  have  but  a  moment  to  stay ; 

For  the  girl  I  love  much  better  than  thee 
I  shall  see  ere  the  break  of  day.' 

5  While  setting  there  all  alone  on  her  lap 
A-kissing  her  so  sweet, 

With  a  little  pen-knife  that  was  sharp  at  the  point 
She  wounded  him  most  deep. 

6  'Lord  Bonnie,  Lord  Bonnie,  Lord  Bonnie,'  she  cried. 
'What  makes  you  look  so  pale?' 

'I  think  I  feel  my  own  heart's  blood 
A-falling  at  my  feet.' 

7  'Don't  die,  don't  die.  Lord  Bonnie,'  she  cried, 
'Don't  die  so  soon ! 

You  shall  have  all  the  doctors  in  the  whole  round  town 
For  to  heal  and  cure  your  wounds.' 

8  'I  must  die,  I  must  die,'  Lord  Bonnie  he  cried, 
'You  have  wounded  me  so  deep. 

There  was  not  another  lady  in  the  whole  round  town 
That  I  loved  as  well  as  thee.' 

9  Just  three  long  hours  till  the  break  of  day 
She  called  her  housemaids  three. 

Saying,  'Lord  Bonnie  he  has  died  in  my  lap; 
I  think  it's  time  he  was  taken  away.' 

10  Some  took  him  by  the  yellow  gold  locks. 
Some  took  him  by  the  feet. 

And  they  threw  him  in  the  cold  water  well 
Where  it  was  wide  and  deep. 

1 1  'Lie  there,  lie  there,  you  false-hearted  man, 
Till  the  water  covers  over  your  chin. 

There's  not  another  lady  in  the  whole  wide  town 
That  will  bid  Lord  Bonnie  come  in.' 

^  One    supposes    that   this    should    be    "rousing."      But    what    is    white 
chalk  tea? 


older   ballads  —  mostly   british  69 

Lord  Thomas  and  Fair  Annex 
(Child  73) 

Of  all  the  old  ballads,  this  probably  stands  next  to  'Barbara 
Allan'  in  popular  favor.  For  its  range  in  living  tradition,  both  in 
the  old  countrv  and  in  America,  see  BSM  37-8  and  add  Tennessee 
(SFLQ  XI  122-3),  North  Carolina  (FSRA  23-4),  Florida  (SFLQ 
VIII  147-50),  Arkansas  (OFS  i  99-101,  106-8),  Missouri  (OFS  1 
94-9,  1 01 -6),  Ohio  (BSO  29-34),  Indiana  (BSI  58-70),  Illinois 
(JAFL  Lii  75-6),  and  Michigan  (BSSM  37-9).  American  texts 
follow  one  general  pattern  with  various  differences  in  detail — 
mostly  cases  of  leaving  out  or  putting  in.  Of  the  fourteen  texts  in 
the  Brown  Collection  only  a  few  are  here  given  in  full. 


'Lord  Thomas  and  Fair  Annet.'  Secured  by  Dr.  Brown  in  1898-99  in 
Rockingham  county,  Virginia — not  strictly  speaking  a  North  Carolina 
version  but  given  here  as  being  probably  the  first  ballad  he  ever  col- 
lected. In  the  second  line  "door"  should  of  course  be  "deer" ;  the 
Virginia  singer  knew  nothing  of  any  "keeper"  of  deer  but  had  heard 
of  doorkeepers.  The  spelling  "a  tire"  in  stanzas  4  and  8 — in  the  manu- 
script it  is  "a  'tire" — indicates  that  to  the  singer  the  word  was  not 
"attire"  but  "tire"  as  in  "tirewoman."  Is  "nought"  in  stanza  15 
phonetic  for  the  singer's  pronunciation  of  "nut"? 

1  Lord  Thomas  he  being  a  bold  young  man, 
A  keeper  of  our  king's  door. 

Fair  Ellen  she  being  a  clever  young  woman, 
Lord  Thomas  be  loved  her  dear. 

2  He  went  into  his  mother's  room : 
'Come  riddle  to  me  this  one, 

Whether  I  shall  marry  fair  Ellen,'  he  says, 
*Or  bring  the  brown  girl  home?' 

3  'The  brown  girl  she  has  house  and  land, 
Fair  Ellinor  she's  got  none ; 
Therefore  I  beseech  you  with  my  blessing 
Go  bring  the  brown  girl  home.' 

4  He  dressed  himself  in  a  tire  of  red. 
His  merry  men  all  in  green. 

And  every  town  that  he  rode  thro' 
They  took  him  to  be  some  king. 

5  He  rode  till  he  came  to  fair  Ellinor's  bower, 
He  rapped  at  the  ring. 

There  was  none  as  ready  as  fair  Ellinor  herself 
To  rise  and  let  him  in. 


70  NORTH  CAROLINA  FOLKLORE 

6  'What  news,  what  news,  Lord  Thomas?'  she  said, 
'What  news  have  you  brought  unto  me?' 

*I  have  come  to  bid  you  to  my  wedding, 
And  that's  bad  news  for  thee.' 

7  'Oh,  God  forbid.  Lord  Thomas,'  she  said, 
'That  any  such  a  thing  should  be  done ; 
For  I  thought  to  be  the  bride  my  own  self, 
And  you  was  to  be  the  bridegroom.' 

8  She  dressed  herself  in  a  tire  of  red, 
Her  merry  maids  all  in  green, 
And  eviery  town  that  she  rode  thro' 
They  took  her  to  be  some  queen. 

9  She  rode  till  she  came  to  Lord  Thomas'  bower. 
She  rapped  at  the  ring ; 

There  was  no  one  so  ready  as  Lorcf  Thomas  himself 
To  rise  and  let  her  in. 

10  He  took  her  by  her  lily-white  hand 
And  led  her  in  the  hall; 

He  sat  her  at  the  head  of  the  table 
Among  the  ladies  all. 

11  'Is  this  your  bride.  Lord  Thomas?'  she  said. 
'I  think  she  looks  wonderful  brown. 

For  you  might  have  had  the  fairest  young  woman 
That  ever  trod  English  groun'.' 

12  The  brown  girl  had  a  small  pen-knife, 
It  being  sharp  and  keen ; 

Betwixt  the  long  ribs  and  the  short 
She  pierced  fair  Ellinor's  heart. 

13  'Oh,  what's  the  matter,  fair  Ellen?'  he  said. 
'I  think  you  look  wonderful  pale. 

You  used  to  be  the  fairest  young  woman 
That  ever  trod  English  groun'.' 

14  'Why,  are  you  blind,  Lord  Thomas,'  she  said, 
'Or  can  you  not  very  well  see? 

For  don't  you  see  my  own  heart's  bleed 
Come  trickling  down  my  knee?' 

15  Lord  Thomas  he  having  a  nought  broad  sword. 
It  being  sharp  and  keen. 

He  cut  oflf  the  brown  girl's  head 
And  dashed  it  against  the  wall. 


OLDER     BALLADS MOSTLY     BRITISH  Jl 

1 6     He  put  the  helve  unto  the  floor, 
The  point  unto  his  heart. 

Was  there  ever  three  lovers  so  simple  together 
That  were  so  soon  to  part? 


'Fair  Ellender  and  the  Brown  Girl.'  From  tlie  collection  of  Miss  Edith 
B.  Fish  of  White  Rock,  Madison  county.  She  had  sent  this  and  otlier 
ballads  to  C.  Alplionso  Smith  in  1913;  shortly  thereafter  she  sent  it 
to  the  North  Carolina  collection.  It  corresponds  rather  closely  to  A, 
but  adds  two  stanzas  after  Lord  Thomas's  announcement  of  his  coming 
wedding : 

'Come  father,  come  mother,  come  riddle  my  riddle 
And  riddle  it  all  as  one ; 

Whether  I  must  go  to  Lord  Thomas's  wedding 
Or  tarry  along  at  home. 

'There  are  many  there  that  will  he  my  friends. 
There  are  many  will  he  my  foes. 
I've  entered  life,  I'll  enter  death, 
And  to  the  wedding  I'll  go.' 

And  appends  the  familiar  quatrain  directing  his  funeral: 

'Go  dig  my  grave  both  wide  and  deep 
And  paint  my  coffin  black. 
And  bury  fair  Ellender  in  my  arms 
And  the  brown  girl  at  my  back.' 

C  »^ 

'Lord  Thomas  and  Fair  Ellenter.'  From  the  collection  of  Miss  Louise 
Rand  Basconi,  Highlands,  Macon  county.  It  is  a  somewhat  defective 
text — lines  are  missing  in  places.  Only  Ellenter  asks  advice  from  her 
mother;  as  the  lines  stand,  she  does  not  get  it,  but  declares  that  she 
will  go  to  the  wedding  anyhow : 

It's  I  would  go  to  Lord  Thomas's  weddin' 
If  my  coffin  was  in  at  my  door.' 

Miss  Bascom  notes  a  distinction  of  sex  in  the  matter  of  summoning 
people  to  the  door:  Lord  Thomas  "jangled  up  the  rein"  but  Fair  Ellenter 
"jingled  at  the  rein."     This  text,  also,  ends  with  the  burial  directions. 


'Lord  Thomas.'  Collected  by  Thomas  Smith  of  Zionville,  Watauga 
county,  in  or  before  191 4.  In  that  year  he  was  in  lively  correspondence 
with  C.  Alphonso  Smith  (who  was  himself  a  North  Carolinian)  on  the 
subject  of  ballads  and  sent  him  this  text  among  others.  Later  C.  A. 
Smith  released  all  his  North  Carolina  gatherings  to  the  North  Carolina 
Folklore  Society.  Thomas  Smith  wrote  in  1914  that  this  ballad  is 
"written  as  sung  by  Miss  Ida  Wilson,  whose  father  sang  it  nearly 
sixty  years  ago."  Sixteen  stanzas.  Only  Lord  Thomas  seeks  maternal 
advice.      In   stanza    10   appears   a    faint   memory   of   the   sharp   dialogue 


"JT.  NORTH  CAROLINA  FOLKLORE 

between  Aniiet  and  the  brown  girl  in  Child's  versions  AEG  (and  in 
most  of  the  other  versions  less  strikingly)  : 

'Where  did  you  get  your  well  water 
That  washed  your  skin  so  white?' 

But  Ellender  makes  no  reply,  at  least  not  to  the  brown  girl.  The  cus- 
tomary stanza  directing  the  burial  at  the  close. 

'Lord  Thomas  and  Fair  Ellender.'  Sent  in  in  1914  by  D.  W.  Fletcher 
of  RED  4  near  Durham,  from  the  singing  of  D.  E.  Holder,  who  learned 
it  from  his  mother.  The  "mense"  of  stanzas  3  and  8  stands  perhaps 
for  "immense" ;  line  2  of  stanza  3,  meaningless  in  this  place,  is  probably 
merely  a  careless  anticipation  of  the  same  line  in  stanza  8;  "before"  in 
stanza  2  should  apparently  be  "therefore." 

1  'O  mother  and  father,  come  riddle  my  riddle, 
Come  riddle  us  both  as  one, 

Whether  I  marry  fair  Ellender 
Or  bring  the  brown  girl  home.' 

2  'The  brown  girl  she  has  house  and  land, 
Fair  Ellender  she  has  none; 

Before  I  charge  you  with  my  great  blessing 
To  bring  the  brown  girl  home.' 

3  He  dressed  himself  in  mense  array, 
This  maid  in  morning-green, 

And  every  village  he  rode  through 
They  taken  him  to  be  some  king. 

4  He  rode  unto  fair  Ellender's  hall, 
He  knocked  so  loud  at  the  ring; 

There  was  none  so  ready  as  fair  Ellender  herself 
To  rise  and  welcome  him  in. 

5  'Oh,  what  is  the  matter,  Lord  Thomas?'  she  cried, 
'What  news  have  you  brought  to  me?' 

'I  have  come  to  ask  you  to  my  wedding. 
And  I'm  sure  it's  sad  news  to  tell.' 

6  'Now  mother  and  father,  come  riddle  us  now, 
Come  riddle  us  both  as  one, 

Whether  I  go  to  Lord  Thomas'  wedding 
Or  stay  with  you  at  home.' 

7  'There's  many  that  be  there  that  be  your  friends. 
There's  many  that  be  your  foe.' 

'But  little  do  I  care  for  all  of  that; 
To  Thomas'  wedding  I'll  go.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  73 

8  She  dressed  herself  in  niense  array, 
Her  maid  in  morning^  green, 

And  every  village  she  rode  through 
They  taken  her  to  be  some  queen. 

9  She  rode  up  to  Lord  Thomas'  hall ; 
So  loud  she  knocked  at  the  ring; 

There  was  none  so  ready  as  Lord  Thomas  himself 
For  to  rise  and  welcome  her  in. 

10  He  taken  her  by  her  lily-white  hand 
And  led  her  through  the  hall 

And  set  her  down  at  the  end  of  the  table 
Above  his  own  bride  and  all. 

1 1  'O  Thomas,  O  Thomas,  is  this  your  bride  ? 
I  think  slie  looks  wonderful  brown, 

When  once  you  could  have  married  as  fair  a  skin  lady 
As  ever  the  sun  shone  on.' 

12  The  brown  girl  she  had  a  little  pen-knife, 
'Twas  both  keen  and  sharp. 

Between  the  long  ribs  and  the  short 
She  retched  fair  Ellender's  heart. 

13  'Oh  what  is  the  matter?'  Lord  Thomas  he  cried, 
'What  makes  you  look  so  pale, 

When  you  once  used  to  carry  as  red  rosy  cheeks 
As  ever  shined  under  a  veil  ?' 

14  'O  Thomas,  O  Thomas,  are  you  not  blind? 
Why,  can't  you  very  well  see? 

I  think  I  feel  my  own  heart's  blood 
A-trickling  down  by  me.' 

15  Lord  Thomas  he  had  a  little  bright  sword 
A-hanging  in  the  hall. 

He  cut  off  his  own  bride's  head 
And  stove  it  against  the  wall. 

16  Lord  Thomas  he  had  a  little  pen-knife, 
'Twas  both  keen  and  sharp. 

He  put  the  handle  against  the  ground 
The  point  against  his  heart. 

17  He  placed  the  handle  against  the  ground 
And  the  point  against  his  chest, 

Saying,  'Here  lies  the  death  of  three  long  lovers. 
Lord,  send  our  souls  to  rest ! 


74  NORTH     CAROLINA     FOLKLORE 

1 8     'O  mother  and  father,  go  dig  my  grave, 
And  dig  it  wide  and  deep, 
And  bury  fair  Ellender  by  my  side 
And  the  brown  girl  at  my  feet.' 

f/ 

'Lord  Thomas  and  Fair  Eleanor.'  Contributed  by  Professor  E.  L.  Starr 
of  Salem  College  in  January  191 5.  There  is  no  record  of  whence  he 
got  it.  A  quite  normal  text  of  fourteen  stanzas.  The  only  thing  that 
seems  to  call  for  comment  is  "a  knock  so  loudly  ring"  in  stanzas  3  and 
7.  Here  "ring"  has  become  a  verb  whereas  properly  it  is  the  metal 
ring  of  a  door-knocker. 

G   *" 

'Lord  Thomas  and  Fair  Eleanor.'  Sent  in  by  L  G.  Greer  of  Boone, 
Watauga  county,  probably  in  191 5.  Though  for  the  most  part  a  quite 
regular  text,  it  has  some  details  that  justify  giving  it  in  full.  Spelling 
the  "brown  girl"  with  a  capital  B  suggests  that  it  is  understood  as  a 
family  name.  The  entire  omission  of  the  stabbing  has  a  somewhat 
startling  eflfect. 

1  'Father,  O  father,  come  riddle  this  riddle, 
Come  riddle  it  all  as  one ; 

What  mu.st  I  do?     Go  marry  fair  Eleanor, 
Or  bring  the  Brown  girl  home?' 

2  'The  Brown  girl  she  has  house  and  land, 
Fair  Eleanor  she  has  none ; 

So  for  your  own  blest  good,  my  son, 
Go  bring  the  Brown  girl  home.' 

3  He  dressed  himself  in  silk  so  fine, 
His  waistbands  all  in  green, 

And  every  town  that  he  rode  round 
They  took  him  to  be  some  king. 

4  He  rode  up  to  fair  Eleanor's  gate, 
So  lightly  tapped  the  ring ; 

No  one  so  ready  as  fair  Eleanor  herself 
To  rise  and  let  him  in. 

5  'What  news,  Lord  Thomas,  what  news,'  said  she, 
'What  news  have  you  for  me?' 

'I've  come  to  ask  you  to  my  wedding.' 
'  'Tis  very  bad  news,'  said  she. 

6  'Mother,  O  mother,  come  riddle  this  riddle, 
Come  riddle  it  all  as  one. 

What  must  I  do  ?    Go  to  the  wedding, 
Or  tarry  this  day  at  home?' 

7  'Daughter,  O  daughter,  I've  riddled  your  riddle. 


OLDER     BALLADS  —  MOSTLY     BRITISH  75 

I've  riddled  it  all  as  one; 

The  best  advice  I  can  give  to  you 

Is  to  tarry  this  day  at  home.' 

8  But  she  dressed  herself  in  silk  so  fine, 
Her  waistbands  all  in  green, 

And  every  town  that  she  rode  through 
They  took  her  to  be  some  queen. 

9  She  rode  up  to  Lord  Thomas'  gate, 
So  lightly  tapped  the  ring; 

No  one  so  ready  as  Lord  Thomas  himself 
To  rise  and  let  her  in. 

10  'Is  this  your  bride?    Is  this  your  bride? 
She  looks  so  very  brown. 

And  you  could  have  married  as  fair  a  young  lady 
As  ever  the  sun  shone  on.' 

1 1  Lord  Thomas  he  squealed  and  he  squalled  : 
'What  makes  you  look  so  pale  ? 

You  used  to  wear  as  red  rosy  cheeks 
As  ever  shone  under  a  veil.' 

12  *Oh,  are  you  blind,  that  you  can't  see 
Your  bride  has  murdered  me? 

I  feel  my  own,  my  own  heart's  blood 
Come  trinkling  down  by  me.' 

13  He  took  the  Brown  girl  by  the  hand. 
He  led  her  into  the  hall, 

And  with  a  sword  he  chopped  her  head  ofi 
And  kicked  it  against  the  wall. 

14  'Father,  O  father,  go  dig  a  grave, 
Dig  it  both  wide  and  deep ; 

Lay  fair  Eleanor  by  my  side 
And  the  Brown  girl  at  my  feet.' 

15  He  put  the  sword  against  the  vvall, 
The  point  against  his  breast, 

Saying,  'Father,  O  father,  here's  three  true  lovers; 
God  send  tiieir  souls  to  rest !' 


'Lord  Thomas.'  Sent  in  by  I.  G.  Greer  in  1919  from  the  singing  of  his 
cousin  Miss  Fannie  Grogan  of  Silverstone,  Watauga  county.  A  fairly 
normal  text  of  twelve  stanzas.  Both  Thomas  and  Ellinor  consult  their 
respective  mothers.  There  are,  however,  some  passages  corrupted  to 
the  point  of  being  unintelligible.  The  first  two  lines  of  stanzas  3  and 
6  run: 


76  NORTH  CAROLINA  FOLKLORE 

He  went  he  dressed  all  in  his  best 
His  majesty,  they  were  brown 

and 

She  went  she  dressed  all  in  her  best. 
Her  majesty.     They  were  green 

and  the  account  of  the  stabbing  runs : 

The  brown  girl  she  had  a  little  pen  knife 
With  blades  both  keen  and  sharp 
Between  the  long  blade  and  the  short 
She  pierced  fair  EUinor  right  in  the  heart. 

I  ^ 
'Lord  Thomas.'  From  the  singing  of  Mrs.  Alice  Cooke  of  Boone, 
Watauga  county,  in  1922.  The  text  seems  somewhat  disordered  as  re- 
gards rhythm  and  rhyme,  but  perhaps  this  will  be  explained  in  vol.  IV, 
for  the  text  here  is  taken  from  the  musical  score.  Lord  Thomas  "splits 
his  bride  in  twain"  instead  of  cutting  off  her  head. 

'The  Brown  Girl.'  Taken  down  by  Mrs.  Sutton  from  the  singing  of 
Mrs.  Brown  of  Beech  Mountain,  Watauga  county,  "one  of  the  twenty- 
odd  singers  in  the  Blue  Ridge  from  whom  I  collected  this  ballad," 
Mrs.  Sutton  notes.  It  is  a  normal  text  of  fifteen  stanzas.  Only  Fair 
Ellender's  dress  is  described,  not  Thomas's.  There  is  a  new  phrase  in 
stanzas  2  and  6 : 

He  called  up  his  merry  merry  men 
By  one,  by  two,  and  by  three 

She  called  up  her  merry  merry  men 
By  one  and  by  two  and  by  three 

The  death  of  Lord  Thomas  is  told  in  a  way  to  make  it  seem  accidental, 
but  that  is  probably  not  what  is  meant  to  be  understood: 

He  threw  the  sword  against  the  floor. 
The  point  flew  up  in  his  breast. 
Now  lie  three  lovers  all  in  a  row ; 
God  send  them  home  to  rest. 

K, 
'Lord   Thomas   and    Fair   Ellinor.'      From    Mary    Scarborough    of    Dare 
county ;  the  only  text  from  tidewater  North  Carolina.     Eighteen  stanzas. 
Has  the  familiar  ballad  repeat  at  the  end  of  each  stanza : 

Lord  Thomas  he  was  a  very  fine  man, 
A  hunter  of  the  king's  deer ; 
Fair  Ellinor  she  was  a  very  fine  lady, 
Lord  Thomas  he  loved  her  well  well  well, 
Lord  Thomas  he  loved  her  well. 


OLDER     BALLADS MOSTLY     BRITISH  "jy 

Thomas    asks    his    father   and    mother    to    riddle    his    riddle,    stanza    2; 
Ellinor  does  the  same,  stanza  7.     Thomas 

dressed  himself  in  very  red, 
In  very  red  and  green, 

and  Ellinor  repeats  the  procedure  a  few  stanzas  later. 

L  ^ 
"Lord  Thomas.'     Contributed  by  W.  A.  Abrams  in  1939  from  the  sing- 
ing of  Mrs.  J.  E.  Spence  of  Siler  City,  Chatham  county.     An  unusually 
full  text,  nineteen  stanzas,  yet  it  lacks  entirely  Ellen's  scornful  remark 
about   her   rival's   complexion   which   motivates   the   brown  girl's   assault. 

M  ^ 
'Lord  Thomas  and  Fair  Eleanor.'  Reported  by  Mrs.  R.  D.  Blacknall  of 
Durham  as  "sung  by  an  elderly  seamstress  in  my  great-grandfather's 
family  between  1812  and  1820."  The  longest  of  all  the  North  Carolina 
texts,  and  interesting  by  reason  of  its  divergencies  from  customary 
readings.  It  is  dirticult,  in  the  customary  versions,  to  reconcile 
Eleanor's  sumptuous  array  and  equipment  with  her  status  as  dowerless 
girl,  it  is  still  more  so  when  we  have  her  presented  as  the  only  daugh- 
ter of  the  king's  high  dame. 

1  Lord  Thomas,  Lord  Thomas  he  was  a  brave  man ; 
He  courted  the  king's  high  dame. 

She  had  but  one  own  fair  daughter — 
Fair  Eleanor  was  her  name. 

2  'O  mother,  O  mother,  come  riddle  to  me, 
And  riddle  us  both  as  one, 

And  say  shall  I  marry  the  fair  Eleanor 
Or  bring  the  brown  girl  home?' 

3  'The  brown  girl  she  hath  both  house  and  lands, 
Fair  Eleanor  hath  none. 

So  I  would  advise  you  with  all  of  my  mind 
To  bring  the  brown  girl  home.' 

4  He  clad  himself  in  velvet  fine. 
His  waiters  all  in  white; 

And  every  town  that  they  passed  through 
They  took  him  to  be  some  knight. 

5  He  rode  and  he  rode  till  he  came  to  the  castle ; 
He  made  the  knocker  to  ring. 

There  was  none  so  ready  as  the  fair  Eleanor 
To  rise  and  let  him  in. 

6  'What  news,  what  news.  Lord  Thomas?'  she  cried, 
'What  news  do  you  bring  to  me?' 

'I  come  to  invite  you  to  my  wedding. 
Tomorrow  it  is  to  be.' 


78  NORTH     CAROLINA     FOLKLORE 

7  'Bad  news,  bad  news,  Lord  Thomas,'  she  cried, 
'Bad  news  do  you  bring  to  me. 

I  thought  to  have  been  myself  your  bride 
And  you  bridegroom  to  me. 

8  'O  mother,  O  mother,  come  riddle  to  me, 
And  riddle  us  both  as  one. 

And  say  shall  I  go  to  Lord  Thomas's  wedding 
Or  tarry  alone  at  home?' 

9  'There  are  many  that  are  our  friends,  daughter, 
But  thousands  are  our  foes. 

So  I  would  advise  you  with  all  of  my  mind 
To  Lord  Thomas's  wedding  don't  go.' 

10  'There  are  many  that  are  our  friends,  mother, 
Though  thousands  be  our  foes. 

So,  betide  me  life,  betide  me  death, 
To  Lord  Thomas's  wedding  Til  go !' 

11  She  clad  herself  in  satin  fine, 
Her  maidens  all  in  green, 

And  every  town  that  she  passed  through 
They  took  her  to  be  some  queen. 

12  She  rode  and  she  rode  till  she  came  to  the  hall; 
She  made  the  knocker  to  ring. 

There  was  none  so  ready  as  Lord  Thomas  himself 
To  rise  and  let  her  in. 

13  He  took  her  by  her  lily-white  hand. 
He  led  her  through  the  hall, 

He  led  her  into  an  upper  room 
Where  sat  the  ladies  all. 

14  'Is  this  your  bride.  Lord  Thomas?'  she  cried, 
'Methinks  she  looks  wondrous  brown, 
When  you  might  have  had  so  fair  a  lady 

As  ever  the  sun  shone  on !' 

15  'Oh,  speak  no  ill,'  Lord  Thomas  said, 
'Oh,  speak  no  ill  of  she ; 

For  I  do  love  your  little  finger  more 
Than  I  do  her  whole  body.' 

16  The  brown  girl  she  had  a  little  pen-knife, 
And  it  was  keen  as  a  dart ; 

And  between  the  short  ribs  and  the  long 
She  pierced  fair  Eleanor's  heart. 


OLDER     BALLADS MOSTLY     BRITISH  "9 

17  'Oh,  you  are  blind,  Lord  Thomas,'  she  cried, 
'Or  can't  you  very  well  see? 

Oh,  don't  you  see  my  young  heart's  blood 
Come  trickling  down  to  my  knee?' 

18  Lord  Thomas  he  had  a  sword  by  his  side. 
And  it  was  sharp  and  small ; 

And  with  it  he  cut  off  the  brown  girl's  head 
And  he  flung  it  against  the  wall. 

19  'Oh.  dig  my  grave,  oh,  dig  my  grave, 
And  dig  it  wide  and  deep. 

Bury  fair  Eleanor  in  my  arms, 
The  brown  girl  at  my  feet.' 

20  He  placed  the  hilt  upon  the  ground, 
The  point  against  his  heart. 

Did  ever  three  lovers  meet  together 
So  very  soon  to  part? 

N 
'Fair  Eleanor.'  Contributed  by  Mrs.  Rigsbee,  apparently  of  Durham. 
An  incomplete  version  of  eight  stanzas,  lacking  all  of  the  story  preceding 
Eleanor's  question  whether  she  shall  go  to  Lord  Thomas's  wedding,  and 
lacking  also  the  stanzas  in  which  Eleanor  reveals  her  wound  to  Thomas  ; 
nothing  distinctive  in  the  stanzas  that  remain. 


Fair  Margaret  and  Sweet  William 
(Child  74) 

Widely  known  and  sung-.  See  BSM  48.  and  add  to  the  references 
there  given  Tennessee  (BTFLS  viii  66-8),  North  Carolina  (FSRA 
2S-6),  Missouri  (OFS  i  109-12),  Ohio  (BSO  34-8),  Indiana  (BSI 
71-9),  Illinois  (JAFL  lii  81),  and  Michigan  (BSSM  40-2). 

a 
'Lady  Marget.'  From  the  collection  of  Miss  Edith  R.  Fish  of  White 
Rock.  Madison  county;  one  of  the  items  she  sent  to  C.  Alphonso  Smith 
in  1 91 5  and  which  later  came  to  the  North  Carf)lina  collection  with 
permission  to  publish.  The  meaning  of  "broughten"  in  stanzas  3  and  6  is 
not  apparent. 

1  Sweet  William  arose  one  morning  in  May 
And  dressed  himself  in  blue. 

'Pray  tell  me  all  about  that  long,  long  love 
Betwixt  Lady  Marget  and  you.' 

2  'It's  I  know  nothing  of  Lady  Marget, 
And  she  knows  nothing  of  me. 


80  NORTH  CAROLINA  FOLKLORE 

Tomorrow  morning  at  eight  o'clock 
Lady  Marget  my  bride  shall  see.' 

3  As  she  was  a-standing  in  her  dower  room, 
A-combing  back  her  hair, 

She  saw  sweet  William  and  his  brown  broughten  bride 
As  they  drew  near  to  her. 

4  Back  she  threw  her  ivory  comb 
And  back  she  threw  her  hair ; 
Then  she  ran  to  her  bed-chamber 
Nevermore  to  appear. 

5  That  very  same  night  when  they  were  all  in  the  bed. 
When  they  were  all  in  the  l)ed  asleep. 

Lady  Marget  rose,  stood  all  alone 
At  sweet  William's  bed  feet. 

6  'And  how  do  you  like  your  bed,  sweet  William, 
And  how  do  you  like  your  sheet. 

Or  how  do  you  like  your  brown  broughten  bride 
That  lies  in  your  arms  asleep?' 

7  'Very  well,  very  well  I  like  my  bed, 
Very  well  I  like  my  sheet ; 

Ten  thousand  times  better  I  like  the  lady  gay 
That  stands  at  my  bed  feet.' 

8  Sweet  William  arose,  stood  all  alone, 
And  tingled  at  the  ring. 

There's  none  so  ready  but  her  seven  brothers  all 
To  rise  and  let  him  in. 

9  'Oh,  where  is  Lady  Marget?'  he  says, 
'Oh,  where  is  Lady  Marget?'  he  cries. 
'Lady  Marget  is  the  girl  I  always  did  adore. 
And  she  stole  my  heart  away. 

10  'Is  she  in  her  dower  room? 
Or  is  she  in  her  hall? 

Or  is  she  in  her  bed-chamber 
Among  her  merry  maids  all  ?' 

1 1  'She  is  not  in  her  bower  room,^ 
Nor  neither  in  her  hall, 

But  she  is  in  her  cold  coffin. 
Her  pale  face  towards  the  wall.' 

^  This  is  "dower  room"  in  stanzas  3  and  lo,  "bell  room"  in  B,  "dining 
room"  in  C,  "dressing  room"  in  G ;  elsewhere  "bower  room"  as  here, 
which  seems  to  be  the  right  reading. 


O  I.  U  K  R      BALLADS MOSTLY      U  K  I  T  1  S  II  8l 

12  And  down  he  pulled  the  milk-white  sheets, 
They  were  made  of  satin  so  fine. 

'Ten  thousand  times  you've  kissed  my  lips, 
And  now,  love,  I'll  kiss  thine.' 

13  Three  times  he  kissed  her  snowy  white  breast, 
Three  times  he  kissed  her  cheeks ; 

But  when  he  kissed  her  cold  clay  lips 
His  heart  was  broke  within. 

14  'What  will  you  have  at  T.ady  Market's  burying? 
Will  you  have  bread  and  wine? 

Tomorrow  morning  at  eight  o'clock 
The  same  will  be  had  at  mine.' 

15  They  buried  Lady  Marget  at  the  church  door 
And  buried  sweet  William  by  her. 

Out  of  Lady  Marget 's  grave  sprung  a  green,  green  rose 
And  out  of  sweet  William's  a  brier. 

16  They  grew  and  grew  to  the  top  of  the  church. 
And  they  could  grow  no  higher. 

And  they  tied  a  true  love's  knot 
And  lived  and  died  together. 

B 

'Lady  Margaret.'  Reported  by  L.  W.  Anderson  of  Nag's  Head  as  sung 
to  Arnold  Perry  of  Kitty  Hawk  by  liis  father,  George  Perry.  A  frag- 
mentary text.  The  "bell"  of  the  first  line  may  i)e  miswritten  for  "ball"; 
if  not,  I  cannot  guess  its  meaning.  The  manuscript  is  written  in  long 
lines,  but  there  seems  no  reason  to  doubt  that  the  text  is  really  in  the 
ordinary  ballad  meter,  and  it  is  so  printed  here. 

1  Lady  Margaret  sitting  in  a  high  bell  room. 
Combing  back  her  yellow  hair, 

She  spied  sweet  William  and  his  brown  bride 
Go  passing  down  by  there. 

2  Down  she  threw  her  ivory  comb. 
Rolled  back  her  yellow  hair. 

'That's  a  life,  that's  a  life  that  I  never  can  endure. 
In  my  chamber  I  will  die.' 

3  Lady  Margaret  was  buried  in  the  old  church  yard. 
Sweet  William  in  the  prior. 

From  Lady  Margaret's  head  grew  a  blood-red  rose. 
And  from  sweet  William's  a  milk-white  brier. 

4  They  grew  to  the  top  of  the  old  steejily  high 
And  could  not  grow  any  higher. 

They  tied  themselves  in  a  true  lover's  knot 
For  all  young  people  to  admire. 


82  NORTH  CAROLINA  FOLKLORE 

C 

'Sweet  Willie.'  Reported  by  Mrs.  Sutton  from  the  singing  of  Mrs. 
Brown  of  Beech  Mountain,  Watauga  county.  Not  dated,  but  secured 
probably  about  1920.    The  language  is  puzzling  in  places. 

1  Sweet  Willie  he  arose  one  morning  in  May, 
He  dressed  himself  in  blue. 

'Come  tell  unto  me  this  whole  long  love 
Betwixt  Lillie  Margret  and  me.'^ 

2  'I  know  no  harm  of  Lillie  Margret 
And  she  knows  none  of  me ; 

And  on  tomorrow's  morn,  before  eight  o'clock, 
Lillie  Margret  a  bride  shall  see.' 

3  He  mounted  his  horse,  he  rode  with  speed. 
He  rode  till  he  came  to  the  door. 

There  was  nobody  there  for  to  let  him  in 
But  his  own  dear  brother  John. 

4  'Where  is  Lillie  Margret?      Is  she  in  her  dining  room? 
Is  she  in  her  hall? 

Or  is  she  in  her  bed-chamber? 
Come  tell  unto  me  I  call.' 

5  'She  is  not  in  her  dining  room. 
She  is  at  home. 

For  she  is  in  her  own  coffin 
Which  sits  agin  the  wall.' 

6  'Unwrop,  unwrop  the  winding  sheet 
And  lay  the  fine  linen. 

That  I  may  kiss  her  cold  clay  lips 
As  ofttimes  she's  kissed  mine.' 

7  The  first  that  he  kissed  was  her  revely-  cheek. 
The  next  that  he  kissed  was  her  chin. 

But  the  last  of  all  was  her  cold  clay  lips 
That  had  no  breath  in  them. 

D 
Another  version  reported  by  Mrs.  Sutton,  but  it  does  not  appear  from 
whom  she  got  it.    Only  part  of  it  is  given,  the  rest  summarized. 

I     Lady  Marg'ret  sat  at  her  bower  window, 
A-combing  her  golden  hair  ; 
And  there  she  saw  sweet  William's  bride 
As  they  were  riding  near. 

'  The  opening  dialogue,  found  in  a  good  many  texts,  is  between  Wil- 
liam and  Margaret's  father.  It  is  clear  in  Child's  B  but  becomes  obscure 
in  many  traditional  texts.     Here  "me"  should  of  course  be  "you." 

"  See  note  on  this  word  in  'The  Lass  of  Roch  Royal'  B,  stanza  15, 
below. 


OLDER     BALLADS  —  MOSTLY     BRITISH  83 

2  Down  she  laid  her  ivory  comb 
And  up  she  hound  her  hair ; 
She  went  into  her  bower 
And  never  more  came  there. 

3  'God  give  you  joy,  you  lovers  there, 
In  bride-bed  fast  asleep; 

For  I  am  gone  to  a  grass-green  grave, 
Wrapped  in  my  winding  sheet.' 

"In  the  verses  that  follow,"  Mrs.  Sutton  notes,  "the  groom  dreamed 
of  Lady  iMarg'ret's  death,  and  asked  permission  of  his  bride  to  go  and 
see  her.    When  he  reached  the  bower  he  was  greeted  by  seven  brothers" : 

Then  up  and  spoke  her  seven  brothers, 
Making  a  bitter  moan. 
'Go  home  and  kiss  your  nut-brown  bride 
And  leave  our  sister  alone.' 


Secured  by  Mrs.  Sutton  from  Myra  Barnett  (Mrs.  J.  J.  Miller)  of 
Caldwell  county,  one  of  her  major  sources  of  ballad  texts  and  tunes. 
The  same,  stanza  by  stanza,  as  version  C  above  except  for  various 
minor  differences  of  language. 


A  fourth,  fragmentary  text  obtained  by  Mrs.  Sutton  from  a  Mrs.  Reid 
not  further  identified  agrees  with  the  first  three  stanzas  of  D  above 
except  that  between  the  last  two  of  those  stanzas  it  inserts  another 
stanza : 


When  day  was  gone  and  night  was  come 
And  all  men  fast  asleep. 
There  came  the  ghost  of  fair  Margrit 
And  stood  at  her  love's  feet. 


'Sweet  William.'  From  the  manuscript  ballad  collection  of  Miss  Edith 
Walker  of  Boone,  Watauga  county,  communicated  in  1936.  The  first 
seven  stanzas  correspond,  with  some  verbal  variations,  to  the  first  seven 
of  A  above;  after  that  it  runs: 

8  'I  dreamt  a  dream,'  Sweet  William  said, 
'That  troubles  me  in  my  head  ; 

I  dreamt  my  hall  was  full  of  wild  swine 
And  Lady  Margaret  was  dead.' 

9  The  night  a-being  gone  and  the  day  a-coming  on. 
Most  of  the  people  were  asleep, 

Sweet  William  asked  leave  of  his  own  true  love 
Lady  Margaret  he  might  go  see. 


84  NORTH     CAROLINA     FOLKLORE 

10  He  rode  till  he  came  to  Lady  Margaret's  gate, 
He  dangled  at  the  bell ; 

But  none  so  ready  as  her  own  kind  brother 
To  rise  and  let  him  come  in. 

11  'Where  is  Lady  Margaret?'  he  said. 
'Is  she  in  her  dressing  room, 

Or  is  she  in  the  hall,  or  is  she  in  her  bright  chamber 
Among  the  merry  maids  all  ?' 

12  'She's  not  in  her  dressing  room. 
Neither  in  the  hall; 

She's  a-lying  in  her  cold  cofifin 
That  sets  again  yonder s  wall,' 

13  'Unwind,  unwind  her  winding  sheet 
That's  made  of  Hollands  so  fine  ;^ 
Let  me  kiss  her  cold  clay  lips, 

For  I'm  sure  she'll  never  kiss  mine. 

14  'Today  it's  over  Lady  Margaret's  grave 
And  tomorrow  it's  over  mine. 

I'll  bid  farewell  to  my  kinfolks  all ; 
It's  all  I've  left  behind.' 


Lord  Lovel 
(Child  75) 

Possibly  it  is  the  very  simplicity  of  the  sentiment  that  has  made 
this  ballad  so  persistent  a  favorite;  certainly  it  has  little  else  (un- 
less, perhaps,  the  tune)  to  commend  it.  For  its  range  since  Child's 
time,  both  in  the  old  country  and  in  America,  see  BSM  52.  To 
the  texts  there  listed  should  be  added  Kentucky  (BTFLS  iii  92), 
Tennessee  (SFLQ  xi  124-5),  North  Carobna  (FSRA  27-8), 
Florida  (SFLQ  viii  150-2),  Missouri  (OFS  i  113-15).  Ohio  (BSO 
39-45),  Indiana  (BSI  79-91),  and  Michigan  (BSSM  27-8).  The 
texts  vary  but  little,  going  back,  perhaps  in  all  cases,  to  a  London 
broadside  of  a  hundred  years  ago,  Child's  H.  To  the  variations 
in  the  name  of  the  church  whose  bells  announce  the  death  of 
the  lady,  some  of  which  are  listed  in  BSM,  North  Carolina  adds 
one  more,  "St.  Banner's"  (version  B  below).  For  the  most  part 
the  church  is  not  named  in  the  North  Carolina  texts ;  Lord  Lovel 
returns  to  "Cruel  Clark's"  (A),  to  "London  Tower"  (C),  to  "Lon- 
don town"  (D  F  G)  and  hears  the  bells,  but  the  church  is  not 
named.  For  an  adaptation  to  the  purposes  of  political  satire  during 
the  Civil  War,  see  volume  111,  section  ix. 

The  texts  are  so  much  alike  that  only  a  few  are  given  in  extenso. 

^  The  manuscript  seems  to  read  "That's  made  of  Hull  and  so  fire" ; 
but  this  is  surely  a  miswriting — or  perhaps  a  mishearing — of  the  line. 


A  L  L  A  D  S  —  MOSTLY     It  K  I  T  I  S  II  85 


"Lord  Lovinder.'  From  the  John  Bell  Henneman  collection,  made  about 
the  beginning  of  this  century  ;  where,  does  not  appear,  but  somewhere  in 
North  Carolina. 

1  Lord  Lovinder  at  the  stable  door 
Rubbing  down  his  steed. 

Up  steps  Lizzie  le  Dunciebell : 

'Lord  Lovinder,  I  wish  you  much  speed. 

2  'My  father  is  an  angry  man, 
He  has  made  one  solemn  vow : 
True  lovers'  own  heart's  blood  to  see 

3  'Well.  I  will  go  to  Prince  Harry's  land 
And  there  I  will  remain. 

At  the  end  of  seven  long  years 
I'll  turn  unto  you  again,  my  love.' 

4  'Too  long,  too  long,  Lord  Loving,'  she  said, 
'Too  long  to  dwell  alone 


5  He  hadn't  been  in  Prince  Henry's  land 
But  space  but  half  a  year 

Before  strange  dreams  run  into  his  mind  ; 
He  thought  on's  love  behind. 

6  He  called  to  his  awaiting  boy 
To  bring  his  milk-white  steed. 
Also  unto  his  little  foot-page 
To  bring  him  his  bridle  range.^ 

7  He  rode,  he  rode  till  he  came  to  Cruel  Clarks  ;- 
He  asked  how  came  strange  bells  to  ring. 
'They  ring  for  Lizzie  le  Dunciebell, 

An  own  true  lover  of  thine.' 

8  He  put  his  foot  in  the  last  stirrup. 
Looking  on  every  side; 

There  he  spied  six  lily-white  maids 
Burying  his  own  true  bride. 

9  'Oh.  take  her  up,  you  lily-white  maids, 
Oh.  take  her  up,'  says  he. 

'That  1  may  make  one  solemn  vow 
Never  to  kiss  none  but  she.' 
'  Probably  for  "reins." 

-  This  may  be  a  corruption  of  some  name  of  a  church,  but  what  name 
the  editor  is  unable  to  guess. 


86  NORTH     CAROLINA     FOLKLORE 

lo     First  he  kissed  her  red  rosy  lips 
At  last  he  kissed  her  chin 


Where  all  hfs  delight  lay  in. 

11  'O  mother,  dear  mother,  make  my  bed  of  sorrow, 

For  1  shall  die  tomorrow.' 

12  They  bnried  'em  both  in  the  new  church  yard 


Out  of  her  breast  there  sprung  a  red  rose, 
Out  5f  his  a  brier. 


13     They  grew,  they  grew  till  they  got  to  the  top  of  the  palings. 
They  grew,  they  grew  till  they  got  together 
And  there  they  remained  for  ever. 

B 
'Lord  Lovel  and  Lady  Nancy.'    Communicated,  with  the  tune,  by  Madge 
Nichols,  a   freshman  at  Trinity   College  about   thirty  years   ago.     Her 
text   is  much  closer   to  the   standard  broadside  text  than   Henneman's, 
but  it  has  "St.  Banner's  bell"  instead  of  "St.  Pancras  bells." 

C 

'Lord  Lovel.'     Communicated  by  R.  Frank  Brower  of  Durham  in  1916. 
Given  here  as  a  representative  text. 

1  Lord  Lovel  stood  at  the  castle  gate 
A-slicking  his  milk-white  horse. 
When  in  came  Lady  Nancy  Bell 
A-wishing  her  lover  good  speed  speed  speed, 
A-wishing  her  lover  good  speed. 

(Repeat  thus  the  end  of  each  stanza) 

2  'Oh,  where  are  you  going.  Lord  Lovel  ?'  said  she, 
'Oh,  where  are  you  going?'  said  she. 

'F^ar  countries  for  to  see.' 

3  'When  will  you  be  back,  Lord  Lovel?'  said  she, 
'When  will  you  come  to  me?' 

'In  a  year  and  a  day,  or  three  at  least, 
ril  return  to  my  fair  Nancy.' 

4  He  hadn't  been  gone  but  a  year  and  a  day 
Far  countries  for  to  see 

When  languishing  thoughts  came  on  his  mind 
'Lady  Nancy  I  must  go  to  see.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  87 

5     He  rode  and  he  rode  on  his  milk-white  horse 
Till  he  came  to  London  Tower 


And  the  people  all  mourning  around. 

6  He  ordered  the  coffin  to  be  opened  wide 
And  the  shroud  should  be  undone ; 
And  on  his  white  pockethandkerchief 
The  tears  came  trickling  down. 

7  Lady  Nancy  she  died  as  it  were  on  today, 
Lord  Lovel  he  died  on  tomorrow. 

Lady  Nancy  she  died  of  a  broken  heart, 
Lord  Lovel  he  died  of  sorrow. 

8  Lady  Nancy  was  laid  in  the  high  churchyard. 
Lord  Lovel  was  laid  in  the  tower. 

And  out  of  her  grave  there  grew  a  red  rose 
And  out  of  Lord  Lovel's  grew  a  brier. 

9  It  grew  and  it  grew  to  the  church  steeple  top, 
It  grew  till  it  could  grow  no  higher. 

They  twingled  and  twined  in  a  true  lovers'  knot 
For  all  true  lovers  to  admire  mire  mire 
For  all  true  lovers  to  admire. 

D 
'Lord  Level.'  As  sung  for  Mrs.  Sutton  by  Mrs.  Becky  Gordon  of 
Cat's  Head,  Saluda  Mountain,  Henderson  county,  in  1920  or  thereabouts. 
Again  a  representative  text,  with  the  opening  of  the  cofifin  and  the 
kissing  of  her  clay-cold  lips,  but  without  the  rose-and-brier  ending.  In 
her  account  of  getting  it  Mrs.  Sutton  gives  a  most  interesting  picture 
of  the  region  and  especially  of  the  ruins  of  a  fine  place  built  before  the 
Civil  War,  when  the  South  Carolina  planters  used  to  come  up  to  this 
mountain  country  for  the  hot  weather.  Mrs.  Sutton  notes  that  the  song 
was  sung  also  by  "Aunt  Nancy  Coffey,  who  lived  in  the  Grandfather 
section  of  Caldwell,"  with  the  addition  of  a  stanza  after  Lord  Loven 
(as  Aunt  Nancy  called  him)  tells  how  long  he  will  be  gone: 

'That's  fur  too  long,'  Lady  Nancybelle  said, 
'That's  fur  too  long.'  said  she. 
'You're  apt  to  furget  Lady  Nancybelle 
And  take  up  with  some  other  lady.' 

Aunt  Nancy  took  a  pessimistic  view  of  the  other  sex. 


'Lord  Lovel.'  Another  text  of  Mrs.  Sutton's  finding,  sung  this  time  by 
Mrs.  Farthing  of  Beech  Creek,  Watauga  county,  who  traced  it  back  as 
a  family  memory  to  Revolutionary  times.  Upon  Lord  Lovel's  query  as 
to  why  Lady  Nancy  died,  Mrs.  Farthing  commented :  "He  knew  why 
she  died.  He  just  axed  that  to  fool  people.  I  bet  he  married  somebody 
else  in  three  months."     This  version  lacks  the  closing  stanzas,  ending 


88  NORTH  CAROLINA  FOLKLORE 

with  Lord  Lovel's  query  and  the  people's  answer.    One  stanza  is  perhaps 
worth  quoting : 

Lord  Lovel  he  stayed  one  year  and  a  day, 
One  year  and  a  day  stayed  he, 
When  tired  and  worn,  with  a  broke  down  steed, 
He  came  to  his  native  countree. 


'Lord   Lovel.'     Contributed   by   Otis    Kuykendall   of   Asheville   in    1939. 
Eight  stanzas.    Lacks  the  rose-and-brier  ending. 


'Lord  Lovel.'  Sent  in  by  Charles  Boyd  Skinner  of  Duke  University  in 
1941  as  sung  by  his  grandmother  "70  years  ago."  Nine  stanzas,  ending 
with  the  rose-and-brier  formula. 


The  Lass  of  Roch  Royal 
(Child  76) 

North  Carolina  shares  with  many  other  regions  of  the  United 
States  a  fondness  for  the  "Who  will  shoe  my  pretty  little  foot" 
motive  in  love  songs.  These  songs  are  separately  considered  in 
Vol.  Ill,  nos.  250,  253,  254,  302,  307.  Only  West  Virginia^  shares 
with  it  the  distinction  of  preserving  a  genuine  version  of  the  ballad. 
See  Cox's  headnote  in  FSS  and  Combs's  text  in  FSMEU.  Both  of 
these  are  variants  of  one  version,  most  nearly  allied  to  Child's  D ; 
and  so  are  the  two  texts  from  North  Carolina,  both  of  which  were 
secured  by  Miss  Maude  Minish  before  she  became  Mrs.  Sutton.  All 
four  of  the  texts  are  clearly  variants  of  one  version,  yet  no  two  are 
identical.  It  is  an  interesting  exercise  in  the  ways  of  oral  tradition 
to  compare  the  four.  One  stanza — stanza  2  of  A  and  the  "chorus" 
of  B — of  the  North  Carolina  texts  is  not  found  in  any  of  the  ver- 
sions in  Child  nor  in  those  from  West  Virginia.  It  is  found,  how- 
ever, in  some  of  the  fragmentary  folk  lyric  in  North  Carolina  and 
elsewhere;  see  'The  Storms  Are  on  the  Ocean,'  in  volume  III. 

A 
'The  Storms  Are  on  the  Ocean.'  Taken  down  on  Buck  Hill  in  Avery 
county  in  1917  from  the  singing  of  "an  old  lady  who  lived  up  there  and 
who  varied  her  household  duties  with  work  in  the  mica  mill  at  Plum- 
tree.  .  .  .  She  sang  it  for  me  one  night  after  a  day's  'supervision'  of 
the  Buck  Hill  school  had  left  me  a  little  tired.  ...  It  was  not  till 
she  sang  of  the  exchange  of  rings  that  I  realized  that  here  in  mutilated 
form    was   some   traditional   ballad   and    I    wrote    it   down   by   the   light 

^  Among  the  songs  using  the  'Who  will  shoe  my  pretty  foot'  formula 
reported  by  Randolph  from  the  Ozarks  one  (OFS  i  120,  from  Arkansas) 
retains  enough  of  the  ballad  story  to  be  reckoned  a  version,  I  suppose. 
Only  five  and  a  half  stanzas  are  given,  but  the  informant's  account  of 
the  story  involved  shows  that  it  comprised  most  of  the  plot  of  the 
ballad.     Morris's  Florida  text  (FSF  278)  does  not  tell  the  story. 


OLDER     BALLADS MOSTLY     BRITISH  89 

from  a  'lightard'  knot  in  the  fireplace.  .  .  .  There  is  very  little  record 
of  where  or  how  she  learned  this  ballad.  She  wasn't  very  sure,  but 
thought  a  Mrs.  Carpenter  had  taught  it  to  her,  and  it  was  commonly 
known  in  that  section.  I  have  never  found  the  ballad  elsewhere,  though 
I  have  often  heard  the  four  verses  that  begin  it,  sung  to  various  banjo 
tunes."  This  note  was  evidently  written  before  Miss  Minish  found  the 
B  text. 

1  'Oh,  who  will  shoe  your  little  foot, 
And  who  will  glove  your  hand, 
And  who  will  kiss  your  ruby  lips, 
When  I'm  in  a  foreign  land? 

2  "The  storms  are  on  the  ocean, 
The  sea  begins  to  roll ; 

The  earth  may  lose  its  motion 
Ere  I  prove  false  to  thee.' 

3  "Papa  can  shoe  my  little  foot, 
And  mama  can  glove  my  hand, 
And  friends  can  kiss  my  ruby  lips, 
Till  you  come  home  again.' 

4  'Your  papa  can  shoe  your  little  foot, 
Your  mama  can  glove  your  hand, 
But  no  one  can  be  your  ])abe's  father 
While  I'm  in  a  foreign  land.' 

5  'Oh,  if  I  had  a  sailing  ship 
And  men  to  sail  with  me, 
I'd  go  today  to  my  true  love 
Who  will  not  come  to  me.' 

6  Her  father  gave  her  a  sailing  ship 
And  sent  her  to  the  stand. - 

She  took  her  baby  on  her  lap 
And  turned  her  back  on  land. 

7  She  had  not  been  at  sea  three  months, 
I'm  sure  it  was  not  four,^ 

Till  she  had  landed  her  sailing  ship 
Right  at  her  true  love's  door. 

8  The  night  was  black  and  the  wind  blew  cold 
And  her  lover  was  sound  asleep, 

And  the  baby  in  poor  Annie's  arms 
Began  to  cry  and  weep. 

*  Combs's  text  has  here  "sand,"  but  Cox's  reading  "strand"  is  clearly 
right. 

*  The  first  two  lines  of  this  stanza  have  crept  in  from  'The  House 
Carpenter,'  i.e.,  'James  Harris.'  They  are  not  found  in  the  other  three 
texts. 


90 


NORTH  CAROLINA  FOLKLORE 


9     Long  she  stood  at  her  true  love's  door 
And  jingled  at  the  ring. 
At  last  his  mother  rose  from  bed, 
But  would  not  let  her  in. 

10  'Oh,  don't  you  recall,'  poor  Annie  said, 
'When  we  sat  down  to  dine 

We  stripped  the  rings  from  our  fingers, 
And  the  best  of  the  rings  was  mine  ?' 

11  'Go  way,  go  way,  you  bad  woman. 
Go  away  from  the  door  in  shame. 
For  I  have  got  me  another  love 
And  you  can  go  back  home.' 

12  Her  true  love  rose  from  out  his  bed 
And  to  his  mother  said : 

'I  dreamed  fair  Annie  and  her  child 
Stood  right  beside  my  bed.' 

13  'There  was  a  woman  at  the  door 
With  a  baby  in  her  arms. 

But  I  wouldn't  let  her  in  the  house 
For  fear  she'd  do  you  harm.' 

14  Oh,  quickly,  quickly  rose  he  up 
And  fast  ran  to  the  stand,^ 
And  there  he  saw  his  fair  Annie 
A-sailing  from  the  land. 

15  And  'hey,  Annie,'  and  'hi,  Annie,' 
And  'Annie,  speak  to  me.' 

But  the  louder  he  cried  'Annie' 
The  louder  roared  the  sea. 

16  The  wind  grew  loud  and  the  sea  grew  rough 
And  the  ship  was  broke  in  twain. 

And  soon  he  saw  his  old  true  love 
Come  floating  o'er  the  main. 

17  He  saw  his  baby  in  her  arms. 
Both  tossed  upon  the  tide. 

He  wrung  his  hands  and  fast  he  ran 
And  plunged  into  the  tide. 

B 

'An  Old  Love  Song.'  Just  when  Mrs.  Sutton  got  this  text  does  not 
appear,  but  evidently  it  was  after  she  heard  A,  for  in  the  notes  to  that 
text  she  says  that  she  has  never  found  the  ballad  elsewhere.  She  got 
it  from  Jim  Harris  of  Caldwell  county,  whom  her  father  designated  as 
a  "jackleg  preacher,"  living  in  "the  Richlands,  ...  a  cove  dropped  down 


OLDER     BALLADS  —  MOSTLY     BRITISH  9I 

oflF  the  side  of  the  Blue  Ridge— poor,  lonely,  barren,  but  indescribably 
beautiful.  .  .  .  His  wife  is  a  poet.  He  told  me  she  was.  .  .  .  She  writes 
of  religion — a  harsh  covenanting  type,  and  her  husband  preaches  of 
eternal  damnation.  The  thing  he  liked  about  the  old  ballad  was  the  death 
its  heroine  met.     'The  wages  of  sin,'  he  said  darkly." 

1  'Oh,  who  will  shoe  my  little  feet? 
And  who  will  g^love  my  hand? 
And  who  will  kiss  my  ruby  lips, 
When  you're  in  a  foreign  land?' 

Chorus:^ 

The  Storms  are  on  the  ocean, 
The  sea  begins  to  roll, 
The  earth  may  lose  its  motion 
Ere  I  prove  false  to  thee. 

2  'Papa  can  shoe  your  pretty  little  foot. 
And  mama  can  glove  your  little  hand, 
And  I  will  kiss  your  ruby  lips 
When  I  come  home  again.' 

3  *I  will  get  me  a  bonny  boat 
And  sail  on  the  salt,  salt  sea ; 

For  I  must  go  to  my  own  true  love, 
For  he  will  not  come  to  me.' 

4  She  took  her  young  son  in  her  arms 
And  to  his  door  she  has  gone. 

She  knocked  and  cried  and  knocked  again 
But  answer  she  got  none. 

5  'Go  open  the  door,  my  old  true  love, 
Go  open  the  door,  I  pray, 

For  your  young  child  that's  in  my  arms 
Will  be  dead  before  it's  day.' 

6  'Away,  away,  you  bad  woman. 
For  here  you  cannot  stay. 

Go  drown  yourself  in  the  ocean  deep. 
Or  hang  on  the  gallows  tree.' 

7  'Oh,  have  you  forgot,  my  old  true  love. 
When  we  sat  at  the  wine? 

We  changed  the  rings  from  our  fingers, 
And  I  can  show  you  mine. 

8  'And  have  you  forgot,  my  old  true  love. 
The  oath  that  you  swore  to  me? 

*  Dr.  Brown  notes  on  the  manuscript :  "Sung  after  the  first  verse  and 
every  third  verse  thereafter." 


92  NORTH  CAROLINA  FOLKLORE 

The  oath  that  was  strong,  and  bound  us  both 
For  the  years  that  are  to  be?'^ 

9     When  the  cock  he  crowed  and  the  sun  come  up 
And  through  the  bhnds  did  creep, 
Then  up  he  got,  her  own  true  love, 
And  loudly  he  did  weep. 

JO     'I  dreamed  a  dream  of  my  old  true  love. 
She  lives  across  the  sea. 
I  dreamed  she  stood  at  my  own  front  door 
A-weeping  piteously.' 

1 1  Oh,  he  went  down  to  the  salt,  salt  sea 
And  looked  across  the  foam. 

He  saw  the  boat  of  his  own  true  love 
A-tossin'  toward  her  home. 

12  He  called  her  name  and  he  stretched  his  arms; 
He  begged  her  sore  to  stay. 

But  the  more  he  sobbed  and  the  rfiore  he  wept 
The  boat  was  further  away. 

1 3  The  wind  blew  hard  and  the  sea  got  rough  ; 
It  tossed  the  boat  ashore. 

His  own  true  love  the  waves  washed  up ; 
Her  babe  was  seen  no  more. 

14  Her  pretty  cheeks  were  ashy  gray, 
And  golden  was  her  hair. 

But  cold  as  clay  was  her  rosy  lips ; 
No  breath  of  life  was  there. 

15  The  first  that  he  kissed  was  her  revely^  cheek. 
The  next  that  he  kissed  was  her  chin, 

But  the  last  of  all  her  cold  clay  lips. 
That  had  no  breath  in  them. 


23 

Sweet  William's  Ghost 

(Child  77) 

This  admirable  ballad  of  the  returning  dead  has  rarely  appeared 
in  modern  collections.  Greig  did  not  include  it  in  his  Last  Leaves, 
nor  is  it  reported  anywhere  in  the  Jourtial  of  the  Folk-Song  Society. 

*  Dr.  Brown  notes :  "I  suspect  the  poet  wife  of  this  last  line.  It  does 
not  ring  true." 

*  This  word  has  appeared  earlier,  in  the  C  text  of  'Fair  Margaret  and 
Sweet  William.'  Mr.  Brewster  in  a  letter  to  me  suggests  that  it  may 
be  a  corruption  of  "raddled,"  perhaps  through  such  intermediate  forms 
as  "raddledy,"  "ruddledy." 


OLDER      BALLADS MOSTLY      BRITISH  93 

Mrs.  Flanders  (VFSB  240-1)  prints  it  as  found  in  The  Green 
Mountain  Songster  of  1823.  Both  Miss  Karpeles  and  Mrs.  Green- 
leaf  found  it  sung  in  Newfoundland  (FSN  2-6,  BSSN  21-2;  the 
latter  has  lost  the  motive  of  the  return  of  the  troth-plight).  Davis 
(FSV  17)  reports  two  texts  found  in  1936  in  Nansemond  county, 
Virginia.  These  are  the  only  traces  of  it  in  recent  tradition;  and 
all  are  from  this  side  of  the  ocean.  Unfortunately  the  text  found 
among  Dr.  Brown's  manuscripts  is  without  name  of  contributor 
or  place  or  date.  But  there  is,  I  think,  no  reason  to  doubt  its 
authenticity.  As  will  be  seen,  it  is  closest  to  the  A  version  of 
Child,  though  it  is  by  no  means  identical  with  that  version.  No 
tune  seems  to  have  been  recorded  with  it. 

'Sweet  Willy.'  Although  unsigned,  there  is  reason  to  believe  it  is  one 
of  the  contributions  made  by  Mrs.  Sutton. 

1  The  dead  man  came  to  his  true  love's  door 
And  jingled  at  the  ring. 

Loud  he  sobbed  and  loud  he  groaned, 
But  she  v^^ould  not  let  him  in. 

2  'Is  that  my  father  dear?'  she  said, 
'Or  is  it  my  brother  John? 

Or  is  it  my  true  love.  Sweet  Willy, 
From  the  salt  sea  come  back  home?' 

3  'Oh,  Lilly  Margrit,  let  me  in. 
Pray  let  me  in  to  thee 

And  give  me  back  your  love  and  truth ; 
For  I  gave  all  mine  to  thee.' 

4  'You'll  get  no  favors  from  me.  Sweet  Willy, 
Not  nothing  will  I  lend, 

Till  you  come  in  at  my  bower  door 
And  kiss  me  cheek  and  chin.' 

5  'When  I  come  in  thy  door,  Lilly  Margrit, 
And  I'll  come  in  if  I  can. 

When  I  kiss  again  thy  rosy  lips, 
I  am  no  earthly  man. 

6  'My  bones  lie  rotting  in  the  sand 
Beyond  this  deep  blue  sea, 
And  this  is  just  my  spirit,  love, 
That's  talking  now  to  thee. 

7  'But  I  cannot  rest  in  my  lowly  grave 
For  thinking  of  my  love. 

Pray  give  me  back  my  faith  and  truth 
So  I  can  go  above !' 


94  NORTH  CAROLINA  FOLKLORE 

8  She  stretched  out  her  Hly-white  hand, 
She  wished  for  to  do  her  best. 

'Here  is  your  love,  you  poor  dead  man, 
And  God  send  you  home  to  rest!^ 

9  'Is  there  any  room  at  your  head,  Willy? 
Or  any  room  at  your  feet? 

Or  is  there  any  room  at  your  side 
Where  I  can  get  in  and  sleep?' 

10  'There's  no  room  at  my  head,  my  love, 
There's  no  room  at  my  feet. 

But  there's  room  for  you  in  my  two  arms 
Where  you  can  get  in  and  sleep.' 

11  Just  then  the  rooster  crowed  three  times; 
And  loud  did  the  lady  cry, 

'My  hour  has  come  to  meet  my  love ; 
I'm  ready  for  to  die.' 


24 

The  Unquiet  Grave 
(Child  78) 

This  very  effective  bit  of  the  lore  of  the  returning  dead  is 
apparently  modern ;  none  of  Child's  versions  are  of  record  earlier 
than  the  nineteenth  century.  It  is  still  current  in  England,  reported 
in  the  Journal  of  the  Folk-Song  Society  from  Herefordshire,  Lan- 
cashire, Surrey,  and  Somerset,  and  by  Miss  Broadwood  (English 
Traditional  Songs  aftd  Carols  54-5)  from  Devonshire.  It  has  not 
very  often  been  found  on  this  side  of  the  Atlantic :  Mrs.  Greenleaf 
reports  it  from  Newfoundland  (BSSN  23-4),  Herbert  Halpert  from 
New  Jersey  (JAFL  Lii  53-4),  Davis  from  Virginia  (FSV  17), 
and  Niles  from  Kentucky  (MSHF  18-19).  Most  of  the  texts  re- 
corded in  recent  years  are  very  much  alike,  suggesting  the  influence 
of  print,  but  Child  makes  no  reference  to  broadside  copies.  Mrs. 
Sutton's  text  corresponds  pretty  closely  to  Child's  A. 

The  Restless  Grave.'  Reported  by  Mrs.  Sutton  from  the  singing  of 
Myra  Barnett  (Mrs.  J.  J.  Miller)  of  King's  Creek  in  the  Brushies. 
Caldwell  county,  apparently  in  1913  or  thereabouts.  Mrs.  Sutton  writes: 
"Back  in  1913  when  the  first  copies  of  her  ballads  were  made  she  had 
not  heard  many  songs  that  were  not  the  possession  of  her  ancestors 
when  they  settled  in  the  coves  of  the  Brushies.  She  had  seen  many 
'song  books,'  that  is,  religious  song  books,  but  of  secular  songs  she 
knew  only  the  traditional  and  homemade  ballads."  > 

I     'The  wind  blows  cold,  my  own  true  love. 
And  a  few  cold  drops  of  rain. 

*  Part  of  the  story  seems  to  be  missing  between  stanzas  8  and  9,  but 
there  is  no  indication  of  a  lacuna  in  the  manuscript. 


OLDER     BALLADS MOSTLY     BRITISH  95 

I  never  had  but  one  true  love ; 
In  the  cold  grave  she  was  lain. 

2  'I'll  do  as  much  for  my  true  love 
As  any  young  man  may ; 

I'll  sit  and  mourn  by  her  grave  side 
For  [a]  twelve-month  and  a  day.' 

3  The  twelve-month  and  a  day  has  passed, 
The  dead  begins  to  speak. 

'Who  is  it  sits  at  my  grave  side 
And  will  not  let  me  sleep?' 

4  'Tis  I,  my  love,  sits  by  your  grave 
And  will  not  let  you  sleep. 

I  crave  one  kiss  from  your  clay-cold  lips 
And  that  is  all  I  seek.' 

5  'You  crave  one  kiss  from  my  clay-cold  lips. 
But  the  call  of  death  is  strong; 

If  you  get  one  kiss  from  my  cold  lips 
Your  time  will  not  be  long. 

6  '  'Tis  down  in  yonder  garden  path. 
Love,  where  we  used  to  walk, 
The  finest  flower  that's  ever  seen 
Is  withered  on  the  stalk. 

7  'The  stalk  is  withered  dry,  my  love ; 
So  will  our  hearts  decay. 

So  make  yourself  content,  my  love, 
Till  God  calls  you  away.' 

25 

The  Wife  of  Usher's  Well 

(Child  79) 

This  admirable  ballad  has  lasted  better  in  America,  for  some 
reason,  and  especially  in  the  South,  than  in  the  land  of  its  birth. 
See  BSM  55-6,  and  add  to  the  references  there  given  Florida 
(SFLQ  VIII  152-3),  Missouri  (OFS  i  122-4),  Ohio  (BSO  46-7), 
Indiana  (BSI  97),  and  Michigan  (BSSM  146).  All  American 
texts  belong  to  one  version,  with  a  strong  religious  coloring.  The 
Nqrth  Carolina  collection  has  nine  texts,  but  not  all  need  be  given 
here. 


'The  Three  Little  Babes.'  From  the  collection  of  Miss  Isabel  Rawn 
(later  Mrs.  T.  L.  Perry),  communicated  to  the  North  Carolina  Folklore 
Society  in  191 5.     The  verse  is  rough.     Miss  Rawn  did  not  indicate  the 


96  NORTH  CAROLINA  FOLKLORE 

source  of  the  text.     Who  speaks  in  the  first  two  lines  of  stanza  5  and 
in  stanza  7  is  not  clear. 

1  There  once  was  a  lady,  and  she  lived  in  Spain, 
And  children  she  had  three. 

She  sent  them  away  to  [a]  far-off  country 
Oh,  there  for  to  learn  their  grammere.^ 

2  They  hadn't  been  gone  but  a  very  short  time. 
No  more  than  a  month  or  a  day. 

Till  death,  cold  death  come  a-sweeping  along 
And  swept  those  babes  away. 

3  As  soon  as  the  news  reached  the  mother's  ears 
She  clasp [ed]  her  hands  and  cried: 

'Oh,  if  there  be  a  King  in  Heaven  above, 
Please  send  them  to  me  this  night !' 

4  The  night  wore  on ;  near  midnight  come, 
And  Christ  was  drawing  near. 

Those  three  little  babes  come  running  home 
Right  into  their  mother's  room. 

5  'O  mother,  go  and  fix  them  a  table 
And  on  it  bread  and  wine.' 

'Come,  eat  and  drink,  you  three  little  babes, 
Come  eat  and  drink  of  mine.' 

6  'Take  it  off,  take  it  off,  take  it  off,  mama! 
Take  it  off  we  pray ; 

For  we  see  our  Savior  a-standing  so  near. 
And  to  him  we  must  resign. 

7  'Oh,  mother,  go  and  make  a  bed 
And  on  it  spread  a  clean  sheet, 

And  over  the  top  spread  a  golden  cloth 
For  the  three  little  babes  to  rest  upon.' 

8  'Take  it  off,  take  it  off,  take  it  off,  mama ! 
Take  it  off,  we  pray ; 

For  we  see  our  Savior  a-standing  so  near. 
And  to  him  we  must  resign. 

9  As  the  proud  mother,  with  trembling  hand, 
The  winding  of  sheets  renfolding,^ 

The  three  little  babes  in  snow-white  robes 
All  by  her  side  is  garbeded. 

^  So  spelled  in  the  manuscript ;  presumably  a  three-syllable  word 
rhyming  with  "three." 

"  So  the  manuscript.  One  suspects  some  notion  about  winding-sheets — 
but  what? 


OLDER     BALLADS  —  MOSTLY     BRITISH  97 

10     'Goodby,  mamma !    Goodby,  papa  ! 
Fare  you  well,  we  say. 
For  the  gates  of  heaven  are  opening  wide 
And  we  must  enter  in.' 


'The  Lady  and  the  Children  Three.'  One  of  two  texts  contributed  by 
D.  W.  Fletcher  of  Durham  in  1914.  Observe  that  the  entire  experience, 
after  the  death  of  the  three  children,  is  represented  as  a  dream,  and 
that  the  child  that  speaks  is  a  girl. 

1  Once  there  was  a  lady  and  a  lady  was  she, 
She  had  some  children — three. 

She  sent  them  away  to  an  orphan  school 
To  learn  the  grammar  rule. 

2  They  hadn't  been  gone  but  a  very  short  while, 
Some  about  three  months  and  a  day, 

'Fore  death,  sweet  death  came  hasting  along 
And  takend  her  babes  away. 

3  The  Christmas  times  were  drawing  near, 
The  nights  grew  long  and  cold. 

She  dreamed  she  saw  her  three  little  babes 
Come  haste  to  their  mother's  fold. 

4  She  fixed  them  a  table  of  cake  and  wine, 
As  neat  as  neat  could  be. 

'Come,  eat,  drink,  my  little  babes 
Come,  eat  and  drink  with  me.' 

5  'Neither  can  I  eat  your  cake,'  said  she, 
'Neither  can  I  drink  your  wine; 

For  yonder  stands  my  Savior  dear. 
To  him  I  must  resign.' 

6  She  fixed  them  a  bed  by  the  back  side-room 
And  on  it  spread  a  sheet. 

And  on  the  sheet  was  a  golden  spread 
For  these  little  babes  to  sleep. 

7  'Take  it  up,  take  it  up,'  said  the  oldest  one, 
'Take  it  tip,  take  it  up,'  said  she, 

'For  every  tear  they  shed  for  me 
Will  wet  my  winding  sheet. 

8  'Green  grass,  green  grass  grows  o'er  my  grave. 
Cold  pillars  on  my  feet. 

What  shall  become  of  this  wide  wicked  world 
Since  when  our  sins  began  ?' 


98  NORTH  CAROLINA  FOLKLORE 

C 

'The  Three  Little  Babes.'  Fletcher's  second  text  is  somewhat  longer, 
lacks  the  intrusive  orphan  school,  does  not  indicate  the  sex  of  the  child 
that  speaks,  and  presents  the  whole  experience  as  a  fact,  not  a  dream. 
And  it  retains  the  idea  that  the  tears  of  mourners  incommode  the  dead 
in  their  graves.  Dr.  Brown  notes  on  the  manuscript  that  it  can  be  sung 
to  the  tune  of  'Barbara  Allan.' 

1  There  was  a  lady,  a  lady  gay, 
And  children  she  had  three. 

She  sent  them  away  to  the  North  Countree 
To  learn  their  grammarie. 

2  They  hadn't  been  gone  but  a  very  short  time, 
Scarce  three  weeks  and  a  day, 

When  there  came  a  sickness  o'er  the  land 
And  swept  those  babes  away. 

3  When  their  mother  dear  came  this  to  hear 
She  grieved  her  heart  awful  sore. 

She  cried,  'Alas !    What  shall  I  do? 
Shall  I  see  my  babes  no  more? 

4  'There  is  a  king  who  rules  above, 
Who  wears  a  heavenly  crown. 

I  pray  the  Lord  will  me  reward 
And  send  my  three  babes  down.' 

5  It  was  a-comin'  near  Christmas  time, 
The  nights  were  long  and  cold. 

When  her  three  babes  came  running  down 
To  their  dear  mother's  hall. 

6  She  set  a  table  before  them  then 
Spread  o'er  with  bread  and  wine. 
Saying,  'Come  and  eat,  little  babes, 
Come  eat  and  drink  of  mine.' 

7  'We  cannot  eat  your  bread,  mammie. 
We  cannot  drink  your  wine, 

For  in  the  morning  by  break  of  day 
With  our  Saviour  we  must  dine.' 

8  She  spread  them  a  bed  in  her  backmost  room. 
Spread  o'er  with  clean  white  sheets, 

And  over  the  top  a  golden  one, 
That  they  might  soundly  sleep. 

9  'Take  it  off,  take  it  off,  mammie, 
Take  it  off,  we  say  again. 

A  woe,  a  woe  to  this  wicked  world 
So  long  since  pride  began. 


OLDER     BALLADS  —  MOSTLY     BRITISH  yy 

10  'Cold  clods  He  at  our  heads,  mammie, 
Green  grass  grows  at  our  feet, 

And  the  tears  come  running  down  your  cheeks 
To  wet  our  winding  sheet.' 

11  'Rise  up,  rise  up,'  says  the  oldest  one, 
'The  rooster  soon  will  crow. 

Oh,  yonder  stands  our  Saviour  dear 
And  to  him  we  must  go.' 

D 

'The  Three  Little  Babes.'  Sent  in  by  Thomas  Smith  of  Zionville, 
Watauga  county,  in  March  1914.  Corresponds  stanza  by  stanza  and 
almost  word  for  word  with  C. 


'The  Wife  of  Usher's  Well'  or  'Lady  Gay'  or  'Three  Little  Babes' 
Apparently  known  by  all  three  names.  Sent  in  with  the  tune  in  1915 
or  1916  by  L  G.  Greer  of  Boone,  Watauga  county.  The  text  is  the 
same  as  C. 

F 
'The  Three  Pore  Little  Children.'  This  Mrs.  Sutton  got  from  "Old 
Man  Woodie"  at  Jonas'  Ridge,  Burke  county,  "a  sort  of  preacher- 
blockader,  who  will  argue  his  right  to  make  whiskey  all  night."  He 
was  reputed  to  have  been  "a  famous  feudist  just  after  the  war,  and 
probably  a  bushwhacker."  Here  again  the  return  of  the  children  is  only 
dreamed. 

1  There  was  a  lady  lived  near  by, 
And  babies  she  had  three. 

She  sent  'em  away  to  a  cold,  cold  land 
For  to  learn  their  grammaree. 

2  They  had  not  been  gone  but  about  three  months, 
I'm  shore  it  was  not  four, 

Until  there  came  a  sickness  to  that  cold,  cold  land 
And  the  babes  rose  no  more. 

3  She  prayed  to  Jesus  in  the  heavens  up  above — 
He  is  wearin'  of  a  golden  crown — 

That  he  would  send  her  three  babes  home 
Tonight  or  in  the  morning  soon. 

4  It  was  about  one  Christmas  time, 
When  the  night  was  long  and  cool. 

She  dreamed  she  seen  her  three  little  babes 
Come  running  to  their  mother's  room. 

5  She  fixed  the  table  with  a  fair  white  cloth 
And  set  on  it  bread  and  wine. 

'Come  set  you  down,  my  little  babes, 
And  eat  and  drink  so  fine.' 


NORTH  CAROLINA  FOLKLORE 

'We  cannot  eat  your  bread,  our  maw. 
Nor  can  we  drink  your  wine. 
King  Jesus  won't  let  us  go  back 
To  live  up  in  heaven  so  fine.' 

She  fixed  a  bed  in  the  other  room. 
On  it  was  a  clean  white  sheet, 
And  on  the  top  was  a  fancy  quilt 
For  to  make  them  babies  sleep. 

'Wake  up  !    Wake  up !'  says  the  oldest  one, 
'Wake  up,  for  it's  near  'bout  day ; 
And  we  must  leave  our  mother's  house 
And  to  Jesus  fly  away. 

'Green  grass  grows  on  our  head,  my  maw. 
And  green  moss  at  our  feet. 
The  tears  you've  cried  for  us  three  babes 
Won't  wet  our  windin'  sheet.' 


'Moravian  Song.'  This  text  Mrs.  Sutton  found  in  Yancey  county.  "The 
singer  was  an  old  woman  in  the  county  home  who  had  lost  all  trace 
of  who  she  really  was.  She  was  known  as  'Granny'  and  sang  it  in  a 
cracked,  quavering  old  voice.  She  called  it  'Moravian  Song.'  I  don't 
know  why."  Mrs.  Sutton  notes  that  she  has  found  this  ballad  also  in 
Henderson  and  Rutherford  counties,  but  not  in  Caldwell.  It  differs 
from  preceding  texts  chiefly  in  the  closing  stanzas,  which  run : 

7  The  bed  was  fixed  in  the  back  room ; 
She  made  it  long  and  wide. 

She  spread  her  own  cloak  on  the  bed 
And  she  sat  down  beside. 

8  And  then  the  red  red  cock  did  crow 
And  up  and  crowed  the  grey. 

The  oldest  to  the  youngest  said, 
'It's  time  we  were  away.' 

9  'Lie  still,  lie  still  a  little  while. 
Lie  still  but  if  we  may, 

For  when  our  mother  finds  us  gone 
She'll  go  mad  in  the  day. 

lo     'Green  grass  grows  at  our  head,  mother. 
And  green  grass  grows  at  our  feet. 
The  tears  you  shed  for  your  little  babes 
Won't  wet  our  winding  sheet.' 

H 
'The  Lone  Widow.'     Contributed  by  Mildred  Peterson  of  Bladen  county, 
but  the  manuscript  is  not  dated.     This  is  a  reduced  version,  six  stanzas. 
At  the  close  the  children  tell  their  mother : 


ALLADS  —  MOSTLY     BRITISH 


The  tears  you  have  shed,  my  mother  dear, 
Would  wet  our  winding  sheet. 

I 

No  title.  One  of  the  songs  collected  by  Professors  W.  Amos  Abrams 
and  Gratis  D.  Williams  in  1945  from  Pat  Frye  of  East  Bend,  Yadkin 
county.  See  headnote  to  'Lady  Isabel  and  the  Elf-Knight"  G.  A  frag- 
ment only. 

'Come  here,  come  here,  my  three  httle  habes. 
Come  here,  come  here  to  me. 
Come  here,  come  here,  my  three  little  babes, 
And  eat  and  drink  of  mine.' 

'How  can  we  come 

How  can  we  come  to  thee, 

When  yonder  stands  our  Saviour  dear 

To  call  us  all  away?' 

'Wake  up,  wake  up,'  says  the  oldest  one, 
'It's  getting  almost  day. 
How  can  we  stay  in  this  dark  world 
When  there's  a  brighter  one  for  me?' 

26 

Little  Musgrave  and  Lady  Barnard 
(Child  81) 

For  the  fortunes  of  this  ballad  in  America  (where  it  has  lasted 
much  better  than  in  the  country  of  its  origin),  see  the  admirable 
discussion  by  Barry  (BBM  150-94)  ;  and  for  its  geographical  range, 
see  BSM  57-8 — adding  to  the  references  there  given  Vermont 
(NGMS  135-9),  Kentucky  (BTFLS  in  95,  TKMS  62-71),  North 
CaroHna  (FSRA  25-31),  Missouri  (OFS  i  124-6),  Ohio  (BSO 
48-51),  and  Michigan  (BSSM  46-9).  In  addition  to  Barry's  evi- 
dences for  a  distinctive  and  early  American  tradition  for  this  ballad 
may  be  mentioned  certain  traits  common  to  all  or  most  of  the 
American  texts,  both  north  and  south,  and  rare  or  absent  altogether 
in  Child's  British  versions.  One  of  these  is  the  expression  "cost 
me  deep  in  purse"  when  the  lord  is  telling  of  his  two  swords.  The 
only  approximation  to  this  in  the  Child  versions  is  in  A,  from  a 
seventeenth-century  print :  "Full  deere  they  cost  my  purse."  But 
in  America  it  appears  in  more  than  a  score  of  texts  ranging  from 
Nova  Scotia  and  Maine  to  North  Carolina  and  to  Missouri,  some- 
times in  a  corrupted  form  that  shows  the  locution  was  heard  but 
not  understood,  as  in  Cambiaire's  reading  "they  cost  me  keep  in 
purse"  (ETWVMB  53).  The  expression  sounds  rather  literary 
than  dialectal,  but  it  is  a  mark  of  the  American  texts.  Another 
item  peculiar  to  American  texts  is  the  form  of  punishment  meted  out 
to  the  lady  by  her  injured  husband".     Nowhere  in  American  texts  do 


102  NORTH     CAROLINA     FOLKLORE 

we  find  the  savagery  of  Child  A,  "He  cut  her  paps  from  off  her 
breast";  but  we  do  find,  in  texts  ranging  again  from  Nova  Scotia 
to  North  Carolina  and  to  Missouri,  that  he  "split  her  head  in  twain," 
sometimes  in  a  way  to  show  that  the  locution  was  traditional  but 
not  understood:  "cut  her  all  up  into  twain"  (TBV  E),  "split  her 
head  into  twine"  (SharpK  B).  The  attempt  of  the  lady  by  threats 
or  bribery  to  prevent  the  page  from  carrying  the  news  of  her  be- 
havior to  her  husband,  found  in  Child  CDEFHIJKL,  does 
not  appear  in  American  texts.  That  the  bugle  is  blown  as  a  warn- 
ing by  a  friend  of  Musgrave's,  a  trait  that  appears  in  three  of  the 
texts  in  the  present  collection,  is  not  exactly  diagnostic ;  it  is  found 
in  C  J  L  of  the  Child  versions  and  may  perhaps  be  inferred  in 
some  of  the  others;  and  it  appears  sporadically  in  American  texts 
both  north  and  south,  e.g.,  in  BBM  Fa  Fb,  TBV  B,  SCSM  A, 
FSRA,  SharpK  I  J  K,  FSSH  A  B,  BSM,  and  BSSM. 

A 
'Lord  Daniel's  Wife.'  Written  down  by  Thomas  Smith  of  Zionville, 
Watauga  county,  from  the  singing  of  Bennett  Smith,  "who  first  heard 
it  sung  over  50  years  ago" ;  sent  in  March  1914  to  C.  Alphonso  Smith, 
and  later  to  the  North  Carolina  collection.  Stanzas  3,  7,  8  are  metrically 
defective  and  stanza  18  excessive. 

1  Holly,  holly,  hoUiday  ! 

The  very  first  day  of  the  year 
Little  Mattly  Groves  he  went  to  church 
God's  holy  word  to  hear,  hear, 
God's  holy  v^ord  to  hear. 

2  The  first  to  come  down  was  a  gay  ladye, 
The  next  to  come  down  was  a  girl, 

The  next  to  come  down  was  Lord  Daniel's  wife, 
The  fairest  of  them  all,  all,  all, 
The  fairest  of  them  all. 

3  On  Little  Mattly  Groves  she  cast  her  eye. 
Saying,  'You  must  go  home  with  me  this  night 
For  to  lie,  lie,  lie, 

You  must  go  home  vi^ith  me  for  to  lie.' 

4  'I  cannot  go,'  Little  Mattly  said, 
'I  cannot  go  for  my  life, 

For  I  see  by  the  ring  that  you  wear  on  your  finger 
That  you  are  Lord  Daniel's  wife,  wife,  wife. 
That  you  are  Lord  Daniel's  wife.' 

5  'If  I  am  Lord  Daniel's  wife. 
Lord  Daniel's  not  at  home ; 
He's  gone  away  to  old  England 
King  Henry  for  to  see,  see,  see. 
King  Henry  for  to  see.' 


OLDER     BALLADS MOSTLY     BRITISH  IO3 

6  Little  Swift-foot  he  was  standing  by ; 
He  heard  the  news  and  he  ran 

Till  he  came  to  the  deep  river  side, 

And  he  took  off  his  shoes  and  he  swam,  swam,  swam, 

And  he  took  off  his  shoes  and  he  swam. 

7  He  swam  till  he  came  to  the  high  dry  land, 
And  he  buckled  on  his  shoes  and  he  ran,  ran,  ran, 
And  he  buckled  on  his  shoes  and  he  ran, 

8  Till  he  came  to  the  King's  high  gate; 

And  he  pulled  at  the  bell  till  it  rang,  rang,  rang, 
And  he  pulled  at  the  bell  till  it  rang. 

9  'What  news  ?    What  news  ?'  Lord  Daniel  said, 
'What  news  have  you  brought  from  home  ? 
Has  my  wife  gone  to  bed  with  a  daughter, 
Or  has  she  gone  to  bed  with  a  son,  son,  son, 
Or  has  she  gone  to  bed  with  a  son  ?' 

10  'She  has  neither  gone  to  bed,'  Little  Swift-foot  said, 
'With  a  daughter  or  a  son. 

But  has  gone  to  bed  with  Little  Mattly  Groves, 
And  that  is  why  I  have  come,  come,  come, 
And  that  is  why  I  have  come.' 

11  Lord  Daniel  mounted  his  trusty  horse 
And  he  rode  till  he  came  to  his  home. 

He  entered  and  found  Little  Mattly  Groves 
In  bed  with  his  wife  in  his  room,  room,  room. 
In  bed  with  his  wife  in  his  room. 

12  'How  do  you  like  my  coverlets? 
How  do  you  like  my  sheets  ? 

And  how  do  you  like  my  gay  ladye 

Who  lies  in  your  arms  asleep,  sleep,  sleep, 

Who  lies  in  your  arms  asleep?' 

13  'Very  well  I  like  your  coverlets, 
Very  well  I  like  your  sheets ; 
Much  better  I  like  your  gay  ladye 
Who  lies  in  my  arms  asleep,  sleep,  sleep. 
Who  lies  in  my  arms  asleep.' 

14  'Rise  up !    Rise  up  !'  Lord  Daniel  said, 
'And  put  your  clothing  on. 

It  shall  never  be  said  in  old  England 
That  I  slew  an  unclothed  man,  man,  man. 
That  I  slew  an  unclothed  man.' 


104  NORTH  CAROLINA  FOLKLORE 

15  'If  I  must  rise  up,"  Little  Mattly  said, 
'If  I  must  fight  for  my  life, 

I  see  you  have  two  broadedged  swords, 
And  me  not  as  much  as  a  knife,  knife,  knife, 
And  me  not  as  much  as  a  knife.' 

16  'It's  true  I  have  two  broadedged  swords, 
They  cost  me  deep  in  the  purse. 

You  can  have  the  best  of  them 

And  I  will  take  the  worst,  worst,  worst. 

And  I  will  take  the  worst.' 

17  The  very  first  lick  Little  Mattly  struck 
He  wounded  deep  and  sore ; 

But  the  very  first  lick  Lord  Daniel  struck 
Little  Mattly  fell  to  die  floor,  floor,  floor. 
Little  Mattly  fell  to  the  floor. 

18  Lord  Daniel  took  his  wife  on  his  knee, 
Saying,  'How  do  you  like  my  rosy  cheeks, 
And  how  do  you  like  my  chin? 

And  how  do  you  like  Little  Mattly  Groves 
Who  lies  before  you  slain,  slain,  slain, 
Who  lies  before  you  slain?' 

IQ     'Very  well  I  like  your  rosy  cheeks, 
Very  well  I  like  your  chin ; 
Much  better  I  like  Little  Mattly  Groves 
Than  you  and  all  your  kin,  kin,  kin. 
Than  you  and  all  your  kin.' 


'Little  Mathey  Grones.'  From  the  manuscript  songbook  of  Miss  Edith 
Walker  of  Boone,  Watauga  county.  Here  we  have  the  warning  by 
Mathey's  friend,  the  dialogue  between  Mathey  and  the  lady  in  bed,  and 
the  head-splitting  at  the  end.  Stanzas  3  and  6  seem  to  be  the  result 
of  telescoping  two  stanzas  or  parts  of  stanzas.  Stanza  7  I  have  attempted 
to  bring  into  order  by  some  additions.  "Grones"  is  quite  possibly  a 
misreading  for  "Groves."  Stanzas  9  and  17  are  imperfect  metrically, 
and  there  is  confusion  in  the  assignment  of  speeches  in  stanza  11. 

1  To  my  hi,  to  my  hi,  to  my  hi  holy  day. 
To  the  very  first  day  of  the  year, 

When  Lord  Arnald  went  down  to  King  Henry's 
The  Holy  Word  for  to  hear,  hear. 
The  Holy  Word  for  to  hear. 

2  The  first  come  by  was  a  gay  ladee. 
The  next  come  by  was  a  gal. 

The  next  come  by  Lord  Arnald's  wife. 
She's  the  fairest  of  them  all,  all, 
She's  the  fairest  of  them  all. 


OLDER     BALLADS MOSTLY     BRITISH  I05 

Oh,  it's  'Come.  Little  Mathey,  come,'  says  she 

'And  go  home  with  me  tonight.' 

'Oh,  no,  I  dare  not  for  my  life ; 

For  I  know  by  the  gold  rings  on  your  finger 

That  you  are  Lord  Arnald's  wife,  wife. 

That  you  are  Lord  Arnald's  wife.' 

'What  if  I  am  Lord  Arnald's  wife? 
Lord  Arnald  himself  ain't  at  home. 
For  he's  gone  down  to  King  Henry's 
The  Holy  Word  for  to  hear,  hear, 
The  Holy  Word  for  to  hear.' 

Oh,  a  little  foot-page  was  a-standing  by, 

And  he  took  to  his  heels  and  he  run ; 

He  run  to  where  the  bridge  was  apart 

And  he  pitched  to  his  breast  and  he  swum,  swum, 

And  he  pitched  to  his  breast  and  swum. 

He  run  unto  King  Henry's  gate, 

(And  he  rung  both  loud  and  shrill) 

And  tingled  (so)  loud  at  the  gate, 

And  none  was  so  ready  as  Lord  Arnald  his  self 

To  rise  and  let  him  in,  in. 

To  rise  and  let  him  in. 


7  '\yhat  news,  what  news,  O  little  foot  page, 
\\'hat  news  you  have  for  me  ?' 

'It's  Little  Mathey  Grones  is  home 
[In  bed]  with  your  gay  ladee,  [ladee], 
[In  bed]  with  your  gay  ladee.' 

8  'If  this  be  a  lie  you  tell  unto  me, 
A  new  rope  shall  be  made ; 

If  this  be  the  truth  you  tell  unto  me, 
My  daughter  shall  be  your  bride,  bride, 
My  daughter  shall  be  your  bride.' 

9  Lord  Arnald  he  gathered 
His  men  all  in  a  row, 

And  he  charged  them  not  one  word  for  to  say 
Nor  nary  horn  for  to  blow,  blow, 
Nor  nary  horn  for  to  blow. 

10     But  one  of  the  men  in  the  crowd. 
Who  knew  Little  Mathey  full  well. 
He  clapped  his  bugle  to  his  mouth 
And  blew  both  loud  and  shrill,  shrill. 
And  blew  both  loud  and  shrill. 


I06  NORTH     CAROLINA     FOLKLORE 

11  'Lie  still,  Little  Mathey,  lie  still,'  says  she, 
'And  let  me  listen  awhile ; 

For  I  think  I  hear  Lord  Arnald's  bugle 
Blow  both  loud  and  clear,  clear, 
Blow  both  loud  and  clear. 

12  'Lie  down,  Little  Mathey,  lie  down,'  says  she, 
'And  keep  the  cold  from  me ; 

For  it's  nothing  but  my  daddy's^  little  shepherd  boy 
A-driving  the  sheep  from  field,  field, 
A-driving  the  sheep  from  field.' 

13  To  hug  and  kissing  they  did  go, 
And  likewise  fell  asleep. 

And  in  the  morning  when  they  wake 
Lord  Arnald  stood  at  their  bed  feet,  feet. 
Lord  Arnald  stood  at  their  bed  feet. 

14  It's  'How  do  you  like  my  bed,'  says  he, 
'And  how  do  you  like  my  sheet. 

And  how  do  you  like  my  gay  ladee 
That  lies  in  your  arms  and  sleeps,  sleeps. 
That  lies  in  your  arms  and  sleeps  ?' 

15  'Mighty  well  do  I  like  your  bed,'  says  he, 
'Mighty  well  do  I  like  your  sheet ; 
Much  better  do  I  like  your  gay  ladee 
That  lies  in  my  arms  and  sleeps,  sleeps, 
That  lies  in  my  arms  and  sleeps.' 

16  'Get  up.  Little  Mathey,  get  up,'  says  he, 
'And  put  your  clothing  on. 

For  it  never  shall  be  said  when  you're  dead  and  gone 
That  I  slain  you  a  naked  man,  man, 
That  I  slain  you  a  naked  man.' 

17  'Oh  no,  oh  no,  I  dare  not  for  my  life; 
For  you  have  two  broad  swords 
And  I  have  nary  knife,  knife. 

And  I  have  nary  knife.' 

18  'If  I  have  two  broad  swords 
And  you  have  nary  knife. 

The  best  of  them  I'll  give  to  thee 
And  the  worst  of  them  I'll  keep,  keep, 
And  the  worst  of  them  I'll  keep.' 

19  The  very  first  lick  Little  Mathey  struck 
Lord  Arnald  was  full  sore. 

*  Variant  reading  "papa's." 


OLDER     BALLADS — MOSTLY     BRITISH  10/ 

The  very  first  lick  Lord  Arnald  struck 
Little  Mathey  couldn't  fight  any  more,  more, 
Little  Mathey  couldn't  fight  any  more. 

20  He  took  his  gay  ladee  by  the  hand 
And  set  her  on  his  knee : 

'Say,  tell  unto  me  which  you  love  best, 
Little  Mathey  Grones  or  me,  me, 
Little  Mathey  Grones  or  me.' 

21  'It's  mighty  well  do  I  like  your  rosy  cheeks, 
Mighty  well  do  I  like  your  chin. 

But  very  much  better  do  I  like  Little  Mathey  Grones 
Than  Lord  Arnald  and  any  of  his  kin,  kin, 
Than  Lord  Arnald  and  any  of  his  kin.' 

22  He  took  his  gay  ladee  by  the  hand 
And  led  her  to  the  lane ; 

He  took  his  broad  sword  from  his  side 
And  split  her  head  in  twain,  twain, 
And  split  her  head  in  twain. 


'Lord  Daniel'  or  'Little  Mathigrew.'  Sent  in  by  L  G.  Greer  of  Boone, 
Watauga  county,  probably  in  1913  or  1914.  This  text  is  nearer  to 
B  than  to  A,  but  differs  interestingly  from  both  in  details.  The  manu- 
script is  not  divided  into  stanzas. 

1  It  was  on  one  day,  it  was  on  one  day. 
The  first  day  of  the  year, 

Little  Mathigrew  rode  down  to  church. 
To  see  and  to  be  seen. 

2  The  first  came  down  was  a  raven's  wife,^ 
The  next  came  down  was  a  fair ; 

The  next  came  down  was  Lord  Daniel's  wife ; 
She  was  the  fairest  there. 

3  She  looked  all  around  through  every  room ; 
She  placed  her  eyes  on  him. 

Says  'You  must  go  home  with  me  this  night, 
This  livelong  night  to  stay,' 

4  *I  can't  go  home  with  you  this  night. 
This  livelong  night  to  stay. 

For  the  rings  that's  on  your  fingers,  love, 
You  are  Lord  Daniel's  wife.' 

*  Barry    (BBM    181)    supposes  a  like  locution  in  one  of  his  texts  to 
be  corrupted  from  "arrayed  in  white." 


Io8  NORTH     CAROLINA     FOLKLORE 

5  'It  makes  no  difference  whose  wife  I  am, 
To  you  nor  no  other  man ; 

Lord  Daniel's  not  at  home  tonight ; 
He's  in  some  distant  land.' 

6  The  little  foot-peg  was  standing  by; 
He  turned  on  his  heels  and  he  ran. 

He  ran  till  he  came  to  the  bridge  broken  down  ; 
He  fell  upon  his  breast  and  swam. 

7  He  swam  till  he  came  to  the  other  side ; 
He  turned  on  his  heels  and  he  ran. 

He  ran  till  he  came  to  the  Cane-Castle  door. 
And  he  rattled  at  the  bells  and  he  rang. 

8  'What  news,  what  news,  my  little  foot-peg, 
What  news  have  you  brought  unto  me  ?' 

'I've  come  to  let  you  know  that  Little  Mathigrew 
Is  in  the  bed  with  your  fairest  dee.' 

9  'If  this  is  a  lie  you  have  brought  unto  me. 
What  I  suppose  it  to  be, 

I'll  grease  my  rope  from  end  to  end 
And  I'll  hang  you  to  a  tree. 

10  'But  if  this  is  the  truth  you  have  brought  unto  me. 
Which  you  suppose  it  to  be, 

I  have  but  one  daughter  in  this  wide  world, 
And  a  married  bright^  you  shall  be.' 

1 1  He  gathered  his  men  all  in  a  row, 
Says,  'Boys,  now  let's  us  go; 
And  nary  a  man  in  this  crowd 
Musn't  let  his  bugle  blow.' 

J  2     There  was  a  man  in  this  same  crowd 
That  knew  Little  Mathey  well. 
He  placed  his  bugle  to  his  mouth 
And  blew  both  loud  and  shrill. 

13  T  must  get  up,  I  must  get  up, 
I  must  get  up  and  go. 

Lord  Daniel  he  is  coming,  love, 
For  I  heard  his  bugle  blow.' 

14  'Lie  down,  lie  down.  Little  Mathigrew, 
Lie  down  and  go  to  sleep. 

For  it's  nothing  but  my  father's  little  boys 
A-herding  in  their  sheep.' 

*  One   expects    "bride";    but   the   line   is   not   easily   construed    if   that 
reading  is  substituted. 


OLDER     BALLADS MOSTLY     BRITISH  I09 

1 5  They  turned  into  each  other's  arms 
And  fell  into  a  sleep. 

And  when  Little  Mathigrew  woke  up 
Lord  Daniel  was  at  his  feet. 

16  'Get  up,  get  up,  Little  Mathigrew, 
And  put  your  clothing  on. 

For  it  never  shall  be  said  when  I  am  dead 
That  I  murdered  a  naked  man.' 

17  T  can't  get  up,  I  can't  get  up, 
I  cannot  for  my  life, 

For  you  have  two  bran-new  swords  at  your  side 
And  I  have  nary  a  knife.' 

18  'Very  well,  I  have  two  swords  to  my  side, 
They  cost  me  deep  in  purse ; 

You  may  have  the  best  one. 
And  I  will  take  the  worst.' 

19  Little  Mathigrew  struck  the  first  lick, 
And  slew  Lord  Daniel's  soul.^ 

Lord  Daniel  struck  the  very  next  lick. 
And  Little  Mathey  couldn't  strike  no  more. 

20  He  took  his  fair  young  lady  by  the  hand 
And  sat  her  on  his  knee. 

Says  'Which  of  us  do  you  love  the  best, 
Little  Mathigrew  or  me?' 


21 


'Very  well  do  I  like  your  red  rosy  cheeks. 
Much  better  do  I  like  your  chin. 
But  I  wouldn't  give  Mathigrew's  little  finger  nail 
For  von  and  all  vnnr  kin  ' 


Dui  1  wouian  i  give  iviatn 
For  you  and  all  your  kin.' 


22  He  took  his  fair  lady  by  the  hand 
And  led  her  through  the  hall ; 

With  his  bran-new  sword  in  his  right  hand 
Lord  Daniel's  wife's  head  did  fall. 

23  The  handle  of  the  sword  was  against  the  wall 
And  the  point  toward  his  heart ; 

Says  'Ain't  this  hard  to  the  friends  all  around 
Lord  Daniel  and  his  wife  has  to  part.' 

D 
"Lord  Donald.'     Secured  by  W.  Amos  Abrams,  at   Boone,  from   Mary 
Bost  of   Iredell  county;  just  when  does  not  appear,  but   some  time   in 

'  If  this  line  means  what  it  seems  to  mean  it  is  clearly  wrong,  for 
Lord  Daniel  is  by  no  means  dead  at  this  point.  Perhaps  it  should  read 
"And  smote  Lord  Daniel  sore." 


no  NORTH  CAROLINA  FOLKLORE 

the  thirties.     It  is  a  peculiarly  disordered  text.     The  lady  tells  Little 
Mattly  Groves  that 

Lord  Donald's  by  the  river  side, 
King  David  for  to  see. 

Little  Mattly  has  more  than  one  friend  among  Lord  Donald's  men : 

There  are  many  Little  Mattly  Grove's  friend, 

And  many  there  his  foes. 

One  at  the  very  head  of  the  row 

Said  'I  wish  Little  Mattly  Groves  a  good  will' 

He  put  his  bugle  to  his  mouth 

And  blowed  both  loud  and  shrill. 

The  husband's  sarcastic  challenge  to  the  lovers  is  shoved  forward  into 
the  dialogue  between  the  lovers : 

'It's  how  do  you  like  my  feather  bed, 
And  how  do  you  like  my  sheet, 
And  how  do  you  like  my  gaily  days 
That  I  could  lie  in  your  arms  and  sleep?' 

'Very  much  do  I  like  your  feather  bed. 
And  very  much  do  I  like  your  sheet. 
But  much  better  do  I  like  your  gaily  days 
That  you  could  lie  in  my  arms  and  sleep.' 
Then  they  fell  to  hugging  and  kissing. 
And  then  they  fell  asleep. 

Lord   Donald  tells   Little   Mattly   that   his   two   swords    "cost   me   deep 
in  purse."      At  the  end 

He  drew  his  sword 

And  in  twain  he  split  her  head. 

He  jumped  on  his  horse 

And  rode  to  London  town, 

Saying  he'd  slew  the  prettiest  little  woman 

That  ever  walked  the  ground. 


'Lord  Daniels.'  From  the  collection  of  Mrs.  Minnie  Church  of  Heaton, 
Avery  county,  contributed  in  1930.  A  somewhat  vague  text;  the  lady 
tells  little  Mathie  Grove  that 


My  husband  he  is  not  at  home, 
He's  in  some  distant  land ; 


the  page  becomes  "little  Pate  foot"  and  is  referred  to  by  the  pronoun 
"she"  in  stanza  4  but  passes  thereafter  to  the  customary  "he" ;  the 
warning  bugle  is  heard  but  we  are  not  told  that  it  was  blown  by  a 
friend  of  Mathie  Grove's ;  the  end  introduces  a  new  element : 


OLDER     BALLADS MOSTLY     BRITISH  III 

He  took  his  lady  by  the  hand, 
He  led  her  in  the  hall ; 
He  snapped  a  pistol  in  her  breast, 
She  fell  by  a  special  ball,  ball. 
She  fell  by  a  special  ball. 

'Go  dig  my  grave  on  yonders  hill, 
Dig  it  wide  and  deep; 
Bury  Little  Mathie  Grove  in  my  arms. 
Lord  Daniels  at  my  feet.' 

27 

Bonny  Barbara  Allan 

(Child  84) 

Of  all  the  ballads  in  the  Child  collection  this  is  easily  the  most 
widely  known  and  sung,  both  in  the  old  country  and  in  America. 
Scarcely  a  single  regional  gathering  of  ballads  but  has  it,  and  it  has 
been  published  in  unnumbered  popular  songbooks.  See  BSM  60-1. 
Mrs.  Eckstorm  in  a  letter  written  in  1940  informed  me  that  she 
and  Barry  had  satisfied  themselves,  before  Barry's  death,  that  as 
sung  by  Mrs.  Knipp  to  the  delight  of  Samuel  Pepys  in  1666  it 
was  not  a  stage  song  at  all  but  a  libel  on  Barbara  Villiers  and  her 
relations  with  Charles  II ;  but  so  far  as  I  know  the  details  of  their 
argument  have  never  been  published.  The  numerous  texts  in  the 
North  Carolina  collection  may  conveniently  be  grouped  according  to 
the  setting  in  three  divisions:  (i)  those  that  begin  in  the  first 
person  of  Barbara's  lover  (or  at  least  of  the  narrator),  (2)  those 
that  begin  with  a  springtime  setting,  and  (3)  those  that  begin 
with  an  autumnal  setting.  Of  course  those  in  group  i  may  also 
have  either  the  springtime  or  the  autumnal  setting.  The  rose-and- 
brier  ending  is  likely  to  be  attached  to  any  of  the  texts.  The 
lover's  bequests  to  Barbara,  a  feature  not  infrequent  in  modern 
British  versions  but  unusual  in  America,  appears  once  in  the  North 
Carolina  texts,  in  F.  The  first  person  of  the  lover  commonly  is 
dropped  after  the  opening  stanza,  but  in  F  it  holds  through  four 
stanzas.     Not  all  of  the  texts  are  given  in  full. 


'Barbara  Allen.'  Sent  April  3,  1913,  by  Miss  Lila  Ripley  Barnwell  of 
Hendersonville,  Henderson  county,  to  the  Charlotte  Observer,  and 
printed  there  shortly  afterwards.  Sung  by  her  great-grandmother.  Be- 
longs to  the  tradition  of  the  English  broadsides,  Child's  B,  but  is  some- 
what reduced. 

I     In  Scarlet  Town  where  I  was  born 
There  was  a  fair  maid  dwelling 
Made  every  youth  cry  'Well-away' 
Her  name  was  Barbara  Allen. 


112  NORTH  CAROLINA  FOLKLORE 

2  All  in  the  merry  month  of  May 
When  green  buds  they  were  swelling, 
Young  Jimmy  Grove  on  his  death  bed  lay 
For  the  love  of  Barbara  Allen. 

3  He  sent  his  man  unto  her  then, 

To  the  town  where  she  was  dwellin' ; 

'You  must  come  to  my  master  dear,'  he  said, 

'If  your  name  is  Barbara  Allen.' 

4  So  slowly,  slowly  she  came  up 
And  slowly  she  came  nigh  him. 
And  all  she  said  as  there  she  stood : 
'Young  man,  I  think  you're  dying.' 

5  He  turned  his  face  unto  the  wall, 
And  death  was  with  him  dealing. 
'Adieu,  adieu,  my  dear  friends  all, 
Adieu  to  Barbara  Allen.' 

6  As  she  was  walkin  o'er  the  fields 
She  spied  the  corpse  a-coming. 

'Lay  down,  lay  down  the  corpse,'  she  said, 
'That  I  may  look  upon  him.' 

7  With  scornful  eye  she  looked  down, 
Her  cheeks  with  laughter  swellin'. 
And  all  her  friends  cried  out  amain, 
'Oh,  shameful  Barbara  Allen !' 

8  When  he  was  dead  and  laid  in  grave 
Her  heart  was  struck  with  sorrow. 
"Oh,  mother,  mother,  make  my  bed. 
For  I  shall  die  tomorrow. 

9  'Farewell,'  she  said,  'ye  virgins  all. 
And  shun  the  fault  I  fell  in ; 
Henceforth  take  warning  by  the  fall 
Of  cruel  Barbara  Allen.' 


'Barbara  Allen.'     From  the  John  Burch  Blaylock  Collection.* 

*  During  the  years  1927-32  Mr.  John  Burch  Blaylock,  of  Yanceyville, 
Caswell  county,  collected  274  songs  from  Caswell  and  adjoining  counties. 
In  December  1944  his  collection  was  presented,  through  the  efforts  of 
Dr.  W.  Amos  Abrams,  to  the  North  Carolina  Folklore  Society.  From  the 
whole  number  "about  112"  were  selected  by  Professor  Hudson  and  added 
to  the  Frank  C.  Brown  Collection.  These  112  are  referred  to  here  and 
in  later  notes  as  the  John  Burch  Blaylock  Collection. — Ed. 


OLDER     BALLADS — MOSTLY     BRITISH  II3 

1  In  Scarlet  town,  where  I  was  born, 
There  was  a  fair  maid  dwellin' 
Made  every  youth  cry  'Well  away!' 
Her  name  was  Barbara  Allen. 

All  in  the  merry  month  of  May 
When  green  buds  they  were  swellin', 
Sweet  William  on  his  deathbed  lay 
For  love  of  Barbara  Allen. 

2  And  death  is  printed  on  his  face, 
And  o'er  his  heart  is  stealin' ; 
Then  haste  away  to  comfort  him, 

0  lovely  Barbara  Allen. 

So  slowly,  slowly  she  came  up, 
And  slowly  she  came  nigh  him. 
And  all  she  said  when  there  she  came : 
'Young  man,  I  think  you're  dyin'.' 

3  He  turned  his  face  unto  her  straight, 
With  deadly  sorrow  sighin' : 

'O  pretty  maid,  come  pity  me — 
I'm  on  my  deathbed  lyin'.' 
If  on  your  deathbed  you  do  lie. 
What  need  the  tale  you're  tellin'? 

1  cannot  keep  you  from  your  death. 
Farewell !'  said  Barbara  Allen. 

4  He  turned  his  face  unto  the  wall. 
And  death  was  with  him  dwellin': 
'Adieu,  adieu,  my  dear  friends  all. 
Adieu  to  Barbara  Allen.' 

As  she  was  walking  o'er  the  field 
She  heard  the  bells  a-knellin'. 
And  every  stroke  did  seem  to  say : 
'Unworthy  Barbara  Allen!' 

5  She  turned  her  body  round  about 
And  spied  the  corpse  a-comin'. 

'Lay  down,  lay  down  the  corpse,'  she  said, 
'That  I  may  look  upon  him.' 
With  scornful  eyes  she  then  looked  down, 
Her  cheeks  with  laughter  swellin'. 
While  all  her  friends  cried  out  amain : 
'Unworthy  Barbara  Allen!' 

6  When  he  was  dead  and  in  his  grave 
Her  heart  was  struck  with  sorrow. 
'Oh,  mother,  mother,  make  my  bed. 
For  I  shall  die  tomorrow. 


114  NORTH  CAROLINA  FOLKLORE 

Hard-hearted  creature  him  to  sHght 
Who  loved  me  all  so  dearly. 
Oh,  that  I  had  been  kind  to  him 
When  he  was  alive  and  near  me !' 

7     She  on  her  deathbed  as  she  lay 
Begged  to  be  buried  by  him, 
And  sore  repented  of  the  day 
That  she  did  e'er  deny  him. 
'Farewell,'  she  said,  'ye  virgins  all. 
And  shun  the  fault  I  fell  in. 
Henceforth  take  warning  of  the  fall 
Of  cruel  Barbara  Allen.' 

c 
'Barbara  Allen.'  Printed  March  30,  1913,  in  the  Charlotte  Observer  as 
sung  to  the  contributor  "years  ago  by  Mrs.  E.  A.  Crowell,  who  was 
then  matron  at  the  Western  North  Carolina  Hospital  at  Morganton." 
It  belongs  to  the  same  tradition  as  A,  but  the  name  of  the  town  and  the 
name  of  the  lover  are  different  and  it  has  the  rose-and-brier  ending. 
Begins : 

At  Stoney,  Stoney,  Stoney  town  there  were  three  fair 
maids  dwelling. 

There's  one  of  them  I  call  my  own,  by  the  name  of  Bar- 
bara Allen. 

Young  Jimmy  Grose  on  his  death  bed  lay  and  sent  his 
servant  to  her.  .  .  . 

When  she  meets  the  corpse  she  weeps,  not  laughs : 

The  more  she  looked,  the  more  she  wept,  until  she  burst 
out  a-crying, 

and  it  ends : 

Young  Jimmie  was  buried  m  the  church  churchyard,  and 

his  love  by  the  side  of  him. 
And  out  of  his  grave  there  grew  a  red  rose  and  out  of 

his  love's  a  brier. 
They  grew,  they  grew  to  the  church  steeple  top  and  then 

could  grow  no  higher. 
They  tied  themselves  in  a  true  lover's  knot,  both  the  red 

rose  and  the  brier. 

D 
'Barbara  Allen.'     Contributed  in  1923  by  Miss  Flora  Marie  Meredith  of 
Durham.    It  is  the  same  version  as  A  but  fuller,  and  is  therefore  given. 

I     In  Scarlet  Town  where  I  was  born 
There  was  a  fair  maid  dwelling, 


OLDER     BALLADS MOSTLY     BRITISH  II5 

And  every  youth  cried  'Well  aware/ 
Unworthy  Barbara  Allen !' 

2  In  the  merry  month  of  May, 
When  green  buds  they  were  swelling, 

Young  Jimmie  Grove  on  his  deathbed  was  lying 
For  the  love  of  Barbara  Allen. 

3  He  sent  his  man  into  the  town, 

To  the  place  where  she  did  dwell  in, 
Saying,  'You  must  come  to  my  master, 
If  your  name  be  Barbara  Allen. 

4  'For  death  is  painted  on  his  face 
And  o'er  his  breast  be  stealing ; 
I-  haste  away  to  comfort  him, 

0  lovely  Barbara  Allen !' 

5  'If  death  be  painted  on  his  face 
What  needs  the  tale  he's  telling? 
Yet  little  the  better  shall  he  be 
For  bonny  Barbara  Allen.' 

6  So  slowly,  slowly  she  came  down 
And  slowly  she  came  nigh  him. 
And  all  she  said  when  there  she  came 
Was  'Young  man,  I  think  you're  dying.* 

7  He  turned  his  face  unto  her  straight, 
With  deadly  sorrow  saying, 

Oh,  pretty  miss,  come  pity  me, 
For  I'm  on  my  death  bed  lying.' 

8  'If  on  your  death  bed  you  do  be, 
What  needs  the  tale  you're  telling? 

1  cannot  keep  you  from  your  death. 
Farewell,'  says  Barbara  Allen. 

9  As  she  was  walking  o'er  the  field 
She  heard  the  church  bell  knelling, 
And  every  stroke  appeared  to  say 
'Unworthy  Barbara  Allen.' 

:o     She  turned  herself  around  about 
And  spied  the  corpse  coming. 
'Lie  down,  lie  down  the  corpse,'  she  cried, 
'That  I  may  look  upon  him.' 

^  This  looks  like  a  folk-etymologizing  of  the  archaic  "well-a-way." 
*  Probably  an  error,  of  hearing  or  writing,  for  "Oh." 


lib  NORTH  CAROLINA  FOLKLORE 

11  With  scornful  eyes  she  looked  down, 
Her  cheeks  with  laughter  swelling, 
And  all  her  friends  cried  out  'Amen, 
Unworthy  Barbara  Allen.' 

12  When  he  was  dead  and  laid  in  grave 
Her  heart  was  struck  with  sorrow, 
Saying  'Mother,  mother,  make  my  bed, 
For  I  shall  die  tomorrow. 

13  'Hard-hearted  creature  him  to  slight 
Who  loved  me  so  dearly. 

Oh,  had  I  been  more  kind  to  him 
When  he  was  alive  and  near  me ! 

14  'Farewell,  farewell,  ye  virgins  all, 
And  shun  the  fault  I  did  him ; 
Henceforth  take  warning  of  the  fault 
Of  cruel  Barbara  Allen.' 


'Barbara  Allen.'  As  sung  by  Mr.  or  Mrs.  C.  K.  Tillett,  Wanchese, 
Roanoke  Island,  December  29,  1922.  The  text  is  much  like  D  but  it  has 
"Scarborough"  instead  of  "Scarlet"  in  line  i,  inserts  stanza  5  of  A 
after  stanza  8,  and  the  first  half  of  stanza  7  of  B  after  stanza  12. 

F 
'Barbara  Allen.'     Secured  by  Julian  P.  Boyd  while  principal  of  schools 
at  Alliance,  Pamlico  county,  from  Duval  Scott,  one  of  his  pupils.     Ex- 
ceptional   in    that   the   first   person   of   the   lover   is   maintained   through 
several  stanzas  and  the  lover  makes  a  bequest  to  Barbara. 

1  It  was  one  morning  in  the  month  of  May 
When  all  the  flowers  were  blooming, 

I  fell  in  love  with  a  fair  young  girl ; 
Her  name  was  Barbara  Allen. 

2  I  courted  her  six  months  or  more. 
Was  about  to  gain  her  favor ; 

'Oh  wait !  oh  wait,  oh  wait !'  she  said. 
'Some  young  man's  gained  my  favor.' 

3  I  went  right  home,  was  taken  sick. 
And  sent  for  Barbara  Allen. 

She  came,  she  came,  so  slow  she  came 
To  see  her  true  love  dying. 

4  When  she  came  in,  she  said  to  me : 
'Young  man,  you  are  a-dying!' 

'One  kiss,  one  kiss  from  your  sweet  lips 
Would  save  me,  Barbara  Allen.' 


OLDER     BALLADS MOSTLY     BRITISH  II7 

5  'If  I  knew  one  kiss  would  kill  you  dead, 
I  would  freely  give  you  a  hundred.' 

He  turned  his  face  to  the  milk-white  walls 
And  turned  his  back  upon  her. 

6  'Do  you  remember  the  other  day 
When  we  were  at  the  tavern  ? 

You  treated  all  those  fair  young  girls 
And  slighted  Barbara  Allen.' 

7  'When  I  am  dead,  look  under  my  head 
And  you  will  find  two  rolls  of  money. 
Go  share  it  with  those  fair  young  girls, 
And  share  with  Barbara  Allen.' 

8  It  was  the  next  morning,  when  she  woke  up. 
She  heard  those  death  bells  ringing; 

They  rang  so  loud  they  seemed  to  say 
'Hard-hearted  Barbara  Allen.' 

9  She  looked  to  the  east,  she  looked  to  the  west; 
She  saw  the  cold  corpse  coming. 

'Oh,  mother  dear,  come  carry  me  home. 
For  now  I  am  dying. 

10  'Oh,  mother,  oh,  mother,  go  make  my  bed! 
Go  make  it  high  and  narrow ! 

Today  Sweet  William  died  for  love. 
Tomorrow  I'll  die  for  sorrow.' 

11  They  buried  him  in  one  church  yard 
And  Barbara  in  another. 

From  his  grave  there  grew  a  rose, 
And  from  hers  there  sprang  a  briar. 

12  They  grew,  they  grew  to  the  steeple  top 
Till  they  could  grow  no  higher ; 

They  tied  themselves  in  a  true  love  knot, 
The  wild  rose  and  the  briar. 


'Barbara  Allen.'  Secured  by  Mrs.  R.  C.  Vaught  at  Oakboro,  Stanly 
county.  It  is  of  the  same  general  pattern  as  A  and  D,  yet  has  so  many 
differences  in  detail  that  it  is  given  in  full. 


I     In  yonder  town  where  I  was  born 
There  was  a  fair  maid  dwelling 
Made  every  youth  to  weal  or  woe ; 
Her  name  was  Barbara  Allen.' 


Il8  NORTH     CAROLINA     FOLKLORE 

2  One  day,  one  day  in  the  month  of  May, 
When  the  green  leaves  were  a-sweUing, 
Young  WiUiam  came  from  a  western  state 
And  courted  Barbara  Allen. 

3  It  was  early  in  the  month  of  June, 
When  the  flowers  [were]  a-blooming, 
Young  William  on  his  death  bed  lay 
For  the  love  of  Barbara  Allen. 

4  He  sent  his  servants  through  the  town 
To  the  place  where  she  was  dwelling, 
Saying,,  'Love,  there's  a  call  for  you. 
If  your  name  be  Barbara  Allen.' 

5  Oh,  slowly,  slowly  she  fixed  up, 
And  slowly  she  came  nigh  him. 
The  only  words  she  said  to  him: 
'Young  man,  I  think  you're  dying.' 

6  'Oh,  yes,  I'm  sick  and  very,  very  sick 
And  on  my  death  bed  lying ; 

But  from  thee,  I'm  sure  to  be, 
One  kiss  from  you  would  cure  me.' 

7  'You  may  be  sick,  and  very,  very  sick. 
And  on  your  death  bed  lying; 

But  better  for  me,  you'll  never  be 
Though  your  heart's  blood  were  a-spilling. 

8  'For  don't  you  remember  the  other  night 
When  you  were  in  town  a-drinking 

You  drank  a  health  to  the  ladies  all  around 
And  slighted  Barbara  Allen?' 

9  'Yes,  I  remember  the  other  night 
When  I  was  in  town  a-drinking. 

I  drank  a  health  to  the  ladies  all  around. 
But  my  love  to  Barbara  Allen.' 

10  He  reached  his  hands  from  the  pale  bed  sheet 
A-thinking  for  to  touch  her. 

But  she  jumped  back,  and  then  she  said, 
'Young  man,  I  will  not  have  you.' 

1 1  He  turned  his  pale  face  to  the  wall. 
And  death  was  with  him  dealing. 
'Adieu,  adieu,  my  dear  friends  all ; 
Be  kind  to  Barbara  Allen.' 


OLDER     BALLADS MOSTLY     BRITISH  IIQ 

12  Then  she  arose  and  left  the  room 
Where  her  true  love  was  dying. 
And  every  tongue  did  seem  to  say 
'Hard-hearted  Barbara  Allen.' 

13  As  she  was  walking  o'er  the  fields 
She  heard  the  death  bell  ringing. 
And  every  stroke  did  seem  to  say 
'Oh,  woe  to  Barbara  Allen.' 

14  As  she  was  walking  o'er  the  field 
She  heard  the  birds  a-singing. 
And  every  note  did  seem  to  say 
'Oh,  turn  back,  Barbara  Allen.' 

15  She'd  not  gone  more  than  half  a  mile 
She  saw  the  corpse  a-coming. 

'Lay  down,  I  pray,  the  corpse  of  clay 
That  I  may  look  upon  him.' 

16  The  more  she  looked  the  more  she  grieved 
Until  she  started  crying; 

And  then  she  kissed  those  tear-cold  cheeks 
That  she'd  refused  when  dying. 

H 
'Barbara  Allen.'  Written  down  for  W.  Amos  Abrams  in  1939  by 
Miss  Edna  Milam  of  Milam.  It  is  the  same  version  as  G ;  but  it  has 
lost  stanzas  4  and  10,  has  an  intelligible  reading  in  the  third  line  of 
stanza  6 :  "But  better  for  thee  I'm  sure  to  be" ;  has  "dear  cold  cheeks" 
instead  of  "tear-cold  cheeks"  in  stanza  16;  and  has  the  normal  ending, 
lacking  in  G : 

15  'Oh,  mother,  mother,  make  my  bed. 
Oh  make  it  soft  and  narrow ; 

My  true  love's  died  for  me  today, 
I'll  die  for  him  tomorrow. 

16  'Oh,  father,  father,  dig  my  grave. 
And  dig  it  deep  and  narrow ; 

Young  William's  died  for  pure,  pure  love 
And  1  shall  die  for  sorrow.' 

17  Oh  she  was  buried  in  the  old  church  yard, 
And  William  was  buried  by  her ; 

Out  of  William's  grave  grew  a  red,  red  rose 
And  out  of  hers  a  sweetbrier. 

18  They  grew  and  grew  to  the  old  church  tower, 
Till  they  could  not  grow  any  higher ; 

And  then  they  tied  in  a  true-lovers'  knot 
And  the  rose  wrapped  round  the  brier. 


laO  NORTH     CAROLINA     FOLKLORE 

I 

'Barbara  Allen.'  Collected  by  Kendrick  Few  of  Durham  in  1940  from 
Sidney  Stovall,  Buies  Creek,  Harnett  county.  It  is  almost  exactly 
Child's  B  version. 

J 

'Barbara  Allen.'  From  Miss  A.  M.  Martin,  time  and  place  not  given. 
This  text  begins  something  like  C: 

Over,  over  w^as  the  town 
Where  three  fair  maids  were  dwelling. 
There  was  but  one  I  called  my  own 
And  that  was  Barbara  Allen. 

In  the  death-bed  scene  it  has  a  stanza  corresponding  to  the  tenth  stanza 
of  G: 

He  reached  forth  his  pale  white  hand, 
Aiming  for  to  touch  her ; 
She  slipped  and  danced  all  over  the  floor 
And  says,  'I  will  not  have  you.' 

It  has  the  rose-and-brier  ending. 


'Barbara  Allen.'  Collected  by  W.  Amos  Abrams  from  Mary  Bost  of 
Statesville,  Iredell  county.  The  opening  seems  to  have  crept  in  from 
some  other  song: 

J.  J.  Smith  and  it  is  my  name. 
New  Alban  is  my  station. 
This  is  my  dwelling  here, 
Also  my  respectation. 

Honor,  Honor  was  the  town 
Where  there  was  three  fair  maids  a-dwelling. 
There  was  but  one  that  I  called  my  own 
And  that  was  Barbara  Allen. 

After  that  it  runs  pretty  regularly,  ending  with  directions  for  her 
burial  and  the  rose-and-brier  stanzas.  Just  before  the  last  two  stanzas 
it  has  the  following,  found  also  in  version  J  above  and  versions  T  and 
W  below : 

Sweet  William  died  on  Saturday 

And  Barbara  on  Sunday. 

The  old  woman  died  for  the  love  of  both — 

She  died  on  Easter  Monday. 


'Barbra  Allen.'     From  W.  C.  Neal  of  Sparta,  Alleghany  county.     Very 
close  to  but  not  quite  identical  with  Child's  B. 


OLDER     BALLADS MOSTLY     BRITISH  121 

M 
'Barbary  Allen.'  Contributed  by  Charles  R.  Bagley  of  Moyock,  Curri- 
tuck county,  in  1915.  A  fairly  normal  text,  though  it  lacks  the  charge 
that  he  slighted  her  at  the  drinking  of  toasts.  When  she  meets  the 
corpse  she  is  scornful,  "her  cheeks  with  laughter  swellin' " ;  remorse 
comes  later.     This  has  not  the  rose-and-brier  ending. 

N 

•Barbara  Allen.'     Collected  in  1927  by  L.  W.  Anderson  from  Alva  Wise 
of  Nag's  Head,  Dare  county.     Closely  similar  to  L. 

All  of  the  texts  thus  far  listed  begin  in  the  first  person.  The  re- 
maining texts  do  not,  but  open  with  a  statement  of  the  time  of  year; 
in  0-Y  it  is  springtime,  in  Z-DD  it  is  autumn.  Otherwise  the 
texts  run  much  the  same  as  in  the  preceding  section,  with  a  lesser 
range  of  variation. 


'Barbara  Allen.'  Reported  by  Thomas  Smith  of  Zionville,  Watauga 
county,  from  the  singing  of  Mrs.  Julia  Grogan.  Text  sent  to  C.  A. 
Smith  in  1914  and  afterwards  to  the  Brown  Collection. 


r     Early,  early  in  the  spring, 

When  the  flower  buds  were  a-swellin', 
Sweet  Willie  he  was  taken  sick 
For  the  love  of  Barbara  Allen. 

2  He  sent  his  servant  to  the  town 
Where  Barbara  was  a-dwellin' : 
'My  master  said  for  you  to  come 
If  your  name  be  Barbara  Allen.' 

3  Slowly,  slowly  she  came  up 
And  slowly  she  went  near  him, 
And  all  she  said  when  she  got  there, 
'Young  man,  I  think  you  are  dyin'.' 

4  'Oh  yes,  oh  yes,  I  am  very  low, 
And  death  is  in  me  dwellin' ; 
No  better  will  I  ever  be 

Till  I  get  Barbara  Allen.' 

5  'Oh  yes,  you  are  very  low. 
And  death  is  in  you  dwellin  . 
No  better  will  you  ever  l)e 
By  getting  Barbara  Allen. 

6  'Don't  you  remember  in  yonder  town 
Where  you  were  all  a-drinkin'. 

You  drank  to  the  health  of  the  ladies  round 
And  you  slighted  Barbara  Allen.' 


122  NORTH     CAROLINA     FOLKLORE 

7  'Oh,  yes,  I  remember  in  yonder  town 
Where  we  were  all  a-drinkin', 

I  drank  a  health  to  the  ladies  round 
And  my  love  to  Barbara  Allen.' 

8  Slowly,  slowly  she  rose  up 
And  slowly  she  went  from  him. 
'It's  if  you  die,  and  die  you  must, 
You'll  never  get  Barbara  Allen.' 

9  She  had  not  got  a  mile  away 

Till  she  heard  the  death  bells  toUin'. 
And  every  stroke  they  seemed  to  say 
'Hard-hearted  Barbara  Allen.' 

10  She  looked  to  the  east,  she  looked  to  the  west, 
And  saw  the  corpse  a-comin'. 

'Oh,  lay  him  down,  oh,  lay  him  down 
So  I  may  look  upon  him !' 

11  The  more  she  looked,  the  more  she  sighed 
Until  she  burst  out  cryin'. 

And  she  cried  until  the  day  she  died 
For  the  love  of  Willie  Harrell. 

12  'Oh,  mother,  make  my  dying  bed, 
And  make  it  soft  and  narrow. 
Sweet  Willie  died  for  me  today, 

I  will  die  for  him  tomorrow.' 

13  Sweet  Willie  was  buried  in  the  new  churchyard 
And  Barbara  buried  beside  him. 

Out  of  his  grave  grew  a  red  rose  bush 
And  out  of  hers  a  brier. 

14  They  grew  till  they  reached  the  church  top, 
And  there  they  could  grow  no  higher. 
And  there  they  entwined  in  a  true  love  knot, 
The  rose  bush  and  the  brier. 

p 
'Barbara  Allen.'    From  the  ballad  collection  of  Miss  Isabel  Rawn  (after- 
wards Mrs.  T.  L.  Perry),  sent  to  Dr.  Brown  probably  in  1915. 

I     One  morning,  one  morning  in  the  month  of  May, 
The  flowers  they  were  blooming. 
Sweet  William  on  his  deathbed  lay 
For  the  love  of  Barb'ra  Allen. 


He  sent  his  servant  to  the  town 
Where  Barb'ra  was  a-dwelling: 


OLDER     BALLADS  —  MOSTLY     BRITISH  1 23 

'My  master  sent  me  here  for  you, 
If  this  be  Barb'ra  Allen.' 

3  Slowly,  slowly  she  rose  up 
And  slowly  she  went  to  him. 

The  very  first  words  that  she  did  say : 
'Young  man,  I  think  you  are  dying.' 

4  'Oh  yes,  oh  yes,  I  am  very  bad  off, 
But  one  sweet  kiss  will  save  me. 

Just  one  sweet  kiss  from  the  rose-red  lips 
Of  my  dear  Barb'ra  Allen.' 

5  'Young  man,  young  man,  you  are  very  bad  oflf. 
And,  yes,  perhaps  you  are  dying; 

But  you  cannot  have  the  kiss  you  want. 
The  one  from  Barb'ra  Allen.' 

6  He  turned  his  pale  face  to  the  wall 
And  turned  his  back  upon  her. 
'Farewell,  farewell  to  this  old  world. 
And  adieu  to  Barb'ra  Allen.' 

7  Slowly,  slowly  she  rose  up 
And  slowly  she  went  from  him. 

She  had  not  gone  but  a  very  short  way 
Till  she  heard  the  death-bells  ringing. 

8  She  looked  to  the  east  and  she  looked  to  the  west ; 
She  saw  his  pale  corpse  coming. 

She  covered  her  face  with  her  two  white  hands 
And  rushed  home  to  her  mother. 

9  'Oh,  mother,  go  and  fix  my  bed, 
Go  fix  it  soft  and  narrow. 

Sweet  William  died  for  me  today, 
And  I  will  die  for  him  tomorrow.' 

10  Sweet  William  was  buried  in  the  old  churchyard 
And  Barb'ra  buried  beside  him. 

And  it  was  out  of  his  grave  there  grew  a  red  rose 
And  out  of  hers  a  brier. 

11  They  grew^  they  grew  to  the  old  church  top 
And  could  not  grow  no  higher. 

And  there  they  tied  in  a  true-lovers'  knot 
With  the  red  rose  and  the  brier. 

Q 
'Barbara    Allen.'      Identical    copies    contributed    to   the    Monroe    (Union 
county)  Journal  in  November  1916  by  Miss  Beulah  M.  Funderburk  and 


124  NORTH  CAROLINA  FOLKLORE 

Mrs.  H.  C  Trull.  Agrees  rather  closely  with  P  so  far  as  that  text 
goes,  but  adds  some  stanzas.  In  the  deathbed  scene  (where  he  describes 
himself  as  "very,  very  sick"  instead  of  "very  bad  off")  she  charges 
him  with  slighting  her : 

'Do  you  remember  the  other  night 

In  the  ball  room  dancing, 

You  danced  and  flirted  with  the  ladies  around 

And  slighted  Barbara  Allen.' 

'Yes,  I  remember  in  yonder  town 

In  the  ball  room  dancing, 

1  danced  and  flirted  with  the  ladies  around ; 

But  I  still  loved  Barbara  Allen.' 

And  when  she  meets  the  funeral  procession,  instead  of  merely  covering 
her  face  and  rushing  oflf  to  her  mother  she  makes  a  speech: 

The  more  she  looked  the  more  she  wept, 

Till  she  bursted  into  crying, 

Saying,  "I  might  have  saved  that  yoimg  man's  life 

If  I  had  done  my  duty.' 


'Barbara  Allen.'  Contributed  in  May  1919  by  Miss  Monnie  Lou  Mc- 
Donald as  sung  near  Lillington,  Harnett  county,  by  her  grandmother, 
Mrs.  John  Allen  McLean,  whose  father  was  born  in  England  and  whose 
mother  was  Irish.  It  was  Mrs.  McLean's  favorite  song.  A  reduced 
version  of  six  and  a  half  stanzas,  but  it  still  retains  the  rose-and-brier 
ending. 

S 
'Barbary  Allen.'  This  text  is  among  Mrs.  Sutton's  contributions.  She 
does  not  say  which  of  the  many  whom  she  heard  sing  it  ("I  have  yet 
to  find,"  she  says,  "a  mountain  singer  who  didn't  know  'Barbary  Allen'  ") 
provided  the  text  she  gives ;  perhaps  it  is  a  composite.  The  tune  she 
gives  is  that  to  which  it  is  sung  in  Caldwell  county.  The  text  is  fairly 
full,  thirteen  stanzas,  with  no  particulars  that  call  for  reproduction  here. 
It  has  the  rose-and-brier  ending. 

T 
'Barbara  Allen.'  Contributed  by  Mrs.  W.  B.  Swim  of  Texas  to  Pro- 
fessor J.  B.  Hubbell  and  by  him  given  to  Dr.  Brown  in  1928.  As  sung 
by  Mrs.  Swim's  grandfather,  who  came  from  Missouri  and  lived  many 
years  in  Van  Zandt  county,  Texas.  Since  it  seems  to  have  no  connection 
originally  with  North  Carolina  it  should  perhaps  not  be  listed  here.  A 
normal  text,  eleven  stanzas. 

U 

'Barba  Allen.'  Secured  by  Mrs.  R.  C.  Vaught  (then  Miss  Gertrude 
Allen)  from  Pansy  Jordan,  one  of  her  pupils  at  the  Oakboro  school, 
Stanly  county.  A  somewhat  more  regular  text  than  G,  secured  at  the 
same  school.     It  begins  : 


OLDER     BALLADS MOSTLY     BRITISH  12$ 

It  was  all  in  the  month  of  May 
When  all  green  buds  were  blooming. 
Sweet  W'illiam  on  his  death  bed  lay 
For  the  love  of  Barba  Allen. 

Her  charge  that  he  slighted  her  at  the  drinking  of  healths  comes  after 

He  turn[ed]  his  pale  face  to  the  wall, 
His  back  upon  the  ceiling. 

There  is  no  tolling  of  the  death-bell ;  only 

As  she  was  on  her  highway  home 
She  heard  the  birds  a-singing. 
They  sang  so  sweet  they  seemed  to  say 
'Hard-hearted  Barbra  Allen.' 

She  looked  at  the  east,  she  looked  at  the  west ; 
She  saw  his  corpse  a-coming. 
'Lay  down,  lay  down  that  corpse  of  clay 
That  I  may  look  upon  him.' 

The  union  of  the  rose  and  the  brier  at  the  end  is  made  the  more 
miraculous  by  the  fact  that 

She  was  buried  in  one  church  yard, 
And  he  in  another; 

and  the  rose  springs  from  Barbra's  grave,  the  brier  from  William's, 
contrary  to  the  way  it  is  in  most  texts,  where  the  brier  (no  doubt  in  its 
American  sense)  is  assigned  to  Barbara  in  token  of  disapprobation,  the 
rose  to  William. 


'Barbara  Allen.'  Contributed  by  Otis  Kuvkendall  of  Asheville  in  1939. 
A  much  abbreviated  text,  six  stanzas;   but  it  keeps  the  rose-and-brier 

ending. 

W 

'Barbara  Allen.'  Obadiah  Johnson  of  Crossnore,  Avery  county,  con- 
tributed three  texts  in  July  1940.  They  are  pretty  much  alike  yet  have 
some  interesting  dififerences.  Two  of  them  are  given  here,  with  nota- 
tions of  some  of  the  variant  readings  of  the  third.  First,  the  fullest 
form. 

1  Early,  early  in  the  spring 

When  the  spring  buds  were  a-swelling, 
Sweet  William  Gray  on  his  death  bed  lay 
For  the  love  of  Barbra  Allen. 

2  He  sent  his  servant  to  her  town, 
He  sent  him  to  her  dwelling. 

Saying,  'Here's  a  message  for  the  lady  fair 
If  your  name  be  Barbra  Allen.' 


126  NORTH     CAROLINA     FOLKLORE 

3  Slowly,  slowly  she  got  up, 
And  slowly  she  went  to  him. 

But  all  that  she  said  when  she  got  there : 
'Young  man,  I  think  you're  dying.' 

4  *Oh,  yes,  I'm  sick,  I'm  very  sick 
And  death  is  nigh  me  dwelling, 
But  never  no  better  will  I  ever  be 
Till  I  get  Barbra  Allen.' 

5  'Oh,  yes,  you're  sick,  you're  very  sick, 
And  death  is  nigh  you  dwelling; 
But  never  no  better  will  you  ever  be, 
For  you  can't  get  Barbra  Allen. 

6  'Do  you  remember  in  yonders  town, 
When  we  were  all  a-drinking, 

You  handed  wine  to  the  ladies  all 
But  you  slighted  Barbra  Allen.' 

7  'Yes,  I  remember  in  yonders  town, 
When  we  were  all  a-drinking, 

I  handed  wine  to  the  ladies  all 
But  my  love  to  Barbra  Allen.' 

8  He  turned  his  pale  face  to  the  wall, 
He  turned  his  back  upon  them. 

'Adieu,  adieu,  fair  friends,  to  all ; 
Be  good  to  Barbra  Allen.' 

9  Slowly,  slowly  she  got  up 
And  slowly  she  went  from  him. 

She  had  not  gone  but  a  mile  in  town 
Till  she  heard  his  death  bell  tolling. 

10  She  looked  to  the  east,  she  looked  to  the  west. 
She  saw  his  cold  corpse  coming. 

'Hand  me  down,  hand  down  that  corpse  of  clay 
That  I  may  gaze  upon  him.' 

11  The  more  she  gazed,  the  more  she  wept, 
Till  she  burst  out  in  sorrow : 

'There's  a  young  man  that  I  could  have  saved 
If  I  had  done  my  duty. 

12  'Mother,  O  mother,  go  make  my  bed, 
Make  it  both  long  and  narrow ; 
Sweet  William  died  for  me  today, 
I'll  die  for  him  tomorrow. 


OLDER     BALLADS MOSTLY     BRITISH  I27 

13  'Father,  O  father,  go  dig  my  grave, 
Dig  it  both  long  and  narrow ; 
Sweet  WilHam  died  for  nie  in  love, 
I'll  die  for  him  in  sorrow.' 

14  Sweet  William  died  on  Saturday  eve 
And  Barbra  died  on  Sunday ; 

Her  mother  died  for  the  love  of  both ; 
She  died  on  Easter's  Monday. 

15  They  buried  William  in  one  church  yard 
And  Barbra  in  another ; 

And  from  his  grave  there  sprang  a  rose 
And  from  her  grave  a  brier. 

16  They  grew  to  the  top  of  the  old  church  tower 
Till  they  could  grow  no  higher ; 

They  wrapped  and  tied  in  a  true  love's  knot; 
The  rose  clung  to  the  brier. 

X 

'Barbara  Allen.'  Johnson's  second  version  differs  from  the  first  chiefly 
in  the  following  particulars :  It  omits  stanzas  4  and  S ;  in  place  of  stanza 
9  it  has 

She  walked  and  walked  on  through  the  town, 
She  heard  his  death-bell  ringing. 
And  every  stroke  they  seem  to  say 
'O  cruel  Barbara  Allen !' 

and  stanzas  11  is  less  moralistic: 

The  more  she  looked  the  more  she  grieved. 
She  burst  out  crying,  saying 
'Pick  me  up  and  carry  me  home. 
For  I  feel  like  I  am  dying.' 

(Johnson's  third  text  reverts  here  to  the  moralizing  form.)  In  stanzas 
12  and  13  the  positions  of  "today"  and  "in  love"  are  transposed;  stanza 
14  is  omitted;  and  at  the  close  her  grave  produces  a  rose  and  Wil- 
liam's a  brier  as  in  U,  instead  of  the  other  way  about  as  it  should  be 
(his  third  text  agrees  here  with  his  first). 

Y 

'Barbara  Allen.'  Secured  by  L.  W.  Anderson  in  1927  from  Mildred 
Scarborough  of  Duck,  Dare  county.  Differs  from  other  texts  by  intro- 
ducing a  new  second  stanza : 

He  courted  her  six  months  or  more 
And  thought  to  gain  her  favor ; 
But  .she  said  to  him,  'Let's  wait  a  while. 
For  a  young  man's  mind  will  wither.' 


126  NORTH     CAROLINA     FOLKLORE 

and  in  the  savagery  with  which  she  finally  rejects  him  (stanza  s)  : 

She  said,  'If  I  knew  one  sweet  kiss  would  kill  you 
I'd  gladly  give  you  a  thousand.' 

As  in  U,  the  rose  springs  from  Barbara's  grave,  the  brier  from  William's. 

Versions  with  an  autumnal  opening,  which  seem  to  go  back  to 
Child's  A  version,  are  much  less  frequent  than  those  with  a  spring- 
time setting. 


'Barbara  Ellen.'     From  the  manuscript  ballad  book  of  Miss  Lura  Wag- 
oner of  Vox,  Alleghany  county,  dated  October  30,  191 1. 

1  It  was  the  fall  season  of  the  year. 
The  yellow  leaves  were  falling. 
Sweet  William  was  taken  sick 
For  the  love  of  Barbara  Ellen. 

2  He  sent  a  message  to  the  town, 
The  town  where  she  was  dwelling : 

'Your  true  lover's  sick  and  sent  for  you  to  come, 
If  your  name  be  Barbara  Ellen.' 

3  Slowly,  slowly  she  rose  up 
And  slowly  she  went  to  him 

And  drew  the  curtain  from  around  his  bed : 
'Young  man,  I  think  you  are  dying.' 

4  'Yes,  I'm  low,  I'm  low,'  says  he, 
'And  death's  in  me  dwelling; 
But  never  better  will  I  be 

Till  I  get  you,  Barbara  Ellen.' 

5  'Don't  you  remember  last  Tuesday  night. 
The  town  where  we  were  dwelling. 

You  treated  all  those  ladies  kind 
But  slighted  Barbara  Ellen?' 

6  'Yes,  I  remember  last  Tuesday  night. 
The  town  where  we  were  dwelling, 

I  treated  all  those  ladies  kind 
And  slighted  Barbara  Ellen.' 

7  'Yes,  you  are  low,  you  are  low,'  says  she. 
And  death  is  in  you  dwelling. 

And  never  better  will  you  be 
By  getting  me,  Barbara  Ellen.' 

8  He  turned  his  pale  face  to  the  wall ; 
She  whirled  her  back  upon  him. 


OLDER     K  A  L  L  A  D  S MOSTLY     BRITISH  1 29 

'Adieu,  adieu  to  all  my  friends, 
Adieu  to  Barbara  Ellen.' 

9     As  she  went  walking  down  the  town 
She  heard  the  death  bells  ringing ; 
And  as  it  rang  it  seemed  to  say 
'Hard-hearted  Barbara  Ellen.' 

10  She  looked  to  the  east,  she  looked  to  the  west. 
She  saw  his  coffin  coming. 

'Lay  down,  lay  down  this  fair  young  man 
And  let  me  gaze  upon  him.' 

1 1  The  more  she  looked  the  more  she  wept. 
At  last  she  burst  out  crying : 

'Take  away  this  fair  young  man, 
For  surely  I'm  dying.' 

12  They  carried  him  to  the  old  church  yard, 
And  there  they  buried  him. 

They  buried  his  true  lover  by  his  side, 
W'hose  name  was  Barbara  Ellen. 

13  'Mother,  mother,  go  make  my  bed, 
Make  it  both  soft  and  narrow ; 
Sweet  William  died  for  me  in  love. 
I'll  die  for  him  in  sorrow. 

14  'Father,  father,  go  dig  my  grave, 
Dig  it  both  deep  and  narrow ; 
Sweet  William  died  for  me  today, 
I'll  die  for  him  tomorrow.' 

15  Out  of  his  grave  sprang  a  red  rose 
And  out  of  hers  a  brier. 

They  tied  together  in  a  true  love's  knot. 
The  red  rose  and  the  brier. 

AA 
'Barbra  Allen.'  Collected  by  C.  B.  Houck  of  Todd,  Ashe  county,  appar- 
ently from  Maude  S.  Colvord  of  Jefferson  in  the  same  county,  December 
30,  1919.  The  air  accompanying  this  text  was  furnished  by  C.  E.  Buck- 
ner,  Jr.,  of  Asheville,  who  knew  it  from  his  mother,  who  had  learned 
it  in  Madison  county.  It  is  substantially  the  same  text  as  Z  but  shows 
some  minor  variations.     Line  3  of  stanza  2  runs  : 

Saying,  'Rise  you  up  for  your  true  love  calls.' 

Stanzas  4  and  7  of  Z  are  combined : 

'I  am  low,  I  am  low,  I  know  indeed, 
And  death  is  in  me  dwelling.' 


130  NORTH     CAROLINA     FOLKLORE 

'No  better  will  you  ever  be 
By  getting  Barbra  Allen.' 

William  defends  himself  against  the  charge  of  slighting  Barbra  at  the 
drinking  instead  of  meekly  acknowledging  it  as  he  does  in  Z.  In  stanza 
ID  it  has  the  more  customary  "corpse"  where  Z  has  "coffin."  It  omits 
stanza  ii  of  Z,  and  the  last  four  stanzas  are  differently  arranged: 

*Oh,  papa,  go  and  dig  my  grave, 
Go  dig  it  deep  and  narrow ; 
My  true  love  died  for  me  today, 
I  will  die  for  him  tomorrow. 

*Oh,  mama,  go  and  make  my  bed, 
Go  make  it  soft  and  narrow ; 
Sweet  William  died  for  me  today 
And  I  must  die  for  him  tomorrow.' 

They  took  him  to  the  new  church  yard 
And  there  they  buried  him. 
They  placed  his  true  love  by  his  side — 
Her  name  was  Barbra  Allen. 

And  out  of  his  grave  there  grew  a  rose. 
And  out  of  hers  a  brier ; 
They  grew  till  they  tied  into  a  true  love  knot, 
The  rose  around  the  brier. 


'Barbara  Allen.'  Contributed  by  Mrs.  R.  C.  Vaught  in  1935  from 
Taylorsville,  Alexander  county.  It  is  Child's  A  version  verbatim  except 
that  it  has  "slowly,  slowly"  instead  of  "hooly,  hooly"  in  stanza  3. 

CC 
'Barbara  Allen.'  Secured  by  Kendrick  Few  of  Durham  in  June  1940 
from  Sidney  Stovall  of  Buies  Creek,  Harnett  county.  This  again  is 
Child's  A  text  verbatim  et  literatim  except  that  it  omits  stanza  6.  At 
the  end  of  the  manuscript  is  this  note:  "There  is  another  version  that 
goes  like  this,  but  has  two  extra  verses.  One  of  them  I  have  forgot, 
but  it's  something  about  being  buried  in  the  graveyard  by  a  grey  stone 
church.     The  last  verse  goes  like  this : 

Out  of  his  grew  a  lily  white  rose 
And  out  of  hers  a  briar, 
And  there  they  twined  a  true  love  knot. 
The  rose  around  the  briar." 

These  last  two  texts  (BB  and  CC)  are  probably  explained  by  what 
Professor  White  tells  me  of  Dr.  Brown's  method  of  stimulating  re- 
search for  ballads.  He  would  mimeograph  texts  of  ballads  and  dis- 
tribute them  to  students  and  others,  asking  if  they  knew  these  songs. 
Frequently  they  did,  and  returned  the  sheet  with  the  information  that 
they  laiew  the  song.  Thus  this  returned  sheet  would  get  into  the  files 
as  evidence  that  such  and  such  a  person  could  furnish  a  version  of  such 
and  such  a  song;  but  for  some  reason  the  version  was  not  secured. 


OLDER     BALLADS MOSTLY     BRITISH  I3I 

DD 

'Barbara  Ellen.'  Secured  from  Miss  Bonnie  Ethel  Dickson  of  Helton, 
Ashe  county.  A  full  normal  text  with  the  autumn  setting,  thirteen 
stanzas. 

EE 

'Barbaree  Allen.'  One  of  the  songs  collected  by  Professors  W.  Amos 
Abrams  and  Gratis  D.  Williams  of  the  Appalachian  State  Teachers  Col- 
lege in  1945  from  Pat  Frye  of  East  Bend,  Yadkin  county.  See  head- 
note  to  'Lady  Isabel  and  the  Elf-Knight'  G.  Nine  stanzas.  Does  not 
begin  in  the  first  person,  and  makes  no  mention  of  the  time  of  year. 
She  is  overcome  with  remorse  when  she  meets  "them  corpse."  Rose- 
and-brier  ending. 

There  is  in  the  Collection  a  sheet,  sent  probably  by  I.  G.  Greer 
of  Boone,  on  which  is  written  a  tune  set  to  the  first  stanza  of 
'Barbara  Allen'  and  the  stanza  of  'Lord  Thomas  and  Fair  Annet' 
in  which  Thomas  asks  his  father  and  mother  whether  he  shall  marry 
Eleanor  or  the  brown  girl.  Which  means,  one  supposes,  that  they 
are  sung  to  the  same  tune,  not  that  the  two  ballads  are  contaminated. 

28 

Lady  Alice 
(Child  85) 

Child  remarks  that  "this  little  ballad  ...  is  a  sort  of  counter- 
part to  'Lord  Lovel'  " ;  and  perhaps  it  is  the  simplicity  of  its  senti- 
ment that  accounts  for  its  popularity.  It  appears  in  Halliwell's 
Nursery  Rhymes  of  England  and  in  Miss  Mason's  Nursery  Rhymes 
and  Country  Songs,  and  it  is  reported  as  traditional  song  in  Hamp- 
shire (JFSS  III  299-302),  a  version  not  belonging  to  any  of  Child's 
five  texts  though  known  in  America.  On  this  side  of  the  Atlantic 
it  seems  to  belong  especially  to  the  Southern  states;  Barry  (BBM 
452-3)  found  a  sea  captain  who  recognized  Child's  C  version  as 
something  he  had  heard  sailors  sing  but  did  not  know  himself,  the 
two-stanza  fragment  reported  from  Wisconsin  is  confessedly  a 
Kentucky  memory,  and  the  two  stanzas  reported  from  Michigan 
(BSSM  53),  one  about  the  turtle  dove  and  one  giving  directions 
for  burial,  are  merely  floating  items  of  folk  lyric  and  do  not  belong 
especially  to  'Lady  Alice'  (Bayard  has  some  texts  collected  in 
Pennsylvania  [JAFL  Lviii  76]  but  does  not  print  them).  But  the 
song  is  well  known  in  the  South:  in  Virginia  (TBV  346-53,  FSSH 
90,  SCSM  118-22),  West  Virginia  (FSS  1 10-14,  JAFL  lviii  75-6), 
Kentucky  (FSKM  8-9),  Tennessee  (ETWVMB  76,  SharpK  i  198, 
FSSH  89),  North  Carolina  (SharpK  i  196-9,  SSSA  47,  BMFSB 
2-3,  FSRA  33),  South  Carolina  (SCB  142-3),  Mississippi  (FSM 
107-11),  and  Arkansas  (OFS  1  135-40). ^  The  texts  fall  into  three 
fairly  distinct  groups:  (i)  those  belonging  to  the  tradition  of 
Child  B,  in  which  the  man's  mother  prepares  gruel  for  him,  his 
lady-love  is  mending  her  coif,  when  she  sees  the  funeral  procession 
approaching  she  bids  the  six  bearers  set  down  the  coffin  and  de- 

^  For  Florida  see  FSF  291-4. 


132  NORTH  CAROLINA  FOLKLORE 

clares  that  her  body  shall  be  buried  beside  his,  and  a  lily  grows 
out  of  his  grave  and  touches  the  lady's  breast  but  is  presently 
blasted  by  a  northeast  wind;  (2)  texts  not  very  close  to  any  of  the 
Child  versions,  in  which  Collins  comes  home  one  night,  is  taken 
sick,  and  dies,  with  no  mention  of  his  mother  or  of  water-gruel; 
his  sweetheart  Alice  (Annice,  Annis,  Mary),  sewing  her  silk  so 
fine,  hears  of  it,  follows  him  up  and  follows  him  down  (not  in  any 
of  the  Child  versions)  until  she  comes  up  with  the  funeral  proces- 
sion, bids  the  bearer  unscrew  the  coffin  lid  that  she  may  kiss  the 
cold  lips  that  "will  never  kiss  mine,"  and  when  her  mother  remon- 
strates that  "there  are  other  young  men"  replies  that  George  has 
her  heart.  In  texts  of  this  type  the  man  never  gives  directions  for 
his  burial  as  he  does  in  texts  of  the  third  type,  and  the  song  ends 
with  a  stanza  about  the  lonesome  dove,  not  about  the  lily  and  the 
northeast  wind.  This  is  by  far  the  commonest  form  of  the  ballad 
in  America.  Type  (3),  exemplified  by  the  Hampshire  texts  and 
by  texts  from  Virginia  and  West  Virginia  (but  not  by  any  texts 
from  North  Carolina),  is  quite  different  from  any  of  the  Child 
versions.^  Here  Collins,  riding  out  one  fine  morning,  sees  "a  fair 
pretty  maid"  ("his  own  true  love,"  "his  own  fair  Ellen,"  "his 
Eleanor  dear")  washing  her  "marble  stone";  she  calls  him  to  her 
("whooped  and  holloed,"  "screamed  and  cried")  and  tells  him  that 
his  life  will  not  be  long.  When  he  leaves  her  he  rides  (more  often 
swims,  for  this  pretty  maid  is  a  creature  of  the  water,  a  water- 
banshee  in  Bayard's  reconstruction  of  the  story)  home,  bids  his 
father  let  him  in,  his  mother  make  his  bed,  his  sister  (in  the  Hamp- 
shire texts)  bind  his  head;  before  he  dies  he  orders  that  he  be 
buried  "under  that  marble  stone  that's  against  fair  Helen's  hall." 
When  she  meets  the  corpse  she  bids  her  maid  bring  "the  sheet 
that's  wove  with  a  silver  twine"  (sometimes  called  directly  the 
shroud)  to  hang  over  his  head  "as  tomorrow  it  shall  hang  over 
mine,"  and  kisses  "his  lily-white  lips.  For  ten  thousand  times  he 
has  kissed  mine."  The  news  travels  to  London  town  (in  the 
Hampshire  texts;  Dublin  town,  FSS  ABE;  Douglas's  town,  JAFL 
LViii  76;  simply  "down,"  TBV  A),  where  six  pretty  maids  die  in 
one  night  for  George   (or  Johnny)   Collins's  sake.     In  this  version 

^  So  much  so  as  to  prompt  Barbara  M.  Cra'ster  (JFSS  iv  106-9)  to 
suggest  that  the  ballad  is  really  a  fairy  mistress  (or  mermaid)  story  of 
the  type  of  'Clerk  Colvill'  (Child  42).  Later  (JAFL  lviii  73-103) 
Samuel  P.  Bayard  re-examined  the  whole  problem  in  its  connection  with 
the  various  forms,  continental  as  well  as  British,  of  the  Clerk  Colvill 
story  and  concluded  that  in  the  Johnny  Collins  (our  type  3)  form  of  the 
story  the  woman  in  it  is  a  banshee  and  the  ballad  is  the  result  of  an 
Irish  working  over  of  the  Clerk  Colvill  story  (though  it  has  not  been 
found  in  Irish  tradition  unless  we  reckon  the  texts  from  West  Virginia 
and  Pennsylvania,  where  there  was  a  considerable  Scotch-Irish  element 
among  the  early  settlers,  as  Irish).  Still  later  (JAFL  lx  265-86) 
Harbison  Parker  canvasses  Bayard's  arguments  and  tries  to  show  that 
the  woman  in  the  case  is  not  a  banshee  but  a  mermaid  and  that  the 
elves  of  the  Scandinavian  form  of  the  story  were  changed  into  mermaids 
in  Shetland  and  Orkney  tradition,  which  knows  mermaids  and  selkies 
but  not  elves — though  he  can  allege  no  versions  of  the  ballad  from  the 
Shetlands  or  the  Orkneys. 


OLDER     BALLADS MOSTLY     BRITISH  I33 

it  seems  pretty  clear  that  Collins's  death  is  in  some  way  connected 
with  the  lady — who  nonetheless  grieves  over  it.  The  version  is 
represented  in  America  by  TBV  A  B,  FSS  ABE,  and  by  Bay- 
ard's findings  in  West  Virginia  and  Pennsylvania;  it  does  hot 
occur  in  the  North  Carolina  collection, 

A 
'Giles  Collins.'  Contributed  by  K.  P.  Lewis  in  1914  from  the  singing 
of  his  grandfather,  Dr.  Kemp  P.  Battle  of  Chapel  Hill.  As  will  be 
seen,  it  is  almost  verbatim  Qiild's  B  version.  But  so  are  the  A  and  D 
versions  in  the  Mississippi  collection,  whose  authenticity  is  amply 
vouched  for.  The  hyphens  in  stanzas  1-4  and  the  spelling  loife  in  stanza 
3  are  doubtless  intended  to  show  the  way  the  words  are  sung. 

1  Giles  Collins  he  said  to  his  old  mo-ther, 
'Oh,  mother,  come  bind  up  my  head, 
And  send  for  the  parson  of  our  parish. 
Or  tomorrow,  I  shall  be  dead,  be  dead, 
Tomorrow  I  shall  be  dead !' 

2  His  mother  she  made  him  some  water  gruel, 
And  stirred  it  with  a  spoon ; 

Giles  Collins  he  drank  the  water  gru-el 
And  died  before  'twas  noon,  'twas  noon. 
And  died  before  'twas  noon. 

3  Lady  Anna  was  sitting  at  her  win-dow, 
A-mending  her  nightrobe  and  coif. 

She  saw  the  very  prettiest  corpse 
She  ever  had  seen  in  her  loife. 
She  ever  had  seen  in  her  loife. 

4  'What  bear  ye  there,  ye  six  strong  men. 
Upon  your  shoulders  so  high?' 

'We  bear  the  body  of  Giles  Col-lins, 
Who  for  love  of  you  did  die,  did  die, 
Who  for  love  of  you  did  die.' 

5  'Set  him  down,  set  him  down!'  Lady  Anna  she  cried, 
'On  the  grass  that  grows  so  green ; 

Or  tomorrow,  ere  the  clock  strike  nine, 
My  body  must  lie  by  hisn,  by  hisn, 
My  body  must  lie  by  hisn !' 

6  Lady  Anna  was  buried  in  the  east 
And  Giles  Collins  in  the  west ; 
There  grew  a  lily  from  Giles  Collins 

And  touched  Lady  Anna's  breast,  her  breast. 
That  touched  Lady  Anna's  breast. 

7  There  blew  a  cold  north-easterly  wind, 
Which  cut  that  lily  in  twain ; 


[34  NORTH     CAROLINA     FOLKLORE 

Which  never  was  there  seen  before, 
And  never  shall  be  again,  again, 
And  never  shall  be  again. 


'George  Collins.'    From  the  John  Burch  Blaylock  Collection. 

1  George  Collins  drove  home  one  cold  winter  night, 
George  Collins  drove  home  so  far ; 

George  Collins  drove  home  one  dark  stormy  night. 
And  was  taken  sick  and  died. 

2  Mis^  Mary  was  sitting  in  yonder  hall, 
And  sewing  her  silk  so  fine ; 

But  when  she  heard  that  George  was  dead, 
She  laid  her  sewing  aside. 

3  She  followed  him  up,  she  followed  him  down, 
She  followed  him  to  his  grave ; 

And  there  she  knelt  on  bended  knees ; 
She  wept,  she  mourned,  she  prayed. 

4  'Unscrew  the  cofiin,  lay  back  the  lid. 
Take  ofif  the  linen  so  fine ; 

That  I  may  kiss  his  cold,  pale  cheeks, 
For  I  am  sure  he'll  never  kiss  mine.' 

5  *Oh,  daughter,  oh,  daughter,  why  do  you  weep  so? 
There  are  plenty  more  boys  besides  George.' 

'Oh,  mother,  oh,  mother,  George  has  my  heart. 
And  now  he's  dead  and  gone. 

6  'Oh,  don't  you  see  that  lonely  dove 
A-sitting  on  yonder  pine  ? 

He's  mourning  for  his  own  true  love 
Just  as  I  mourn  for  mine. 

7  'The  happiest  moments  I  ever  spent, 
I  spent  them  by  his  side ; 

The  saddest  words  I  ever  heard 
Was  the  night  George  Collins  died.' 

c 
'Song  Ballad  of  George  Collins.'    Collected  in  1938  by  W.  Amos  Abrams 
from  a  manuscript  written  in  1912  by  Alice  Moody  of  Vilas,  Watauga 
county.     Substantially  the  same  as  B  except  that  it  lacks  the  last  half 
of  stanza  3  and  all  of  stanza  7. 

D 
'George   Collins.'     Sung  and    written   down    March   9,    191 5,   by   D.   E. 
Holder,  living  eight  miles  from  Durham.     A  crow  stanza  is  added  and 
the  address  to  the  coffin  bearers  shifted  to  the  last  place. 


OLDER     BALLADS MOSTLY     BRITISH  135 

1  George  Collins  rode  home  one  cold  winter  night, 
George  Collins  rode  home  so  gay ; 

George  Collins  rode  home  one  cold  winter  night. 
Was  taken  sick,  and  died. 

2  Mary  was  setting  in  yonder  bower, 
Sewing  her  silk  so  fine ; 

And  when  she  heard  of  Georgie's  death 
She  laid  her  silk  aside. 

3  Her  mother  says,  'Daughter,  what  makes  yon  weep  so? 
There's  plenty  more  boys  besides  George.' 

'I  know,  but,  dear  mother,  George  has  my  heart. 
Now  George  is  dead  and  gone. 

4  'Now  don't  you  see  that  lonesome  dove 
Setting  in  yonders  pine 
A-moaning  for  his  own  true  love? 
Why  not  me  mourn  for  mine  ? 

5  'The  blackest  crow  that  ever  flew 
Will  surely  turn  to  white 

If  ever  I  prove  false  to  mv  love 
Bright  days  will  turn  to  night. 

6  'Unscrue.  take  oflf  the  coffin  lid 
And  lay  back  the  linen  so  fine, 

And  let  me  kiss  his  pale  cold  cheek ; 
For  I  know  he  will  never  kiss  mine.' 

E 
'George  Collins.'  Reported  by  Thomas  Smith  of  Zionville,  Watauga 
county,  May  i,  1915,  with  the  following  notation:  "The  above  song  was 
obtained  for  me  by  Sherman  Grogan  from  his  sister,  Mrs.  Sallie  Eggers, 
of  Zionville  (Route  i).  Mrs.  Eggers  learned  the  song  from  a  cousin 
nf  her  husband's,  a  Miss  Bertha  Warren,  about  twelve  years  ago.  Mrs. 
Marjory  Wilson  of  Zionville  (Route  i)  sang  part  of  the  song  to  me  a 
few  days  ago.  She  (Mrs.  Wilson)  learned  the  song  from  her  sister, 
Miss  Bertha  Warren,  who  she  thinks  learned  it  about  fifteen  years  ago 
from  a  picture-agent  who  was  stopping  at  their  home."  Differs  from 
the  preceding  by  lacking  the  dove  stanza  as  well  as  the  crow  stanza,  but 
chiefly  in  that  the  first  two  lines  seem  to  be  in  the  first  person  of 
George's  beloved.  Or  are  they?  The  construction  is  puzzling;  "come" 
may  be  a  past  tense.  Being  uncertain  of  the  meaning,  the  editor  has 
refrained  from  putting  the  opening  lines  in  quotation  marks,  leaving  the 
reader  to  make  his  own  interpretation. 

T     George  Collins  come  home  one  cold  winter  night, 
George  Collins  come  home,  I  cried ; 
George  Collins  come  home  one  cold  winter  night. 
Was  taken  down  sick  and  died. 


136  NORTH     CAROLINA     FOLKLORE 

2  Pretty  Mary  was  sitting  in  yonders  room 
Sewing  her  silk  so  fine, 

Pretty  Mary  was  sitting  in  yonders  room 
When  she  heard  that  poor  George  was  dying. 

3  She  followed  him  up,  she  followed  him  down, 
She  followed  him  to  his  grave. 

Sat  down  upon  the  coid  damp  ground, 
Laid  back  the  linen  so  fine. 

4  'And  let  me  kiss  those  pale  cold  lips. 
For  I'm  sure  they  will  never  kiss  mine.' 

5  'Oh,  Mary,  oh,  Mary,  what  makes  you  weep? 
I'm  sure  there's  more  than  one.' 

'Poor  George,  poor  George,  he's  got  my  heart 
And  now  he's  dead  and  gone.' 

F 
'George   Collins.'     Recorded  by  Miss   Mamie   Mansfield  of   Durham   in 
1922  from  the  singing  of  F.  Coleman.     The  homeliness  of  the  language 
in  stanzas  3  and  4  is  interesting. 

1  George  Collins  came  home  last  Thursday  night, 
Was  taken  sick  and  died. 

For  love  of  him  little  Mary  next  door 
Was  sewing  her  silk  so  fine. 

2  As  soon  as  she  heard  that  George  was  dead 
She  laid  her  silk  aside. 

And  there  she  fell  on  her  bending  knees ; 
She  wept,  she  mourned,  she  cried. 

3  'Oh,  Mary,  oh,  Mary,  get  up  from  there. 
And  weep  and  mourn  no  more ; 

For  plenty  young  men  are  standing  around 
To  hear  you  weep  and  mourn.' 

4  'Oh,  mother,  oh,  mother,  do  leave  me  alone. 
I  care  no  tears  for  them. 

It  makes  me  weep  when  you  are  asleep 
To  think  I've  lost  my  friend. 

5  'I'm  like  the  little  snow-white  dove 
That  flies  from  pine  to  pine 
A-sighing  for  his  own  true  love 
As  I  am  sighing  for  mine.' 


'George  Collins.'  Contributed  by  Miss  Pearle  Webb  of  Pineola,  Avery 
county,  in  1939.  The  first  three  stanzas  are  pretty  much  the  same  as 
the  corresponding  stanzas  of  D ;  the  last  three  are  in  better  order : 


OLDER     BALLADS — MOSTLY     BRITISH  137 

4  'Unscrew,  take  off  the  coffin  lid, 
And  lay  back  the  linen  so  fine, 
And  let  me  kiss  his  pale  cold  cheek, 
For  I  know  he  will  never  kiss  mine. 

5  'The  brightest  day  I  ever  saw 
Was  by  George  Collins'  side ; 
The  longest  day  I  ever  saw 
Was  when  George  Collins  died. 

6  'Oh,  don't  you  see  that  pretty  little  dove 
A-flying  from  pine  to  pine? 

He  sits  and  mourns  for  his  own  true  love 
Just  like  I  mourn  for  mine,' 

H 

'George  Coleman.'  Contributed  by  Lena  Warf,  October  6,  1939.  "I 
first  heard  this  sung  by  my  mother.  She  was  born  1889,  Bedford,  Vir- 
ginia." Much  the  same  as  B,  but  the  order  of  the  stanzas  is  different. 
B's  stanzas  appear  here  in  the  order  1235764. 

I 
'George    Collin.'     Contributed   by    Rosa   Efird   of    Stanly   county.     The 
items  of  the  story  are  arranged  somewhat  differently  here  though  it  is 
substantially  like  the  preceding. 

1  George  Collin  rose  up  at  home  last  Wednesday  night. 
Was  taken  sick  and  died. 

2  His  darling  was  in  the  next  room 
Sewing  her  silk  so  fine ; 

But  when  she  heard  George  Collin  was  dead 
She  laid  her  silk  aside. 

3  She  went  into  the  very  next  room. 
And  there  her  darling  lay. 

4  'Take  off,  take  off  that  coffin  lid 
And  folded  sheets  so  fine 

And  let  me  kiss  George  Collin's  cold  lips. 
For  Fm  sure  he'll  never  kiss  mine.' 

5  She  followed,  she  followed  him  day  by  day ; 
She  followed  him  to  his  grave, 

And  there  upon  her  knees  she  fell ; 
She  wept,  she  mourned,  she  cried. 

6  'Dear  girl,  dear  girl,  get  up  from  there. 
What  makes  you  grieve  so  hard? 
There's  many  young  men  a-standing  around 
That  sees  your  broken  heart,' 


138  NORTH     CAROLINA     FOLKLORE 

7     'God  bless,  God  bless  that  lonesome  dove 
That  flies  from  pine  to  pine 
And  mourns  for  a  lost  true  love, 
Just  like  I've  mourned  for  mine.' 

J 
'George  Collin.'     A  text  contributed  by  Ruth  Morgan  of  Stanly  county. 
The  same  text  as  H,  though  somewhat  more  regular  in  stanza  formation. 

K 
'John  Harmen.'     Contributed  by  Bessie  Lou  Mull  of  Shelby,  Cleveland 
county.     New  names  appear  here,  though  it  is  essentially  the  same  ver- 
sion as  the  preceding. 

1  Last  Wednesday  night  John  Harmen's  home, 
So  slow,  so  easy,  and  quiet. 

Last  Wednesday  night  John  Harmen  he 
Was  taken  sick  and  died. 

2  Miss  Polly,  Miss  Polly  was  sitting  in  the  hall. 
She  was  sewing  on  her  silken  so  fine ; 

And  when  she  heard  her  true  love  had  died 
She  laid  it  all  aside. 

3  'Dear  daughter,  dear  daughter,  what  makes  you  grieve? 
There  are  many  more  men  than  one.' 

'Dear  mother,  dear  mother,  he's  all  my  heart ; 
I  know  that  my  true  love  has  gone. 

4  'Bring  up  the  cofifin,  push  back  the  lid, 
And  throw  oflF  the  silken  so  fine. 
And  let  me  kiss  those  cold  poor  lips, 
For  I  know  they  never  kissed  mine. 

5  'I  followed  him  up,  I  followed  him  down, 
I  followed  him  all  around ; 

I  followed  him  up,  I  followed  him  down, 
I  followed  him  to  the  ground. 

6  'Oh,  don't  you  see  the  turtle  dove? 
It  is  flying  from  pine  to  pine ; 

It  is  mourning  for  its  own  true  love ; 
And  why  not  mourn  for  mine  ?' 

L 
'George    Collins.'      Contributed    by    Miss    Bonnie    Ethel    Dickson.      The 
girl  here  is  called  "little  Nellie,"  but  otherwise  this  text  does  not  pre- 
sent any  distinguishing  marks. 

M 
'George   Collins.'     Contributed   by   Kendrick   Few   of   Durham    in   June 
1940.    No  significant  variations. 


OLDER     BALLADS MOSTLY     BRITISH  139 

N 
'Dame  Alice  was  Sitting  on  Widow's  Walk.'  Contributed  by  Thomas  F. 
Leary  of  Durham  in  1940  as  sung  by  John  McClusky  of  Salem,  Massa- 
chusetts. Although  not  a  North  Carolina  text,  it  is  of  such  mterest  that 
it  is  printed  here.  In  the  main  it  belongs  to  the  f^rst  type  of  version 
described  in  the  headnote;  but  nowhere  else,  so  far  as  I  can  find,  is  the 
story  given  a  seaside  setting.  The  widow's  walk  in  New  England  sea- 
coast  towns  is  a  place  on  the  roof  of  the  house  where  a  woman  could 
walk  and  watch  for  the  return  of  ships  that  had  gone  out. 

1  Dame  Alice  was  sitting  on  widow's  walk, 
And  she  looked  down  on  the  wharf ; 
And  there  she  saw  as  brave  a  corpse 

As  ever  she  saw  on  the  wharf. 

2  'What  have  ye,  what  have  ye,  you  six  tall  men  ? 
Is  it  nets  ye  bear  to  the  yard?' 

'We  carry  the  corpse  of  Miles  CoUins, 
An  old  true  lover  of  yours.' 

3  *Oh  put  him  down  easy,  ye  six  tall  men, 
Here  on  the  grass  so  green. 

And  Tuesday,  when  the  sun  goes  down, 
His  wife  a  corpse  shall  be  seen. 

4  'Oh  bury  me  in  Mary's  Church 
For  my  love  so  true. 

And  make  me  a  wreath  of  wild  roses 
And  many  flags  of  blue.' 

5  Miles  Collins  was  buried  deep  in  the  east. 
Dame  Alice  deep  in  the  west. 

And  the  roses  that  bloomed  on  the  fisherman's  grave 
Reached  to  the  lady's  breast. 

6  The  minister  Gray  he  happened  to  pass, 
And  cut  the  roses  in  twain, 

And  said  never  were  seen  such  lovers  before 
Nor  ever  there  will  be  again. 

o 

Two  stanzas,  with  music,  reported  by  Miss  Nancy  Maxwell  from  the 
western  part  of  the  state  as  belonging  to  'Barbara  Allen'  clearly  belong 
instead  to  our  ballad  in  its  second  type. 

She  followed  him  up,  she  followed  him  up, 
She  followed  him  to  the  grave. 
And  there  she  bent  her  cold,  proud  head ; 
She  wept,  she  cried,  she  prayed. 

*Oh,  dig  up  the  coffin  and  take  off  the  lid, 
Draw  back  those  sheets  so  fine ; 


140  NORTH     CAROLINA     FOLKLORE 

And  let  me  touch  those  cold,  proud  lips, 
For  I  know  they'll  never  touch  mine.' 


29 

Lamkin 
(Child  93) 

This  gruesome  little  ballad  is  traced  no  further  back  than  the 
latter  eighteenth  century,  but  was  widely  known  and  sung  a  hun- 
dred and  fifty  years  ago;  Child  has  twenty-six  versions  of  it  (some 
of  them  merely  fragments).  And  it  is  still  not  forgotten.  It  has 
been  reported  since  Child's  time  from  Aberdeenshire  (LL  71-2), 
Cambridgeshire  (JFSS  v  83-4),  Surrey  (JFSS  i  212-13),  Hamp- 
shire (JFSS  II  III),  and  Somerset  (JFSS  v  81-2),  and  on  this 
side  of  the  water  from  Newfoundland  (FSN  17),  Maine  (BBM 
200-6,  JAFL  Lii  70-4),  Massachusetts  (FSONE  303-5),  New  York 
(JAFL  XIII  117-18),  Virginia  (TBV  354-9).  Kentucky  (SharpK 
I  202-7),  Tennessee  (FSSH  91-3,  BTFLS  viii  75),  North  Caro- 
lina (JAFL  xiii  118,  SharpK  i  201-2,  SSSA  62-4,  FSRA  76, 
SFLQ  V  137-8),  Arkansas  (OFS  i  141-2),  Ohio  (BSO  59-60, 
Indiana  (BSI  122-4),  and  Michigan  (BSSM  313).  The  name 
Lamkin  (which  takes  in  tradition  a  variety  of  forms,  some  of  them 
scarcely  traceable  to  that  original)  is  explained  by  Miss  Gilchrist 
(JEFDSS  I  1-17)  as  a  Flemish  form  of  the  name  Lambert;  Flem- 
ings were  famous  for  their  skill  as  masons  and  were  sometimes 
brought  to  England  as  builders.  The  motivation  of  Lamkin's 
savagery,  in  many  texts,  is  that  he  has  not  been  paid  by  the  lord 
for  the  building  of  his  castle,  but  in  many  other  texts  no  motive  is 
offered.  The  daughter  Betsy  appears  in  two  of  Child's  versions 
and  frequently  in  American  texts.  The  false  nurse,  with  her  bitter 
hatred  of  her  mistress,  is  a  persistent  figure.  The  macabre  humor 
of  Lamkin  rocking  the  cradle  in  which  the  baby  is  screaming  its 
life  away  while  the  nurse  carries  on  a  long  dialogue  with  the  lady 
upstairs  marks  most  of  the  Child  versions  and  is  retained  in  many 
of  the  American  texts. 


'Beaulampkins.'  Sent  by  Thomas  Smith  of  Zionville,  Watauga  county, 
in  March  1914  to  C.  Alphonso  Smith  and  afterwards  added  to  the  North 
Carolina  collection.  "As  sung  by  Mrs.  Emma  Smith  and  Mrs.  Polly 
Rayfield,  both  of  whom  heard  it  when  children,  probably  forty  or  fifty 
years  ago.  .  .  .  Mrs.  Rebecca  Isenhour  of  this  place  sings  the  sixteenth 
verse  ...  as  follows : 

'Oh  father,'  said  daughter  Betsy, 
'Pray  do  not  blame  me. 
For  Beaulampkins  has  killed  your  lady 
And  little  babye,  babee.' " 

The  name  Beaulampkins  is  evidently  a  folk-etymology  of  Bolamkin, 
i.e.,  bold  Lamkin,  a  form  under  which  the  name  appears  in  many  texts. 


ALLADS  —  MOSTLY     BRITISH  I4I 


1  Beaulampkins  was  as  fine  a  mason 
As  ever  laid  stone. 

He  built  a  fine  castle 
And  pay  he  got  none. 

2  Said  the  landlord  to  his  lady, 
'When  I  am  from  home 
Beware  of  Beaulampkins 
Should  he  catch  you  alone.' 

3  'Oh  no,'  said  his  lady, 
'You  need  not  fear  him. 
Our  doors  are  fast  bolted 
And  our  windows  barred  in.' 

4  But  Beaulampkins  rode  up 
When  the  landlord  was  away, 
And,  seeing  the  false  nurse 
At  a  window,  did  say : 

5  'Where  is  the  landlord. 
Or  is  he  at  home?' 

'He  is  gone  to  merry  England 
For  to  visit  his  son.' 

6  'Where  is  his  lady? 
Or  is  she  within?' 

'She  is  upstairs  sleeping,' 
Said  the  false  nurse  to  him. 

7  'How  will  I  enter?' 

Said  Beaulampkins  to  her. 
The  false  nurse  then  arose 
And  unbolted  the  door. 

8  'If  the  lady  is  upstairs 
How  will  we  get  her  down?' 
'We  will  stick  her  little  baby 
Full  of  needles  and  pins.' 

9  Beaulampkins  rocked  hard 
And  the  false  nurse  she  sung, 
While  tears  and  red  blood 

.    From  the  cradle  did  run. 

10     The  lady  came  downstairs 
Not  thinking  of  harm. 
When  Beaulampkins  arose 
And  caught  her  in  his  arms. 


142  NORTH     CAROLINA     FOLKLORE 

11  'Oh  spare  me,  Beaulampkins ! 
Oh  spare  me  one  day ! 

And  you  shall  have  as  much  gold 
As  your  horse  can  carry  away. 

12  *Oh  spare  me,  Beaulampkins! 
Oh  spare  me  a  while ! 

Don't  you  hear  how  mournful 
My  little  baby  does  cry  ? 

13  'Oh  spare  me,  Beaulampkins! 
Oh  spare  me  one  hour ! 

And  you  shall  have  my  daughter  Betsy, 
My  own  blooming  flower !' 

14  'You  may  keep  your  daughter  Betsy 
To  wade  through  the  flood. 

Hold  here  that  silver  basin 
To  catch  your  heart's  blood.' 

15  'Oh  stay,  my  daughter  Betsy, 
In  your  chamber  so  high 
Till  you  see  your  dear  father 
As  he  comes  riding  by.' 

16  'Oh,  father,'  said  his  daughter  Betsy 
When  the  landlord  came  home, 
'Beaulampkins  has  killed  my  mother 
While  you  was  gone.' 

17  Beaulampkins  was  hanged 
To  gallows  so  high, 

While  the  false  nurse  was  burned 
To  a  stake  standing  by. 


*Bo  Lamkin.'  Contributed  by  Frank  Proffitt,  Sugar  Grove,  Watauga 
county,  in  1937.  Fourteen  stanzas,  much  like  A;Bi456789io  = 
A  I  5  6  8  10  II  13  14,  B  14  =  A  17.    Stanzas  2  and  3  of  B  read: 

He  swore  by  his  maker  he'd  kill  them  unknown. 
'Beware  of  Bo  Lamkin  when  I  am  gone.' 

Bo  Lamkin  came  to  the  castle  door,  he  knocked  till  it  rung. 
There  was  no  one  ready  as  the  f altress  ;^  she  arose  and  let 
him  in. 

And  stanzas  11-13  of  B  run: 

Daughter  Betsy  a-sitting  in  the  parlor  so  high. 
She  seen  her  dear  father  coming  riding  hard  by. 
*  Corrupted,  apparently,  from  "false  nurse." 


CENTENARIAN 


OLDER     BALLADS MOSTLY     BRITISH  I43 

*Oh  father,  dear  father,  don't  blame  me  for  what's  done ; 
Old  Bo  Lamkin  has  been  here  and  killed  your  dear  son. 

'Old  Bo  Lamkin  has  been  here  and  killed  your  dear  lady; 
Old  Bo  Lamkin  has  been  here  and  killed  your  baby.' 


30 

The  Maid  Freed  from  the  Gallows 

(Child  95) 

For  preceding  records  of  this  ballad  and  its  relation  to  theories 
of  communal  origin,  see  BSM  66,  adding  to  the  references  there 
given  New  Hampshire  (NGMS  117-18),  Kentucky  (BTFLS  in 
95),  Tennessee  (SFLQ  xi  129-30),  North  Carolina  (FSRA  35-6), 
Florida  (FSF  295-9),  Arkansas  (OFS  i  146-8),  Missouri  (OFS 
I  143-4,  145),  Ohio  (BSO  62-4),  Indiana  (BSI  125-7),  and  Michi- 
gan (BSSM  146-8 — this  last  being  the  "golden  ball"  form,  rare  in 
this  country).  In  only  half  of  the  North  Carolina  texts  is  it  a  woman 
that  waits  to  be  freed  from  the  gallows ;  in  versions  B  C  E  K  L  it 
is  a  man,  and  in  D  the  sex  is  indeterminate.  D  is  the  only  one  of 
our  texts  in  which  the  song  has  been  turned  into  a  play. 

A 

'The  Maid  Freed  from  the  Gallows.'  From  the  collection  of  Miss  Isabel 
Rawn  (later  Mrs.  W.  T.  Perry),  who  got  it  from  Belvia  Hampton  of 
Warne,  Clay  county,  in  1915. 

1  'Oh  hangman,  oh  hangman, 
Wait  for  a  little  while; 

I  see  my  father  coming ; 
He's  rode  a  many  long  mile. 

2  'Oh  father,  oh  father,  did  you  bring  me  any  gold, 
Or  did  you  bring  me  free, 

Or  have  you  come  to  see  me  hung 
Upon  the  sorrowful  tree?' 

3  'Oh  daughter,  oh  daughter,  I  did  not  bring  you  gold, 
Nor  did  I  bring  you  free ; 

But  I  have  come  to  see  you  hung 
Upon  the  sorrowful  tree.' 

This  three-stanza  form  is  repeated  for  mother,  brother,  and  lover ;  but 
the  lover's  reply  is  different : 

12     'Oh  sweetheart,  oh  sweetheart,  I  did  bring  you  gold 
And  I  did  bring  you  free, 
But  I  did  not  come  to  see  you  hung 
Upon  the  sorrowful  tree.' 


144  NORTH     CAROLINA     FOLKLORE 


'Maid  Freed  from  the  Gallows' — so  the  caption  runs,  though  it  is  here 
a  man,  not  a  maid,  that  is  freed.  This  version  also  is  from  Miss  Rawn's 
collection,  further  source  and  date  not  indicated.  The  language  is 
slightly  different  from  that  of  A,  and  the  series  is  reduced  to  father, 
mother,  and  sweetheart. 

1  'Hangman,  oh  hangman  ! 
Slacken  up  your  rope ; 

I  think  I  see  my  father  coming, 
He's  rode  many  a  long  mile. 

2  'Oh  father,  oh  father,  did  you  bring  me  any  gold. 
Or  did  you  bring  me  free. 

Or  did  you  come  to  see  me  hung 
Upon  the  gallows  tree?' 

3  'Oh  son,  blessed  son,  I  did  not  bring  you  gold 
Nor  did  I  bring  you  free, 

But  I  have  come  to  see  you  hung 
Upon  the  gallows  tree.' 

Similarly  for  the  mother;  but  when  the  sweetheart  appears,  her  answer 
runs : 

9     'My  lover,  my  lover,  I  did  bring  you  gold 
And  I  did  bring  you  free. 
But  I  did  not  come  to  see  you  hung 
Upon  the  gallows  tree.' 

And  the  man  says  : 

'Oh  hangman,  oh  hangman,  slacken  your  rope ; 
From  the  gallows  I  will  go. 
For  to  my  love,  my  sweetheart, 
Belongs  my  Hfe,  you  know.' 


'The  Gallows  Tree.'  Contributed  by  Mrs.  Sutton,  but  she  does  not  say 
which  of  her  many  mountain  singers  furnished  this  particular  text. 
"I've  heard  it  down  in  Caldwell,  in  Buncombe,  in  Avery,  Mitchell,  and 
Burke."  Once  she  heard  it  "  'on  the  road.'  The  long  red  road  from 
Cranberry  to  Plumtree,  and  the  singer  was  a  lovelorn  damsel  whose 
lover  had  recently  been  in  trouble.  .  .  .  She  looked  as  if  the  heroine's 
solution  of  her  problem  had  its  appeal  for  her,  and  her  mother  said, 
'Lulu's  been  singin'  too  many  lonesome  tunes  sence  her  trouble.'  "  And 
of  the  tune,  as  sung  by  a  Mrs.  Walter,  Mrs.  Sutton  says :  it  "is  very 
weird,  high  and  rather  dififerent  from  most  ballads.  She  sang  it  in  a 
nasal  tone  and  so  very  strained  that  my  throat  ached  in  sympathy."  As 
a  typical  version  this  text  is  given  in  full. 

I     'Hangman,  hangman,  slack  up  your  rope, 
Oh  slack  it  up  for  awhile. 

I've  looked  over  yonder  and  I  see  Pap  a-comin' ; 
He's  walked  fur  many  a  mile. 


OLDER     BALLADS MOSTLY     BRITISH  I45 

'Oh  Pap,  oh  Pap,  have  you  brought  me  any  gold, 
Any  gold  fur  to  pay  my  fee  ? 
Or  have  you  come  to  see  me  hanged, 
Hanged  high  on  the  gallows  tree?' 

'Oh  Boy,  oh  Boy,  I've  brought  you  no  gold. 
No  gold  fur  to  pay  your  fee. 
But  I've  just  come  fur  to  see  you  hanged, 
Hanged  high  on  the  gallows  tree.' 

'Hangman,  hangman,  slack  up  your  rope. 

Oh  slack  it  up  for  a  while. 

I've  looked  over  yonder  and  see  Mam  a-comin' ; 

She's  walked  fur  many  a  mile. 

'Oh  Mam,  oh  Mam,  have  you  brought  any  gold, 
Any  gold  fur  to  pay  my  fee  ? 
Or  have  you  come  fur  to  see  me  hanged, 
Hanged  high  on  the  gallows  tree?' 

'Oh  Boy,  oh  Boy,  I've  brought  you  no  gold. 
No  gold  fur  to  pay  your  fee ; 
I've  just  come  fur  to  see  you  hanged. 
Hanged  high  on  the  gallows  tree.' 

'Hangman,  hangman,  slack  up  your  rope. 
Oh  slack  it  up  fur  a  while. 
I've  looked  over  yonder  and  I  see  Sis  a-comin'; 
She's  walked  fur  many  a  mile. 

'Oh  Sis,  oh  Sis,  have  you  brought  me  any  gold, 
Any  gold  fur  to  pay  my  fee? 
Or  have  you  come  to  see  me  hanged. 
Hanged  high  on  the  gallows  tree?' 

'Oh  Boy,  oh  Boy,  I've  brought  you  no  gold. 
No  gold  fur  to  pay  your  fee, 
I've  just  come  fur  to  see  you  hanged, 
Hanged  high  on  the  gallows  tree.' 

'Hangman,  hangman,  slack  up  your  rope. 
Oh  slack  it  up  a  while. 

I've  looked  over  yonder  and  seed  Sweetheart  comin' ; 
She's  rode  fur  many  a  mile. 

'Sweetheart,   Sweetheart,  have  you  brought  me  any  gold, 

Any  gold  fur  to  pay  my  fee? 

Or  have  you  come  fur  to  see  me  hanged. 

Hanged  high  on  the  gallows  tree?' 


146  NORTH     CAROLINA     FOLKLORE 

12     'Oh  yes,  oh  yes,  I've  brought  you  some  gold. 
Some  gold  fur  to  pay  your  fee ; 
My  own  true  love  shall  never  be  hanged, 
Hanged  high  on  the  gallows  tree.' 


'My  Father  Oh  No.'  Mrs.  Sutton  describes  this  use  of  the  song  as  a 
child's  game :  "My  nurse,  a  little  nigger  from  Newberry,  S.  C,  was 
playing  a  sort  of  dialogue  game  with  my  children.  It  is  a  corrupted 
arrangement  of  the  'Maid  Freed  from  the  Gallows'  or  'Hangman's  Song.' 
It  goes  like  this : 

My  father  oh  no,  my  father  oh  no, 

Have  you  brought  me  any  silver  or  gold? 

Oh  no,  oh  no,  oh  no,  oh  no 

I  didn't  bring  you  no  silver  and  gold. 

I  came  to  you,  I  came  to  you, 

I  came  to  see  you  hanged,  my  dear. 

You  need  a  shady  tree. 

"It  follows  the  usual  rigmarole — Father,  Mother,  Brother,  Sister,  and 
Sweetheart.  My  oldest,  Betty,  was  the  'maid.'  The  nurse  the  relatives 
and  friends.    The  little  nigger  said  she  learned  it  down  home." 


'The  Maid  Freed  from  the  Gallows.'  As  sung  by  Monroe  Ward  on 
Bushy  Creek,  Watauga  county,  in  1936.  The  series  here  is  mother, 
father,  sister,  brother,  sweetheart.     It  begins 

*Oh  Georgy,  hold  up  your  hands  for  me. 
For  I  see  your  mother  coming 
Just  about  a  hundred  miles,' 

in  which  the  pronouns  are  confused,  or  at  least  confusing.  The  sweet- 
heart's answer,  at  the  end: 

'I  have  brought  you  gold, 
I  have  brought  you  fee. 
And  I  have  come  to  marry  you 
And  take  you  away  with  me.' 


'Hangman,  Hangman.'  Contributed  by  Henry  Belk  of  Monroe,  Union 
county,  in  1919.  In  this  version  the  dialogue  is  somewhat  abbreviated, 
and  her  old  true  love's  answer  differs  slightly  from  the  usual  form.  It 
begins : 

I     'Hangman,  hangman,  go  slacken  your  rope.' 
Her  father  rode  for  many  a  long  mile. 
'Have  you  got  my  gold  or  paid  my  fee?' 
'No,  I  have  not  got  your  gold  or  paid  your  fee. 
For  I  have  come  to  see  you  hung.' 


OLDER     BALLADS MOSTLY     BRITISH  I47 

And  so  on  through  mother,  brother,  sister,  ending  with  her  true  love : 

5     'Hangman,  hangman,  go  slacken  your  rope.' 
Her  old  true  love  rode  for  many  a  long  mile, 
'Have  you  got  my  gold  or  paid  my  fee?' 
'No,  I  have  not  got  your  gold,  but  have  paid  your  fee, 
For  I  have  come  not  to  see  you  hung.' 


'Hangman  Song.'  Sent  in  in  September  1922  by  Miss  Cora  Lee  Wyatt, 
as  sung  by  John  Duncan  of  Spruce  Pine,  Mitchell  county.  The  series 
is  father,  mother,  brother,  sister,  true  lover;  the  gallows  is  "yonder 
lonesome  tree"  ;  and  it  ends  : 

'My  sweetheart,  dear  sweetheart,  I've  brought  you  gold, 

And  I've  brought  you  free; 

For  I've  not  come  to  see  you  hang 

On  yonder  lonesome  tree.' 

H 

'True  Love.'  Reported  by  Mrs.  R.  D.  Blacknall  of  Durham  as  sung  by 
the  Misses  Holeman  in  July  1922.  They  had  learned  it  from  the  sing- 
ing of  a  "negro  servant,  Maria  McCauley,  presumably  ex-slave  of  the 
Chapel  Hill  McCauleys.  Heard  forty-five  years  ago."  The  series  is 
father,  mother,  brother,  sister,  true  love.     Ends : 

'O  did  you  bring  me  gold? 

O  did  you  pay  my  fee. 

Or  have  you  come  for  to  see  me  hung 

On  yonders  willow  tree?' 

*0  I  did  bring  you  gold. 

And  I  did  pay  your  fee. 

And  I  have  not  come  for  to  see  you  hung, 

For  that  thing  it  never  shall  be !' 


'The  Hangman's  Tree.'  Contributed  by  Miss  Clara  Hearne,  principal  of 
the  high  school  at  Roanoke  Rapids,  Halifax  county,  in  1923.  The  series 
is  father,  brother,  sister,  sweetheart.  Nothing  distinctive  in  the  lan- 
guage or  form. 

J 
'Maid   Freed    from   the    Gallows.'     Contributed   by    Miss    Bonnie   Ethel 
Dickson.     The  manuscript  shows  neither  place  nor  date.     The  series  is 
father,  mother,  brother,  sister,  true  love. 


Contributed  by  Professor  M.  G.  Fulton  of  Davidson  College  in  1914  or 
1915.  Since  this  has  already  been  published  in  the  Virginia  collection 
(TBV  380-1)  it  is  not  reproduced  here.  It  is  highly  exceptional,  the 
series  being  friend,  brother,  sister,  mother — who  effects  his  release.  The 
introductory  lines  in  each  section  are 


148  NORTH  CAROLINA  FOLKLORE 

Johnny  Low,  Johnny  Low,  my  good  Johnny,  Johnny  Low, 
Just  pass  your  hands  awhile, 
against  which  Dr.   Brown  has  noted  'Johnny  Low  should  probably  be 
Johnny  Law,'  but  without  saying  why  he  thought  so.     Each  section  but 
the  last  ends 

I  come  this  day  to  see  you  hung, 
And  hung,  you  shall  be  hung, 
and  the  closing  line  in  the  last  section  differs  only  by  inserting  "not'' 
after  "shall." 

L 
A   two-stanza    fragment   secured   by   Julian   P.    Boyd   from    Minnie   Lee, 
one   of   his   pupils   in   the   school   at   Alliance,    Pamlico   county,   in    1927. 
The  quotation  marks  are  the  editor's,  conjectural. 

'Stand  back,  stand  back,  pretty  little  Johnson! 
Stand  back  for  a  great  while. 
See  if  you  see  your  mother  a-coniing, 
A-coming  many  a  mile !' 

'Have  you  brought  my  gold  and  silver? 
Have  you  paid  my  way? 
Have  you  come  for  to  see  hanging? 
For  hanging  you  shall  see.' 

M 
'The  Highway  Man.'     From  the  John  Burch  Blaylock  Collection.     This 
differs   widely   from  the  ordinary  versions   by  beginning    (stanzas    1-3) 
with  matter  from  widespread  convicts'  songs. 

1  As  I  went  down  to  the  old  depot 
To  see  the  train  roll  by, 

I  thought  I  saw  my  dear  old  girl 
Hang  her  head  and  cry. 

2  The  night  was  dark  and  stormy; 
It  sure  did  look  like  rain. 

Not  a  friend  in  the  whole  wide  world, 
And  no  one  knew  my  name. 

3  No  one  knew  my  name,  poor  boy, 
No  one  knew  my  name ; 

Not  a  friend  in  the  whole  wide  world. 
And  no  one  knew  my  name. 

4  'Go  away,  Mr.  Judge,  go  away,  Mr.  Judge, 
Just  wait  a  little  while. 

I  think  I  saw  my  dear  old  girl 
Walk  for  miles  and  miles. 

5  'Dear  girl,  have  you  brought  me  silver? 
Dear  girl,  have  you  brought  me  gold? 
Have  you  walked  these  long,  long  miles 

To  see  me  hanged  upon  the  hangman's  pole?' 


OLDER     BALLADS MOSTLY     BRITISH  I49 

6  'Dear  boy,  I've  brought  you  silver, 
Dear  boy,  I've  brought  you  gold ; 

I  have  not  walked  these  long,  long  miles 

To  see  you  hanged  upon  the  hangman's  pole.' 

7  She  took  me  from  the  scaffold ; 
She  untied  my  hands ; 

The  tears  ran  down  the  poor  girl's  cheeks: 
'I  love  this  highway  man.' 

31 

The  Knight  and  the  Shepherd's  Daughter 

(Child  no) 

Ballads  of  the  pastoiirelle^  type,  with  their  easy  wayside  seduc- 
tions, are  not  many  in  the  Child  canon ;  'Crow  and  Pie'  is  such  a 
one,  and  so,  outside  the  Child  corpus,  is  'The  Nightingale.'  In  the 
present  case  the  romantic  reversal  of  position  at  the  end  of  the 
story  takes  it  pretty  much  out  of  the  pastourellc  category.  This 
ballad  was  still  in  tradition  in  the  present  century  in  Aberdeenshire 
(LL  87-90),  Lincolnshire  (JFSS  iii  222),  Winchester  (JFSS  in 
280-1),  Somerset  (JFSS  v  86-90),  and  in  the  Isle  of  Man  (JFSS 
VII  303).  It  has  not  often  been  found  in  America;  the  only  previ- 
ous reports  of  it  have  come  from  Newfoundland  (BSSN  35-7), 
Maine  (BFSSNE  ix  7),  and  Massachusetts  (JAFL  xxii  377-8 — 
as  sung  by  a  Scotch  laborer  in  Ireland!).  Our  text  seems  to  be 
the  only  record  of  its  appearance  in  the  Southern  states. 

'Sweet  Willie.'  Heard  by  Mrs.  Sutton  in  Avery  county,  but  she  does 
not  say  from  whom.  Stanzas  8  and  13  are  echoes  from  'Earl  Brand,' 
and  stanzas  14-15  are  from  'James  Harris.'  The  last  line  of  each  stanza 
is  repeated;  here  indicated  only  in  stanza  i. 

1  There  was  a  farmer's  daughter 
Came  triplin'  o'er  the  way. 

And  there  she  met  a  brave  soldier 
Who  caused  her  to  stay,  stay. 
Who  caused  her  for  to  stay. 

2  'Good  morning  to  you,  fair  lady,'  he  said, 
'Good  morning  to  you,'  said  he ; 

'O  I  shall  die  this  day,'  he  said, 
'Shall  die  for  love  of  thee.' 

3  'Oh  say  not  so,'  the  lady  she  said, 
'Oh  say  not  so,'  said  she, 

*  For  the  pastourelle  and  its  relation  to  balladry,  see  A.  Jeanroy,  Les 
Origines  de  la  Foesie  Lyriquc  en  France  an  Moycn  Age  (1904),  G. 
Paris,  under  the  same  title  (1892;  it  is  a  critique  of  Jeanroy's  position 
from  an  earlier  issue  of  Jeanroy's  book),  and  W.  P.  Jones,  The 
Pastourelle   (1931,  Harvard  University  Press). 


150  NORTH     CAROLINA     FOLKLORE 

'That  ever  such  a  brave  soldier 
Should  die  for  the  love  of  me.' 

4  He  took  her  by  her  lily-w^hite  hand 
And  led  her  to  her  bovver, 

And  kept  her  there  for  many  a  day ; 
The  poor  girl  rued  that  hour. 

5  He  set  his  foot  in  his  stirrup ; 
He  was  ready  away  for  to  ride. 

She  held  his  horse  by  the  bridle  rein 
And  stood  close  by  his  side. 

6  'You  have  had  my  love,  good  sir,'  she  said, 
'You  have  had  my  love,'  said  she, 

'And  now  your  name,  good  sir,  I'd  know ; 
Please  tell  your  name  to  me.' 

7  'My  name  it  is  not  Jack,  sweetheart. 
Nor  neither  is  it  John, 

But  when  I  fight  at  my  Captain's  side 
He  calls  me  Sweet  William,  sweetheart.' 

8  He  mounted  on  to  his  milk-white  steed 
And  he  led  his  dappled  bay ; 

He  slung  his  bugle-horn  around  his  neck 
And  he  went  a-ridin'  away. 

9  She  followed  him  to  the  king's  own  house, 
She  jingled  at  the  ring. 

There  were  none  so  ready  as  the  king  himself, 
He  rose  and  let  her  in. 

10  *Oh,  what  will  you  have,  fair  lady?'  he  said. 
'Oh  what  will  you  have?'  said  he. 

'You  have  a  soldier  in  your  camp 
Who  has  this  day  handled  me.' 

1 1  'What  shall  I  do  to  him  ?'  the  king  said, 
'Oh  what  shall  I  do?'  said  he. 

'He  has  stolen  my  heart,'  the  lady  said, 
'Pray,  sir,  let  him  marry  me.' 

12  He  called  up  his  merry  merry  men, 
By  one,  by  two,  by  three. 

Sweet  William,  who  alius  went  in  front, 
Now  far  behind  walked  he. 

13  He  mounted  onto  his  milk-white  steed. 
Set  her  on  his  dapple  bay ; 

He  slung  his  bugle  horn  around  his  neck 
And  they  went  a-ridin'  away. 


OLDER     BALLADS —  MOSTLY     BRITISH  I5I 

14  'I  could  'a'  married  a  kine^'s  daughter, 
For  she  would  'a'  married  me, 

But  you  follered  me  to  the  king's  own  house. 
May  curses  light  on  thee !' 

15  'If  you  could  'a'  married  a  king's  daughter 
Vou  might  'a'  let  me  he. 

For  there  is  a  shepherd  in  my  father's  house 
Who  likes  my  company. 

16  'Would  I  had  die  before  this  day,' 
These  words  then  said  she, 

'That  I  am  married  to  a  false-hearted  man 
Who  never  did  want  me.' 

1 7  But  when  they  came  to  the  preacher's  house 
And  the  marriage  rites  were  done : 

'My  father  is  a  king,'  she  said, 

'And  you're  ])ut  a  squire's  son  son  son 

And  you're  but  a  squire's  son.' 

32 

Robin  Hood  and  Guy  of  Gisborne 

(Child  118) 

The  Robin  Hood  ballads,  which  bulk  so  large  in  the  Child  collec- 
tion, have  but  few  and  weak  echoes  in  American  tradition — perhaps 
because  life  in  America  has  never  borne  much  resemblance  to  the 
social  and  economic  conditions  which  produced  the  figures  of  Robin 
and  his  crew.  The  story  of  Robin  and  Guy,  known  even  in  Eng- 
land only  from  Percy's  famous  folio  manuscript,  has  never  been 
reported  from  American  tradition  until  now.  And  our  text,  though 
it  certainly  derives  from  the  same  story,  is  vague  and  incomplete. 
Metrically  it  is  so  badly  disordered  as  to  seem,  often,  like  a  prose 
resume  of  (part  of)  the  story;  yet  the  rhymes  show  that  the  text 
derives  from  stanzaic  form.  One  wonders  how  the  text  as  reported 
here  could  ever  have  been  sung  to  an  air,  but  it  is  described  as 
sung.  Very  likely  the  state  of  the  text  is  due  to  imperfect  recol- 
lection on  the  part  of  the  reporter. 

'Robin  Hood  and  Guy  of  Gusborne.'  Reported  in  December  1914  by 
G.  C.  Little  of  Marion,  McDowell  county,  at  that  time  a  freshman  in 
Trinity  College,  "as  sung  by  Mr.  C.  A.  Wilson,  about  sixty-five  years 
of  age,  who  lives  near  Marion." 

1  Old  Robin  Hood  was  a  bold,  bold  man. 
In  the  green  forest  he  had  a  great  clan, 

And  the  way  he  killed  men,  it  was  a  sin  to  the  land. 

2  With  his  great  bow  he  slew  many  a  deer, 
And  when  the  people  caught  sight  of  him 
They  shook  with  fear. 


152  NORTH  CAROLINA  FOLKLORE 

3  One  day,  as  they  say,  a  stranger  pass  that  way 
And  to  bold  Robin  chanced  to  say, 

'I'm  in  search  of  an  outlaw  bold 

Who  has  committed  many  murders,  so  I'm  told. 

4  'And  if  by  chance  to  find,  this  outlaw  shall  be  mine.' 


5  After  they  had  gone  quite  a  way  on  that  fine  day 
The  stranger  to  Robin  did  boldly  say, 

'Pray  ye,  good  fellow,  tell  me  thy  name, 
For  such  a  guide  as  you  deserves  fame.' 

6  And  it  was  then  that  he  learned 
That  his  guide  was  the  outlaw  bold 
Who  had  committed  the  murders 
Of  which  he  had  been  told. 

7  And  it  was  there  that  this  stranger  of  old 
Was  slain  by  the  outlaw  bold 

Who  lived  in  the  merry  green  wood  of  old. 

33 

Robin  Hood  Rescuing  Three  Squires 

(Child  140) 

This  is  one  of  the  few  Robin  Hood  ballads  that  are  still  alive  in 
tradition.  Greig  found  it  in  Scotland  (LL  98-100),  and  it  has  been 
reported  from  Hampshire  (JFSS  in  268-9)  and  by  Barry  from 
Maine  (BBM  240-2,  with  a  helpful  note).  It  has  not  heretofore 
been  found  in  the  Southern  states.  The  North  Carolina  text  is  a 
form  of  Child's  C  version,  found  in  a  number  of  eighteenth-century 
garlands,  but  the  last  line  of  stanza  7  looks  back  to  Child's  B  version, 
stanza  15: 

'By  the  truth  of  my  body,'  bold  Robin  can  say, 
'This  man  loved  little  pride.' 

The  last  two  lines  of  stanza  3  sound  like  a  confused  memory  of 
the  corresponding  lines  in  C: 

'Or  do  you  weep  for  your  maidenhead. 
That  is  taken  from  your  body?' 

The  text,  which  comes  to  the  editor  in  four  slightly  variant  forms 
besides  one  phonograph  recording,  has  one  origin :  the  singing  of 
Mrs.  Calvin  Hicks  of  Mast's  Gap,  Watauga  county.  The  last  day 
of  September,  1940,  Dr.  Brown,  Professor  Abrams,  and  Miss  Edith 
Walker  of  Boone,  who  seems  to  have  been  the  discoverer  of  Mrs. 


OLDER     BALLADS MOSTLY     BRITISH  1 53 

Hicks  as  a  singer  of  old  ballads,  went  to  Mast's  Gap  and  got  Mrs. 
Hicks  to  sing  this  among  other  ballads  that  she  knew.  A  recording 
was  made  from  her  singing.  It  corresponds  pretty  closely  with 
the  text  given  below  except  that  it  lacks  stanzas  3-5.  The  verbal 
peculiarities  of  stanzas  5,  7,  10,  and  11  appear  also  in  the  record. 
Later  in  the  day  one  of  Mrs.  Hicks's  daughters  wrote  out  the  com- 
plete text  for  Miss  Walker,  and  at  the  same  time  (or  perhaps  later) 
Professor  Abranis  secured  a  copy  of  the  text.  A  month  later  Dr. 
Brown  received  in  an  envelope  postmarked  Sugar  Grove  (which  is 
the  postoffice  for  Mast's  Gap)  the  penciled  manuscript  of  our  text. 
It  is  unsigned,  but  its  close  accordance  with  the  texts  secured  by 
Miss  Walker  and  Professor  Abrams  and  with  Dr.  Brown's  record 
so  far  as  that  record  goes  leaves  no  doubt  that  it,  too,  comes  from 
Mrs.  Hicks — or,  more  likely,  from  one  of  her  daughters,  as  did 
Miss  Walker's^  and  Professor  Abrams's.- 

'Bold  Robing.'  A  penciled  manuscript  from  Sugar  Grove  received  in 
October  1940;  unsigned,  but  quite  certainly  representing  the  ballad  as 
sung  by  Mrs.  Calvin  Hicks  of  Mast's  Gap,  Watauga  county.  See  above. 
Followed  here  verbatim  et  literatim,  except  for  the  line  division  and 
the  pointing,  which  are  editorial. 

1  Bold  Robing  hood  one  morning  he  stood 
With  his  back  against  a  tree. 

And  he  w^as  the  war  of  a  fine  young  man, 
As  fine  as  fine  could  be. 

2  Bold  Robing  hood  put  out  to  Nouttongain  town 
As  fast  as  he  could  ride,-* 

And  who  should  he  meet  but  a  poor  old  woman 
As  she  came  weeping  by. 

3  'Are  you  weeping  for  my  gold  ?'  he  said, 
'Or  are  you  weeping  for  my  store? 

Or  are  you  weeping  for  your  three  heads"* 
Been  taking  from  your  Bodye?' 

4  'I'm  not  weeping  for  your  gold,'  she  said, 
'Nor  neather  for  your  store; 

I  am  just  a-weeping  for  my  three  sons 
That  has  to  be  hung  today.' 

*  Miss  Walker's  first  copy  of  the  text  was  given  her  by  a  daughter  of 
Mrs.  Hicks,  as  related  above.  This  text  was  communicated  to  me  by 
Professor  Hudson.  More  recently  (September  19,  1948)  Miss  Walker 
has  sent  me  another  copy,  written  out — if  I  understand  Miss  Walker's 
letter  correctly — by  Mrs.  Hicks  herself.  This  second  text  differs  slightly 
here  and  there  from  the  first.     The  chief  variants  are  given  in  footnotes. 

"  Professor  Abrams  tells  me  that  he  has  not  been  able  to  find  his 
original  copy  of  the  text  but  has  sent  me  a  copy  of  the  text  as  it  is  in 
a  recording  he  has  made.  It  is  somewhat  more  literate  than  the  pen- 
ciled text  in  the  Brown  Collection  but  is  clearly  the  same  version. 

*  Abrams  and  Walker  ( i )  have  here  "go." 

*  Walker  (i)  has  here  "your  three  sons's  heads";  Abrams  has  simply 
"your  three  sons." 


154  NORTH  CAROLINA  FOLKLORE 

5  Bold  Robing  put"'  on  to  Nouttongain  town 
As  fast  as  he  could  ride ; 

But  who  should  he  meet  but  a  poor  old  l30obager" 
As  he  came  walking  by. 

6  'Change  clothing,  change  clothing,'  Bold  Robing  he  said, 
'Pray  change  your  clothing  with  me. 

Hear  is  40  bright  guinnes  I'll  give  you  to  boot 
If  you  will  change  your  clothing  with  me,' 

7  Bold  Robing  put  on  the  boobegars  coat  •'' 
It  was  patched  on  every  side  good. 
'Faith  to  my  soul,'^  bold  Robing  he  said, 
'They'll  think  I'lP  just  wear  this  for  pride.' 

8  Bold  Robing  put  on^**  to  Nouttongain  town 
As  fast  as  he  could  ride; 

But  who  should  he  see  but  the  old  town  Sheriff 
As  he  stood  there  close  by. 

9  'Which  way,  which  way,'  the  old  town  Sheriff  said, 
'Which  way,  I  say^^  to  thee?' 

'I  heard  there  was  three  sons  to  be  hung  here  today, *- 
And  the  hangman  I  want  for  to  be.' 

10  'Quick  granted,  quick  granted,'  the  old  town  Sheriff  said, 
'Quick  granted  I  say  to  three. ^■' 

And  you  can  have  all  their  gay  goo^"*  clothing 
And  all  their  bright  money  ' 

11  'It's  I  want  none  of  their  gay  goo^^  clothing 
Or  none  of  their  bright  money. 

I  want  three  blast  from  my  bugle  horn 
As  happy  as  soldiers^^  can  be.' 

^Walker  (i)  has  "put  out";  Abrams  has  "went  down";  Walker  (2) 
has  "went  on." 

'So  also  Walker  (i)  and  Walker  (2)  ;  Abrams  has  simply  "a  poor, 
old  beggar."  "Boobager"  looks  like  a  corruption  of  "bullbeggar,"  a 
bogie. 

''So  also  Walker  (i)  and  Walker  (2)  ;  Abrams  has  "the  old  beggars 
coat." 

*  The  Abrams  and  both  the  Walker  texts  have  "good  faith  to  my  soul. 

•So  also  Walker  (i)  ;  Abrams  has  "I"  instead  of  "I'll";  Walker  (2) 
has  "they  will  say." 

^"Walker  (i)  has  "out"  insteaa  of  "on";  Abrams  has  "went  down'; 
Walker  (2)   has  "went  on." 

"  Both  Miss  Walker's  texts  have  "pray"  instead  of  "say." 

"Walker  (i)  has  "I  heard  three  men  was  to  be  hung  here  today": 
Abrams  has  "I  heard  of  three  men  to  be  hung  here  today";  Walker  (2) 
has  "I  heard  three  men  was  to  be  hung  here  today." 

"The  "three"  here  is  merely  a  slip  of  the  pencil;  all  the  other  texts 
have  "thee."  .    .  .,        .  ., 

"  So  also  Walker  (2)  ;  in  the  other  texts  it  is  normahzed  to     good. 

"So  also  Walker  (2)  ;  Walker  (i)  and  Abrams  have  "a  soldier." 


OLDER     BALLADS  —  MOSTLY     BRITISH  155 

12  He  wund  his  horn  unto  his  mouth 
And  he  lowed  hlasted.^^ 

Five'^  hundred  and  ten  of  Bold  Robins  men  come, 
Came  marching  all  up  in  a  row. 

13  'Whose  men,  whose  men,'  the  old  town  Sheriff  said, 
'W'hose  men,  I  pray  to  thee?' 

'They  are  brave  men  of  mine,'  Bold  Robing  he  said, 
'Come  to  borrow  three  sons^^  from  thee !' 

14  'Oh  take  them!  oh  take  them!'  the  old  town  Sheriff  said, 
'Oh  take  them,  I  pray  to  thee! 

No  lord  nor  knight,  nor  no  Christendome,^" 
Can  borrow  three  more  from  me.' 


34 

Sir  Hugh  ;  or,  The  Jew's  Daughter 

(Child  155) 

It  is  odd,  in  view  of  its  theme,  which  is  really  the  ritual  murder 
of  a  Christian  child  by  Jews,  that  this  ballad  should  have  persisted 
as  it  has  in  popular  favor  down  to  our  own  times.  It  has  been 
reported  fairly  recently  as  traditional  song  in  three  shires  of  Eng- 
land, in  the  Bahamas,  in  Nova  Scotia,  and  in  nearly  a  score  of 
regional  collections  in  the  United  States.  See  BSM  69-70,  and 
add  to  the  references  there  given  Lincolnshire  (ECS  86),  Miss 
Mason's  Nursery  Rhymes  and  Country  Songs  46-7,  Vermont 
(NGMS  254-6),  Tennessee  (BTFLS  viii  76-8),  Florida  (SFLQ 
VIII  154-5),  the  Ozarks  (OFS  i  149-56),  Ohio  (BSO  66-7), 
Indiana  (BSI  128-33),  and  Wisconsin  (JAFL  lii  43-4)-  Prob- 
ably the  simple  pathos  of  the  little  child's  death  rather  than  any 
conscious  anti-Semitism  explains  its  persistence.  Indeed  two  of 
our  four  texts  from  North  Carolina  have  lost  any  trace  of  the 
Jew's  daughter,  as  modern  texts  in  general  have  lost  sight  of  the 
second  element  of  the  original  story,  the  miraculous  intervention 
of  Our  Lady  to  restore  the  child  to  life.  The  Brown  Collection 
proper  has  only  one  version,  our  A ;  the  other  three  have  been 
contributed  by  Professor  Hudson  from  his  own  collection. 


No  title;  the  common  American  title  'The  Jew's  Daughter'  or  'The 
Jew's  Garden'  would  hardly  do  for  a  version  that  has  no  mention  of 
Jews.     Secured  by  W.  Amos   Abrams  from   Mary   Bost  of   Statesville, 

^"Walker  (i)  and  Walker  (2)  have  "he  lowed  blasted  Mowed"; 
Abrams  has  "he  loud  blasts  did  blow." 

''So  also  Walker  (i)  and  Abrams;  Walker  (2)  has  "one  hundred" 
instead  of  "five  hundred." 

"So  also  Walker   (i)   and  Abrams;  Walker   (2)    has  "three  men."^ 

"Walker  (i)  has  "christes  sone" ;  Abrams,  "brave  men  of  yourn" ; 
Walker   (2),  "brave  men  of  yours." 


156  NORTH     CAROLINA     FOLKLORE 

Iredell  county,  apparently  in  1935  or  1936.  The  first  stanza  seems  to 
have  been  imperfectly  remembered.  The  absence  of  the  repeat  in 
stanzas  3  and  4  is  no  doubt  accidental. 

1  It  rained  a  mist, 

It  rained  all  over  the  town. 

That  evening  the  sun  came  out ; 

The  little  boys  were  tossing  their  balls  around. 

2  At  first  they  toss  one  high, 
And  then  they  toss  one  low, 

And  then  they  toss  one  into  a  lady's  garden 
Where  no  one  was  allowed  to  go  go  go, 
Where  no  one  was  allowed  to  go. 

3  For  no  one  who  has  ever  went  in  that  garden 
Has  ever  come  out  again. 

'Come  in,  little  boy,  come  in. 

You  shall  have  your  ball  this  evening.' 

4  'I  won't  come  in,  nor  I  shan't  come  in, 
Except  my  playmates  too.' 

'Come  in,  little  boy,  come  in. 

You  shall  have  your  playmates  too.' 

5  At  first  she  showed  him  a  blood-red  apple, 
And  then  she  showed  him  a  cherry, 

And  then  she  showed  him  a  diamond  ring 
To  entice  the  little  boy  in  in  in, 
To  entice  the  little  boy  in. 

6  She  took  him  by  his  little  white  hand. 
She  led  him  from  hall  to  hall. 

She  led  him  to  the  dining  hall 

Where  no  one  could  hear  his  call  call  call. 

Where  no  one  could  hear  his  call. 

7  She  pinned  a  white  cap  over  his  face. 
She  pinned  it  with  a  pin ; 

She  called  for  a  stabbing  knife 
To  stab  his  little  heart  in  in  in, 
To  stab  his  little  heart  in. 

8  'Place  my  bolster  at  my  head 
And  my  Bible  at  my  feet, 

And  when  my  schoolmates  call  for  me 
Pray  tell  them  that  I  am  asleep  sleep  sleep. 
Pray  tell  them  that  I  am  asleep. 

9  'Exchange  my  bolster  to  my  feet 
And  my  Bible  at  my  head, 


ALLADS  —  MOSTLY     BRITISH  1 57 


And  when  my  playmates  call  for  me 
Pray  tell  them  that  I  am  dead  dead  dead, 
Pray  tell  them  that  I  am  dead.' 


'It  Rained  a  Mist.'  Sent  to  Professor  Hudson  in  1932  by  one  of  his 
students,  Miss  Marjorie  Craig,  with  the  explanation  that  it  "was  given 
me  by  Cleophas  Bray  of  Roanoke  Rapids.  While  I  was  teaching  there, 
he  attended  high  school  intermittently  from  one  of  the  mill  villages.  .  .  . 
Cleophas  brought  me  this,  saying  that  his  mother  (who  came  from  the 
mountains  of  North  Carolina)  used  to  sing  it."  Here,  as  in  A,  there 
is  no  mention  of  Jews.  The  failure  of  the  repeat  in  the  fourth  line  of 
stanza  6  is  probably  an  accidental  omission. 

1  It  rained  a  mist,  it  rained  a  mist, 
It  rained  all  over  the  town ; 
And  two  little  boys  went  to  play, 
To  toss  the  ball  around,  around, 
To  toss  the  ball  around. 

2  At  first  they  tossed  the  ball  too  high, 
And  then  they  tossed  it  too  low, 
Then  they  tossed  it  into  a  shop 
Where  no  one  was  allowed  to  go,  to  go. 
Where  no  one  was  allowed  to  go. 

3  Out  came  a  young  miss  all  dressed  in  silk, 
All  dressed  in  silk  so  fine : 

'Come  in,  my  boy,  my  pretty  little  boy. 
You  shall  have  your  ball  again,  again. 
You  shall  have  your  ball  again.' 

4  T  won't  come  in,  I  shan't  come  in, 
Unless  my  playmate  comes  too. 

For  oftimes  I've  heard  of  little  boys  going  in 
Who  never  was  known  to  go  out  again,  again. 
Who  never  was  known  to  go  out.' 

5  She  took  him  by  his  little  white  hand. 
She  led  him  through  the  hall 

And  into  the  dining  room, 

Where  no  one  could  hear  his  call,  oh  call, 

Where  no  one  could  hear  his  call. 

6  She  laid  him  on  a  lily-white  bed 
And  covered  his  little  white  face, 
And  then  she  called  for  a  carving  knife 
To  carve  his  little  heart  out, 

To  carve  his  little  heart  out. 


158  NORTH  CAROLINA  FOLKLORE 

7  'Oh  place  a  prayer-book  at  my  head, 
And  a  Bible  at  my  feet, 

And  if  my  playmate  should  call  for  me, 
Just  tell  him  that  I'm  asleep,  asleep, 
Just  tell  him  that  I'm  asleep. 

8  *Oh  place  a  Bible  at  my  feet 
And  a  prayer-book  at  my  head. 
And  if  my  mother  should  call  for  me 
Just  say  that  I  am  dead,  O  dead, 
Just  say  that  I  am  dead.' 


'Ballad.'  This  text  also  was  sent  to  Professor  Hudson  in  1932  by  Miss 
Craig,  with  the  explanation  that  it  "was  given  me  by  Vivian  Bast,  at 
Greensboro,  N.  C.  Her  father  owns  a  circus,  and  she  has  lived  in  vari- 
ous parts  of  the  country  and  picked  up  odd  pieces  of  folklore  in  many 
places,  but  this  song  came  from  her  grandmother  in  Maryland."  Here 
the  murderous  lady  is  "the  old  Jew's  daughter"  as  in  most  American 
texts.     The  first  stanza  seems  to  be  metrically  defective. 

1  It  was  raining  hard  the  other  day, 
And,  oh,  the  rain  did  pour 

When  all  the  boys  in  our  town  went  out 
To  toss  a  ball  ball  ball. 

2  At  first  they  tossed  the  ball  too  high 
And  then,  oh  then,  too  low. 

And  then  into  the  old  Jew's  yard 
Where  no  one  dared  to  go  go  go. 
Where  no  one  dared  to  go. 

3  And  then  came  out  the  old  Jew's  daughter 
All  dressed  in  silk  and  lace. 

She  said,  'Come  in,  my  pretty  boy, 
And  get  your  ball  again  gain  gain, 
And  get  your  ball  again.' 

4  'I  won't  come  in,  I  can't  come  in, 
I  won't  come  in  at  all. 

I  won't  come  in,  I  can't  come  in 
Without  my  playmates  all  all  all. 
Without  my  playmates  all.' 

5  And  then  she  showed  him  an  apple, 
And  then  a  gay  gold  ring, 

And  then  a  cherry  as  red  as  blood 
To  entice  the  little  boy  in  in  in. 
To  entice  the  little  boy  in. 


OLDER     BALLADS  —  MOSTLY     BRITISH  1 59 

She  took  him  by  his  little  white  hand 
And  led  him  through  the  hall 
And  then  into  the  cellar  helow 
Where  none  could  hear  him  call  call  call, 
Where  none  could  hear  him  call. 

She  wrapped  him  up  in  a  napkin 
And  pinned  it  with  a  pin, 
And  then  she  asked  for  a  basin 
To  catch  his  life-blood  in  in  in, 
To  catch  his  life-blood  in. 

'Oh  place  my  Bible  at  my  feet. 
My  prayer-book  at  my  head, 
And  if  my  mother  should  ask  for  me 
Tell  her  that  I  am  dead  dead  dead, 
Tell  her  that  I  am  dead. 

'Oh  place  my  prayer-book  at  my  head, 
My  Bible  at  my  feet. 
And  when  my  playmates  ask  for  me 
Tell  them  that  I'm  asleep  sleep  sleep, 
Tell  them  that  I'm  asleep.' 


'The  Jewish  Lady.'  Sent  to  Professor  Hudson  in  May  1942  by  Miss 
Margaret  Johnson,  with  the  tune  and  the  following  notation :  "My 
mother,  who  is  seventy  years  old,  sings  the  song  about  the  Jewish 
lady.  .  .  .  Mother  doesn't  know  where  she  learned  it,  and  says  she 
has  known  it  all  her  life.  She  was  born  and  reared  in  Raleigh,  right 
in  the  house  where  we  now  live."  The  first  stanza  was  imperfectly 
remembered. 

1  A  little  boy  went  out  one  day,  [or  to  play] 
Went  out  to  toss  his  ball, 

Went  out  to  toss  his  ball  ball  ball. 
Went  out  to  toss  his  ball. 

2  At  first  he  tossed  it  up  too  high 
And  then  again  too  low, 

And  then  into  a  Jewish  yard 

Where  no  one  was  allowed  to  go  go  go, 

Where  no  one  was  allowed  to  go. 

3  A  Jewish  lady  came  to  the  door 
All  dressed  in  silk  and  lace. 

'Come  in,  come  in,  my  dear  little  boy. 

And  you  shall  have  your  ball  again  gain  gain, 

And  you  shall  have  your  ball  again.' 


l6o  NORTH     CAROLINA     FOLKLORE 

4  'I  can't  come  in,  I  won't  come  in 
Unless  my  playmates  come  too, 

For  I  have  often  heard  of  a  little  boy 
Who  never  came  back  again  gain  gain, 
Who  never  came  back  again.' 

5  She  asked  him  into  the  sitting-room 
And  then  into  the  hall, 

And  then  into  the  dining-room 

Where  no  one  could  hear  him  call  call  call, 

Where  no  one  could  hear  him  call. 

6  'Pray  spare  my  life,  pray  spare  my  life,' 
The  little  boy  then  cried, 

'And  when  I  grow  to  be  a  man 

My  treasures  shall  all  be  thine  thine  thine, 

My  treasures  shall  all  be  thine.' 

7  She  tied  a  handkerchief  o'er  his  eyes, 
His  hands  behind  his  back. 

And  then  she  took  a  carving  knife 

And  pierced  his  little  heart  through  through  through, 

And  pierced  his  little  heart  through. 

35 

Queen  Eleanor's  Confession 
(Child  156) 

In  our  collection  is  a  note  under  this  caption,  in  Dr.  Brown's 
hand,  without  any  text,  and  reading  as  follows:  "Story  known  in 
Avery  county  as  Fair  Rosamund  and  Queen  Eleanor.  But  only 
portion  of  song.  Story  told  by  Granny  Houston  on  Bushy  Creek 
in  Avery  county,  between  Toe  and  Linville  Rivers."  It  is  too  bad 
that  the  story  and  "portion  of  song"  were  not  recorded,  for 
hitherto  the  only  report  of  this  ballad  in  America  is  Margaret 
Reburn's  in  the  Child  correspondence  in  the  Harvard  Library, 
and  that  has  not  been  printed.  Greig  reports  it  from  Scotland. 
LL  loo-i. 

36 

The  Bonny  Earl  of  Murray 
(Child  181) 

This  song  has  appeared  but  seldom  in  recent  times.  Beatty  re- 
ported it  in  1907  (JAFL  xx  156)  as  sung  by  a  Scotchwoman  visit- 
ing in  Wisconsin;  Elsie  Crews  Parsons  in  1931  (JAFL  xliv  297-8) 
reported  it  as  one  of  the  songs  sung  by  Mrs.  May  Folwell  Hoising- 
ton  of  Rye,  N.  Y.,  with  the  note  that  it  was  "heard  in  1906  from  a 


OLDER     BALLADS  —  MOSTLY     BRITISH  l6l 

Scotchman  who  had  heard  it  from  a  kinsman  of  the  Murray  fam- 
ily." Neither  of  these  reports  indicates  that  it  is  really  alive  in 
American  tradition.  It  is  not  mentioned  in  the  Folk-Song  Society's 
Journal  or  in  Greig's  Last  Leaves.  But  our  North  Carolina  text 
seems  to  come  from  a  longer-established  folk  tradition. 

'The  Earl  of  Moray.'  Secured  by  Mrs.  Sutton  from  the  singing  of 
"Aunt  Becky"  Gordon  of  Stateline  Hill,  Henderson  county,  one  of  the 
best  of  Mrs.  Sutton's  ballad  sources.  "She  found  that  we  were  inter- 
ested in  old  songs,  so  she  sat  down  on  the  edge  of  her  wash  bench 
under  a  tall  poplar  with  the  sunlight  making  bars  of  gold  on  the  hard 
ground  of  her  little  yard,  and  sang  'The  Two  Sisters'  and  'The  Earl 
of  Moray.' " 

1  Ye  Highlands  and  ye  Lowlands,  it's  where  have  ye  been? 
Oh,  they've  slain  the  Earl  of  Mo-ray  and  laid  him  on  the 

ground. 

2  Oh,  he  was  a  handsome  feller,  and  wore  a  leather  glove. 
Oh,  the  bonny  Earl  of  Mo-ray  he  was  the  Queen's  love. 

3  He  was  a  noble  rider,  a-ridin'  through  the  town. 

And  all  the  pretty  ladies  they  watched  him  up  and  down. 

4  He  was  a  gallant  player,  a-playin'  at  the  ball ; 

Oh,  the  bonny  Earl  of  Mo-ray  was  the  flower  of  them  all. 

5  He  was  a  handsome  feller  and  wore  a  golden  ring. 
Oh,  the  bonny  Earl  of  Mo-ray  he  ort  to  a  been  king. 

37 

The  Gypsy  Laddie 

(Child  20o) 

Still  widely  known  and  sung;  see  BSM  73-4,  and  add  to  the 
citations  there  given  Massachusetts  (FSONE  207-9),  Tennessee 
(SFLQ  XI  130-1),  North  Carolina  (FSRA  2)7,  one  stanza  only), 
Florida  (SFLQ  viii  156),  Arkansas  (OFS  i  152-3,  155-60),  Mis- 
souri (OFS  I  155-9),  Ohio  (BSO  67-9),  Indiana  (BSI  134),  and 
Kittredge's  bibliographical  note  JAFL  xxx  323.  Texts  from  the 
Southern  states  are  likely  to  include,  rather  incongruously,  stanzas 
from  the  wooing  song  'Where  are  you  Going,  my  Pretty  Maid?' 
So  in  Tennessee  (FSSH  iii),  Mississippi  (FSM  118-19),  and 
North  Carolina  (SCSM  218  and  versions  A  B  D  E  G  below). 

A 

'Black  Jack  David.'  From  the  Isabel  Rawn  collection,  sent  to  Dr. 
Brown  for  the  North  Carolina  society  in  191 5.  Some  of  her  findings, 
and  perhaps  this,  were  made  in  Cherokee  county,  in  the  southwest  corner 
of  the  state.    The  last  line  of  each  stanza  is  repeated. 

I     Black  Jack  David  come  a-running  through  the  woods, 
A-singing  oh  so  merrily, 


l62  NORTH  CAROLINA  FOLKLORE 

He  made  green  hills  ail  around  him  ring 
And  charmed  the  heart  of  a  lady, 
And  charmed  the  heart  of  a  lady. 

2  'Come  go  with  me,  my  pretty  little  miss, 
Come  go  with  me,  my  honey ; 

I'll  take  you  to  the  deep,  deep  sea. 
And  you  never  shall  want  for  money. 

3  'How  old  are  you,  my  pretty  little  miss? 
How  old  are  you,  my  honey?' 

She  answered  him  with  a  tee-hee-ha, 
'I'll  be  sixteen  next  Sunday.' 

4  'Go  saddle  me  up  my  old  gray  horse, 
Go  saddle  me  up  my  darby, 

And  I'll  ride  east,  and  I'll  ride  west. 
Till  I  overtake  my  honey.' 

5  He  rode  and  rode  till  he  came  to  the  sea, 
The  sea  so  dark  and  lonely ; 

The  tears  came  twinkling  down  his  cheeks, 
For  here  was  a  body's^  lioney. 

6  'Oh  say  will  you  leave  your  house  and  home. 
And  say  will  you  leave  your  money. 

Oh  say  will  you  leave  your  husband  and  babe 
And  go  with  the  Black  Jack  David  ?' 

7  'Yes  I  will  leave  my  house  and  home. 
Yes  I  will  leave  my  money, 

Yes  I  will  leave  my  husband  and  babe 
And  go  with  my  Black  Jack  David. 

8  'Last  night  I  lay  on  a  fine  feather  bed 
Beside  of  my  husband  and  baby. 

But  tonight  I'll  lay  on  the  cold,  cold  ground 
Beside  of  my  Black  Jack  David.' 


'Black  Jack  David.'  Sent  by  Thomas  Smith  of  Zionville,  Watauga 
county,  in  1914  to  C.  Alphonso  Smith  and  later  passed  on  to  Dr.  Brown. 
"Written  as  sung  by  a  neighbor,  Mrs.  Julia  Grogan  of  Zionville,  who 
learned  the  ballad  from  her  father."  Somewhat  nearer  than  A  to  the 
normal  form.     Here  as  in  A  the  last  line  of  each  stanza  is  repeated. 

I     Black  Jack  David  came  riding  through  the  woods, 
Singing  so  loud  and  merry 
He  made  the  green  woods  all  around  him  ring 

*  So  the  manuscript.     Does  it  mean  "somebody's"  ?     Or  "nobody's"  ? 
In  neither  case  js  it  altogether  intelligible, 


OLDER     BALLADS MOSTLY     BRITISH  163 

And  charmed  the  heart  of  a  lady, 
And  charmed  the  heart  of  a  lady. 

2  'How  old  are  you,  my  sweet  little  miss? 
How  old  are  you,  my  honey?' 

She  answered  him  with  a  'tee  hee  hee ! 
I  will  be  sixteen  a  Sunday.' 

3  'Come  go  with  me,  my  pretty  little  miss, 
Come  go  with  me,  my  honey ; 

I'll  take  you  across  the  deep  blue  sea 
Where  you  never  shall  want  for  money.' 

4  She  pulled  off  her  high-heeled  shoes 
All  made  of  Spanish  leather, 

Put  on  a  pair  of  low-heeled  shoes 
And  they  both  rode  off  together. 

5  Late  that  night  when  the  landlord  came  home 
Inquiring  for  his  lady 

He  was  informed  by  a  fair  young  maid 
She  had  gone  with  the  Black  Jack  David. 

6  'Go  saddle  for  me  my  milk-white  steed, 
Go  bridle  for  me  my  Darby ; 

I'll  ride  to  the  East,  I'll  ride  to  the  West 
Till  I  overtake  my  lady.' 

7  He  rode  till  he  came  to  the  deep  blue  sea ; 
The  sea  was  dark  and  muddy. 

Tears  came  trickling  down  his  cheeks. 
For  there  he  saw  his  lady. 

8  'Will  you  forsake  your  house  and  land  ? 
Will  you  forsake  your  baby? 

Will  you  forsake  your  husband  dear 
And  go  with  the  Black  Jack  David?' 

9  'I  will  forsake  my  house  and  land, 
I  will  forsake  my  baby, 

I  will  forsake  my  husband  dear 
And  go  with  the  Black  Jack  David. 

TO     'Last  night  I  slept  on  a  fine  feather  bed 
Beside  my  husband  and  baby ; 
Tonight  I'll  sleep  on  the  damp  cold  ground 
In  the  arms  of  the  Black  Jack  David. 
In  the  arms  of  the  Black  Jack  David.' 


164  NORTH  CAROLINA  FOLKLORE 

C 

'The  Egyptian  Davy  O.'  Another — and  much  abbreviated — text  sent 
by  Thomas  Smith  of  Zionville  in  1914  to  C.  Alphonso  Smith  and  later 
to  the  North  Carolina  collection.  The  0  rhymes  and  in  a  less  degree 
the  refrain  are  suggestive  of  the  familiar  "raggle-taggle  gypsies"  form 
of  the  ballad. 

1  There  were  three  Egyptians  Hving  in  the  East, 
They  were  three  Egyptians  lairio ; 

They  sung  the  Egyptian  songs 

Till  they  charmed  the  heart  of  a  lady  o. 

Rol  de  ma  rinktom  rinktom 

Rol  de  ma  rinktom  rario. 

2  'Go  saddle  me  my  milk-white  steed, 
Go  saddle  me  my  hasty  o ; 

I'll  ride  all  day  and  I'll  ride  all  night 
Till  I  overtake  my  honey  0.' 

3  I  rode  east  and  I  rode  west 

Till  I  came  to  some  distant  lairio, 

And  there  I  found  my  pretty  little  miss 

Sitting  on  the  knee  of  the  Egyptian  Da[v]y  o. 

4  'Come  go  back  with  me,  my  pretty  little  miss, 
Come  go  back  with  me,  my  honey  o. 

I'll  take  and  lock  you  in  a  higher  room 
Where  the  Egyptians  can't  get  a-nigh  you.' 

D 
'Black-Eyed  Davy.'  A  third  text  supplied  by  Thomas  Smith.  "Sung 
March  11,  1915,  by  Mrs.  Peggy  Perry,  Silverstone,  Watauga  county. 
The  lady  is  past  75  years  of  age  and  heard  the  song  sung  by  her  grand- 
father 'Clem  Dosset,'  who  was  a  soldier  in  the  American  Revolution. 
Mrs.  Perry  .  .  .  has  sung  this  song,  she  says,  to  her  children  and 
grandchildren  for  many  years." 

1  'How  old  are  you,  my  pretty  Polly? 
How  old  are  you,  my  honey?' 

She  answered  him  most  modestly, 
'I'm  between  sixteen  and  twenty.' 

Chorus: 

Ti  diddle  a  tiddle  um  Davy 
Ti  diddle  a  tiddle  um  Davy 
Ti  diddle  a  tiddle  um  Davy 

2  He  came  home  very  late  in  the  night 
Inquiring  for  his  lady. 

The  news  came  sweet  from  every  side : 
'She's  gone  with  the  black-eyed  Davy.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  l6S 

3  He  caught  his  black  and  he  caught  his  gray, 
And  his  black  was  very  speedy. 

He  rode  all  night  and  he  rode  all  day 
And  he  couldn't  overtake  his  lady. 

4  He  rode  to  the  riverside; 

The  river  was  deep  and  muddy. 
He  rode  on  to  the  other  side 
And  there  he  found  his  honey. 

5  'Will  you  leave  your  house  and  land? 
Will  you  leave  your  baby? 

Will  you  leave  your  own  true  love 
And  follow  the  black-eyed  Davy?' 

6  'I  will  leave  my  house  and  land, 
I  will  leave  my  baby, 

I  will  leave  my  own  true  love 
And  follow  the  black-eyed  Davy ' 

Later  Mrs.  Perry  supplied  the  following  "missing  verses."     The  first  of 
them  should  perhaps  be  the  second  stanza;  the  second  is  clearly  final, 

'Where  are  you  going,  my  pretty  Polly? 
Where  are  you  going,  my  honey?' 
She  answered  him  quite  modestly, 
'I'm  going  with  the  black-eyed  Davy.' 

'If  ever  I  do  marry  again, 
I'll  marry  for  love  or  riches. 
She  must  wear  the  petticoat. 
And  I  will  wear  the  britches.' 


•Black  Jack  David.'  Contributed  by  I.  G.  Greer  of  Boone,  Watauga 
county,  apparently  in  1915.  An  unusually  full  version.  The  last  line  of 
each  stanza  is  repeated. 

1  Black  Jack  David  come  ridin'  through  the  woods, 
Singin'  so  loud  and  merry 

That  the  green  hills  all  around  him  ring. 
And  he  charmed  the  heart  of  a  lady. 
And  he  charmed  the  heart  of  a  lady. 

2  'How  old  are  you,  my  pretty  little  miss. 
How  old  are  you,  my  lady?' 

She  answered  him  with  a  'tee,  hee,  hee, 
I'll  be  sixteen  next  summer,' 


'Come,  go  with  me,  my  pretty  little  miss. 
Come,  go  with  me,  my  lady ; 


l66  NORTH     CAROLINA     FOLKLORE 

I'll  take  you  across  the  deep  blue  sea 
Where  you  never  shall  want  for  money. 

4  'Won't  you  pull  off  those  high  heel  shoes 
All  made  of  Spanish  leather ; 

Won't  you  put  on  some  low  heel  shoes? 
And  we'll  ride  off  together.' 

5  She  soon  pulled  off  those  high  heeled  shoes 
All  made  of  Spanish  leather ; 

She  put  on  those  low  heeled  shoes 
And  they  rode  off  together. 

6  'Twas  late  at  night  when  the  land-lord  come 
Inquirin'  for  his  lady. 

He  was  posted  by  a  fair  young  maid : 
'She's  gone  with  Black  Jack  David.' 

7  Go  saddle  me  my  noble  steed, 
Go  bridle  me  my  derby ; 

I'll  ride  to  the  east,  I'll  ride  to  the  west. 
Or  overtake  my  lady.' 

8  He  rode  till  he  came  to  the  deep  below ; 
The  stream  was  deep  and  muddy. 
Tears  came  tricklin'  down  his  cheeks. 
For  there  he  spied  his  lady. 

9  'How  can  you  leave  your  house  and  land, 
How  can  you  leave  your  baby, 

How  can  you  leave  your  husband  dear 
To  go  with  Black  Jack  David?' 

10  'Very  well  can  I  leave  my  house  and  land, 
Very  well  can  I  leave  my  baby. 

Much  better  can  I  leave  my  husband  dear 
To  go  with  Black  Jack  David. 

11  'I  won't  come  back  to  you,  my  love, 
Nor  I  won't  come  back,  my  husband ; 

I  wouldn't  give  a  kiss  from  David's  lips 
For  all  your  land  and  money. 

12  'Last  night  I  lay  on  a  feather  bed 
Beside  my  husband  and  baby ; 
Tonight  I  lay  on  the  cold  damp  ground 
Beside  the  Black  Jack  David.' 

13  She  soon  run  through  her  gay  clothing. 
Her  velvet  shoes  and  stockings; 


OLDER     BALLADS  —  MOSTLY     BRITISH  167 

Her  gold  ring  off  her  finger  was  gone, 
And  the  gold  plate  off  her  bosom. 

14     'Oh,  once  I  had  a  house  and  land, 
A  feather  bed  and  money, 
But  now  I've  come  to  an  old  straw  pad. 
With  nothing  but  Black  Jack  David.* 


*The  Gypsy  Davy.'  Secured  by  Mrs.  Sutton  from  the  singing  of  Mrs. 
J.  J.  Miller  (the  'Myra'  from  whom  Mrs.  Sutton  got  so  many  of  her 
songs)  at  King's  Creek,  Caldwell  county.  "She  learned  it  from  her 
aunt,  Mrs.  John  Barrett,  in  the  Brushy  Mountains."  Nine  stanzas.  The 
earlier  part  of  the  story  is  missing  in  this  version ;  it  begins  with  the 
husband  coming  home  to  find  his  lady  gone.  The  last  three  stanzas 
vary  somewhat  from  the  customary  form;  they  are  a  dialogue  between 
the  husband  and  the  wife : 

7  'Last  night  I  lay  on  a  warm  feather  bed. 
My  arms  were  around  my  baby ; 
Tonight  I  shall  lie  on  some  cold  river  bank 
In  the  arms  of  a  Gypsy  Davie.' 

8  'Pull  off,  pull  off  those  fine  kid  gloves, 
They're  made  of  Spanish  leather, 
And  give  to  me  your  lily-white  hand 
And  we'll  shake  hands  together.' 

9  'I  can  pull  off  those  fine  kid  gloves, 
They're  made  of  Spanish  leather, 
And  give  to  you  my  lily-white  hand — 
Bid  you  farewell  forever.' 


*How  Old  are  You,  my  Pretty  Little  Miss?'  Contributed  by  James 
York  of  Iredell  county  in  August  1939.  Exceptional  in  that  it  is 
throughout  in  the  first  person ;  sometimes  unannounced  dialogue,  some- 
times first  person  narrative. 

1  'How  old  are  you,  my  pretty  little  miss? 
How  old  are  you,  my  honey?' 

'I'll  answer  you  in  the  modest  way : 
I'll  be  sixteen  next  Sunday 

Rataling  a  do  a  do  a  do 

Rataling  a  do  a  do  a  do 

2  'Will  you  marry  me,  my  pretty  little  miss? 
Will  you  marry  me,  my  honey  ?' 

T'll  answer  you  in  the  modest  way : 
If  it  wasn't  for  my  dinged  old  mammy.' 


l68  NORTH     CAROLINA     FOLKLORE 

3  'Go  saddle  up  the  iron  gray  horse, 
For  the  black  is  not  so  speedy. 

I'll  ride  all  day  and  I'll  ride  all  night 
Till  I  overtake  my  lady.* 

4  I  rode  on  down  to  the  old  man's  house 
Inquiring  of  my  lady. 

The  only  reply  he  made  to  me, 
'She's  followed  the  Gyps  of  Davy.' 

5  I  rode  on  down  the  wide  water  side, 
Where  it  was  deep  and  muddy. 

The  tears  came  trinkling  down  my  cheeks, 
For  there  I  beheld  my  lady. 

6  'Will  you  forsake  your  house  and  lands, 
Will  you  forsake  your  baby. 

Will  you  forsake  your  old  Will  and  all 
And  follow  the  Gyps  of  Davy?' 

7  'Yes,  I'll  forsake  my  house  and  lands. 
And  I'll  forsake  my  baby, 

And  I'll  forsake  my  old  Will  and  all 
And  follow  the  Gyps  of  Davy.' 

38 

Geordie 

(Child  209) 

For  the  question  of  the  origin  of  this  ballad  and  its  currency,  see 
Child's  headnote  and  BSM  76,  adding  to  the  references  there  given 
North  Carolina  (FSRA  37),  the  Ozarks  (OFS  i  161-5),  Indiana 
(SFLQ  V  170-1),  Illinois  (JAFL  lx  245-6),  and  Michigan  (BSSM 
317).  Our  collection  has  but  one  full  text,  and  part  of  a  text  as 
sung  by  Miss  Hattie  McNeill  of  Ferguson,  Wilkes  county,  prob- 
ably in  1922. 

No  title   given.     Sent   in   by  James   York   of   Olin,   Iredell   county,  in 
August  1939. 

1  As  I  went  over  London's  bridge 
So  early  in  the  morning, 

And  there  I  spied  a  pretty  fair  maid 
Lamenting  over  Georgia. 

2  'Go  bridle  now  my  mild^  white  steed 
And  saddle  him  so  gaily 

That  I  may  ride  to  Oxford  court 
And  plead  for  the  life  of  Georgia.' 
*  So  in  the  typescript ;  clearly  a  miswriting  for  "milk." 


OLDER     BALLADS — MOSTLY     BRITISH  169 

3  When  she  arrived  at  Oxford  court 
So  early  in  the  morning, 

And  down  upon  her  bended  knees 
A-pleading  for  the  life  of  Georgia. 

4  He  has  not  robbed  no  king's  highway 
Nor  took  the  life  of  any, 

But  he  stold  fifteen  of  the  milk-white  steeds 
And  conveyed  them  away  to  Ghelenay.^ 

5  The  king  looked  over  her  shoulder 
And  looked  as  if  he  was  sorry 

And  said :  'Kind  miss,  you've  come  too  late, 
For  Georgia's  condemned  tomorrow.' 

6  He  walked  the  streets  both  up  and  down 
And  took  the  leave  of  many. 

But  he  took  the  leave  of  his  own  true  love, 
Which  hurt  him  the  worst  of  any. 

7  Georgia  was  hung  with  a  white  silken  cord, 
And  hung  where  there  were  many, 
Because  he  was  of  noble  blood 

And  loved  by  the  royal  lady. 

39 

Katharine  Jaffray 

(Child  221) 

Despite  the  popularity  of  Scott's  'Young  Lochinvar,'  which  is 
derived  from  it,  this  ballad  has  seldom  appeared  in  records  of 
traditional  singing  since  the  early  part  of  the  last  century.  Greig 
records  it  from  Scotland  (LL  158-61);  on  this  side  of  the  water 
it  is  reported  from  Nova  Scotia  (SENS  22-4),  Maine  (BBM 
400-6),  and  Vermont  (NGMS  141-4,  CSV  20-1,  both  of  these 
originally  from  Ireland).  It  is  not  recorded  from  tradition  in  the 
South  except  in  our  collection. 

'Katherine  Jeflfrys.'  Secured  by  Mrs.  Sutton  from  the  singing  of  Mrs. 
Farthing  of  Beech  Creek,  Avery  county,  whose  grandfather,  so  she 
claimed,  fought  in  "the  war,"  meaning  the  Revolutionary  War. 

I     There  lived  a  girl  in  yonder  glen, 
A  girl  in  yonder  glen  O, 
And  Katherine  Jefifrys  was  her  name, 
Well  loved  by  many  men  O. 

*  Just  what  country — if  any — the  singer  had  in  mind  is  not  apparent. 
Bohemia  is  the  name  used  most  often  in  other  texts ;  Child  G  has  Balleny. 


170  NORTH     CAROLINA     FOLKLOR 

2  One  day  come  up  Lord  Willie  brave, 
All  from  the  South  countree, 

All  for  to  court  this  pretty  maid  : 
'Oh,  say,  won't  you  marry  me?' 

3  He  asked  her  father  and  mother  both. 
Her  brother  and  all  her  kin. 

And  last  of  all  asked  her,  herself. 
The  maid  he  come  to  win. 

4  There  come  another,  Lord  Robert  bold, 
From  o'er  across  the  border 

All  for  to  court  this  pretty  maid, 
Well  ridin'  in  good  order. 

5  He  axed  no  ma,  he  axed  no  pa. 
He  axed  the  girl  alone. 

'My  pretty  maid,  won't  you  marry  me? 
I  want  ye  fur  my  own.' 

6  'My  father  and  mother  have  promised  me 
All  to  another  man; 

But  I  love  you  and  you  I'll  wed. 
If  it's  only  so  I  can.' 

7  The  day  was  set  and  friends  all  met 
Her  weddin'  fur  to  see. 

Lord  Robert  bold  rode  to  the  house 
A  weddin'  guest  to  be. 

8  *Oh  did  you  come  for  sport,  young  man, 
Or  did  you  come  for  play? 

Or  did  you  come  for  to  see  pretty  Kate 
All  on  her  weddin'  day?' 

9  'I  did  not  come  for  sport,'  he  said, 
'Nor  did  I  come  for  play; 

But  I  wanted  one  sight  o'  pretty  Kate 
All  on  her  weddin'  day.' 

10  There  stood  a  glass  o'  red,  red  wine 
Upon  the  table  there. 

She  picked  it  up  and  drunk  a  sip, 
A-lookin'  at  her  dear. 

1 1  He  took  her  by  her  lily-white  hand 
And  by  her  grass-green  sleeve, 

He  throwed  her  up  across  his  horse ; 
O'  Lord  Willie  he  asked  no  leave. 


OLDER     BALLADS  —  MOSTLY     BRITISH  I/I 

1 2     He  Stuck  his  spurs  in  his  coal-black  steed, 
Took  Kate  in  his  strong,  strong  arm, 
And  galloped  off  across  the  border ; 
Her  kin  did  them  no  harm. 

40 

James  Harris  (The  Daemon  Lover) 

(Child  243) 

If  the  various  traditional  versions  of  this  ballad  all  go  back,  as 
Child  believed,  to  the  long-winded,  pedestrian  seventeenth-century 
broadside  of  'James  Harris,'  they  constitute  something  of  an  argu- 
ment for  Barry's  doctrine  of  communal  re-creation.  For  its  range 
as  traditional  song,  see  BSM  79,  and  add  New  Hampshire  (NGMS 
95-7),  Tennessee  (SFLQ  xi  127-8),  North  Carolina  (FSRA  38- 
40),  Florida  (SFLQ  viii  160-1),  the  Ozarks  (OFS  i  166-76), 
Ohio  (BSO  70-7),  Indiana  (BSI  136-48,  JAFL  lvii  14-15),  Illinois 
(JAFL  LX  131-2),  Michigan  (BSSM  54-8),  and  Wisconsin  (JAFL 
LIT  46-7,  originally  from  Kentucky).  Few  regional  collections 
made  in  this  country  fail  to  record  it ;  it  is  therefore  surprising  that 
Child  knew,  apparently,  only  one  American  text  and  that  a  frag- 
ment. It  is  almost  always  called  in  America  'The  House  Carpenter.' 
The  notion  that  the  lover  from  the  sea  is  a  rez'enant  or  a  demon, 
present  in  the  original  broadside  and  less  definitely  in  some  of  the 
other  versions  in  Child,  has  faded  from  most  American  texts  ;^ 
with  us  it  is  a  merely  domestic  tragedy.  And  perhaps  for  that 
very  reason  it  is  one  of  the  favorites  of  American  ballad  singers. 
There  are  some  fourteen  texts  in  the  North  Carolina  collection, 
most  of  them  holding  pretty  closely  to  one  version.  A  full  text 
of  this  version  is  given  first  and  most  of  the  others  described  by 
reference  to  this. 

A 
The  House  Carpenter.'  Reported  by  Mrs.  Sutton  (or  rather  by  Miss 
Maude  Minish  before  her  marriage)  from  the  singing  of  Mr.  R.  T. 
Lewis  of  Roaring  Creek,  Ashe  county — "a  very  wild,  primitive  location, 
and  a  most  interesting  family.  The  father  was  a  bit  politically  inclined. 
He  kept  up  with  all  events  of  the  day  and  talked  with  much  intelli- 
gence. His  wife  was  a  typical  mountain  drudge,  superstitious  to  a 
degree.  .  .  .  For  wild  beauty  and  untouched  grandeur  the  scenery 
around  their  home  is  not  equaled  in  the  mountains  anywhere.  Roaring 
Creek  literally  tumbles  down  a  mountain  side,  seemingly  coming  from 
the  very  clouds."  The  "we'll  meet"  of  the  first  two  lines  should  of 
course  be  "well  met." 

I     'We'll  meet,  we'll  meet,  my  own  true  love,' 

"We'll  meet,  we'll  meet.'  he  replied ; 

'I'm  just  a-returnin'  from  the  salt,  salt  sea 

And  it's  all  for  the  love  of  thee. 
'  There  are  traces  of  it  in  our  K  and  M  versions. 


172  NORTH     CAROLINA     FOLKLORE 

2  'I  could  have  married  a  king's  daughter, 
For  she  would  'a'  married  me; 

But  I  forsaken  the  crown  of  gold, 
And  it's  all  for  the  love  of  thee.' 

3  'If  you  could  'a'  married  a  king's  daughter 
I'm  sure  you  air  to  blame ; 

For  I  am  married  to  a  house  carpenter, 
And  I  think  he's  a  nice  young  man.' 

4  *If  you  will  leave  your  house  carf)enter 
And  go  along  with  me, 

I'll  take  you  where  the  grass  grows  so  green 
On  the  banks  of  Sweet  Willie.' 

5  'If  I  will  leave  my  house  carpenter 
And  go  along  with  thee, 

Have  you  anything  to  maintain  me  upon 
And  keep  me  from  slavery  ? 

6  'I  have  five  ships  on  the  ocean  wide 
A-sailin'  for  dry  land, 

A  hundred  and  fifty  bold  seamen 
For  to  be  at  your  command.' 

7  She  picked  up  her  sweet  little  babe 
And  kisses  she  gave  it  three, 

Saying,  'Stay  at  home,  my  sweet  little  babe, 
And  keep  your  pappy  company.' 

8  She  dressed  herself  in  silk  so  fine, 
Most  glorious  to  behold; 

As  she  walked  out  toward  the  wharf 
She  outshined  the  glittering  gold. 

9  She  had  not  been  on  sea  two  months, 
I'm  sure  it  was  not  three, 

Until  she  lamented  in  her  true  love's  ship 
And  wept  most  bitterly. 

10  'Are  you  a-weepin'  for  my  silver  or  my  gold, 
Or  either  for  my  store? 

Or  are  you  a-weepin'  for  your  house  carpenter 
That  you  will  never  see  no  more  ?' 

1 1  'I'm  not  a-weepin'  for  your  silver  or  your  gold 
Or  either  for  your  store ; 

I'm  just  a-weepin'  for  my  sweet  little  babe 
That  I  never  shall  see  no  more.' 


OLDER     BALLADS MOSTLY     BRITISH  173 

12  She  had  not  been  on  the  sea  three  months, 
I'm  sure  it  was  not  four, 

Until  there  sprung  a  leak  in  her  true  love's  ship 
And  sunk  it  to  rise  no  more. 

13  *A  curse,  a  curse  on  all  seamen, 
A  curse  for  evermore; 

For  you  have  robbed  me  of  my  house  carpenter 
That  I  never  shall  see  any  more.' 


The  House  Carpenter.'  This  text  was  secured  by  Mrs.  Sutton  some 
years  later  than  A,  from  the  singing  of  Mrs.  Rebecca  Gordon  of  Cat's 
Head  on  Saluda  Mountain,  Henderson  county.  Here  the  last  line  of 
each  stanza  is  repeated  by  way  of  refrain.  The  English  is  cruder — to 
the  point  of  unintelligibility  in  the  first  line  of  stanza  4.  The  last  stanza 
is  borrowed  from  some  of  the  forms  of  'William  Taylor'  or  of  'The 
Sailor  Boy.' 


*I  oncet  could  'a'  married  a  king's  daughter  fair 
And  I  wouldn't  for  the  sake  of  thee.' 

2  'I  don't  see  how  you  could  fault  me. 
For  I  am  married  to  a  house  carpenter. 
And  I  think  he's  a  fine  young  man,  man. 
And  I  think  he's  a  fine  young  man.' 

3  'Won't  you  forsaken  your  house  carpenter 
And  go  along  with  me? 

I  will  take  you  to  where  the  grass  grows  so  green 
On  the  banks  of  the  salt  water  sea,  sea, 
On  the  banks  of  the  salt  water  sea.' 

4  She  stole  herself  in  a  neat  little  ravin, 
She  dressed  in  ivory ; 

She  spreaded  her  veil  all  over  her  face ; 
She  outshined  the  glittering  day,  day. 
She  outshined  the  glittering  day. 

5  She  called  her  three  little  babes  to  her 
And  kissed  them  one-two-three. 

She  said,  'Go  back,  my  sweet  little  babes, 
And  keep  your  pappy's  company,  ny, 
And  keep  your  pappy's  company.' 

6  She  hadn't  been  gone  three  months  on  the  sea, 
I  am  sure  it  was  not  four. 

Till  she  was  found  a-weeping  and  a-moaning 
And  a-weeping  most  bitter-i-ly,  i-ly. 
And  a-weeping  most  bitter-i-ly. 


174  NORTH     CAROLINA     FOLKLORE 

7  'Oh,  what's  the  matter?'  said  the  sea-faring  man, 
'Oh,  what's  the  matter?'  said  he. 

'Is  it  about  your  house  carpenter? 
Is  it  about  your  store,  your  store, 
Is  it  about  your  store?' 

8  'It's  neither  about  my  house  carpenter 
Nor  is  it  about  my  store. 

It's  all  about  my  sweet  Httle  babes 
That  I  left  when  I  came  with  thee,  thee, 
That  I  left  when  I  came  with  thee.' 

9  She  hadn't  been  gone  on  the  sea  three  months, 
I'm  sure  it  was  not  four, 

Till  she  thrown  herself  all  over  board 
And  her  soul  has  sung  farewell,  farewell. 
And  her  soul  has  sung  farewell. 

c 

'The  House  Carpenter.'  Sent  by  I.  G.  Greer  of  Boone,  Watauga  county, 
to  C.  Alphonso  Smith  in  1913  and  later  to  the  North  Carolina  col- 
lection. It  is  essentially  the  same  as  A,  with  some  minor  variations : 
seven  ships,  instead  of  six,  and  weeks  for  months  in  stanzas  9  and  12. 


'The  House  Carpenter's  Wife.'  Sent  in  by  Thomas  Smith  of  Zionville, 
Watauga  county,  in  February  191 5,  as  sung  by  Mrs.  Rebecca  Icenham, 
of  Silverstone  in  the  same  county.  "She  heard  a  Mrs.  Thompson  sing 
it  as  well  as  other  ballads  between  forty  and  fifty  years  ago  at  her  old 
home  near  where  she  now  lives."  Twelve  stanzas  of  the  A  version 
with  minor  verbal  variations  such  as  three  ships  instead  of  six,  "a  week 
or  two"  in  stanza  9,  etc. 

E 

'The  House  Carpenter.'  Another  text  secured  by  Thomas  Smith,  "sung 
by  Clyde  Corum  of  Zionville,  March  22,  1915.  Clyde  Corum  learned 
it,  he  says,  from  his  mother  and  grandfather,  who  sang  the  song  to 
him  when  he  was  a  child."  The  text  is  the  same  as  A  with  minor 
verbal  variations,  except  that  it  lacks  stanza  8  of  A  and  has  a  different 
opening  stanza  (which  appears  also  in  other  ballads)  : 

'I  will  come  in  but  I  won't  set  down, 

For  I  have  not  a  moment  of  time ; 

For  I  heard  you  were  engaged  to  another  young  man 

And  your  heart  is  no  longer  mine.' 


'The  House  Carpenter.'  Collected  by  D.  W.  Fletcher  sf  Trinity  College 
some  ten  miles  east  of  Durham  from  A.  H.  Carpenter,  who  learned  it 
from  his  father.  The  text  is  short  (eight  stanzas)  and  varies  a  good 
deal  from  the  normal  as  exhibited  in  A.  Note  particularly  the  confusion 
of  grammatical  person  in  the  first  two  stanzas.  Because  of  this  con- 
fusion quotation  marks  are  not  used  until  line  7. 


OLDER     BALLADS — MOSTLY     BRITISH  1 7$ 

1  I  once  could  have  married  the  Queen's  daughter  dear, 
When  she  looked  most  beautiful,  wise,  and  sweet ; 
But  she  went  away  with  a  house  carpenter 

And  there  she  stayed  three  weeks. 

2  There  came  along  a  very  rich  man. 
He  was  richer  than  tongue  could  tell. 
'Will  you  forsake  your  house  carpenter 
And  come  with  this  young  man  ?' 

3  'I  will  forsake  my  house  carpenter. 
And  I  will  forsake  my  land. 

And  I  will  forsake  my  pretty  little  babe 
And  come  with  this  young  man.' 

4  They  went  along  till  they  came  to  the  old  sea  sound 
Where  she  looked  wonderful  wide  and  deep. 
There  she  wipeth  up  her  water-weeping  eyes 

And  then  began  to  weep. 

5  'What  are  you  weeping  for  ?'  said  he. 
'Are  you  weeping  for  my  gold? 

Or  are  you  weeping  for  your  house  carpenter 
Which  I  know  you  never  shall  see?' 

6  'I  am  neither  weeping  for  your  gold 
Nor  for  my  house  carpenter. 

I  am  weeping  for  my  pretty  little  babe 
Which  I  know  I  never  shall  see.' 

7  They  had  not  been  gone  more  than  three  weeks. 
I'm  sure  it  was  not  four, 

When  there  sprang  a  leak  in  the  bottom  of  the  ship 
And  they  sank  to  rise  no  more. 

8  I've  often  seen  green  grass  trod  under  foot ; 
It  would  spring  and  grow  again. 

True  love,  true  love,  'tis  a  killing  pain. 
Did  you  ever  feel  that  pain? 

G 
'I  Have  Forty  Ships.'     Secured  by  Miss  Mamie  Mansfield  in  1922  from 
Estella  Rhew  at  the  Fowler  School,  Durham.     Here  the  text  has  shrunk 
to  five  stanzas. 

I     'I  have  forty  ships  on  the  ocean  side 
And  they  are  all  making  for  land. 
If  you'll  come  along  and  go  with  me 
I'll  make  you  a  nice  young  man.'^ 

*  Miss    Mansfield's  text  exists   in  the  collection   in   two   copies.     The 
other  copy  reads  here  "I'll  make  you  nice  and  grand." 


176  NORTH  CAROLINA  FOLKLORE 

2  She  picked  up  the  poor  little  baby 
And  kissed  him  one,  two,  three ; 
Said,  'You  stay  here  with  daddy 
And  keep  him  company  for  me.' 

3  She  had  not  been  gone  but  about  two  weeks, 
I  am  sure  it  was  not  three, 

Before  that  little  girl  began  to  cry  and  moan 
For  someone  she'd  never  more  see. 

4  'Are  you  weeping  for  your  land? 
Are  you  weeping  for  your  store?' 

She  said,  'I'm  weeping  for  my  lonesome  babe 
I'll  never  see  no  more.' 

5  She  had  not  been  gone  but  about  three  weeks, 
I  am  sure  it  was  not  four, 

Before  that  ship  sprung  a  leak 
And  sunk  to  rise  no  more. 

H 
'The   House   Carpenter.'     Two  fragmentary  and   corrupt   texts   secured 
by  Julian  P.  Boyd  at  the  AlHance  School,  Pamlico  county.     In  one  of 
them  "the  banks  of   Sweet  Willie"   becomes   "the  banks   of  sweet  Lib- 
erty" ;  and  the  other  has  for  its  third  stanza : 

Don't  you  see  them  seven  sailing  ship 

Are  sailing  for  dry  land? 

You  can  count  'em  all  at  your  command. 

I 
'The  House  Carpenter.'  Reported  by  L.  W.  Anderson  from  Nag's 
Head,  Dare  county:  "Sung  to  me  by  Mrs.  J.  A.  Best  at  whose  home  I 
board.  Her  mother  sang  this  also,  and  they  lived  on  an  island  called 
Collington  twelve  miles  from  Kitty  Hawk."  It  is  substantially  the 
same  as  A  with  some  differences  in  the  final  stanza : 

'Here's  a  curse,  here's  a  curse 

To  all  seafaring  men. 

A-ruinin'  of  lives,  robbing  of  house  carpenters 

And  taking  away  of  their  wives.' 

J 
The   House   Carpenter.'      Secured   by    Miss   Jessie   Hauser   of    Forsyth 
county  from  Mrs.  James  Thomas,  of  St.  Jude.    The  text  is  substantially 
the  same  as  A  but  lacks  stanza  15  and  combines  stanzas   i   and  2  into 

'We've  met,  we've  met,  my  own  true  love ; 

We've  met,  we've  met,'  said  he. 

'It's  I  could  have  married  the  King's  daughter  fair, 

And  she  would  have  married  me. 

But  I  have  forsaken  her  crown  of  gold, 

And  it's  all  for  the  love  of  thee.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  177 

K 

'The  House  Carpenter.'  Secured  by  W.  Amos  Abrams  in  1938  from 
Mrs.  Jim  Wilson  of  Zionville,  Watauga  county.  It  runs  like  A  for  the 
first  seven  stanzas  but  then  shifts  unexpectedly  to  the  first  person  of  the 
lover  and  even  brings  in  the  vision  of  heaven  and  hell  of  Child's  versions 
E  and  F,  not  often  found  in  American  texts.     The  last  six  stanzas  run: 

8  We  had  not  been  on  board  three  weeks, 
I  am  sure  it  was  not  four, 

When  tears  did  come  to  my  true  love's  eyes 
And  melted  to  rise  no  more. 

9  'Are  you  weeping  for  your  house  carpenter? 
Are  you  weeping  for  your  store? 

Are  you  weeping  for  your  dear  little  babe 
That  you  will  never  see  any  more?' 

10  'I  am  neither  weeping  for  my  house  carpenter, 
Neither  for  my  store. 

I  am  just  weeping  for  my  sweet  little  babe 
That  I  will  never  see  any  more.' 

11  We  had  not  been  on  board  three  months, 
And  I'm  sure  it  was  not  four. 

When  tears  began  to  come  in  my  true  love's  eyes 
And  melted  to  rise  no  more. 

12  'What  banks  are  these  we  are  passing  by? 
They  shine  like  glittering  gold.' 

'It's  the  banks  of  heaven  that  we  are  passing  by. 
Where  you  and  I  can't  go.' 

13  'What  banks  are  these  we  are  landing  on? 
They  are  black  as  any  crow.' 

'They  are  the  banks  of  torment  we  are  landing  on 
Where  you  and  I  must  go.' 

L 
'House  Carpenter.'     Secured  from  James  York,  Olin,  Iredell  county,  in 
1939.     Ten  stanzas,  fairly  close  to  A  but  shifting  in  stanza  7  from  the 
third  person  of  the  lover  to  the  first  person : 

She  dressed  herself  in  her  fine  richery. 
Most  beauteous  to  behold, 
And  as  she  glided  along  with  me 
She  outshined  that  glittering  gold. 

M 

'The  House  Carpenter.'  From  the  manuscript  of  Mr.  Obie  Johnson, 
Crossnore,  Avery  county,  July  1940.  The  manuscript  has  the  notation 
"Words  given  by  Phebe  G.  Basefield.     Sung  by  Anne  Johnson."     The 


178  NORTH  CAROLINA  FOLKLORE 

variations  from  the  standard  text  are  so  pervading  that  it  seems  best 
to  give  the  text  entire.  Note  that  like  K  it  has  the  vision  of  heaven 
and  hell. 

1  'Well  met,  well  met,  my  own  true  love, 
Well  met,  well  met,'  said  he ; 

'I'm  just  returning  from  the  salt,  salt  sea 
And  all  for  the  love  of  thee,  thee,  thee. 
And  all  for  the  love  of  thee. 

2  'I  will  come  in,  but  I  won't  sit  down. 
For  I  haven't  a  moment's  time. 

I  heard  you  were  engaged  to  another  young  man 
And  your  heart  is  no  longer  mine,  mine,  mine, 
And  your  heart  is  no  longer  mine.' 

3  'Yes,  come  in  and  sit  down 
And  stay  a  while  if  you  can. 

I  am  married  to  a  house  carpenter. 

And  I  think  he's  a  nice  young  man,  man,  man, 

And  I  think  he's  a  nice  young  man.' 

4  'If  you  will  leave  your  house  carpenter 
And  go  along  with  me. 

We  will  go  where  the  grass  grows  green 
On  the  banks  of  the  deep  blue  sea,  sea,  sea, 
In  the  land  of  the  Sweet  Willie.' 

5  She  dressed  herself  in  silk  so  fine. 
Most  glorious  to  behold, 

And  as  she  marched  up  and  down  the  street 
She  shone  like  glittering  gold,  gold,  gold, 
She  shone  like  glittering  gold. 

6  She  picked  up  her  little  babe. 
Kisses  she  gave  it  one,  two,  three, 

Saying,  'You  stay  at  home  with  your  poor  old  dad 
And  keep  him  company,  ny,  ny, 
And  keep  him  company.' 

7  She  hadn't  been  gone  but  about  two  weeks, 
I'm  sure  it  were  not  three, 

Till  she  fell  down  a-weeping  in  her  true  lover's  lap 
And  she  wept  most  bitterly,  ly,  ly, 
And  she  wept  most  bitterly. 

8  'Darling,  are  you  weeping  for  my  silver  or  my  gold. 
Or  weeping  for  my  store, 

Or  a-weeping  for  your  house  carpenter 
Whose  face  you'll  see  no  more,  more,  more. 
Whose  face  you'll  see  no  more?' 


OLDER     BALLADS MOSTLY     BRITISH  I79 

9     'I'm  neither  weeping  for  your  silver  or  gold, 
Or  weeping  for  your  store ; 
I'm  just  a- weeping  for  to  see  my  little  babe 
That  I'll  never  get  to  see  any  more,  more,  more. 
That  I'll  never  get  to  see  any  more. 

10  'Oh  what  white  banks  are  that  I  see? 
They  are  white  as  any  snow.' 

'They  are  the  banks  of  heaven,  my  dear, 
Where  your  sweet  little  babe  shall  go,  go,  go, 
Where  your  sweet  little  babe  shall  go.' 

11  'Oh  what  black  banks  are  that  I  see? 
They  are  blacker  than  any  crow.' 
'Those  are  the  banks  of  hell,  my  dear, 
Where  you  and  I  must  go,  go,  go. 
Where  you  and  I  must  go.' 

12  She  dressed  herself  up  in  silk  so  fine. 
Put  on  her  blue  and  green, 

And  marched  right  out  in  front  of  him  ; 
They  took  her  to  be  some  queen,  queen,  queen. 
They  took  her  to  be  some  queen. 

13  They  hadn't  been  gone  but  about  three  weeks, 
I'm  sure  it  was  not  four, 

Till  her  true  lover's  ship  took  a  leak  in  it 
And  sank  for  to  rise  no  more,  more,  more. 
And  sank  for  to  rise  no  more. 

14  'Well,  my  house  carpenter  is  still  at  home, 
And  living  very  well, 

While  my  poor  body  is  drowning  in  the  sea 
And  my  soul  is  bound  for  hell,  hell,  hell. 
And  my  soul  is  bound  for  hell.' 

N 

'Said  an  Old  True  Love.'  One  of  the  songs  collected  by  Professors  W. 
Amos  Abrams  and  Gratis  D.  Williams  in  1945  from  Pat  Frye  of  East 
Bend,  Yadkin  county.  See  headnote  to  'Lady  Isabel  and  the  Elf -Knight' 
G.  Twelve  stanzas.  The  time  formula  lacks  the  usual  "I'm  sure  it 
was  not,"  and  has  instead 

They  haden  been  sailing  more  weeks  than  two 
And  not  exceeding  three 

They  hadden  been  sailing  more  weeks  than  three 
And  not  exceeding  four. 

No  mention  of  sailing  past  the  islands  of  heaven  and  hell.  Ends,  like 
A  and  I,  with  a  curse : 


l80  NORTH     CAROLINA     FOLKLORE 

She  cussed  the  sailor  round  and  round 

She  cussed  the  boatman  lad 

For  robbing  her  of  her  home  and  her  house  carpenter 

And  taking  her  life  away. 


41 

The  Suffolk  Miracle 
(Child  272) 

For  the  range  and  antiquity  of  the  story  of  this  ballad,  see 
Child's  beadnote.  Of  the  English  form  of  it  Child  knew  only 
broadside  prints,  some  of  them  going  back  to  the  seventeenth  cen- 
tury; and  the  texts  recovered  from  tradition  in  modern  times  seem 
all  to  go  back  to  these  broadsides.  It  has  been  found  as  tradi- 
tional song  in  Maine  (BBM  314,  a  fragment),  Vermont  (BFSSNE 
V  7-9,  NGMS  86-9),  Massachusetts  (BFSSNE  v  9-10),  Virginia 
(TBV  482-4,  SharpK  i  264-6),  West  Virginia  (FSS  152-3),  Ten- 
nessee (SharpK  i  262-3),  North  Carolina  (SharpK  i  261-2,  264), 
Florida  (FSF  315-16),  and  Arkansas  (OFS  i  179-80).  'Nancy  of 
Yarmouth'  (no.  61,  below)  has  points  of  similarity  in  its  story  but 
is  by  no  means  the  same  ballad. 

'Richest  Girl  in  Our  Town  (Lucy  Bound).'  Our  text  is  one  of  the 
songs  collected  in  1945  by  Professors  W.  Amos  Abrams  and  Gratis  D. 
Williams  from  Pat  Frye  of  East  Bend,  Yadkin  county — concerning 
whom  see  the  headnote  to  'Lady  Isabel  and  the  Elf-Knight'  G,  above. 
It  has  suffered  a  good  deal  by  oral  transmission.  The  "Lucy  Bound" 
of  line  ID,  apprehended  apparently  by  the  singer  as  the  girl's  name, 
comes  from  the  phrase  "loosen  these  bonds,  love,  that  we  have  bound" ; 
"the  massy  dear"  of  line  26  is  what  is  left  of  "the  messenger"  of  the 
broadside ;  the  "safeguard"  of  line  29,  which  makes  little  sense  as  it 
stands,  seems  to  have  been  remembered  in  the  wrong  place  from  an  earlier 
stanza  of  the  broadside  where  "her  mother's  hood  and  safeguard  too" 
are  among  the  things  by  which  the  girl  recognizes  that  her  ghostly 
visitant  is  authorized  to  bring  her  home  from  her  uncle's.  The  verse 
seems  to  be  intended  as  rhymed  couplets,  but  is  a  good  deal  broken. 

1  The  richest  girl  in  our  town 

To  the  poorest  man  was  tightless  bound. 

2  When  her  old  father  found  it  out 
He  sent  her  oflf  full  forty  miles 
To  stay  twelve  months  and  a  day 
Till  her  love  ...  lay  in  the  clay. 

3  One  night  when  she  was  going  to  bed — 
She  was  undressing  of  her  head — 

She  heard  a  dead  and  doleful  sound : 
'O  Lucy  Bound,  I  am  so  tight  bound !' 

4  She  dressed  herself  in  her  richly  tire 
To  ride  behind  her  heart's  desire. 


OLDER     BALLADS MOSTLY     BRITISH  l8l 

As  she  got  up  behind  him 

They  rode  more  swiftly  than  the  wind. 

5  As  they  rode  upon  their  way 
She  kissed  his  Hps  as  cold  as  clay; 
As  they  rode  on  to  the  tavern  gate 

He  did  complain  how  his  head  did  ache. 

6  There  was  her  handkerchief ;  she  pulled  it  off 
And  bound  his  head  was  all  a-bound, 

Sayin,  'Get  thee  down,  go  safe  to  bed. 
And  I  will  see  those  horses  fed.' 

7  As  she  knocked  at  her  father's  door 
It's  'Who  comes  there?'  her  father  says. 
'It  is  your  daughter  that  you've  sent  for, 
You  sent  for  her  by  the  massy  dear.' 

8  It  made  the  hair  rise  on  his  head 
To  think  she'd  rode  behind  a  dead ; 
And  he  did  hurry  and  no  safeguard 
Straight  to  that  grave  and  undo. 

There  was  her  handkerchief,  for  very  well  knew. 
For  there  it  hung  so  well  in  view. 

9     If  this  ain't  a  warning  to  old  folks  still, 
Never  hinder  young  ones  from  their  will. 

42 

Our  Goodman 
(Child  274) 

This  is  one  of  the  few  humorous  ballads  admitted  to  Child's 
collection.  For  its  history  and  its  kin  in  other  languages,  see 
Child's  headnote;  for  its  range  in  English  since  Child's  time,  see 
BSM  89-90,  and  add  Virginia  (OSC  300-1),  North  Carolina 
(FSRA  41),  Florida  (FSF  317-19),  Missouri  (OFS  i  181-5), 
Ohio  (BSO  82-3),  Indiana  (BSI  149-50).  and  Tennessee  (BTFLS 
VIII  72-3).  Our  North  Carolina  texts  all  belong  to  what  BSM  calls 
the  first  form,  in  which  the  wife  has  but  one  paramour.  The  be- 
traying^ signs  come  in  a  different  order  in  the  different  texts.  In 
fact,  A  represents  one  version,  B  and  C  another. 

A 
'Kind  Wife.'     Sent  by  Thomas  Smith  of  Zionville,  Watauga  county,  to 
C.  Alphonso  Smith  in  1914  and  later  to  the  North  Carolina  collection. 

I      'Kind  wife,  loving  wife,  how  may  it  be. 

Whose  old  horse  is  that  where  mine  ort  to  be?' 
'You  old  fool,  you  blamed  fool,  can't  you  never  .see? 


l82  NORTH     CAROLINA     FOLKLORE 

It's  nothing  but  a  milk  cow  your  mammy  sent  to  me.' 
'As  long  as  I  can  remember— it's  forty  years  or  more — 
I  never  saw  a  milk  cow  with  a  saddle  on  before.' 

2  'Kind  wife,  loving  wife,  how  may  it  be, 
Whose  old  hat  is  that  where  mine  ort  to  be?' 

'You  old  fool,  you  blamed  fool,  can't  you  never  see? 
It's  nothing  but  a  cabbage  head  your  mammy  sent  to  me. 
'As  long  as  I  can  remember — it's  forty  years  or  more — 
I  never  saw  a  cabbage  head  with  a  brim  on  before.' 

3  'Kind  wife,  loving  wife,  how  may  it  be, 
Whose  old  boots  are  them  where  mine  ort  to  be?' 
'You  old  fool,  you  blamed  fool,  can't  you  never  see? 
It's  nothing  but  a  milk  churn  your  mammy  sent  to  me.' 
'As  long  as  I  can  remember — it'^  forty  years  or  more — 
I  never  saw  a  milk  churn  with  heel  irons  on  before.' 

4  'Kind  wife,  loving  wife,  how  may  it  be. 
Whose  old  coat  is  that  where  mine  ort  to  be?' 

'You  old  fool,  you  blamed  fool,  can't  you  never  see? 
It's  nothing  but  a  counterpane  your  mammy  sent  to  me. 
'As  long  as  I  can  remember — it's  forty  years  or  more — 
I  never  saw  a  counterpane  with  coat  sleeves  on  before,' 

5  'Kind  wife,  loving  wife,  how  may  it  be. 
What  old  man  in  the  bed  where  I  ort  to  be?' 

'You  old  fool,  you  blamed  fool,  can't  you  never  see? 
It's  nothing  but  a  baby  child  your  mammy  sent  to  me.' 
'As  long  as  I  can  remember — it's  forty  years  or  more — 
I  never  saw  a  baby  child  with  a  mustache  on  before.' 


'Arrow  Goodman.'  Sent  in  by  W.  A.  Abrams  of  Boone,  Watauga 
county,  in  1937,  as  "given  to  me  by  Chloe  Michael,  who  learned  it  from 
her  father.  He  learned  it  in  1898."  Here,  as  in  many  other  texts 
recorded,  the  husband  comes  home,  by  his  own  confession,  drunk.  The 
series  is  reduced  to  three :  boots,  horse,  head. 

I     I  came  in  the  other  night  drunk  as  I  could  be. 

Somebody's  boots  in  the  corner  where  my  boots  ought  to 

be. 
I  says,  'My  dear  little  wifey,  come  'splain  this  thing  to  me : 
Whose  boots  there  in  the  corner  where  my  boots  ought  to 

be?' 
'You  drunk  fool,  you  blind  fool,  you  surely  cannot  see. 
It's  nothing  but  a  cream  jar  my  granny  gave  to  me.' 
'I've  traveled  this  world  over  ten  thousand  years  or  more. 
Boot  heels  on  a  cream  jar  I've  never  seen  before.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  1 83 

2  I  came  in  the  other  night,  drunk  as  1  could  be. 
Somebody's  horse  in  the  stable  where  my  horse  ought  to 

be. 
I  says,  'My  dear  little  wifey,  come  'splain  this  thing  to  me: 
Whose  horse  in  the  stable  where  my  horse  ought  to  be?' 
'You  drunk  fool,  you  blind  fool,  you  surely  cannot  see. 
It's  nothing  but  a  milk  cow  my  granny  gave  to  me.' 
'I've  traveled,  I've  traveled  ten  thousand  miles  or  more, 
A  saddle  on  a  milch  cow  I  never  have  seen  before.' 

3  I  came  in  the  other  night,  drunk  as  I  could  be. 
Somebody's  head  on  the  pillow  where  my  head  ought  to  be. 
I  says,  'My  dear  little  wifey,  come  'splain  this  thing  to  me: 
Whose  head  is  on  the  pillow  where  my  head  ought  to  be?' 
'You  drunk  fool,  you  blind  fool,  you  surely  cannot  see. 
It's  nothing  but  a  cabbagehead  my  granny  gave  to  me.' 
'I've  traveled  this  wide  world  over  ten  thousand  times  or 

more, 
But  a  cabbage  head  with  a  mustache  on  I  never  have  seen 
before.' 

c 

'Our  Goodman.'  Sent  in  by  Frank  Proffitt  of  Sugar  Grove,  Watauga 
county,  in  1937.  Essentially  the  same  version  as  B,  but  the  series  runs 
to  four:  coat  (bed  quilt  with  pockets  on  it),  horse  (milk  cow  with 
saddle  on),  head  (cabbage  with  a  mustache  on),  and  (by  misplacement, 
apparently)    boots    (cream  pitcher  with  boots  on). 


Lucille  Cheek  of  Chatham  county  reports  a  single  stanza  as  known 
among  Chatham  county  Negroes. 

43 

Get  up  and  Bar  the  Door 

(Child  275) 

For  analogies  in  other  tongues  to  this  little  domestic  comedy, 
see  Child's  headnote.  It  has  been  found  occasionally  in  later 
tradition:  in  Scotland  (LL  216-18),  Newfoundland  (BSSN  41-2), 
New  Brunswick  (BBM  318-19),  Maine  (BBM  320-1),  Virginia 
(TBV  495-6,  a  fragment  only).  West  Virginia  (FSMEU  147-8), 
Florida  (FSF  320-1),  Missouri  (OFS  i  186),  and  Michigan 
(BSSM  371-2). 

A 

'Get  Up  and  Bar  the  Door.'  Obtained  from  Edna  Whitley,  date  and 
place  not  noted.  It  is  very  close  to  Child's  A  version,  suggesting  the 
possibility  that  it  is  merely  one  of  the  sheets  that  Dr.  Brown  sometimes 
distributed  as  a  means  of  finding  ballads  in  the  memories  of  school 
children  and  others.  But  even  if  so,  its  presence  in  the  Collection  means 
that  Edna  Whitley  recognized  it  as  a  ballad  she  knew. 


184  NORTH     CAROLINA     FOLKLORE 

1  It  was  about  the  month  of  May, 
A  good  time  they  had  then, 

That  our  gude  wife  had  pudding  to  make 
And  she  boiled  them  in  the  pan. 

2  The  wind  blew  from  the  east  and  north 
And  blew  into  the  floor. 

Quoth  our  gudeman  to  our  gudewife, 
'Get  up  and  bar  the  door.' 

3  'My  hand  is  in  my  pudding, 
Gudeman,  as  you  may  see ; 

And  it  shouldn't  be  barred  this  hunder  year 
It's  never  be  barred  by  me.' 

4  They  made  a  paction  'tween  them  two. 
They  made  it  firm  and  strong, 

That  the  first  word  whatever  spoke 
Should  rise  and  bar  the  door. 

5  Then  by  there  came  two  gentlemen 
At  twelve  o'clock  at  night, 

When  they  can  see  na  either  house ; 
And  at  the  door  they  light. 

6  'Now  whether  is  this  a  rich  man's  house. 
Or  whether  it's  a  poor?' 

But  never  a  word  wad  one  o  them  speak, 
For  barring  of  the  door. 

7  And  first  they  ate  the  white  puddings. 
And  soon  they  ate  the  black. 

Much  thought  the  good  wife  to  herself 
Yet  never  a  word  did  she  speak. 

8  The  one  unto  the  other  said, 
'Here,  man,  take  you  my  knife; 
Do  ye  take  ofif  the  old  man's  beard, 
And  I'll  kiss  the  good  wife.' 

9  'But  there's  no  water  in  the  house ; 
And  what  will  we  do  then?' 
'What  ails  ye  at  the  pudding  brae 
That  boils  within  the  pan?' 

10     Oup  then  started  our  goodman. 
An  angry  man  was  he : 
'Will  ye  kiss  my  wife  before  my  een 
And  scauld  me  with  pudding  bree?' 


MOSTLY     BRITISH  185 


Oup  then  started  our  gude  wife, 
Gied  three  skimps  on  the  floor : 
'Gudeman,  ye've  spoke  the  first  word. 
Get  up  and  bar  the  door.' 


'Get  Up  and  Bar  the  Door.'  As  sung  by  Mrs.  James  York  of  Olin, 
Iredell  county,  September  14.  1941  ;  transcribed  from  tlie  phonograph 
record  by  Professor   Schinhan.     Three  stanzas  only,  with  chorus. 

1  It  came  about  the  Martin's  time 
A  gay  time  it  was  aye,  no 

When  our  good  wife  had  things  to  bake 
And  she  boiled  'em  in  a  pan,  oh. 

Chorus: 

And  a  bar'n  of  our  door  weel  weel  weel 
And  a  bar'n  of  our  door  weel. 

2  The  wind's  so  cold  in  north  and  south. 
And  blow  cold  afore,  oh, 

When  our  good  man  to  our  goodwife : 
'Gang  out  an  bar  the  door  oh.' 

3  'My  hand  is  in  my  hostage  cap, 
This  man  is  yea  may  see,  oh ; 

And  it  shouldna  be  barred  this  hundred  year 
And  it  will  never  be  barred  by  me,  oh.'^ 


44 

The  Wife  Wrapt  in  Wether's  Skin 

(Child  277) 

Not  old — Child's  earliest  recorded  text  is  from  the  late  eighteenth 
century — this  ballad  is  a  general  favorite  among  ballad-singing  folk 
on  both  sides  of  the  water.  See  BSM  92,  and  add  to  the  references 
there  given  Tennessee  (BTFLS  viii  74),  Florida  (FSF  322),  Mis- 
souri (OFS  I  187-8),  and  Indiana  (BSI  151-4).  Robert  Leslie 
Mason  has  recently  (SFLQ  xi  134-5)  reported  from  Tennessee  a 
text  that  is  a  curious  combination  of  this  ballad  and  'The  Farmer's 
Curst  Wife.'  All  of  the  North  Carolina  texts  use  the  "Dandoo" 
refrain,  most  of  them  combining  with  it  some  form  of  the  "clish- 
ma-clingo"  refrain.     There  is  little  variation  in  the  story  content. 

^  This  stanza  is  by  no  means  clear.  The  first  two  lines  of  the  third 
stanza  of  Child's  A  version  run 

'My   hand  is   in  my  hussyfskap, 
Goodman,  as  ye  may  see.' 
"hussyfskap"  means  housewifery. 


l86  NORTH     CAROLINA     FOLKLORE 


'Danyou.'  Sent  in  by  Thomas  Smith  of  Zionville,  Watauga  county,  in 
191 5  with  the  notation:  "The  above  song  was  written  down  March  14 
by  Mrs.  Ada  Rayfield  (formerly  Miss  Miller),  a  relative  of  Lorenzo 
Miller.  Lorenzo  (Ranz)  Miller  is  the  man  who  sings  this  song.  He 
served  through  the  Civil  War  in  the  Confederate  Army,  he  was  a  fifer. 
Mr.  Miller  is  still  a  splendid  fifer  and  singer.  He  lives  in  the  moun- 
tains east  of  Zionville."  Some  time  later  (1921)  Mrs.  Rayfield  sang 
the  ballad  for  Dr.  Brown,  enabling  him  to  take  down  the  tune.  The 
intercalated  refrain  and  the  repetition  of  the  opening  line  of  the  stanza 
run  through  the  text. 

1  There  was  an  old  man  that  lived  in  the  West 

Dan -you 
There  was  an  old  man  that  lived  in  the  West 
And  he  had  him  a  wife  that  was  none  of  the  best. 

Um  to  diddle  to  Dan-you 

2  This  old  man  come  in  from  the  plow, 
Said  to  his  wife,  'Is  dinner  ready  now?' 

3  'There's  a  little  piece  of  bread  laying  on  the  shelf ; 
If  you  want  any  more  just  get  it  yourself.' 

4  He  jumped  into  his  sheep  pen 

And  downed  with  a  wether  and  took  ofif  its  skin. 

5  He  tooked  the  sheepskin  to  his  wife's  back 
And  the  way  he  made  the  hickory  crack ! 

6  'I'll  tell  my  father  and  brothers  three 
What  a  whipping  you  gave  me.' 

7  'I  don't  care  if  you  tell  your  father  and  all  your  kin 
How  I  dressed  my  mutton  skin.' 

B 
'Dandoo.'  From  Dean  W.  E.  Bird,  CuUowhee,  Jackson  county.  A 
somewhat  longer  text  than  A,  with  expansion  of  the  refrain.  The  manu- 
script has  a  notation  that  seems  to  mean  that  this  song  is  sometimes 
sung  with  a  refrain  "For  gentle,  for  Jenny,  for  Rosamaree,"  the  refrain 
commonly  used  with  it  in  New  England  versions. 

1  There  was  an  old  man  who  lived  in  the  West 

Dandoo 
There  was  an  old  man  who  lived  in  the  West 

To  my  clash-i  me  clingo 
There  was  an  old  man  who  lived  in  the  West, 
He  had  an  old  woman  who  was  none  of  the  best. 

Lingarum  !   Lingorum  !   Smackarorum  !   Curlimingorum  ! 
to  my  clash-i  me  clingo ! 

2  One  day  the  old  man  came  in  from  the  plow, 
Says,  'O  my  good  wife,  is  my  dinner  ready  now?' 


OLDER     BALLADS  —  MOSTLY     BRITISH  187 

3  'There's  a  piece  of  bread  a-lying  on  the  shelf. 
If  you  want  any  more  you  can  bake  it  yourself,' 

4  I  took  me  a  knife  and  I  went  to  the  barn 
And  I  cut  me  a  hickory  as  long  as  my  arm. 

5  Then  I  went  out  to  my  sheep  pen 
And  I  grabbed  me  up  an  old  sheepskin. 

6  I  threw  that  skin  on  my  old  wife's  back 
And  with  that  stick  I  went  whickety-whack. 

7  'I'll  tell  my  mother,  I'll  tell  all  my  kin 
How  you  beat  me  up  with  a  hickory  limb.' 

8  'Go  tell  your  mother,  go  tell  all  your  kin 
I  was  only  tanning  my  old  sheep  skin.' 

9  Next  time  the  old  man  came  in  from  the  plow, 
Says,  'O  good  wife,  is  my  dinner  ready  now?' 

10  She  flew  all  around  and  she  spread  the  board 
And  'Yes,  my  dear  husband'  was  her  every  word. 

11  And  ever  since  then  she  has  been  a  good  wife, 
And  I  hope  she  will  be  to  the  end  of  her  life. 

c 

'Dandoo.'  Record  on  a  wax  cylinder  of  text  and  music  from  the  sing- 
ing of  Frank  Proffitt  of  Sugar  Grove,  Watauga  county,  made  in  1937. 
Substantially  the  same  as  the  preceding  except  for  the  refrain,  which 
runs  as  in  the  following  opening  stanza: 

This  good  little  man  come  in  at  noon 

Dandoo,  dandoo 
This  good  little  man  come  in  at  noon : 
'Have  you  got  my  dinner  soon?' 

To  my  highland,  to  my  lowland. 

To  my  crish  crash,  to  my  clingo. 


'The  Wife  Wrapped  in  a  Wether  Skin.'  From  Miss  Edith  Walker  of 
Boone,  Watauga  county.  An  abbreviated  text,  three  stanzas,  with  an 
elaborate  refrain : 

There  was  an  old  man  lived  in  the  West 

Dan-u  dan-u 
There  was  an  old  man  lived  in  the  West 

Umphy-doddle-u-dan-u 
There  was  an  old  man  lived  in  the  West. 
He  had  him  a  wife,  she  was  none  of  the  best. 

To  my  harem-garem-girem-larem 

Umphy-doddle-u-dan-u 


l88  NORTH     CAROLINA     FOLKLORE 

45 
The  Farmer's  Curst  Wife 

(Child  278) 

For  the  range  of  this  ballad  in  recent  times  in  Great  Britain  and 
America,  see  BSM  94-5,  and  add  Massachusetts  (FSONE  188-91), 
North  Carolina  (FSRA  42),  Tennessee  (BTFLS  viii  73-4), 
Florida  (FSF  323-5),  Arkansas  (OFS  i  189-91),  Missouri  (OFS 
1  191-3),  Indiana  (BSI  155-7),  Michigan  (BSSM  373-8,  SFLQ  iv 
157-8,  Beck's  Songs  of  the  Michigan  Lumberjacks  107-8),  and 
Nebraska  (SFLQ  11  78,  sung  in  Knoxville,  Tennessee,  but  learned 
from  the  singer's  father  in  Beatrice,  Nebraska). 

'The  Farmer's  Wife.'  Secured  by  Mrs.  Sutton  (who  was  then  Miss 
Maude  Minish)  at  a  "lassy  bilin' "  from  a  "master  banjo  picker"  who 
lived  on  Upper  Hinson's  Creek  in  Avery  county  and  was  at  the  time 
(1917)  expecting  to  go  to  camp  in  a  few  days.  "I've  often  wondered," 
she  writes,  "if  he  went  overseas  and  what  became  of  him.  He  may  have 
become  a  radio  hill  billy  by  now,  but  he  was  a  delightful  ballad  singer." 
The  intercalated  refrain,  given  here  for  the  first  stanza,  runs  through 
all  the  stanzas  without  change. 

1  There  was  an  old  man  lived  under  the  hill, 
Sing  toora  lala  loora,  sing  toora  la  day 

If  he's  not  moved  away  he's  living  there  still. 
Sing  toora  lala  loora,  sing  toora  la  day. 

2  This  old  man  went  out  to  his  plow 
And  saw  the  old  devil  fly  over  his  mow. 

3  He  had  the  old  woman  all  up  in  a  sack 
And  carried  her  off  to  old  tamplo^  shack. 

4  Twelve  little  devils  came  walking  by. 

She  upped  with  her  foot  and  kicked  them  in  the  fire. 

5  She  picked  up  a  club,  hit  the  devil  on  the  back ; 
And  he  carried  her  away  from  the  old  tampio^  shack. 

6  He  handed  her  to  the  old  man  over  the  wall 
And  said,  'Take  her  back,  or  she'll  kill  us  all.' 

7  The  old  man  said,  T  know  I'm  cursed. 

She's  been  down  to  hell  and  come  back  worse.* 

46 

The  Crafty  Farmer 

(Child  278) 

This  story  of  the  highwayman  outwitted  exists  in  two  forms: 
'The   Crafty   Farmer'   proper,   which    Child   presents   in   a   version 

'  This  word  seems  to  be  spelled  two  ways  in  the  manuscript.  Its 
meaning  the  editor  has  not  been  able  to  make  out. 


OLDER     BALLADS MOSTLY     BRITISH  189 

found  in  various  broadsides  but  which  has  seldom  been  reported 
from  tradition  since,  and  'The  Yorkshire  Bite,'  which  Child  men- 
tions without  giving  a  text  but  which  appears  frequently  in  tradi- 
tion, especially  in  America.  The  former  is  reported  from  Devonshire 
(Mason's  Nursery  Rhymes  and  Country  Songs  43),  from  Scotland 
(LL  236-7),  and  once  in  America,  from  West  Virginia  (FSS 
166-8).  The  latter,  often  printed  as  a  broadside  or  stall  ballad 
(see  Kittredge's  bibliographical  note,  JAFL  xxx  367),  is  reported 
from  tradition  in  Norfolk  (JFSS  11  174-5),  Berkshire  (FSUT 
253-4),  and  Somerset  (JFSS  viii  180-2),  and  on  this  side  of  the 
water  in  Newfoundland  (BSSN  45-6),  Nova  Scotia  (SBNS  39- 
41).  Maine  (BBM  406-13),  Vermont  (NGMS  97-102,  CSV 
26-7),  Massachusetts  (JAFL  xxiii  451-2,  xxx  368-9),  West  Vir- 
ginia (FSMEU  149-52),  Tennessee  (FSSH  137-9),  North  Carolina 
(FSSH  135-7),  Georgia  (FSSH  140,  fragment  only),  Michigan 
(BSSM  382-4),  and  Illinois  (ASb  118-19).  As  a  rule  the  texts 
agree  pretty  closely — probably  because  they  are  not  far  removed 
from  the  stall  prints — but  Combs's  West  Virginia  text  is  amusingly 
Americanized;  the  farmer  becomes  a  Staunton  (Virginia)  mer- 
chant and  his  man  a  South  Carolina  Negro  who  at  the  end  is  com- 
mended by  his  master : 

For  you  have  put  upon  him 
A  South  Carolina  bite. 

A 
'A  Yorkshire  Bite.'    Heard  by  Miss  Maude  Minish   (later  Mrs.  Sutton) 
in  Avery  county.     Date  not  given,  but  it  was  some  time  before   1923. 
The  refrain  is  repeated  after  every  stanza. 

1  There  was  an  old  farmer  who  lived  in  Yorkshire 
And  now  his  story  you  soon  shall  hear. 

There  was  a  boy  that  he  had  for  his  man, 
A  Yorkshire  lad,  and  his  name  was  John. 
Dudley  ding,  dudley  ding  dum, 
Duldy,  duldy  doy. 

2  Loudly  the  old  farmer  called  for  his  man, 
And  unto  his  master  he  quickly  ran : 

'Go  get  the  old  cow  and  take  her  to  the  fair. 
For  she  is  in  good  order  and  her  we  can  spare.' 

3  He  went  a  little  farther,  and  there  he  met  a  man 
And  he  sold  him  his  cow  for  six  pound  ten. 

He  went  to  the  tavern  to  get  him  a  drink ; 

There  was  the  old  farmer,  who  paid  him  down  the  chink. 

4  There  sat  a  highwayman  a-drinking  of  his  wine. 
Says  he  to  himself,  'That  money  is  all  mine.' 

5  'Sew  the  money  in  the  lining  of  your  coat,'  said  she, 

'Or  else  on  the  mountain  highway  robbed  of  it  you  will  be.' 


IQO  NORTH     CAROLINA     FOLKLORE 

(The  boy  starts  to  go  home,  and  while  he  is  on  his  way  he  is  overtaken 
by  the  highwayman,  who  says  to  him:) 

6  'Deliver  up  your  money  without  fear  or  strife, 

Or  in  this  lonely  valley  I  will  end  your  sweet  life.' 
From  the  lining  of  his  coat  John  drew  the  money  out 
And  in  the  green  grass  he  strowed  it  well  about. 

7  The  highwayman  instantly  leaped  from  his  horse, 
But  little  did  he  think  it  was  to  his  loss ; 

For  while  he  was  a-gathering  the  money  in  his  purse 
The  boy  jumped  a-horseback  and  rode  away  his  horse. 

8  When  the  kitchen  maid  saw  Jack  a-ridin'  home. 
For  to  acquaint  her  master  she  quickly  did  come. 
He  threw  up  the  window  and  looked  very  cross : 
'What  the  deuce,  has  my  cow  turned  into  a  horse?' 

9  'Oh  no,  my  dear  master ;  your  cow  has  been  sold, 
And  I  have  been  robbed  by  a  highwayman  bold ; 
But  while  he  was  a-gathering  the  money  in  his  purse. 
To  make  you  amends,  sir,  I  rode  away  his  horse.' 

10  The  saddle  bags  were  opened  all  things  to  unfold. 
There  was  five  thousand  pounds  in  silver  and  gold, 
A  brace  of  fine  pistols ;  and  the  boy  says,  'I  vow, 

I  think,  my  dear  master,  I  have  well  sold  your  cow.' 

11  The  old  man  laughed  until  himself  he  could  control. 
Said  he,  'For  a  boy  you  have  been  precious  bold ; 
Now,  for  your  bravery  and  valiant  career, 

Three  parts  of  this  money  you  shall  have  for  your  share. 

12  'As  for  the  highwayman,  he  has  lost  what  he  stole, 
But  he  may  go  robbing  until  he  gets  more ; 

As  for  the  highwayman,  you  have  served  him  just  right, 
You  have  fixed  upon  him  a  fine  Yorkshire  bite.' 


'Farmer  John  Robbed  the  Robbers.'  Written  down  in  1922  by  Ben 
Grogan  of  Zionville,  Watauga  county,  from  the  singing  of  Mrs.  Julia 
Grogan.  It  is  the  same  version  as  A,  with  numerous  minor  variations 
due  to  oral  transmission.  The  refrain  is  "Like  others,  others  to  round 
tinty  oh."     The  defective  place  in  A,  stanza  5,  reads  : 

Well,  the  boy  went  down  in  the  bar-room  to  get  him  a 

drink. 
The  money  was  paid  right  down  in  jink. 
There  sit  a  lady  in  silk  so  fine. 
Having  that  money  sewed  in  his  coat-line. 


OLDER     BALLADS  —  MOSTLY     BRITISH  I9I 

47 

The  Sweet  Trinity  (The  Golden  Vanity) 
(Child  286) 

The  oldest  form  of  this,  Child's  A,  is  a  seventeenth-century 
broadside;  later  modifications  of  it,  in  broadsides  and  stall  prints 
down  into  the  nineteenth  century,  are  nearer  to  the  form  in  which 
it  is  traditionally  current  in  our  time.  It  is  a  favorite  among 
American  ballad  singers.  For  its  vogue,  see  BSM  97-8,^  and 
add  to  the  citations  there  given  Massachusetts  (FSONE  136-7), 
North  Carolina  (FSRA  43-5),  Florida  (FSF  326-8),  the  Ozarks 
(OFS  I  195-201),  Michigan  (BSSM  214-15),  and  Wisconsin 
(JAFL  Lii  11-12).  It  is  altogether  probable  that  its  popularity  is 
due  in  part  to  the  sonorous  refrain,  and  perhaps  also  to  the  tune  or 
tunes  used.     There  are  six  texts  in  our  collection. 

A 

'The  Turkish  Revoloo.'  Sent  to  C.  Alphonso  Smith  by  Thomas  Smith 
of  Zionville,  Watauga  county,  in  191 4  and  later  to  the  North  Carolina 
collection.  The  name  'Revoloo'  for  the  Turkish  ship  is  peculiar  to  this 
version.  The  ship  bears  a  variety  of  names  in  the  various  versions, 
frequently  "the  Turkish  Revelee,"  as  in  stanza  6  below ;  so  that  one 
suspects  a  change  in  stanza  2  for  the  sake  of  the  rhyme  with  "two." 
Compare  "Traveloo"  in  version  C  below.  The  refrain  is  written  out 
throughout,  because  it  is  sometimes  adapted  to  the  matter  of  the  stanzas. 

1  There  was  a  little  ship  in  the  South  Amerikee 
That  went  by  the  name  of  the  Golden  Willow  Tree, 

As  she  sailed  on  the  lowland  lonesome  low. 
As  she  sailed  on  the  saltwater  sea. 

2  She  hadn't  been  a-sailin'  more  than  a  week  or  two 
Till  she  came  in  sight  of  the  Turkish  Revoloo 

As  she  sailed  on  the  lowland  lonesome  low, 
As  she  sailed  on  the  saltwater  sea. 

3  The  Captain  cried,  'Oh,  what  shall  I  do? 
For  yonder  comes  the  Turkish  Revoloo. 

As  she  sails  on  the  lowland  Ipnesome  low. 
As  she  sails  on  the  saltwater  sea.' 

4  Up  steps  a  little  cabin  boy,  saying,  'What'll  you  give  me 
If  I  will  sink  her  in  the  saltwater  sea. 

As  she  sails  on  the  lowland  lonesome  low, 
As  she  sails  on  the  saltwater  sea?' 

5  T  have  a  house,  and  I  have  lands, 

And  I  have  an  only  daughter,  who  shall  be  at  your  command, 

'  There  are  two  errors  in  the  citations  there  given.  The  LL  reference 
should  be  238-9,  not  228-9;  and  the  JFSS  11  reference  should  be  244, 
not  224. 


192  NORTH     CAROLINA     FOLKLORE 

If  you  will  sink  her  in  [the]  lowland  low, 
If  you  will  sink  her  in  the  saltwater  sea.' 

6  He  bent  to  his  breast  and  off  swam  he 

Till  he  came  to  the  side  of  the  Turkish  Revoke 
As  she  sails  on  the  lowland  lonesome  low, 
As  she  sails  on  the  saltwater  sea. 

7  He  had  a  little  instrument  a-purpose  for  the  use 
And  he  cut  nine  gashes  in  the  saltwater  juice^ 

As  she  sailed  on  the  lowland  lonesome  low. 
As  she  sailed  on  the  saltwater  sea. 

8  Some  a-playin'  cards  and  some  a-playin'  checks 
And  some  a-dancing  on  the  saltwater  decks 

As  she  sinks  in  the  lowland  lonesome  low. 
As  she  sinks  in  the  saltwater  sea. 

9  Some  with  their  hats  and  some  with  their  caps 
A-tryin'  for  to  stop  the  saltwater  gaps 

As  she  sinks  in  the  lowland  lonesome  low, 
As  she  sinks  in  the  saltwater  sea. 

10  He  turned  his  face  and  back  swam  he 

Till  he  reached  the  side  of  the  Golden  Willow  Tree 
As  she  sailed  on  the  lowland  lonesome  low, 
As  she  sailed  on  the  saltwater  sea. 

11  'Captain,  will  you  be  as  good  as  your  word, 
And  will  you  take  me  back  on  board 

As  you  sail  on  the  lowland  lonesome  low, 
As  you  sail  on  the  saltwater  sea?' 

12  T  will  neither  be  as  good  as  my  word, 
I  will  neither  take  you  back  on  board, 

As  I  sail  on  the  lowland  lonesome  low, 
As  I  sail  on  the  saltwater  sea.' 

13  Tf  it  wasn't  for  the  love  I  have  for  your  men 
I  would  do  to  you  as  I  did  to  them 

As  you  sail  on  the  lowland  lonesome  low. 
As  you  sail  on  the  saltwater  sea.' 

14  He  turned  his  back  and  down  sank  he. 
Bidding  farewell  to  the  Golden  Willow  Tree, 

As  she  sailed  on  the  lowlands  lonesome  low, 
As  she  sailed  [on]  the  saltwater  sea. 
•  Many  texts  have  here  "sluice,"  which  comes  nearer  to  making  sense. 


OLDER     BALLADS MOSTLY     BRITISH  I93 


'The  Golden  Willow  Tree.'  Secured  by  I.  G.  Greer  of  Boone,  Watauga 
county,  in  1915  or  1916.  The  text  is  almost  identical  with  that  of  A; 
the  second  line  of  stanza  5  reads  "If  you  will  sink  her  in  the  bottom 
of  the  sea"  and  stanza  6  has  "Revoloo"  instead  of  "Revolee,"  in  spite 
of  the  fact  that  the  preceding  line  ends  in  "he." 

C 
The  Lonesome  Low.'  One  of  two  versions  reported  by  Mrs.  Sutton, 
who  remarks :  "The  Golden  Willow  Tree  is  a  very  common  ballad  in 
this  State.  I  have  collected  it  in  Caldwell,  on  the  Beech  Mountain  in 
Watauga,  on  Toe  River,  on  Big  Hungry  in  Henderson,  on  Upper 
Hominy  in  Buncombe,  and  on  the  Rocky  Broad  in  Rutherford.  I've 
heard  it  in  a  Gaston  county  mill  village  and  fishermen  sing  it  on  the 
Albemarle  Sound.  It  is  almost  as  widely  known  as  Barbary  Allen." 
One  of  the  versions  she  secured  from  the  singing  of  Myra  Barnett 
(Miller),  "from  whom  I  got  42  traditional  ballads.  Myra  fascinated 
every  child  in  our  neighborhood  with  the  songs  when  I  was  a  little 
girl."  She  came  from  the  Brushy  Mountains  in  Caldwell  county,  near 
the  Wilkes  county  line.  The  text  of  this  version  is  the  same  as  that  of 
A.  Her  other  text  bears  the  title  'The  Lonesome  Low,'  with  the  music 
supplied  by  her  sister.  Miss  Pearl  Minish.  But  her  manuscript  does 
not  show  from  which  of  her  many  singers  of  it  this  text  was  set  down. 

1  There  was  a  little  ship  a-sailin'  on  the  sea, 

And  she  went  by  the  name  of  The  Golden  Willow  Tree, 
As  she  sailed  on  the  lowland  lonesome  low. 
As  she  sailed  on  the  lonesome  sea.^ 

2  Up  stepped  a  sailor:  'Oh,  what  shall  we  do? 
For  I  have  spied  the  Turkish  Traveloo 

As  she  sails  on  the  lowland  lonesome  low, 
As  she  sails  on  the  lowland  sea.' 

3  Up  stepped  a  young  man :  'Oh,  what'U  you  give  to  me 
If  I  will  sink  her  in  the  bottom  of  the  sea 

As  she  sails  on  the  lowland  lonesome  low, 
As  she  sails  on  the  lowland  sea?' 

4  'I  have  a  house  and  I  have  lands, 

I  have  an  only  daughter  that  shall  be  at  your  command, 
If  you'll  sink  her  in  the  lowland  lonesome  low, 
If  you'll  sink  her  in  the  lowland  sea.' 

5  He  turned  upon  his  breast  and  away  swam  he. 
He  swum  till  he  found  her  a-sailin'  on  the  sea, 
A-sailin'  on  the  lowland  lonesome  low, 
A-sailin'  on  the  lowland  sea. 

6  Some  a-playin'  cards,  and  some  a-pitchin'  dice. 
And  some  a-standin'  by  them  a-givin'  good  advice 
As  she  sailed  on  the  lowland  lonesome  low, 

As  she  sailed  on  the  lowland  sea. 
•  Miss  Pearl  sang  here  "lowland  sea." 


194  NORTH     CAROLINA     FOLKLORE 

7  He  cut  and  he  slashed,  till  he  cut  plumb  through, 
He  cut  nine  gashes  in  that  Turkish  Travcloo 

As  she  sailed  on  the  lowland  lonesome  low, 
As  she  sailed  on  the  lowland  sea. 

8  Some  with  their  hats  and  some  with  their  caps 
And  some  fur  to  stop  them  salt  water  gaps 

As  she  sunk  in  the  lowland  lonesome  low, 
As  she  sunk  in  the  lowland  sea. 

9  He  turned  upon  his  breast  and  away  swam  he, 

He  swum  till  he  came  to  the  Golden  IVillotv  Tree, 
As  she  sailed  on  the  lowland  lonesome  low. 
As  she  sailed  on  the  lowland  sea. 

10  'Oh  captain,  oh  captain,  will  you  be  as  good  as  your  word? 
Oh  captain,  oh  captain,  will  you  take  me  on  board. 

As  you  sail  on  the  lowland  lonesome  low, 
As  you  sail  on  the  lowland  sea?' 

1 1  'Neither  will  I  be  as  good  as  my  word 
Nor  neither  will  I  take  you  on  board, 

Tho'  you've  sunk  her  in  the  lowland  lonesome  low, 
Tho'  you've  sunk  her  in  the  lowland  sea.' 

12  'If  it  was  not  for  the  love  I  have  for  your  men 
I'd  do  unto  you  as  I  done  unto  them, 

I  would  sink  you  in  the  lowland  lonesome  low. 
I  would  sink  you  in  the  lowland  sea.' 

13  He  turned  upon  his  back  and  down  sunk  he; 
He  said  farewell  to  the  Golden  IVillotv  Tree 
As  she  sailed  on  the  lo\^land  lonesome  low, 
As  she  sailed  on  the  lowland  sea. 

D 

'Cabin    Boy.'      Contributed    by    Juanita    Tillett    of    Wanchese,    Roanoke 
Island,  in  1923. 

1  Up  steps  the  cabin  boy,  and  the  cabin  boy  said  he : 
'What  will  you  give  me  to  sink  the  Exellin. 

If  I  sink  her  in  the  lowland  so  low.  my  boys.'  said  he. 
*If  I  sink  her  in  the  lowland  sea?' 

2  'I  have  riches  and  I  have  land. 

Besides  I've  a  daughter  and  she  will  be  at  your  command. 
If  you  will  sink  her  in  the  lowland  so  low,  my  boys.'  said 

he, 
'If  you'll  sink  her  in  the  lowland  sea.' 

3  This  boy  had  a  jar*  all  fitten  for  the  use; 
*  This  is  a  curious  corruption  of  "auger." 


OLDER     BALLADS MOSTLY     BRITISH  I95 

Four  and  twenty  holes  he  (hd  hore  into  the  sloop. 

So  he  sunk  him  in  the  lowland  so  low,  my  boys,  said  he, 

So  he  sunk  hinr"*  in  the  lowland  sea. 

4  Some  were  playing  cards  and  others  throwing  dice. 
While  captain  and  mate  was  both  giving  good  advice ; 
Then  he  sank  her  in  the  lowland  so  low,  my  boys,  said  he, 
So  he  sunk  her  in  the  lowland  sea. 

5  This  boy  dived  his  best,  and  swam  against  the  tide, 
He  swam  till  he  came  to  his  master's  side. 

For  he  had  sunk  in  the  lowland  so  low,  my  boys,  said  he. 
He  had  sunk  her  in  the  lowland  sea. 

6  'Master,  oh  master,'  this  poor  boy  he  cried, 
'You  may  take  me  or  Fll  float  with  the  tide.' 

'Fll  hang  you,  Fll  shoot  you,  Fll  send  you  with  the  tide. 
If  ever  I  thought  my  daughter  would  be  your  bride. 
Though  you  have  sunk  her  in  the  lowland  so  low,  boys,' 

said  he ; 
And  he  sunk  her  in  the  lowland  sea. 

7  The  mate  he  picked  him  up  and  he  laid  him  on  the  deck. 
In  four  and  twenty  minutes  his  soul  had  gone  to  rest. 
Though  he  had  sunk  her  in  the  lowland  so  low,  my  boys, 

said  he ; 
And  he  sunk  her  in  the  lowland  sea. 

E 
'Lowland    Lonesome    Low.'      Contributed    by    Frank    Proffitt    of    Sugar 
Grove,  Watauga  county,   1937.     Four  stanzas,  corresponding  to   stanzas 
I.  4.  5.  7  of  A. 

48 

The  Mermaid 

(Child  289) 

Though  this  ballad  is  not  old — the  earliest  record  of  it  that  Child 
found  is  in  a  Newcastle  garland  tentatively  dated  1765 — the  belief 
that  the  sight  of  a  mermaid  means  disaster  for  seamen  is  very  old. 
For  the  vogue  of  'The  Mermaid'  in  songbooks  and  stall  print,  see 
Kittredge's  note  in  JAFL  xxx  333;  for  its  occurrence  as  traditional 
song  in  recent  times,  see  BSM  loi  and  add  to  the  references  there 
given  North  Carolina  (FSRA  46-7),  Florida  (FSF  328-9),  Arkan- 
sas (OFS  I  203),  Missouri  (OFS  i  202,  204),  and  Illinois  (JAFL 
LX  232-8).  Our  two  texts,  only  one  of  which  is  from  North 
Carolina  tradition,  are  peculiar  in  not  using  the  familiar  "landlub- 
bers lie  down  below"  refrain. 

"  There  seems  to  be  some  confusion  here  and  in  stanza  5  between  the 
sinking  of  the  vessel  and  the  sinking  of  the  cabin  boy  himself. 


[96  NORTH     CAROLINA     FOLKLORE 


'Oh,  the  Lamp  Burns  Dimly  Down  Below.'  Contributed  by  Miss  Amy 
Henderson  of  Worry,  Burke  county,  in  191 4.  The  refrain,  which 
clearly  derives  from  the  more  familiar  form,  is  without  parallel,  except 
in  a  fragment  in  the  Virginia  collection  (TBV  528). 

1  The  first  to  come  up  was  the  captain  of  the  ship. 
And  a  brave  old  tar  was  he. 

Says  he,  'I've  a  wife  in  Merrie  England; 
This  night  she  is  watching  for  me.' 

Oh,  the  lamps  burn  dimly  down  below,  down  below. 

Oh,  the  lamps  burn  dimly  down  below. 

2  The  next  to  come  up  was  the  captain's  first  mate, 
And  a  brave  young  man  was  he. 

Says  he,  'I've  a  sweetheart  in  Merrie  England; 
This  night  she  is  waiting  for  me.' 

3  The  next  to  come  up  was  the  little  cabin  boy, 
And  a  brave  young  lad  was  he. 

Says  he,  T've  a  mother  in  Merrie  England ; 
This  night  she  is  praying  for  me.' 

4  The  last  to  come  up  was  the  greasy  old  cook, 
And  a  brave  old  tar  was  he. 

Says  he,  'All  my  pots  and  all  my  kettles  too 
Have  gone  to  the  bottom  of  the  sea.' 


No  title.  Reported  by  Thomas  Leary  of  Durham  as  known  by  his 
brother,  who  learned  it  on  Cape  Cod.  Although  not  from  North  Caro- 
lina tradition  it  is  given  her  because  it  varies  rather  widely  from  other 
versions,  not  only  in  the  refrain  but  also  in  the  text. 

1  In  the  gallant fleet 

There  was  no  ship  so  fine 

As  the  brig-rigged  lugger  Maid  o'  Home; 
And  the  galley  there  was  mine. 

Chorus: 
Oh  long,  long  may  the  loud  waves  roar 
On  the  rocks  below  the  key ; 
But  the  Maid  o'  Home  will  turn  no  more. 
No  more  my  wife  I  will  see. 

2  She  was  standing  out  above  the  banks 
When  bosun  seen  a  sight  so  fair : 

A  sea-witch  fine  upon  the  swell 
Combing  her  golden  hair. 


OLDER     BALLADS MOSTLY     BRITISH  I97 

Her  comb  was  of  the  finest  pearl, 
Her  mirror  like  the  sun. 
I  have  not  seen  a  prettier  maid, 
A  prettier  maid  not  none. 

She  sang  a  song  so  soft  and  sweet 
The  crew  could  not  move  for  the  sound. 
And  where  the  Maid  o'  Home  struck  hard 
It  were  fifty  fathom  down. 

Then  up  there  stepped  the  gallant  mate, 
His  face  was  white  and  pale. 
'Stand  fast,  stand  fast,  ye  Plymouth  men ; 
No  more  we'll  ever  sail.' 

Then  up  there  sprang  the  captain  bold, 
A  fearsome  man  was  he. 
'Stand  fast,  stand  fast,  ye  sailor  men ; 
Your  homes  you'll  never  see. 

'I  have  a  wife,  all  neat  and  fair 
And  dressed  in  holland  fine ; 
But  never  more  will  I  see  her 
Or  tho.se  broad  lands  of  mine.' 

The  sea-witch  sang  so  loud  and  clear 
Above  the  roaring  waves, 
And  all  of  us  were  there  to  hear ; 
We  knew  it  was  our  knell. 

'Come  comb  my  hair  for  me  a  while, 
Come  stroke  my  hair  so  fair, 
And  you  will  never  want  your  home, 
Or  your  wife  that  weeps  so  sore.' 

'I  will  not  comb  your  hair  a  while 
Nor  stroke  your  hair  so  fair ; 
But  I  will  always  want  my  home 
And  my  wife  that  weeps  so  sore.' 

The  cabin  boy,  he  wept  with  fright, 
The  seas  they  were  so  high. 
And  all  of  us  upon  that  ship, 
We  knew  our  death  was  nigh. 

The  ship  it  strained  and  rocked  and  tore. 
Our  pretty  Maid  o'  Home. 
And  then  we  knew  that  she  would  no  more 
The  broad,  broad  seas  to  roam. 


198  NORTH     CAROLINA     FOLKLORE 

17.     Three  times  around  went  the  Maid  o'  Home, 
Three  times  around  went  she. 
And  then  she  sank  with  her  sailor-men  all 
To  the  bottom  of  the  sea. 

14     In  Plymouth  there  does  stand  a  church 
With  many  a  woeful  wife 
Who  mourns  for  her  dear  sailor-man 
Who's  losted  of  his  life. 


49 

Trooper  and  Maid 
(Child  299) 

Child  lists  a  number  of  broadside  ballads  of  the  same  general 
quality  and  character  as  this,  but  the  identity  of  this  particular  one 
is  assured  by  its  metrical  structure  with  its  feminine  rhymes  on  the 
even-numbered  lines  and  the  "able-stable-table"  rhymes.  For  its 
occurrence  as  traditional  song,  see  BSI  188.  It  is  found,  though 
not  very  frequently,  both  in  New  England  and  in  the  South,  in  the 
Ozarks  (OFS  i  213-14),  and  as  far  west  as  Indiana  (in  Indiana  in 
combination  with  'Young  Hunting').  Very  likely  its  actual  cur- 
rency is  greater  than  its  appearance  in  collections  would  indicate. 

'The  Bugle  Boy.'  Secured  in  191 5  by  Thomas  R.  Smith  of  Zionville, 
Watauga  county,  from  the  recitation  ("she  can  sing  it,  but  her  voice 
is  not  very  good")  of  Mrs.  Polly  Rayfield.  All  that  she  remembered 
was  the  first  five  stanzas.  Later  Mrs.  Peggy  Perry,  "who  knows  about 
all  the  song,"  supplied  the  last  stanza  and  a  half. 

1  She  look-ed  east  and  she  look-ed  west, 
She  saw  the  soldier  a-comin' ; 

She  knew  him  by  the  horse  he  rode, 
Because  she  dearly  loved  him. 

2  She  took  the  horse  by  the  rein 
And  led  him  to  the  stable. 

Saying,  'Here's  oats  and  corn  for  the  soldier's  horse; 
Feed  high,  for  we  are  able.' 

3  She  took  him  by  the  hand 
And  led  him  to  the  table, 
Saying,  'Here's  cakes  and  wine; 
Eat  and  drink,  for  we  are  able.' 

4  She  raised  up  from  the  table-side, 
Her  milk-white  dress  a-flouncin': 
He  pulled  off  his  bugle  cloths 
And  went  to  bed  with  a  lady. 


OLDER     BALLADS MOSTLY     BRITISH  I99 

'I  hear  the  rooster  crow, 
And  1  must  be  a-goin'.' 
'Oh.  dear,  don't  leave  me  here, 
For  I  am  forever  ruined.' 


'If  it  is  a  boy  you  can  name  it  after  me, 

And  when  he's  twenty-one  you  can  send  him  off  to  sea. 

Or  with  a  grey  uniform  and  blue  jacket  on 

He  can  fight  for  his  country  like  his  father  used  to  do.^ 

'If  it  is  a  girl  you  can  hire  it  a  nurse 

With  gold  in  her  pocket  and  silver  in  her  purse. 


50 
The  Dilly  Song 

This  cumulative  number  song  (or  carol,  for  such  it  may  be 
called,  at  least  in  English ;  the  meanings  set  down  for  the  numbers — 
where  a  meaning  can  be  made  out — are  for  the  most  part  Biblical 
or  doctrinal),  variously  known  as  The  Tzvelve  Apostles,  The  Ten 
Commandments,  I  Will  Sing  You  One  0,  and  by  other  names,  is 
traceable  in  English  as  far  back  as  the  seventeenth  century  and 
elsewhere  still  further  back.  As  W.  W.  Newell  (JAFL  iv  215-20) 
and  Leah  R.  C.  Yoffie  (SFLQ  iv  73-5)  have  pointed  out,  it  has  a 
parallel  in  a  chant,  Echod  Mi  Yodea,  sung  by  Jews  at  the  feast  of 
the  Passover.  Archer  Taylor  (in  the  Handworterbuch  des  deutschen 
Mdrchens  11  171-2)  shows  that  it  has  a  much  wider  range  and 
suggests  that  it  has  its  roots  in  Sanskrit  culture.  For  further  treat- 
ment, see,  besides  the  articles  mentioned  above,  Sharp's  notes  on  it 
in  his  Folk-Songs  from  Somerset,  Baring-Gould's  in  Songs  of  the 
West,  Mrs.  Greenleaf's  in  Ballcds  and  Sea  Songs  of  Newfoundland, 
Kittredge's  bibliography  in  JAFL  xxx  335-6,  Archer  Taylor's  in 
SFLQ  IV  161,  Donald  E.  Bond's  in  SFLQ  iv  247-50;  and  espe- 
cially, Dr.  Yoffie's  recent  detailed  study  in  JAFL  lxii  382-411. 
Analyzing  and  comparing  versions  found  in  Hebrew,  Latin,  French, 
Breton,  Spanish,  Italian,  modern  Greek,  German,  Swiss,  Dutch, 
Danish,  and  the  English-speaking  countries,  she  concludes  that  at 
least  the  European  forms  of  the  song  all  go  back  to  the  Hebrew 
Passover  chant  which  was  printed  at  Prague  in  1526 — earlier  than 
any  datable  version  in  the  European  vernaculars.^ 

*  Mrs.  Perry  thought  it  should  perhaps  be  "union"  instead  of  "coun- 
try" and  "daddy"  instead  of  "father." 

It  should  be  observed  that  the  last  six  lines  are  metrically  of  a  differ- 
ent pattern  from  the  preceding  stanzas.  They  fit  the  situation  well 
enough,  but  belong  really  to  a  different  song. 

^  Her  study  deals  also  with  two  other  number  songs,  Nos.  51  and  52 
in  the  present  collection.  And  she  throws  out  (loc.  cit.,  p.  403)  the 
very  interesting  suggestion  that  number  songs  originate  among  literate 
peoples. 


200  NORTH  CAROLINA  FOLKLORE 

The  song  is  very  widely  known  in  the  English-speaking  world. 
It  has  been  reported  as  traditional  song  from  Scotland,  the  Shet- 
lands,  Derbyshire,  Norfolk,  Cambridgeshire,  Buckinghamshire, 
Herefordshire,  Oxfordshire,  Surrey,  Berkshire,  Dorset,  Somerset, 
Devonshire,  and  Cornwall;  from  Newfoundland,  Maine,  Vermont, 
Massachusetts,  New  York,  West  Virginia,  Kentucky,  Tennessee, 
North  Carolina,  Georgia,  Arkansas,  Illinois,  and  Michigan.  The 
meaning  attached  to  the  numbers  is  in  some  cases  fairly  clear  and 
constant,  in  others  varies  widely,  and  in  some  pretty  much  defies 
interpretation.     There  are  two  texts  in  the  Brown  Collection. 


'Singing  the  Ten  Commandments.'  Sent  in  in  1914  by  I.  T.  Poole  of 
Morganton,  Burke  county,  who  had  it  frorn  "Miss  Mattie  Dobson,  at 
Gibbs,  N.  C.  It  is  sung  in  the  neighborhood.  The  obtainer  does  not 
know  anything  regarding  the  origin  of  the  song."  In  the  manuscript 
the  speeches  are  assigned  antiphonally  to  "chorus"  and  "questioner,"  and 
are  not  written  as  verse ;  but  it  seems  more  likely  that  there  are  pri- 
marily two  speakers  (singers,  rather)  and  that  it  becomes  a  chorus  only 
in  the  cumulative  repetition.  It  begins  with  number  five,  but  the  chorus 
shows  how  the  numbers  are  defined  from  one  on.  Despite  the  title,  it 
runs  to  the  number  twelve — omitting  three  and  four.  It  is  here  printed 
in  verse  lines,  the  speakers  distinguished  by  quotation  marks. 

1  'I  will  sing.'  'What  will  you  sing?' 

'I'll  sing  the  fifth.'    'What  is  the  fifth?' 
'Five  is  the  firemen  in  the  boat, 
And  two  of  them  were  strangers ; 
Two  of  them  were  little  white  babes 
All  dressed  in  morning  granger ; 
One  of  them  was  God  alone, 
Shout  every  nation ! 

2  'I  will  sing.'     'What  will  you  sing?' 
'I'll  sing  the  six.'  'What  is  the  six?' 
'The  six  is  the  gospel  preacher; 
Five  is  the  firemen  in  the  boat, 
And  two  of  these  were  strangers ; 
Two  of  them  were  little  white  babes 
All  dressed  in  morning  granger : 
One  of  them  was  God  alone. 
Shout  every  nation ! 

3  'I  will  sing.'     'What  will  you  sing?' 

'I  will  sing  the  seven.'     'What  is  the  seven?' 

'Seven  is  the  seven  stars  in  the  sky, 

And  six  is  the  gospel  preacher ; 

Five  is  the  firemen  in  the  boat, 

And  two  of  them  are  strangers ; 

Two  of  them  were  little  white  babes 

All  dressed  in  morning  granger ; 


OLDER     BALLADS MOSTLY     BRITISH 

One  of  them  was  God  alone. 
Shout  every  nation ! 

*I  will  sing.'     'What  will  you  sing?' 
'I'll  sing  the  eight.'     'What  is  the  eight?' 
'Eight  is  the  eight  archangels ; 
Seven  is  the  seven  stars  in  the  sky, 
And  six  is  the  gospel  preacher ; 
Five  is  the  firemen  in  the  hoat, 
And  two  of  them  are  strangers : 
Two  of  them  are  little  white  halves 
All  dressed  in  morning  granger ; 
One  of  them  is  God  alone. 
Shout  every  nation ! 

'I  will  sing.'    'What  will  you  sing?' 

'I'll  sing  the  nine.'     'W^hat  is  the  nine?' 

'Nine  is  the  night  that  the  star  shone  bright, 

And  eight  is  the  eight  archangels ; 

Seven  is  the  seven  stars  in  the  sky, 

And  six  is  the  gospel  preacher ; 

Five  is  the  firemen  in  the  boat, 

And  two  of  them  were  strangers ; 

Two  of  them  were  little  white  babes 

All  dressed  in  morning  granger ; 

One  of  them  was  God  alone, 

Shout  every  nation ! 

'I  will  sing.'     'What  will  you  sing?' 

'I'll  sing  the  ten.'    'What  is  the  ten?' 

'Ten  is  the  ten  commandments ; 

Nine  is  the  night  that  the  star  shone  bright. 

And  eight  is  the  eight  archangels ; 

Seven  is  the  seven  stars  in  the  sky. 

And  six  is  the  gospel  preacher  ; 

Five  is  the  firemen  in  the  boat, 

And  two  of  them  were  strangers;' 

Two  of  them  were  little  white  babes 

All  dressed  in  morning  granger ; 

One  of  them  was  God  alone. 

Shout  every  nation ! 

'I  will  smg.'     'What  will  you  sing?' 

'I'll  sing  the  eleven.'     'What  is  the  eleven?' 

'Eleven  is  the  eleven  apostles ; 

Ten  is  the  ten  commandments ; 

Nine  is  the  night  the  star  shone  bright, 

And  eight  is  the  eight  archangels ; 


NORTH  CAROLINA  FOLKLORE 

Seven  is  the  seven  stars  in  the  sky, 
And  six  is  the  gospel  preacher ; 
Five  is  the  firemen  in  the  boat, 
And  two  of  them  were  strangers ; 
Two  of  them  were  httle  white  babes 
All  dressed  in  morning  granger ; 
One  of  them  was  God  alone, 
Shout  every  nation ! 

'I  will  sing.'     'What  will  you  sing?' 

'I'll  sing  the  twelve.'    'What  is  the  twelve?' 

'Twelve  is  the  twelve  disciples ; 

Eleven  is  the  eleven  apostles ; 

Ten  is  the  ten  commandments; 

Nine  is  the  night  that  the  star  shone  bright. 

And  eight  is  the  eight  archangels ; 

Seven  is  the  seven  stars  in  the  sky, 

And  six  is  the  gospel  preacher; 

Five  is  the  firemen  in  the  boat, 

And  two  of  them  were  strangers; 

Two  of  them  were  little  white  babes 

All  dressed  in  morning  granger ; 

One  of  them  was  God  alone, 

Shout  every  nation ! 


'Come  and  I  will  sing  you.'     As  sung  by  Miss  Edith  Walker  of  Boone. 
Watauga  county,  in  1940. 

1  'Come  and  I  will  sing  you.' 
'What  will  you  sing?' 
'Sing  you  one.' 

'What  is  your  one?' 

'One  of  them  is  God  alone, 

Shall  forever  'main.    So 

2  'Come  and  I  will  sing  you.' 
'What  will  you  sing?' 
'Sing  you  two.' 

'What  are  your  two?' 
'Two  of  them  are  lily-white  babes 
Clothed  the  morning  green. 
One  of  them  is  God  alone, 
Shall  forever  'main.    So 


'Come  and  I  will  sing  you.' 
'What  will  you  sing?' 
'Sing  you  three.' 
'What  are  your  three?' 


OLDER     BALLADS MOSTLY     BRITISH  203 

'Three  of  them  are  strangers ; 
Two  of  them  are  lily-white  babes 
Clothed  the  morning  green  ; 
One  of  them  is  God  alone, 
Shall  forever  'main.    So 

'Come  and  I  will  sing  you.* 
'What  will  you  sing?' 
'Sing  you  four.' 
'What  are  your  four?' 
'Four  gospel  preachers, 
Three  of  them  are  strangers ; 
Two  of  them  are  lily-white  babes 
Clothed  the  morning  green  ; 
One  of  them  is  God  alone, 
Shall  forever  'main.    So 

'Come  and  I  will  sing  you.' 

'What  will  you  sing?' 

'Sing  you  five.' 

'What  are  your  five  ?' 

'Five  of  the  ferrymen  on  the  boat; 

Four  gospel  preachers ; 

Three  of  them  are  strangers ; 

Two  of  them  are  lily-white  babes 

Clothed  the  morning  green ; 

One  of  them  is  God  alone, 

Shall  forever  'main.    So 

'Come  and  I  will  sing  you.' 
'What  will  you  sing?' 
'Sing  you  six.' 
'What  are  your  six?' 
'Six  cheerful  waters ; 
Five  of  the  ferrymen  on  the  boat ; 
Four  gospel  preachers ; 
Three  of  them  are  strangers ; 
Two  of  them  are  lily-white  babes 
Clothed  the  morning  green  ; 
One  of  them  is  God  alone, 
Shall  forever  'main.    So 

'Come  and  I  will  sing  you.' 

'W^hat  will  you  sing?' 

'Sing  you  seven.' 

'What  are  your  seven?' 

'Seven  of  the  seven  stars  in  the  sky ; 

Six  cheerful  waters ; 


204  NORTH  CAROLINA  FOLKLORE 

Five  of  the  ferrymen  on  the  boat ; 
Four  gospel  preachers ; 
Three  of  them  are  strangers ; 
Two  of  them  are  Uly-white  babes 
Clothed  the  morning  green ; 
One  of  them  is  God  alone, 
Shall  forever  'main.    So 

8  'Come  and  I  will  sing  you.' 
'What  will  you  sing?' 
'Sing  you  eight.' 

'What  are  your  eight?' 

'Eight's  the  eight  archangels ; 

Seven  of  the  seven  stars  in  the  sky; 

Six  cheerful  waters ; 

Five  of  the  ferrymen  on  the  boat ; 

Four  gospel  preachers ; 

Three  of  them  are  strangers ; 

Two  of  them  are  lily-white  babes 

Clothed  the  morning  green ; 

One  of  them  is  God  alone, 

Shall  forever  'main.    So 

9  'Come  and  I  will  sing  you.' 
'What  will  you  sing?' 
'Sing  you  nine.' 

'What  are  your  nine?' 

'Nine  of  the  moon  shines  bright  and  clear; 

Eight's  the  eight  archangels; 

Seven  of  the  seven  stars  in  the  sky ; 

Six  cheerful  waters ; 

Five  of  the  ferrymen  on  the  boat ; 

Four  gospel  preachers ; 

Three  of  them  are  strangers ; 

Two  of  them  are  lily-white  babes 

Clothed  the  morning  green ; 

One  of  them  is  God  alone, 

Shall  forever  'main.    So 

10     'Come  and  I  will  sing  you.' 
'What  will  you  sing?' 
'Sing  you  ten.' 
'What  are  your  ten?' 
'Ten's  the  ten  commandments ; 
Nine  of  the  moon  shines  bright  and  clear; 
Eight's  the  eight  archangels ; 
Seven  of  the  seven  stars  in  the  sky; 
Six  cheerful  waters ; 


OLDER     BALLADS  —  MOSTLY     BRITISH  205 

Five  of  the  ferrymen  on  the  boat ; 
Four  gospel  preachers ; 
Three  of  them  are  strangers ; 
Two  of  them  are  hly-white  babes 
Clothed  the  morning  green ; 
One  of  them  is  God  alone, 
Shall  forever  'main.    So 

'Come  and  I  will  sing  you.' 

'What  wmII  you  sing?' 

'Sing  you  eleven.' 

'What  are  your  'leven?' 

'Eleven's  the  'leven  that's  gone  to  heaven ; 

Ten's  the  ten  commandments ; 

Nine  of  the  moon  shines  bright  and  clear; 

Eight's  the  eight  archangels ; 

Seven  of  the  seven  stars  in  the  sky; 

Six  cheerful  waters ; 

Five  of  the  ferrymen  on  the  boat ; 

Four  gospel  preachers ; 

Three  of  them  are  strangers ; 

Two  of  them  are  lily-white  babes 

Clothed  the  morning  green ; 

One  of  them  is  God  alone, 

Shall  forever  'main.    So 

'Come  and  I  will  sing  you.' 

'What  will  you  sing?' 

'Sing  you  twelve.' 

'What  are  your  twelve?' 

'Twelve's  the  twelve  apostles ; 

Eleven's  the  eleven  that's  gone  to  heaven; 

Ten's  the  ten  commandments ; 

Nine  of  the  moon  shines  bright  and  clear ; 

Eight's  the  eight  archangels ; 

Seven  of  the  seven  stars  in  the  sky ; 

Six  cheerful  waters ; 

Five  of  the  ferrymen  on  the  boat ; 

Four  gospel  preachers ; 

Three  of  them  are  strangers; 

Two  of  them  are  lily-white  babes 

Clothed  the  morning  green ; 

One  of  them  is  God  alone, 

Shall  forever  'main. 


206  NORTH     CAROLINA     FOLKLORE 

51 

The  Twelve  Blessings  of  Mary 

This  is  another  carol  of  numbers.  Its  theme  goes  back  to  the 
hymnody  of  the  medieval  church.  The  number  of  blessings — or 
joys,  as  they  are  more  often  called — was  at  first  five.  There  are 
two  poems  on  the  Five  Joys  of  Mary  in  Carleton  Brown's  Eng- 
lish Lyrics  of  the  Thirteenth  Century,  Nos.  18  and  41.  The  same 
author's  Religious  Lyrics  of  the  Fifteenth  Century  has  two  on  the 
Five  Joys  and  four  "on  the  Seven  Joys,  this  latter  number  having' 
been  adopted  from  the  French.  None  of  these,  however,  is  much 
like  the  carol  of  later  English  and  American  tradition.  William 
J.  Phillips's  Carols,  Their  Origin,  Music,  and  Connection  iinth 
Mystery  Plays  gives  a  text  of  'The  Seven  Joys  of  Mary,'  "once 
very  popular  in  the  West  Country,"  which  shows  by  its  refrain  that 
it  belongs  to  the  same  tradition  as  the  texts  reported  in  recent 
years  as  traditional  songs  in  England  and  America;  and  also  a 
fifteenth-century  'Carol  of  the  Five  Joys,'  from  the  Sloan  manu- 
script, which  carries  the  same  refrain  as  our  North  Carolina  text. 
I  have  found  but  one  English  text  that  shows  twelve  blessings,  that 
from  Gloucestershire  (JFSS  v  19)  ;  others  have  ten;  from  Somerset 
(FSSom  No.  125)  ;  or  nine:  from  Sussex  (JFSS  v  20),  from  Corn- 
wall (JFSS  V  319-20);  or  eight:  from  Cornwall  (JFSS  viii  115- 
16)  ;  or  seven:  from  Cornwall  (JFSS  v  18-19)  and  stall  prints  by 
Catnach  and  Fortey  described  by  Miss  Broadwood  (JFSS  v  320). 
American  texts,  on  the  other  hand,  pretty  regularly  run  to  twelve; 
some  from  Vermont  (NGMS  185-7),  one  from  Connecticut  (JAFL 
V  325 — though  the  tenth  and  eleventh  could  not  be  remembered  by 
the  reporter),  one  from  Kentucky  (JAFL  xlviii  391-2),  one  from 
North  Carolina  (JAFL  xlviii  388-9),  and  one  from  Georgia 
(FSA  22-3,  sung  by  Negroes,  especially  at  Christmas  time).  Of 
the  texts  recently  reported  by  Davis  as  found  in  Virginia  (FSV 
297-8)  some  have  twelve  blessings  and  some  five.  One  from  North 
Carolina  (JAFL  xlviii  390)  runs  only  to  ten.  One  from  New 
York  (NYFLQ  iii  303-4)  has  eleven.  Nearly  all  of  these  have 
the  characteristic  refrain  found  in  our  text  below.  See  also  Dr. 
Yoffie's  paper  in  JAFL  lxii  401-3. 

'The  Twelve  Blessings  of  Mary.'  From  Mrs.  Arizona  Hughes  of  Hen- 
son  Creek,  Avery  county,  in  1939.  The  last  three  lines  of  stanza  i  are 
the  refrain,  repeated  after  each  stanza. 

I     The  very  first  blessing  Mary  had 
'Tv^as  the  blessing  of  one ; 
To  think  that  her  son,  Jesus, 
Was  God's  eternal  Son, 
Was  God's  eternal  Son. 
Like  Emmanuel  in  glory  be 
Father,  Son,  and  Holy  Ghost 
Through  all  eternity. 


OLDER     BALLADS MOSTLY     BRITISH 

The  very  next  blessing  Mary  had, 
She  had  the  blessing  of  two ; 
To  think  that  her  son,  Jesus, 
Could  read  the  Bible  through, 
Could  read  the  Bible  through. 

The  very  next  blessing  Mary  had. 
She  had  the  blessing  of  three; 
To  think  that  her  son,  Jesus, 
Could  make  the  blind  to  see. 
Could  make  the  blind  to  see. 

The  very  next  blessing  Mary  had. 
She  had  the  blessing  of  four ; 
To  think  that  her  son,  Jesus, 
Could  turn  the  rich  to  poor. 
Could  turn  the  rich  to  poor. 

The  very  next  blessing  Mary  had, 
She  had  the  blessing  of  five ; 
To  think  that  her  son,  Jesus, 
Could  make  the  dead  alive. 
Could  make  the  dead  alive. 

The  very  next  blessing  Mary  had. 
She  had  the  blessing  of  six ; 
To  think  that  her  son,  Jesus, 
Could  heal  the  lame  and  sick,^ 
Could  heal  the  lame  and  sick. 

The  very  next  blessing  Mary  had. 
She  had  the  blessing  of  seven ; 
To  think  that  her  son,  Jesus, 
Could  carry  the  keys  to  heaven. 
Could  carry  the  keys  to  heaven. 

The  very  next  blessing  Mary  had. 
She  had  the  blessing  of  eight; 
To  think  that  her  son,  Jesus, 
Could  make  the  crooked  straight. 
Could  make  the  crooked  straight. 

The  very  next  blessing  Mary  had, 
She  had  the  blessing  of  nine ; 
To  think  that  her  son,  Jesus, 
Could  change  the  water  to  wine, 
Could  change  the  water  to  wine. 
Or,  "Could  bear  the  Crucifix." 


208  NORTH  CAROLINA  FOLKLORE 

10  The  very  next  blessing  Mary  had, 
She  had  the  blessing  of  ten ; 

To  think  that  her  son,  Jesus, 
Was  a  friend  to  sinful  men, 
Was  a  friend  to  sinful  men. 

1 1  The  very  next  blessing  Mary  had, 
She  had  the  blessing  of  eleven ; 
To  think  that  her  son,  Jesus, 
Could  open  the  gate  of  heaven. 
Could  open  the  gate  of  heaven. 

12  The  very  next  blessing  Mary  had, 
She  had  the  blessing  of  twelve ; 
To  think  that  her  son,  Jesus, 
Came  dovi^n  on  earth  to  dv^ell. 
Came  down  on  earth  to  dwell. 
Like  Immanuel  in  glory  be 
Father,  Son,  and  Holy  Ghost 
Through  all  eternity. 


52 

The  Twelve  Days  of  Christmas 

Another  number  song  (hardly  a  carol,  since  there  is  nothing  reli- 
gious about  it),  preserving  the  memory  of  an  earlier  time  when 
the  Christmas  season  extended  from  Christmas  Day  to  the  Feast 
of  the  Epiphany,  twelve  days  later.  Cf.  Shakespeare's  Twelfth 
Night.  How  far  back  the  song  goes  the  editor  has  not  been  able 
to  discover,  but  it  has  frequendy  been  reported  from  tradition  in 
recent  years,  both  in  Great  Britain  and  the  United  States.  See 
BSM  512-13  and  JAFL  lxii  399-401.  Lady  Gomme  has  it  in  her 
Traditional  Games  11  315-21,  and  Rimbault  in  his  Nursery  Rhytnes 
52-53.  The  series  of  gifts  is  pretty  much  the  same  in  all  texts. 
The  fact  that  two  of  our  texts  go  back  to  the  Northern  states  is 
possibly  symptomatic;  it  seems  to  be  more  widely  known  in  the 
North  than  in  the  South. 

A 
'Old  Christmas  Ballad.'  Contributed  by  Miss  Helen  H.  Sails  of  Ox- 
ford, Granville  county,  in  1934,  with  the  notation :  "These  verses  were 
given  to  me  by  my  father,  Dr.  Alfred  Sails,  who  in  his  boyhood  learned 
them  from  his  father,  Charles  Sails,  a  native  of  Clarenceville,  Province 
of  Quebec.  My  father  told  me  that,  after  twenty  years,  he  recalled 
these  old  lines  associated  with  his  childhood  in  Burke,  New  York." 

1  On  the  first  day  of  Christmas  beloved  sent  to  me 
A  fine  partridge  on  a  pear  tree. 

2  On  the  second  day  of  Christmas  beloved  sent  to  me 


OLDER     BALLADS MOSTLY     BRITISH  209 

Two  turtle  doves 

And  a  fine  partridge  on  a  pear  tree. 

The  gifts  are  repeated,  cumulatively,   up   to  twelve,   the  twelfth  stanza 
running 

On  the  twelfth  day  of  Christmas  beloved  sent  to  me 

Twelve  ships  sailing. 

Eleven  drums  beating, 

Ten  ladies  dancing, 

Nine  lords  knitting, 

Eight  bulls  roaring, 

Seven  swans  swimming, 

Six  geese  laying, 

Five  gold  rings, 

And  four  macumaboy,^ 

Three  French  horns, 

And  two  turtle  doves, 

And  a  fine  partridge  on  a  pear  tree. 


The  Twelve  Days  of  Christmas.'  Contributed  by  Mrs.  J.  R.  Chamber- 
lain of  Raleigh  in  1924,  as  sung  by  her  husband's  mother,  Mrs.  Ervilla 
Chamberlain,  from  western  New  York,  "whose  people  were  Americans 
of  several  generations  at  the  time  of  the  Revolution."  This  text  is 
cumulative  in  the  same  fashion  as  A,  so  that  it  will  be  sufficient  to  give 
the  last  stanza : 

The  twelfth  day  of  Christmas  my  true  love  sent  to  me 

Twelve  hunters  hunting, 

Eleven  ladies  leaping. 

Ten  tailors  stitching, 

Nine  fiddlers  fiddling, 

Eight  lords  a-dancing. 

Seven  swans  a-swimming, 

Six  geese  a-laying. 

Five  gold  rings. 

Four  Cornish  birds. 

Three  French  hens, 

Two  turtle  doves. 

And  a  partridge  upon  a  pear  tree. 

C 
'Twelve  Days  of  Christmas.'     Secured  by  Mrs.   Sutton  from  the  sing- 
ing of  Lizzie  Fletcher  of  State  Line  Hill,  Watauga  county.     She  carried 

*  On  this  word  Miss  Sails  notes :  "As  my  father  had  no  copy  of  these 
verses,  and  recalled  ihem  only  as  he  used  to  sing  them  in  his  boyhood, 
I  do  not  know  the  correct  words  for  the  phonetic  'macumaboy.'  Per- 
haps a  kind  of  'oboe'  is  indicated."  The  customary  word  in  this  place 
is  "colley  birds"  or  "colored  birds" ;  sometimes,  as  in  text  B,  "Cornish 
birds." 


2IO  NORTH     CAROLINA     FOLKLORE 

the  song  only  to  the  number  nine.  "This  was  all  she  knew.  She  said 
there  were  three  more  gifts,  all  birds  except  the  ninth.  She  did  not 
know  what  collie  birds  and  French  hens  are.  Neither  do  I."  Mrs. 
Sutton  reports  this  only  for  the  ninth  day,  as  follows : 

I  partridge,  2  turtle  doves,  3  collie  birds,  4  French  hens, 
5  gold  wrens,  6  geese  a-feeding,  7  swans  a-swimming, 
8  nightingales  a-singing,  9  deer  a-running.  .  .  . 


53 

I  Saw  Three  Ships  Come  Sailing  In 

This  old  Christmas  carol — Phillips,  in  his  Carols,  Their  Origin, 
Music,  and  Connection  xvith  Mystery  Plays  48-50,  gives  a  nine- 
stanza  text  with  the  remark  that  it  is  "probably  of  fifteenth-century 
origin" — has  been  reported  from  tradition  in  Hertfordshire  (ECS 
III),  Massachusetts  (FSONE  284-5),  New  York  City  (JAFL  v 
326),  West  Virginia  (FSMEU  163),  Kentucky  (JAFL  li  17), 
and  Michigan  (BSSM  168).^  Our  collection  contains  unfortunately 
only  the  following  fragment. 

'On  Christmas  Day.'     Without  date  or  indication  of  source  among  Dr. 
Brown's  manuscripts,  labeled  by  him  "Carol." 

I  saw  three  ships  come  sailing  in 
On  Christmas  day,  on  Christmas  day, 
I  saw  three  ships  come  sailing  in 
On  Christmas  day  in  the  morning. 


54 

Dives  and  Lazarus  1 

This  version  of  the  Biblical  story,  known  also  in  Virginia  (TBV 
175-6)  and  Tennessee  (SharpK  11  29,  SFLQ  li  67-8),  is  not — as 
Barry  (BFSSNE  i  12)  pointed  out— a  text  of  the  old  Enghsh 
carol  of  the  same  title  but  a  later  and  independent  versifying  of 
the  Bible  story.  Copies  so  far  reported  agree  so  closely  as  to  sug- 
gest a  printed  source,  but  no  such  source  has  been  found. 

'The    Rich    Man    and    Lazarus.'      Reported    by    L    G.    Greer    of    Boone, 
Watauga  county;  not  dated,  but  about  191 5- 16. 

I     There  was  a  man  in  ancient  times, 
The  scripture  doth  inform  us, 
Whose  pomp  and  grandeur  and  whose  crimes 

^  Rimbault  in  his  Nursery  Rhymes  26-7  reports  it  not  as  a  Christmas 
carol  but  as  a  sort  of  wedding  song;  the  ship  contains  three  pretty 
girls,  and  the  final  stanza  runs : 

One  could  whistle,  and  one  could  sing, 

The  other  could  play  the  violin  ; 

Such  joy  was  there  at  my  wedding 

On  new-year's  day  in  the  morning. 


OLDER     BALLADS  —  MOSTLY     BRITISH 

Were  great  and  very  miinerous. 
This  rich  man  fared  sumptuously  each  day 
And  was  dressed  in  purple  fme  linen  ; 
He  ate  and  drank,  hut  scorned  to  pray, 
And  spent  his  day  in  singing. 

A  poor  man  lay  at  the  rich  man's  gate, 

To  help  himself  unahle, 

And  there  he  lay  to  humbly  wait 

For  the  crumbs  from  his  rich  table. 

But  not  one  crumb  would  this  happy  cure  (epicure)' 

Ever  aye  pretend  to  send  him. 

The  dogs  took  pity  and  licked  his  sores, 

More  ready  to  befriend  him. 

This  poor  man  died  at  the  rich  man's  gate. 

Where  angel  bands  attended ; 

Straightway  to  Abraham's  bosom  flown. 

Where  all  his  sorrows  ended. 

The  rich  man  died  and  was  buried  too, 

But  oh,  his  dreadful  station  ; 

With  Abraham  and  Lazarus  both  in  view 

He  landed  in  damnation. 

He  cried:  'O  father  Abraham, 
Send  Lazarus  with  cold  water, 
For  I'm  tormented  in  these  flames, 
With  these  tormenting  tortures.' 
Says  Abraham:  'Son,  remember  well. 
You  once  did  God  inherit. 
But  now  at  last  your  doom's  in  hell 
Because  you  would  not  cherish,' 


55 
Dives  and  Lazarus  H 

This  is  avowedly  the  production  of  a  local  ballad-maker  of 
Watauga  county.  Thomas  Smith  of  Boone  in  that  county  reports 
it  as  follows:  "The  above  song  sung  to  me  May  7th,  1915,  by  Ed- 
mund B.  Miller,  who  composed  it  himself,  he  says,  over  30  years 
ago.  He  has  sung  it  in  this  county  to  hundreds  of  people.  Mr. 
Miller  is  a  native  bard  or  song-maker ;  he  has  composed  many  songs 
on  murders,  hangings,  etc.  His  age  is  65  or  more  years.  In  size 
he  is  a  giant,  being  probably  the  largest  man  in  the  county.  He 
lives  in  Meat  Camp  township."  The  title  given  is  again  'The  Rich 
Man  and  Lazarus.' 

*  The  spelling  "liappy  cure"  is  so  glossed  also  in  the  SharpK  te.\t. 


212  NORTH  CAROLINA  FOLKLORE 

Come  all  thoughtless  people  by  whom  Adam  came, 
The  poor  and  the  rich,  the  blind  and  the  lame, 
Close  in  with  the  words  of  our  blessed  Lord 
Or  you'll  burn  forever  like  he  says  in  his  word. 

You've  read  of  the  rich  man  and  beggar  likewise. 
The  beggar  did  die  and  to  heaven  did  rise ; 
The  rich  man  died  also,  and  was  so  surprised 
When  awaken  in  hell  and  did  lift  up  his  eyes. 

He  saw  Abraham  afar  off  in  mansions  above 
And  Eazarus  in  his  bosom  in  mansions  of  love. 
He  called  to  Abraham  to  send  him  relief, 
'For  I  am  sadly  in  misery  and  grief.' 

He  said :  'Son,  remember  when  yQU  lived  of  old 
Dres't  in  your  fine  linen,  your  purple  and  gold, 
And  Lazarus  lay  sick,  covered  in  boils. 
You  had  no  compassion  to  pity  his  woes.' 

He  said :  'Father  Abraham,  have  mercy  on  me. 
Send  one  to  my  home;  Fve  five  brothers  more; 
When  they  hear  of  me  and  my  sad  state 
I  hope  they'll  repent  before  it's  too  late.' 

'They've  done  had  warning  to  stop  and  repent, 

Believe  in  our  Savior  and  the  Prophets  sent ; 

If  they  won't  believe  and  come  to  the  Lord 

They  would  not  believe  though  one  sent  from  the  dead. 

'There  is  also  a  great  gulf  between  me  and  thee. 
Those  wish  to  pass  cannot  come  on  to  me, 
But  there  you  must  stay  and  lament  your  sad  state. 
For  now  you  are  praying  when  it  is  too  late.' 

56 

The  Romish  Lady 

For  the  history  of  this  ballad  of  Reformation  times,  see  BSM  450 
— and  add  to  the  references  there  given  Virginia  (FSV  37-8), 
North  Carolina  (SFLQ  v  147-9)-  Florida  (FSF  388-91),  Ohio 
(BSO  220-2),  Indiana  (BSI  257-9),  Illinois  (JAFL  lix  207-8), 
Michigan  (BSSM  363-4),  and  Wisconsin  (JAFL  lii  40,  from 
Kentucky).  Jackson  prints  a  text  in  WSSU  141,  and  gives  a  list 
of  old  songbooks  in  which  it  is  found  (ibid.,  188-9).  There  are 
two  copies  of  it  in  our  collection,  both  representing  the  same  text. 
One  is  recent,  secured  by  Professor  Abrams  from  Mary  Bost  of 
Statesville.  Iredell  county ;  the  other  from  his  Adams  manuscript 
of  the  early  nineteenth  century,  for  an  account  of  which  see  the 
headnote  to  'A  Brave  Irish  Lady,'  No.  90,  below.     The  latter  is 


OLDER     BALLADS MOSTLY     BRITISH  2X3 

given  here  literatim  froin  the  manuscript  (but  not  punctatim  ;  the 
pointing  is  the  editor's).  In  a  few  places  footnotes  are  used  for 
corrections  from  the  Bost  text. 

1  There  liv'cl  a  romish  lady 
Brought  up  in  popery. 
Her  mother  often  told  her 
The  priest  she  must  obey. 
'Oh  pardon  me,  dear  mother, 
I  humbly  pray  the  now, 

For  unto  those  false  idols 
I  can  no  longer  bow.' 

2  Assisted  by  her  handmaid 
Her  bible  she  conceld, 

And  thus  she  gaind  instruction 
Till  god  his  love  Reveld. 
No  longer  she  prostrate^ 
To  pictures  dect  in  gold ; 
But  soon  she  was  betrayed 
And  her  bible  from  her  stold. 

3  'I'll  bow  to  my  dear  Jesus 
And  worship  god  unseen 
And  live  by  faith  forever ; 
The  works  of  man  are  vain. 
I  can  not  worship  idols 
Nor  pictures  made  by  man. 
Dear  mother,  use  your  pleasure, 
But  pardon  if  you  can.' 

4  With  grief  and  great  vexation 
Her  mother  strate  did  go 

To  inform  the  Romish  clurgy 
The  cause  of  all  her  woe. 
The  preast  was  soon  assemblyd^ 
And  for  this  maid  did  call. 
They  forst  her  in  the  dungeon 
To  fright  her  soul  withall. 

5  The  more  they  strove  to  fright  her 
The  more  she  did  indure ; 

Altho  her  age  was  tender 
Her  faith  was  firm  &  shure. 
The  chains  of  gold  so  costly 
They  from  this  lady  took  ; 
'  Miss  Best's  text  reads  "No  more  she  prostrates  herself" ;  the  Mis- 
souri A  text,  keeping  the  verse  in  better  order,  has  "No  longer  would 
she  prostrate."  ^.  .  .  i  j  .. 

*The  other  text  reads,  rightly,  "The  priests  were  soon  assembled. 


214  NORTH     CAROLINA     FOLKLORE 

And  she  with  all  her  spirit 
The  pride  of  life  forsook. 

6  Before  the  pope  they  brought  her 
In  hopes  of  her  Return; 

But  [there^]  she  was  condemnd 
In  awfuU  flames  to  burn. 
Before  the  place  of  torment 
They  brought  her  speedily. 
With  lifted  hands  to  heaven 
She  then  agreed  to  die. 

7  There  being  many  ladys 
Assembled  at  that  place, 
She  lift  her  Eyes  to  heaven 
And  blest  Redeeming  grace: 
'Weep  not,  you  tender  ladys, 
Shed  not  a  tear  for  me ; 
While  my  poor  bodys  burning 
The  lord  my  soul  shall  se. 

8  'Yourselves  you  [need]*  to  pity. 
Your  bodys  must  decay. 

Dear  ladys  turn  to  Jesus ; 

No  longer  make  Delay.' 

In  came  her  aged  mother 

Her  daughter  to  behold, 

And  in  her  hand  she  brought  her 

An  image,  Dect  in  gold. 

9  'Go,  take  from  me  those  idols. 
Remove  them  from  my  sight. 
Restore  to  me  my  bible 

^        In  which  I  take  delight. 
Alas !  my  aged  mother 
Was  on  my  Ruin  brink  f 
It  was  you  who  did  betray  me. 
But  I  am  innocent. 

10     'Tormenters,  use  your  leasure 
And  do  as  you  think  best. 
[I  hope*^]  my  blessed  Jesus 
Will  take  my  soul  to  rest.' 
As  soon  as  these  words  were  spoken 
Up  stept  the  man  of  Death 

'  Supplied. 

*  Supplied. 

"  The  other  text  has,  rightly,  "bent." 

'  Supplied  from  the  other  text. 


OLDER     BALLADS  —  MOSTLY     BRITISH  215 

And  kindled  up  the  fire 
To  stop  her  mortal  breath. 

1 1      Instead  of  gold  and  bracelets 

With  chanes  they  bound  her  fast. 

She  crys.  'my  god  glory,'' 

Or  now  I  sink  at  last. 

With  Jesus  &  his  angels 

Forever  I  shall  Dwell. 

God  pardon  preast  and  people ! 

And  so  I  bid  farewell.' 

57 

'Let's  Go  A-Hunting,'  Says  Richard  to  Robert 

The  old  English  folk  song  of  the  hunting  of  the  wren  on  St. 
Stephen's  Day,  recorded  in  Halliwell's  Nursery  Rhymes  of  England, 
Northall's  English  Folk-Rhymes,  and  Miss  Mason's  Nursery  Rhymes 
and  Country  Songs,  known  also,  at  least  in  earlier  times,  in  Scot- 
land (Herd's  Ancient  and  Modern  Scottish  Songs  ii  210-11  of  the 
1869  reprint),  remembered  in  Yorkshire  (JFSS  v  76),  Esse.x  (Hen- 
derson's Folk-Eore  of  the  Northern  Counties  125),  Oxfordshire 
(JFSS  V  77-8).  Gloucestershire  (FSUT  184-5),  and  the  Isle  of 
Man  (JFSS  vii  177-80),  persists  only  fragmentarily  in  American 
tradition:  in  Massachusetts  (FSONE  230-3),  Texas  (PFLST  vi 
70-1),  and  Nebraska  (ABS  235-6).  It  is  listed  in  Miss  Pound's 
Midwestern  syllabus.  In  these  American  texts  the  wren  has  some- 
times disappeared  entirely,  as  it  has  in  our  North  Carolina  version. 
From  Buffalo,  New  York,  is  reported  (JAFL  vi  231-2)  a  song 
about  the  wren  and  St.  Stephen's  Day,  but  there  are  no  hunters. 
For  the  mythological  background  of  the  rite  as  preserved  in  the 
Isle  of  Man,  see  The  Golden  Bough,  Part  V,  vol.  11  (1912  edition), 
pp.  317-21.  Frazer  explains  the  killing  of  the  wren  as  a  case  of 
tlie  king  sacrificed — the  wren,  he  says,  is  called  a  king  by  the  an- 
cient Greeks  and  Romans  and  the  modern  Italians,  Spaniards, 
French,  Germans,  Dutch,  Danes,  Swedes,  English,  and  Welsh. 

No  title  but  the  first  line.  Contributed  in  August  1916  by  Mrs.  E.  E. 
Moffitt  as  "words  of  a  song  sung  by  'Aunt  Sophy,'  the  mammy-nurse 
of  the  children  of  Hon.  Josephus  Daniels  and  wife  Addie  (Bagley) 
Daniels." 

1  'Let's  go  a-hunting,'  says  Richard  to  Robert, 
'Let's  go  a-hunting,'  says  Robin  to  Bobbin, 
'Well,  well,"  says  Robin  to  Bobbin, 

'Well,  well,'  says  John  all  alone. 

2  'Let's  kill  a  squirrel,'  says  Richard  to  Robert. 


'Let's  kill  a  squirrel.'  says  John  all  alone. 
'Let's  kill  a  squirrel,'  says  every  one. 
^  The  other  text,  more  logically,  reads  "My  God,  give  power." 


3l6  NORTH     CAROLINA     FOLKLORE 

3     'Shoot,  shoot,'  says  Richard  to  Robert, 
'Shoot,  shoot,'  says  Robin  to  Bobbin, 
'Shoot,  shoot,'  says  John  all  alone, 
'Shoot,  shoot,'  says  every  one. 

58 

The  Ghost's  Bride 

Strictly  speaking,  this  ballad  has  not  been  found  elsewhere.  'A 
Gentleman  of  Exeter,'  reported  from  tradition  in  Vermont  (NGMS 
5-7),  Tennessee  (FSSH  147-9),  and  North  Carolina  (SharpK  11 
162-3),  tells  a  similar  story  but  is  quite  different  in  temper.  It  is 
apparently  derived  from  a  chapbook  text  discovered  by  Barry  in 
the  Harvard  library  and  printed  by  Henry  in  FSSH  149-52.  It 
also  bears  some  relation  to  a  Manx  ballad  of  which  a  partial  trans- 
lation is  given  in  SharpK  11  390-1.  In  all  of  these  the  story  is 
connected  with  the  town  of  Exeter,  and  there  is  a  fairly  elaborate 
account  of  the  relations  between  the  girl  and  her  lover — he  upbraids 
her  orally  and  by  letter,  she  answers  him  saucily,  and  he  goes  off 
and  drowns  himself.  In  'The  Ghost's  Bride'  the  story  is  simplified 
and  much  improved.  At  the  opening  it  appears  that  the  lover  has 
been  dead,  or  at  least  not  heard  from,  for  a  year;  there  is  no  meet- 
ing between  him  and  the  girl,  no  mockery  on  her  part ;  at  the  end 
we  find  that  the  lover  was  killed  by  his  brother  and  supplanter. 
Moreover,  the  story  runs  steadily — and  well-languaged — to  its  tragic 
conclusion.  The  texts  of  'A  Gentleman  of  Exeter'  are  badly  cor- 
rupted in  places.  Barry  thought  highly  enough  of  it  to  say  that 
Child  would  have  included  it  in  a  supplementary  volume  if  he  had 
lived.  Had  he  known  'The  Ghost's  Bride'  he  would  have  had 
much  stronger  ground  for  such  a  judgment.^ 

'Ghost's  Bride.'  Secured  by  Mrs.  Sutton — date  not  given,  but  about 
1920 — from  a  Mrs.  Graybeal,  under  conditions  described  as  follows: 

"One  cold  gloomy  evening  in  early  winter  I  spent  the  night  with 
Mrs.  Graybeal.  After  supper  we  sat  around  the  fire  and  I  told  the 
children  some  fairy  stories. 

"  'Mammy  knows  a  ghost  tale,'  the  little  girl  told  me  proudly.  'Hit's 
a  song  but  hit's  the  scariest  tune  you  ever  heard.' 

"I  urged  Mrs.  Graybeal  to  sing  it.  She  did  so,  and  I  discovered  the 
first  ballad  of  the  supernatural  I  ever  heard  in  North  Carolina.  The 
tune,  which  is  much  like  Barbary  Allen,  is  weird  and  plaintive.  The 
story  is  very  old.     She  said  her  great-aunt  used  to  sing  it. 

"  'My  aunt  knowed  more'n  a  hundred  song  ballets,'  she  told  me. 
'She  sung  tribble  in  church  but  she  sung  jes'  tunes  for  us  a  lot.  She 
used  to  make  col'  flesh  all  over  me  with  her  ol'  tales.  This  one  is  all 
I  learnt.  My  aunt  was  a  educated  woman  too.  She  wrote  this  ballet 
fur  me.'  And  in  the  Bible  that  lay  on  the  table  near  was  a  sheet  of 
foolscap  upon  which  this  song  was  copied.     The  writing  was  delicate  and 

^'Susannah  Clargy'  (SharpK  11  261,  from  Virginia)  has  a  similar 
story  but  is  far  from  being  the  same  ballad.  'The  Oxford  Man,'  re- 
ported by  Davis  among  "Ghost  Ballads"  found  in  Virginia  (FSV  69), 
is  probably  a  form  of  'A  Gentleman  of  Exeter.'  I  have  not  seen  the 
text. 


OLDER     BALLADS MOSTLY     BRITISH  217 

regular,  many  flourishes  decorated  it  and  a  picture  of  a  man  on  horse- 
back, crudely  drawn  but  with  an  unusual  vigor  and  a  fine  sense  of 
dramatic  fitness,  decorated  the  top  of  the  slieet.  'Martha  Ann  Line- 
back'  was  the  name  signed  at  the  foot.  The  date  was  March  12,  1888. 
Mrs.  Graybeal  said  her  great-aunt  was  then  over  seventy." 

Stanzas  i  and  6  seem  to  be  spoken  not  by  actors  in  the  story  but 
chorus-like,  by  the  narrator,  and  are  therefore  not  put  in  quotation 
marks. 

1  Oh  Mary  dear,  lay  by  your  grief 
And  do  not  sorrow  so ; 

Your  lover  dear  he  met  his  death 
More  than  a  year  ago. 

2  His  brother  John  to  court  he  canie; 
He  kneeled  upon  his  knee : 

'I've  loved  you  true  for  many  a  year ; 
Oh,  won't  you  marry  me?' 

3  Her  gown  of  black  she  laid  aside, 
Put  on  a  gown  of  green  ; 

She  promised  for  to  be  his  bride. 
She  outshone  the  country's  queen, 

4  The  wedding  day  came  clear  and  bright, 
And  to  the  church  they  went. 

The  young  folks  danced,  the  children  laughed. 
All  was  on  pleasure  bent. 

5  He  mounted  her  on  a  milk-white  steed, 
Himself  on  a  prancin'  roan. 

Away  they  rode  across  the  fields 
Toward  his  brother's  home. 

6  Your  brother's  bride,  your  brother's  home. 
Your  brother's  prancin'  horse. 

You  stole  them  all,  John  Gordon  bold ; 
You'll  surely  feel  remorse. 

7  As  she  rode  up  between  the  trees, 
A-goin'  to  his  home, 

The  wind  blew  cold  and  the  wind  blew  hard ; 
She  thought  she  heard  a  groan. 

8  'What  is  that  sound,  O  husband  dear? 
It  moans  like  a  heart  dismayed.' 

'It  is  the  wind,'  John  Gordon  said, 
'So  do  not  be  afraid.' 

9  That  night  she  lay  beside  him  there 
Upon  a  feather  bed. 

The  wind  blew  cold  and  the  wind  blew  hard. 
She  saw  his  hand  was  red. 


2l8  NORTH  CAROLINA  FOLKLORE 

10  The  wind  blew  cold  and  the  wind  blew  hard, 
It  made  a  fearsome  sound. 

She  heard  the  hoof  of  a  prancin'  steed 
Galloping  o'er  the  ground. 

1 1  She  heard  the  sound  of  the  dead  man's  voice : 
'My  brother  stole  my  bride, 

He  stole  my  house  and  he  stole  my  land. 
He  stole  my  red  blood's  tide. 

12  'My  bones  lie  bleaching  on  the  rocks 
At  the  foot  of  a  dark,  dark  dale. 

He  pushed  me  off  the  tall  rock  clifif 
All  in  the  moonlight  pale.' 

13  The  wind  blew  cold  and  the  wind  blew  hard. 
'I'm  comin'  fur  my  own. 

My  bride  I'll  take,  you  keep  the  rest,' 
She  heard  the  dead  man  moan. 

14  She  saw  him  stand  beside  her  bed 
All  in  the  moon's  pale  light. 

'Oh,  come  with  me,  my  promised  bride ; 
My  love  you  shall  not  slight.' 

1 5  The  morning  came  ;  John  Gordon  woke, 
Woke  up  to  find  her  gone. 

He  searched  the  house,  he  searched  the  grounds ; 
For  days  the  search  went  on. 

16  Her  bones  they  found  in  the  dark,  dark  dale 
Beside  those  of  her  lover. 

'She  was  his  bride,'  the  searchers  said; 
'She  never  loved  his  brother.' 

"Mrs.  Graybeal  assured  me,"  Mrs.  Sutton  writes,  "that  if  John  Gor- 
don had  only  buried  his  brother  the  ghost  would  never  have  come. 
'Humans  can't  be  peaceful  tel  they're  buried,'  Aunt  Marthy  Ann 
said.  .  .  .  'Their  souls  stays  around  their  bodies  tel  they's  kivered 
with  earth,  then  it  goes  home.'  " 

59 

The  Dark  Knight 

This  poses  something  of  a  problem.  The  fact  that  in  the  Col- 
lection the  manuscript  is  anonymous  does  not  necessarily  mean  that 
it  is  not  genuine.  Sometimes  Dr.  Brown,  or  his  informer,  would 
write  out  the  text  of  a  ballad  and  then  would  forget  to  set  down 
the  informant's  name  and  the  time  and  place  at  which  the  text  was 
secured.  This  is  what  happened  in  the  case  of  some  texts  of  'A 
Pretty  Fair  Maid  down  in  the  Garden,'  'Common  Bill,'  'The  Pale 


OLDER     BALLADS MOSTLY     BRITISH  219 

Wildwood  Flower,'  and  several  other  ballads  and  songs.  Moreover, 
the  text  itself — the  imperfect  rhymes  in  stanzas  4  and  12,  the  indica- 
tion of  lines  and  stanzas  not  recalled,  and  the  bald  way  it  tells  its 
story — speaks  pretty  strongly  for  its  traditional  character.  But  the 
editor's  best  efforts  have  failed  to  find  this  ballad  recorded  anywhere 
else.^  It  seemed  on  first  reading  to  carry  a  vague  resemblance  to 
something  half-remembered  in  Danmarks  gamlc  Folkcviscr,  but  a 
careful  rereading  of  that  great  collection  failed  to  reveal  it.  One 
feature  of  the  text,  the  Scotticisms  in  stanzas  3,  10,  11,  13,  are 
suspiciously  literary  in  a  North  Carolina  text.  But  all  things  con- 
sidered it  seems  best  to  retain  it  here.  If  it  is  an  artifact,  it  is 
uncommonly  well  done. 

No  title.  An  anonymous  and  undated  sheet.  It  has  an  intercalated 
refrain,  given  here  for  the  first  stanza  only. 

1  There  was  a  lass  all  neat  and  fair — 
Oh  runny  ba  ho 

With  middle  small  and  golden  hair — 
Oh  runny  bunny  ba  ho 

2  She's  married  a  knight  all  dark  and  tall 
And  she  has  left  her  father's  hall. 

3  Her  mother  gret  full  woeful  sair, 
'Oh,  I'll  not  see  my  daughter  mair.' 

4  He's  placed  her  on  his  milk-white  steed, 
And  they  have  gone  full  many  a  mile. 

5  They  had  not  gone  but  forty  mile, 
And  they  came  on  a  golden  stile. 

6  'Light  down,  fair  Alice,  for  you  have  come  home ; 
For  I  am  sick  and  will  no  more  roam.' 

[Stanza  or  stanzas  missing] 

7  Ten  years  they  lived  in  the  castle  fine, 
And  she  has  born  him  children  nine. 

8 


They  will  not  live  another  dawn. 

9     He's  killed  the  sons  all  tall  and  good ; 
He's  taken  his  daughters  to  the  wood, 

10  And  there  he's  hanged  his  daughters  three: 
'And  oh,  your  sorrows  you  must  dree.' 

1 1  The  lady  saw  her  bairns  were  gone. 
She  did  not  live  another  dawn. 

'  Professor  Gordon  Hall  Gerould,  to  whom  I  sent  a  copy  of  it,  tells 
me  that  he  has  checked  through  the  Buchan  manuscripts  in  the  Widener 
Library  without  finding  it. 


NORTH  CAROLINA  FOLKLORE 


12  He's  mounted  on  his  milk-white  steed 
And  he's  gone  out  across  the  sea 

13  To  seek  another  maiden  fair 
Who'll  never  see  her  mother  mair. 


60 
The  Turkish  Factor 

The  history  and  antecedents  of  this  broadside  ballad  are  fully, 
discussed  by  Bertha  McKee  Dobie  in  PTFLS  vi  56-8,  prefacing 
a  print  of  the  ballad  (54  stanzas)  as  written  down  by  Mrs.  Emeline 
Brightman  Russell  of  Comanche,  Texas,  in  her  old  age,  in  the  first 
decade  of  the  present  century.  The  story  of  the  Thankful  Dead 
Man  goes  far  back  in  folklore ;  the  English  ballad  is  at  least  as  old 
as  the  early  eighteenth  century,  and  has  been  frequently  printed  in 
garlands  and  broadsides.  A  four-stanza  fragment  of  it  has  been 
found  in  Vermont  (VFSB  81-2)  and  there  is  a  manuscript  of  it 
in  Michigan  (BSSM  479)  ;  with  the  exception  of  these  and  Mrs. 
Russell's  text  it  has  not  been  reported  from  tradition  in  America 
until  now.  Our  North  Carolina  text  is  part  of  the  John  Bell 
Henneman  collection  and  was  reported  on  by  him  to  the  Modern 
Language  Association  in  1906,  but  has  not,  so  far  as  I  can  learn, 
hitherto  been  printed.  It  is  much  shortened  from  the  Russell  form, 
and  is  in  places  rather  incoherent,  presumably  from  failure  of  mem- 
ory. The  manuscript  is  not  divided  into  stanzas,  nor  punctuated; 
but  the  piece  seems  to  be  conceived  as  stanzaic  and  I  have  accord- 
ingly attempted  so  to  divide  it. 

'The  Turkish  Factor.'  From  the  John  Bell  Henneman  collection,  taken 
down  in  1906  by  H.  W.  Ticknor  from  the  singing  of  Mrs.  Elizabeth 
Simpkins  of  Vanceboro,  Craven  county.  She  learned  her  songs  from 
her  mother,  who  had  them  by  oral  tradition  at  her  home  in  England. 

I     A  Story,  a  story  I'll  hold  in  your  jest 

Concerning  a  young  gentleman  who  lived  in  the  West. 
By  gaming  he  came  to  great  poverty 


He  being  well  educated  and  one  of  great  wit 
The  squires  of  London  they  all  thought  him  fit ; 
They  made  him  the  factor  and  captain  also 
And  to  many  voyages  to  Turkey  did  go. 

As  he  was  going  through  Turkey  one  day 

He  saw  a  dead  body's  carcass  a-lying  on  the  way. 

'Oh,  why  do  this  lie  here?'  the  factor  he  cries. 

One  of  the  natives  made  this  reply : 
'Sir,  he  was  a  Christian  while  he  drew  breath ; 
He's  not  paid  his  just  dues  and  lies  above  yet.' 


OLDER     BALLADS MOSTLY     BRITISH  221 

5  'What  is  his  just  dues?'  the  factor  repHed. 

'Fifty  pounds  sterling,'  the  Turks  did  reply. 
'Fifty  pounds  sterling  is  a  great  sum  indeed. 
To  see  him  lie  there  it  makes  my  heart  bleed.' 

6  Down  by  the  factor  this  money  was  paid 
And  under  the  ground  this  dead  body  was  laid. 

7  As  he  was  going  further  he  chanced  for  to  spy 
A  beautiful  damsel  just  going  to  die; 

A  young  waiting  maiden  strangled  must  be 
For  nothing  only  striking  a  Turkish  ladee. 

8  Her  eyes  like  a  fountain  began  for  to  flow 

From  ofT  her  red  rosy  cheeks  from  thence  to  the  ground. 

Like  rivers  of  water  from  his  eyes  did  'still, 

Saying,  'What  will  you  take  for  that  fair  creature's  life?' 

9  'A  hundred  pounds  sterling,'  the  Turks  did  reply. 
'A  hundred  pounds  sterling  is  a  great  sum  indeed ; 
But  it  is  for  her  freedom,  I  will  freely  pay  it  down. 

10  'Now  say,  my  dear  madam,  will  you  go  with  me 
To  fair  London  city  where  my  dwelling  be?' 

'Oh,  yes,  my  dear  master ;  you  have  freed  me  from  death. 
I'm  bound  to  obey  you  while  God  gives  me  breath.' 

1 1  He  carried  her  to  London ;  he  found  her  so  just, 
The  keys  of  his  riches  he  did  in  her  trust. 

12  It  was  not  very  long  'fore  this  factor  must  go. 

He  crossed  the  wide  ocean  and  then  he  had  to  sail. 

She  flowered  him  a  waistcoat  of  silver  and  gold 

And  told  him  to  let  it  be  seen  by  the  great  Magistrae. 

13  'What  is  your  reason,  dear  madam?'  says  he. 

'I'll  not  tell  my  reasons ;  some  reasons  you'll  find.' 

14  On  this  voyage  he  did  sail 

He  entered  into  the  old  prince's  coach     .     .     . 

The  old  prince  stopped  him,  says 

'Who  flowered  your  garment  with  silver  and  gold? 

15  'See,  here  you  wear that  I  do  wear. 

I  sent  my  dear  daughter  over  the  sea 

A  friend  for  to  see ;  the  last  I  heard  from  her 
She  was  taken  in  Turkey  as  a  slave. 

16  'Who  would  bring  her,  my  daughter,  to  me. 
Who  that  would  bring  her  his  bride  she  shall  be.' 


222  NORTH  CAROLINA  FOLKLORE 

17  He  returning  back  then  to  his  bride  across  the  sea, 
He  returned  to  his  lady  and  this  he  did  say : 

'Get  ready ;  your  parents  you  soon  shall  see.' 
Aboard  of  the  ship  straightway  they  did  go. 

18  That  night  he  wakened  the  lady  all  out  of  a  sleep, 
He  had  plundered^  the  factor  all  into  the  deep. 
'Your  factor  is  gone,  I  do  not  know  where. 

But  your  dear  parents  you  soon  shall  see.' 

19  There  was  an  island  close  by ; 
This  factor  swam  to  it. 

He  a-being  on  the  island  next  day, 
He  saw  an  old  man  in  a  little  canoe. 

20  'Now,  without  a  promise  she  will  make  unto  me     .... 
Promise  me  your  first-born  and  I  will  set  you  free.' 

21  He  promised   him  his   first-born.      Now   the  lady   was  at 

home, 
And  told  her  parents  to  give  her  forty  days  to  mourn 
For  the  loss  of  her  factor     .... 
Then  she  would  marry  the  factor  after  forty  days. 

22  As  she  was  a-walking  by  the  river  a-grieving, 
'Oh,  yonder's  my  factor,  I  now  declare! 
Where  he  has  gone  I  do  not  know  where, 
But  he  has  returned  to  me.' 

23  The  captain,  a-seeing  him,  drowned  himself  in  the  deep. 

24  This  couple  was  soon  married. 

They  had  been  married  a  year  or  more. 
They  were  blessed  with  a  little  babe. 

25  This  ghost,  entering  into  the  room. 
'Fulfill  those  promises  you  made  to  me.' 

26  *I  must  give  my  dear  baby  to  that  I  don't  know  where, 
Perhaps  in  pieces  my  darling  babe  may  tear.' 

2^     He  took  the  little  baljy.    'Don't  you  remember  one  day 

Going  through  Turkey  ?     I  am  the  dead  body's  spirit  you 

had  buried  on  the  way. 
Here,  take  your  blessed  baby ;  may  the  Lord  bless  you  all.' 
With  three  bitter  groans  banished-  out  of  the  hall. 
^  One  supposes  that  "plundered"  is  for  "plunged"  ;  and  the  "he"  must 
be  the  captain  of  the   ship,   who  has   somehow  learned   of  the  situation 
and  has  designs  on  the  prince's  daughter  for  himself ;  or  perhaps  a  rival 
factor — which  would  help  to  explain  the  puzzle  of  the  two  factors  a  few 
lines  below. 

^  Presumably  this  should  be  "vanished." 


OLDER     n  A  L  L  A  D  S  —  MOSTLY     B  R  I  T  1  S  II  223 

6i 
Nancy  of  Yarmouth 

Our  text  of  'Nancy  of  Yarmouth'  is  clearly  from  the  Forget-Me- 
Not  Songster  version,  'Jemmy  and  Nancy' ;  it  corresponds  to  that 
stanza  by  stanza  except  that  it  has  dropped  the  first  two  lines  of 
the  final  stanza.  There  are  many  slight  changes,  to  be  sure.  Some 
of  them  might  be  explained  as  due  to  careless  copying,  as  for 
instance  the  omission  of  "did"  in  the  third  line  of  stanza  i,  "love" 
for  "lover"  in  the  third  line  of  stanza  7,  and  many  more;  some 
seem  to  be  merely  in  conformity  with  the  dialect  of  the  copier,  as 
"fitten"  for  "fitting"  in  stanza  6;  but  others  look  like  cases  of  mis- 
hearing or  misremembering  and  so  point  to  oral  transmission.  Such 
are  "if  your  mother  will  hear"  for  "of  Yarmouth,  we  hear"  in 
stanza  i,  "regret"  for  "requite"  in  stanza  47,  and  others.  But  the 
retention  of  the  misprint  "sight"  for  "sigh"  in  stanza  21  strongly 
suggests  copying  from  print.  The  Forgct-Mc-Not  Songster,  pub- 
lished by  Nafis  and  Cornish  of  New  York  in  the  thirties  and  forties 
of  the  last  century,  was  enormously  popular.  Our  ballad  occupies 
pages  86-92.  It  occurs,  but  not  very  often,  in  recent  reports  of 
traditional  song.  It  has  been  found  in  Sussex  (JFSS  11  1 13-14). 
Dorset  (JFSS  viii  209-10,  a  fragment).  Nova  Scotia  (SENS 
81-3),  New  Jersey  (JAFL  xxvi  178,  from  an  old  manu.script), 
Virginia  (FSV  68),  North  Carolina  (SharpK  i  379-80),  Florida 
(SFLQ  VIII  162-3),  and  Iowa  (MAFLS  xxix  15-20).  Kidson 
(JFSS  II  114)  says  it  was  printed  by  John  Evans  about  1795; 
Kittredge  (JAFL  xxvi  178)  lists  various  stall  and  garland  prints 
of  it  to  be  found  in  the  Harvard  Library.  In  theme  it  is  vaguely 
reminscent  of  'The  Suffolk  Miracle'  (Child  272),  but  it  is  a  quite 
distinct  ballad.  For  'The  Suffolk  Miracle'  in  North  Carolina,  see 
No.  41  above. 

'Jimmy  and  Nancy.'  Found  by  Professor  E.  L.  Starr  of  Salem  College 
in  1915  among  the  papers  of  Mrs.  R.  E.  Barnes  of  Taylorsville,  Alex- 
ander county,  then  eighty-one  years  of  age,  a  native  of  the  county. 
Professor  Starr  notes :  "This  ballad  appears  in  the  handwriting  of  a 
Miss  Jones,  who  took  it  down  from  a  sung  version  in  1853.  In  other 
words,  in  1853  Miss  Jones  wrote  it  down  and  gave  it  to  Mrs.  Barnes." 

1  Lovers,  I  pray  lend  an  ear  to  my  story 

And  take  an  example  from  this  constant  pair ; 
How  love  a  young  creature  blast  in  her  glory, 
Beautiful  Nancy,  if  your  mother  will  hear. 

2  She  was  a  merchant's  lovely  fair  daughter, 
Heiress  of  fifteen  hundred  a  year. 

A  young  man  he  courted  her  to  be  his  jewel. 
A  son  of  a  gentleman  who  lived  near. 

3  Many  long  years  he  this  maid  did  court ; 
When  they  was  infants  in  love  they  agreed. 
And  when  to  age  this  couple  arrived 

A  cupid  an  arrow  between  them  displayed. 


224  NORTH     CAROLINA     FOLKLORE 

4  They  made  a  promise  for  to  be  married, 

But  when  their  parents  the  same  came  to  know 
They  took  their  beautiful  charming  daughter 
Separated  apart  that  base  and  severe. 

5  'Daughter,'  they  said,  'give  over  your  proceedings ; 
If  that  against  our  consent  you  do  wed, 
Forever  more  we  resolve  to  disown  you 

If  you  wed  one  that's  so  meanly  bred.' 

6  Her  mother  said,  'You  are  a  great  fortune ; 
Besides,  you  are  beautiful,  charming  and  young. 
You  are  a  match,  my  dear  child,  fitten 

For  any  lord  that's  in  all  Christendom.' 

7  Then  did  reply  this  beautiful  virgin, 
'Riches  and  honor  I  both  do  defy ; 

If  that  I  am  denied  of  my  dearest  love 
Then  farewell  this  world,  which  is  all  vanity. 

8  'Jimmy  is  the  man  that  I  do  admire, 
He  is  the  man  that  I  do  adore ; 

For  to  be  greater  I  never  desire ; 
My  heart  is  fixed  to  love  no  more.' 

9  Then  said  her  father,  '  'Tis  my  resolution, 
Altho  I  have  no  more  daughters  but  you, 
If  that  with  him  you  are  resolved  to  marry. 
Banished  from  me  you  forever  shall  be.' 

10  'Well,  cruel  father,  but  still  I  desire. 
Grant  me  that  Jimmy  once  more  I  may  see. 
Tho  you  do  part  us,  I  still  will  be  loyal, 
For  none  in  the  world  I'll  admire  but  he.' 

1 1  He  sent  for  the  young  man  in  a  passion. 
Saying,  'Forever,  now,  sir,  take  your  leave. 
I  have  a  match  more  fit  for  my  daughter. 
Therefore  'tis  but  a  folly  to  grieve.' 

12  'Honored  father,'  then  said  the  young  lady, 
'Promised  we  are  by  the  powers  above. 
Why  of  all  comforts  would  you  bereave? 
Our  love  is  fixed,  never  to  remove.' 

13  Then  said  the  father,  'A  trip  on  the  ocean 
Jimmy  shall  go  in  a  ship  of  my  own. 

I'll  consent  that  he  shall  have  my  daughter 
When  to  fair  Yarmouth  again  he  returns.' 


OLDER     BALLADS MOSTLY     BRITISH  225 

14  'Honored  father,'  then  said  the  two  lovers, 
'Since  it  is  your  will  we  are  bound  to  obey; 
Our  constant  hearts  can  never  be  parted 
But  our  eager  desire  no  longer  must  stay.' 

15  Then  beautiful  Nancy  said.  'Dearest  Jimmy, 
Here,  take  this  ring,  the  pledge  of  my  vows; 
With  it  my  heart — keep  it  safe  in  your  bosom, 
Carry  it  with  you  wherever  you  go.' 

16  Then  in  his  arms  he  did  closely  infold  her. 
Whilst  crystal  tears  like  fountains  did  flow, 
Crying,  'My  heart  in  return  I  do  give  you, 
And  you  shall  be  present  wherever  I  go. 

17  'When  on  the  ocean,  my  dear,  I  am  saih'ng. 
Thoughts  of  my  jewel  thy  compass  shall  stay, 
Those  tedious  times  shall  discover 

And  bring  me  safe  to  the  arms  of  my  dear. 

18  'Therefore  be  content,  my  lovely  jewel; 
For,  by  the  Virgin,  if  you  are  untrue 

My  troubled  ghost  shall  forever  torment  you ; 
Dead  or  alive,  I'll  have  none  but  you.' 

19  Her  arms  around  his  neck  did  twine, 
Saying,  'My  dear,  when  you're  out  on  the  sea. 
If  that  fate  should  prove  cruel, 

That  we  should  each  other  no  more  see, 

20  'No  man  alive  shall  ever  enjoy  me; 
Soon  as  the  tidings  of  death  sings  my  ears 
Then  like  a  poor  and  unfortunate  lover 
Down  to  the  grave  will  go  to  my  dear.' 

21  Then  with  a  sorrowful  sight  they  parted. 
The  wind  next  morning  blew  a  pleasant  gale ; 
All  things  being  ready,  the  same  Mary  galley, 
And  for  Barbodions  he  straight  did  sail. 

22  Jimmy  was  floating  upon  the  wide  ocean. 

Her  cruel  parents  was  plotting  the  same  while 
How  the  heart  of  their  beautiful  daughter 
With  cursed  gold  strive  to  beguile. 

23  Many  a  lord  of  fame,  birth,  and  breeding 
Came  for  to  court  this  young  beautiful  maiden, 
But  all  of  their  presents  and  favors  she  slighted. 
'Constant  I'll  be  to  my  jewel,'  she  said. 


226  NORTH     CAROLINA     FOLKLORE 

24  Now  for  a  while  we  will  leave  this  fair  maiden 
And  tell  how  the  things  with  her  lover  did  go. 
In  the  Island  of  Barhodoins  the  ship  safe  arrived, 
But  now  observe  this  fatal  overthrow. 

25  Young  Jimmy  was  comely  in  every  feature. 
A  Barbodious  lady  whose  riches  was  great 

On  him  fixed  her  eyes;  then  she  cried,  'If  I  get  not 
This  English  sailor,  I'll  die  for  his  sake.' 

26  She  then  dresses  herself  in  gallant  attire. 
With  costly  diamonds  she  platted  her  hair ; 

A  hundred  slaves  dresses  in  white  to  attend  her ; 
Sent  for  this  young  man  to  come  to  them  there. 

27  'Come,  noble  sailor,'  she  cried,  'can  you  fancy 
A  lady  whose  fortunes  and  riches  are  great? 

A  hundred  slaves  you  shall  liave  to  attend  you, 
Music  to  charm  you  to  your  solemn  sleep. 

28  'In  robes  of  gold  I  will  deck  you.  my  dear. 
Pearls  and  rich  jewels  I'll  lay  at  your  feet; 

In  chariots  of  gold  you  shall  ride  at  your  pleasure ; 
If  you  can  love  me,  then  answer  me  straight.' 

29  Amazed  with  wonder  while  gazing  she  stood, 
'Forbear,  young  lady,'  at  length  he  replied ; 
'In  fair  England  I  have  vowed  to  a  lady 

At  my  return  to  make  her  my  bride. 

30  'She  is  a  charming  young  beautiful  creature. 
She  has  my  heart,  and  I  never  can  love ; 

I  bear  in  my  eyes  her  sweet  lovely  features : 
No  other  charmer  on  earth  I  adore.' 

31  Hearing  of  this  she  did  rave  in  distraction. 
Crying,  'Unfortunate  maid !  thus  to  love 
One  that  does  basely  slight  all  my  glory 
And  of  my  possessions  will  not  approve. 

32  'Lords  of  renown  their  favors  I  have  slighted; 
Now  must  I  die  for  a  sailor  so  bold. 

I  must  not  blame  him  because  he  is  constant. 
True  love,  I  find,  is  much  better  than  gold.' 

33  A  costly  jewel  she  instantly  gave  him, 
Then  in  trembling  hands  she  took  a  knife. 
One  fatal  blow  before  they  could  prevent  her 
Quickly  put  an  end  to  her  life. 


OLDER     BALLADS  —  MOSTLY     BRITISH 

34  Great  lamentation  was  made  for  this  maiden. 
Jimmy  onward  the  shij)  he  (Hd  steer. 

Then  for  fair  England  homeward  was  sailing 
With  a  longing  desire  to  meet  his  dear. 

35  But  when  her  father  found  he  was  coming 
A  letter  did  write  to  the  boatswain  his  dear 
Saying,  'A  handsome  reward  will  I  give  thee 
If  you  will  the  life  of  young  Jimmy  end.' 

36  Void  of  all  promises  and  for  the  sake  of  money 
The  cruel  boatswain  the  same  did  comply ; 

As  they  on  the  deck  was  lonely  a-walking 
He  suddenly  plunged  him  into  the  deep. 

37  In  the  dead  of  the  night  while  all  was  a-sleeping 
His  troubled  ghost  to  his* love  did  appear 
Crying,  'Arise,  young  beautiful  Nancy, 
Perform  the  vows  you  made  to  your  dear. 

38  'You  are  my  own,  so  tarry  no  longer. 
Seven  long  years  for  your  sake  I  did  stay. 
How  many  does  wait  to  crown  us  with  pleasure ! 
The  bride-guests  are  ready ;  therefore  come  away.' 

39  She  cried,  'Who  is  there  under  my  window? 
Surely  it  is  the  voice  of  my  dear!' 

Lifting  her  head  from  her  soft  downy  pillow, 
Strait  to  the  casement  she  did  repair. 

40  By  the  light  of  the  moon  that  brightly  was  shining 
She  spied  her  true  love ;  then  he  to  her  did  say, 
'Your  parents  are  sleeping;  before  they  awaken, 
Stair  up,  my  dear  creature,  you  must  come  away.' 

41  'Oh  Jimmy,'  she  cried,  'if  my  father  shall  hear  you 
We  should  be  ruined ;  therefore  quickly  repair 

To  the  sea  side  and  I  will  quickly  meet  you ; 
With  my  own  maid  I'll  come  to  you  there.' 

42  Her  nightgown  embroidered  with  silver  and  gold 
Carelessly  around  her  body  she  throws. 

With  her  two  maids  indeed  to  attend  her 
To  meet  her  true  lover  she  instantly  goes. 

43  Close  in  his  arms  the  spirit  did  enfold  her. 
'Jimmy,'  she  said,  'you  are  colder  than  clay. 
Surely  you  cannot  be  the  man  that  I  admire ; 
Paler  than  death  you  appear  unto  me.' 


22B  NORTH  CAROLINA  FOLKLORE 

44  'Yes,  fairest  creature,  I  am  your  true  lover, 
Dead  or  alive  you  are  to  be  my  own. 

I  come  for  your  vows,  my  dear ;  you  must  follow 
My  body  to  my  watery  tomb. 

45  'I  for  your  sake  did  refuse  gold  and  treasure, 
Beauty  and  riches  for  you  I  despise. 

A  charming  young  lady  for  me  did  expire ; 
Thinking  of  you,  I  was  deaf  to  her  cries. 

46  'Your  cruel  parents  have  been  my  undoing. 
And  now  I  sleep  in  a  watery  grave. 

And  for  your  promise,  my  dear,  I  am  sailing. 
Dead  or  alive,  you  I  must  have.' 

47  The  trembling  body  was  30  affrighted, 
Amazed  she  stood  near  the  brink  of  the  sea. 
With  eyes  lift  to  heaven  she  cried,  'Cruel  parents. 
Heaven  regret  you  for  your  cruelty ! 

48  'Indeed  I  promise,  my  dearest  creature. 
Dead  or  alive  I  would  be  your  own ; 

And  now  to  perform  my  vows  I  am  ready 
To  follow  you  down  to  your  watery  tomb.' 

49  Her  maidens  heard  her  sad  lamentations 
But  the  apparition  it  could  not  see. 
Thinking  the  lady  had  fell  in  distraction, 
He  strove  to  persuade  her  contented  to  be. 

50  But  still  she  cried,  'I  am  a-coming. 
Now  on  thy  bosom  I'll  fall  asleep.' 

When  this  she  had  spoken,  this  unfortunate  lady 
Suddenly  plunged  herself  into  the  deep. 

51  When  to  her  father  the  maid  told  the  story 

He  wrung  his  hands  and  cried,  'What  have  I  done! 
O  dearest  child,  it  was  thy  cruel  father 
That  did  provide  thee  a  watery  doom !' 

52  Two  or  three  days  being  then  expired. 
Those  two  unfortunate  lovers  were  seen 

In  each  other's  arms  on  the  water  was  floating 
By  the  side  of  the  ship  on  the  watery  main. 

53  The  cruel  boatswain  was  struck  with  horror ; 
Straight  did  confess  the  deed  he  had  done. 
Showing  the  letter  that  came  from  her  father 
That  was  the  cause  of  these  lovers'  doom. 


OLDER     BALLADS— MOSTLY     BRITISH  229 

54  On  board  the  ship  he  was  tried  for  murder 
And  at  the  yardarni  he  was  hanged  for  the  same. 
Her  father  broke  his  heart  for  his  daughter 
Before  the  ship  to  harbor  came. 

55  Thus  cursed  gold  has  caused  destruction. 
Why  should  the  rich  strive  after  gain? 

1  hope  this  story  will  be  a  caution 

That  cruel  parents  may  never  do  the  same. 

56  True  love  is  better  than  jewels  or  treasure 
Which  was  the  occasion  of  their  overthrow. 


62 
The  Bramble  Brier 

For  detailed  discussion  of  the  relation  of  this  ballad  to  the  fifth 
story  of  the  fourth  day  of  the  Decameron,  see  PMLA  xxxiii  327- 
95;  and  for  its  currency  as  traditional  song  BSM  109,  adding  Vir- 
ginia (FSV  64),  Tennessee  (BTFLS  11  27),  Arkansas  (OFS  i 
381-2),  Indiana  (SFLQ  v  176-7),  and  Michigan  (BSSM  59-61). 
Our  two  North  Carolina  texts  are  grammatically  pretty  rough,  like 
most  of  the  texts  from  American  tradition. 


The    Hunt.    or.    The    Cruel    Brothers.'      Secured    from    Frank    Proffitt. 
Sugar  Grove,  Watauga  county,  in  August,  1924. 

1  One  day  as  she  sat  silently  courting 
Her  brothers  says,  'Come  over  here. 
Your  courtship  shall  be  shortly  ended ; 
We'll  bring  him  headlong  to  his  grave.' 

2  To  begin  this  bloody  murder 
A-hunting.  hunting  they  must  go ; 
Along  with  them  for  to  flatter, 
Along  with  them  all  for  to  go. 

3  They  hunted  over  hills  and  lonely  mountains 
And  through  some  valleys  were  unknown, 
Until  they  came  to  a  patch  of  briers. 

And  there  they  did  him  kill  and  thrown. 

4  It  was  late  when  they  returneth. 
Their  sister  ask  for  the  servant  man. 
'We  lost  him  in  the  woods  a-hunting 
And  never  more  could  we  him  find.' 


5     One  day  as  she  lay  silent,  weeping, 

Her  true  love  come  to  her  bed  and  stood. 


230  NORTH     CAROLINA     FOLKLORE 

He  was  poor  and  swath^  and  ghostly  looking, 
.AH  wallered  over  in  gores  of  blood. 

6  'What  weeps  you  here,  my  pretty  fair  one? 
It's  only  a  folly  for  you  to  find. 

Your  brothers  being  hard  and  cruel 
In  such  a  place  you  may  me  find.' 

7  She  hunted  o'er  hills  and  lonely  mountains 
And  through  some  valleys  were  unknown 
Until  she  came  to  a  patch  of  briers. 

And  there  .she  found  him  killed  and  thrown. 

8  His  pretty  fair  cheeks  with  blood  had  dyed, 
His  lips  were  salt  as  any  brine. 

She  kissed  him  ov^.  ovef,  crying, 
'Here  lies  the  bosom  friend  of  mihe.' 

9  Three  days  and  nights  she  did  stay  by  him, 
All  down  upon  her  bended  knees ; 

In  the  midst  of  all  her  grief  and  sorrow 
She  uttered  forth  such  words  as  these : 

10  'I  didn't  entending  staying  by  you 
Until  my  heart  was  broke  with  woe. 
I  feel  sharp  hunger  coming  on  me 
Which  will  cause  me  back  home  to  go.' 

1 1  It  was  late  when  she  returneth. 

Her  brothers  ask  her  where  she'd  been. 

She  said :  'You  hard-hearted,  deceitful  villains. 

For  him  alone  you  both  shall  swing,' 

12  To  get  shet  of  this  bloody  murder 
Out  on  the  sea  they  both  did  go ; 
Out  on  the  sea  they  both  went  rowing. 
And  the  sea  proved  both  their  graves. 


'The  'Prentice  Boy.'  Reported  by  Mrs.  Sutton  as  sung  by  Mrs.  Becky 
Gordon  of  Saluda  Mountain,  Henderson  county,  in  the  summer  of  1928. 
"This  one  she  said  she  learned  from  her  mother,  who  was  raised  on 
Saluda  Mountain." 

I     There  was  a  man  who  lived  a  merchant, 
He  had  two  sons  and  a  daughter  fair ; 
A  prentice  boy  that  was  bound  to  him. 
To  him  alone  was  left  the  same. 

*  The   editor  is   unable  to  guess   what   meaning   was   attached  to  this 
word. 


OLDER     BALLADS —  MOSTLY     BRITISH  23I 

2  One  evening  they  were  silent,  courting. 

Her  brothers  trancecP  by  the  door,  • 

Saying,  'Now  your  courtship'!!  soon  be  over, 
I'!!  hasten  you  uns  to  your  grave.' 

3  Oh,  to  l)egin  this  b!oody  murder 
A-liunting  tliese  three  men  did  go; 
Over  !iills  and  !one!y  mountings 
And  lonesome  valleys  they  did  go. 

4  'Tvvas  late  that  night  when  they  return-ed. 
Their  sister  asked  them  where  they'd  been. 
'What  makes  you  make  sich  straight  inquiring 
About  that  young  and  servant  man?' 

5  'Becayse  I  hyerd  your  silent  whisper. 
Pray  tell  me,  brother;  my  heart  will  break.* 

6  'Twas  late  that  night  when  she  was  sleeping 
He  'peared  to  her  by  her  bedside. 

All  cut  and  gashed  like  being  wounded, 
All  beat  up  into  gores  of  blood. 

7  She  rose  next  morning  bright  and  early 
And  hunting  her  young  man  did  go, 
It's  over  hills  and  lonely  mountings, 
Some  lonesome  valleys  she  did  go. 

8  Before  she  come  to  the  place  of  trial 

There  were  the  dead,  him  killed  and  thrown. 
Three  days  and  nights  she  fasted  by  him. 
All  on  her  bended  knees  did  stand. 

9  She  kissed  him  over  and  over,  crying. 
Saying,  'This  dear  bosom  was  a  friend  of  mine. 

10  T  thought,  my  dear,  I  would  stay  by  you 
Until  my  heart  did  sink  with  woe, 

I  feel  sharp  hunger  creeping  on  me 
And  forces  me  homeward  to  go.' 

1 1  'Twas  late  the  third  night  when  she  return-ed. 
Her  brothers  asked  her  where  she'd  been. 
'You  most  unkind  and  cruel  creatures. 

For  him  alone  you  both  shall  swing.' 

12  Now  to  git  shet  of  that  bloody  murder 
Across  the  ocean  they  did  go. 

The  wind  did  blow,  and  it  was  no  wonder 

The  stormy  sea  blowed  'em  both  to  their  graves. 

*  Probably  miswritten  for   "chanced."     Cf.   M.E.  and   dial,  "traunce,* 
to  tramp  about. 


232        north  carolina  folklore 

The  Prince  of  Morocco;  or,  Johnnie 

This  story — a  sort  of  reverse  of  'The  Marriage  of  Sir  Gawain' 
and  of  the  later  'The  Loathly  Bride'  and  printed  as  a  broadside 
about  the  middle  of  the  eighteenth  century  (see  Barry's  note  to  the 
Vermont  text,  NGMS  40) — has  not  often  been  found  as  traditional 
song.  In  fact,  it  appears  to  be  known  only  in  three  places :  Ver- 
mont (NGMS  38-40),  Arkansas  (OFS  i  354-6),  and  North  Caro- 
lina. These  three  texts  are  not  very  close  in  their  language  but 
close  enough  to  show  that  they  all  go  back  to  one  original,  doubt- 
less a  broadside.  The  eighteenth-century  broadside  is  entitled  'The 
Crafty  Ploughman's  Garland,  or  The  Young  Farmer's  Policy  to 
Gain  a  Fair  Lady';  the  Vermont  version  is  called  'The  Poor  Sailor 
Boy,'  and  that  from  Arkansas  'The  Sailor  Boy.' 

'The  Prince  of  Morocco,  or  Johnnie.'  From  the  Henneman  collection, 
which  means  that  it  is  from  the  singing  of  Mrs.  Elizabeth  Simpkins  of 
Vanceboro,  from  whom  Henneman  got  his  North  Carolina  texts,  prob- 
ably about  the  beginning  of  the  present  century.  It  is  not  divided  into 
stanzas  in  the  manuscript,  but  the  rhymes  suggest  that  it  was  conceived 
as  stanzaic  and  I  have  accordingly  attempted  so  to  arrange  it.  The 
pointing  is  editorial. 

1  Come  all  you  good  people,  I'll  have  you  draw  near 
And  listen  to  a  love  song  as  I  will  sing  you  here. 
Well,  Johnnie  the  farmer's  young  son,  I  do  declare, 
Courted  a  damsel,  he  loved  her  so  dear. 

2  He  dressed  himself  in  some  outlandish  style, 
All  for  to  gain  his  own  heart's  desire, 

And  this  news  so  far  alies^  was  bound 
'The  Prince  of  Morocco  has  come  to  town,' 

3  And  many  a  lord  and  gay  lady  too 
Came  young  Johnnie  for  to  see 

Among  the  whole  number  his  own  love  was  there 
And  her  old  father  too. 

4  Then  said  the  old  man,  'What  can  I  understand? 
You  have  come  into  these  lands  for  to  get  you  a  wife. 
I  haven't  but  one  daughter,  and  she's  the  only  heir ; 

I  haven't  but  one  daughter,  and  she  shall  be  your  bride.' 

5  'Stop,'  says  the  young  prince;  'and  sposen  we  don't  agree?' 
'Never  mind,'  says  the  old  man,  'but  married  you  shall  be.' 
Still  it  was  against  the  lady's  content. 

For  quitting  of  young  Johnnie  who  she  loved  so  severe 
In  getting  of  a  husband  like  old  Lucifere. 

6  'Ah,  daughter,  he's  a  king,  and  a  king  of  great  fame, 
And  if  you  will  marry  him  you'll  surely  be  the  queen.' 

'  So  the  manuscript  seems  to  read ;  what  is  intended  is  not  apparent. 


OLDER     BALLADS  —  MOSTLY     BRITISH  233 

7  At  last  this  lady  gave  her  consent, 

But  still  it  was  against  her  own  heart's  content 

For  quitting  of  young  Johnnie,  who  she  loved  so  severe, 

In  getting  of  a  husband  like  old  Lucifere. 

8  And  after  they  were  wedded  and  then  put  to  bed 
Still  it  was  against  the  lady's  content 

For  quitting  of  young  Johnnie  who  she  loved  so  severe 
In  getting  of  a  husband  like  old  Lucifere. 

9  It  caused  the  old  man  to  dance  and  to  sing, 
Thinking  that  his  daughter  was  married  to  a  king. 

10  So  early  next  morning  young  Johnnie  he  arose 
And  called  for  his  potion,  as  we  might  suppose. 
The  full  flowing  bowl  went  merrily  around. 

The  old  man  counted  Johnnie  six  thousand  pounds. 

11  He  gathered  up  his  money  and  he  put  it  in  his  purse. 
He  called  for  a  basin  and  some  water  for  to  wash, 
He  washed  himself  so  white  and  so  clean. 

He  turned  to  the  old  man  and  said,  'Do  you  know  me 
now?' 

12  'Damn  it,'  says  the  old  man,  'what  have  I  done? 
This  is  Johnnie,  the  farmer's  young  son. 

Come  pay  me  back  my  money !'  the  old  man  he  cries. 
'Keep  your  money,'  the  lady  she  replies ; 

13  'I  won't  accept  the  devil  or  any  of  his  crew. 
You  'pear  like  a  beautiful  angel  in  my  view. 
Keep  your  money,'  the  lady  she  replies, 

'Now  make  a  loving  husband;  I  am  your  loving  bride.' 


T)  ESIDES  the  ancient  ballads  of  the  Child  canon  and  their  close 
■■-'  congeners  given  above,  ballad  singers  of  North  Carolina  have 
kept  in  memory  a  store  of  other  old  songs  current  in  Britain  as 
broadside  or  stall  ballads.  These  are  most  often  of  tragic  content: 
a  man  treacherously  kills  his  sweetheart,  as  in  'The  Gosport  Trag- 
edy,' 'The  Lexington  Murder'  (known  also  as  'The  Bloody  Miller' 
and  'The  Knoxville  Girl,'  and  in  the  old  country  as  'The  Wittam 
Miller'  and  'The  Berkshire  Tragedy'),  'Handsome  Harry';  the 
man,  or  the  woman,  or  both,  die  of  thwarted  love,  as  in  'Beautiful 
Susan,'  'The  Lancaster  Maid,'  'The  Silver  Dagger,'  'Chowan 
River' ;  a  lover  is  killed  by  his  sweetheart's  cruel  and  greedy  father, 
as  in  'Young  Edwin  in  the  Lowlands';  or  the  lover  shoots  his 
sweetheart  mistaking  her  for  a  swan,  as  in  'Molly  Bawn'  (the 
name  undergoes  many  changes).     Others  are  rather  romantic  than 


234  NORTH     CAROLINA     FOLKLORE 

tragic :  they  tell  of  a  bride  carried  off  despite  parental  or  other 
objection,  as  in  'Locks  and  Bolts'  and  "The  Soldier's  Wooing' ;  of 
a  test  of  love,  as  in  'The  Glove'  (a  folk  tale  that  Schiller  and  Leigh 
Hunt  and  Browning  also  used  though  not  quite  with  the  same  in- 
tent) ;  or  of  lovers  changing  places,  as  in  'A  Brave  Irish  Lady' 
and  'Servant  Man';  or  of  a  lover  returning  in  disguise  from  for- 
eign parts  to  test  his  mistress's  faithfulness,  a  favorite  theme  of 
the  street  balladist  and  represented  in  our  collection  by  'A  Pretty 
Fair  Maid  Down  in  the  Garden,'  'Johnny  German,'  and  'John 
Reilley' ;  or  of  a  girl  seeking  her  lover  in  disguise  as  a  man,  as 
in  'Polly  Oliver.'  Many  of  them  are  songs  of  the  sea  or  rather 
of  sailors.  A  favorite  in  this  field  is  'Jack  Munro,'  where  a  girl 
in  love  with  a  sailor  disguises  herself  as  a  man,  ships  with  him, 
saves  his  life  in  battle,  and  comes  triumphantly  home  with  him. 
Others  are  'The  Silk-Merchant's  Daughter,'  'Green  Beds,'  and  'The 
Sailor  Boy.'  Goodnights — professedly  the  last  words  of  criminals 
at  the  gallows — which  made  up  a  large  part  of  the  stock  in  trade 
of  professional  ballad  makers,  are  but  slightly  represented ;  'The 
Sheffield  Apprentice,'  who  was  framed  as  a  thief  by  his  mistress  be- 
cause he  repulsed  her  amorous  advances,  is  there,  and  so  are  'The 
Ramblin'  Boy'  and  Turpin's  'Bonnie  Black  Bess.'  A  few  songs 
seem  clearly  of  Scottish  origin:  'Caroline  of  Edinburgh  Town." 
'Roy's  Wife  of  Aldivalloch,'  and  perhaps  'I  Wish  My  Love  Was 
in  a  Ditch.'  Slightly  more  numerous  are  Irish  or  AngloTrish 
pieces :  'William  Riley,'  'The  Irish  Girl,'  and  others. 


64 
The  Gosport  Tragedy 

Of  the  many  ballads  sung  in  America  about  the  man  who  mur- 
ders his  sweetheart,  sometimes  from  jealousy  but  more  often  be- 
cause, having  got  her  with  child,  he  wants  to  be  rid  of  her — 
'Florella,'  'Oma  Wise,'  'Pearl  Bryan,'  'Leo  Frank  and  Mary 
Fagan,'  etc. — two  go  back  definitely  to  English  broadsides :  'The 
Gosport  Tragedy'  ('Pretty  Polly,'  'The  Cruel  Ship's  Carpenter') 
and  'The  Wexford  Girl'  ('The  Oxford  Girl,'  'The  Lexington  Girl,' 
'The  Wittam  Miller,'  'The  Berkshire  Tragedy').  Much  alike  in 
plot  and  sometimes  fading  into  one  another,  they  may  conveniently 
be  distinguished  by  certain  items  in  the  story.  In  'The  Gosport 
Tragedy'  the  killer  tells  his  victim  that  he  has  been  digging  her 
grave  all  the  night  before;  in  'The  Wexford  Girl'  he  explains  the 
blood  on  his  clothes  by  saying  that  it  was  'bleeding  at  the  nose.' 
These  items  mark  the  respective  original  broadsides  and  can  be 
traced  through  most  if  not  all  the  later  traditional  versions. 

The  earliest  known  form  of  'The  Gosport  Tragedy'  is  a  "garland" 
in  the  Roxburghe  collection  (Roxb.  Ballads  viii  143-4,  173-4),  dated 
by  Ebsworth  "circa  1750."  In  modern  times  it  has  been  reported 
from  tradition  in  Sussex   (JFSS  i   172-3),  Nova  Scotia   (BSSNS 


OLDER     BALLADS  —  MOSTLY     BRITISH  235 

96-8),  Virginia  (SharpK  i  326-7,  SCSM  131-4),  West  Virginia 
(FSS  308-10),  Kentucky  (JAFL  xx  261-4,  where  Kittredge  points 
out  in  a  note  that  the  Harvard  Library  has  copies  of  both  the 
original  garland  and  later  English  broadsides,  JAFL  xlii  276-8, 
LT  79-81,  BKH  69-70,  SharpK  i  319-20,  321-5,  FSSH  229-30. 
222;  it  is  listed  also  in  Shearin's  syllabus),  Tennessee  (ETWVMB 
74-5.  SharpK  i  318-19,  BTFLS  iii  85),  North  Carolina  (SharpK 
I  3"i7,  320-1.  327,  SCSM  128-31,  SSSA  53-4,  JAFL  xlv  134-5). 
Georgia  (JAFL  xliv  107-8,  FSSH  231-2),  Florida  (FSF  341-2), 
Missouri  (OFS  11  11 2- 14),  and  Indiana  (BSI  298-9).  It  is  per- 
haps worth  remarking  that  with  the  exception  of  Mackenzie's  Nova 
Scotia  text  it  does  not  appear  in  the  Northeast. 

There  is  an  excellent  recording  of  a  Virginia  version  of  'The 
Gosport  Tragedy,'  under  the  title  'Pretty  Polly,'  in  the  Library  of 
Congress.  Music  Division,  Archive  of  American  Folk  Song  (Folk 
Music  of  the  United  States,  Album  I),  which,  according  to  Alan 
Lomax.  illustrates  unconscious  editing  of  the  English  broadside  by 
the  American  folk.  "The  product  of  this  process  of  folk  editing 
— Pretty  Polly — is  The  Americatt  Tragedy  in  six  brilliant  stanzas 
(the  same  subject  that  occupies  a  ponderous  volume  in  Theodore 
Dreiser's  work  of  that  name)." 

A 
'The  Gosport  Tragedy.'     Contributed  by  Miss   Pearl  Webb  of  Pineda, 
Avery  county,  in  1921   or  1922.     It  has  the  appearance  of  having  been 
copied  from  print ;  see  under  version  B. 

1  In  Gosport  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  for  to  marry  me, 
Your  love  it  can  cure  one  of  sorrow  and  care. 
Consent  then  to  wed  with  a  ship  carpenter.' 

3  With  blushes  as  charming  as  roses  in  June 

She  answered.  'Sweet  William,  to  wed  I'm  too  young; 
For  young  men  are  fickle,  I  see  very  plain. 
If  a  maiden  is  kind  they  soon  her  disdain.' 

4  'Why.  charming  sweet  Mary,  how  can  you  say  so? 
Thy  beauty,  the  heavens  to  which  I  would  go, 

If  there  I  find  channel  when  I  chance  for  to  steer 
I  then  will  cast  anchor  and  stay  with  my  dear. 

5  'I  never  will  be  cloyed^  with  the  charms  of  my  love ; 
My  heart  is  as  true  as  the  sweet  turtle  dove, 

^  The  manuscript  has  here  "coyed,"  as  does  also  our  B  text  in  the 
same  place.     But  it  seems  clear  that  "cloyed"  is  meant. 


236  NORTH     CAROLINA     FOLKLORE 

And  what  I  now  crave  is  to  wed  with  my  dear, 
For  when  we  are  married  no  danger  I'll  fear,' 

6  'The  state  of  a  virgin,  sweet  William,  I  prize, 
For  marriage  brings  trouble  and  sorrow  likewise. 
Fm  afraid  for  to  venture  for  fear.^ 

I  will  never  wed  with  a  ship  carpenter.' 

7  But  yet  it  was  in  vain  she  strove  to  deny, 
For  he  by  his  cunning  soon  made  her  comply ; 
And  by  base  deception  he  did  her  betray. 

In  sin's  hellish  paths  he  did  her  betray. 

8  Then  when  this  young  damsel  with  child  did  prove 
She  quickly  sent  the  tidings  to  her  faithful  love, 
Who  swore  by  the  heavens  he  would  prove  true 
And  said,  'I'll  marry  no  damsel  but  you.' 

9  Things  passed  on  a  while.    At  length  we  did^  hear 
His  ship  must  be  sailing,  for  sea  he  must  steer; 
Which  grieved  this  poor  damsel  and  wounded  her  heart 
To  think  with  her  true  love  she  so  suddenly  must  part. 

10  Cried  she,  'Dearest  William,  ere  you  go  to  sea 
Rememl)er  the  vows  you've  made  unto  me. 

If  at  home  you  don't  tarry  I  never  can  rest. 

How  can  you  then  leave  me  with  sorrow  distressed?' 

11  With  tender  embraces  they  parted  that  night 
And  promised  to  meet  the  next  morning  at  light ; 
When  William  said,  'Mary,  you  must  go  with  me. 
Before  we  are  married,  our  friends  for  to  see.' 

1 2  Then  he  led  her  through  groves  and  valleys  so  deep. 
At  length  this  young  damsel  began  for  to  weep, 
Saying,  'William,  I  fear  you  have  led  me  astray 
On  purpose  my  innocent  life  to  betray.' 

13  Said  he,  'You  have  guessed  right,  and  earth  can't  you  save. 
For  the  whole  of  last  night  I've  been  digging  your  grave.' 

When  poor  ruined  Mary  did  hear  him  say  so 
The  tears  from  her  eyes  like  a  fountain  did  flow.'' 

'  The  B  text  has  "therefore  for  fear,"  improving  the  sense  and  the 
versification  and  probably  representing  the  original  print. 

'  B  has  here  "do,"  which  seems  better. 

*  Here  the  A  text  is  better  than  the  B,  which  runs: 
Said  he,  'You  have  guessed  right. 
For  the  whole  of  last  night 
I've  spent  digging  your  grave.' 
When  poor  innocent  Mary  did  hear  him  say  so 
The  tears  from  her  eyes  like  a  fountain  did  flow. 


OLDER     BALLADS MOSTLY     BRITISH  237 

14  A  grave  with  a  spade  lying  near  did  she  see, 
Which  caused  this  young  damsel  to  weep  bitterly. 
'Oh.  perjurer  William,  the  worst  of  mankind, 

Is  this  the  bride's  bed  I  expected  to  find?' 

15  Her  hands  white  as  lilies  in  sorrow  she  wrung, 
Imploring  for  mercy,  cries  'What  have  I  done 
To  you.  dearest  William  so  comely  and  fair? 

Will  you  murder  your  true  love  who  loves  you  so  dear  ?' 

16  Said  he.  'There's  no  time  disputing  to  stand.' 
Then  instantly  taking  a  knife  in  his  hand 

He  pierced  her  fair  breast  when^  the  blood  it  did  flow 
And  into  the  grave  her  fair  body  did  throw. 

17  He  covered  the  grave  and  quick  hastened  home. 
Leaving  none  but  small  birds  her  sad  fate  to  bemoan. 
On  board  ship  he  entered  without  more  delay 

And  set  sail  from  Plymouth  to  plow  the  salt  sea. 

18  A  young  man,  a  steward,  of  courage  most  bold, 
One  night  happened  late  to  go  into  the  hold, 
WHien  a  beautiful  damsel  to  him  did  appear 
And  in  her  arms  she  held  an  infant  most  fair. 

19  Being  wary,  with  quickness  he  went  to  embrace. 
Transplanted  with  joy  at  beholding  her  face ; 
But  when  to  his  amazement  she  banished  away, 
Which  he  told  the  captain  without  more  delay.^ 

20  The  captain  soon  summoned  the  jovial  ship  crew 
And  said:  'My  brave  fellows,  I  fear  some  of  you 
Have  murdered  some  damsel  ere  he  came  away. 
Whose  injured  ghost  now  haunts  you  on  the  sea. 

21  'W^hoever  you  be,  if  the  truth  you  deny. 

When  found  out  you'll  be  hung  on  the  gallows  so  high ; 
But  he  who  confesses  his  life  we'll  not  take 
But  leave  him  upon  the  first  island  we  make.' 

22  Then  William  entreatingly  fell  on  his  knees, 
The  blood  in  his  veins  with  horror  did  freeze; 
He  cried,  cried  'Murder!     What  have  I  done?^ 
God  help  me,  I  pray ;  my  poor  soul  is  undone. 

*  B  has  the  same  reading.     I  do  not  know  what  the  reading  should  be. 

'  B  corrects  at  least  one  of  the  errors  in  this  stanza,  perhaps  two,  but 
leaves  it  still  unconstruable  : 

Being  Mary,  with  liking  he  went  to  embrace, 
Transported  with  joy  at  beholding  her  face, 
But  when  to  his  amazement  she  banished  away, 
Which  he  told  the  captain  without  more  delay. 

■^  B  improves  this  a  little : 

He  cried,  'Cruel  maiden,  what  have  I  done?' 


238  NORTH     CAROLINA     FOLKLORE 

23  'Poor  injured  ghost,  thy  full  pardon  I  crave, 
For  soon  I  must  follow  you  down  to  the  grave.' 
None  else  but  this  wretch  beheld  that  sad  sight, 
And  raving  distracted  he  died  that  same  night. 

24  Then  when  her  sad  parents  these  tidings  did  hear 
They  sent  out  to  search  for  their  daughter  so  dear. 
Near  the  town  of  Southampton  in  a  valley  most  deep 
Her  body  was  found,  which  caused  many  to  weep. 

25  In  Gosport's  Green  her  body  now  lies, 

And  we  hoi^e  that  soul  is  with  God  in  the  skies. 

Then  let  this  sad  tale  be  a  warning  to  all 

Who  would  dare  a  poor  innocent  maid  to  enthrall. 

B 

'Gosport  Tragedy.'  Collected  from  James  York  of  Olin,  Iredell  county, 
in  August  1939.  It  is  the  same  text  as  A,  sometimes  better  taken  down, 
sometimes  not  so  well.  Most  of  the  differences  between  it  and  A  have 
been  noted  under  A. 

C 
'Polly.'     Another  text  furnished  by   Miss   Webb.     Very   much   reduced, 
and  differing  in  other  ways. 

1  'Oh,  Polly,  oh,  Polly,  oh,  Polly,'  said  he, 
'Oh,  now  do  consent  and  be  married  to  me.' 

'No,  William,  no,  William,  no,  William,'  said  she, 
'I  am  too  young  to  be  married  to  thee.' 

2  'Oh,  Polly,  oh,  Polly,  oh,  Polly,'  said  he, 
'Now  do  consent,  and  a  friend  we'll  go  see.' 
Immediately  he  took  her  by  her  lily-white  hand. 
He  led  her  through  sorrow,  grief,  sorrow,  and  woe. 

3  He  led  her  over  hills  and  through  valleys  so  deep. 
And  at  last  pretty  Polly  began  for  to  weep. 

'Oh,  William,  oh,  William,  you're  leading  me  astray 
On  purpose  my  innocent  body  to  betray.' 

4  'Oh,  yes,  my  pretty  Polly,  now  you  have  guessed  right. 
I  was  digging  your  grave  the  best  part  of  last  night.' 
They  went  a  little  further  l>efore  she  did  spy 

Her  grave  ready  dug  and  a  spade  a-setting  by. 

5  She  threw  her  arms  around  him,  said:  'Don't  you  infer ?^ 
How  can  you  kill  a  girl  that  loves  you  so  dear?' 

6  He  opened  her  bosom  that  was  whiter  than- snow, 
And  out  of  her  eyes  the  tears  they  did  fiow. 

He  pierced  her  to  the  heart,  which  caused  the  blood  to  flow. 
And  down  in  her  grave  her  pale  body  he  throwed. 
^  The  other  texts  throw  no  light  on  this  unintelligilile  passage. 


0  I.  I)  K  R      H  A  I.  I.  A  U  S  MOSTLY      15  R  I  T  I  S  11  2^9 

7  He  covered  her  up  and  turned  round  to  go  home, 
Leaving  only  small  birds  to  lament  or  mourn. 

He  went  to  the  ship  that  was  on  the  other  side 

And  he  swore  by  his  Maker  that  he'd  sail  the  other  side. 

8  He  hoisted  the  sails  and  away  he  did  ride, 
A-thinking  of  poor  Polly,  how  hard  she  had  died. 
He  sailed  all  along  till  his  heart  did  contend. 
The  ship  struck  a  rock  and  to  the  bottom  it  went. 

9  Then  he  saw  his  pretty  Polly  all  floating  in  blood. 
The  scii)s  and  her  screams  she  banished  away. 

A  debt  to  the  devil — a  due  was  paid.- 


■Pretty  Polly.'  Contributed  by  Mrs.  R.  C.  Vaught  (then  Miss  Gertrude 
Allen)  from  Oakboro,  Stanly  county.  It  is  a  reduced  form,  though  it 
has  the  gist  of  the  story.  Many  of  the  lines  are  repeated,  in  the  fashion 
shown  by  the  concluding  stanzas,  which  run  : 

9     He  threw  some  sod  over  her  and  started  for  hf)me, 
He  threw  some  sod  over  her  and  started  for  home, 
Leaving  no  one  with  pretty   Polly  but  the  wild  beast   to 
roam. 

10  He  saw  a  ship  come  a-sailing  around  the  sea  side, 
He  saw  a  ship  come  a-sailing  around  the  sea  side. 
He  bid  that  ship  for  to  take  him  a  ride. 

11  He  sailed  the  ocean  over.  His  heart  was  content. 
He  sailed  the  ocean  over.    His  heart  was  content. 

But  the  ship  struck  a  iceberg  and  to  the  bottom  it  went. 

12  On  to  hell  Sweet  Willie  did  go ; 
On  to  hell  Sweet  Willie  did  go 

To  pay  to  the  Devil  the  debt  he  did  owe. 

13  Pretty  Polly,  pretty  Polly,  she's  gone  on  to  rest. 
Pretty  Polly,  j^retty  Polly,  she's  gone  on  to  rest. 
Where  is  Sweet  Willie?    In  hell,  I  do  guess. 

E 
'Pretty  Molly.'  Contributed  by  Thomas  Smith  of  Zionviile,  Watauga 
county,  in  191 5,  as  sung  by  Mrs.  Lillie  Perry  and  her  daugliter  Susie, 
who  had  learned  it  from  the  singing  of  others.  A  much  reduced  and 
imperfect  text.  It  is  not  easy  to  make  out  from  the  manuscript  whether 
the  stanzas  should  be  of  three  Hnes,  or  two,  or  four.  No  attempt  there- 
fore is  here  made  to  fill  it  out. 

^The  last  two  lines  are  unintelligible  as  they  stand,  though  the  gen- 
eral idea  is  that  the  vision  of  the  murdered  girl  vanishes  away  in  a 
scream  and  the  murderer  is  seized  by  the  devil. 


240  NORTH  CAROLINA  FOLKLORE 

'O  come,  pretty  Molly,  and  go  with  me, 

0  come,  pretty  Molly,  and  go  with  me, 

We'll  go  and  get  married  some  pleasure  to  see.' 

They  traveled  over  mountains  and  valleys  so  deep 
{repeat) 

They  rode  a  piece  further  and  what  did  they  spy 

{repeat) 
Her  grave  had  been  made  and  a  spade  close  by. 

He  threw  the  dirt  o'er  her  and  turned  for  home 

'Now  a  debt  to  the  devil  I  have  to  pay 

For  stealing  pretty  Molly  and  running  away. 

1  courted  pretty  Molly  one  eve  and  night 
And  left  the  next  morning  before  it  was  light.' 

65 

The  Lexington  Murder 

Variously  known  as  'The  Oxford  Girl,'  'The  Wexford  Girl,' 
The  Lexington  Girl,'  'The  Knoxville  Girl,'  'The  Bloody  Miller,' 
and  in  England  as  'The  Wittam  Miller'  and  'The  Berkshire  Trag- 
edy,' this  ballad  tells  a  story  similar  to  that  of  'The  Gosport 
Tragedy'  and  also  to  that  of  the  American  'Florella,'  'Poor  Naomi' 
('Omie  Wise'),  'Pearl  Bryan,'  'Nell  Cropsey,'  and  others.  See  the 
headnote  to  'The  Gosport  Tragedy,'  and  also  FSS  311  and  BSM 
133-4,  both  of  which  give  extensive  references  showing  the  dif- 
fusion of  the  ballad;  add  also  Davis,  FSV  271-2  for  texts  from 
Virginia,  Morris,  FSF  336-9,  for  texts  from  Florida,  and  Randolph, 
OFS  II  92-104  for  texts  from  Missouri  and  Arkansas.  The  texts 
selected  for  presentation  here  are  reckoned  to  belong  to  the  tradition 
of  'The  Wittam  Miller'  because  of  the  names  under  which  they  are 
known  in  North  Carolina  or  because  they  are,  most  of  them  at 
least,  marked  by  the  killer's  excuse  for  his  appearance  that  it  is 
due  to  "bleeding  at  the  nose."  Most  of  them  also  remember  that 
the  murderer  is  a  miller  or  a  miller's  apprentice.  The  ballad  about 
Nellie  Cropsey,  a  North  Carolina  girl  murdered  early  in  the  pres- 
ent century  (see  no.  307,  below),  is  in  most  of  its  texts  modeled 
very  closely  on  'The  Lexington  Murder.' 


'The  Lexington  Murder.'     Collected  by  Mrs.  Zebulon  Baird  Vance  near 
Black  Mountain,  Buncombe  county,  and  received  by  the  Society  in  April 
1915- 
I     My  tender  parents  brought  me  up, 

Provided  for  me  well, 

And  in  the  city  of  Lexington 

They  put  me  in  a  mill. 


OLDER     BALLADS  —  MOSTLY     BRITISH  24I 

2  'Twas  there  I  spied  a  bright  young  miss 
On  whom  I  cast  my  eye. 

I  asked  her  if  she'd  marry  me, 
And  she  believed  a  lie. 

3  Last  Saturday  night  three  weeks  ago, 
Of  course,  would  have  Ijeen  the  day. 
The  devil  put  it  in  my  head 

To  take  her  life  away. 

4  I  went  into  her  sister's  house 
Eleven  o'clock  last  night. 

But  little  did  the  creature  know 
For  her  I  had  a  spite. 

5  I  asked  her  kind  to  take  a  walk 
A  little  piece  away 

That  we  might  have  a  joyful  talk 
About  our  wedding  day. 

6  We  went  upon  a  lonely  road, 
A  dark  and  lonely  place ; 

I  took  a  stick  from  off  the  fence 
And  struck  her  in  the  face. 

7  She  fell  upon  her  bended  knee 
And  loud  for  mercy  cried : 

'For  Heaven's  sake  don't  murder  me ! 
Fm  unprepared  to  die.' 

8  But  little  attention  did  I  pay; 
I  only  struck  her  more 
Until  I  saw  the  innocent  blood 
That  I  could  not  restore. 

9  I  run  my  hand  thru  her  cold  black  hair ; 
To  cover  up  my  sin 

I  drug  her  to  the  river  bank 
And  there  I  throwed  her  in. 

TO     And  on  returning  to  my  home 
I  met  my  servant  John. 
He  asked  me  why  I  was  so  pale 
And  why  so  hurried  on.^ 

II     I  went  upstairs  to  go  to  bed. 
Expecting  to  take  my  rest. 

^  The  dialogue  between  the  killer  and  his  man  John  (or  his  master, 
or  his  mother),  given  in  B  F  G  J,  in  which  he  accounts  for  the  blood 
on  his  clothes  by  saying  that  he  has  had  the  nosebleed,  has  been  lost  in 
A  and  D. 


242  NORTH     CAROLINA     FOLKLORE 

It  felt  to  me  that  fires  of  hell 
Were  burning  in  my  Ijreast. 

12     Then  all  young  men  this  warning  take 
And  to  your  love  be  true ; 
Don't  ever  let  the  devil  get 
The  upper  hand  of  you. 


'The  Bloody  Miller,  or,  The  Murdering  Miller.'  Contributed  by  1.  G. 
Greer  of  Boone,  Watauga  county,  in  1915  or  1916.  Fairly  close  in  text 
to  A.     It  lacks  the  first  two  stanzas,  beginning  with 

One  month  ago  since  Christmas  last, 
That  most  unhappy  day, 
The  devil  he  persuaded  me 
To  take  her  life  away. 

Stanza  8  of  A  also  is  missing  in  this  text.     The  last  seven  stanzas  run : 

6  And  then,  to  wash  her  sins  away, 
I  took  her  by  the  hair 

And  drug  her  to  a  river  near 
And  left  her  body  there. 

7  Then  to  my  mill,  my  mill  I  ran. 
The  miller  was  amazed. 

He  slowly  fixed  his  eyes  on  me 
And  slowly  he  did  gaze. 

8  'Oh,  master,  master,  master  dear, 
You  look  as  pale  as  death. 

Have  you  been  running  all  this  night 
That  put  you  out  of  breath  ? 

9  'What  means  the  blood  upon  your  hands. 
Likewise  upon  your  clothes?' 

I  answered  him  immediately, 
'By  bleeding  at  the  nose.' 

10     I  snatched  the  candle  from  his  hand 
And  to  my  bed  I  run. 
I  lay  there  trembling  all  that  night 
For  the  murder  I  had  done. 


II 


I  lay  there  trembling  all  that  night, 
I  could  not  take  my  rest ; 
I  could  but  feel  the  pains  of  hell 
Roll  o'er  my  guilty  breast. 

12     The  morning  dawned,  the  sheriflf  came. 
He  took  me  to  my  jail, 


OLDER     BALLADS — MOSTLY     HRITISH  243 

And  bound  me  there  for  six  long  months, 
And  then  in  death  to  wail. 

C 

'Come  All  of  You  Who's  Been  in  Love  and  Sympathize  with  Me.'  Con- 
tributed by  Miss  Madge  Nichols  of  Durham  about  1922.  A  somewhat 
reduced  form,  with  no  indication  that  the  murderer  is  a  miller ;  placed 
here  rather  than  with  the  local  American  forms  of  the  story  because 
of  the  nosebleed  in  the  final  stanza : 

They  asked  of  me  most  seriously 
How  come  blood  on  my  clothes ; 
I  answered  them  most  modestly  : 
'By  bleeding  at  the  nose.' 


'Lexington  Murder.'  Reported  by  Miss  Gertrude  Allen  of  Taylorsville, 
Alexander  county  (later  Mrs.  R.  C.  Vaught).  The  tune  was  recorded 
in  June  1923.  The  text  agrees  with  A  stanza  by  stanza  except  for  a 
few  slight  variations  and  verbal  rearrangements.  Possibly  the  reading 
of  the  first  two  lines  of  stanza  8, 

I  ran  my  fingers  through  my  hair 
To  hide  away  my  sin, 

whereas  in  A  he  seizes  the  girl  by  her  "cold  black"  hair,  means  that  he 
wiped  his  bloody  hands  on  his  hair.  Nosebleed  does  not  figure  in  this 
text. 

E 

'Lexington  Murder.'  Contributed  by  Virginia  Hartsell  of  Stanly  county. 
The  same  text  as  A  with  negligible  verbal  variants.  The  second  sheet 
of  the  manuscript  seems  to  have  been  lost;  it  breaks  ofT  with  his  meet- 
ing with  "my  servant  John." 


'Lexington  Murder.'  From  Mrs.  Nilla  Lancaster  of  Wayne  county. 
Essentially  the  A  text  with  slight  verbal  variations,  except  that  it  lacks 
stanzas  i  2  4  and  has  the  nosebleed  item.     It  ends : 

7  On  my  way  returning  home 
I  met  my  servant  John. 

He  asked  me  why  I  was  so  pale 
And  yet  I  was  so  warm ; 

8  And  why  there  was  so  much  blood 
All  on  my  hands  and  clothes. 
But  innocent  was  my  reply  : 
'Twas  bleeding  from  the  nose. 

9  Come  all  young  men  and  warning  take 
If  your  love  goes  out  untrue, 

And  never  let  Old  Satan  get 
The  uppermost  hand  of  you. 


244  NORTH     CAROLINA     FOLKLORE 

G 

'The  Knoxville  Girl.'  One  of  two  texts  contributed  by  Mrs.  Minnie 
Church  of  Heaton,  Avery  county,  in  1930.  It  tells  the  same  story  as 
the  preceding  versions,  but  with  sufficient  variation  to  justify  giving  it 
in  full. 

1  There  was  a  little  girl  in  Knoxville, 
A  child  we  all  knew  well. 

Every  Sunday  evening 
Out  in  her  home  I  dwell. 

2  We  went  to  take  an  evening  walk 
Abotit  two  miles  from  town. 

I  drew  a  stick  up  from  the  ground 
And  knocked  her  back  around. 

3  She  fell  down  on  her  bended  kn^es, 
For  mercy  she  did  cry : 

'Oh,  Willie  dear,  don't  kill  me  here. 
For  Fm  not  prepared  to  die.' 

4  She  never  spoke  another  word. 
I  beat  her  more  and  more, 
Stained  the  ground  around  her ; 
Thin  her  blood  did  flow. 

5  I  taken  her  by  her  golden  curls. 
I  drug  her  round  and  round ; 

I  threw  her  in  the  river 
Close  to  Knoxville  town. 

6  'Go  there,  go  there,  Knoxville  girl. 
Got  dark  and  rolling  eyes, 

Go  there,  go  there,  Knoxville  girl ; 
You'll  never  be  my  bride.' 

7  I  started  back  to  Knoxville, 
Got  there  about  midnight. 
Mother  she  was  worried. 
Woke  up  in  a  slight. 

8  'Son,  oh,  son,  what  have  you  done? 
Here's  blood  your  clothes  so.' 

The  answer  I  gave  mother 
Was  'bleeding  at  my  nose.' 

Q     I  called  for  a  candle 
To  light  myself  to  bed. 
I  called  for  me  a  handkerchief 
To  bind  my  aching  head. 


OLDER     BALLADS MOSTLY      BRITISH  245 

10  I  rolled  and  tumbled  all  night  through, 
Was  troubles  there  for  nie, 

And  flames  of  hell  around  my  bed 
And  in  my  eyes  could  see. 

11  They  taken  me  to  the  Knoxville  jail, 
They  locked  me  in  a  cell ; 

My  friends  all  tried  to  get  me  out, 
But  none  could  go  my  bail. 

12  Her  sister  swore  my  life  away. 
I'm  hell  bound  without  doubt. 
I  was  a  single  man 

That  carried  her  sister  out. 

H 

'Bloody  Miller.'  Mrs.  Church's  second  version,  bearing  the  same  date, 
is  somewhat  shorter.  The  girl  bears  the  name  Nell,  which  suggests 
that  this  te.xt  was  felt  to  belong  to  the  'Nell  Cropsey'  story.  Its  content, 
however,  is  substantially  the  same  as  that  of  the  other  'Lexington 
Murder'  texts  except  that,  like  E,  it  is  incomplete ;  it  ends  with  the 
first  half  of  stanza  8: 

When  I  returned  to  the  mill  again 
I  met  my  servant  John     .... 


'The  Lexington  Murder.'  Collected  by  W.  Amos  Abrams  apparently 
in  1935  or  1936,  from  one  of  his  pupils,  Mary  Bost  of  Statesville, 
Iredell  county.     Substantially  the  same  text  as  A. 

J 

No  title.  Given  to  W.  Amos  Abrams  in  1939  by  Imogene  Norris,  "to 
whom  the  ballad  was  sung  8  years  previously  by  Mrs.  Martha  Hodges." 
Does  not  differ  materially  from  A  except  at  the  end,  where  nosebleed 
figures  and  where  he  speaks  not  to  his  servant  but  to  "the  miller" : 

9     Then  to  the  mill,  the  mill  I  ran. 
The  miller  was  amazed. 
He  slowly  fixed  his  eyes  on  me 
And  slowly  he  did  gaze. 


10  'What  makes  your  hands  so  bloody,  sir? 
And  likewise  on  your  clothes?' 

I  answered  him  immediately, 
'By  bleeding  at  the  nose.' 

11  Then  to  my  bed,  my  bed  I  ran. 
For  I  could  get  no  rest. 

For  I  could  feel  the  flames  of  hell 
Burn  through  my  guilty  breast. 


246  NORTH     CAROLINA     FOLKLORE 


'The  Wexford  Girl'  (contributors',  not  the  singer's,  title).  Contributed 
by  Professors  W.  Amos  Abrams  and  Gratis  D.  Williams  of  Boone, 
Watauga  county,  as  obtained  in  the  summer  of  1945  from  Pat  Frye  of 
East  Bend,  Yadkin  county— concerning  whom  see  the  headnote  to  'Lady 
Isabel  and  the  Elf -Knight'  G.     It  is  a  reduced  form  of  the  A  version. 

1  .     .     .     one  day  on  Christmas  last 
Was  a  very  pleasant  day. 

The  devil  he  persuaded  me 
To  take  her  life  away. 

2  She  promised  to  meet  me  at  her  sister's  house. 
'Twas  eight  o'clock  that  night. 

So  little  did  that  creature  think 
I  owed  her  any  spite. 

3  I  asked  her  to  take  a  walk  with'me, 
It  weren't  but  a  little  ways, 

So  all  amount  and  little  agree 
And  'p'int  the  wedding  day. 

4  I  drew  a  stake  all  out  a  fence, 
I  struck  her  in  the  face. 

'Oh  Lord,  oh  Lord,  don't  murder  me ; 
I  am  not  fitten  to  die !' 

5  While  she  fell  on  her  bended  knees 
To  wash  her  sins  away, 

I  tuk  her  by  the  hair  of  the  head 
And  drug  her  to  some  river  near. 

6  I  drug  her  to  some  river  near, 
I  left  her  body  there. 

Straight  to  the  miller's  hall  I  run 
And  the  miller  was  in  a  maze. 


'Last  Saturday  Night,  Two  Weeks  Ago.'  From  the  John  Burch  Blay- 
lock  Collection.  It  is  the  A  version  with  numerous  slight  verbal  differ- 
ences and  lacking  stanza  2. 

M 
'Poor  Nell.'    A  single  stanza  reported  in  1920  by  B.  C.  Reavis,  with  the 
tune.     Apparently  conceived  to  belong  to  'Nell  Cropsey,'  but  clearly  it 
is  a  stanza  of  'The  Lexington  Murder.' 


My  father  tried  to  rear  me  right, 
Provided  for  me  well, 
Until  we  came  to  Lexington 
And  placed  me  in  the  mill. 


OLDER     BALLADS  —  MOSTLY     BRITISH  247 

66 

On  the  Banks  of  the  Ohio 
Besides  sharing  the  same  theme,  this  ballad  is  closely  related 
verbally  to  'The  Lexington  Murder.'  Stanzas  i  and  4  of  A  and  H, 
stanzas  i  and  3  of  B  C  D  E,  stanzas  i  and  2  of  F,  are  taken  with 
little  if  any  change  from  that  ballad.  Indeed,  it  might  be  reckoned 
a  form  of  'The  Lexington  Murder'  except  for  the  technique  of  the 
killing  (A  3,  B  C  D  E  2,  H  3)  and  the  presence  in  seven  of  the 
eight  texts  of  the  "banks  of  the  Ohio"  chorus— which  seems  to 
have  been  taken  over  from  a  song  of  the  pioneers.  Version  H 
lacks  this  chorus,  but  is  otherwise  clearly  a  text  of  the  same  song. 
The  texts  vary  little.  The  fullest  is  given  first.  For  texts  from 
Arkansas  and 'Missouri  and  references  to  its  appearance  elsewhere, 
see  Randolph,  OFS  11  136-8.  Mrs.  Steely  found  it  in  the  Ebenezer 
community  in  Wake  county. 

A 
'On  the  Banks  of  the  Ohio.'     Obtained  from  the  manuscripts  of  Obadiah 
Johnson  of  Crossnore,  Avery  county,  in  1940. 

1  I  asked  my  love  to  take  a  walk 
Just  to  be  alone  with  me. 

And  as  we  walked  we'd  have  a  talk 
About  our  wedding  day  to  be. 

Chorus: 

Only  say  that  you'll  be  mine, 
Happy  in  my  home  you'll  find 
Down  beside  where  the  waters  flow 
On  the  banks  of  the  Ohio. 

2  I  asked  your  mother  for  you,  dear, 
And  she  said  you  were  too  young. 
Only  say  that  you'll  be  mine, 
Happy  in  my  home  you'll  find. 

3  I  drew  a  knife  across  her  breast ; 
In  my  arms  she  dearly  pressed. 
Crying,  'Oh,  please,  don't  murder  me, 
For  I'm  unprepared  to  die.' 

4  I  took  her  by  her  pale  white  hand. 
Led  her  to  the  river  bank, 
There  threw  her  in  to  drown ; 
Stood  and  watched  her  float  on  down. 

5  Coin'  home  between  twelve  and  one, 
Thinking  of  the  deed  I'd  done; 

I  murdered  the  only  girl  I  love 
Because  she  would  not  marry  me. 


248  NORTH  CAROLINA  FOLKLORE 


'On  the  Banks  of  the  Ohio.'     From  EfFie  Tucker ;  time  and  place  not 
given.    The  same  as  A  except  that  it  lacks  stanza  2. 


'On  the  Banks  of  the  Ohio.'  From  Virginia  Hartsell,  Stanly  county ; 
date  not  given.  The  same  as  B  except  that  it  has  "throat"  instead  of 
"breast"  in  its  second  stanza. 

D 
'Down  on  the  Bank  of  the  Ohio.'     From  Evelyn  Moody,  Stanly  county; 
date  not  given.     The  same  text  as  C. 


'On  the  Banks  of  the  Ohio.'  From  Gertrude  Allen  (afterwards  Mrs. 
R.  C.  Vaught),  Taylorsville,  Alexander  county,  probably  in  1927.  This 
has  "chest"  instead  of  "breast"  in  stanza  2. 

F 

'On  the  Banks  of  the  Ohio.'  From  Miss  Bonnie  Ethel  Dickson  of 
Watauga  county;  date  not  given.  This  lacks  the  knifing  scene,  con- 
sisting only  of  stanzas  i,  4,  5  and  the  chorus  of  A. 

G 
'On  the  Banks  of  the  Ohio.'     From   Miss  Addie  Harden,  Rutherwood, 
Watauga   county,    in    1922.      Music    with    fragmentary    words — only   the 
last  two  lines  of  the  chorus : 

Where  the  waters  flow 
On  the  banks  of  the  Ohio. 

H 
'I  Asked  My  Love  to  Take  a  Walk.'     From  the  John  Burch  Blaylock 
Collection.     This  differs  from  the  other  texts  in  that  it  lacks  the  chorus, 
having  instead  this : 

2     'Just  only  say  that  you'll  be  mine, 
And  in  our  home  we'll  happy  be.' 
And  the  words  that  she  did  say : 
'No  man  on  earth  shall  marry  me!' 

^7 

Rose  Conn  ally 

The  story  here  is  akin  to  that  of  'The  Lexington  Murder'  and  'On 
the  Banks  of  the  Ohio.'  One  supposes  that  it  is  an  Irish  stall 
ballad,  but  I  have  found  it  reported  only  from  the  United  States. 
Cox  (FSS  314-15)  prints  two  versions  from  West  Virginia,  both 
beginning  with  a  moralizing  stanza  and  both  ending  with  a  stanza 
in  which  the  murderer  names  himself  (Patsey  O'Reilly  in  A,  Mor- 
rison in  B).  Shearin  and  Combs's  syllabus  lists  it  for  Kentucky, 
a  two-stanza  fragment  entitled  'Rose  Colalee'  (Colleen?).  Henry 
and  Matteson  print  (SFLQ  v  143)  a  text  from  Rominger,  North 
Carolina,  which  is  close  to  our  A,  below.  Davis  reports  it  from 
Virginia  (FSV  273). 


OLDER     BALLADS  —  MOSTLY     BRITISH  249 

A 

'Rose  Connally.'  From  Frank  Proffitt,  Sugar  Grove,  Watauga  county, 
in  1939;  sung  by  Frank  Proftitt  and  Nathan  Hicks  to  accompaniment  of 
the  dulcimer  and  the  guitar. 

1  Down  in  the  willow  garden 
Where  me  and  my  love  did  be, 
There  we  sit  a-courting ; 

My  love  dropped  off  to  sleep. 

2  I  had  a  bottle  of  the  burglar's  wine 
That  my  true-love  did  not  know, 

And  there  I  poisoned  my  own  true-love, 
Down  under  the  banks  below. 

3  I  drew  my  saber  through  her, 
Which  was  a  bloody  knife ; 

I  threw  her  in  the  river. 
Which  was  a  dreadful  sight. 

4  My  father  always  taught  me 
That  money  would  set  me  free 

If  I'd  murder  that  pretty  little  miss 
Whose  name  was  Rose  Connally. 

5  He's  sitting  now  at  his  own  cabin  door, 
A-wiping  his  weeping  eyes, 
A-looking  at  his  own  dear  son 

Upon  the  scafifold  high. 

6  My  race  is  run  beneath  the  sun, 
Tho  hell's  now  waiting  for  me. 

For  I  did  murder  that  pretty  little  miss 
Wliose  name  was  Rose  Connally. 


'Down  in  the  Willow  Garden.'  From  Thomas  Smith,  Zionville, 
Watauga  county ;  not  dated  but  with  this  note  signed  by  Smith  :  "Written 
down  by  Miss  Bessie  Smith  of  Zionville,  N.  C.  It  has  been  sung  by 
Mrs.  Isaacs'  folks  for  several  years  and  is  evidently  not  an  old  ballad." 
Dr.  Brown,  who  evidently  called  at  Zionville  later,  noted  by  the  name 
of  Mrs.  Isaacs  "absent.  Her  mother  Mrs.  J.  M.  Hodges"  ;  and  by  the 
title  he  noted  "Rose  Connally,"  evidently  to  indicate  an  alternate  title. 
This  text  differs  from  A  by  inserting  a  new  stanza  after  stanza  3: 

4     I  threw  her  into  the  river, 
Which  was  a  sight  to  see. 
My  name  is  Pattimaredo 
Who  murdered  Rose  Conalee, 

and  by  substituting  for  the  last  stanza  of  A  this: 

7     Come  all  of  you  young  ladies 
And  warning  take  by  me. 


250  NORTH  CAROLINA  FOLKLORE 

And  never  sit  a-courtin' 
Down  under  the  willow  tree. 


68 

Handsome  Harry 

Kittredge,  in  a  bibliographical  note  in  JAFL  xxvi  177-8,  de- 
scribes this  as  an  American  form  of  the  British  stall  ballad  of 
'The  Sailor's  Tragedy.'  Of  this  latter  two  texts  have  been  reported 
from  tradition:  one  from  New  Jersey  (JAFL  xxvi  179-80)  and 
one  from  Nova  Scotia  (BSSNS  243-4,  with  a  bibliographical 
note).  'Handsome  Harry,'  though  printed  more  than  once  as  an 
American  broadside  and  included  in  the  very  widely  popular  Forgct- 
Me-Not  Songster,  has  hitherto  been  reported  as  traditional  song 
only  from  Virginia  (FSV  44).  Our  text  agrees  fairly  closely  with 
that  of  the  Forget-Me-Not  Songster  so  far  as  it  goes,  but  it  leaves 
off  the  latter  part  of  the  story :  how  Harry,  fleeing  to  his  ship, 
is  there  met  by  a  boat  in  which  is  the  ghost  of  the  wronged  woman, 
who  demands  of  the  ship's  captain  that  Harry  be  given  up  to  her 
and,  when  he  is,  thrusts  him  into  the  sea  to  rise  no  more.  For  the 
more  important  misreadings  of  our  text  the  proper  readings  are 
supplied  from  the  Forget-Me-Not  Songster. 

'Handsome   Harry.'      Secured   for   L.   W.   Anderson   of    Nag's   Head   by 
Delma  Haywood  from  Mrs.  Sallie  Meekins  of  Colington. 

1  Come  all  you  loyal-hearted  lovers, 
Come  and  listen  unto  me. 

Unto  you  I  will  discover 
A  most  doneful  purgary.^ 

2  It  was  of  a  sailor  such  delighted 
Pretty  fair  maidens  to  betray. 
When  he  gained  their  love  he  slighted 
And  to  another  took  his  way. 

3  Handsome  Harry  he  was  called ; 
In  Southampton  he  did  dwell. 
To  the  Betsey  Ship  most  famous 
He  belonged,  'tis  full  well  to  know. 

4  Among  the  rest  of  them  he  courted 
Kate  and  Ruth  he  did  betray. 

^  Corrections  from  the  Forget-Me-Not  Songster:  stanza  i,  line  4, 
doleful  perjury:  st.  2,  1.  i,  who  much  delighted;  st.  3,  1.  4,  'tis  known 
full  well;  St.  4,  1.  2,  beguile;  st.  4,  1.  4,  Both  of  them  were  big  with 
child ;  St.  5,  1.  3,  Each  of  them  thought  he  would  marry ;  st.  7,  1.  i, 
So  wretchedly;  st.  7,  1.  2,  She  hung  herself  upon  a  tree;  st.  10,  1.  i, 
But  above  ground;  st.  11,  1.  i,  with  false  pretences;  st.  11,  1.  4,  may 
undo;  st.  12,  11.  1-2,  When  they've  gained  your  virgin  treasure  You  are 
whores  and  infidels. 


OLDER     BALLADS —  MOSTLY     BRITISH  25I 

When  he  gained  their  love,  he  sHghted 
And  with  them  he  would  not  stay. 

5  Both  did  think  to  have  young  Harry, 
Which  he  promised  on  his  life; 
Both  of  them  he  thought  to  marry, 
But  at  length  made  Kate  his  wife. 

6  Ruth  she  heard  it,  fell  to  weeping, 
Crying  out  in  bitter  woe, 

'Is  this  your  promise  keeping, 
A  fair  maid  to  ruin  so?' 

7  Reachedly  with  her  own  garter 
Hung  the  self  into  a  tree ; 
And  in  a  few  days  after 

Two  men  a-hunting  did  her  see. 

8  They  stood  amazed  gazing  on  her 
W'hile  the  dogs  did  howl  and  roar. 

At  the  sight  they  were  much  surprised ; 
The  ravenous  birds  her  flesh  had  torn, 

9  They  took  her  down  in  great  pity. 
Wondering  what  the  cause  might  be ; 
And  they  found  a  note  about  her. 

It  was :  'Let  no  man  bury  me. 

10  'But  on  this  earth  just  let  me  perish. 
To  all  maids  a  warning  be : 

Have  a  care  of  all  false  lovers 
Or  be  ruined  soon  like  me. 

11  'They  will  come  in  false  pretense, 
Swearing  they  love  none  but  you ; 
All  the  time  they  are  false-hearted. 
Seeking  whom  they  may     .... 

12  'x'Vfter  they  have  gained  your  love 
You  are  nothing  but  low  infidels. 
You  may  repent  it  at  your  leisure 
Or  like  me  go  hang  yourselves.' 

69 

Beautiful  Susan 

Pretty  evidently  an  English  broadside  or  stall  ballad,  this  appears 
not  to  have  been  reported  elsewhere  as  traditional  song.  The 
Seaman  of  Plymouth,'  a  long  story  (50  stanzas!)  reported  from 
tradition  in  Vermont   (VFSB   141-7),  deals  with  beautiful   Susan 


252  NORTH  CAROLINA  FOLKLORE 

of  that  town  and  her  sailor  lover,  but  is  by  no  means  the  same  song. 
It  ends  happily  in  the  marriage  of  the  lovers  despite  the  plotting 
of  the  girl's  parents.  'Nancy  of  Yarmouth'  (see  above),  is  a  more 
elaborate  telling  of  much  the  same  story. 

'Beautiful  Susan.'  From  the  Henneman  collection,  which  means  that 
it  was  taken  down  from  the  singing  of  Mrs.  Elizabeth  Simpkins.  As  is 
frequently  the  case  in  the  Henneman  texts,  the  versification  is  a  good 
deal  confused.  In  the  manuscript  there  is  no  stanza  division,  but  the 
rhymes  seem  to  indicate  that  it  was  originally  stanzaic,  and  an  attempt 
is  accordingly  made  so  to  divide  it.  Emendations  in  brackets  arfe 
editorial. 

1  In  Plymouth  town  there  lived  a  fair  virgin, 
And  beautiful  Susan  w^as  her  name. 
Right  straight  off  to  court  her 

The  ship  carpenter  steering  [came]. 

2  Her  beautiful  charms  did  his  heart  inflame, 
Saying,  'If  ever  I  marry  it  shall  be  to  Susan, 
For  she  is  my  jewel,  she  is  my  dear.' 


3  'No,'  says  Susan,  'you  need  not  say  so; 
William's  my  dear,  although  he's  not  here ; 
And  if  ever  I  marry  it  shall  be  to  William ; 
He's  my  jewel,  he  is  my  dear.' 

4  Up  steps  her  old  father ;  this  he  says  to  Susan : 
'Susan,  you  are  young  and  you  must  to  obey. 
Marry  with  this  man  that  loves  you  so  dear ; 

For  while  William's  gone  there  he  meets  for  to  stay.'^ 

5  'Oh  no,'  says  Susan,  'you  need  not  persuade  me ; 
William's  my  dear,  although  he's  not  here.' 

Her  old  father  found  out  that  he  could  not  persuade  her. 
He  wrote  her  a  letter  concerning  the  death  of  her  dear. 
She,  reading  the  letter,  she  sighed,  mourned,  and,  weeping, 
'I  wished  I'd  'a'  died  in  the  room  of  my  dear.' 

6  Her  old  father  still  impressed  on  her  for  to  marry. 
At  length  the  damsel  gave  her  consent. 

Next  day  in  the  robes  they  went  to  the  tender, 
Down  in  Plymouth  town,  and  there  they  were  tied. 

7  That  very  day 

Sweet  William  arose  [arove?]  with  great  riches  and  stores. 
Susan  sat  gazing  out  at  the  dormant  window ; 
She  saw  the  postboy  come  riding  to  the  door. 

^  This  line  should  apparently  read :  "For  where  William's  gone,  there 
he  means  for  to  stay." 


OLDER     BALLADS MOSTLY     BRITISH  253 

8  He  cried  aloud  for  the  beautiful  Susan, 
'Here's  a  letter  from  William  her  dear.' 

'I  know  that  I'm  married,  although  I'll  die  a  virgin; 
Death  is  in  the  dirk,  my  life  I'll  destroy.' 

9  Up  steps  her  groomsman,  this  said  he  to  Susan : 
'Susan,  you  are  bound,  you  are  forced  to  obey.' 

'I  know  that  I'm  married,  although  I'll  die  a  virgin ; 
Death  is  in  the  dirk;  my  life  I'll  destroy.' 

10  That  very  night  William,  lying  in  his  cabin, 
Lonely  sleeping,  he  heard  a  most  low 

And  a  pitiful  voice :  'Rise  up,  sweet  William, 

'Tis  the  voice  of  your  Susan,  'tis  the  voice  of  your  Susan, 

Unto  thy  fair  one  who  loves  you  so  dearly,' 

1 1  He  opened  his  arms  all  to  embrace  her  ; 

All  of  the  moment  he  discerned  her  no  more. 

He  cried  aloud  and  with  great  wonders, 

Saying,  'Has  cruel  death  deprived  me  of  my  dear?' 

12  He  jumps  in  his  long  boat,  he  sailed  down  to  Plymouth ; 
This  news  hid  come  to  him  what  her  cruel  parents  had 

done. 
'How  can  you,  hard-hearted  parents, 
To  wrong  your  tender  daughter  so  on  account  of  gold?' 

He  going 

13  Into  Susan's  right  side,  turning  down  the  sheet, 
'Once  more  I'll  kiss  you,  you're  so  cold  and  sweet.' 

14  He  bent  his  sword  unto  the  floor,  the  point  unto  his  breast; 
Long  side  of  beautiful  Susan  now  William  do  rest. 


70 
The  Lancaster  Maid 

Known  also  as  'Betsy,'  'Bessie  Beauty,'  and  'Betsy  and  Johnny.' 
This  ballad  is  not  only  a  family  tragedy  but  also  an  echo  of  a 
dread  very  real  to  simple  folk  in  the  British  Isles  in  the  seven- 
teenth and  eighteenth  centuries — the  dread  of  being  kidnaped  and 
shipped  off  to  practical  slavery  in  the  American  plantations.  See 
'The  Trappan'd  Maiden,'  from  the  Douce  collection,  in  C.  H.  Firth's 
An  American  Garland.  Our  ballad  goes  back  to  the  seventeenth 
century,  to  'Love  Overthrown'  in  the  Pepys  collection  (Rollins  vii 
136-8)  ;  and  it  continued  in  ballad  print  down  into  the  nineteenth, 
when  Pitts  of  Seven  Dials  issued  the  stall  print  'The  Betrayed 
Maiden'  which  Firth  reprinted  {An  American  Garland  69-71).  It 
appears  also  from  time  to  time  in  oral  tradition,  more  often  in 
America  than  in  Britain.     It  was  sung  in  Shapansey  in  the  Orkneys 


254  NORTH  CAROLINA  FOLKLORE 

a  hundred  years  ago  (JEFDSS  iii  244)  ;  in  recent  times  it  has 
been  reported  as  traditional  song  from  Nova  Scotia  (SENS  62-3), 
New  Hampshire  (SFLQ  viii  235-8 — though  this  is  not  recent, 
being  from  a  manuscript  of  1815),  Vermont  (CSV  lo-ii),  Massa- 
chusetts (JAFL  XII  245-6),  North  CaroHna  (SharpK  11  4-5),  Mis- 
souri (OFS  I  235-6),  Ohio  (BSO  218-19),  Michigan  (BSSM 
1 14-16),  Iowa  (JAFL  LVi  107-8),  Nebraska  (ABS  86-8),  and  CaH- 
fornia  (JAFL  xix  131-2).  A  somewhat  similar  story,  though  here 
the  mother  directly  murders  the  girl,  occurs  as  a  Boston  broad- 
side several  times  printed  (probably  about  the  beginning  of  the 
nineteenth  century)  and  not  unknown  in  Maine,  Vermont,  and  Mis- 
souri tradition;  see  NGMS  152-6,  Hoosier  Folklore  v  31-3.  The 
text  in  our  collection  has  lost  all  sense  of  the  terror  of  being 
exiled  to  the  plantations. 

'Pretty  Betsey.'  From  the  collection  of  Miss  Jewell  Robbins  of  Pekin, 
Montgomery  county  (later  Mrs.  C.  F.  Perdue)  ;  received  early  in  the 
1920s. 

1  Betsey  was  of  a  beauty  clear. 

She  had  lately  come  from  Augusta  here, 
A  waiting-maid  she  came  to  be. 
Oh,  Betsey  was  of  a  high  degree. 

2  There  was  a  woman  lived  near  the  town, 
She  had  a  son  of  high  renoun ; 

But  pretty  Betsey  she  was  so  fair 

She  drew  this  young  man  into  a  certain  snare. 

3  One  Sunday  evening  she  heard  him  tell 
'Betsey,  oh,  Betsey,  I  love  you  well; 

I  love  you  as  I  love  my  wife,^ 

And  I  intend  to  make  you  my  wife.' 

4  His  mother  being  in  the  nearest  room, 
Hearing  what  was  to  be  their  doom. 
She  resolved  all  in  her  mind 

To  disappoint  them  was  her  design. 

5  On  Monday  morning  she  early  rose. 
'Betsey,  oh,  Betsey,  put  on  your  clothes. 
Out  of  this  country  you  must  go 

To  wait  on  me  three  days  or  more.' 

6  Pretty  Betsey  early  arose 

And  quickly  she  put  on  her  clothes 
And  out  of  the  country  she  did  go 
To  wait  on  her  three  days  or  more. 

7  His  mother,  returning  back  to  her  son, 
But  little  harm  thought  she  had  done. 

^  Evidently  this  should  be  "life." 


OLDER     BALLADS MOSTLY     BRITISH  255 

'You're  welcome  home,  dear  mother,'  said  he, 
'But  where  is  the  waiting  maid.  Betsey?' 

8  *Oh,  son,  oh,  son,  I've  lately  seen 
That  all  your  love  is  for  Betsey. 
But  alas !  alas !  it's  all  in  vain, 

For  Betsey's  sailing  over  the  main.' 

9  Soon  this  young  man  was  saken  sad- 
And  no  kind  news  would  make  him  glad. 
But  slumbering  dreams  would  make  him  cry 
'Oh,  Betsey,  for  your  sake  I  die.' 

71 

The  Drowsy  Sleeper 

Familiar  both  in  print  and  as  traditional  song  on  both  sides  of 
the  water;  see  BSM  1 18-19,  and  add  to  the  references  there  given 
Virginia  (FSV  56-7),  North  Carolina  (FSRA  81-2;  a  fragment 
of  it  sung  by  Negroes,  ANFS  177-8),  Florida  (SFLQ  viii  167-8), 
Arkansas  (OFS  i  246),  Missouri  (OFS  i  244-6),  Ohio  (BSO 
92-4),  Indiana  (BSI  170-4),  Michigan  (BSSM  86-8),  Illinois 
(JAFL  LX  223-4),  and  Wisconsin  (JAFL  lii  31).  Mrs.  Steely 
found  it  in  the  Ebenezer  community  in  Wake  county.  It  is  No. 
518  in  the  series  of  stall  ballads  printed  by  Wehnian  in  New  York. 
For  its  possible  relation  to  the  Gude  and  Godlic  Ballatcs  of  1567, 
see  JEFDSS  in  161-4.  Very  often  it  is  combined,  as  in  version 
B  below,  with  'The  Silver  Dagger,'  probably  because  of  the  weapon 
(sometimes  specifically  a  dagger)  which  the  girl  tells  her  lover 
that  her  father  (or  mother)  has  in  readiness  against  him. 

A 
'Awake,  Arise.'     Secured  by  Mrs.  Sutton  from  the  singing  of  a  woman 
who  "could  not   read  or   write."     Mrs.    Sutton   notes :    "This   ballad   is 
chiefly  noticeable  lor  its  tune;  ...  it  is  like  a  gypsy  song,  all   wailing 
minors." 

1  'Awake,  arise,  you  drowsy  sleeper ! 
Awake,  arise ;  it's  near  about  day. 
Awake,  arise ;  go  ask  your  father 
If  you're  my  bride  to  be. 

And  if  you're  not,  come  back  and  tell  me ; 
It's  the  very  last  time  I'll  bother  thee.' 

2  'I  cannot  go  and  ask  my  father, 
For  he  is  on  his  bed  of  rest 

And  in  his  hand  he  holds  a  weapon 
To  kill  the  one  I  love  the  best.' 
*  This  may  represent  "sick  and  sad"  or  "taken  sad." 


256  NORTH  CAROLINA  FOLKLORE 

3  'Ah,  Mary,  dear  Mary,  you  know  I  love  you! 
You've  nearly  caused  my  heart  to  break. 
From  North  Carolina  to  Pennsylvany 

I'd  cross  the  wide  ocean  for  your  sake. 

4  'I'll  build  my  house  on  some  distant  river 
And  there  I'll  spend  my  days  and  years. 
And  I'll  eat  nothing  but  green  willow 
And  drink  nothing  but  my  tears.' 


'Charlie  and  Bessie.'  Contributed  by  W.  Amos  Abrams  of  Boone  in 
1937  with  the  note  that  "my  father  learned  this  from  my  mother  about 
1907."  Here  the  story  is  definitely  combined  with  that  of  'The  Silver 
Dagger.' 

1  'Bessie,  oh,  Bessie,  go  and  ask  your  father 
If  you  can  be  a  bride  of  mine. 

And  if  he  says  "no,"  please  come  and  tell  me 
And  I'll  no  longer  bother  thee.' 

2  'Oh,  Charlie,  oh,  Charlie,  I  need  not  ask  him. 
He's  in  the  room  a-taking  his  rest, 

And  in  his  right  hand  a  silver  dagger 
To  kill  the  one  that  I  love  best.' 

3  'Bessie,  oh,  Bessie,  go  ask  your  mother 
If  you  can  be  a  bride  of  mine. 

And  if  she  says  "no,"  please  come  and  tell  me 
And  I'll  no  longer  bother  thee.' 

4  'Charlie,  oh,  Charlie,  I  need  not  ask  her. 
She's  in  the  room  a-taking  her  rest. 
And  in  her  right  hand  a  silver  dagger 
To  kill  the  one  that  I  love  best.' 

5  And  he  taken  up  that  silver  dagger 
And  plunged  it  in  his  snowy  white  breast. 
Saying,  'Farewell,  Bessie,  farewell,  darling; 
Sometimes  the  best  of  friends  must  part.' 

6  And  she  taken  up  that  bloody  weapon 
And  plunged  it  in  her  lily-white  breast. 
Saying,  'Farewell,  father;  farewell,  mother; 
I'll  die  with  the  one  that  I  love  best.' 

c 

'An  Ardent  Lover,'  Another  quite  different  text  from  Professor 
Abrams.     It  begins  with  a  "bedroom  window"  stanza : 

'Who's  that,  who's  that  at  my  bedroom  window 
That  calls  so  loud  as  to  wake  me  up  ?' 


OLDER     BALLADS MOSTLY     BRITISH  257 

"Tis  he,  'tis  he,  he's  your  own  true  love  here, 
Here,  for  your  sake,  I'm  standing  here.' 

In  the  ensuing  dialogue  he  is  told  that  her  father  "holds  a  reaper  To 
slay  the  one  that  breaks  his  rest,"  and  that  her  mother  "holds  a  letter 
From  that  young  man  that  I  love  best."  Whereupon  follow  the  two 
concluding  stanzas : 

'Love,  oh,  love,  she  said  she  wouldn't  have  me. 

I'll  sail  the  ocean  till  I  die. 

Then  I'll  sail  away  then  to  the  sea 

If  I  can  find  some  girl  that  will  have  me. 

'Oh,  don't  you  see  them  clouds  rising, 
Dark  and  thick,  and  thunder  roar? 
I  live  in  hopes  to  see  some  pleasure 
Before  these  clouds  does  overblow,' 

D 

'Oh,  You  Drowsy  Sleeper.'  Secured  from  James  York  of  Olin,  Iredell 
county,  in  1939.  Slightly  longer  than  the  preceding  versions.  The  first 
two  stanzas  are : 

'Wake  up,  wake  up,  you  drowsy  sleeper, 
Wake  up,  wake  up;  'tis  almost  day. 
How  can  you  lie  there  and  slumber 
When  your  true  love  is  a-going  away?' 

'Who  is  this  at  my  side  window 
A-calling  of  my  name  so  sweet?' 
'It's  a  young  man  that  you  are  loving. 
One  word  with  thee  I  wish  to  speak.' 

Then  follows  the  dialogue,  in  which  it  appears  that  the  mother    (who 
is  mentioned  first)   holds  in  her  hands  "a  letter  To  read  to  her  children 
in   distress"   and  the    father  a   weapon   wherewith   "To   slay  the  young 
man  that  I  love  best." 
It  ends  with  two  stanzas  from  'Little  Sparrow* : 

'I  wish  I  was  a  little  sparrow. 

One  of  them  that  could  i\y  so  high. 

I'd  fly  and  sit  on  my  true  love's  dwelling. 

And  when  she  talked  I'd  be  close  by. 

'Neither  am  I  a  little  sparrow 
And  neither  do  I  have  wings  to  fly ; 
So  I'll  sit  down  and  weep  in  sorrow, 
I'll  sing  and  pass  my  troubles  by.' 

E 
'O   Drowsy   Sleeper.'     From   Otis   Kuykendall   of   Asheville,    1939.     A 
truncated  text  of  four  stanzas,  the  last  of  which  does  not  appear  in  our 
other  versions: 


258  NORTH  CAROLINA  FOLKLORE 

Oh,  who  is  that  in  yon  porch  window 
A-talking  of  your  own  true  love? 
Oh  yes,  oh  yes,  it  is  my  darhng, 
It  is  the  one  that  I  love  best. 


72 
The  Silver  Dagger 

Something  of  a  favorite  in  the  South  and  West,  this  ballad  seems 
not  to  be  found  in  New  England  tradition.  See  BSM  123,  and  add 
to  the  references  there  given  Virginia  (FSV  57-9),  Florida 
(SFLQ  VIII  185-6),  Missouri  (OFS  11  52-8),  Ohio  (BSO  92-4, 
in  combination  with  'The  Drowsy  Sleeper'),  Indiana  (BSI  21 1-4), 
Illinois  (JAFL  lx  218-9),  and  Michigan  (BSSM  89-90).  Mrs. 
Steely  found  it  in  the  Ebenezer  community  in  Wake  county.  Since 
the  texts,  though  less  or  more  complete,  all  tell  the  same  simple 
story,  only  one,  the  fullest,  is  given  complete  here. 

A 
'An  Awful   Warning.'     Contributed  in   1916  by  J.  W.   Clayton,  student 
at  Trinity  College. 

r     Young  folks,  young  folks,  give  me  your  attention 
Of  these  few  lines  I'm  about  to  write. 
For  they  are  true  as  ever  mentioned. 
Concerning  a  fair  and  a  youthful  bride. 

2  A  young  man  courted  a  handsome  lady, 
He  loved  her  as  he  loved  his  life, 

And  while  alone  he  had  vowed  to  make  her 
His  own  and  adoring  little  wife. 

3  Now  when  his  parents  came  to  know  this 
They  sought  to  part  them  night  and  day, 
Saying,  'Son,  oh,  son,  why  are  you  so  foolish? 
Why,  she's  so  poor,'  they  would  oft  times  say. 

4  Down  on  his  knees  he  prayed  before  them: 
'Oh,  cruel  parents,  pity  me. 

Don't  take  from  me  my  only  jewel, 
For  she  is  more  than  life  to  me.' 

5  Now  when  this  lady  came  to  know  this 
She  volunteered  what  she  would  do. 
She  sauntered  around  and  left  the  city, 
Its  pleasant  groves  no  more  to  you.^ 

6  She  wandered  down  by  the  flowing  river 
And  there  prepared  herself  for  death. 

*  Miswritten,  or  misheard,  for  "view." 


OLDER     BALLADS —  MOSTLY     BRITISH  259 

She  took  from  her  bosom  a  silver  dagger 

And  she  pierced  it  through  her  snow-white  breast. 

Her  lover  being  in  yonder  thicket 
And  hearing  all  her  love-sick  groans, 
He  rushed  to  where  his  love  lay  dying. 
Said  she,  'True  love,  I'm  going  home.' 

He  then  picked  up  the  dying  body 

And  rolled  it  over  in  his  arms, 

Saying,  'Is  there  gold  or  friends  can  save  you. 

Or  must  you  die  with  all  your  charms  ?' 

Her  coal-black  eyes  like  the  stars  she  opened. 
Saying,  'Oh,  true  love,  you've  come  too  late. 
Prepare  to  meet  me  on  Mount  Zion, 
Where  all  our  joys  will  be  complete.' 

He  then  picked  up  the  blood-stained  dagger 
And  pierced  it  through  his  tender  heart. 
Saying,  'Let  this  be  an  awful  warning 
To  those  who  seek  true  love  to  part.' 


The  Dying  Lovers.'  Collected  by  Miss  Jane  Elizabeth  Newton  from 
Miss  Lizzie  Lee  Weaver  of  Piney  Creek,  Alleghany  county,  about  1915. 
The  manuscript  bears  the  notation  "Written  1838,"  which  probably 
means  that  this  text  was  written  down  in  that  year.  Does  not  differ 
much  from  A,  though  it  reverses  the  economic  status  of  the  two  lovers ; 
here  it  is  the  man,  not  the  woman,  who  is  poor  and  therefore  unaccept- 
able as  a  son-in-law  to  the  woman's  parents. 

C 

'O  Parents,  Parents,  All  Take  Warning.'  Contributed  by  W.  R.  Shelton 
of  Charlotte,  with  the  notation  that  "another  mountain  ballad  sung 
through  Haywood  county  is  'John  Henry  was  a  steel-driving  man'  " — 
which  implies  that  this  text  too  comes  from  that  county.  It  is  consider- 
ably reduced,  four  and  a  half  stanzas,  but  has  the  essential  story. 


73 

Come  All  Young  People 

Evidently   a   broadside   or   street   ballad,  but   the   editor   has   not 
found  it  elsewhere. 

'Come  All   Young   People.'     Contributed  in    1916  by  J.   W.   Clayton,  a 
freshman  at  Trinity  College  at  the  time. 

I     Come  all  young  i)eople  far  and  near. 
A  lamentation  you  shall  hear 
Of  a  young  man  and  his  true  love 
Whom  he  adored  and  sworn  to  love. 


26o  NORTH  CAROLINA  FOLKLORE 

2  He  was  but  eighteen  years  of  age 
When  first  in  love  he  was  engaged. 
He  was  a  mason's  only  son. 

It  was  by  love  he  was  out-done. 

3  His  father  unto  him  did  say: 
'My  son,  don't  throw  yourself  away. 
You  know  she  is  of  low  degree 
And  came  of  a  poor  family.' 

4  He  went  one  night  his  love  to  see, 
Hoping  fier  company  to  enjoy. 
Her  father  unto  him  did  say: 
'Kind  sir,  forever  keep  away. 

5  'My  daughter  is  as  good  as  you. 
Forever  bid  my  house  adieu.' 

Now  this  young  couple  was  forced  to  part, 
Which  was  the  means  that  broke  their  hearts. 

6  Next  to  her  chamber  she  did  take, 
A  solitary  moan  to  make. 

She  wrung  her  hands,  began  to  weep, 
And  fell  into  a  silent  sleep. 

7  For  many  a  doctor  they  did  send 
And  much  upon  her  they  did  spend; 
But  all  of  this  was  spent  in  vain, 
For  still  in  love  she  did  remain. 

8  She  said,  'My  mother,  I'll  tell  to  thee, 
I  wish  once  more  my  love  to  see.' 
Her  brother  after  him  did  go 

When  he  her  sorrows  came  to  know. 

9  'My  love,  what  makes  you  look  so  pale? 
My  love,  what  makes  your  colors  fail  ? 
Your  cheeks  were  once  as  a  rose  so  red 
But  now  they  are  as  dull  as  lead. 

10  'Your  eyes  as  black  as  any  crow. 
Down  to  the  grave  I  think  you'll  go.* 
Then  off  her  fingers  rings  did  take. 
Saying,  'Always  wear  them  for  my  sake. 

1 1  'We  will  forgive  our  parents  dear. 
Although  they've  been  cruel  and  severe, 
We  will  forgive  them  both,'  says  she ; 

*I  am  going  to  eternity.' 


OLDER     BALLADS MOSTLY     BRITISH  26l 

12  She  wrang  her  hands,  began  to  weep, 
And  fell  into  a  silent  sleep, 
Bidding  this  world  and  all  adieu 
And  everybody  that  she  knew. 

13  Next  to  the  grave  he  was  forced  to  go, 
Dressed  all  in  black  from  head  to  toe. 
He  lived  and  mourned  about  one  year 
But  died  and  never  enjoyed  his  dear. 

14  Come  all  old  people  far  and  near, 
A  melancholy  you  shall  hear ; 

I  hope  you  all  will  warning  take 
And  never  matches  try  to  break. 

74 

Chowan  River 

Here  a  stall  or  broadside  ballad,  probably  British,  has  been  made 
over  to  fit  a  North  Carolina  locale.  Chowan  River  is  an  arm  of 
Albemarle  Sound.  The  story  bears  some  resemblance  to  'Nancy  of 
Yarmouth.' 

'Chowan  River.'  Communicated  by  Edna  Harris,  with  the  notation: 
"Mrs.  Pollie  Harris,  my  mother,  sings  it  and  she  heard  it  from  her 
mother  and  her  aunt." 

1  Last  evening  as  I  rambled 
All  down  by  yonders  river 
I  heard  a  lady  lamenting 
Which  caused  my  heart  to  quiver. 

2  These  words,  oh,  she  did  say 
(If  I  was  only  with  her!) 
'The  one  that  I  love  dearly 
Has  gone  over  Chowan  River. 

3  'The  ship  has  just  sailed  away, 
A-bounding  for  the  ocean. 

My  father  has  hired  the  captain 
And  given  him  a  very  large  portion 

4  'To  carry  my  lover  away. 

All  on  the  seas  to  drown  him. 

Oh,  gracious  God  above, 

How  they  did  crowd  around  him ! 

5  'The  captain  and  my  lover 
Were  on  the  deck  a-walking, 
And  like  two  loving  brothers 
Together  they  were  talking. 


262  NORTH  CAROLINA  FOLKLORE 

6  'The  captain  pushed  my  lover  overboard 
All  in  the  sea  to  drown  him. 

Oh,  cursed  be  the  captain 
And  all  of  his  portion  ! 

7  'My  father  told  me  not  to  grieve, 
To  wait  a  little  longer ; 

I  told  him  that  I  would  never 
Marry  any  other, 

8  '  "Oh  daughter  dear,"  said  he, 
"We've  large  stores  of  treasures. 
And  you  may  live  out  all  of  your  days 
In  peace,  love,  and  pleasures." 

9  T'm  tired  of  my  life, 
I'm  ruined,  oh,  forever, 
And  quickly  I'll  lose  my  life 
Here  into  this  river.' 

10     She  plunged  all  in  the  deep 

Where  they  could  not  save  her. 
Let's  hope  that  God  above 
Is  ready  to  receive  her. 

75 

Pretty  Betsey 

Deriving  originally,  no  doubt,  from  broadside  or  stall  print,  this 
does  not  appear  to  have  been  found  elsewhere  as  traditional  song. 
Perhaps  it  is  hardly  that  on  the  coast  of  North  Carolina,  but  at 
least  it  has  been  sung  there.  Stanza  4  is  an  echo  from  'A  Brave 
Irish  Lady.' 

'Pretty   Betsey.'      Reported   by   L.   W.   Anderson   of   Nag's    Head   from 
Alva  Wise,  one  of  his  pupils  in  the  school  there. 

1  There  was  a  young  lady  in  London  did  dwell. 
She  had  a  true  lover  most  wonderful  well ; 

And  when  her  old  father  this  news  came  to  know 

He  beat  her  so  fearfully,  he  beat  her  so  sore 

Till  Betsey  was  thrown  in  the  bed  to  rise  no  more. 

2  One  day  when  the  old  man  was  down  stairs  asleep 
So  softly  to  the  window  did  sweet  William  creep. 
Saying,  'Betsey,  pretty  Betsey,  I'd  freely  come  to  thee, 
But  your  old  cruel  father  is  (juite  over  me.' 

3  One  day  when  the  old  man  was  upstairs  asleep 
So  softly  downstairs  the  old  woman  did  creep 
For  to  turn  in  sweet  William  pretty  Betsey  to  see. 


OLDER     BALLADS MOSTLY     BRITISH  263 

4  When  William  had  entered  in  Betsey's  bedroom 
Betsey  turned  over,  saying,  'My  doctor  has  come.' 
'I'm  not  your  doctor,'  sweet  William  replied, 

'But  I'm  your  own  true  lover,  and  always  shall  be.' 

5  Then  Betsey  turned  over  and  unto  him  did  cry, 
'Oh,  William,  sweet  William,  pray  what  shall  1  do? 
You  see  what  I'm  suffering  over  loving  you.' 

6  Then  William  laid  down  on  Betsey's  bedside. 
Betsey  turned  over,  in  his  arms  she  died. 
'There's  no  other  lady  a-liking  I'll  take 

For  thinking  of  pretty  Betsey  who  died  for  my  sake.' 

76 

Molly  Bawn 

For  the  history  of  this  ballad,  see  Kittredge's  bibliographical  note 
in  JAFL  XXX  358.  It  has  been  reported  as  traditional  song  in 
Ireland  (OIFMS  220),  Norfolk  (JFSS  vii  17),  Somerset  (JFSS 
II  59-60),  Maine  (JAFL  xxii  387,  BFSSNE  x  12-13),  Massachu- 
setts (JAFL  XXX  358-9,  FSONE  274-6),  New  Jersey  (JAFL  lii 
56-8),  Virginia  (SharpK  i  330-1,  SCSM  1 16-17,  FSV  68-9),  West 
Virginia  (FSS  339-41),  Kentucky  (JAFL  xxx  359-6o,  SharpK  i 
329,  331-2),  Tennessee  (SharpK  i  329),  North  Carolina  (SharpK 
I  328,  FSRA  loi),  Mississippi  (FSM  145-6),  Florida  (SFLQ  viii 
176),  Arkansas  (OFS  i  257),  Missouri  (OFS  i  254-6),  Michigan 
(BSSM  66-8),  and  Wisconsin  (JAFL  lii  32,  from  Kentucky). 
Our  texts  are  incomplete ;  they  should  end  with  the  appearance  of 
Molly's  ghost  to  free  her  lover  of  the  charge  of  murder.  Sharp, 
noting  in  the  song  "a  strange  admixture  of  fancy  with  matter  of 
fact,"  thought  that  it  might  be  "the  survival  of  a  genuine  piece  of 
Celtic  or,  still  more  probably,  of  Norse  imagination."  The  woman's 
name  appears  in  various  forms:  Molly  (or  Polly)  Van,  Vaughn, 
Bawn,  Bond,  Bonn;  in  a  stall  print  by  J.  Andrews  of  New  York 
as  Polly  von  Luther  !  The  man  is  Jimmy;  in  many  texts,  as  in  our 
A,  is  Jimmy  Randall. 

A 

'Polly  Bonn.'     From  the  collection  of  Miss  Jewel   Robbins    (later  Mrs. 
C.  P.  Perdue)  of  Pekin,  Montgomery  county. 

1  'Twas  one  rainy  evening. 
The  rain  it  did  fall ; 

Pretty  Polly  was  under  a  holly  bush 
The  rain  for  to  shun. 

2  With  her  apron  pinned  around  her 
The  rain  for  to  shun ; 

Jimmy  Randall  he  saw  her 
And  shot  her  for  a  swan. 


2C4  NORTH     CAROLINA     FOLKLORE 

3  He  ran  home  to  his  father, 
His  gun  in  his  hand. 
'Dear  father,  dear  father, 
I've  killed  Polly  Bonn ! 

4  'I've  killed  that  fair  creature. 
My  own  heart's  delight, 
And  I  always  have  intended 
To  make  her  my  wife !' 

5  His  father  being  old. 
His  head  being  gray : 

'Jimmy  Randall,  Jimmy  Randall, 
Don't  you  run  away. 

6  'You're  in  your  own  country ; 
Your  trial  shall  stand. 

You  never  shall  be  condenmed 
By  the  loss  of  my  land.' 


'Mollie  Vaunders.'     Reported  by  Mrs.  Sutton,  presumably  from  Lenoir, 
Caldwell  county.     A  fragment  only,  copied  off  from  the  music. 


Come  all  ye  young  fellows 
Who  delight  in  a  gun, 
Beware  of  late  shooting 
After  the  sun's  down. 
I'll  tell  you  a  story 
Which  happened  of  late 
Concerning  Mollie  Vaunders, 
Whose  beauty  was  great. 


77 

Fair  Fannie  Moore 

Although  evidently  the  work  of  some  professional  ballad-maker, 
this  has  not,  apparently,  been  found  in  ballad  print.  It  is  reported 
from  tradition  in  Vermont,  Pennsylvania,  West  Virginia,  Arkansas, 
Missouri,  Minnesota,  and  Montana  (see  BSM  139,  OPS  11  67-9). 
The  text  in  our  collection  corresponds  fairly  well  with  those  re- 
ported from  Missouri,  with  numerous  slight  variations. 

'Fair    Fanny    Moore.'      Contributed   by    O.    L.    Coffey   of    Shull's    Mills, 
Watauga  county,  in  1939. 

I     Yonder  stands  a  cottage  all  deserted  and  alone. 
Its  paths  are  neglected,  with  grass  overgrown. 
Go  in  and  you  will  see  some  dark  stains  on  the  floor, 
Alas,  it  is  the  blood  of  the  fair  Fanny  Moore. 


OLDER     BALLADS MOSTLY     BRITISH  265 

2  To  Fanny,  so  blooming,  two  lovers  there  came. 
One  offered  young  Fanny  his  wealth  and  his  name. 
But  neither  his  money  nor  pride  could  secure 

A  place  in  the  heart  of  the  fair  Fanny  Moore. 

3  The  first  was  young  Randall,  so  bold  and  so  proud, 
Who  to  the  fair  Fanny  his  haughty  head  bowed  ; 
But  his  wealth  and  his  house  both  failed  to  allure 
The  heart  from  the  bosom  of  fair  Fanny  Moore. 

4  The  next  was  young  Henry,  of  lowest  degree. 
He  won  her  fond  love,  and  enrai)tured  was  he ; 
And  then  at  the  altar  he  quick  did  secure 

The  hand  with  the  heart  of  the  fair  Fanny  Moore. 

5  As  she  was  alone  in  her  cottage  one  day. 

When  business  had  called  her  fond  husband  away. 

Young  Randall  the  haughty  came  in  at  the  door 

And  clasped  in  his  arms  this  young  fair  Fanny  Moore. 

6  'Spare  me,  oh  spare  me !'  the  fair  Fanny  cries, 
While  the  tears  swiftly  flow  from  her  beautiful  eyes. 
'Oh  no,'  says  young  Randall,  'go  home  to  your  rest !' 
And  he  hurled  his  knife  in  her  snowy  white  breast. 

7  So  Fanny  all  blooming  in  her  bright  beauty  died. 
Young  Randall  the  haughty  was  taken  and  tried ; 
At  length  he  was  hung  on  a  tree  at  the  door 
For  shedding  the  blood  of  the  fair  Fanny  Moore, 

8  Young  Henry  the  shepherd,  distracted  and  wild. 
Did  wander  away  from  his  own  native  isle 

Till  at  length,  claimed  by  death,  he  was  brought  to  this 

shore 
And  laid  by  the  side  of  his  fair  Fanny  Moore. 

78 

Mary  of  the  Wild  Moor 

For  the  popularity  of  this  song  both  in  print  and  in  tradition, 
see  BSM  207,  and  add  to  the  references  there  given  Virginia  (FSV 
70-1),  Florida  (SFLQ  viii  185-6),  Arkansas  (OFS  i  312-13),  Mis- 
souri (OFS  I  311-12,  313-14),  Ohio  (BSO  209-10),  and  Indiana 
(BSI  246-7).  Miss  Gardner  lists  it  as  found  in  Michigan  (BSSM 
481)  but  does  not  print  a  text.  Since  it  is  frequently  printed,  the 
texts  recorded  from  tradition  do  not  differ  greatly. 

'Mary  of  the  Wild  Moor.'  Reported  by  L.  W.  Anderson  as  collected 
from  Mrs.  Lx)rena  Beasley  of  Nag's  Head,  Dare  county.  The  same 
text  was  reported,  in  May  1920,  by  P.  D.  Midgett  of  Wanchese,  Roanoke 
Island,  with  the  air  to  which  it  was  sung.  There  is  a  closely  similar 
text  in  the  Blaylock  Collection. 


266  NORTH     CAROLINA     FOLKLORE 

1  It  was  on  one  cold  winter's  night 

And  the  winds  blew  across  the  wild  moor 

When  Mary  came  wandering  home  with  her  babe 

Till  she  came  to  her  father's  door. 

2  *Oh,  father,  dear  father,'  she  cried, 
'Come  down  and  open  the  door, 

Or  the  child  in  my  arms  will  perish  and  die 
By  the  winds  that  blow  across  the  wild  moor. 

3  'Oh,  why  did  I  leave  this  dear  spot 
When  once  I  was  happy  and  free? 

But  now  I'm  to  roam  without  friends  or  a  home 
And  no  one  to  take  pity  on  me.' 

4  But  the  old  man  was  deaf  to  her  cries. 
Not  a  sound  of  her  voice  reached  his  ears. 
The  village  bells  tolled     .... 

And  the  winds  blew  across  the  wild  moor. 

5  Oh.  how  must  the  old  man  have  felt 
When  he  came  to  the  door  in  the  morn? 
Poor  Mary  was  dead ;  the  child  was  alive, 
Closely  pressed  in  its  dear^  mother's  arms. 

6  Half  frantic  he  tore  his  grey  hair 

And  the  tears  down  his  cheeks  they  did  pour, 
Saying,  'This  cold  night  she  has  perished  and  died 
By  the  winds  that  blow  across  the  wild  moor.' 

7  The  old  man  in  grief  pined  away. 
The  child  to  its  mother  went  soon. 

And  no  one.  they  say.  has  lived  there  to  this  day, 
And  the  cottage  to  ruin  has  gone. 

8  The  villagers  point  out  the  spot 
Where  the  willow  droops  over  the  door. 

Saying,  'There  Mary  died,  once  a  gay  village  bride, 
By  the  winds  that  blow  across  the  wild  moor.' 

79 

Young  Edwin  in  the  Lowlands  Low 

For  bibliography  and  previous  recordings,  see  BSM  127  and  add 
Maine  (BFSSNE  xii  12-13),  Virginia  (FSV  54-5),  Kentucky 
(TKMS  45),  North  Carolina  (FSRA  63-5),  Florida  (FSF  345). 
the  Ozarks  (OFS  11  59-64),  Indiana  (BSI  202-3),  Michigan 
(BSSM  62-3),  and  Wisconsin  (JAFL  lii  25-6).  The  ballad  is 
pretty  widely  known  and  sung. 

^  Miswritten,  or  perhaps  merely  carelessly  set  down,  for  "dead." 


OLDER     BALLADS  —  MOSTLY     BRITISH  267 

A 

'The  Driver  Boy.'  From  Miss  Rawn's  collection,  communicated  in  1915, 
before  she  became  Mrs.  Perry.  The  manuscript  does  not  tell  where  ami 
when  the  text  was  taken  down. 

1  Miss  Einily  was  a  pretty  fair  maid 
And  she  loved  the  driver  hoy 

Who  drove  in  the  mist  some  gold  to  gain 
Down  in  the  lowland  low, 
Who  drove  in  the  mist  some  gold  to  gain 
Down  in  the  lowland  low. 

2  And  seven  years  returning, 
His  fortime  to  assure, 

That  he  had  gained  the  driver  maid 
Down  in  the  lowland  low, 
That  he  had  gained  the  driver  maid 
Down  in  the  lowland  low. 

3  'My  father  keeps  a  public^ 
Down  by  the  river  side, 
And  you  may  go  this  night 
And  lay  yourself  a-side, 

And  meet  me  in  the  morning. 
And  meet  me  in  the  morning.' 

4  'Don't  let  your  parents  know 
My  name  it  is  young  Edward 
Who  drove  in  the  lowland  low, 
My  name  it  is  young  Edward 
Who  drove  in  the  lowland  low.' 

5  Young  Edward  fell  to  drinking 
In  time  to  go  to  bed, 

But  little  was  he  thinking 

That  sorrow  would  crown  his  head. 

6  'That  puts  me  in  mind  of  the  driver  boy 
Who  drove  in  the  lowland  low, 

That  puts  me  in  mind  of  the  driver  boy 
Who  drove  in  the  lowland  low.' 

7  Said  Willie  to  her  father, 
'Let's  go  and  make  a  show ; 
W^e'U  send  his  body  a-sailing 
Down  in  the  lowland  low, 
We'll  send  his  body  a-sailing 
Down  in  the  lowland  low.' 

*  The  word  "house"  has  evidently  dropped  out. 


268  NORTH  CAROLINA  FOLKLORE 

8  Miss  Emily  went  to  bed  that  night ; 
She  dreamed  a  frightful  dream. 
She  dreamed  her  lover  was  bleeding, 
The  blood  running  down  in  a  stream, 
She  dreamed  her  lover  was  bleeding, 
The  blood  running  down  in  a  stream. 

9  She  got  up  in  the  morning ; 
To  her  father  she  did  go. 

'Oh,  father,  where  is  my  driver  boy 
Who  drove  in  the  lowland  low, 
Oh,  father,  where  is  my  driver  boy 
Who  drove  in  the  lowland  low?' 

10  Her  father  made  answer, 
So  cruel,  you  know : 

'He's  gone  to  dwell,  no  tongue  can  tell, 
Down  in  the  lowland  low. 
He's  gone  to  dwell,  no  tongue  can  tell, 
Down  in  the  lowland  low.' 

11  'Oh,  father,  cruel  father. 
You  shall  die  a  public  show 

For  the  killing  of  my  driver  boy 
Down  in  the  lowland  low, 
For  the  killing  of  my  driver  boy 
Who  drove  in  the  lowland  low. 

12  'The  ships  are  on  the  ocean. 
Sailing  o'er  my  lover's  breast ; 
The  sea's  in  gentle  motion 
And  I  hope  his  soul's  at  rest; 
The  sea's  in  gentle  motion 
And  I  hope  his  soul's  at  rest. 

13  'The  coach  is  on  the  mountain 
A-sailing  to  and  fro. 

And  reminds  me  of  my  driver  boy 
Who  drove  in  the  lowland  low, 
And  reminds  me  of  my  driver  boy 
Who  drove  in  the  lowland  low.' 


'Young  Emily.'  One  of  the  songs  collected  by  Professors  W.  Amos 
Abrams  and  Gratis  D.  Williams  in  1945  from  the  siriging  of  Pat  Frye 
of  East  Bend,  Yadkin  county — concerning  whom  see  the  headnote  to 
'Lady  Isabel  and  the  Elf-Knight'  G.  Somewhat  incoherent,  but  most 
of  it  can  be  made  out  by  collation  with  the  fuller  text  of  A. 


OLDER     BALLADS MOSTLY     BRITISH  269 

1  Youngs  Emily  was  a  maid  so  fair 
She  loved  to  drive  a  boatman 

All  she  fained  by  driving  the  boat 
Way  down  the  lowland  low. 

2  Young  Hendrick  says  to  his  father 

'We'll  send  his  body  a-floating 
Way  down  in  the  lowland  low.' 

3  Young  Henry  went  to  drinking  that  night 
Was  time  to  go  to  bed, 

But  little  was  he  thinking 

Of  crowns  to  crown  his  head. 

4  Young  Emily  went  to  bed  that  night 
And  dreamed  a  frightful  dream, 
She  dreamed  she  saw  her  darling 
Lie  bleeding  in  the  stream. 

5  She  rose  up  soon  next  morning 
And  to  her  father  did  go ; 

'Oh  father,  where  is  my  darling 
Who  driv  in  the  lowland  low?' 

6  'He's  gone  to  dwell  no  tongue  can  tell* 
Her  father  did  reply. 

7  'Oh  father,  cruel  father. 
You'll  die  a  public  shore^ 
For  murdering  of  my  darling 
Who  driv  in  the  lowland  low. 

8  'The  fish  that  swims  the  ocean 
Swims  over  my  true  love's  breast ; 
His  body's  in  a  gentle  motion ; 

I  hope  his  soul's  at  rest. 

9  'His  coat's  on  yonders  mountain 
And  wavers  to  and  fro; 

It  minds  me  of  my  darling 
Who  driv  in  the  lowland  low.' 

80 
The  Three  Butchers 

This  ballad,  deservedly  popular  in  England — there  are  several 
nineteenth-century  stall  prints  of  it,  and  it  is  still  traditional  song 

*  Should  be  "show,"  of  course.  Perhaps  in  Frye's  speech  the  two 
words  are  homonyms. 


270  NORTH  CAROLINA  FOLKLORE 

in  Sussex  (JFSS  i  174-5),  Wiltshire  (FSUT  275-6),  and  Somerset 
(JFSS  VIII  2-3) — goes  back  to  the  seventeenth  century;  see  Rox- 
hurghe  Ballads  vii  59-63.  And  it  has  held  its  own  pretty  well  in 
America;  texts  have  been  reported  from  Newfoundland  (BSSN 
82-6),  Vermont  (CSV  14-15,  NGMS  238-40),  Virginia  (SharpK 
I  372,  FSV  39),  West  Virginia  (FSS  302),  Kentucky  (SharpK  i 
371-2),  Tennessee  (SharpK  i  370-1),  North  Carolina  (SharpK  i 
371,  OSSG  12-13,  FSRA  82),  Arkansas  (OFS  i  376),  and  Florida 
(SFLQ  VIII  174-5).  It  has  suffered  some  loss  of  coherence  in  our 
texts.  In  the  original  there  wejre  three  butchers ;  in  our  texts  the 
men  are  two,  not  three,  and  there  is  no  suggestion  that  they  are 
butchers.  In  the  original  the  woman  is  a  decoy  for  the  robbers, 
but  in  our  text  her  killing  of  the  hero  seems  unmotivated. 


'Dixie  and  Johnson.'  From  Thomas  Smith  of  Zionville,  Watauga 
county,  in  1915,  as  "sung  and  picked  on  a  banjo  for  me"  by  John  Corum 
of  Zionville.  Perhaps  it  needs  to  be  said  that  "A  good  woman"  of 
stanza  9  is  the  same  woman  that  the  two  men  rescued  in  stanza  5. 

1  Dixie  said  to  Johnson  some  cold  winter  day, 
'Let's^  go  ride  the  mountain  to  pass  the  time  away.' 

2  Well,  they   rode  to  the  top  of  the  mountain,  a  hundred 

miles  or  more. 
Dixie  said  to  Johnson,  'I  heard  a  woman  cry.' 

3  Well,  they  looked  ofif  to  the  rightside  and  they  looked  ofif 

to  the  left ; 
They  saw  a  naked  woman  all  chained  down  to  herself. 

4  'Woman,  woman,  what  caused  you  here  to  lie?' 
'The  robbers  have  robbed  me  and  left  me  here  to  die.' 

5  They  wrapped  a  gray  coat  around  her  and  took  her  on 

behind. 
They  wrapped  a  gray  coat  around  her  and  took  her  on 
behind. 

6  They  rode  on  down  the  mountain  a  hundred  miles  or  more. 
There  stood  seven  old  robbers  all  standing  in  the  road. 

7  Johnson  said  to  Dixie,  'Let's  take  wings  and  fly.' 
Dixie  said  to  Johnson,  'Before  I'll  fly  I'll  die.' 

8  And  about  six  o'clock  they  let  in  to  the  shootin' ; 
They  killed  six  old  robbers,  the  seventh  he  did  run. 

9  Well,  Dixie  said  to  Johnson,  'Let's  take  a  little  rest.' 

A  good  woman  stepped  up  and  stabbed  him  in  the  breast. 

*  Here  and  in  stanzas  7  and  9  below  this  is   written  '"e's";   perhaps 
an  attempt  to  render  the  local  pronunciation. 


0  I.  I)  E  R      H  A  I,  I.  A  I)  S  MOST  L  Y      I!  R  I  T  I  S  H  2y\ 

10     'Good  woman!  good  woman!  Can  yon  tell  the  crime  you've 
done? 
You've  killed  the  greatest  soldier  that  ever  fired  a  gun.' 

B 
'Good   Woman.'     Contributed   by   the    Reverend   L.    D.    Hayman,   prob- 
ably from  Pasquotank  county,  in  191 9  or  thereabouts. 

1      'Ciood  woman,  good  woman,  oh,  what  are  you  doing  down 
here  ?' 
'The  robhers,  they  are  coming  to  bind  me  down  to  die.' 

2  Oh,  Johnny,  being  a  good  man,  a  man  with  a  willing  mind, 
He  threw  his  overcoat  around  her  and  took  her  on  behind, 

3  They  rode   from  six  in  the  morning  until  the  setting  of 

the  sun, 
Until  they  came  to  the  robbers — and  then  the  fight  begun. 

4  Oh.  Johnny  being  a  brave  man,  he  fought  with  the  setting 

sun; 
Oh,  Johnny  killed  six  of  the  robbers,  and  the  other  seven 
did  run. 

5  Johnny,  feeling  tired,  he  lay  down  for  a  rest. 

The  woman  drew  a  dagger  and  stabbed  John  in  the  breast. 

6  'Good  woman,  good  woman,  oh,  see  what  you  have  done ! 
You've  killed  the  bravest  soldier  that's  from  old  England.' 


The  Butcher  Boy 

The  British  antecedents  and  the  currency  in  modern  tradition  of 
this  ballad  are  given  in  some  detail  in  BSM  201-3.  To  the  refer- 
ences there  given  should  be  added  Lincolnshire  (ETSC  92-5), 
Essex  (FSE  11  g-n),  Massachusetts  (FSONE  179-81),  New  York 
(NYFLQ  III  29-30),  Virginia  (FSV  72-5;  a  trace  of  it  in  SharpK 
II  381),  Kentucky  (FSKM  30-1),  Florida  (FSF  334-6),  Arkansas 
(OFS  I  230),  Missouri  (OFS  i  226-30),  Ohio  (BSO  129-31), 
Indiana  (BSI  198-201),  and  Michigan  (BSSM  117-19).  Mrs. 
Steely  found  it  in  the  Ebenezer  community  in  Wake  county.  Not 
versions  of  'The  Butcher  Boy'  strictly  speaking,  but  related  to  it 
are  'She's  Like  the  Swallow,'  reported  from  Newfoundland  (FSN 
112),  'The  Auxville  Love,'  reported  from  Kentucky  (FSMEU 
205),  'Love  Has  Brought  Me  to  Despair,'  reported  from  West 
Virginia  (FSS  428-9),  and  'I  Am  a  Rambling  Rowdy  Boy,'  re- 
ported from  North  Carolina  (SSSA  173-4).  'The  Butcher  Boy' 
was  printed  as  a  stall  ballad  by  Partridge  of  Boston  and  by  De 
Marsan  and  Wehman  of  New  York,  and  Kittredge  has  noted 
(JAFL  XXXV  361)   that  it  is  to  be  found  in  five  American  song- 


272  NORTH     CAROLINA     FOLKLORE 

books  published  between  1869  and  1914.  Its  appearance  in  print 
is  as  likely  to  be  the  effect  as  the  cause  of  its  wide  popularity.  The 
scene  is  most  often  Jersey  City,  but  it  may  be  any  one  of  a  con- 
siderable number  of  cities  or  may  be  unspecified.  A  peculiarity  of 
nearly  all  the  texts  reported  is  the  illogical  shift  of  grammatical 
person — it  begins  as  a  narrative  by  the  girl  and  passes,  at  different 
places  in  different  texts  but  generally  about  the  middle  of  the  story, 
to  third-person  narration  about  the  girl.  The  texts  in  our  collection, 
one  is  surprised  to  find,  never  locate  the  action  in  Jersey  City ;  the 
scene  is  Boston  town  or  Johnson  City  or  New  York  City  or  Jeffer- 
son City  or  London  City;  and  in  only  three  of  them  is  the  faithless 
lover  a  butcher  boy. 

Elements  of  'The  Butcher  Boy'  enter  into  combination  with  ele- 
ments of  other  ballads  and  songs.  Some  composites  of  this  sort 
are  given  after  the  more  normal  'Butcher  Boy'  texts.  For  some 
others,  see  'The  Sailor  Boy'  C,  D,  I,  and  J  (no.  104,  below),  and 
'Little  Sparrow'  F,  in  Vol.  IIL 


'In  Jeflferson  City.'  From  Mrs.  Sutton's  manuscript  book  of  ballads, 
where  this  item  was  entered  probably  about  1920.  Mrs.  Sutton  com- 
ments: "The  rather  lugubrious  lady  that  gave  it  to  me  had  just  lost 
her  lover.  ...  He  was  a  dope  fiend  and  a  college-trained  doctor  who 
was  never  to  be  licensed  in  North  Carolina  because  he  cheated  on  State 
Board  exams.  She  said  she'd  heard  he  was  a  'doper'  and  she  turned  him 
down  for  that  reason." 

1  In  Jeflferson  City  I  used  to  dwell, 
There  lived  a  boy  I  loved  so  well. 
He  courted  me  my  life  away 

And  then  with  me  he  would  not  stay. 

2  There  lived  another  girl  in  that  same  town. 
She  took  my  love  and  set  it  down. 

He  took  the  stranger  on  his  knee 
And  told  her  what  he  once  told  me. 

3  And  I  can  tell  you  the  reason  why : 
She  has  more  gold  and  silver  than  L 
Her  gold  will  rise  and  her  silver  will  fly, 
And  then  she'll  be  as  poor  as  L 

4  I  went  upstairs  to  make  my  bed, 
Just  one  word  to  my  mother  I  said. 
'Go  bring  me  a  chair  and  I'll  set  down, 
With  pen  and  ink  I'll  write  it  down. 

5  *On  every  line  I'll  drop  a  tear.' 

Was  saying,  'Sweet  Willie,  oh  my  dear! 

On  every  line  I'll  drop  a  tear,' 

Was  saying,  'Sweet  Willie,  oh  my  dear!' 


OLDER     BALLADS  —  MOSTLY     BRITISH  273 

6  Her  father  came  home,  the  door  he  broke ; 
He  found  her  hanging  by  a  rope. 

He  found  a  knife  and  he  cut  her  down, 
And  on  her  breast  these  words  he  found : 

7  'Oh,  mother,  oh,  mother,  you  do  not  know 
What  sorrow  this  has  brought  to  me ; 
Since  first  I  gained  some  young  man's  Hfe 
And  on  this  rope  to  end  my  hfe. 

8  'Go  dig  my  grave  both  wide  and  deep ; 
Place  a  marble  stand  at  my  head  and  feet 
And  at  the  foot  plant  a  cedar  tree 

To  show  I  died  for  love  of  thee. 

9  'And  on  my  grave  plant  a  wilier  tree 
That  it  may  mourn  and  weep  for  me, 
And  in  that  tree  set  a  turtle  dove 

To  show  this  world  I  died  for  love.' 


'The  Butcher's  Boy.'  Collected  from  James  York  of  Olin,  Iredell 
county,  in  1939.  The  same  successions  of  events  but  with  interesting 
differences  in  the  telling.     The  shift  of  person  comes  earlier  than  in  A. 

1  In  Johnson  City  where  I  did  dwell 
There  lived  a  boy  I  loved  so  well. 
He  courted  me  my  life  away 

And  with  me  he  would  not  stay. 

2  There  lived  a  girl  in  that  same  town 
Where  he  would  go  and  sit  around. 
He'd  take  that  girl  upon  his  knee 

And  tell  her  things  that  he  wouldn't  tell  me. 

3  I  think  I  know  the  reason  why. 
Because  she  has  more  gold  than  I. 
But  gold  will  melt  and  silver  will  fly ; 
Some  time  she'll  be  as  poor  as  I. 

4  She  went  upstairs  to  make  her  bed 
And  nothing  to  her  mother  said. 

Her  mother  said,  'You're  acting  queer. 
What  is  the  matter,  my  daughter  dear  ?' 

5  'Oh,  mother  dear,  you  need  not  know 
The  pain  and  sorrow,  grief  and  woe. 
Give  me  a  chair  and  set  me  down 

With  pen  and  ink  to  write  words  down.' 


274  NORTH     CAROLINA     FOLKLORE 

6  It  was  late  that  night  her  father  came  home. 
'Where  is  my  daughter,  where  has  she  gone?' 
Upstairs  he  run,  the  door  he  broke ; 

He  found  her  swinging  to  a  rope. 

7  He  took  his  knife  and  cut  her  down 
And  in  her  bosom  this  letter  was  found : 
'A  very  fooHsh  girl  I  am 

To  hang  myself  for  the  butcher's  boy. 

8  'Must  I  go  bound  while  he  goes  free. 
Must  I  love  a  boy  that  don't  love  me? 
Alas !  alas !  that  never  can  be 

Till  oranges  grow  on  an  apple  tree.^ 

9  'So  bury  me  both  wide  and  deep, 

Place  a  marble  stone  at  my  head  and  feet. 
And  on  my  breast  place  a  snow-white  dove 
To  show  to  the  world  that  I  died  for  love.' 

C 

'Boston  Town.'  From  Virginia  Hartsell  of  Stanly  county.  Similar  to 
B,  but  it  makes  the  directions  for  her  burial  part  of  lier  speech  to  her 
mother,  before  she  hangs  herself.  When  her  father  cuts  her  down  he 
finds  in  her  pocket  "these  words"  : 

'A  silly  girl  I  am,  you  know, 

To  hang  myself  for  the  butcher's  boy. 

'Should  I  go  bound,  while  he  goes  free? 
Should  I  love  a  boy  that  don't  love  me?' 

And  therewith  this  text  closes. 


'Boston  Town.'  Another  text  from  Stanly  county,  contributed  by  Vir- 
ginia Bowers.  Somewhat  reduced ;  it  leaves  out  altogether  the  scene 
between  the  girl  and  her  mother,  and  ends : 

He  drew  his  knife  and  cut  her  down 
And  in  her  pocket  a  letter  he  found, 
Said,  'Take  this  to  the  one  I  love 
And  tell  him  that  I  died  for  love. 

'Go  dig  my  grave  both  wide  and  deep, 
Place  a  marble  stone  at  my  head  and  feet 
And  on  my  breast  a  snow-white  dove 
To  show  this  world  that  I  died  for  love.' 

^  This  stanza  of  the  floating  love  lyric  of  the  folk  is  likely  to  appear 
in  various  songs.    It  does  not  properly  belong  to  'The  Butcher  Boy.' 


OLDER     HALL  ADS  —  MOSTLY     BRITISH  275 

E 

'In  Boston  Town.'  Still  another  text  from  Stanly  county,  contributed 
this  time  by  Merle  Smith.  It  does  not  differ  from  D  except  that  it  has 
"a  milk-white  stone"  in  place  of  "a  milk-white  dove"  in  the  penultimate 
line. 

F 
The    Butcher    Boy.'      Yet   another    from    Stanly   county,    obtained    from 
Autie   Bell   Lambert.     This  introduces  no  new  matter,   but   the  arrange- 
ment differs  from  that  in  the  preceding  texts. 

1  In  New  York  City  where  I  did  dwell 
A  biitcher  boy  I  loved  so  well. 

He  courted  me  my  heart  away, 
And  now  with  me  he  will  not  stay, 

2  He  took  a  girl  upon  his  knees 
And  told  her  just  what  he  told  me. 
Shall  1  be  young?    Shall  I  be  free? 
Shall  1  love  a  boy  that  don't  love  me? 

3  Oh.  no,  no,  no,  that  shall  not  be. 
For  I  am  young  and  I  can  be  free. 
Oh,  no,  no,  no,  that  shall  never  be, 
For  apples  grows  on  a  lily  tree. 

4  I  went  upstairs  to  make  my  bed 
And  nothing  to  my  mother  did  I  say. 
My  mother  came  upstairs  to  me 

And  said,  'What  is  matter,  daring  three  ?'^ 

5  Oh,  Willie,  Willie,  I  tell  you  why; 
Because  she  has  more  gold  than  I. 
The  gold  will  melt,  silver  will  fly, 
And  she  will  be  just  as  poor  as  I. 

6  Father  came  and  the  door  he  broke 
And  found  her  hanging  upon  a  rope. 
He  took  his  knife  and  cut  her  down 
And  in  her  bosom  these  words  he  found : 

7  'Please  dig  my  grave  both  wide  and  deep. 
Place  a  marble  stone  on  my  head  and  feet. 
Upon  my  heart  a  turtle  dove 

To  show  this  world  I  died  for  love.' 

G 

In  Boston   Town.'     A   fifth   Stanly  county  text,   reported  by  Eva   Furr 
The  same  as  D  except  that  the  last  stanza  is  incomplete: 

*  How  this  stanza  shoulcf  read  may  be  seen  in  preceding  versions.     But 
what  the  contributor  meant  to  write  is  not  apparent. 


276  NORTH     CAROLINA     FOLKLORE 

Go  dig  my  grave  both  wide  and  deep, 
And  let  me  down  with  a  golden     .... 

This  is  an  imperfect  memory  of  a  stanza  about  burial  found  in  'Old 
Blue,'  no.  220  in  Vol.  III. 

H 
'Boston  Town.'  Reported  by  Miss  Emeth  Tuttle  of  the  State  Board 
of  Charities,  Raleigh,  in  1926,  as  sung  to  her  by  a  two-and-a-half- 
year-old  child  in  Stanly  county  and  afterwards  written  down  by  the 
child's  ten-year-old  sister.  Like  D  and  E  it  omits  the  scene  with  the 
girl's  mother,  but  differs  from  them  in  inserting  the  two  following  lines 
before  the  final  stanza  of  directions  for  her  burial : 

'And  when  he  reads  these  few  long  lines, 
It'll  be  the  last  he'll  read  of  mine.' 

I 

'In  Johnson  City.'  Obtained  from  Mrs.  Minnie  Church  of  Heaton, 
Avery  county,  in  1930.  Here  again  the  scene  with  the  mother  is 
omitted;  and  it  ends  without  the  funeral  directions: 

He  took  his  knife  and  he  cut  her  down. 
And  in  her  bosom  these  words  he  found : 
'Just  think  what  a  foolish  girl  I  am 
To  kill  myself  for  a  gambling  man.' 

J 

'In  Johnson  City.'  From  Ella  Smith  of  Yadkin  county.  The  first  three 
stanzas  only,  ending:  "Some  of  these  days  she'll  be  poor  as  I." 

K 
'The  Farmer's  Boy.'  From  Miss  Lura  Wagoner's  manscript  took  of 
songs  lent  to  Dr.  Brown  in  1936,  in  which  this  song  is  dated  March  15, 
1913.  Although  for  the  most  part  a  normal  text,  it  introduces  the  lover, 
repentant,  at  the  close  and  so  puts  the  directions  for  burial  in  his  mouth, 
not  hers.  Its  relation  to  our  other  texts  can  best  be  shown  by  giving 
it  entire. 

1  In  London  City  where  I  did  dwell 
Lived  a  farmer's  boy  I  loved  so  well. 
He  courted  me  my  life  away 

And  then  with  me  he  would  not  stay. 

2  There  is  a  strange  house  in  this  town. 
He  goes  up  there,  sits  himself  down, 
And  takes  a  strange  girl  on  his  knee 

And  tells  her  things  that  he  won't  tell  me. 

3  I  hate  to  grieve,  and  I'll  tell  you  why: 
Because  she  has  more  gold  than  I. 

But  her  gold  will  melt  and  her  silver  fly, 
In  time  to  come  be  poor  as  I, 


OLDER     BALLADS  —  MOSTLY     BRITISH  277 

4  Must  I  be  bound  and  the  boys  go  free? 
Must  I  love  a  boy  when  he  don't  love  me? 
Alas !     Oh  no,  that  never  will  be 

Till  oranges  grow  on  apple  trees, 

5  I  went  upstairs  to  make  my  bed 
And  nothing  to  my  mama  said. 
She  came  up,  saying  unto  me, 

'Oh,  what  is  the  matter,  daughter  dear  ?' 

6  'Oh,  mama  dear,  you  need  not  know 
The  grief  and  sorrow,  pain  and  woe. 

Go  bring  me  a  chair  [to]  sit  myself  down, 
A  pen  and  ink  to  write  it  down.' 

7  On  each  line  she  dropped  a  tear, 
Calling  back  her  Willie  dear, 

And  on  each  line  she  dropped  a  tear, 
Calling  back  her  Willie  dear. 

8  I  went  out  one  evening  fair 

To  view  the  plains  and  take  the  air. 
I  thought  I  heard  some  young  man  say 
He  loved  a  girl  that  was  going  away. 

9  When  her  father  first  came  home 

Saying,  'Where  is  my  daughter?    Where  has  she  gone?' 
He  went  upstairs  and  the  lock  he  broke ; 
He  found  her  hanging  by  a  rope. 

10  He  drew  his  knife  and  he  cut  her  down, 
And  on  her  breast  these  lines  were  found : 
'What  a  foolish  girl  I  am,  you  know, 

To  kill  myself  for  a  farmer's  boy.' 

1 1  When  he  first  went  to  her  grave 

It  called  him  back  to  his  love  again. 
He  says,  'O  God !  how  can  I  live 
To  think  of  the  girl  I  have  deceived? 

12  'Come  all  young  men  and  warning  take, 
Never  do  a  girl's  heart  break. 

For  if  you  do  you're  sure  to  be 
In  sin  and  sorrow  just  like  me. 

13  'Go  dig  my  grave  both  wide  and  deep, 
Place  a  marble  stone  at  my  head  and  feet. 
And  on  my  breast  place  a  snow-white  dove 
To  show  the  world  I  died  for  love.' 


278  NORTH     CAROLINA     FOLKLORE 


"Black  Birds.'  Another  text  from  Miss  Wagoner's  manuscript  book, 
still  further  removed  from  the  ordinary  form.  This  is  essentially  the 
same  as  'The  Wrecked  and  Rambling  Boy'  reported  by  Hudson  from 
Mississippi,  JAFL  xxxix  124-5. 

1  I  wish  I  was  a  blackbird  among  the  rush ; 
I'd  change  my  home  from  bush  to  bush 
That  the  world  might  see 

That  I  love  sweet  Willie,  but  he  don't  love  me. 

2  She  wrote  him  a  letter  with  her  own  right  hand, 
She  sent  it  to  him  by  her  own  command, 
Saying,  'Oh,  Willie,  go,  go  read  these  lines ; 
They  may  be  the  last  you  will  ever  read  of  mine." 

3  Her  father  came  home  a-purpose  to  know 
If  she  was  loving  that  young  man. 

So  he  ripped,  he  tore  among  them  all. 
He  swore  he'd  fire  his  pistol  ball. 

4  Her  father  came  home  that  very  next  night 
Inquiring  for  his  heart's  delight. 

He  ran  upstairs  and  the  door  he  broke ; 
He  saw  her  hand  beyond  a  rope. 

5  He  drew  his  knife  and  he  cut  her  down 
And  in  her  bosom  these  lines  he  found : 
'Go,  dig  my  grave  both  deep  and  wide 
And  bury  sweet  Willie  so  near  my  side.' 

6  Well,  now  she's  dead  and  under  ground 
While  all  her  friends  go  mourning  around. 
And  o'er  her  grave  flew  a  little  white  dove 
To  show  to  the  world  that  she  died  for  love. 

M 
'Sweet  William.'  From  Thomas  Smith,  with  the  notation  that  it  was 
"written  down  about  July  i,  1915.  ^y  Miss  Mae  Smith  of  Sugar  Grove, 
Watauga  county,  from  the  singing  of  her  stepmother,  Mrs.  Mary  Smith, 
who  learned  it  over  forty  years  ago."  This  is  still  further  removed 
from  the  ordinary  story ;  it  begins  in  the  first  person  of  the  man,  who 
appears — the  matter  is  not  entirely  clear — to  be  a  faithful  lover.  At 
any  rate,  it  is  he  that  breaks  down  the  door  and  finds  the  girl  hanged. 
It  is  related  to  'The  Rambling  Boy.' 

I     When  I  was  a  rake  and  a  rambling  boy, 
My  dying  love  both  here  and  there. 
A  rake,  a  rake,  and  so  I'll  be, 
Just  like  the  night  she  courted  me. 


OLDER     BALLADS  —  MOSTLY     BRITISH  279 

2  I  wish  I  was  some  black  thrush  bird; 
I'd  change  my  note  from  bush  to  bush. 
It's  hard  to  love  a  pretty  girl 

That  don't  love  me. 

3  When  sweet  William  came  home  at  night 
Inquiring  for  his  heart's  delight, 

He  ran  upstairs,  the  door  he  broke, 
Found  her  hung  with  her  own  bed  rope. 

4  He  drew  his  knife,  he  cut  her  down, 

And  in  her  right  hand  this  note  he  found  : 
'Cjo  dig  my  grave  both  deep  and  wide 
And  bury  sweet  William  by  my  side.' 

5  The  grave  was  dug,  the  corpse  let  down, 
And  all  her  friends  stood  weeping  round. 
Across  the  grave  there  flew  a  dove 

To  testify  she  died  for  love. 

N 
'The   Forsaken   Lovers.'     From   the   Reverend   L.   D.   Hayman,  then  oi 
Durham,  about  191 5.    The  final  stanza  only. 

82 
The  Lover's  Lament 

The  theme  of  a  man  upbraiding  an  inconstant  sweetheart  (or  a 
woman  upbraiding  an  inconstant  lover)  is  a  favorite  among  folk 
singers.  What  may  fairly  be  reckoned  forms  of  the  particular 
song  here  presented  have  been  reported  from  England  (JFSS  viii 
16-17,  from  a  woman  in  a  London  workhouse),  Virginia  (FSV  90), 
Kentucky  (FSKM  87-9),  North  Carolina  (JAFL  xlvi  33-4), 
Georgia  (JAFL  xlv  103-5),  Missouri  (OFS  iv  232-4),  and  the 
North  Woods  (Dean  111-12).  In  all  of  these  except  that  from 
England,  and  in  all  of  our  texts  except  the  first,  the  complaint  is 
put  into  the  mouth  of  the  man.  Mrs.  Steely  found  it  in  the 
Ebenezer  community  in  Wake  county. 


'With  Feeling.'  This  phrase  stands  in  the  manuscript  in  the  place  of  a 
title,  but  is  perhaps  merely  a  stage  direction  for  the  singing  of  the 
piece.  Collected  by  W.  Amos  Abrams  of  Boone,  Watauga  county, 
in  1938,  from  a  manuscript  signed  Alice  R.  Moody,  Vilas,  N.  C,  and 
dating  probably  from  1912. 

I     As   I   came   from   church  last   Sunday   I   passed   my   true 
love  by. 
I  knew  his  mind  was  changing  by  the  rolling  of  his  eye, 
By  the  rolling  of  his  eye,  by  the  rolling  of  his  eye, 
I  knew  his  mind  was  changing  by  the  rolling  of  his  eye. 


280  NORTH     CAROLINA     FOLKLORE 

2  I  knew  his  mind  was  changing  to  a  higher  degree. 

Oh,  say,  my  own  true  darHng,  why  can't  you  love  me? 
Why  can't  you  love  me  ?    Why  can't  you  love  me  ? 
Oh,  say,  my  own  true  darling,  why  can't  you  love  me? 

3  You  said  that  you  would  love  me  when  last  we  had  to  part. 
And  now  you  are  a-slighting  me  and  breaking  my  poor 

heart. 
And  breaking  my  poor  heart,  and  breaking  my  poor  heart, 
And  now  you  are  a-slighting  me  and  breaking  my  poor 

heart. 

4  I  wish  I  was  in  London  or  some  other  seaport  town ; 

I  would  set  my  foot  on  a  borders  ship,^  I  would  sail  this 

wide  world  round. 
I  would  sail  this  wide  world  round,  I  would  sail  this  wide 

world  around, 
I  would  set  my  foot  on  a  borders  ship,  I  would  sail  this 

world  around. 

5  While  sailing  around  the  ocean,  while  sailing  around  the 

deep, 
I  would  think  of  you,  my  darling,  before  I  go  to  sleep. 
Before  I  go  to  sleep,  before  I  go  to  sleep, 
I  would  think  of  you,  my  darling,  before  I  go  to  sleep. 

6  And  now  I  cross  deep  waters,  and  now  I  cross  the  sea. 
While  my  poor  heart  is  breaking  you  are  going  at  your 

ease. 
You  are  going  at  your  ease,  you  are  going  at  your  ease. 
While  my  poor  heart  is  breaking  you  are  going  at  your 

ease. 


'Pretty  Polly.'  From  the  collection  of  Miss  Isabel  Rawn  (Mrs.  W.  T. 
Perry).  The  tune  was  supplied  later  by  Mrs.  Byers.  A  somewhat 
abbreviated  text,  in  the  mouth  of  the  man. 

I     As  I  went  out  last  Sunday 
I  passed  my  true  love  by. 
I  knew  her  mind  was  changing 
By  the  rolling  of  her  eye. 
By  the  rolling  of  her  eye, 
I  knew  her  mind  was  changing 
By  the  rolling  of  her  eye. 

2     'Oh  don't  you  remember,  pretty  Polly, 

The  time  you  gave  me  your  hand 

And  said  if  ever  you  married 
*  Presumably  this  should  read  "on  board  a  ship." 


OLDER     BALLADS MOSTLY     BRITISH  281 

That  I  should  be  the  man  ? 
That  I  should  be  the  man. 
You  said  if  ever  you  married 
That  I  should  be  the  man. 

'Oh  now  you've  broken  your  promise 
And '11  marry  who  you  please, 
While  my  poor  heart  is  breaking 
You're  living  at  your  ease ; 
While  my  poor  heart  is  breaking 
You're  living  at  your  ease.' 


The  Lover's  Lament.'  Contributed  by  Thomas  Smith  of  Zionville, 
Watauga  county,  in  191 5,  with  the  note  that  "it  is  probably  not  an  old 
ballad,  but  it  has  been  sung  in  this  county  for  over  20  years.  Robert 
Smith  of  Zionville  recited  it  to  me  lately  from  memory."  Dr.  Brown 
notes  that  Mrs.  Byers  sang  it ;  but  the  music  seems  not  to  have  been 
preserved.  The  fourth  repeat  of  line  4  in  stanzas  3  and  4  seems  to 
be  a  mistake. 

1  I  went  to  church  last  Sunday ; 
My  true  love  passed  me  by. 

I  knew  her  mind  was  changing 
By  the  rolling  of  her  eye, 
By  the  rolling  of  her  eye, 
By  the  rolling  of  her  eye, 
I  knew  her  mind  was  changing 
By  the  rolling  of  her  eye. 

2  I  knew  her  mind  was  changing 
To  a  higher  degree. 

It's  oh,  my  loving  Molly, 
Why  can't  you  fancy  me? 
Why  can't  you  fancy  me? 
Why  can't  you  fancy  me? 
It's  oh,  my  loving  Molly, 
Why  can't  you  fancy  me? 

3  Remember  your  promise 

When  you  gave  me  your  right  hand ; 
You  said  if  ever  you  married 
That  I  should  be  your  man. 
That  I  should  be  your  man. 
That  I  should  be  your  man, 
That  I  should  be  your  man. 
You  said  if  ever  you  married 
That  I  should  be  your  man. 


282  NORTH     CAROLINA     FOLKLORE 

4  But  now  you  have  broken  your  promise ; 
So  go  with  whom  you  please. 

While  my  poor  heart  is  breaking 
You  are  lying  at  your  ease. 
You  are  lying  at  your  ease, 
You  are  lying  at  your  ease, 
You  are  lying  at  your  ease, 
While  my  poor  heart  is  breaking 
You  are  lying  at  your  ease. 

5  I  wish  I  was  in  Dublin 

Or  some  other  seaport  town. 

I  would  set  my  foot  on  board  a  ship 

And  sail  the  ocean  round. 

And  sail  the  ocean  round. 

And  sail  the  ocean  round, 

I  would  set  my  foot  on  board  a  shij) 

And  sail  the  ocean  round. 

6  While  sailing  round  the  ocean, 
While  sailing  round  the  deep, 
I'll  think  of  my  dear  Molly 
Before  I  go  to  sleep. 

Before  I  go  to  sleep. 
Before  I  go  to  sleep, 
I'll  think  of  my  dear  Molly 
Before  I  go  to  sleep. 

7  Oh,  love  it  is  a  killing  thing. 
Did  you  ever  feel  the  pain? 
How  hard  it  is  to  love  a  girl 
And  not  be  loved  again. 
And  not  be  loved  again. 
And  not  be  loved  again. 
How  hard  it  is  to  love  a  girl 
And  not  be  loved  again ! 


'Stinging  Bee.'  From  I.  G.  Greer,  Boone,  Watauga  county,  probably  in 
1915  or  1916.  The  first  line  is  an  intrusion,  but  I  do  not  know  from 
where. 

1  A   stinging  bee  is  a  killing  thing,   did  you  ever  feel   the 

sting  ? 
How  hard  it  is  to  love  a  girl  and  can't  be  loved  again. 
And  can't  be  loved  again,  and  can't  be  loved  again, 
How  hard  it  is  to  love  a  girl  and  can't  be  loved  again. 

2  As  I  went  to  church  last  Sunday  morn  my  lover  passed 

me  by. 


OLDER     BALLADS  —  MOSTLY     BRITISH  283 

I  knew  her  mind  was  changing  by  the  roUing  of  her  eye. 

By  the  rolHng  of  her  eye,  by  tlie  rolhng  of  her  eye, 

I  knew  her  mind  was  changing  by  the  rolling  of  her  eye. 

3     If  I  were  at  Frog  Level  or  some  other  seaport  town 

I'd  place  my  tent  on  board  ship,  and  [sail]  the  ocean  down. 

Sailing  on  the  ocean,  sailing  on  the  deep, 

I'll  see  my  dear  little  darling  before  I  go  to  sleep. 

E 

'Little  Molly.'    Obtained  from  Alexander  Tugman  of  Todd,  Ashe  county, 
in  IQ22.     This  version,  like  that  in  Dean's  collection,  seems  to  be  Irish. 

1  I  wish  I  was  in  Dublin  or  some  other  town  ; 

I'd  put  my  foot  on  board  the  ship  and  sail  the  ocean  round. 

2  While  sailing  on  the  ocean, 

I'd  think  of  little  Molly  before  I  go  to  sleep. 

83 

As  I  Stepped  Out  Last  Sunday  Morning 

This  is  an  English  folk  song,  most  often  called  'The  False 
Young  Man.'  It  is  known  in  Scotland  (Christie  i  198-9,  Ord  174), 
Essex  (JFSS  11  152,  FSE  11  16),  and  in  this  country  in  Virginia 
(SharpK  11  55-6,  SCSM  271-2,  FSV  91),  Kentucky  (SharpK  11 
53-4,  FSKM  65,  TKMS  50-3),  Tennessee  (SharpK  11  51-2),  North 
Carolina  (SharpK  11  51-3,  58),  and  Illinois  (JAFL  xl  126-7). 
The  Archive  of  American  Folksong  lists  many  items  having  the 
same  or  a  like  opening  line,  some  of  which  are  probably  this  song. 


*As  I  Stepped  Out  Last  Sunday  Morning.'  Communicated  by  Vir- 
ginia Hartsel!  of  Stanly  county.  Here  the  singer  is  the  girl ;  in  many 
texts  the  singer  is  a  third  person  who  overhears  the  meeting  of  two 
lovers.    Some  nonsignificant  slips  in  spelling  have  been  silently  corrected. 

1  As  I  stepped  out  last  Sunday  morning 
To  hear  the  birds  sing  sweet, 

I  leaned  against  the  parlor  door 
To  hear  my  love  speak. 

2  'Come  in,  come  in,  my  own  true  love, 
And  seat  yourself  by  me. 

I  will  tell  you  what  I  have  already  done 
And  what  I  intended  to  do.* 

3  He  would  not  come  in  or  he  would  not  sit  down. 
And  I  can  tell  you  the  reason  why. 

He  promised  to  be  some  other  girl's  man 
And  now  he's  no  longer  mine. 


284  NORTH     CAROLINA     FOLKLORE 

4  I  will  never  believe  another  young  man, 
Let  his  hair  be  dark  or  light, 

Unless  he's  up  some  high  glorious^  tree 
And  I'm  sure  he  can't  come  down. 

5  There's  many  a  star  up  in  heaven  above, 
There's  many  a  sin  below. 

There's  many  a  curse  upon  a  young  man 
For  treating  a  poor  girl  so. 

6  I  have  but  a  few  more  days  on  earth 
To  spend  with  you,  my  dear. 

But  I  have  always  prayed  for  you,  my  love. 
That  we  may  meet  in  the  heavens  above. 


'I  Walk  Out  Last  Sunday  Morning.'  From  Eva  Furr,  also  of  Stanly 
county.  The  grammar  is  somewhat  chaotic,  but  is  left  as  in  the 
manuscript. 

1  Just  I  walk  out  last  Sunday  morning 
To  let  thy  birds  sing  sweet. 

I  laid  my  head  in  the  parlor  room  door 
To  hear  my,  true  love  speak, 

2  'Come  in,  come  in,  my  own  true  love, 
And  sit  yourself  by  me.' 

And  he  would  come  in  nor  he  wouldn't  sit  down ; 
I  can  tell  you  the  reason  why. 

3  Because  he  promised  to  be  some  other  girl's  man 
And  his  heart  is  no  longer  mine. 

But  never  de  less  I  believe  another  young  man. 
Let  his  hair  be  dark  or  brown. 

4  Until  he  climbs  some  hight  gladies  tree 
And  swear  he  never  come  down. 

I  wish  to  God  I  never  had  been  horned 
Or  died  when  I  was  young. 

5  There's  many  a  star  in  heavens  above, 
There  is  many  a  sin  below ; 

There  a  many  a  crust  to  a  poor  boy's  soul 
For  treating  a  poor  girl  so. 

84 
Locks  and  Bolts 

For  reports  of  this  ballad  in   Britain  and  America,  and   for  its 
possible  relation  to  the  Pepys  broadside  of  'A  Constant  Wife,'  see 
*  Other  texts  have  "gallows  tree,"  which  has  more  point. 


OLDER     BALLADS MOSTLY     BRITISH  285 

BSM  168  and  OFS  i  413-14.  Martin  Parker,  professional  ballad- 
maker  of  the  seventeenth  century,  has  a  song,  'The  Lover's  Joy 
and  Griefe'  {Roxburghc  Ballads  i  599-603),  with  the  refrain  'but 
locks  and  bolts  do  hinder,'  which  may  have  some  connection  with 
this  ballad.  To  the  references  given  in  BSM  and  OFS  should  be 
added  Virginia  (FSV  91),  North  Carolina  (FSRA  132,  and  prob- 
ably also  130).  Mrs.  Steely  has  found  it  in  the  Ebenezer  com- 
munity in  Wake  county. 

'I  Dreamed  Last  Night  of  My  True  Love.'  Obtained  in  the  summer  of 
1945  by  Professors  W.  Amos  Abrams  and  Gratis  D.  Williams  from 
Pat  Frye  of  East  Bend,  Yadkin  county,  concerning  whom  see  the  head- 
note  to  'Lady  Isabel  and  the  Elf-Knight'  G. 

1  I  dreamed  last  night  of  my  true  love, 
My  arms  lay  came'  around  her ; 

But  when  I  waked  'twas  nothing  so 
And  I  was  forced  to  lay  there  'thout  her. 

2  Her  yeller  hair  like  strands  of  gold 
Was  hanging  over  the  piller. 

I  swore  I  neither  would  eat  nor  drink 
Nor  sleep  while  I  was  without  her. 

3  I  went  down  to  her  uncle's  house 
A-hoping  there  I  would  gain  her. 

Her  uncle  answered  me,  'There's  no  such  here,' 
And  it  put  my  heart  all  on  fire. 

4  I  stood  a  while  all  in  a  maze, 
A-thinking  how  I  could  gain  her. 
A  patiently  a  sword  I  drew 
And  likewise  did  I  gain  her. 

5  I  took  my  love  by  her  right  hand, 
A  sword  I  drew  in  the  other : 

'If  there's  anyone  here  loves  dearer  than  I 
So  let  them  foller  on  after.' 

6  Her  uncle  and  her  aunt  and  some  other  man 
So  straightly  followed  on  after, 

Saying,  'If  his  ways  you  don't  forsake 

In  your  own  heart's  blood  you  shall  waller.' 

7  'I  never  married  her  for  her  gold  or  silver 
Nor  none  of  her  father's  treasure.' 

^  So  the  manuscript.  Just  possibly  "came"  is  for  "calm"  and  "a 
patiently"  (stanza  4)  for  "impatiently,"  though  neither  is  a  happy 
emendation. 


286  NORTH     CAROLINA     FOLKLORE 

85 

New  River  Shore 

The  story  here  is  similar  to  that  of  'Locks  and  Bolts,'  but  it  is  a 
quite  different  ballad.  For  its  relation  to  older  English  songs,  see 
Mackenzie's  headnote,  BSSNS  137.  It  is  known  in  America  in 
Nova  Scotia  (BSSNS  137-8),  Maine  (BFSSNE  11  8),  Kentucky 
(SharpK  11  188),  Tennessee  (BTFLS  vi  158-9),  Texas  (PFLST 
VI  158-9),  and  very  likely  elsewhere.  It  is  sometimes  called  'The 
Greenbrier  Shore'  or  'The  Red  River  Shore.' 

'New  River  Shore.'  Reported  by  L.  W.  Anderson  as  collected  by 
Delma  Haywood  from  Mrs.  Sallie  Meekins  of  Colington,  Albemarle 
Sound. 

1  At  the  foot  of  yonders  mountain 
Where  the  tide  ebbs  and  flows. 
Where  the  red  roses  are  budding 
And  the  pleasant  winds  blow, 

2  'Tis  there  I  spied  the  girl 
That  I  do  adore 

As  she  was  a-walking 
On  the  New  River  shore. 

3  I  stept  away  to  her ; 

I  says,  'Will  you  marry  me  ?' 
'My  portion  is  too  small,  sir.' 
'No  matter,'  said  he. 

4  'Your  beauty  does  please  me 
And  I  ask  nothing  more. 
And  will  you  go  with  me 
From  the  New  River  shore?' 

5  So  when  her  old  father 
These  words  came  to  hear 
He  said,  'I  vv^ill  deprive  you 
Of  your  dearest  dear. 

6  'I  will  send  him  away 
Where  the  loud  cannon  roar, 
And  will  leave  you  lamenting 
On  the  New  River  shore.' 

7  He  raised  for  him  an  army 
Of  sixty  and  four 

To  fight  her  old  father 
On  the  New  River  shore. 

8  He  drew  out  his  sword 
And  he  waved  it  around 


0  L  I)  E  R      1!  A  I.  I.  A  1)  S  M  0  S  T  I.  Y      I!  R  I  T  I  S  II  2«7 

Till  twenty  and  four 
Lay  dead  on  the  ground 

9     And  the  rest  of  the  nuniher 
Lay  bleeding  in  gore, 
And  he  gained  his  own  true  love 
On  the  New  River  shore. 

10  Now  Pollie  is  married; 
She  lives  at  her  ease. 

She  goes  when  she  wants  to, 
Comes  back  when  she  pleases. 

11  Now  Pollie  is  married, 
She  lives  in  renown ; 
She  is  the  grandest  lady 
In  Baltimore  town. 

86 
The  Soldier's  Wooing 

This  old  broadside  ballad — it  goes  back  at  least  to  the  seventeentli 
century — bears  some  resemblance  in  its  central  scene  to  'Earl 
Brand'  (Child  7)  and  to  'Erlinton'  (Child  8)  but  is  quite  different 
in  temper  and  has  maintained  an  identity  of  its  own  through  many 
generations.  It  is  widely  known  and  sung.  .See  B.SI\I  103,  and 
add  to  the  references  there  given  Virginia  (FSV  66),  North  Caro- 
lina (FSRA  88-90),  Tennessee  (BTFLS  11  9-10),  the  Ozarks 
(OPS  I  303-7),  Ohio  (B.SO  14-17),  Illinois  (JAFL  lx  215-16), 
and  Michigan  (BSSM  380-1). 

A 

No   title.      Obtained    by    Mrs.    Donald    MacRae    from    Betty    Coffey    of 
Avery  county  in  November  191 7. 

1  There  was  a  rich  young  lady  of  very  high  renown. 
She  had  a  large  fortune  of  silver  and  gold. 

Her  fortune  was  so  great  it  scarcely  could  be  told, 
And  she  loved  a  soldier  because  he  was  so  l)old. 

2  'O  soldier,  O  soldier.  I'm  feared  to  be  your  wife; 

My  father  is  so  cruel,  I'm  feared  he'll  take  your  life.' 
He  drew  his  sword  and  pistol  and  hung  them  bv  his  side 
And  swore  that  he'd  get  married,  let  what  might  betide. 

3  He  drew  his  sword  and  pistol  and  caused  them  to  rattle  ; 
The  lady  held  his  horse  while  the  soldier  fought  the  battle. 
The  first  one  he  came  to  he  pierced  him  through  the  maid.^ 
The  next  one  he  came  to  he  served  him  just  the  same. 

*  Other  texts  from  the  South  show  that  this  probably  should  he 
"main."     The  Missouri  text  has  "brain." 


288  NORTH     CAROLINA     FOLKLORE 

4  'Let's  run,'  said  the  rest,  'I  fear  that  we'll  be  slain. 
To  fight  a  bold  soldier  is  all  in  vain.' 

'Oh  stop,  bold  soldier,'  the  old  man  replied ; 
'You  shall  have  my  daughter  to  be  your  bride.' 

5  'Fight  on,'  said  the  lady,  'your  portion's  yet  too  small,' 
'Hold  your  hand,'  said  her  father,  'and  you  shall  have  it  all. 

6  Now  all  ye  rich  ladies  who  have  money  in  store, 
Never  slight  a  soldier,  though  sometimes  they  be  poor. 
The  soldier's  brave,  jolly,  brisk,  and  free, 

And  will  fight  for  his  wife  and  her  liberty. 


No  title.  From  a  manuscript  notebook  lent  to  Dr.  Brown  in  1943  by 
Mrs.  Harold  Glasscock  of  Raleigh.  Most  or  all  of  her  songs  Mrs. 
Glasscock  learned  from  her  parents,  and  she  herself  can  sing  them,  but 
no  recording  of  this  one  has  been  made. 

1  'Oh,  soldier,  oh,  soldier,  I  fain  would  be  your  wife. 
But  my  father  is  so  cruel  he  soon  would  end  my  life.' 
Away  to  the  parson's ;  returning  home  again. 

They  met  her  old  father  with  seven  armed  men. 

2  'Oh,  daughter,  oh,  daughter,  oh,  daughter,'  said  he, 
'Did  ever  I  think  you'd  bring  such  a  scandal  on  me. 
Did  ever  I  think  you'd  be  young  Carvender's  wife ! 
How^  down  in  yonder  valley  I  soon  shall  end  your  life.' 

3  'Oh,  stop,'  said  the  soldier,  'I  have  no  time  to  prattle.' 

He  drew  his  sword  and  pistol  and  caiised  them  to  rattle. 
The  ladies  held  the  horses  while  the   soldier  fought  the 
battle 


4  The  first  one  he  came  to  he  run  him  through  the  main ; 
The  next  one  he  came  to  he  served  him  the  same. 
'Let's  run,'  says  all  the  rest,  'for  I  fear  we  will  be  slain. 
To  fight  a  valiant  soldier  I  see  it's  all  in  vain.' 

5  'Oh,  hold  your  hand,  ye  soldier     .     .     . 
You  shall  have  daughter,  house,  and  land.' 
'Fight  on,'  said  the  lady,  'the  portion  is  too  small.' 

'Oh,  hold  your  hand,  ye  soldier,  and  you  shall  have  it  all. 

6  She  got  on  their  horses  and  homeward  they  did  ride ; 
A  fine  wedding  dinner  for  them  he  did  provide. 

He  called  him  his  son  and  made  them  his  heir ; 
'Twas  not  through  love  but  through  pure  fear." 

*  So  the  manuscript;  miswritten  for  "Now"? 

*  Grammatical  number  is  curiously  mishandled  in  this  stanza. 


OLDER     BALLADS  —  MOSTLY     BRITISH  289 

7     Come  all  ye  young  maidens  with  money  laid  in  store, 
Never  slight  a  soldier  because  he's  sometimes  poor. 
A  soldier,  a  soldier,  both  jolly,  brave,  and  free, 
They  fight  for  their  wives  and  their  rights  of  liberty. 

c 

'The  Yankee  Soldier.'  From  an  anonymous  typescript  which  Dr.  White, 
both  from  the  manner  of  the  accompanying  note  and  from  the  mention 
of  Mrs.  Buchanan  of  Horse  Creek,  assigns  confidently  to  Mrs.  Sutton. 
The  note  says  in  part :  "It  seems  strange  that  there  are  so  few  Civil 
War  ballads  in  the  mountains.  .  .  .  'The  Yankee  Soldier'  is  neither 
pretty  nor  gruesome.  ...  I  am  indebted  for  this  copy  to  Mrs. 
Buchanan  of  Horse  Creek."  Of  course  it  is  not  really  a  Civil  War 
ballad ;  merely  an  adaptation.  Dr.  White  notes  on  the  typescript  that 
he  found  this  song  in  Alabama  in  1916. 

1  A  story  about  a  Yankee  a-comin'  from  the  war. 
He  courted  Lilly  Marrit,  a  secret  from  her  pa. 
Her  pa  was  so  wealthy  it  scarcely  can  be  told. 

She  loved  that  Yankee  soldier  because  he  was  so  bold. 

2  'Lilly  Margaret,  daughter,  my  word  you'd  better  mind. 
I'll  shut  [you]  in  a  cave,  your  body  I'll  confine.' 

*0  father,  cruel  father,  my  body  you  can  confine. 

But  you  can't  put  the  Yankee  soldier  from  out  my  mind.' 

3  Then  up  spoke  the  Yankee  soldier:  'Oh,  never  mind  the 

tattle. 
If  I'm  to  be  a  married  man  I  shore  can  fight  a  battle.' 
So  his  bride  she  hel'  the  horses  and  the  Yankee  fought  the 

battle, 
So  his  bride  she  hel'  the  horses  and  the  Yankee  fought  the 

battle. 

4  The  first  man  that  come  he  shot  through  the  brain, 
An'  the  next  man  that  come  he  served  him  the  same. 
'Fly,'  said  the  others,  'your  sons  will  all  be  slain ; 

To  fight  the  Yankee  soldier  you  see  it  is  in  vain,' 

5  'O  Yankee,  O  Yankee,  don't  strike  your  licks  so  bold. 
Fur  I'll  give  to  you  my  daughter  and  forty  pounds  o'  gold.' 
'No,'  says  the  daughter,  'the  sum  it  is  too  small. 

Fight  on,  my  Yankee  soldier,  you  soon  will  git  it  all.' 


'The  Bold  Soldier.'  One  of  the  songs  collected  by  Professors  W.  A. 
Abrams  and  Cratis  D.  Williams  in  1945  from  the  singing  of  Pat  Frye 
of  East  Bend,  Yadkin  county.  See  headnote  to  'Lady  Isabel  and  the 
Elf-Knight'  G.  Pretty  much  the  same  as  B  and  yet  with  sufficient 
variations  to  justify  giving  the  text  here.  The  spelling  and  pointing 
have  been  normalized,  but  the  idiom  is  retained. 


290  NORTH     CAROLINA     FOLKLORE 

1  There  was  a  young  soldier,  he  lately  came  from  war, 
He  courted  a  lady  with  fortune  and  rich  store. 

Her  fortune  was  so  great  it  scarcely  could  be  told, 
Although  she  loved  a  soldier  because  he  was  so  bold. 

2  'Bold  soldier,  bold  soldier,  I  cannot  be  your  wife ; 
My  father  is  so  cruel,  I'm  afraid  he'd  take  your  life.' 

He  drew  his  sword  and  pistol  and  he  hung  them  by  his  side 
And   he   swore    he    would    get    married,    let    what    would 
provide. 

3  They  were  going  to  the  priest,  and,  returning  home  again, 
They  met  her  old  father  and  seven  armed  men. 

He  drew  his  sword  and  pistol  and  he  caused  them  to  rattle. 
And  the   ladies  belt  their  horse  while  the  soldier  fought 
the  battle. 

4  The  first  one  he  came  to  he  fought  him  in  the  main. 
The  next  one  he  came  to  he  served  him  just  the  same. 
'Let's  run,'  says  the  rest,  'we  find  we  shall  l)e  slain ; 
Till  fighting  with  yon  soldier  we  find  it  all  in  vain,' 

87 

Early,  Early  in  the  Spring 

For  a  brief  history  of  this  ballad  and  its  appearance  in  other 
collections,  see  BSM  163,  and  add  to  the  references  there  given 
Virginia  (FSV  62-3),  North  Carolina  (FSRA  130-1),  Arkansas 
(OFS  I  334-5,  337),  Missouri  (OFS  i  333-4,  335-7),  and  Indiana 
(SFLQ  V  175-6).  The  three  texts  in  our  collection  do  not  differ 
greatly. 


'Early,   Early   in   the    Spring.*     Secured   from    ]\Iiss    Fannie   Grogan   oi 
Silverstone,  Watauga  county,  in  May  1917- 

1  Early,  early  in  the  spring 

I  went  on  board  to  serve  my  king 
And  left  my  dearest  dear  behind, 
Who  ofttime  said  her  heart  was  mine. 

2  When  I  held  her  in  my  arms 

I  thought  I  held  ten  thousand  charms, 
A  thousand  promises  and  kisses  sweet, 
Saying,  'We  will  get  married  next  time  we  meet.' 

3  When  I  was  sailing  and  on  the  sea 
Not  a  moment  of  peace,  oh,  could  I  see 
For  writing  letters  to  my  dearest  dear ; 
But  not  one  word  from  her  could  I  hear. 


OLDER     H  A  I,  L  A  D  S MOSTLY     H  R  I  T  I  S  II  2gi 

4  At  last  I  came  to  Samcgo  town.^ 

I  walk  the  streets  both  up  and  down 

Inquiring  for  my  dearest  dear, 

But  not  one  word  from  her  could  I  hear. 

5  I  walked  right  up  to  her  father's  hall, 
There  for  my  true  love  I  did  call. 
The  answer  was,  'She  is  married  now; 
She  married  a  man  to  better  her  life.' 

6  I  walked  right  up,  her  hand  did  take, 
Sayitig,  'Now  all  false  promises  I  will  break. 
You  have  proved  false  and  I've  proved  true. 
And  now  forever  I'll  bid  you  adieu. 

7  'I'll  go  back  on  board  again, 
I'll  go  back  to  serve  my  king, 
I'll  go  back  where  the  bullets  fly, 
Sail  on  deep  water  until  I  die.' 

8  'Oh,  don't  go  back  on  board  again. 
Oh,  don't  go  back  to  serve  your  king, 
Oh,  don't  go  back  where  the  bullets  fly ; 

For  there's  many  pretty  girls  much  better  than  I.' 

9  'I'll  curse  both  gold  and  silver  too, 
Also  the  girl  that  don't  prove  true. 
That  will  marry  a  man  for  riches'  sake 
And  leave  her  true  lover's  heart  to  break. 

10     'There  is  a  river  runs  through  this  town 
In  which  my  body  may  be  found. 
I  want  to  be  buried  under  youn's  green  tree. 
Remember,  love,  I  died  for  thee.' 


'Early  in  the  Spring.'  As  sung  by  Mrs.  Charles  K.  Tillett,  of  Wan- 
chese,  Roanoke  Island,  in  1922.  The  text  does  not  differ  markedly 
from  A.     No  town  is  named.     The  last  four  of  the  seven  stanzas  run  : 

4  Her  cruel  old  parent  made  this  reply : 
'My  daughter  is  married  and  you  deny.' 

'Your  daughter  is  married  ?     What  do  you  mean  ?' 
'My  daughter  is  married  most  like  a  queen.' 

5  'Oh,  curse  all  gold  and  silver  too, 

Curse  all  sweethearts  that  won't  prove  true ; 
Curse  be  the  man  that's  married  my  love, 
May  he  have  curses  from  above.' 

^  Cambiaire's  Tennessee  text  and  Henry's  from  Virginia  have  "Saint- 
ler's  town" ;  one  of  Cox's  from  West  Virginia  has  "Gladys  town."  I 
can  explain  none  of  these  names. 


292  NORTH  CAROLINA  FOLKLORE 

6  'Oh,  Stop,  young  man  !    Oh,  stop !'  says  she, 
'There's  as  weaUhy  girls  in  this  town  as  I. 
Your  fortune  great  but  none  Hke  mine, 

So  don't  speak  harm  of  a  woman  kind.' 

7  I  sail  to  the  city  call[ed]  seaport  town 
Where  the  cannon  balls  will  me  surround ; 
I  sail  the  seas  till  the  day  I  die 

And  sweep  the  deep  where  the  bullets  fly. 

c 

'It  Was  Early.'  Contributed  by  James  York  of  Olin,  Iredell  county,  in 
1939.  Although  it  does  not  differ  greatly  from  A  and  B,  its  variants 
interestingly  illustrate  the  operation  of  oral  tradition.  The  last  line  of 
each  stanza  is  repeated. 

1  It  was  early,  early  in  the  spring 

I  was  pressed  on  board  to  meet  the  king, 
To  leave  my  dearest  dear  behind 
Who  had  ofttimes  said  that  her  heart  was  mine. 
Who  had  ofttimes  said  that  her  heart  was  mine. 

2  As  I  was  on  the  raging  sea 
I  took  the  opportunity 

To  write  unto  my  dearest  dear ; 
But  nothing  from  her  could  I  hear. 

3  I  rode  up  to  her  father's  hall 
And  loudly  for  her  did  I  call. 
Her  father  made  me  this  reply, 

Saying,  'She  is  married  and  you  must  be  denied.' 

4  I  asked  him  what  that  he  did  mean. 
He  answered  me  all  in  her  name : 
'She's  married  to  a  richer  life ; 

Go,  find  you  another,  another  wife.' 

5  Cursed  be  his  gold  and  silver  too 
And  all  fair  girls  who  won't  be  true, 
Who  will  their  own  fair  promise  break 
And  marry  another  for  riches'  sake. 

6  I'll  go  where  the  drum  and  fife  do  play 
And  never  ceaseth  night  or  day. 

I'd  rather  be  on  the  raging  sea 
Than  to  be  in  a  false  girl's  company. 

7  'Oh,  Willie,  Willie,  please  stay  on  shore, 
Don't  go  to  the  raging  sea  any  more. 
There's  girls  all  around  more  fair  than  I. 
Don't  split  the  waves  where  the  bullets  fly.' 


OLDER     BALLADS  —  MOSTLY     HRITISII  293 

8     And  since  I've  lost  my  gold  and^  crown, 
I'll  sail  the  ocean  round  and  round, 
I'll  sail  the  sea  till  the  day  I  die, 
I'll  split  the  waves  where  the  bullets  fly. 

88 
Charming  Beauty  Bright 

English  in  origin,  this  song  seems  now  to  be  better  known  in  this 
country.  See  BSM  164,  and  add  to  the  references  there  given 
Virginia  (FSV  63-4),  North  Carolina  (FSRA  130-1),  Florida 
(FSF  343-4),  Arkansas  (OFS  i  348-9),  Missouri  (OFS  i  346-7), 
Ohio  (BSO  113-14),  Indiana  (BSI  106,  SFLQ  iii  203-4),  Illinois 
(JAFL  LX  216-17),  and  Wisconsin  (JAFL  lii  33). 

A 

'The  First  Girl  I  Courted.'  Contributed,  with  the  tune,  by  Thomas 
Smith  of  Zionville,  Watauga  county,  with  the  note :  "The  above  song 
was  recited  by  Mrs.  Peggy  Perry  in  March,  1915,  and  written  down  by 
her  daughter-in-law  Mrs.  Lilly  Perry.  It  was  a  popular  song  in  Mrs. 
Perry's  younger  days,  probably  sixty  years  ago,  she  says." 

1  The  first  girl  I  courted  she  was  a  beauty  bright, 
And  on  her  I  fixed  my  own  heart's  delight. 

I  courted  her  for  love,  for  love  I  did  intend. 

Never  more,  never  more  could  I  have  love^  to  complain. 

2  And  when  her  old  father  came  for  to  know 
If  me  and  his  daughter  together  would  go, 
They  locked  her  up  so  close,  so  tight  and  near, 
I  never,  never  could  get  sight  of  my  dear. 

3  Away  to  the  war  I  was  forced  to  go, 
To  see  if  I  could  forget  my  love  or  no. 

And  when  I  got  there,  the  army  shined  so  bright 

It  just  put  me  more  in  mind  of  my  own  heart's  delight. 

4  For  seven  years  I  stayed  and  tired  for  the  king. 
And  then  I  resolved  to  come  back  again. 

And  when  her  father  seen  me  he  looked  at  me  and  cried. 
'My   daughter   loved  you   dearly,   and   for  your  sake   she 
died.' 

5  And  I  stood  like  one  to  be  slain. 

The  tears  from  my  eyes  like  showers  of  rain. 
My  true  love  is  dead,  she  died  in  despair. 
She's  lying  in  her  grave,  and  I  wish  I  was  there. 
*  No  doubt  this  should  be  "golden." 


Read  "cause"  or  "reason."     See  texts  B  and  D. 


294  NORTH     CAROLINA     FOLKLORE 


'Seven  Year  Song.'  Mrs.  Sutton  reported  this  from  the  singing  of 
Myra  Barnett  (Miller)  of  the  Brushies  in  Caldwell  county,  from  whom 
she  learned  so  many  old  ballads.  Myra  learned  it  from  Mrs.  Ann 
Brown,  who  lived  in  the  "time  of  the  war"  (the  Civil  War)  and  "knew 
a  great  deal  about  soldiers,  Myra  said,  and  she  believed  that  soldiers 
were  seldom  true  to  the  girls  they  left  behind  them." 

1  Once  I  courted  a  charming  beauty  bright, 
Upon  her  I  placed  my  whole  heart's  delight. 
I  courted  her  for  love  and  love  I  did  obtain, 
Nor  had  I  any  reason  at  all  to  complain. 

2  When  her  old  father  came  this  for  to  know, 
That  me  and  his  daughter  we  must  go. 

He  locked  her  in  her  chamber,  he  kept  her  so  severe 
That  I  did  not  get  to  see  one  single  sight  of  my  dear.' 

3  Then  to  the  army  a  soldier  I  did  go 

To  see  whether  I  could  forget  her  or  no. 
Seven  long  years  did  I  serve  thee,  my  king, 
And  seven  long  months  I  returned  home  again. 

4  And  returning  home  with  my  army-  shining  bright 
I  had  a  little  thought  of  my  whole  heart's  delight. 
Her  mother  met  me,  she  answered  and  she  cried, 

'My  daughter  dearly  loved  you  and  for  your  sake  she  died.' 

5  Then  I  was  struck  like  a  man  that  was  slain ; 
Tears  poured  down  my  face  in  great  showers  of  rain. 


c 
•The  First  Girl  I  Courted.'     Sung  by  Mrs.  Charles  K.  Tillett  of  Wan- 
chese,   Roanoke   Island,   in   IQ22.     Five  stanzas,   of  which  the  first  three 
differ  somewhat  from  the  corresponding  stanzas  of  A  and  B.    They  run: 

I     The  first  girl  I  courted  was  a  charming  beauty  bright 
And  on  her  I  press  my  own  heart  delight ; 
I  courted  her  for  love  and  love  I  did  entend. 
And  have  you  any  reason  why  I  should  explain  ? 

'  Mrs.  Sutton  reports  as  variant  readings  in  this  stanza : 

Then  to  her  mother  I  often  did  go 

To  see  whether  I  could  get  her  or  no. 

She 

and 

Then  to  her  parents  a  suitor  I  did  go 

To  see  whether  I  could  have  her  or  no. 

They     ...         

*  Read  of  course  "armor,"  which  seems  to  carry  the  original  of  the 
song  pretty  far  back.  Perhaps  the  singer  did  not  understand  "armor" 
and  used  instead  a  word  she  did  know. 


OLDER     BALLADS  —  MOSTLY     BRITISH  295 

2  When  her  old  father  this  news  came  to  hear 

He  says,   'Daughter,   I   deprive  you  of  your  own  dearest 

dear.' 
So  he  locked  her  up,  and  he  kept  her  so  secure 
That  I  never  laid  eyes  on  my  darling  any  more. 

3  Last  Monday  morning  blew  a  sweet  and  a  pleasant  gale, 
And  at  that  very  hour  our  ship  she  did  set  sail. 
When  she  saw  me  leaving  she  looked  at  me  and  cried. 
Says,  'I  never  shall  forget  until  the  day  I  die.' 

D 
No  title.     Collected  from  James  York  of  Olin,  Iredell  county,  in  August 
1939.    This  is  the  fullest  text  in  the  North  Carolina  collection. 

1  Once  I  courted  a  very  beauteous  maid, 

I  courted  her  by  day  and  I  courted  her  by  night ; 
I  courted  her  for  love  and  love  I  did  obtain, 
And  there's  where  she  had  no  right  to  complain. 

2  As  soon  as  her  parents  came  for  to  know 
That  I  was  courting  their  daughter  I  know^ 
They  locked  her  so  high,  they  kept  her  so  fire 
I  never  could  get  the  sight  of  my  dear. 

3  Back  to  her  chamber  three  times  a  day  I'd  go 
To  see  if  she  had  forgotten  me,  I  know; 

I  might  have  loved  another  of  higher  degree. 
But  my  love  it  is  for  you  and  none  but  thee. 

4  Back  to  the  war  I  thought  I  would  go 
To  see  if  I  could  forget  my  love  or  no. 

But  when  I  got  in  sight  the  armor  shined  so  bright 
It  put  me  in  remembrance  of  my  old  heart's  delight. 

5  I  served  out  my  time,  which  was  seven  years  or  more. 
Seven  years  or  more  I  was  returning  to  shore. 

Where  shall  I  go  or  what  shall  I  do? 

6  Back  to  her  parents  I  thought  I  would  go 
To  see  if  they  had  forgotten  me  or  no. 

Her  mother  saw  me  coming.     She  wrung  her  hands  and 

cried, 
'My   daughter   loved   you   freely   and    for   your   sake   she 

died.' 

*  Not  knowing  how   to  construe   the   last   two   words   of  this   line,   I 
leave  them  unpointed.     In  the  next  line,  perhaps  read  "fine"  for  "fire." 


296  NORTH     CAROLINA     FOLKLORE 

7  There  I  stood  just  like  one  been  slain. 

The  tears  were  streaming  down  my  cheeks  just  like  great 

showers  of  rain. 
Good  lock  and  good  lock,^  the  pain  I  cannot  bear. 
My  love  is  in  her  grave  and  I  wish  that  I  was  there. 

8  I  went  to  her  grave ;  I  knelt  down  there 

And  I  prayed,  'My  love  is  in  her  grave  and  I  wish  I  were 

there.' 
If  any  one  here  that  has  ever  felt  the  pain, 
Go  bring  to  me  one  pen  and  ink  and  I'll  write  down  the 
same. 

89 

The  Glove 

For  the  history  of  this  story  and  its  appearance  as  a  ballad,  see 
Barry's  note  in  NGMS  69-70.  Originating  in  Spain,  it  had  spread 
by  the  sixteenth  century  to  Italy  and  to  France,  and  in  the  latter 
country  was  incorporated  in  Brantome's  Memoircs  of  the  French 
court.  It  was  in  this  French  form  that  it  was  known  to  Schiller, 
Leigh  Hunt,  and  Browning,  and  their  rendering  of  it  ('Der 
Handschuh,'  'The  Glove  and  the  Lions,'  'The  Glove')  all  keep  the 
sophisticated  courtly  moral  of  the  original  anecdote — Browning, 
characteristically,  with  a  further  ethical  analysis.  In  its  street- 
ballad  form  the  moral  of  the  tale  is  inevitably  simpler:  only  the 
brave  deserve  the  fair.  The  earliest  English  ballad  rendering  of 
the  story  is  a  long-winded  afifair  preserved  in  the  Percy  collection 
of  broadsides.  The  nineteenth-century  prints — both  Catnach  and 
Pitts  printed  it — are  shorter,  and  it  is  from  these  that  the  texts 
found  in  oral  tradition  derive.  It  has  been  reported  from  Scotland, 
Somerset,  Nova  Scotia,  Vermont,  Virginia  (FSV  38),  Kentucky, 
and  Mississippi.  Quite  exceptionally,  one  of  our  two  North  Caro- 
lina texts  retains  the  more  cynical  moral  of  the  original  anecdote. 
On  that  account,  and  because  the  two  texts  illustrate  the  vagaries 
of  oral  tradition,  both  are  given. 

A 

'The  Squire's  Sons.*  Contributed  by  Thomas  Smith  of  Zionville,  Watauga 
county,  in  1915,  with  the  notation:  "The  verses  are  part  of  a  song  which 
has  been  sung  for  nearly  50  years  in  Caldwell  and  Watauga  counties.  The 
above  verses  were  sung  by  Mrs.  Rebecca  Icenham  and  Bennett  Smith  in 
February,  191 5."  As  this  note  indicates,  the  version  is  not  complete; 
part  of  the  action  has  been  lost  between  the  fifth  and  the  sixth  stanzas. 

I     In  Oxford  where  there  lived  a  lady, 
She  was  beautiful  and  gay ; 
She  was  of  great  resolution 
No  man  of  life  could  her  betray. 
'  Should  this  be  "good  luck"  or  "alack"  ? 


OLDER     BALLADS  —  MOSTLY     BRITISH  297 

2  The  squire's  sons,  two  loving  brothers, 
Came  this  fair  lady  for  to  see. 

This  young  lady  expressly  to  [Id]  them 
That  how  'I  can  but  one  man's  bride  be.' 

3  This  young  lady  expressly  told  them : 
'How  can  I  be  but  one  man's  bride? 
Come  to  me  tomorrow  morning 

And  the  matter  I'll  decide.' 

4  They  went  home,  these  loving  brothers, 
Not  thinking  of  their  dismal  doom, 
While  she  lie  lisping  on  her  pillow 
Till  the  morning  light  did  come. 

5  She  called  for  her  coach  and  called  for  her  horses. 
On  yonders  mountain  for  to  ride 


Where  the  roaring  lions  doth  abide. 


6  Up  and  spoke  the  noble  captain: 
'Madam,  your  offer  I  do  refuse. 

For  in  that  den  there  is  great  danger; 
I'm  sure  a  man  his  life  would  lose.' 

7  Then  up  and  spoke  the  noble  captain, 

He  spoke  like  a  man  that  was  troubled  in  mind. 
Saying,  'I'll  wander  off  in  some  lone  desert 
Where  neither  man  nor  beast  can  find. 

8  'There  I'll  spend  my  lonely  hours. 
Seeking  of  my  dismal  doom, 

Till  death  shall  come  and  me  deliver 
To  my  immortal  home.' 

9  Up  and  spoke  the  brave  lieutenant : 
'I  would  not  have  you  for  my  wife. 
I  find  by  your  actions 

That  you  care  nothing  for  my  life.' 


The  Lion's  Den.'  Secured  from  Mrs.  Julia  Grogan,  Silverstone,  Wa- 
tauga county,  in  1926.  Vagaries  of  spelling,  pointing,  and  use  of  capitals 
have  not  been  preserved. 

I     In  Noxford  near  there  lived  a  lady 
And  she  was  beautiful  and  gay, 
And  she  was  of  some  resolution 
No  man  of  life  can  her  betray. 


290  NORTH     CAROLINA     FOLKLORE 

2  Unless  he  be  some  man  of  honor, 
Let  him  be  by  land  or  sea. 

A  esquire's  sons,  two  loving  brothers. 
Came  this  fair  lady  for  to  see. 

3  One  of  these  men  was  a  noble  captain 
Over  a  ship  called  Colonel  Carr, 
The  other  was  a  brave  lieutenant, 

A  man  of  honor,  a  man  of  war.^ 

4  This  lady  she  expressly  told  them, 
'How  can  I  be  but  one  man's  bride? 
Come  here  to  me  tomorrow  morning 
And  this  matter  I'll  decide.' 

5  These  two  loving  brothers  went  home 
Not  thinking  of  their  dismal  doom. 
While  she  lay  lisping  on  her  pillow 
Until  the  morning  light  did  come. 

6  And  then  she  called  for  coach  and  horses 
Early  attended  and  ready  be 

'While  I  ride  on  to  yonder  bowers- 
These  roaring  lions  for  to  see.' 

7  She  rode  on  to  yonder  bowers. 

The  lions  they  were  fondling  around, 
And  for  the  space  of  one  half  of  a  hour 
She  lay  speechless  on  the  ground. 

8  But,  alas!^  she  did  recover. 

Down  in  the  den  she  threw  her  fan, 
Saying,  'Either  of  you  to  gain  a  lover 
Can  go  and  bring  my  fan  again.' 

9  And  up  bespake  the  noble  captain, 
Saying.  'Madam,  your  ofifer  I  do  refuse. 
For  in  that  den  there  is  great  danger 
And  a  man  his  life,  I  am  sure,  would  lose.' 

10     Then  up  bespoke  this  brave  lieutenant. 
He  raised  his  voice  both  loud  and  high, 
Saying,  'Madam,  I  am  a  man  and  a  man  of  honor, 
And  I  will  bring  your  fan  or  die.' 

'  Catnach's  text  makes  this  stanza  intelligible : 

The  one  had  a  Captain's  commission 
Under  the  command  of  Colonel  Carr 
The  other  was  a  lieutenant 
On  board  the  Tiger  man  of  war 

*  In   Catnach's   print   she   goes  to  the   Tower    (of   London),   where  a 
royal  menagerie  was  maintained  down  to  1834. 

*  Probably  misheard,  or  miswritten,  for  "at  last." 


OLDER     BALLADS  —  MOSTLY     BRITISH  299 

1 1  Then  down  into  the  den  he  entered. 
The  lions  looked  both  fierce  and  g^rim. 

He  Stamped  and  stamped  all  round  among  them 
And  looked  as  fierce  at  them  again. 

12  He  stamped  and  stamped  all  round  among  them 
Until  the  lions  grew  quite  still. 

Then  low  he  stooped,  the  fan  he  gathered, 
Returning  to  his  love  again. 

13  And  when  she  saw  that  he  was  coming 
And  unto  him  no  harm  was  done. 
Into  his  arms  she  flew  a-running 

For  to  enjoy  the  prize  he  had  won. 

14  Then  up  bespoke  this  noble  captain, 

He  spoke  like  a  man  that  was  troubled  in  mind, 
Saying,  T  wander  oflf  to  some  lonesome  woods 
Where  me  no  man  can  ever  find, 

15  'And  there  I'll  spend  my  lonesome  hours, 
A-rovering  of  my  dismal  doom, 

Until  death  come  to  end  my  hours 
And  take  me  to  eternal  home.' 


90 
A  Brave  Irish  Lady 

For  the  relation  of  this  ballad  to  Child  295,  'The  Brown  Girl,' 
and  for  its  occurrence  in  other  collections,  see  BSM  111-12,  and  add 
to  the  references  there  given  Virginia  (FSV  44-5),  Tennessee 
(JAFL  XLV  53-4),  North  Carolina  (FSRA  74-5),  Florida  (FSF 
330),  Arkansas  (OFS  i  209),  Missouri  (OFS  i  205-8,  209-12), 
Indiana  (BSI  164-5),  Michigan  (BSSM  250-1),  and  Wisconsin 
(JAFL  Lii  12-13).  The  lady  is  not  always  Irish,  and  even  when 
she  is  she  sometimes  comes  from  London.  The  ballad  appears  to 
have  been  widely  known  in  this  country  since  early  in  the  last  cen- 
tury ;  the  text  reported  from  Vermont  is  from  a  local  songbook  of 
1823,  and  the  first  of  our  North  Carolina  texts  is  from  a  manuscript 
of  about  the  same  date.  Stall  texts  (e.g.,  that  in  the  Brown  Uni- 
versity Library,  reprinted  in  BBM)  sometimes  end  happily  with 
the  man  relenting,  but  more  commonly  the  story  ends  with  the  death 
of  the  lovesick  lady.  Besides  the  three  here  described  our  collection 
has   another   version,   without   indication  of  source,  date,  or   place. 

A 
'New  Ballad.'  From  the  Adams  manuscript,  now  in  the  possession  of 
W.  Amos  Abrams.  This  manuscript  hook,  made  in  1824-25  hy  Moses 
Adams  of  DeHart,  Wilkes  county,  came  down  through  four  generations 
of  the  Adams  family  before  it  reached  the  hands  of  Professor  Abrams. 
Most   of  the   items   in  the   manuscript  are  of  the   pious   type  and    will 


300  NORTH  CAROLINA  FOLKLORE 

appear  later  in  the  present  volumes.  The  sheets  are  worn  and  some- 
times scarcely  legible.  It  seems  best  to  print  it  here  as  it  stands  in  the 
manuscript,  so  far  as  that  can  be  made  out. 

1  An  Irish  lady  from  London  I  came 

A  beautifull  creature  sweet  Sally  by  name 

her  riches  were  more  than  the  King  could  possess 

And  Beauty  was  her  welth  at  her  best 

2  to  court 
ter  welthy  young  merchant 

income  is  more  than  30  thousand  a  yere 
fortion 
her  beauty  so  laufty  her  portion  so  high 
on  this  young  man  she         fix 

3  O  sally  O  sally  &  Sally  said  he 

Im  afraid  your  love  &  my  love  will  never  agre 

Without  your  hatred  I  should 

I'm  afraid  that  your  beauty  will  be  my  Ruin 

4  I  have  no  hatred  nor  no  other  man 
But  as  for  to  love  you,  it  is  more  then  I  can 
So  you  may  intirely  end  your  discourse 

I  never  will  wed  the  without  I  am  forst 

5  Twenty  four  weeks  is  scarst  come  &  past 
This  beautifull  creature  has  took  sick  at  last 
She  laughed  in  love  &  she  new  not  fore  why 
And  sent  for  this  young  man  she  once  did  deny 

6  Am  I  the  doctor  you  sent  for  me  hier 

Or  am  I  the  young  man  you  love  now  so  dear 

Yes  you  are  the  doctor  can  kill  or  can  dure 

And  without  your  assistance  I  am  ruin'd  I  am  shure 

7  O  sally  O  sally  &  sally  sd  he 

Dont  you  remember  when  I  corted  the 
When  I  courted  you  you  deny'd  me  in  scorn 
And  now  I  will  reward  the  for  what  past  &  gone 

8  For  what  past  and  gone  forgit  and  forgive 
And  grant  me  some  more  longer  time  for  to  live 
no  that  I  want  Sally  whili.st  I  do  draw  breath 

For  I  will  dance  on  your  grave  whilist  you  lie  in  earth 

9  Then  of  her  fingers  puU'd  dimonds  rings  three 

Here  take  these  love  and  ware  them  while  dancing  on  me 
For  I  freely  all  forgive  you  all  tho  you  wont  me 
Ten  thousand  time  over  my  folly  I  se 


OLDER     BALLADS  —  MOSTLY     BRITISH  301 

So  fare  you  well  papy  and  all  papys  friends 

So  far  you  well  loving  sweetheart  god[?J  in  you  a 

I  freely  all  forgive  all  tho  you  wont  me 

So  farewell  to  this  world  it  is  all  vanity 


'Fair  Sally.'  Secured  by  Thomas  Smith  in  191 5  from  the  recitation  of 
Mrs.  Peggy  Perry  of  Zionville,  Watauga  county.  "She  heard  it  when 
a  young  woman  nearly  sixty  years  ago."  The  last  two  lines  seem  to 
mean  that  he  relents  and  that  all  ends  happily. 

1  There  was  a  fair  lady,  from  London  she  came, 
She  being  Fair  Sally,  Fair  Sally  by  name; 

2  She  being  so  rich  and  desperately  high, 
Upon  a  poor  boy  she  would  scarce  cast  an  eye. 

3  'Oh  Sally,  oh  Sally,  I'm  sorry,'  said  he, 

'I'm  sorry  that  my  love  and  yours  won't  agree. 

4  'For  if  you  won't  have  me  your  own  it  will  prove ; 
Perhaps  your  own  hatred  will  turn  into  love.' 

5  In  five  or  six  weeks  come  fast  and  gone 

She  sent  for  the  young  man  she  slighted  with  scorn. 

6  And  when  he  came  in  to  her  bedside 

He  said,  'Oh,  dear  Sally,  your  head  or  your  side?' 

7  'Oh,  my  dear  lover,  the  right  you  have  not  guessed ; 
The  pain  that  torments  me  now  lies  in  my  breast.' 

8  'The  time  has  now  come  I'll  freely  forgive 

And  grant  you  a  while  longer  in  this  world  to  live.' 


'Sweet  Sally.'     Secured  by  W.  Amos  Abrams  from  Mrs.  A.  L.  Bostic 
of  Mooresboro,  Cleveland  county,  and  sent  to  Dr.  Brown  in  1938. 

1  A  noble  young  squire  from  London  he  came 
To  court  this  fair  damsel,  and  Sally  by  name. 
Her  being  so  lofty  and  a  fortune  so  high 

That  'twas  on  this  young  squire  she  would  scarce  cast  an 
eye. 

2  'Oh,  Sally,  sweet  Sally,  pretty  Sally,'  said  he, 
'I'm  fearing  your  beauty  my  ruin  will  be. 

Unless  your  hatred  will  turn  into  love.' 

3  'I've  no  hatred  for  you,  sir;  I've  no  other  man; 
But  to  say  that  I  love  you  is  more  than  I  can.' 


302  NORTH     CAROLINA     FOLKLORE 

4  About  six  months  after,  the  seventh  not  past, 
I  heard  of  this  young  lady's  misfortune  at  last. 

She  was  pierced  through  the  breast  and  she  knew  not  in 

what  form, 
So  she  sent  for  this  young  lawyer  whom  she  had  slighted 

and  scorned. 

5  As  he  approached  the  bedside  he  said, 

'Is  the  pain  in  your  head,  love,  or  is  it  your  side?' 

*No,  sir,  you've  not  the  right  guess ; 

The  pain  that's  so  piercing  is  right  here  in  my  breast.' 

6  'Oh,  Sally,  sweet  Sally,  pretty  Sally,'  said  he, 
'Do  you  remember  when  you  slighted  me? 

You  slighted  me  most  shamefully,  likewise  and  you  scorned  ; 
Now  I  will  reward  you  for  what's  past  and  gone.' 

7  'I  hope  you'll  forgive  me  for  what's  past  and  gone 
And  spare  me  some  longer  a  time  for  to  live.' 

'I'll  never  forgive  you  whilst  I  have  a  breath 

But  will  dance  on  your  grave  when  you're  laid  in  the  earth.' 

8  'Twas  oflf  her  fingers  pulled  diamond  rings  three : 
'Take  these  rings  and  wear  them  while  dancing  on  me. 
They  tell  me  the  buried  shall  rest  in  the  ground. 
Peace  and  goodwill  to  every  nation  around. 

9  'Farewell  to  my  kindred,  farewell  to  my  friends. 
Farewell  to  pretty  Johnny ;  God  make  him  a  man. 
ril  freely  forgive  him  although  he  won't  me. 
Ten  thousand  times  over  my  folly  I  see.' 


91 

Servant  Man 

Under  various  names — The  Rejected  Lover,'  'The  Rambling 
Beauty,'  'The  Lonesome  Scenes  of  Winter' — this  is  pretty  widely 
known  in  the  Southern  mountains:  in  Virginia  (SharpK  ii  98, 
101-2,  OSC  139-40),  West  Virginia  (F"SmWV  39-40),  Kentucky 
(SharpK  11  100,  BKH  145),  Tennessee  (SharpK  11  97,  JAFL  xlv 
111-12),  North  Carolina  (SharpK  11  97,  98-9),  Missouri  (BSM  191, 
195)  ;  also  in  Wisconsin  (JAFL  lii  17-18,  carried  thither  from  Ken- 
tucky). Though  texts  and  titles  vary,  it  holds  pretty  consistently  to 
one  story:  the  girl  scorns  her  wooer  (most  often  telling  him  'You 
can't  come  again'),  later  changes  her  mind  and  giv^s  her  lover  the 
chance  to  return  her  treatment  in  kind.  Mrs.  Steely  reports  a  form 
of  it  as  found  in  the  Ebenezer  community  in  Wake  county. 

'Servant  Man.'     Communicated  by  Thomas  Smith  of  Zionville,  Watauga 
county,  in  1915.     Mrs.  Daisy  Jones  Couch  of  Durham  remembered  the 


O  I.  I)  K  R      I!  A  I.  I,  A  D  S  MOSTLY      H  R  I  T  1  S  H  303 

first  Stanza  only.     With   the   tunc(s).  as   sunt>;   l)y    Mrs.   J.  J.    Miller  of 
Lenoir  and  by  Mrs.  Polly  Rayfield. 

1  I  once  knew  a  little  girl, 
I  loved  her  as  my  life  ; 

rd  freely  give  my  heart  and  hand 
To  make  her  my  wife. 

2  I  took  her  by  the  hand 
And  kisses  gave  her  three. 

Saying,  i'U  be  your  humble  servant  man 
If  you  will  marry  me.' 

3  I  took  her  by  the  hand 
And  rolled  her  in  my  arms 
And  asked  her  once  more 
If  she  would  marry  me. 

4  She  looked  upon  him 
With  scorn  and  disdain, 
Saying.  'You  humble  servant. 
You  can't  come  again.' 

5  He  left  her  six  weeks, 
Which  caused  her  to  complain. 
She  wrote  him  a  letter 
Saying,  'Oh,  do  come  again.' 

6  He  wrote  her  an  answer 
He  hadn't  forgot  the  time 
She  told  him 

He  couldn't  come  again. 

7  She  wrote  him  another 
She  had  forgot  the  time; 
'Oh,  do  come  again.' 

8  He  wrote  another ; 

He  wrote  her  full  to  know 
Sometimes  young  folks  venture 
Where  they  ort  not  to  go. 

9  If  you  see  a  green  growing  willow 
The  top  it  will  wilt  away. 

The  roots  they  will  decay  ; 

So  the  beauty  of  a  pretty  fair  maid 

Will  soon  fade  away. 


304  NORTH  CAROLINA  FOLKLORE 

92 

A.  Pretty  Fair  Maid  down  in  the  Garden 

The  opening  line  is  perhaps  the  best  means  of  identifying  this 
favorite  embodiment  of  the  returned  disguised  lover  theme.  It  is 
also  called  'A  Sweetheart  in  the  Army,'  'The  Single  Sailor,'  'The 
Returning  Soldier,'  and  by  other  names.  Its  range  is  sketched  in 
BSM  148;  to  the  references  there  given  should  be  added  Florida 
(SFLQ  VIII  165-6),  Virginia  (FSV  45-9),  Missouri  (OFS  i  2^8- 
61),  Ohio  (BSO  152),  and  Wisconsin  (JAFL  lii  8).  Mrs.  Steely 
found  a  fragment  of  it  in  the  Ebenezer  community  in  Wake  county. 
The  texts  in  the  North  Carolina  collection  are  so  nearly  alike  that 
it  seems  sufficient  to  give  but  one  of  them.  The  texts  reported  are 
listed  here : 

A  'The   Single   Sailor,'   'Gay  Young   Sailor.'     From   Thomas    Smith  of 

Zionville,  Watauga  county,  in  1914  and  again  in  1915. 

B  'The    Returning    Soldier.'      From    I.    G.    Greer    of    Boone,    Watauga 

county,  in  191 5  or  1916.     The  same  text,  under  the  title  'A  Pretty  Fair 

Maid  All  in  a  Garden,'  from  W.  A.  Abrams  in  1935  or  1936. 

C  'The  Rugged  Soldier.'     From  Miss  Isabel  Rawn's  collection,  received 

in  1915  or  earlier. 

D  No  title.     From   P.   D.   Midgett,  Jr.,  of  Wanchese,   Roanoke   Island, 

in  June  1920. 

E  'Edward.'     From  Mrs.  Sutton.     "Heard  in  Madison  county." 

F  'The   Single    Soldier.'      From    Mrs.    Sutton,    as    sung   by   "Miss    Nita 

Gahagan  of  Madison  county,  who  learned  it  from  a   Mrs.  Tweed  who 

lived  on  the  forks  of  Ivy."     Differs  slightly  from  E. 

G  'A    Sailor's    Sweetheart.'      Secured   by   L.    W.    Anderson    from   Alva 

Wise,  a  pupil  of  his  at  Nag's  Head,  Dare  county. 

H  'Pretty  Fair   Maid   in  the  Garden.'     From   Frank   Proffitt  of   Sugar 

Grove,  Watauga  county. 

I  'Pretty  Maid.'     Communicated  by  J.  C.  Knox  in  1923  or  thereabouts. 

J  'Seven  long  years  he  has  kept  me  waiting.'     From  Mary  Strawbridge 

of  Durham,  in  July  1922.     Only  two  stanzas  reported. 

K  'Pretty  Fair  Maid.'    From  Mrs.  Daisy  Jones  Couch  of  Durham.     She 

set  down  one  stanza  only,  saying  that  her  text  is  like  that  in  JAFL 

XXII  67. 

A  single  stanza  of  this  was  sung  by  Miss  Jennie  Belvin  of  Durham 
in  1922. 

I  have  a  true  love  o'er  yonders  ocean. 
For  seven  long  years  he  has  been  gone. 
And  if  he  stays  for  seven  years  longer, 
No  other  man  shall  marry  me. 

Another  fragment,  from  Miss  Amy  Henderson  of  Worry,  Burke  county, 
which  she  knew  as  'The  Broken  Sixpence,'  belongs  to  the  same  general 
tradition : 

I  sit  on  my  creepie  and  spin  at  my  wheel 

And  think  o'  the  laddie  who  lo'ed  me  so  weel ; 

He  had  but  one  saxpence;  he  broke  it  in  twa. 

He  gi'ed  me  the  half  o'  it  when  he  ganged  awa.' 

Sufficiently  representative  is  the  D  text,  from  the  seacoast. 


OLDER     BALLADS  —  MOSTLY     BRITISH  2^^$ 

1  A  pretty  fair  maid  all  in  a  garden, 

A  brisk  young  sailor  came  passing  by. 
He  stepped  up  to  her  as  if  he  knew  her 
And  said,  'Fair  maid,  can  you  fancy  1?' 

2  'O  no,  sir.    A  man  of  honor, 

A  man  of  honor  I  take  you  to  be, 
Imposing  on  a  fair  young  lady 
Unfitting  for  your  bride  to  be. 

3  'I  have  a  true  love  on  the  ocean. 
Seven  long  years  have  gone  to  sea ; 
And  seven  more  I'll  wait  upon  him, 
And  if  he's  alive  he'll  return  to  me.' 

4  'Suppose  your  true  love  he  is  drownded, 
Suppose's  he's  in  some  battle  slain, 
SupiX)se  he's  to  some  fair  girl  married ; 
His  face  you'll  never  see  again.' 

5  'O,  if  my  true  love's  slain  or  drownded 
I  hope  his  soul  has  gone  to  rest ; 

And  if  he's  to  some  fair  girl  married 
I  love  the  girl  that  he  loves  best.' 

6  He  pulled  his  hand  out  from  his  pocket, 
His  fingers  being  slim  and  small, 

Saying,  'Here's  the  ring  we  broke  between  us.' 
She  fainted  at  his  feet  did  fall. 

7  He  picked  her  up,  gently  embraced  her, 
Gave  her  kisses  two  by  three. 

Saying,  'Here's  your  poor  old  single  sailor 
Coming  on  shore  to  wed  with  thee.' 

93 

John  Reilley 

Again  a  ballad  of  the  returned  lover;  not  to  be  confused  with 
another  of  the  same  name  in  which  Johnny,  returning  from  America 
to  claim  his  bride,  is  shipwrecked  and  both  are  drowned.  This 
returned-lover  ballad  is  reported  from  Vermont  (VFSB  135-6), 
Virginia  (SharpK  11  23-4),  West  Virginia  (FSS  323-5).  Ken- 
tucky (LT  34-7,  DD  104-5,  SharpK  11  24-5;  it  is  listed  also  in 
Shearin's  syllabus),  Tennessee  (SharpK  11  25,  ETWVMB  95), 
North  Carolina  (SharpK  11  22-3,  25-6),  Missouri  (OFS  i  262-4), 
Ohio  (BSO  114-17),  and  Indiana  (SFLQ  in  211-12,  BSI  215-16)  ; 
and  it  is  listed  also  by  title  for  Michigan  (BSSM  480).  Its  habitat 
in  this  country  seems  to  be  the  southern  Appalachians  and  regions 
settled  therefrom ;  it  appears  but  once  in  the  Northeast.  The  name 
is  sometimes  "George"  Reilly. 


306  NORTH     CAROLINA     FOLKLORE 

•John   Reilley.'     Reported  by   I.   G.  Greer  of   Boone  as  sung  by  J.   l'\ 
Spainhour  of  Morganton,  Burke  county,  in  1921  or  1922. 

1  As  I  walked  out  one  morning  early 
That  I  might  meet  the  bracing  air, 
'Twas  there  I  spied  a  young  Irish  lady 
Who  seemed  to  me  like  diamonds  fair. 

2  I  walked  up  to  her  and  kindly  asked  her 
If  she  would  be  a  young  sailor's  bride. 
*Oh,  no,'  she  said,  'I  will  not  marry. 

I  prefer  to  live  a  single  life.' 

3  'What's  the  reason  that  you  won't  marry? 
You  differ  from  all  female  kind ; 

For  you  are  young,  both  fair  and  handsome, 
And,  sure,  to  get  married  your  heart's  inclined." 

4  'I  could  have  been  married  two  years  ago 

To  one  John  Reilley,  both  fair  and  handsome ; 
But  he  was  the  cause  of  my  overthrow.' 

5  'Do  leave  John  Reilley  and  do  disdain  him 
And  go  with  me  to  some  foreign  shore. 
And  we'll  sail  over  to  California 

And  bid  adieu  to  Reilley  evermore.' 

6  'I  won't  go  with  you  to  California, 

I  won't  go  with  you  to  some  foreign  shore. 
My  heart's  with  Reilley  and  will  not  leave  him 
Although  I  see  him  nevermore.' 

7  And  when  he  found  that  her  love  was  loyal 
He  gave  her  kisses  both  one,  two,  and  three, 
Saying,  'I'm  the  man  that  you  call  John  Reilley. 
And  have  come  for  to  marry  you.' 

94 

Johnny  German 

Another  of  the  ballads  of  the  returned  lover.  Presumably  a 
British  stall  ballad,  it  has  been  found,  so  far  as  the  editor  can  learn, 
only  on  this  side  of  the  water:  in  Nova  Scotia,  Virginia  (FSV  49). 
West  Virginia,  Kentucky,  Texas,  Missouri  (see  BSM  155),  and 
Michigan  (BSSM  155-6).  The  shift  from  first  person  to  third 
person  narration  is  not  uncommon  in  ballads  on  this  theme. 


'Johnny  German.'  Reported  by  Mrs.  Sutton  "as  heard  sung  by  Mrs. 
Simpkins,  who  called  it  a  'love  song.'  "  How  the  last  two  lines  of  stanza 
I  and  the  first  line  of  stanza  4  are  to  be  construed  does  not  appear. 


OLDER     BALLADS  —  MOSTLY     BRITISH  307 

1  As  I  came  down  to  London 
I  heard  this  haj^py  news. 

If  I'm  the  lady  unto  you 
It's  you  should  not  refuse. 

2  It's  of  a  jolly  sailor, 
A  jolly-hearted  lad. 

Who  met  with  a  comely  fair  maid 
Whose  countenance  looked  so  sad. 

3  He  asked  her  her  reasons, 

What  made  her  look  so  cast  down. 
She  answered  him  in  modesty ; 
She  neither  smiled  nor  frowned. 

4  What  for  the  loss  of  her  true  love 
'And  from  me  he  is  gone. 

He's  left  me  no  love  token. 
He  never  more  will  return.' 

5  'Perhaps  I  saw  that  same  young  man 
When  I  was  last  at  sea. 

If  I'll  describe  him  right  to  you 
You  shall  answer  me. 

6  'If  T  describe  him  right  to  you. 
And  that's  the  man  you  know, 

You  shall  promise  then  to  marry  me 
If  he  comes  no  more  to  you. 

7  'He  is  both  brisk  and  darey, 
No  courage  he  don't  lack  ; 
He's  comely  in  his  features ; 
He  never  turns  his  back. 

8  'He  belongs  unto  the  Rainbow, 
The  mate  of  Captain  Lowe, 
His  name  is  Johnny  German. 
Is  that  the  man  you  know?' 

9  She  jumi)ed  and  skipi)ed  for  joy, 
Saying,  'Yes,  that  is  the  man. 
Come,  tell  me  where's  he's  living 
And  make  no  longer  stand.' 

10     'Cheer  up,  my  pretty  Polly, 
For  very  well  I  do  know 
That  your  love,  Johnny  German, 
He  died  five  months  ago.' 


308  NORTH  CAROLINA  FOLKLORE 

1 1  Her  lily-white  hands  with  sorrow  she  wrung, 
The  tears  run  down  her  cheeks, 

She  was  filled  with  grief  and  sorrow 
So  much  that  she  could  not  speak. 

12  Then  away  to  her  bed-chamber 
Lonely  she  did  lie, 

With  sad  lamentations 
Wishing  herself  to  die. 

13  Oh,  then  it  grieved  this  young  man 
To  thinV  that  he  had  served  her  so. 
He  dresses  himself  in  scarlet  red 
And  away  to  her  did  go. 

14  He  dressed  in  scarlet  red 
And  away  to  her  he  came 
With  a  braveso[me?]  resolution 
[To]  comfort  her  again. 

15  'Cheer  up,  cheer  up,  my  pretty  Polly, 
And  leave  all  tears  behind. 

And  bid  adieu  to  sorrow 
And  comfort  you  shall  find.' 

16  'Oh,  now,  my  loving  Johnny, 
What  made  you  serve  me  so?' 
'Oh,  Polly,  don't  you  blame  me 
And  I'll  do  so  no  more. 

17  'I  did  it  to  try  your  constant  love. 
To  see  that  you  would  prove  true.' 

'Yes,'  she  answered,  'I  never  saw  no  turkle  dove 
That  ever  receipted  you.'^ 

18  ril  bid  adieu  to  the  Rainbow, 
Since  Polly  has  won  my  heart. 
I'll  never  more  go  from  her 
Till  death  us  do  part. 

19  She's  fairer  than  the  morning  star. 
Sweeter  than  any  rose 

Or  any  blooming  flower 
That  in  the  garden  grows. 

B 

'Johnny  German.'  From  Mrs.  Julia  Grogan  of  Silverstone,  Watauga 
county,  in  August  1922.  Essentially  the  same  text  as  A,  yet  with  suffi- 
cient variation  to  justify  printing  it  here.  It  well  illustrates,  taken  in 
conjunction  with  A,  the  vagaries  of  oral  tradition. 

'The   reading  of    B,   stanza    11,   which   puts   these   last   two   lines   in 
Johnny's  mouth,  is  probably  right. 


OLDER     BALLADS MOSTLY     BRITISH  309 

1  As  I  came  down  from  London 
This  happy  news  I  heard. 

I  will  relate  it  to  you 
If  you  will  ask  me. 

2  'Tis  of  a  jolly  sailor, 
A  jovial-hearted  lad, 

Both  nice  and  comely  featured ; 
His  countions  look^  so  sad. 

3  'O  my  pretty  fair  miss. 

What  makes  you  look  so  sadown  ?'^ 
She  answered  me  in  modestee ; 
I  never  smiled  nor  frowned.^ 

4  'My  true  love  has  inlisted 
And  to  the  war  has  gone, 

And  has  left  no  love  to  comfort  me 
If  he  never  comes  back  any  more. 

5  'He  sailed  his  boat  to  the  Rainbow, 
He  sailed  for  Captain  Roe ; 

His  name  is  Johnny  German, 
And  he  died  five  months  ago.'* 

6  She  hung  her  head  in  sorrow; 
The  tears  run  down  her  cheeks, 
Weeping  and  sore  lamenting, 
And  scarce  a  word  could  speak. 

7  She  went  into  her  chamber 
And  there  alone  did  lie. 
Weeping  and  sore  lamenting 
And  wishing  herself  to  die. 

8  He  dressed  his  self  in  stile 
And  hasten  back  again 
With  a  jovial  resolution 
To  comfort  her  again. 

9  It's  'Rise  you  up,  pretty  Polly, 
Xeave  all  your  tears  behind ; 
Leave  all  your  sore  lamenting 
And  comfort  you  shall  find.' 

*  Read  "countenance  looked." 

*  This  looks  like  a  telescoping  of  "sad"  and  "cast  down." 

*As    the    A    text    shows,    this    should    be    "She    neither    smiled    nor 
frowned." 

*  This  speech  should  be  Johnny's,  but  it  seems  here  to  be  put  in  the 
mouth  of  the  girl.    The  quotation  marks  are  the  editor's. 


3IO  NORTH. CAROLINA     FOLKLORE 

10  'Oh,  dear  loving  Johnny  German, 
How  can  you  treat  me  so?' 

'Oh,  hold  your  tongue,  pretty  Polly; 
I'll  serve  you  so  no  more. 

11  *I  just  done  this  to  try  your  love, 
To  see  if  you  were  true. 

And  there  never  was  a  turtle  dove 
That  fair  exceded  you. 

12  'Farewell  to  the  Rainbow  ; 
Pretty  Polly  gain"'  my  heart. 
And  I  never  intend  to  leave  her 
If  death  does  not  us  part. 

13  'She's  truer  than  a  turtle  dove, 
She  is  sweeter  than  a  rose ; 
She's  like  some  comely  flower 
Where  love  and  beauty  grows.' 

95 

The  Dark-Eyed  Sailor 

This  particular  form  of  the  returned  lover  story,  though  com- 
paratively recent — Barry  (NGMS  37)  says  Catnach  was  the  first 
to  print  it  and  that  it  is  "stage  stuff"  originating  probably  in  the 
1830S — is  very  widely  known  and  sung  on  both  sides  of  the  water. 
It  is  reported  from  Scotland  (Ord  323-4),  Norfolk  (JFSS  iv  129- 
35,  from  a  native  of  Lincolnshire),  Newfoundland  (BSSN  81), 
Nova  Scotia  (BSSNS  172),  Maine  (MWS  42-3.  SBML  108-9), 
Vermont  (NGMS  36-7),  New  York  (SCSM  267-8),  and  Michigan 
(BSSM  160-2),  and  is  doubtless  sung  elsewhere;  it  is  common  in 
songbooks. 


'A  Dark-Eyed  Sailor.'  Contributed  by  Mrs.  C.  K.  Tillett  of  Wanchese, 
Roanoke  Island,  in  December  1922.  Another  copy,  marked  as  secured 
by  L.  W.  Anderson  of  Nag's  Head  from  Maxine  TilleU,  is  the  same 
except  that  it  omits  stanzas  5  and  6  and  changes  a  word  here  and  there. 

1  'Tis  of  a  comely  young  lady  fair, 
Was  walking  out  for  to  take  the  air ; 
She  met  a  sailor  upon  the  way, 

So  I  paid  attention  to  hear  what  they  did  say. 

2  'Fair  maid,'  said  he,  'why  roam  alone? 

For  the  night  is  coming,  and  the  day's  far  gone.' 
She  said,  while  tears  from  her  eyes  did  fall, 
'It's  my  dark-eyed  sailor  that's  proving  my  downfall. 
'  Miswritten,  evidently,  for  "has  gained." 


SPRING    HOUSE 


MOSTLY     BRITISH 


3  'There's  two  years  since  he  left  this  land. 
A  gold  ring  he  took  from  off  my  hand, 
He  broke  the  token;  here  is  half  with  me, 

And  the  other  is  rolling  at  the  bottom  of  the  sea.' 

4  Cried  William,  'Drive  him  off  your  mind. 
As  good  a  sailor  as  him  you'll  find. 

Love  turns  aside  and  cold  does  grow, 

Like  a  winter's  morning  when  the  hills  are  clad  with  snow. 

5  These  words  did  Phoebe's  fond  heart  inflame. 
She  cried,  'On  me  you  shall  play  no  game.' 
She  drew  a  dagger  and  did  cry, 

'For  my  dark-eyed  sailor  a  maid  I'll  live  and  die. 

6  'His  coal-black  eyes  and  his  curly  hair 

And  flattering  tongue  did  my  heart  ensnare ; 

Genteel  he  was,  no  rake  like  you 

To  advise  a  maiden  to  slight  the  jacket  blue. 

7  'But  a  tarry  sailor  I  never  will  disdain 
But  always  I  will  treat  the  same. 

To  drink  his  health  here's  a  piece  of  coin ; 

But  my  dark-eyed  sailor  still  claims  this  heart  of  mine.' 

8  When  William  did  the  ring  unfold 

She  seemed  distracted  'midst  joy  and  woe: 
'You're  welcome,  William ;  I  have  lands  and  gold 
For  my  dark-eyed  sailor  so  manly,  true,  and  bold.' 

9  In  a  cottage  down  by  the  riverside 
In  unity  and  love  they  now  reside. 

So,  girls,  be  true  while  your  lover's  away, 
For  a  cloudy  morning  oft  brings  a  pleasant  day. 


'The  Dark-Eyed  Sailor.'  Secured  by  W.  Amos  Abrams  from  a  student, 
Mary  Bost,  at  Boone,  Watauga  county.  The  same  as  A  with  a  few 
omissions  and  rearrangements.  The  first  half  of  stanzas  5  and  7  is 
omitted  and  the  quatrains  rearranged  accordingly.  The  first  two  lines 
of  stanza  8  of  A  are  transposed.  The  final  stanza  is  somewhat  corrupted, 
reading 

Down  in  a  cottage  they're  now  living,  united  and  resigned. 
So,  girls,  be  true  while  your  lovers  are  away, 
For  a  cloudy  morning  often  brings  a  pleasant  day. 

96 

Lovely  Susan 

This  seems  to  be  the  beginning  of  a  ballad  of  the  returned  lover. 
There  is  not  enough  of  it  to  permit  assigning  it  to  any  one  of  the 
many  stall  ballads  on  that  topic. 


312  NORTH     CAROLINA     FOLKLORE 

'Lovely  Susan.'     Reported  by  the  Reverend  L.  D.  Hayman,  Pasquotank 
county,  in  1921-22. 

He  pulled  out  his  pocket-handkerchief, 

He  tore  it  half  in  two, 

Saying,  'One  half  of  this  I'll  keep  myself 

And  the  other  I'll  give  to  you. 

While  the  cannon  they  are  roaring 

Like  thunder  [in]  the  sky 

I  will  think  of  the  lovely  Susan 

That  I  left  on  the  other  side.' 

97 

Polly  Oliver 

This  form  of  the  female  soldier  story,  widely  current  both  in 
print  and  in  tradition — see  FSS  387,  BSM  183 — is  represented  by 
but  one  text  in  our  collection  and  that  a  pretty  disordered  one.  It 
appears  to  have  come  from  W.  Amos  Abrams,  but  has  no  further 
indication  of  source.  It  is  nearest  to  Cox's  West  Virginia  version, 
by  the  help  of  which  some  of  the  corrupted  places  are  cleared  up, 
but  not  all.  For  the  division  into  stanzas  and  the  indications  of 
lacunae  the  editor  is  responsible. 

'Pretty  Polly.'    No  date  or  location  indicated. 

1  Pretty  Polly  lies  musing  in  her  downy  bed. 

2  T'll  go  leave  my  old  parents  which  made  me  false  prove; 
I'll  go  dress  like  a  soldier  and  follow  my  love.' 

3  Coat,  britches,  and  jacket  pretty  Polly  put  on. 

Good  faith  to  my  soul,  she  looked  like  some  young  man. 

4  She  went  to  her  father's  horse  stable,  viewed  the  horse 

stable  round ; 
At  last  she  found  one  that  could  travel  the  ground. 

5  With  a  case  of  bright  pistols  and  a  sword  by  her  side 
And  with  her  father's  bright  gilt  like  a  troop  she  did  ride.^ 

6  She  rode  and  she  rode  till  she  came  to  the  town ; 
Right  there  she  got  down  with  a  slight  of  a  frown.^ 

7  The  first  one  come  to  her  was  a  brave  English  lord, 
Next  one  come  to  her  was  pretty  Polly's  true  love. 

*  Cox's  text  has  "gueldon,"  which  he  glosses  as  "gelding" ;  and  "troop" 
is  of  course  for  "trooper." 

*  Just  what  the  singer  understood  by  this  last  phrase  is  not  apparent. 
Missouri  A  has  "at  the  sign  on  the  ground" ;  the  stall  prints,  no  doubt 
rightly,  have  "at  the  sign  of  the  Crown." 


OLDER     BALLADS MOSTLY     BRITISH  3I3 

8  It's  'Here  is  a  letter  from  Polly,  your  dear ; 

9  'Look  under  the  seal  and  there's  a  guinea  to  be  found. 
You  and  your  horse,  sir' — pretty  Polly  was  helped  round.* 

10  Pretty  Polly,  being  drowsy,  she  hung  down  her  head; 
She  called  for  a  candle  to  light  her  to  bed. 

11  'To  bed?'  said  the  captain,  'here's  a  bed  at  your  ease, 
You  may  He  with  me,  kind  sir,  if  you  please.' 

12  'To  lie  with  a  soldier  is  a  dangerous  thing. 

I  am  a  young  lord,  sir,  come  to  fight  for  my  kind.'* 

13  So  early  next  morning  pretty  Polly  she  rose. 
She  dressed  herself  in  a  suit  of  her  own  clothes. 

14  Just  like  an  angel,  down  stairs  she  removed: 
'Here  comes  Colonel  Wallis,  your  ideal  true  love.'^ 

15  Now  Polly  is  married  she  lives  at  her  ease. 

She  goes  when  she  will  and  she  comes  when  she  please, 

16  With  a  maid  to  wait  on  her  whener^  she  goes. 
And  her  ideal  true  love  to  ride  by  her  side. 


MoLLiE  AND  Willie 

This  is  not  improbably  a  disordered  and  defective  form  of  'Polly 
Oliver.' 

No  title.  One  of  the  ballads  obtained  in  the  summer  of  1945  by  Pro- 
fessors W.  Amos  Abrams  and  Gratis  D.  Williams  from  Pat  Frye  of 
East  Bend,  Yadkin  county,  concerning  whom  see  the  headnote  to  'Lady 
Isabel  and  the  Elf-Knight'  G. 

1  'Watch  out,  my  darling,  and  don't  you  say  so. 
If  you  are  forsaken  to  the  wars  don't  you  go.' 
'I'm  going,  I'm  going.  I'm  going  away. 

You  don't  wish  to  marry ;  so  why  should  I  stay  ?' 

2  A  suit  of  men's  clothing,  her  sword  by  her  side. 
She  zolved^  herself  in  them  and  away  she  did  ride. 

*  Cox's  text  reads  here,  intelligibly,  "That  you  and  your  sailors  may 
drink  her  health  round." 

*  Read  of  course  "king,"  as  in  Cox  and  Missouri  A. 

*  Cox's  text  makes  her  say.  more  intelligibly,  "O.  here  is  pretty  Polly. 
Duke  William's  true  love." 

*  Should  apparently  be  "wherever." 

'The    manuscript    reads    '"zolved,"    and    I    am    unable   to    suggest    an 
interpretation. 


314  NORTH     CAROLINA     FOLKLORE 

3  Little  Willie  and  his  true  love  was  riding  along; 

Little  Willie  thought  his  true  love  was  left  back  at  home. 

4  'Here's  a  glass  of  good  old  brandy  and  a  bottle  of  good 

old  wine, 
Here's  a  health  to  those  ladies  we  have  left  back  behind.' 

5  'I  love  but  the  one  woman,  on  land  or  on  sea ; 
Here's  a  health  to  little  MolHe ;  I  know  she  loves  me.' 

6  She  was  standing  by  my  side  and  beared  me  say  so. 
The  tears  from  her  eyes  like  the  waters  does  flow. 

7  'The'  's-  a  sweet  little  Mollie  has  followed  me  here.' 
'This  is  your  own  true  love  who  loved  you  so  dear.' 

99 

Jack  Munro 

The  story  of  the  female  sailor,  or  soldier,  is  very  old  in  romance, 
and  appears  in  balladry  in  various  forms  and  under  a  variety  of 
names — 'Jack  Munro,'  'Jackie  Frazier,'  'Jackaro,'  'Jack  Went 
A-Sailing,'  and  others.  It  is  widely  known  both  in  the  old  country 
and  in  America;  see  BSM  171,  and  add  to  the  references  there 
given  Norfolk  (JFSS  iv  84),  Maine  (BFSSNE  11  9),  Virginia 
(FSV  50-2),  North  Carolina  (FSRA  104-5),  Florida  (SFLQ  viii 
168-71),  the  Ozarks  (OFS  i  216-21),  Indiana  (BSI  206-10),  Ohio 
(BSO  106-12),  and  Michigan  (BSSM  401-2— though  the  story  here 
has  a  different  ending  suggestive  of  'The  Maid  on  the  Shore').  It 
is  distinguished  from  other  ballads  in  which  the  girl  goes  in  dis- 
guise to  seek  her  lover — 'Polly  Oliver,'  'The  Banks  of  Claudy,' 
and  others — by  her  actually  going  into  battle  in  her  disguise,  by  her 
declaration  that  her  waist  is  not  too  slender,  her  fingers  not  too 
small,  that  she  is  ready  to  face  the  cannon  ball,  and  (in  the  more 
complete  versions)  by  her  rescuing  her  wounded  lover  on  the  battle- 
field. The  waist-and-fingers  dialogue,  however — an  item  beloved  of 
ballad  singers— appears  sometimes  in  pieces  in  which  the  girl  is 
persuaded  not  to  enlist.  See  BSM  177-80  and  'The  Girl  Volunteer' 
in  the  present  volume. 

A 
'Jacky,  the  Sailor  Boy.'     Reported  by  J.  E.  Massey  of  Elon  College  as 
"recited  to  me  by  my  grandfather,  J.  W.  Massey,  Dec.  31,  1916.     It  was 
recited  to  him  by  his  aunt,  Nancy  Massey,  before  the  Civil  War."     Mas- 
sey's  home  was  in  Caswell  county. 

I     Jacky  went  a-sailing,  with  trouble  in  his  mind, 

To  leave  his  native  old  country  and  his  darling  here  behind. 

Chorus: 

Sing  o',  sing  o',  fare  you  well,  my  dear. 

■  The  manuscript  has  "they's,"  which  I  take  to  mean  "there's." 


OLDER     BALLADS MOSTLY     BRITISH  315 

2  There  was  a  rich  old  farmer,  in  London  he  did  dwell. 
He  had  but  the  only  daughter,  the  truth  to  you  I  tell. 

3  She  was  courted  by  three  lawyers  and  men  of  high  degree, 
But  there  was  none  like  Jacky  the  sailor  boy,  who  ploughed 

the  rugged  sea. 

4  She  stepped  into  the  tailor  shop  and  dressed  in  men's  array 
And  enlisted  with  the  captain  to  carry  her  away. 

5  'Before  you  get  on  board,  sir,  your  name  I'd  like  to  know.' 
She    spoke    with    a   pleasing   countenance,    'My    name    is 

Stephen  Monroe.' 

6  'Your  waist  it  is  too  slender,  your  fingers  are  too  small, 
Your  cheeks  too  red  and  rosy  to  face  a  cannon  ball.' 

7  'My  waist  is  none  too  slender,  my  fingers  none  to  small; 
I'll  never  change  my  countenance  to  face  a  cannon  ball.* 

8  And  when  the  war  was  ended  she  took  a  circle  round. 
Among  the  dead  and  wounded  her  darling  boy  she  found. 

9  She  took  him  in  her  arms  and  carried  him  to  the  town, 
And   called    for  a   physician   that   could   quickly   heal   his 

wound. 

10     So  now  this  couple  is  married.    So  well  they  do  agree. 

So  now  this  couple  is  married — so  why  not  you  and  me? 


'Poor  Jack  Is  Gone  a-Sailing.'  Secured  by  W.  Amos  Abrams  of  Boone, 
Watauga  county,  from  one  of  his  students,  Mary  Bost.  Substantially 
the  same  as  A.     The  chorus  is  a  little  longer : 

I'll  sing  oh,  I'll  sing  oh,  I'll  sing  oh, 
So  fare  you  well,  my  dear. 

Stanzas  2  and  3  are  omitted.  The  name  she  gives  herself  is  James 
Monroe.  Before  the  waist-and-fingers  dialogue  the  following  stanza  is 
inserted : 

The  drums  began  to  beat,  the  fife  began  to  play ; 
Sweet  Mary  and  her  loving  sailor  began  to  sail  away. 

It  ends  with  the  following,  of  which  the  second  and  third  stanzas  have 
been  drawn  from  a  familiar  country  love-making  ballad: 

7     She  picked  him  up  in  her  arms  and  carried  him  to  some 
town, 
And  went   for  the  olden  doctor  to  cure  his  wound  and 
wound. 


3l6  NORTH  CAROLINA  FOLKLORE 

8  'Oh,  hush,  you  silly  lady,  oh,  hush  your  silly  tongue. 
Why  do  you  talk  about  marrying,  when  you  know  you  are 

too  young  ?' 

9  'I'll  be  sixteen  o'  Sunday,  and  that  you  must  allow ; 

For  I  must  and  I  will  get  married — or  it  is  my  notion  now.' 

lO     Yes,  this  poor  couple  they  got  married,  so  well  did  they 
agree. 
Yes,  this  poor  couple  they  got  married,  so  why  don't  you 
and  me? 

c 

'War  Song.*  Reported  by  Thomas  Smith  of  Zionville  "as  sung  by  Ben- 
nett Smith,  who  learned  it  as  early  as  1865."  The  music  was  supplied 
by  Mrs.  Byers.    Only  two  stanzas  were  remembered : 

She  dressed  herself  in  men's  clothing,  an  opulet  she  put  on. 
She  marched  into  the  army  to  face  the  cannon  ball. 

Chorus: 

Sing  lo,  so  fare  you  well. 

As  soon  as  the  battle  was  ended  a  circle  she  took  round ; 
Amongst  the  dead  and  the  wounded  her  sailor  boy  she 
found. 


'The  Brisk  Young  Plow  Boy.'  Reported  by  L.  W.  Anderson  of  Nag's 
Head  as  collected  by  Delma  Haywood  from  Mrs.  Sallie  Meekins  of 
Colington,  one  of  the  islands  in  the  Sound.  This  breaks  of?  with  the 
waist-and-fingers  dialogue. 

1  There  was  a  brisk  young  plow  boy, 
Just  in  the  bloom  of  years. 

He  went  to  see  his  own  true  love 
In  bitter  woes  and  tears. 

2  He  went  to  see  his  own  true  love 
Just  for  to  let  her  know 

That  he  was  going  to  take  a  trip 
And  on  the  ocean  go. 

3  'Oh,  no,  my  dearest  Willie, 
Stay  home  and  marry  me. 
For  sixteen  months  and  better 
I  have  been  in  love  with  you.' 

4  'The  King  is  wanting  soldiers, 
And  I  for  one  must  go ; 

And  upon  my  very  life 
I  dare  not  answer  no.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  317 

'My  yellow  hair  I'll  cut  off, 
Men's  clothing  I'll  put  on, 
And  I'll  go  with  you,  my  love, 
To  be  your  waiting  man.' 

'Your  waist  is  too  slender,  my  love, 
Your  fingers  they  are  too  small. 
Your  cheeks  are  too  delicate. 
To  face  the  cannon  ball.' 


100 
The  Girl  Volunteer 

The  following  song,  of  which  there  are  three  variants  in  our 
collection,  handles  only  the  opening  situation  of  the  'Jack  Munro' 
story  and  that  somewhat  differently.  It  is  closely  akin  to  'Lisbon' 
(for  which  see  BSM  177-80)  but  lacks  the  waist-and-fingers 
dialogue  which  marks  most  texts  of  'Lisbon.'  Belden,  however, 
gives  a  Missouri  version  of  it  at  the  end  of  his  'Lisbon'  texts. 
Fuson  reports  it  from  Kentucky  (BKH  104).  Mrs.  Steely  found 
it  in  the  Ebenezer  community  in  Wake  county. 

A 

No   title.     Contributed  by   W.   Amos   Abrams   as   obtained   from    Mary 
Best,  a  student,  who  came  from  Statesville,  Iredell  county. 

1  The  war  is  a-raging ; 
Poor  Johnny  he  must  fight. 
For  I  want  to  be  with  him 
From  morning  till  night. 

2  I  want  to  be  with  him, 
It  grieves  my  heart  so. 
'Won't  you  let  me  go  with  you?' 
'Oh,  no,  darling,  no.' 

3  'I'll  go  to  your  general, 
I'll  fall  upon  my  knees, 
I'll  offer  one  hundred 

Bright  guineas  for  your  release. 

4  'One  hundred  bright  guineas. 
They  hurt  my  heart  so. 
Won't  you  let  me  go  with  you  ?' 
'Oh,  no,  darling,  no. 

5  'You'd  be  standing  on  picket 
Some  cold  wintry  day. 
And  your  rosy  cheeks 
They'd  soon  fade  away. 


3l8  NORTH     CAROLINA     FOLKLORE 

6  'Your  rosy  red  cheeks, 
They  grieve  my  heart  so.' 
'Won't  you  let  me  go  with  you?' 
*Oh,  no,  darling,  no.' 

7  'Oh,  Johnny,  oh,  Johnny, 

I  love  you  more  than  tongue  can  express. 
Won't  you  let  me  go  with  you  ?' 
'Why,  yes,  darling,  yes.' 


'The  War  Is  a-Raging.'  From  Miss  Jewell  Robbins  (afterwards  Mrs. 
C.  P.  Perdue),  Pekin,  Montgomery  county,  sometime  in  the  period 
1921-24. 

1  'The  war  is  a-raging. 

And,  Johnnie,  you  must  fight. 
I  long  to  be  with  you 
From  morning  to  night. 
From  morning  till  night 
Is  what  grieves  my  heart  so. 
Won't  you  let  me  go  with  you  ?' 
'Oh,  no,  my  love,  no, 

2  'You'd  be  out  on  picket 
Some  cold  winter  day. 
Your  red  rosy  cheeks 
Would  soon  fade  away. 
Would  soon  fade  away 

Is  what  grieves  my  heart  so.' 
'Won't  you  let  me  go  with  you  ?' 
'Oh,  no,  my  love,  no.' 


'War  Is  Now  Raging  and  Johnny  He  Must  Fight.'  From  Thomas  Smith, 
Zionville,  Watauga  county,  with  the  notation:  "Sung  by  Jack  Combs  (in 
Virginia)  in  January,  1914.  Jack  Combs  is  59  years  old.  His  father, 
John  Combs,  came  from  Iredell  county  to  Watauga  over  60  years  ago. 
John  Combs  married  Amanda  McBride.  The  McBrides,  who  are  Scotch- 
Irish,  were  among  our  first  settlers.  The  above  songs  were  sung  by 
many  people,  Jack  says,  when  he  was  a  boy." 

1  War  is  now  raging  and  Johnny  he  must  fight. 

I  want  to  be  with  him  from  morning  till  night. 
I  want  to  be  with  him,  it  grieves  my  heart  so. 
'Won't  you  let  me  go  with  you?'     'No,  my  love,  no.' 

2  'Oh,  Johnny,  I  think  you  are  unkind. 

I  love  you  much  better  than  all  other  mankind. 

You'll  carry  sweet  music  wherever  you  go. 

Won't  you  let  me  go  [with  you?']     'Oh,  no,  my  love,  no.' 


OLDER     BALLADS — MOSTLY     BRITISH  319 

lOI 

Charming  Nancy 

Separated  from  'Jack  Munroe'  only  because  here  the  girl  does  not 
actually  go  to  sea  with  her  lover  but  only  threatens  to  do  so;  she 
stays  on  land,  and  sees  her  lover  swept  off  the  ship's  deck  and 
drowned.     Previously  reported  from  North  Carolina  (FSRA  68-9). 

A 

Tarewell,  Charming  Nancy.'  Reported  by  L.  W.  Anderson  of  Nag's 
Head  as  collected  by  Delma  Haywood  from  Mrs.  Sallie  Meekins  of 
Cohngton   (Albemarle  Sound). 

I     'Farewell,  charming  Nancy, 
Since  I  must  go  and  leave  you ; 
My  cost  of  East  Indies 
This  morning  must  steer. ^ 
And  don't  let  the  long  voyage 
Be  any  uneasiness  to  you. 
And  don't  let  these  land  boys 
Disturb  your  sweet  mind.' 

2  'Just  like  some  little  sea  boy. 
Love,  I'll  dress  and  go  with  you; 
Love,  I'll  be  ready 

Your  topsails  to  hand.' 
'Your  lily-white  fingers 
Our  topsails  can't  handle, 
Your  snowy  white  feet 
On  our  topmast  can't  stand ; 
And  the  cold  stormy  winds,  love, 
You  never  can  endure  them. 
Stay  at  home,  charming  Nancy, 
While  you're  safe  on  the  land.' 

3  While  Nancy  was  walking 
All  down  by  the  harbor 
The  ship  was  out 

Some  way  from  the  shore. 
The  ship  she  misstayed 
And  the  boom  tossed  him  over. 
She  died  at  the  sight 
And  enjoyed  him  no  more. 


'Charming    Nancy.'      Sung    by    Mrs.    Charles    K.    Tillett    of   Wanchese, 
Roanoke  Island,  in  December  1922.     With  the  tune. 

^The  reading  of  B  here,  "It's  to  the  East  Indies  my  course  I  must 
steer,"  is  presumably  correct. 


320  NORTH  CAROLINA  FOLKLORE 

1  'Farewell,  charming  Nancy,  since  I  must  go  and  leave  you. 
It's  to  the  East  Indies  my  course  I  must  steer. 

If  you  will  prove  roal,  love,  I  will  prove  stonance,^ 
And  we  will  be  married  if  there  ['s]  nothing  to  fear. 

2  'Don't  let  my  long  voyage  be  any  uneasement  to  you, 
Nor  let  these  land  boys  disturb  your  sweet  mind ; 
For  when  I  am  sailing  on  the  salt  briny  ocean 

I'll  think  of  purty  Nancy  whom  I  left  far  behind.' 

3  'Like  some  little  sailor  I'll  dress  and  go  with  you ; 

In  the  midest  of  all  danger  by  your  side  I  will  stand ; 
When  the  wind  it  is  blowing  and  the  ship  she  is  dashing 
It's  love,  I'll  be  ready  your  topsails  to  hand.' 

4  'Your  purty  little  fingers  our  tackle  can't  handle, 
Your  snowy  white  breast  to  our  topmast  can't  go ; 

These  cold  stormy  winds,  love,  you  cannot  endure  them ; 
So  stay  at  home,  Nancy,  and  don't  leave  the  shore.' 

5  As  she  was  a-walking  by  the  break  of  the  ocean. 
The  ship  she  was  tossed  to  and  fro  by  the  waves. 

The  ship  she  misstayed ;  and  the  boom  tossed  him  over. 
She  died  at  the  sight  and  enjoyed  him  no  more. 

c 

'Charming   Nancy.'     From   the    Reverend   L.   D.   Hayman   of   Elizabeth 
City,  Pasquotank  county.     Nine  lines  only,  the  waist-and-fingers  dialogue. 


'The  Sailor.'  Reported  by  Julian  P.  Boyd  of  Alliance.  Pamlico  county, 
as  collected  from  Clifton  McCotter,  one  of  his  pupils  there.  Two 
stanzas  only,  and  these  should  probably  have  been  assigned  to  'Jack 
Munro.'  The  first  of  the  two  is  the  same  as  the  opening  stanza  of 
'Jack  Munro'  A;  the  second  presents  a  curious  confusion,  making  him 
go  to  a  tailor's  shop  and  dress  "in  mincereal,"  presumably  a  corruption 
of  "in  men's  array"  and  therefore  meaningless  when  applied  to  the  man. 


102 
A  Rich  Nobleman's  Daughter 

This  form  of  the  female  sailor  story,  doubtless  a  British  stall 
ballad  originally,  seems  not  hitherto  to  have  come  into  the  collector's 
net.  A  song  from  Surrey  recorded  in  JFSS  i  185  bears  some 
resemblance  to  it  but  is  by  no  means  the  same  ballad. 

'A  Rich  Nobleman's  Daughter.'     Contributed  by  Juanita    (Mrs.  C.  K.) 
Tillett  of  Wanchese,  Roanoke  Island,  in  1933. 

*  One  guesses  that  "roal"  is  for  "royal"  and  this  for  "loyal,"  and  that 
"stonance"  is  for  "constant." 


OLDER     BALLADS  —  MOSTLY     BRITISH  321 

1  There  was  a  rich  nobleman's  (laughter, 
So  handsome,  as  I've  been  told. 

One  day  from  her  drawingroom  window 

She  spied  a  young  sailor  so  bold. 

His  cheeks  they  seemed  like  two  roses, 

His  hair  was  black  as  a  jet. 

She  waited  anil  sought  his  departure, 

Walked  down  to  young  William,  and  said : 

2  'I'm  a  rich  nobleman's  daughter, 
Worth  thirty-five  thousand  in  gold. 
I'd  forsake  my  old  father  and  mother 
To  wed  with  a  young  sailor  bold.' 
'Advice  :  stay  home,  young  Caroline ; 
Your  parents  you  are  bound  to  mind. 
In  sailors  there's  no  dependence ; 
They  leave  their  true  lovers  behind.' 

3  'You  need  not  persuade  me  one  minute 
Or  try  to  alter  my  mind. 

I'll  dress  in  pursuit  of  my  sailor; 
He  never  shall  leave  me  behind.' 
She  dressed  like  a  gallant  young  sailor, 
Forsalt^  her  old  parents  and  gold. 
Three  years  and  a  half  on  the  ocean 
She  spent  with  her  young  sailor  bold. 

4  Three  time  these  true  lovers  were  shipwrecked. 
She  always  proved  constant  and  true. 

Her  duty  she  did  as  a  sailor 
When  aloft  in  her  jacket  of  blue. 

When  returning  home  to  old  England, 
Caroline  and  her  young  sailor  true. 
Straight  home  she  went  to  her  parents 
With  her  jacket  and  trousers  of  blue. 

5  'Forgive  me,  dearest  parents, 
And  do  not  deprive  me  of  gold. 
How  happy  I'll  be,  contented 

To  wed  with  my  young  sailor  bold.' 
Her  parents  admired  young  William, 
Bound  down  in  sweet  unity. 
Saying,  'You  both  live  till  tomorrow  morning. 
Both  married  together  shall  be.' 
'  Miswritten  evidently  for  "forsook." 


322  NORTH     CAROLINA     FOLKLORE 

103 

Little  Plowing  Boy 

An  English  ballad  not  often  found  in  this  country  but  well 
known  in  England;  reported  from  Lancashire  (JFSS  vin  269), 
Herefordshire  (JFSS  iv  308-10),  Norfolk  (JFSS  viii  268,  tune 
only),  Essex  (JFSS  11  146-7),  and  Sussex  (JFSS  i  132-3,  iv  303-8, 
FSE  V  lo-ii).  It  is  known  also  in  Ireland  (OIFMS  223).  It  was 
printed  as  a  stall  ballad  by  Fortey  and  by  Pitts.  In  this  country 
it  has  been  found  in  Virginia  (SharpK  i  369)  and  North  Carolina 
(FSRA  127),  and  Mrs.  Herrick  of  California  reports  it  (JAFL 
XVIII  276)  'as  a  ballad  traditional  in  her  family — in  Maryland, 
apparently.  The  texts  vary  considerably,  but  there  is  no  reason  to 
question  that  they  are  all  forms  of  one  ballad.  Our  collection  has 
one  full  text  and  a  fragment. 

A 
'Little  Plowing  Boy.'  Contributed  by  L.  W.  Anderson  as  written  down 
by  Alva  Wise  from  the  singing  of  Mrs.  J.  P.  Wise  of  Nag's  Head, 
Dare  county.  Mr.  Anderson  writes :  "Mrs.  Wise  sang  this  to  me  in  a 
store  at  Nag's  Head.  She  cannot  read  or  write,  but  she  has  her  head 
full  of  songs,  which  she  has  preserved  for  her  own  pleasure  as  well  as 
for  others.  Alva,  the  writer  of  these  words,  is  her  daughter  and  is  a 
student  of  mine." 

1  A  little  plow^ing  boy  was  a-plowing  in  the  field, 
And  his  horse  was  standing  in  the  shade. 

He  whistled  and  he  sung,  it  was  as  he  plowed  along, 
Until  at  length  he  spied  a  charming  maid,  maid,  maid, 
Until  at  length  he  spied  a  charming  maid. 

2  Then  he  ended  his  furrow  and  unto  her  did  say, 
'You  are  a  rich  lady  of  fame. 

If  I  should  gain  your  love  your  parents  would  disapprove , 
They  would  send  me  to  the  wars  to  be  slain,  slain,  slain, 
They  would  send  me  to  the  wars  to  be  slain.' 

3  And  when  her  parents  heard  that  their  only  daughter  dear 
Was  courted  by  the  little  plowing  boy 

They  sent  a  press  gang  to  press  her  love  away 

And  they  sent  him  to  the  wars  to  be  slain,  slain,  slain, 

And  they  sent  him  to  the  wars  to  be  slain. 

4  The  pocket^  and  the  pants  this  maid  she  did  put  on 
With  her  pockets  also  lined  with  gold. 

She  marched  up  and  down  through  London. fair  town 
And  she  marched  through  the  showers  of  hail,  hail,  hail, 
And  she  marched  through  the  showers  of  hail. 

5  When  the  captain  saw  her  and  unto  her  did  say, 
'Oh,  come  on  aboard,  my  pretty  maid, 

*  Miswritten  or  misheard  for  "jacket." 


OLDER     BALLADS  —  MOSTLY     BRITISH  323 

Oh,  come  on  aboard,  my  pretty  charming  maid. 
For  we're  bound  to  the  wars  to  be  slain,  slain,  slain. 
For  we're  bound  to  the  wars  to  be  slain.' 

She  ran  her  hand  all  in  her  pocket,  hauled  out  her  hand 

full  of  gold. 
Sixteen  bright  guvees-  or  more, 
Saying.  'Captain,  you're  the  man,'  taking  her  lover  by  the 

hand, 
And  she  kissed  him  till  she  reached  to  the  shore,  shore, 

shore, 
And  she  kissed  him  till  she  reached  to  the  shore. 

'Now  we  are  on  the  shore  where  we  have  often  been  before, 
With  our  hearts  full  of  merriment  and  joy ; 
The  bells  may  loudly  ring,  our  hearts  will  sweetly  sing, 
For  I'm  married  to  my  little  plowing  boy,  boy,  boy, 
For  I'm  married  to  my  little  plowing  boy.' 


'Little  Plowing  Boy.'  The  first  two  stanzas  only,  obtained  by  L.  W. 
Anderson  at  Nag's  Head  from  Maxine  Tillett,  one  of  his  pupils  in  the 
school  there. 

1  The  little  plowing  boy  was  a-plowing  in  the  field 
And  his  horse  was  standing  in  the  shade. 

He  whistled  and  he  sang  all  as  he  plowed  along 
Till  at  length  he  spied  a  coming  maid. 

2  He  ended  up  his  furrow  and  unto  her  did  say, 
'You  are  a  rich  merchant's  daughter  of  age. 

If  your  parents  were  to  know  I  was  making  love  to  you 
They  would  send  me  to  the  wars  to  be  slain,  slain,  slain, 
They  would  send  me  to  the  wars  to  be  slain.' 

104 
The  Sailor  Boy 

This  song  was  printed  by  Catnach  and  Such  and  probably  by 
other  ballad  printers  in  England  in  the  last  century  and  is  widely 
known  and  sung.  See  BSM  i86,  and  add  to  the  references  there 
given  Maine  (MWS  56-9),  Virginia  (FSV  108-11,  118),  North 
Carolina  (BMFSB  24-5,  SFLQ  v  146),  Arkansas  (OFS  i  300), 
Missouri  (OFS  i  296-300),  Ohio  (BSO  97-103),  Indiana  (BSI 
269-70),  Illinois  (JAFL  xl  235-6),  and  Michigan  (BSSM  94, 
blended  with  'The  Butcher  Boy').  Barry  listed  it  among  the  bal- 
lads in  his  collection  from  the  North  Atlantic  States  but  did  not 
print  it.  Like  other  items  of  the  folk  song  of  unhappy  love  its 
content  is  likely  to  vary ;  with  its  central  images  of  the  girl  bidding 

*  Presumably  this  should  be  "guineas." 


324  NORTH     CAROLINA     FOLKLORE 

her  father  build  her  a  boat  and  later  demanding  of  the  sailors  she 
meets  news  of  her  sailor  boy  may  be  combined  motives  from  'The 
Butcher  Boy,'  'Little  Sparrow,'  'The  Lass  of  Roch  Royal,'  or  an 
elaborate  preliminary  story  may  be  provided  as  in  version  L  below. 


Oh,  Father,  Go  Build  me  a  Boat.'  Contributed  by  Thomas  Smith  of 
Zionville,  Watauga  county,  in  191 5  as  "written  down  by  Miss  Mae  Smith, 
Sugar  Grove,  N.  C,  from  the  singing  of  Mrs.  Mary  Smith.  Part  of 
the  above  song  has  been  sung  also  by  several  people  living  in  Watauga." 
Stanza  4  has  been  taken  over  from  'The  Butcher  Boy.' 

1  'Oh,  father,  go  build  me  a  boat, 
That  over  the  ocean  I  may  float,' 
The  father  built  her  a  boat 
And  over  the  ocean  she  did  float. 

2  She  halted  two  captains  as  they  passed  by, 

She  halted  each  captain 

'Say,  did  you  sail  with  my  sailor  boy?' 
'No,  my  dear ;  he  was  killed  at  the  head 

Of  Rocky  Island  as  we  passed  by.' 

3  She  fell  upon  the  boat 

I  thought  that  woman's  heart  was  broke. 

4  She  called  for  a  stool  to  sit  upon. 
Pen  and  ink  to  write  it  down. 

At  the  end  of  every  line  she  dropped  a  tear, 

At  the  end  of  every  verse  she  cried  out  'Oh,  my  dear!' 


'Captain,  Captain,  Tell  me  True.'  A  fragment  of  only  two  stanzas  re- 
ported by  Thomas  Smith  as  sung  to  him  by  E.  B.  Miller  of  Boone, 
Watauga  county,  in  May  1915.  "Mr.  Miller  heard  this  song  sung  dur- 
ing the  Civil  War  by  a  Mrs.  Parsons  of  Wilkes  county." 

1  'Captain,  captain,  tell  me  true. 

Did  my  sweet  William  sail  with  you? 

Answer  me  quick  to  give  me  joy. 

There's  nary  one  I'll  love  but  my  sweet  soldier  boy.' 

2  'No,  kind  lady,  he  is  not  here. 

He  was  killed  in  the  battle,  my  dear.' 

'Every  ship  that  I  pass  by 

There  I'll  inquire  for  my  sweet  soldier  boy.' 

Mrs.  Polly  Rayfield  of  Zionville,  who  had  heard  the  song  sung  during 
the  Civil  War,  gave  the  following  lines  as  belonging  to  it: 


As  I  rode  upon  the  main 

I  saw  three  ships  a-comin'  from  Spain. 


OLDER     BALLADS  —  MOSTLY     BRITISH  325 


'Oh,  Captain,  Captain,  Tell  me  True.'  Junius  Davis  of  Wilmington, 
New  Hanover  county,  reported  the  following  in  191 5.  Only  one  of  the 
three  stanzas  really  belongs  to  'The  Sailor  Boy' ;  the  other  two  have 
been  imported  (the  second  with  something  of  a  wrench)  from  'The 
Butcher  Boy.' 

1  'Oh,  captain,  captain,  tell  me  true. 
Does  my  sweet  William  sail  with  you?' 
*Oh.  no,  oh,  no,  he  is  not  here ; 

He  is  drownded  in  some  deep,  I  fear.* 

2  The  postboy,  he  came  riding  by 
And  spied  her  on  a  tree  so  high. 
He  took  an  ax  and  cut  her  down, 

And  on  her  breast  these  words  he  found : 

3  'Go,  dig  my  grave  both  long  and  deep. 
Place  a  marvil  stone  at  my  head  and  feet 
And  on  my  breast  a  turkle  dove. 

To  show  to  the  world  that  I  died  for  love.' 


'Captain,  Oh  Captain,  Tell  me  True.'  From  the  manuscript  notebook 
of  Mrs.  Harold  Glasscock  of  Raleigh,  lent  to  Dr.  White  in  1943.  The 
songs  in  this  book  Mrs.  Glasscock  learned  from  her  parents.  Her  text 
of  our  song  is  like  C  a  composite  of  'The  Sailor  Boy'  and  "The  Butcher 
Boy.'  The  first  and  the  last  of  its  three  stanzas  are  as  in  C;  the  inter- 
vening six  lines  use  a  different  element  from  'The  Butcher  Boy' : 

She  wrung  her  hands  and  tore  her  hair 

Like  a  maiden  in  despair; 

She  called  for  a  chair  to  sit  upon. 

Pen  and  ink  to  write  it  down. 

At  the  end  of  every  line  she  dropped  a  tear, 

At  the  end  of  every  verse  cried  'Oh,  my  dear!' 


'Sweet  Willie.'  From  the  manuscript  book  of  songs  of  Miss  Edith 
Walker  of  Boone,  Watauga  county.  Four  stanzas,  in  the  first  of  which 
she  demands  news  from  the  captain  and  in  the  second  bids  her  father 
build  her  a  boat.    The  other  two  belong  to  the  'Little  Sparrow'  tradition : 

3  I  wish  I  were  a  little  bird, 

A  darling,  darling  little  bird  ; 
Right  to  Sweet  Willie  I  would  fly 
And  there  I'd  lay  me  down  and  die. 

4  Girls,  oh,  girls,  you'd  better  mind ; 
A  good  true  boy  is  hard  to  find. 
When  you  find  one  that's  just  and  true 
Change  not  the  old  one  for  the  new. 


326  NORTH  CAROLINA  FOLKLORE 

F 

'Oh,  Father,  Father,  Go  Build  me  a  Boat.'  Contributed  by  W.  Amos 
Abrams  from  a  student,  Mary  Bost,  at  Boone,  Watauga  county.  Three 
stanzas  only ;  the  first  two  the  regular  order  for  a  boat  and  questioning 
of  the  captain,  the  third  a  stanza  from  'The  Butcher  Boy'  similar  to  the 
fourth  stanza  of  A. 

G 

'There  is  a  Town  Where  I  did  Dwell.'  Secured  by  Julian  P.  Boyd 
from  Jeannette  Tingle,  one  of  his  pupils  at  the  Alliance  school  in  Pam- 
lico county.  Four  stanzas,  of  which  the  first  two  are  a  modified  form 
of  the  opening  of  'The  Butcher  Boy'  and  the  other  two  are  the  regular 
queries  of  our  song,  except  that  she  asks,  not  her  father,  but  the  captain 
to  build  her  a  ship : 

3  'Oh,  captain,  captain,  tell  me  true. 
Does  my  dear  sailor  boy  sail  with  you  ?' 
'No,  no,  he  does  not  sail  with  me ; 

I  fear  he's  drowned  in  the  sea.' 

4  'Oh,  captain,  captain,  build  me  a  ship 
That  I  may  sail  the  ocean  wild 

And  search  each  ship  that  passes  by. 
And  be  a  sailor  boy  till  I  die.' 

H 
'Sweet  Willie.'  Contributed  by  Austin  L.  Elliott  of  Randolph  county. 
A  highly  composite  text.  Of  its  five  stanzas  and  chorus  only  stanza  3 
belongs  to  'The  Sailor  Boy.'  The  chorus  is  from  'The  Blue-Eyed  Boy' 
(see  volume  III)  ;  the  first  two  stanzas  are  the  familiar  question  and 
answer  from  'The  Lass  of  Roch  Royal' ;  and  the  last  two,  belonging  to 
the  tradition  of  'The  Inconstant  Lover,'  run : 

4  Oh,  yonder  sits  a  turtle  dove ; 
They  say  he's  blind  and  cannot  see. 
I  wish  to  the  Lord  it  had  been  me, 
Before  little  Willie  crossed  the  sea. 

5  Remember  well  and  bear  in  mind 
That  a  true  friend  is  hard  to  find. 
But  when  you  find  one  that's  true 
Change  not  the  older  for  the  new. 


'Susie's  Search   for  Her  Lover.'     Under  this  title  Mrs.   Sutton  reports 
a  two-line  fragment  which  pretty  certainly  belongs  to  'The  Sailor  Boy' : 

She  saw  two  ships  a-sailin'  on  the  main. 
Two  white  ships  a-comin'  from  Spain. 

J 
'Oh,  Captain,  Captain,  Tell  me  True.'    Secured  by  L.  W.  Anderson  from 
Alva  Wise,  one   of  his   students  at   Nag's   Head,   Dare  county.     This 


OLDER     BALLADS MOSTLY     BRITISH  327 

wanders  a  good  deal  from  the  basic  form  of  the  song.     The  first  two 
stanzas  belong  to  'The  Sailor  Boy,'  the  rest  are  an  accretion. 

1  'Oh,  captain,  captain,  tell  me  true, 
Does  my  sweet  Willie  sail  with  you?' 
'Ah  no,  he  does  not  sail  with  me. 
For  he  is  over  the  deep  blue  sea.' 

2  'Oh,  father,  father,  build  me  a  boat, 
So  on  the  ocean  I  can  float, 

And  every  ship  that  I  pass  by 
I  think  I  hear  my  Willie  cry. 

3  'Oh,  gypsy,  gypsy,  tell  me  true. 
Please  tell  me  something  I  can  do. 
I'll  travel  over  this  whole  wide  world 
To  keep  him  from  another  girl. 

4  'He  told  me  that  he  loved  me  so. 
But  on  a  voyage  he  must  go ; 

And  some  day  he  would  return  to  me 
And  then  how  happy  I  would  be. 

5  'When  over  the  ocean  he  had  roamed 
He'd  come  drifting  back  to  home. 
He'd  fall  into  my  waiting  arms 
And  I'd  be  happy  with  his  charms. 

6  'Since  first  you  came  into  my  life 

I  often  dreamed  that  I  was  your  wife. 
But  you  have  been  untrue  to  me 
And  gone  to  sail  the  deep  blue  sea. 

7  *I  see  no  pleasure  without  you. 

You  know  you  said  what  you  would  do, 
You  said  a  letter  you  would  write, 
That  one  I  pray  for  every  night. 

8  'The  days  are  very  dark  and  blue ; 
I  see  and  dream  of  only  you. 
And  pray  that  you'll  return  again 
So  in  my  heart  there  be  no  pain.' 

K 

'Oh,  Captain,  Captain,  Tell  me  True.'     From  the  John  Burch  Blaylock 
Collection.    This  text  is  the  same  as  J. 


'The  Prentice  Boy.'  Contributed  in  1923  by  Mrs.  Charles  K.  Tillett  of 
Wanchese,  Roanoke  Island.  Here  the  story  of  'The  Sailor  Boy'  is  com- 
bined with  or  rather  added  to  the  stall  ballad  of  'The  Prentice  Boy,' 
reported — but    without    the    'Sailor    Boy'    element — from    Nova    Scotia 


328  NORTH     CAROLINA     FOLKLORE 

(SENS  304-5)  and  (with  a  quite  different  text  but  still  without  the 
element  from  our  song)  from  Missouri  (OFS  i  429-31)-  In  the  closmg 
stanzas  it  drifts  into  'The  Butcher  Boy.' 

1  The  prentice  boy  and  he  was  bound 
To  sail  the  raging  seas  around ; 

And  just  before  [he  be] came  twenty-one 

He  fell  in  love  with  a  fine  young  girl. 

He  went  to  the  captain  and  begun  to  tell 

About  this  lady  he  loved  so  well : 

'I  love  her  as  I  do  my  life, 

And  what  would  I  give  she  was  my  wife !' 

2  'Oh  hush,  oh  hush,  you  silly  boy. 
You  love  a  girl  you'll  never  enjoy; 
For  she  has  lovers  one,  two,  three, 

And  she'll  be  married  before  you're  free.' 

'Anyhow,  I'll  go  and  see ; 

Perhaps  that  girl  will  fancy  me.' 

He  bought  fine  rings,  he  bought  fine  gloves, 

The  prentice  to  enfent^  his  love. 

3  She  was  not  ashamed  among  them  all 
To  take  them  from  the  prentice  boy. 
She  was  not  ashamed  among  them  all 
To  own  she  loved  the  prentice  boy. 
The  very  last  time  he  saw  his  love 
She  was  standing  on  Potomac  shore. 
With  her  bright  hair  and  sparkling  eyes 
For  him  she  lives,  for  him  she  dies. 

4  'Oh,  father,  oh,  father,  go  build  me  a  boat 
That  on  this  ocean  I  may  float 

And  hailing  ships  as  they  pass  by, 
Inquiring  for  my  prentice  boy.' 
She  hadn't  been  sailing  very  far 
Before  she  met  a  man  of  war, 
Crying,  'Captain,  captain,  tell  me  true. 
Does  my  sweet  Willie  sail  with  you?' 

5  'What  color  was  your  Willie's  hair. 
What  color  clothes  did  your  Willie  wear?' 
'His  hair  is  light,  his  clothes  are  blue, 
And  you  may  know  his  love  is  true.' 

'No,  gay  lady,  he's  not  here. 
But  in  the  deep,  I'm  a-fear ; 
For  as  Green  Island  we  passed  by 
We  lost  five  men  and  your  sailor  boy.' 
*  So  the  manuscript  seems  to  read.     Is  it  for  "enchant"  ? 


OLDER     BALLADS MOSTLY     BRITISH  329 

She  wrung  her  hands  and  she  tore  her  hair, 
Like  a  pretty  fair  maid  all  in  despair. 
Against  wild  rocks  her  boat  she  flung. 
Saying,  'How  can  I  live  and  my  Willie  gone? 
Now,  captain,  bring  me  a  chair  and  set  it  down' — 
With  pen  and  ink  she  wrote  it  down. 
On  every  line  she  dropped  a  tear. 
And  every  verse  cried,  'Oh,  my  dear!' 

'Now  dig  my  grave  both  wide  and  deep, 

A  marble  tomb  at  my  head  and  feet ; 

A  turtle  dove  put  on  my  grave 

To  let  the  world  know  that  I  died  of  love !' 


105 

ScARBORo  Sand  (Robin  Hood  Side) 

Sharp  (FSE  iv  22-4)  gives  a  shortened  form  of  this,  three 
stanzas,  from  Oxfordshire;  Ord  (Bothy  Songs  332-3)  says  that 
though  of  English  origin  it  is  a  favorite  song  in  northeastern  Scot- 
land. Elsewhere  I  have  found  it  reported  only  from  North  Caro- 
lina (FSRA  70-1,  the  same  version  as  ours).  The  puzzling  'Robin 
Hood  Side'  (which  Chappell  prints  'Robin  Hood's  side')  is  re- 
placed in  Ord's  text  by  'Robin  Hood's  Bay,'  which  is  a  fishing 
village  on  the  Yorkshire  coast. 

'Scarboro  Sand.'  Contributed  by  Mrs.  Charles  K.  Tillett  of  Wanchese, 
Roanoke  Island,  in  1923.  Another  copy,  with  the  alternate  title  given 
above,  was  supplied  in  1920  by  P.  D.  Midgett,  Jr.,  of  Wanchese. 

1  There  was  a  fair  lady  in  Scarboro  did  dwell, 

She  was  courted  by  a  sailor,  whom  she  loved  him  full  well. 
They  were  promised  to  be  married  when  he  did  return ; 
But  mark,  a  misfortune  upon  him  did  frown. 

2  As  he  was  a-sailing  all  on  the  salt  sea 

A  storm  there  did  arise,  and  unto  his  great  surprise, 
A  storm  there  did  arise,  and  the  billows  did  roar. 
Which  driven  many  a  poor  seaman  upon  a  lee  shore. 

3  As  soon  as  she  heard  her  true  lover  was  dead, 

She  run  ravin'  and  distracted,  quite  out  of  her  head. 
Crying,  'Here's  adieu  to  all  pleasures,  my  joy  has  all  fled, 
My  grave  shall  be  instead  of  a  new  married  bed.' 

4  As  she  was  a-walking  on  Scarboro  Sand, 
Crying  and  lamenting  and  wringing  her  hands. 

Crying,  'O  ye  cruel  billows,  w^ash  my  true  love  on  shore! 
Oh,  for  his  sweet  face,  I  may  behold  it  once  more !' 


330  NORTH  CAROLINA  FOLKLORE 

5  As  she  was  walking  around  Robin  Hood  Side 
She  spied  a  young  sailor  washed  up  by  the  tide ; 

And  as  she  drew  nearer  to  him,  in  a  maze  she  did  stand, 
For  she  knew  it  was  her  own  true  love  by  the  mark  on  his 
hand. 

6  Crying,  'Oh,  I've  found  you,  my  own  dearest  dear.' 
She  hugged  and  she  kissed  him  a  thousand  times  o'er, 
Saying,  'Now  I'm  quite  willing  to  lay  by  your  side.' 
And  in  a  few  minutes  this  fair  maid  she  died. 

7  In  Robin  Hood's  Churchyard  this  couple  was  laid, 
A  large  double  tombstone  placed  over  their  heads. 
Crying,  'Tender-hearted  lovers,  as  you  do  pass  by. 
Oh,  weep  and  lament  where  this  couple  does  lie.' 

io6 
William  Taylor 

This  British  stall  ballad  is  widely  known  and  sung  both  in  the 
old  country  and  here.  See  BSM  182,  and  add  to  the  references 
there  given  Missouri  (OFS  i  295-6)  and  Wisconsin  (JAFL  lii 
21-2).  The  story  shifts  not  a  little  in  the  various  versions  recorded; 
most  often  she  shoots  her  faithless  lover  and  her  captain  rewards 
her  with  the  command  of  a  ship ;  sometimes  she  leaps  overboard 
after  the  shooting;  less  often,  as  in  our  text,  she  does  not  shoot  at 
all  but  drowns  herself  at  the  sight  of  her  lover  walking  with  an- 
other lady.  But  no  other  text  that  I  know  ascribes  William's  being 
pressed  to  sea  to  the  contrivance  of  a  rival  (such  we  must  sup- 
pose the  Samuel  of  our  text  to  be). 

'William  Taylor.'  From  the  collection  of  Miss  E.  B.  Fish  of  White 
Rock,  Madison  county.  Sent  in  1913  to  C.  Alphonso  Smith,  and  by  him 
to  the  Brown  Collection. 

1  O  William  was  a  youthful  lovyer. 
Full  of  youth  and  wealth  and  heir, 
And  first  his  love  he  could  discover 
Was  on  a  charming  lady  fair. 

2  Samuel,  knowing  of  Billy's  doings 
Till  Billy  gained  in  great  success. 
And  Samuel  swore  he'd  be  Billy's  ruin, 
He'd  deprive  him  of  all  success. 

3  The  day  was  set  for  to  get  married, 
And  dressed  he  was,  and  all  ready. 
In  the  stead  of  Billy's  getting  married 
Pressed  he  was,  and  sent  to  sea. 


ALLADS MOSTLY     BRITISH  33I 


'O  must  I  live  on  bread  and  water 
Till  his  fair  face  [I]  see  again?' 
She  dressed  herself  in  a  sailor's  jacket 
And  then  on  sea  she  did  go. 

Her  little  fingers  both  slim  and  slender 
With  kitchen  fare  must  all  be  stained 


6  Out  on  sea  there  rose  a  dreadful  screaming, 
And  s[he]  being  one  among  the  rest 

A  silver  button  flew  oflf  her  jacket 

And  a  sailor  spied  her  snowy  white  breast. 

7  It's  'O  pretty  miss,  what  is  the  matter, 
O  what  misfortune's  brought  you  here?' 
'I'm  in  pursuit  of  my  own  true  lovyer 
Sailed  away  the  other  year.' 

8  'If  you're  in  pursuit  of  your  own  true  lovyer 
Pray  tell  to  me  what  is  his  name?' 

'His  name  it  be  one  William  Taylor ; 
Pressed  he  was  from  the  Isle  of  Graham.* 

9  'If  his  name  be  William  Taylor, 
Very  like  I  know  the  man. 

If  you'll  rise  up  early  in  the  morning 
You'll  see  him  a-walking  down  the  strand.' 

10  She  arose  early  the  next  morning. 
Just  about  the  break  of  day ; 

And  there  she  spied  her  own  loved  William  Taylor 
Come  walking  with  his  lady  gay. 

11  'If  that  be  my  William  Taylor,' 
She  cried,  'Alas,  what  shall  I  do?' 
She  wrung  her  lily-white  hands 
And  over  the  bow  her  body  threw. 

12  This  lady  died  for  William  Taylor; 
The  watery  main  it  was  her  grave. 

The  whole  ship's  crew  they  tried  to  save  her, 
But  all  they  strived,  it  was  in  vain. 

107 
The  Silk-Merchant's  Daughter 

Originally,  no  doubt,  a  product  of  the  stall-ballad  press,  this  has 
become   a   traditional   song.      It   is   reported   as   such    in    Scotland 


332  NORTH  CAROLINA  FOLKLORE 

(Ord  63-4),  and  on  this  side  of  the  water  in  Newfoundland  (BSSN 
57-8),  Virginia  (SharpK  i  384,  FSV  53),  West  Virginia  (FSS 
334),  Kentucky  (SharpK  i  383;  also  in  Shearin's  Syllabus),  North 
Carolina  (JAFL  xxviii  160-1,  SharpK  i  383),  Florida  (FSF 
395-7),  Mississippi  (JAFL  xxix  112,  FSM  148-50),  Missouri 
(OFS  I  222-4),  Indiana  (BSI  239-42),  Michigan  (BSSM  176-7), 
and  Iowa  (MAFLS  xxix  21).  I  do  not  find  it  recorded  for  New 
England. 


'The  Silk-Merchant's  Daughter.'  From  the  collection  of  Miss  E.  B. 
Fish  of  White  Rock,  Madison  county;  sent  by  Miss  Fish  to  C.  Alphonso 
Smith  in  1913  and  later  to  the  Brown  Collection.  It  is  identical,  bar- 
ring a  very  few  slight  differences  which  may  be  due  to  inaccurate  copy- 
ing, with  both  Perrow's  text  in  JAFL  xxviii — which  he  says  is  from 
"mountain  whites"  of  North  Carolina  in  a  manuscript  "given  E.  N. 
Caldwell"  in  1913 — and  the  A  text  in  SharpK,  which  was  secured  at 
Allanstand,  North  Carolina,  in  1916.  All  three  unquestionably  repre- 
sent one  master  text,  whether  in  type  or  in  manuscript  does  not  appear. 

1  There  was  a  rich  gentleman,  in  London  did  right, 
Had  one  only^  daughter,  her  beauty  shined  bright. 
She  loved  a  porter,  and  to  prevent  the  day 

Of  marriage,  they  sent  this  poor  young  man  away. 

2  Oh,  now  he  is  gone  for  to  save^  his  king. 
It  grieves  this  lady  to  think  of  the  thing. 

She  dressed  herself  up  in  rich  merchant's  shape 
And  wandered  away  her  true  love  for  to  seek. 

3  As  she  was  a-travelling  one  day,  almost  night, 
A  couple  of  Indians  appeared  in  her  sight. 

And  as  they  drew  nigh  her,  oh,  this  they  did  say : 
'Now  we  have  resolved  to  take  your  life  away.' 

4  She  had  nothing  by  her  but  a  sword  to  defend. 
These  barbarous  Indians  murder  intend. 

But  in  the  contest  one  of  them  she  did  kill. 
Which  caused  the  other  for  to  leave  the  hill. 

5  As  she  was  a-sailing  over  the  tide, 
She  spied  a  city  down  by  the  sea-side ; 

She  saw  her  dear  porter  a-walking  the  street, 
She  made  it  her  business  her  true  love  to  meet. 

6  'How  do  you  do,  sir?    Where  do  you  belong? 
I'm  a-hunting  a  diamond,  and  I  must  be  gone.' 
He  says,  'I'm  no  sailor,  but  if  you  want  a  man, 
For  my  passage  over  I'll  do  all  I  can.' 

'  Perrow  has  here  "lovely." 

*  Both  the  other  texts  have  "serve." 


OLDER     BALLADS MOSTLY     BRITISH  333 

7  Then  straightway  they  both  went  on  board. 

Says  the  captain  to  the  young  man,  'What  did  you  do  with 

your  sword?' 
On  account  of  long  travel  on  him  she  did  gaze : 
'Once  by  my  sword  my  sweet  life  I  did  save.' 

8  Then  straightway  to  London  their  ship  it  did  steer. 
Such  utter  destruction  to  us  .did  appear. 

It  was  all  out  on  main  sea,  to  our  discontent 

Our  ship  sprung  a  leak  and  to  the  bottom  she  went. 

9  There  were  four  and  twenty  of  us,  all  contained  in  one  boat. 
Our  provisions  gave  out,  and  our  allowance  grew  short. 
Our  provisions  gave  out,  and,  death  drawing  nigh. 

Says  the  captain,  'Let's  draw^  lots  for  to  see  who  shall  die.' 

10  Then  down  on  a  paper  each  man's  name  was  wrote, 
Each  man  ran  his  venture,  each  man  had  his  note. 
Amongst  the  whole  ship's  crew  this  maid's  was  the  least ; 
It  was  her  lot  to  die  for  to  feed  all  the  rest. 

11  'Now,'  says  the  captain,  'Let's  cast  lots  and  see 
Amongst  the  ship's  crew  who  the  butcher  will  be.' 
It's  the  hardest  of  fortune  you  ever  did  hear. 
This  maid  to  be  killed  by  the  young  man  her  dear. 

12  He  called  for  a  basin  for  to  catch  the  blood, 
While  this  fair  lady  a-trembling  stood, 

Saying,  'Lord  have  mercy  on  me,  how  my  poor  heart  do 

bleed 
To  think  I  must  die  hungry  men  for  to  feed.' 

13  Then  he  called  for  a  knife  his  business  to  do. 
She  says,  'Hold  your  hand  for  one  minute  or  two. 
A  silk-merchant's  daughter  in  London  I  be ; 
Pray  see  what  I've  come  to  by  loving  of  thee.' 

14  Then  she  .showed  a  ring  betwixt  them  was  broke. 
Knowing  the  ring,  with  a  sigh  then  he  spoke : 

'For  the  thoughts  of  your  dying  my  poor  heart  will  burst. 
For  the  hopes  of  your  long  life,  love,  I  will  die  first.' 

15  Says  the  captain,  'If  you  love  her,  you'll  make  her  amend. 
But  the  fewest  of  number  will  die  for  a  friend ; 

So  quicken  the  business  and  let  it  be  done.' 

But  while  they  were  speaking  they  all  heard  a  gun. 

16  Says  the  captain,  'You  may  now  hold  your  hand, 
We  all  hear  a  gun,  we  are  near  ship  or  land.' 

'  Both  the  other  texts  have  "cast." 


334  NORTH  CAROLINA  FOLKLORE 

In  about  half  an  hour  to  us  did  appear 

A  ship  bound  for  London,  which  did  our  hearts  cheer. 

17     It  carried  us  safe  over  and  us  safe  conveyed ; 

And  then  they  were  married,  this  young  man  and  maid. 

B 

The  Silk-Merchant's  Daughter.'  Secured  in  1927  by  Julian  P.  Boyd 
from  Jeannette  Tingle,  one  of  his  pupils  in  the  school  at  Alliance,  Pam- 
lico county.    A  much  reduced  version,  retaining  only  the  central  incident. 

1  The  old  ship  is  deep  ^aded, 
All  ready  for  sail ; 

And  Wednesday  it  started ; 
And  Thursday  a  gale. 

2  They  drew  straws  between  them 
To  see  who  should  be  slain ; 

And  it  fell  upon  this  young  damsel 
To  be  killed  by  her  swain. 

3  He  stood  a  while  and  considered. 
With  his  heart  fit  to  burst; 

He  stood  a  while  and  considered, 
And  said,  'My  love,  I'll  die  first!' 

4  And  they  sailed  on  together 
With  a  fair  wind  and  tide ; 
They  sailed  to  some  harbor, 
And  he  made  her  his  bride. 

108 
Green  Beds 

This  expression  of  the  sailor's  resentment  at  the  greed  of  land- 
ladies and  their  "daughters"  is  widely  known,  and  is  by  no  means 
confined  to  seagoing  folk.  See  BSM  160,  and  add  to  the  references 
there  given  Scotland  (Christie  i  250-1),  Virginia  (FSV  159-60), 
Missouri  (OFS  i  250-3,  Hoosier  Folklore  v  29-30),  Ohio  (BSO 
95-7),  Indiana  (BSI  188-92),  Michigan  (BSSM  91-3),  and  Wis- 
consin (JAFL  Lii  45-6).  It  is  more  often  called  'Young  Johnny,' 
but  the  more  distinctive  title  seems  preferable.  In  our  North  Caro- 
lina texts  the  tavern  keeper  seems  to  be  rather  a  man  than  a 
woman;  the  pronoun  "he"  is  used  in  text  C,  and  in  the  others  the 
sex  is  not  indicated. 

A 
'Young  Johnny.'  Reported  by  Mrs.  Sutton,  with  the  tune,  from  the 
singing  of  Myra  Barnett,  her  nurse  from  King's  Creek  in  the  Brushy 
Mountains  of  Caldwell  county,  with  whom  it  was  a  great  favorite.  Mrs. 
Sutton  says  she  has  heard  it  only  in  Caldwell  county  and  there  only 
from  two  singers,  Myra  and  another.  But,  as  our  other  texts  show, 
it  is  known  also  in  Durham,  Watauga,  and  Iredell  counties. 


MOSTLY     BRITISH  335 


1  'What  luck  have  you,  young  Johnny, 
What  kick  have  you  at  sea?' 

'Oh,  I  have  nothing  extry 
But  what  you  see  on  me. 

2  'Since  I  was  in  this  country 
I've  roamed  o'er  land  and  sea. 
To^  bring  your  daughter  Polly 
And  set  her  on  my  knee.' 

3  'My  daughter  she  is  absent. 
She  ain't  been  seen  today. 

And  if  she  were  here,  young  Johnny, 
She'd  cast  you  fur  away. 

4  'Fur  she  is  very  rich 
And  you  are  very  pore ; 

And  if  she  were  here,  young  Johnny, 
She'd  cast  you  out  the  door.' 

5  Young  Johnny  being  weary, 
He  hung  down  his  head 
And  called  for  a  candle 

To  light  him  to  bed. 

6  'All  my  beds  is  full  of  strangers 
And  's  been  fur  weeks  and  more, 
And  you  must  find  your  lodgin' 
On  some  furthering  shore.' 

7  He  first  began  to  draw. 
And  then  began  to  hold. 
And  out  of  his  pockets 
Pulled  handfulls  of  gold, 

8  'Oh,  you're  welcome  here,  young  Johnny, 
You're  welcome  home  with  me. 

My  daughter  Polly's 
Been  longin'  fur  thee.' 

9  Down  stepped  pretty  Polly, 
The  beautiful  miss ; 

She  first  began  to  hug  him 
And  then  began  to  kiss. 

10     'Oh,  you're  welcome  here,  young  Johnny, 
You're  welcome  home  with  me. 
All  my  father's  beds  are  empty; 
There's  lodgin'  here  for  thee.' 
*  Should  apparently  be  "Go." 


336  NORTH     CAROLINA     FOLKLORE 

II     'When  I  had  no  money 
My  lodgin'  was  on  sea. 


'Now  I  have  money  plenty 
I'll  make  the  tavern  roar 
With  a  bottle  of  peach  brandy 
And  an  Alabama  girl.' 


'What  Luck,  Young  Johnny?'  Reported  by  D.  W.  Fletcher  of  Durham 
county,  probably  about  1915-16,  from  S.  T.  Faulkner,  who  learned  it 
"during  the  Civil[?]  War."  The  text  is  substantially  the  same  as  A, 
but  it  has  the  "green  beds."     The  last  three  stanzas  run  : 

6  'Now  you're  welcome  here,  young  Johnny, 
You're  welcome  here  to  stay. 

My  green  beds  are  all  empty 

And  nothing  and  nothing  for  to  pay.' 

7  'Before  I'd  lie  on  your  green  beds 
I'd  lie  out  in  the  street; 

For  when  I  had  no  money 
My  lodging  was  to  seek. 

8  'But  now  I've  plenty  of  money 
I'll  make  the  tavern  ring, 
With  a  bottle  of  French  brandy 
And  a  glass  of  good  old  gin.' 

c 

'Young  Johnny.'  Contributed  by  Thomas  Smith  of  Zionville.  Watauga 
county,  with  the  note:  "Sung  in  1899  by  R.  G.  Vanney,  also  in  1915  by 
Bennett  Smith.  The  last  named  singer  says  he  heard  it  sung  over  40 
years  ago  by  some  women  of  the  name  of  Watson,  also  by  a  Mr. 
Church."  It  is  a  somewhat  abbreviated  text  (T.  S.  notes  that  "there 
are  some  other  verses  which  have  been  forgotten"),  but  does  not  other- 
wise difTer  significantly  from  A, 

D 
'Young  Johnny.'     Contributed   by   James   York   of   Olin,   Iredell   county, 
in   1939.     A   fairly    full   text,    11^    stanzas,   with   only   minor   variations 
from  A.    The  first  two  stanzas  and  the  last  four  run : 

1  Young  Johnny's  been  to  Earlham, 
Young  Johnny's  been  to  shore, 
Young  Johnny's  been  to  Earlham ; 
He's  been  there  before. 

2  'Come  hasten  home,  young  Johnny, 
Come  hasten  home  from  sea; 


OLDER     BALLADS MOSTLY     BRITISH  237 

Last  night  my  daughter  Polly 
Was  dreaming  of  thee.' 

9     Pretty  Polly  she  came  tripping  {or  twinkling ^ 
Down  the  winding  stair : 
'What  news  do  you  bring,  young  Johnny, 
What  news  do  you  bring  for  me  ?' 

10  Saying,  'You're  welcome  home,  young  Johnny, 
You're  welcome  home  from  sea. 

The  green  beds  are  waiting 
For  you  and  for  me.' 

11  'Before  I'll  lay  in  your  beds 
I'll  lie  in  some  street; 

For  when  I  had  no  money 
No  lodging  could  I  meet. 

12  'And  now  I've  got  the  money 
I'll  make  the  taverns  roar ; 
The  bottles  and  the  glasses 
I'll  dash  against  the  door.' 


'Young  Johnny.'  One  of  the  songs  collected  by  Professors  W.  Amos 
Abrams  and  Gratis  D.  Williams  in  1945  from  the  singing  of  Pat  Frye 
of  East  Bend,  Yadkin  county — concerning  whom  see  the  headnote  to 
'Lady  Isabel  and  the  Elf-Knight'  G.  Since  it  presents  some  striking 
instances  of  mishearing  or  misunderstanding  oral  tradition  it  is  given 
here  verbatim  ct  literatim  (but  not  piinctatim ;  the  pointing  is  the 
editor's). 

1  I  have  been  to  Easton, 
I  have  been  to  shore, 

I  have  been  to  London 
Where  I  have  been  before. 

2  'What  luck,  what  luck,  Young  Johnny? 
What  luck  did  you  have  on  sea?' 
'Very  endeferent,' 

Young  Johnny  says  to  me. 

3  'Call  up  your  daughter  Polly 
And  place  her  down  Lo  me ; 
We  will  get  married 

And  dround  all  cholerie.' 

4  'My  daughter  has  exemption 
And  she  ain't  been  seen  today. 
She  has  got  married 

Since  you  went  away.' 


338  NORTH     CAROLINA     FOLKLORE 

5  He  helt  down  his  head 
And  he  looked  very  sad. 
He  called  for  a  candle 
To  light  him  to  bed. 

6  'My  beds  are  full  of  strangers 
And  there  ain't  no  room  for  you. 
You'd  better  seek  your  lodging 
On  some  other  shore.' 

7  He  held  up  his  head 

And  he  looked  around  the  wall, 
And  loudly  for  a  wrecked  it^ 
Young  John  began  to  bawl. 

8  Was  thirty  years  a  young  man 
And  forty  years  an  old.^ 
Young  John  he  pulled  out 
His  two  hands  full  of  gold. 

9  Down  run  the  daughter  Polly 
And  stared  him  in  the  face 

And  throwed  her  arms  around  him 
And  him  she  did  embrace. 

10  'You're  welcome  here,  Young  Johnny, 
You're  welcome  here  to  stay. 

My  grand  beds  are  empty ; 
No  money  for  to  pay.' 

1 1  'Before  I  lay  on  your  grand  beds 
I'll  lay  out  in  the  street; 

For  when  I  had  no  money 
My  lodging  I  do  seek. 

12  'But  now  I  have  money  aplenty 
I'll  make  this  tavern  ring 
With  glasses  good  old  brandy 
And  bottles  of  good  old  gin. 

13  'Come  all  you  jolly  sea  boys 
That  plows  the  ridging  rows, 
That  gathers  up  your  money 
And  colds  stands  of  snow. 

14  'Oh,  when  you  get  your  money 
God  lay  it  up  in  store ; 

'  Read  "his  reckoning"— the  bill.  _ 

*  The  reading  of  Missouri  A  gives  an  indication  of  what  is  meant  here: 

Here's  fifty  guineas  of  the  new 

And  forty  of  the  old. 


OLDER     BALLADS  —  MOSTLY     BRITISH  339 

Without  companion 
You  turned  out  of  door.' 

109 
Poor  Jack 

This  English  stall  ballad,  better  known  as  'Jack  Tar'  or  'The 
Saucy  Sailor  Boy,'  has  been  reported  as  traditional  song  from  Sur- 
rey, Sussex,  and  Oxfordshire  (JFSS  iv  342-3)  but  not  often  in 
America:  from  Vermont  (VFSB  151-2),  West  Virginia  (FSS 
389),  and  Florida  (FSF  37^-^).  In  theme  it  is  akin  to  'Green 
Beds.' 

A 
'Poor  Jack.'     Secured  from  J.  B.  Midgett  ot  Wanchese,  Roanoke  Island, 
probably  in  1922. 

1  I  am  poor  Jack.  I  am  right  from  sea, 
And  lucky  is  my  portion. 

I've  got  gold  and  silver  too  ; 

A  long  time  I've  plowed  the  ocean, 

2  I  come  on  shore  to  see  my  love. 
To  see  if  she  would  marry  me. 

'Say,  pretty  pretty  Nancy,  will  you,  yes  or  no, 
Will  you  wed  with  a  tarry  sailor?' 

3  *Oh,  no,  oh,  no !'  all  in  a  frown, 

'For  I  can  get  a  man  of  high  renown.^ 
I  can  get  a  man  of  high  renown  ;^ 
Do  you  think  I'd  wed  with  a  sailor?' 

4  He  run  his  hands  all  in  his  purse 

And  hauled  them  out  full  of  glittering  gold. 
'Say,  pretty  Nancy,  will  you,  yes  or  no. 
Will  you  wed  with  a  tarry  sailor  ?' 

5  'Oh,  yes,  oh,  yes !'  all  in  a  smile, 
'For  I've  been  joking  all  the  while, 
I've  been  joking  all  the  while. 

To  be  sure  I'll  wed  with  a  sailor.' 

6  'If  you've  been  joking,  I've  been  just. 
I  see  it's  the  gold  that  you  like  best, 

I  see  it's  the  gold  that  you  like  best. 
You'll  never  wed  with  this  sailor.' 

7  Now  I'll  set  up  some  public  line. 
The  gold  and  silver  it  will  shine, 
Cause  pretty  Nancy  to  weep  and  mourn 
To  think  she  had  slighted  a  sailor. 

*  The  manuscript  has  "higher  noun."  Perhaps  "higher  renown'"  would 
be  a  better  interpretation. 


340  NORTH  CAROLINA  FOLKLORE 


Sailors'  Song.*  Secured  in  1927  by  Julian  P.  Boyd  from  B.  D.  Banks, 
one  of  his  pupils  in  the  school  at  Alliance,  Pamlico  county.  This  is 
somewhat  closer  than  A  to  the  original  stall  print. 

1  'Come,  my  loved  one  !    Come,  my  dear  one ! 
Come,  my  dearest,  unto  me ! 

Would  you  marry  a  poor  sailor  boy, 
Who  has  just  returned  from  sea?' 

2  'You  are  dirty,  love,  you  are  ragged,  love, 
And  your  clothes  they  smell  of  tar. 

So  begone,  you  saucy  sailor  boy, 
So  begone,  you  old  Jack  Tar !' 

3  'If  I'm  dirty,  love,  if  I'm  ragged,  love, 
And  my  clothes  they  smell  of  tar, 

I  have  silver  in  my  pockets,  love, 
And  a  gold-bright  shining  star ! 

4  'Then  I'll  cross  those  wide  blue  ocean  waves, 
Where  the  meadows  are  so  green. 

And  there  I'll  find  a  pretty  girl 
And  she  shall  wear  this  ring.' 

5  Soon  as  she  heard  these  fatal  words 
Down  on  her  knees  she  fell, 

Saying,  'Forgive  me,  dearest  Jack,  old  boy, 
For  I  love  my  sailor  boy !' 

no 

Little  Mohea 

For  theories  as  to  the  relation  of  this  American  song  to  the  Brit- 
ish stall  ballad  of  'The  Indian  Lass,'  see  BSM  143-4 — ^nd  add  to 
the  references  there  given  Maine  (MWS  86),  New  Jersey  (JAFL 
Lii  65-6,  a  noticeably  free-spoken  text),  Virginia  (FSV  41-3), 
Kentucky  (FSKH  22-3),  Florida  (FSF  356-8),  the  Ozarks  (OFS 
I  280-2,  and  Indiana  (BSI  175-80).  Mrs.  Steely  found  it  in  the 
Ebenezer  community  in  Wake  county.  The  name  is  spelled  in  vari- 
ous ways.  There  is  little  doubt  that  as  sung  in  America — where  it 
is  very  widely  known — it  looks  back  to  the  days  of  the  whale  fishery 
and  that  the  girl  is  a  South  Seas  islander;  the  'lass  of  Mohea'  in 
A  and  C,  and  still  more  the  'Isle  of  Mohay'  in  D  and  'the  Island 
Mohee'  in  I,  point  pretty  definitely  to  Maui  in  what  used  to  be 
called  the  Sandwich  Islands.  The  various  texts  are  so  much  alike 
that  only  one  of  them  (D)  is  printed  here.  There  are  twelve  texts 
in  the  Collection : 

A  'The    Little    Mohee.'      Contributed    by    Thomas    Smith    of    Zionville, 
Watauga  county,  from  the  singing  of  Miss  Mae  Smith. 


OLDER     BALLADS MOSTLY     BRITISH  34I 

B  "The  Lassie  Mohee.'  From  Mamie  Mansfield  of  the  Fowler  school 
district,  Durham  county,  1922.    Three  stanzas  only. 

C  'The  Little  Mohee.'  From  Mrs.  Sutton,  who  remarks  that  "it  is  a 
very  general  favorite  among  the  mountaineers." 

D  'The  Lass  of  Mohay.'  From  Mrs.  Charles  K.  Tillctt  of  Wanchese, 
Roanoke  Island,  March,  1923. 

E  'One  Morning  in  May.'  Contributed  by  Julian  P.  Boyd  as  collected 
from  Mary  Price,  a  pupil  in  the  school  at  Alliance,  Pamlico  county,  in 
1927. 

F  'Indian  Mohee.'    Another  text  sent  in  by  Mr.  Boyd. 

G  'The  Little  Mohea.'  Contributed  by  W.  Amos  Abrams  from  Boone  in 
1935  or  1936. 

H  'The  Pretty  Mohea.'  From  a  manuscript  book  of  songs  belonging  to 
Miss  Lura  Wagoner  of  Vox,  Alleghany  county. 

I  'The  Little  Mohee.'  Contributed  by  Otis  Kuykendall  of  Asheville  in 
1939- 

J  'The  Little  Mawhee.'  Contributed  by  Obadiah  Johnson  of  Crossnore, 
Avery  county. 

K  'Island  Mohee.'  Contributed  by  O.  L.  Coffey  of  Shull's  xMills,  Wa- 
tauga county,  in  1939. 

L  'Little  Mohee.'     From  the  John  Burch  Blaylock  Collection. 

D 

1  As  I  went  out  walking  for  pleasure  one  day, 
In  the  sweetly  creation^  to  while  time  away, 
As  I  set  amusing  myself  in  the  grass 

Oh,  who  should  I  spy  but  a  fair  Indian  lass. 

2  She  sat  down  beside  me  and  taking  my  hand 

Said,  'I  think  you're  a  stranger  and  in  a  strange  land. 
But  if  you'll  follow  me  you're  welcome  to  come 
And  dwell  in  the  cottage  which  I  call  my  own.' 

3  The  sun  was  fast  sinking  all  in  the  salt  sea 
When  together  I  wandered  with  my  pretty  Mohay. 
Together  we  wandered,  together  we  roamed, 

Till  we  come  to  the  cut^  in  the  cocoanut  grove. 

4  And  this  kind  expression  she  made  unto  me : 
'If  you'll  consent,  sir.  to  ?tay  here  with  me 
And  go  no  more  roving  all  o'er  the  salt  sea, 

I'll  teach  you  the  language  of  the  Isle  of  Mohay.' 

5  *Oh,  no,  my  kind  lady,  this  never  can  be, 
For  I've  a  true  love  in  my  own  countrie, 

*  Read  "In  sweet  recreation." 

•  Miswritten  (or  misheard)  for  "cot." 


342  NORTH  CAROLINA  FOLKLORE 

And  I'll  not  forsake  her;  for  I  know  she  loves  me 
And  her  heart  is  more  true  than  the  Lass  of  Mohay.* 

6  Was  early  one  morning,  one  morning  in  May, 
My  heart  it  does  pain  me  words  I  did  say. 

'It's  farewell,  my  darling,  and  farewell,  my  dear ; 
Ship's  sails  are  spreaded,  and  homeward  I  steer.' 

7  The  last  time  I  saw  her  she  stood  on  the  sand 
And  as  my  boat  passed  her  she  waved  me  her  hand. 
Saying,  'When  you  landed  with  the  girl  that  you  love, 
Think  of  pretty  Mohay  in  the  cocoanut  grove.' 

8  When  I  had  landed  on  my  own  native  shore 

With  friends  and  relatives  gathered  around  me  once  more, 
I  looked  all  around  me  but  none  could  I  see 
That  was  fit  to  compare  with  my  Lass  of  Mohay. 

9  So  I'll  turn  my  course  backward  far  o'er  the  salt  sea 
And  I'll  spend  all  my  day  with  my  pretty  Mohay .^ 

III 
The  Faithful  Sailor  Boy 

The  word  "faithful"  is  added  in  the  tide  to  distinguish  this  song 
from  the  more  widely  known  song  given  on  pp.  323-9.  The  pres- 
ent song  has  already  been  reported  from  North  Carolina  (FSRA 
59),  and  is  possibly,  not  probably,  'The  Sailor  Boy'  of  Shearin's 
Syllabus.  It  appears  four  time  in  our  collection,  but  the  texts 
agree  so  closely  that  it  will  be  sufficient  to  print  one  of  them. 

A 
'The    Sailor    Boy.'     Contributed   by    P.   D.    Midgett,   Jr.,   of   Wanchese, 
Roanoke  Island,  in  May,   1920.     The  first  chorus  is  repeated  after  the 
second  stanza. 

I     'Twas  on  a  dark  and  stormy  night. 
The  snow  lay  on  the  ground. 
A  sailor  boy  stood  on  the  deck ; 
The  ship  was  outward  bound. 
His  sweetheart,  standing  by  his  side, 
Shed  many  a  bitter  tear. 
At  last  he  pressed  her  to  his  heart 
And  whispered  in  her  ear : 

Chorus: 

Farewell,  farewell,  my  own  true  love ; 
This  parting  gives  me  pain. 

•  Most  versions  end  with  a  more  definite  motivation  of  his  return  to 
Mohea;  he  finds  his  girl  at  home  unfaithful  to  him. 


ALLADS  —  MOSTLY     BRITISH  343 


You'll  be  my  own,  my  guiding  star 
Until  I  return  again. 
My  thought  shall  be  of  you,  my  love, 
While  storms  are  raging  high. 
So  fare  you  well !     Remember  me, 
Your  faithful  sailor  boy. 

'Twas  in  a  gale  that  ship  set -sail. 

The  girl  still  standing  by. 

She  watched  the  ship  clear  out  of  sight 

While  tears  bedimmed  her  eyes  ; 

She  prayed  to  God  in  heaven  above 

To  guide  him  on  his  way. 

The  parting  words  her  lover  spoke 

Re-echoed  down  the  bay  : 

'Twas  sad  to  see  that  ship  return 

Without  that  sailor  boy, 

He  had  died  while  out  at  sea ; 

The  flags  were  half-mast  high. 

The  comrades,  when  they  came  on  shore, 

They  told  her  he  was  dead ; 

The  letter  that  they  gave  to  her 

The  last  line  sadly  read : 

Chorus: 

Farewell,  farewell,  my  own  true  love. 

We'll  meet  on  earth  no  more, 

But  we  will  meet  in  heaven  above 

On  that  celestial  shore. 

Up  in  that  land,  that  glorious  land, 

That  land  of  peace  and  joy, 

Where  you'll  no  more  be  parted  from 

Your  faithful  sailor  boy. 


'The  Sailor  Boy.'  Obtained  by  L.  W.  Anderson  of  Nag's  Head  from 
Maxine  Tillett,  one  of  his  pupils  in  the  school  there.  The  text  is  the 
same  as  A. 

C 

'The  Sailor  Boy.'  Obtained  by  Mr.  Anderson  from  another  of  his 
pupils  at  Nag's  Head,  Alva  Wise.  Text  as  in  A  and  B  except  that  it 
lacks  the  last  stanza  and  the  final  chorus. 


'The  Sailor  Boy.'  Reported  by  the  Reverend  L.  D.  Hayman  (student 
at  Trinity  College  about  1913)  from  Dare  and  Currituck  counties,  with 
the  notation  that  it  is  current  in  the  Banks  section  (between  the  ocean 
and   the    inland    waters),    "very    popular   with    sailors,    especially    young 


344  NORTH  CAROLINA  FOLKLORE 

men."  Text  as  in  A  except  that  it  lacks  the  second  chorus,  and  the 
first  two  lines  of  stanza  2  run : 

The  sailor  boy  stood  on  the  deck. 
The  girl  stood  on  the  dock. 

112 

The  Sailor's  Bride 

So  titled  in  NGMS  233-4,  where  Barry  reports  a  text  and  tune 
from  Vermont.  Cox  found  it  also  in  West  Virginia  (FSS  364-5), 
Randolph  in  Missouri  (OFS  iv  268-9),  Miss  Eddy  in  Ohio  (BSO 
104-6),  and  Chapped  in  North  Carolina  (FSRA  57).  An  Indiana 
text  is  given  in  Hoosier  Folklore  v  21-2.  Barry  says  it  "was  first 
printed,  without  music,  by  H.  De  Marsan,  on  a  broadside,  at  some 
time  between  i860  and  1878,"  and  adds  that  texts  and  airs,  as  yet 
unpublished,  are  known  in  Maine.  It  is  similar  in  content  to,  but 
not  the  same  as,  'The  Lover's  Lament  for  Her  Sailor,"  for  which 
see  BSM  167-8  and  OFS  i  341-3. 

A 

'My  Soldier  Boy.'  Reported  by  I.  G.  Greer  of  Boone,  Watauga  county, 
as  obtained  in  191 5  from  Ella  Harden  in  a  manuscript  bearing  the  nota- 
tion "Mr.  C.  S.  Wagner,  July  Qth,  1879."  Mr.  Greer  furnished  also 
another  text  (provenience  not  indicated),  the  chief  variants  of  which  are 
here  given  in  footnotes. 

1  Early  in  the  spring  when  I  was  young 

The  flowers  were  in  bloom,  the  birds  they  sung, 
Not  a  soul  was  happier  than  I 
When  my  sweet  soldier  boy  was  by. 

2  The  morning  that  was  misting  by, 

The  daylight  shone  through  the  eastern  sky ; 
My  soldier  boy  and  I  his  bride 
Stood  weeping  by  the  ocean  side. 

3  Three  long  months  past  we  had  been  wed. 
But  oh,  how  swiftly  the  moments  fled 
When  we  were  to  part  at  the  dawn  of  day 
And  the  southern  ship  bear  my  soldier  away.^ 

4  Three  long  months  passed ;  he  came  no  more 
To  his  weeping  bride  on  the  ocean  ocean-  shore. 
The  ship  went  down  in  the  howling  storm 
And  the  waves  rolled  over  my  soldier's  form. 

5  My  soldier  buried  beneath  the  waves, 
Mormons^  weeping  over  his  grave, 

*  The  last  two  lines  of  stanzas  2  and  3  change  places  in  tlie  other  text. 

*  The  other  text  has  "eastern." 


OLDER     BALLADS MOSTLY     BRITISH  345 

The  mormons^  in  the  bottom  of  the  sea 
Weeping  of  sad  tears  for  me. 

Now  my  sad  story  I  have  told, 
I've  told  to  the  young  as  well  as  the  old. 
But  my  sad  thoughts  I  never  could  tell 
When  I  bid  my  soldier  boy  farewell. 

I  wish  that  I  was  resting  too 
Beneath  the  waves  of  the  ocean  blue, 
My  soul  with  God,  my  body  in  the  sea, 
And  the  blue  waves  rolling  over  me.^ 


"Charlie  and  Mary.  As  sung  by  Mrs.  Charles  K.  Tillett  of  Wanchese, 
Roanoke  Island,  in  1922.  J.  B.  Midgett,  also  of  Wanchese,  supplied  the 
same  text  e.xcept  that  his  lacks  the  chorus.  The  intrusive  d  in  stanza 
4  presumably  represents  a  local  pronunciation. 

1  Merry  spring  when  I  was  young. 

The  flowers  bloom  and  the  birds  did  sing; 
There  never  was  a  soul  so  happy  as  I 
When  my  sweet  sailor  boy  was  nigh. 

Chorus: 

Tal  la  la  la  tal  la  la  la  tal  la  la  la  tal  la  la 
There  never  was  soul  so  happy  as  I 
When  my  sweet  sailor  boy  was  nigh. 

2  Just  six  months  since  we  were  wed. 
And  oh,  how  sweet  the  moments  fled ! 
We  were  parted  at  the  dawning  of  day 
And  the  proud  ship  bore  my  love  away. 

3  Spring  has  come,  and  I  am  all  alone. 

The  flowers  has  blown  and  the  birds  has  sung. 
The  ship  went  down  in  the  howling  of  the  storm 
And  the  sea  covered  up  my  sailor  ['s]  form, 

4  Oh,  that  I  was  a-sleeping  too 

In  the  purty  cabing  in  the  ocean  blue, 
My  sold  in  heaven,  my  body  in  the  sea. 
And  the  proud  waves  rolding  over  me ! 

5  Autumn  comes ;  it  comes  no  more. 
Weeping  birds  on  a  lonely  shore. 
Charlie  is  a-sleeping  beneath  thy  waves. 
And  Mary  is  weeping  over  his  grave. 

*  The  other  text  has  "maremaids,"  that  is,  mermaids,  which  is  right,  of 
course. 

*  The  last  two  stanzas  change  places  in  the  other  text. 


346  north    carolina   folklore 

Barney  McCoy 

This  is  reported  from  Virginia  (FSV  124),  Missouri  (OFS  iv 
291-2),  Indiana  (Wolford  75-6,  as  a  play-party  song;  SFLQ  iv 
202-3),  and  Michigan  (BSSM  477,  listed  only)  and  in  Miss  Pound's 
syllabus  and  in  the  list  of  records  of  the  Archive  of  American  Folk 
Song  (from  New  York  and  Virginia).  It  is  in  Ford's  Traditional 
Music  of  America  337-8.  'Norah  Darling'  in  the  Franklin  Square 
Song  Collection  viii  40  is  not  the  same  song,  despite  the  title. 
There  are  three  texts  in  our  collection. 

A 
'Barney  McCoy.'    From  the  manuscript  songbook  of  Miss  Edith  Walker 
of  Boone,  Watauga  county. 

1  'I  am  going  far  away,  Nora  darling, 
And  leaving  such  an  angel  far  behind. 
It  would  break  my  heart  in  two, 
Which  I  fondly  gave  to  you. 

And  no  other  one  so  loving,  kind,  and  true.' 

Chorus: 

Then  come  to  my  arms,  Nora  darling, 

Bid  your  friends  and  old  Ireland  goodbye. 

For  it's  happy  we  would  be 

In  the  dear  land  of  the  free. 

Living  happy  with  your  Barney  McCoy. 

2  'I  would  like  to  go  with  you,  Barney  darling, 
But  the  reasons  I  have  told  you  before. 

It  would  break  my  mother's  heart 

If  from  her  I  had  to  part 

And  go  roaming  with  you,  Barney  McCoy.' 

3  'I  am  going  far  away,  Nora  darling. 
Just  as  sure  as  there's  a  God  that  I  adore. 
But  remember  what  I  say : 

That  until  the  judgment  day 

You  will  never  see  your  Barney  any  more.' 

4  T  would  go  with  you,  Barney  darling, 

If  my  mother  and  the  rest  of  them  were  there. 

For  I  know  we  would  be  blest 

In  the  dear  land  of  the  west, 

Living  happy  with  my  Barney  McCoy.' 

5  'I  am  going  far  away,  Nora  darling. 
And  the  ship  is  now  anchored  at  the  bay. 
And  before  tomorrow  sure 

You  will  hear  the  signal  gun. 

So  be  ready ;  it  will  carry  me  away.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  347 


'Nora  Darling.'  Contributed  by  L.  W.  Anderson  of  Nag's  Head.  Re- 
duced to  three  stanzas  and  chorus.  Stanza  i  as  in  A;  stanzas  2  and  3 
are  made  up  of  parts  of  stanzas  2-5  of  A. 

C 
'Barney  McCoy.'     From  O.  L.  Coflfey  of  Shull's  Mills,  Watauga  county, 
in  1936.    The  text  is  the  same  as  in  A. 

114 
In  a  Cottage  by  the  Sea 

Randolph,  reporting  this  song  from  Missouri  (OFS  iv  160-1), 
says  it  is  the  work  of  C.  A.  White  and  was  published  in  Boston  in 
i8(58.  It  is  reported  also  from  Indiana  (SFLQ  iv  182-3)  and  Illi- 
nois (TSSI  225-6).  Ford  has  it  in  his  Traditional  Music  of 
America,  334.  It  is  remembered  in  North  Carolina  both  in  the 
mountains  and  on  the  sea  coast.  Mrs.*  Steely  found  it  in  the 
Ebenezer  community  in  Wake  county.  Since  our  versions  do  not 
dififer  significantly  it  will  be  sufficient  to  give  one  of  them.  The 
Collection  has  the  following  texts : 

A  Obtained  by  L.  W.  Anderson  from  Alva  Wise,  one  of  his  pupils  in 
the  school  at  Nag's  Head  on  the  Banks. 

B  Obtained  by  Anderson  from  another  pupil  there,  Lizzie  Hines,  who 
had  it  from  an  aunt,  Mrs.  W.  T.  Perry,  at  Kitty  Hawk. 

C  From  Mrs.  Minnie  Church  of  Heaton,  Avery  county. 

D  From  Clara  Hearne,  Pittsboro,  Chatham  county. 

E  From  Florence  Holton  of  Durham.     Refrain  stanza  only. 


Just  one  year  ago  today,  love, 
I  became  your  happy  bride, 
Changed  a  mansion  for  a  cottage 
To  dwell  by  the  river  side. 
You  told  me  I'd  be  happy, 
But  no  happiness  I  see, 
For  tonight  I  am  a  widow 
In  a  cottage  by  the  sea. 

Chorus: 

Alone,  alone,  by  the  seaside  he  left  me, 
And  no  other's  bride  I'll  be. 
For  in  bridal  flowers  he  decked  me 
In  a  cottage  by  the  sea. 

From  my  cottage  by  the  seaside 
I  can  see  my  mansion  home, 
I  can  see  those  hills  and  valleys 
Where  with  pleasure  I  have  roamed. 


348  NORTH     CAROLINA     FOLKLORE 

The  last  time  that  I  met  him 
Oh,  how  happy  then  were  we ! 
But  tonight  I  am  a  widow 
In  a  cottage  by  the  sea. 

3     Oh,  my  poor  and  aged  father, 
How  in  sorrow  he  would  fall, 
And  my  poor  and  aged  mother, 
How  in  tears  her  eyes  would  swell ; 
And  my  poor  and  only  brother, 
Oh,  how  he  would  weep  for  me 
If  he  only  knew  his  sister 
Was  a  widow  by  the  sea ! 

"5 

A  Song  About  a  Man-of-War 

This  sailor's  song  was  copied  into  a  notebook  in  1768  by  William 
Lenoir,  then  a  lad  of  seventeen,  later  a  general  in  the  Revolutionary 
War  and  president  of  the  board  of  the  University  of  North  Carolina 
when  it  was  founded  in  1799 — a  distinguished  figure  in  NorUi  Caro- 
lina history.  One  of  the  counties  of  the  state  is  named  after  him. 
The  song  was  sent  in  by  Mrs.  Sutton.  Mr.  Clyde  L.  Lenoir,  the 
General's  descendant,  wrote  to  her  concerning  it:  "I  carne  across  a 
few  lines  of  something  in  an  old  book  of  General  Lenoir's.  I  will 
copy  them  and  send  them  to  you.  .  .  .  General  Lenoir  seems  to 
have  enjoyed  writing  for  the  pure  joy  of  seeing  how  well  it  looked 
on  the  page,  for  this  old  book  is  full  of  quotations  and  beautiful 
letters  and  figures."  The  ballad  is  evidently  of  English  origin, 
most  likely  from  a  broadside  or  stall  print,  but  the  editor  has  not 
found  it  recorded  elsewhere.  Some  places  in  it  are  not  easily  con- 
struable,  and  what  "Bandogughn"  and  "marrender"  in  stanza  4 
and  "shost"  in  stanza  5  mean  the  editor  has  not  been  able  to  guess, 
but  it  seems  best  to  give  it  as  it  stands  in  the  manuscript — except 
for  the  line  division  and  the  pointing,  which  are  editorial. 

1  Once  I  courted  a  pretty  girl, 
A-thinking  for  to  gain  her. 

She  told  me  that  she  would  prove  true 
When  I  was  spending  all  my  store, 
And  all  I  got  I  carried  to  her 
Till  I  could  get  no  more. 

2  I  went  to  her  to  get  one  kiss. 
She  didn't  it  to  me  deny. 

She  said,  'How  can  you  think  of  this, 
When  you're  going  so  far  from  here? 
Be  ruled  by  me,  and,  if  you  think  fit. 
Git  on  board  the  man  of  war.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  349 

As  I  walked  along  the  street 

A  captain  I  chanced  to  meet. 

'Good  morrow,  countryman,'  said  he, 

'I  see  you  are  in  trouble  here. 

Be  ruled  by  me  and,  if  you  think  fit, 

Git  on  board  a  man  of  war.' 

As  we  walked  along  the  street 

He  seemed  very  kind. 

He  said,  'Young  man,  you  are  in  love. 

But  I'll  have  you  not  to  mind. 

We  will  away  to  the  Bandogughn ; 

There's  a  sign  of  a  marrender. 

Those  cups  of  lips  shall  make  you  skip 

Upon  a  man  of  war.' 

The  very  first  day  I  went  on  board 
The  man  was  to  my  sorrow ; 
I  could  not  sleep  or  rest  that  night 
For  thinking  of  tomorrow. 
They  tied  my  poor  tender  hands 
With  those  damnation  hickory  bands ; 
The  shost  me  while  I  could  not  stand 
On  board  of  a  man  of  war. 

The  captain  ordered  us  all  out 
All  on  the  deck  to  stand. 
The  bosun  ordered  us  all  out 
For  to  answer  our  demand, 
And  by  the  hair  they  lug  me  out 
On  board  of  a  man  of  war. 

The  diet  they  gave  me  to  eat 

It  did  not  me  well  please ; 

They  fed  me  on  their  moldy  bread. 

Likewise  their  rotten  cheese. 

They  made  me  drink  their  burgun ; 

I  swore  it  stunk  like  rue, 

Which  made  me  curse  the  whole  ship's  crew 

On  board  of  a  man  of  war. 

I  throwed  myself  out  in  the  deep ; 

I  swam  unto  the  land ; 

I  traveled  up  to  London  town, 

If  you  may  understand. 

And  now  I've  set  my  foot  on  shore 

There's  never  a  damned 

Who 

On  board  of  a  man  of  war. 


350  NORTH     CAROLINA     FOLKLORE 

Il6 

Captain  Kidd 

For  the  history  of  this  pirate  song,  see  Mackenzie's  headnote, 
BSSNS  278.  It  does  not  often  appear  as  a  collector's  item,  prob- 
ably because  it  is  so  generally  familiar.  It  has  however  been  re- 
ported, since  Mackenzie's  book  appeared,  from  Massachusetts 
(FSONE  131-4),  from  Florida  (FSF  51-2),  and  from  Michigan 
(BSSM  318-19).     The  traditional  texts  vary  considerably. 

'Captain  Kidd.'  Obtained  by  L.  W.  Anderson  from  Mildred  Harris  as 
sung  by  her  father,  Silvanius  Harris,  of  Nag's  Head,  Dare  county. 

1  My  name  is  Robert  Kidd, 
And  God's  lav^^s  I  did  forbid. 
I  murdered  William  More, 
Also  a  thousand  more, 

And  I  sunk  them  in  the  gore. 

2  My  mate  was  taken  sick  and  died. 

He  begged  me  to  stop  to  save  my  hide. 
I  stopped  in  a  harbor  for  two  weeks, 
But  I  went  to  sea  at  last. 

3  I  had  a  Bible  from  my  father's  great  command. 
And  I  sunk  it  in  the  sand. 

For  him  I  did  not  fear 
As  I  sail,  as  I  sail. 

4  One  morning  at  the  peek  of  day 
I  spied  sixteen  ships  at  sea. 

I  called  my  crew  together  and  told  them 
There  were  sixteen  ships  at  sea 
And  that  was  too  many  for  me. 

5  Come  all  you  young  and  old, 
You  are  welcome  to  my  gold. 
For  this  I've  lost  my  soul 
As  I  sail,  as  I  sail. 

From  another  informant,  Fred  Perry  of  Nag's  Head,  Mr.  Anderson  got 
another  version  of  the  first  stanza,  nearer  to  the  customary  form: 

My  name  was  Robert  Kidd,  as  I  sailed,  as  I  sailed. 

My  name  was  Robert  Kidd,  as  I  sailed ; 

So  wickedly  I  did,  God's  laws  I  did  forbid,  as  I  sailed. 

Another  text,  reported  by  J.  Frederick  Doering,  then  of  Duke  Univer- 
sity, as  "heard  in  Toronto,  Ontario,"  is  not  entered  here  as  not  repre- 
senting North  Carolina  tradition. 


OLDER     BALLADS — MOSTLY     BRITISH  351 

117 

Poor  Parker 

Richard  Parker,  of  Exeter,  was  the  leader  of  the  famous  mutiny 
in  the  fleet  at  the  Nore,  in  the  mouth  of  the  Thames,  in  1797.  He 
was  hanged  therefor,  and  his  body  was  recovered  later  by  his 
widow  much  as  related  in  the  ballad.  The  mutineers  were  organ- 
ized in  a  sort  of  republic  governed  by  a  body  of  "delegates"  of 
which  Parker  was  "president,"  whence  he  is  sometimes  called 
"President  Parker."  Such  a  career  was  sure  to  be  balladized.  Mase- 
field's  A  Sailor's  Garland  has  a  text  entirely  different  from  that 
elsewhere  recorded.  Ashton's  Modern  Street  Ballads  218-20  has  our 
North  Carolina  version,  and  a  fuller  form  of  the  same  version  has 
been  reported  from  Scotland  (Christie  11  102-3).  A  text  from 
Dorset  tradition  is  reported  in  JFSS  viii  188-90,  and  one  from  the 
west  of  England  in  Baring-Gould's  Songs  of  the  West.  I  have  not 
found  it  reported  elsewhere  as  traditional  song  except  in  our  North 
Carolina  collection.  But  Miss  Gilchrist  (JFSS  viii  190)  says  "it 
was  common  on  broadsides  after  the  event." 

'Poor  Parker.'  Reported  by  Mrs.  R.  D.  Blacknall  of  Durham  with  the 
following  note:  "Between  1812  and  1820,  Miss  Jane  Girvin,  an  elderly 
seamstress,  spent  six  or  eight  weeks  annually  in  my  great-grandfather's 
home  in  Franklin  county,  plying  her  needle  on  the  family's  wardrobe, 
singing  soul  fully  as  she  sewed.  Into  'Poor  Parker'  she  threw  her  whole 
soul,  ejaculating  fervently  after  each  verse,  'A-h-h  poor  creetur !'" 

1  Ye  gods  above,  protect  us  widows ! 
With  eyes  of  pity  look  down  on  us! 
Help  me,  help  me  out  of  trouble 
And  all  this  sad  calamity ! 

Oh,  Parker  was  my  lawful  husband. 
Though  fortune  to  me  has  proved  unkind ; 
And  though  poor  Parker  was  hanged  for  mutiny, 
Worse  than  him  was  left  behind. 

2  The  day  that  he  was  to  be  executed 
(And  no  relief  would  they  afford), 
The  day  on  which  he  was  to  be  hang-ed 
They  would  not  let  me  come  on  board. 
The  boatmen  used  their  best  endeavors, 
But  over  and  over  and  over  again 

Still,  still  they  replied,  'You  must  be  denied ! 
So  go  your  way  on  shore  again.' 

3  I  thought  I  saw  his  hand  a-waving 

As  much  as  to  say,  'My  love,  farewell!' 
As  on  the  beach  I  stood  a-trembling; 
And  down  in  a  fainting  fit  I  fell. 
And  when  my  senses  I  did  recover 
All  in  amazement  there  I  stood^ 


352  NORTH  CAROLINA  FOLKLORE 

For  the  waves,  they  seemed,  as  they  flowed  all  around  me. 
As  if  they  were  stained  by  my  husband's  blood. 

4  One  night,  one  night  when  all  was  silent 
And  many  a  thousand  was  fast  asleep, 
Me  and  two  friends  jumped  over  the  wall 
And  into  the  graveyard  we  did  creep. 
And  then  our  hands  we  made  our  shovels, 
The  dirt  from  his  cofifin  we  tore  away. 

And  there  we  got  the  corpse  of  poor  Parker, 
And  straight  to  London  we  hastened  away. 

5  Yes,  we  got  the  corpse  of  Poor  Parker, 

And  straight  to  London  we  hastened  with  speed ; 

There  we  had  him  decently  buried. 

And  a  sermon  preached  over  him,  indeed ! 

Oh,  Parker  was  my  lawful  husband. 

Once  he  was  my  bosom-friend ; 

But  now  in  heaven  his  soul  is  a-shining. 

I  hope  I  shall  see  my  dear  Parker  again. 

It  may  be  noted  that  this  story  of  the  recovery  of  the  corpse  is  prob- 
ably true.     See  the  account  of  Parker  in  DNB. 

ii8 
High  Barbary 

This  ballad  is  described  by  Frank  Shay,  Iron  Men  and  Wooden 
Ships,  as  "an  old  sea  ballad  that  survives  in  the  home  song  books." 
Masefield  in  his  ^  Sailor's  Garland  293-4  gives  a  form  of  it,  'The 
Salcombe  Seaman's  Flaunt  to  the  Proud  Pirate' — clearly  the  same 
song,  though  widely  different  in  text  from  our  ballad.  Whall's 
Sea  Songs  and  Shanties  78-9  has  it  in  the  version  known  in  North 
Carolina.  It  has  not  often  come  into  the  folksong  collector's  net : 
Sharp  reported  it  from  Somerset  JFSS  v  262,  Barry  lists  it  in  his 
syllabus  but  so  far  as  I  know  never  printed  it,  Chappell,  FSRA 
50-1,  gives  a  version  from  North  Carolina,  and  Morris,  FSF  53-4, 
two  from  Florida.  There  is  some  variation  in  the  names  of  the 
ships.  No  ship  is  named  in  Masefield's  text ;  in  the  other  texts  the 
second  ship  is  consistently  the  Prince  of  Wales,  but  the  first-named 
is  the  Princess  Charlotte  in  the  Somerset  text,  the  Prince  of  Luther 
in  Shay's  and  Whall's  texts,  in  one  of  Morris's,  and  in  a  fragment 
from  North  Carolina,  the  Queen  of  Russia  in  the  Tillett  version 
both  as  reported  by  Chappell  and  as  secured  by  P.  D.  Midgett,  Jr., 
for  the  Brown  Collection.  Since  the  latter  text  is  the  same  as  that 
given  in  FSRA,  it  is  not  repeated  here;  but  a  fragment  of  three 
stanzas,  also  from  Mr.  Tillett  of  Wanchese,  as  it  is  slighdy  dif- 
ferent, is  here  appended. 

'High  Barbary.'    From  Charles  Tillett  of  Wanchese,  Roanoke  Island. 

I     There  were  two  lofty  ships  from  old  England  came, 


OLDER     BALLADS MOSTLY     HRITISII  353 

Blow  high,  blow  low,  and  so  sailed  we 

One  was  the  Prince  of  Luther  and  the  other  the  Prince  o] 

Wales, 
Cruising  down  along  the  coast  of  the  High  Barbary. 

2  'Aloft  there,  aloft !'  our  jolly  boatswain  cries. 
Blow  high,  blow  low,  and  so  sailed  we 

'Look  ahead,  look  astern,  look  aweather  and  alee, 
Look  along  down  the  coast  of  the  High  Barbary.' 

3  'Oh,  hail  her,  oh,  hail  her,'  our  gallant  captain  cried. 
Blow  high,  blow  low,  and  so  sailed  we 

'Are  you  a  man  of  war  or  a  privateer?'  said  he, 
'Cruising  down  along  the  coast  of  the  High  Barbary  ?' 

119 
The  Lorena  Bold  Crew 

This  is  but  a  fragment  of  the  song  of  a  fight  with  a  pirate  which 
Chappell  has  already  printed  in  his  Folk-Songs  of  Roanoke  and  the 
Albemarle,  52-3,  twelve  stanzas,  under  the  title  'Baxter's  Bold 
Crew.'  Chappell's  source  for  the  song  was  Charles  Tillett  of 
Wanchese.  Our  fragment  was  secured  by  L.  W.  Anderson  of  Nag's 
Head  from  Maxine  Tillett  of  that  place ;  so  tliat  presumably  the 
song  is  a  family  tradition.  Of  the  song  elsewhere  the  editor  knows 
nothing,  nor  can  he  explain  the  difference  in  title.  The  three 
stanzas,  though  not  identical  with  the  opening  stanzas  of  the  FSRA 
text,  belong  clearly  to  the  same  tradition. 

1  It  was  early  one  morning 
A  ship  we  did  spy ; 

Just  under  her  foreyards 
A  black  flag  did  fly. 

2  'Lord,  Lord,'  cries  our  captain, 
'And  it's  what  shall  we  do? 

If  they  be  bold  pirates 
They'll  sure  heave  us  to.' 

3  Up  steps  our  bold  mate,  boys. 
Saying  'Them  we  do  not  fear ; 
We  will  hoist  our  main  topsail 
And  away  from  them  steer.* 

120 

The  Sheffield  Apprentice 

Frequently  printed  as  a  stall  ballad  and  in  songbooks  in  the  nine- 
teenth century,  this  has  also  become  widely  known  as  traditional 
song  both  in  Great  Britain  and  in  the  United  States.  See  BSM  131. 


354  NORTH  CAROLINA  FOLKLORE 

FSRA  140,  BSI  274,  BSSM  71,  SFLQ  v  139,  FSV  43.  It  is  a 
goodnight  with  the  added  interest  of  a  rejected  woman's  revenge 
and  the  hero  dying  for  his  faithfulness  to  his  love.  Our  texts  all 
derive  from  the  printed  ballad,  sometimes  with  curious  evidence 
of  mishearing  or  miscopying. 

A 
'Sheffield  Apprentice.'    From  the  collection  of  Miss  E.  B.  Fish  of  White 
Rock,  Madison  county;  sent  to  C.  Alphonso  Smith  in  1913  and  later  to 
the  Brown  Collection. 

1  When  I  was  brought  up  in  Ireland,  to  a  note  of  high  degree. 
My  parents  they  adored  me,  no  other  child  but  me. 

I  raked  and  rambled  over,  just  as  my  fancies  led ; 

At  length  I  came  a  prentice  boy,  my  joys  they  soon  all  fled. 

2  My  mistress  and  my  master,  they,  didn't  treat  me  well. 
I  formed  a  resolution  not  long  with  them  to  dwell. 
Unbeknown  to  friends  and  parents  from  them  I  stole  away ; 
I  steered  my  course  to  Dublin — so  bitter  be  that  day ! 

3  I  hadn't  been  in  Dublin  more  than  weeks  two  or  three 
Before  my  worthy  mistress  grew  very  fond  of  me. 

'And  here's  my  gold  and  silver,  my  horses  and  free  land. 
If  you'll  consent  to  marry  me,  I'm  all  at  your  command.' 

4  'It's  oh,  my  worthy  mistress,  I  cannot  wed  you  now, 

For  I'm  promised  to  pretty  Polly,  besides  a  solemn  vow; 
I'm  promised  to  pretty  Polly,  and  bound  it  with  an  oath; 
I'm  promised  to  pretty  Polly,  and  I  cannot  wed  you  both.' 

5  I  stepped  out  one  morning  to  take  the  pleasantest  air, 
My  mistress  in  the  garden,  a-viewing  sweet  flowers  there. 
The  rings  that's  on  her  fingers,  as  she  came  passing  by, 
She  dropped  them  into  my  pocket ;  and  for  them  I  must  die. 

6  My  mistress  swore  against  me,  and  she  had  me  brought 
Before  the  cruel  justice  to  answer  for  that  fault. 

My  mistress  swore  I  robbed  her,  which  lodged  me  into  jail ; 
That's  been  the  provocation  of  my  sad  overthrow. 

7  Come  all  you  bystanders,  don't  laugh  or  frown  at  me. 
For  I  have  pled  'not  guilty,'  you  all  may  plainly  see. 
Here's  adieu  to  pretty  Polly,  I  died  a-loving  thee. 


'The  Sheffield  Apprentice.'  Contributed  by  P.  D.  Midgett,  Jr.,  of  Wan- 
chese,  Roanoke  Island,  in  June  1920,  as  sung  by  C.  K.  Tillett.  Text  for 
the  most  part  the  same  as  in  A ;  but  in  this  he  was  brought  up  in 
Sheffield,  not  Ireland;  he  goes  to  London,  not  Dublin;  and  from  there 
to  Holland  with  a  "handsome  grand  lady"  of  that  country.  The  final 
stanza  runs : 


OLDER     BALLADS MOSTLY     BRITISH  355 

Come  all  that  stand  around  me  my  wretched  fate  to  see, 
Don't  glory  in  my  downfall ;  I  pray,  come  pity  me. 
Do  believe  that  I  am  innocent.     I  bid  you  all  adieu. 
Farewell  to  pretty  Polly ;  I  die  for  love  of  you. 

c 

'The  Shearfield  Apprentice  Boy.'  Secured  by  L.  W.  Anderson  from 
Mrs.  Sally  Meekins  of  Colington,  one  of  the  islands  in  Albemarle  Sound. 
Identical  with  B  except  for  very  slight  variants  and  one  unintelligible 
expression,  where  his  mistress,  on  being  rebuflfed,  "said  she  would  be 
revenged  before  our  wrists  were  long."  What  does  "wrists"  stand  for 
here? 


121 

The  Rambling  Boy 

This  British  (perhaps  Irish)  highwayman's  song,  under  various 
names,  is  well  known  in  England — reported  from  Sussex,  Hampshire, 
Worcestershire,  Somerset,  Devon,  and  Cornwall — and  has  been 
found  in  this  country  in  Virginia  (FSV  282-3),  Kentucky,  Ten- 
nessee, and  Missouri ;  see  BSM  136,  and  add  to  the  references  there 
given  the  Ozarks  (OFS  11  83-5),  and  Kentucky  (FSMEU  215-16). 
Our  text  differs  from  those  reported  from  Kentucky  and  Tennessee 
in  that  in  them  he  seems  to  have  been  set  free  whereas  ours  is  a 
normal  goodnight,  and  that  in  them  he  does  not  put  the  blame  on 
his  wife  as  he  does  in  our  last  stanza.  In  the  Missouri  text  he 
appears  not  to  be  married. 

'The  Ramblin'  Boy.'  Secured  by  Mrs.  Sutton  (while  she  was  still  Maude 
Minish)  from  the  singing  of  Mrs.  Ann  Coflfey  of  the  Brushies,  Cald- 
well county,  of  whom  Miss  Minish  notes :  "It  is  very  likely  that  she 
felt  some  of  the  significance  of  the  story ;  one  of  her  two  sons  was  con- 
demned to  death  for  murder  and  the  other  was  a  deserter  from  the  army 
when  I  heard  her  sing  it" — which  would  seem  to  date  the  singing  some 
time  before  191 9.  Mrs.  Sutton  also  reported  the  tune  as  sung  by  her 
sister.  Miss  Pearl  Minish. 

I     They  call  me  rude,  the  ramblin'  boy, 

Through  many  bright  shores  that  I've  been  through. 
Through  London  City  I  made  my  way 
And  spent  my  money  in  a  ball  and  play. 


I  married  there  a  darling  wife. 

I  loved  her  dearly  as  my  life, 

I  dressed  her  up  so  lovely  and  so  gay, 

She  caused  me  to  rob  the  king's  highway, 

I  robbed  them  all,  I  will  declare, 
I  robbed  them  on  James  Island  Square, 
I  robbed  them  of  ten  thousand  pound 
One  night  when  I  was  a-ramblin'  around. 


356  NORTH  CAROLINA  FOLKLORE 

4  I've  got  dry  goods  to  carry  me  through, 
Two  bright  swords,  and  a  pistol  too, 

A  pretty  fair  maid  to  face  my  foe 

With  a  blue  silk  ribbon  and  silver  and  gold. 

5  And  now  I  am  condemned  to  die. 
For  me  a  many  a  poor  girl  will  cry ; 
But  all  their  tears  can't  set  me  free 
Nor  save  me  from  the  gallows  tree. 

6  Mother  says  she'll  weep  and  mourn, 
Father  says  he's  left  alone, 
Sister  says  she'll  meet  despair 
With  a  diamond  ring  and  curly  hair. 

7  Come  all  young  men,  take  warning  by  this, 
Never  to  marry  a  ficety  turst.^ 

She'll  cause  you  to  rob.  to  murder  and  to  steal, 
She'll  cause  you  "to  hang  on  the  gallows  tree. 


122 
My  Bonnie  Black  Bess 

'My  Bonnie  Black  Bess'  in  John  Ashton's  Modern  Street  Ballads 
agrees  in  three  respects  with  the  Blaylock  song:  (i)  Dick  Turpin, 
the  famous  eighteenth-century  outlaw,  is  in  both  the  narrator-owner; 

(2)  the  "last  ride"  described  in  both  songs  is  to  the  town  of  York; 

(3)  in  both  songs  the  gallant  mare  suffers  death,  though  in  Ashton's 
she  dies  as  the  result  of  overstrain. 

The  Blaylock  song  is  clearly  a  traditional  version  of  'Poor  Black 
Bess,'  printed  by  the  English  ballad  publisher  Such  as  a  broadside 
(along  with  'The  Greenwich  Pensioner')  under  a  woodcut  of  Turpin 
on  Black  Bess.  There  is  a  copy  of  Such's  'Poor  Black  Bess'  in  the 
Claude  Lovat  Eraser  collection  of  ballads  and  broadsides  in  the 
Yale  University  Library.  Randolph  (OFS  11  152-5)  reports  it  from 
Arkansas.  In  the  Blaylock  version  stanzas  8  and  9  have  been  trans- 
posed, and  a  number  of  changes  due  to  oral  transmission  have 
occurred:  e.g.,  "When  Argus-eyed  Justice  did  me  hotly  pursue" 
becomes  "When  august  Justice  did  me  now  pursue." 

'My   Bonnie   Black   Bess.*     From  the  John   Burch   Blaylock   Collection, 
concerning  which  see  the  headnote  to  'Bonny  Barbara  Allen'  B,  above. 

I     When  Fortune,  vain  goddess,  she  fled  from  my  bode, 
And  friends  proved  unkindly,  I  took  to  the  road. 
A-robbing  the  rich  to  relieve  my  distress, 
I  brought  you  to  aid  me,  my  bonnie  black  Bess. 

^  Is  "turst"  for  "twist,"  English  slang  equivalent  to  the  American 
"skirt"?  "Feist,"  sometimes  spelled  "fice,"  is  a  contemptuous  term  for 
a  small  dog. 


OLDER     BALLADS MOSTLY     BRITISH  357 

2  No  vile  whip  or  spurs  did  on  your  side  fall, 

No  need  for  to  use  them,  you'd  bound  at  my  call. 
For  each  act  of  kindness  you  did  me  caress ; 
You  ever  proved  faithful,  my  bonnie  black  Bess. 

3  When  dark  sable  midnight  her  mantle  had  drawn 
O'er  the  bright  scenes  of  nature,  how  oft  have  we  gone 
To  the  famed  house  of  wealth,  though  an  unwelcome  guest, 
To  the  minions  of  Fortune,  my  bonnie  black  Bess. 

4  How  silent  you  stood  when  the  carriage  I'd  stop, 

And  the  inmates  their  gold  and  bright  jewels  did  drop. 
No  poor  man  we  robbed,  nor  did  we  oppress 
The  widows  or  orphans,  my  bonnie  black  Bess. 

5  When  august  Justice  did  me  now  pursue. 
From  London  to  York  like  lightning  we  flew. 

No  tall  bars  could  stop  you,  the  river  you'd  breast. 

And  in  twelve  hours  we  reached  it,  my  bonnie  black  Bess. 

6  Now  despair  gathers  o'er  me,  and  dark  is  my  lot. 

For  the  law  doth  pursue  me  through  the  man  that  I  shot. 
But  to  save  me,  poor  brute,  you  did  do  your  best. 
Though  worn  out  and  weary,  my  bonnie  black  Bess. 

7  Hark,  the  bloodhounds  approach !  No,  they  never  shall  have 
A  beast  like  thee — noble,  so  handsome  and  brave. 

You  must  die,  my  dumb  friend,  though  it  does  me  distress. 
There,  I  have  shot  you,  my  bonnie  black  Bess. 

8  No  one  can  e'er  say  that  ingratitude  dwelt 

In  the  bosom  of  Turpin ;  'twas  a  vice  he  ne'er  felt. 
I  shall  die  like  a  man  and  soon  be  at  rest — 
Then  farewell  forever,  my  bonnie  black  Bess. 

9  In  years  to  come,  when  I'm  dead  and  gone, 
This  tale  will  be  handed  from  father  to  son. 
Some  will  take  pity,  while  all  will  confess 

'Twas  through  kindness  I  shot  you,  my  bonnie  black  Bess. 

123 
The  Drummer  Boy  of  Waterloo 
A  song  popular  in  Great  Britain  soon  after  the  event  to  which 
it  refers,  often  printed  in  England  as  a  broadside  (e.g.,  one  issued 
by  Taylor's  Song  Mart,  93,  Brick  Lane.  Spitalfields).  appearing  in 
this  country  in  such  repositories  of  popular  song  as  The  American 
Songster  and  The  Forget-Me-Not  Songster,  and  reported  as  tradi- 
tional song  from  Virginia  (FSV  67),  West  Virginia  (FSS  395), 
Missouri   (OFS  i  338),  Ohio   (BSO   163-4),  and  Illinois   (JAFL 

LX  217). 


358  NORTH  CAROLINA  FOLKLORE 

'Drummer  Boy  of  Waterloo.'  From  an  anonymous  contributor,  in  a 
manuscript  described  by  Dr.  White  thus :  "MS  in  a  hand  apparently 
of  mid- 1 9th  century,  on  old  paper,  but  not  that  old.  No  notes  of  any  sort. 
From  an  old  song  collection?  Together  with  a  typescript  on  thin  paper 
and  blue  carbon  characteristic  of  group  of  songs  typed  for  publication 
by  F.C.B.  about  1916-18."  The  text  corresponds  closely  to  that  of  the 
Forget-Me-Not  Songster  except  that  it  lacks  four  lines  preceding  the 
last  stanza,  and  has  various  minor  corruptions.  I  have  followed  the 
manuscript. 

1  When  battle  rose  each  warlike  band 
And  Carnage  loud  his  trumpet  blew 
Young  Edwin  left  his  native  land 

A  drummer  boy  of  Waterloo. 

2  And  when  lips  his  mother  pressed 
And  bid  her  noble  boy  adue 

With  ringing  hands  and  aching  breast 
Behold  a  march  for  Waterloo. 

3  He  that  knew  no  infant  fears 

His  knapsack  over  his  shoulder  threw 
And  cried :  'Dear  mother,  dry  your  tears 
Till  I  return  from  Waterloo.' 

4  He  marched  and  near  the  set  of  sun 
Behold  a  force  of  arms  subdue 

The  flash  of  death,  the  murders  gun 
Has  laid  him  low  at  Waterloo. 

5  They  placed  his  head  upon  his  drum 
Beneath  the  moonlight's  mournful  hew 
When  night  was  still  and  battle  hum 
They  dug  his  grave  at  Waterloo. 

124 
Caroline  of  Edinburgh  Town 

Common  in  songbook  and  stall  print — see  JAFL  xxxv  363 — this 
ballad  has  won  a  place  in  traditional  song.  It  is  reported  as  such  in 
Scotland  (Ord  186-7),  Nova  Scotia  (BSSNS  94-5),  Vermont 
(NGMS  79-83),  Massachusetts  (FSONE  183-5),  Pennsylvania 
(NPM  206-7),  Virginia  (FSV  40),  West  Virginia  (FSS  362-3), 
Kentucky  (SharpK  i  404,  a  fragment  only).  North  Carolina 
(FSRA  91-2),  Mississippi  (FSM  143-5),  Missouri  (OFS  i  240-3), 
Ohio  (JAFL  xxxv  362),  Wisconsin  (JAFL  lii  14-15),  in  Dean's 
Flying  Clotid,  and  in  Miss  Pound's  Midwestern  syllabus.  A  con- 
siderably altered  form  of  it  was  entered  by  William  A.  Larkin  in 
his  "album"  in  Illinois  in  1866  (JAFL  lx  224-6).  Our  North 
Carolina  texts  are  fairly  close  to  that  in  the  Forget-Me-Not  Song- 
ster, which  had  a  wide  circulation  in  the  United  States  a  hundred 
years  ago. 


OLDER     BALLADS  —  MOSTLY     BRITISH  359 

A 

'Caroline  of  Edinborough  Town.'  From  the  manuscript  notebook  of 
Mrs.  Harold  Glasscock  of  Raleigh,  lent  to  Dr.  White  in  December 
1943.  Dr.  White  notes  that  "most  or  all  of  her  songs  Mrs.  Glasscock 
learned  from  her  parents,  and  she  can  now  sing"  most  of  them. 

1  Come  all  young  men  and  maidens,  and  listen  to  my  rhymes. 
I'll  tell  you  of  a  blooming  girl  who  was  scarcely  in  her 

prime. 
She  beat  the  blushing  roses ;  adtnired  by  all  around 
Was  comely  young  Caroline  of  Edinborough  Town. 

2  Young  Henry  was  a  Hireling.^  A-courting  her  he  came, 
And  when  her  parents  came  to  know  they  did  not  like  the 

same. 
Young  Henry  was  ofl'ended,  and  unto  her  he  said,^ 
'Rise  up,  my  dearest  Caroline,  and  with  me  run  away. 

3  'And  thence  we'll  go  to  London  O,  and  there  we'll  wed 

with  speed, 
And  then,  my  dearest  Caroline,  have  happiness  indeed.' 
This  maid  arose,  likewise  put  on  her  wedding  gown. 
And  away  went  young  Caroline  of  Edinborough  Town. 

4  O'er  lofty  hills  and  valleys  together  they  did  ride.^ 

In   time   they   arrived   in   London,    far   from   her   father's 

home. 
She  cries :  'My  dearest  Henry,  pray  never  on  me  frown, 
Or   you'll   break   the   heart   of   Caroline   of   Edinborough 

Town.' 

5  They  had  not  been  in  London  more  than  half  a  year 
Before  her  doting^  Henry,  he  proved  too  severe. 

Says   Henry:   'I   will  go  to  sea;  the  ships  are  dropping 

down. 
Go  beg  your  way  without  delay  to  Edinborough  Town.' 

6  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 ; 
Some  said :  'What  made  you  run  away  from  Edinborough 
Town?' 

7  Beneath  a  lofty  spreading  oak  this  maid  sat  down  to  cry, 
A-watching  of  the  gallant  ships  as  they  were  passing  by. 
She  gave  three  shrieks  for  Henry,  then  plunged  her  body 

down, 
And  away  went  young  Caroline  of  Edinborough  Town. 

*  So   the    manuscript;    read    instead,    successively,    "Highlander,"    "did 
say,"  and  "roam,"  as  the  rhyme  demands. 

*  The  Forget-Mc-Not  Songster  has,  more  appropriately,  "hard-hearted." 


360  NORTH  CAROLINA  FOLKLORE 

8  A  note  likewise  in  her  bonnet  she  left  upon  the  shore 
And  in  the  note  with  a  lock  of  hair  the  words  'I  am  no 

more; 
I'm  fast  asleep;  I'm  in  the  deep;  the  fishes  are  watching 

round 
Once  comely  young  Caroline  of  Edinborough  Town.' 

9  Come  all  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  Edinborough  Town. 

Mrs.  Glasscock  adds  "part  of  another  verse  that  mother  knew" : 

The  gallant  stars  may  fill  the  sky  or  in  the  waters  drown : 
I  never  will  return  again  to  Edinborough  Town. 


'Caroline  of  Eddingburg.'  Contributed,  with  the  tune,  by  P.  D. 
Midgett,  Jr.,  of  Wanchese,  Roanoke  Island,  in  June  1920.  The  text 
does  not  differ  markedly  from  that  of  A.  Like  A  it  omits  stanza  6  of 
the  Forget-Mc-Not  Songster  text,  and  for  stanzas  7  and  8  of  that  text 
it  has : 

Many  a  day  she  passed  away  in  sorrow  and  despair. 
Her  cheeks,  though  once  like  roses,  had  grown  to  lilies  fair. 
She  cries,  'Where  is  my  Henry  ?'  and  often  does  she  swoon ; 
'Sad  the  day  I  ran  away  from  Eddingburg  town.' 

Beneath  a  lofty  spreading  oak  this  damsel  sat  down  to  cry, 

Watching  of  a  gallant  ship  as  she  was  passing  by. 

She  gave  three  screams  to  Henry,  and  plunged  her  body 

down; 
And  away  went  the  lovely  Caroline  of  Eddingburg  town. 


125 

Roy's  Wife  of  Aldivalloch 

This  spirited  bit  of  Scottish  vituperation  was  printed  in  the  1791 
edition  of  Herd's  Ancient  and  Modern  Scottish  Songs  and  is  to  be 
found  in  some  modern  song  collections,  e.g.,  the  Franklin  Square 
Song  Collection,  but  seems  not  to  have  been  accepted  as  folk  song 
by  American  collectors.  Helen  K.  Johnson  in  Our  Familiar  Songs 
and  Those  Who  Made  Them  says  the  words  are  by  a  Mrs.  Grant 
and  the  tune  by  the  famous  Scottish  piper  Neil  Gow. 

'Roy's  Wife  of  Aldivalloch.'  Reported  by  K.  P.  Lewis  as  taken  down 
in  November  1910  from  the  singing  (or  recitation?)  of  Dr.  Kemp  P 
Battle  of  Chapel  Hill. 


OLDER     BALLADS  —  MOSTLY     BRITISH  361 

1  Roy's  wife  of  Aldivalloch, 
Roy's  wife  of  Aldivalloch, 
Wat  you  how  she  cheated  me 

As  I  came  o'er  the  braes  of  Balloch? 
She  vow'd,  she  swore  she  wad  be  mine, 
She  said  that  she  loo'd  [me]  best  of  any; 
But  oh,  the  fickle,  faithless  quean, 
She's  ta'en  the  carl  and  left  her  Johnnie! 

2  Roy's  wife  of  Aldivalloch, 
Roy's  wife  of  Aldivalloch, 
Wat  you  how  she  treated  me 

As  I  came  o'er  the  braes  of  Balloch? 

Oh,  she  was  a  canty  quean 

And  weel  cou'd  she  dance  the  Highland  walloch. 

How  happy  I,  had  she  been  mine 

Or  I'd  [been]  Roy  of  Aldivalloch! 

3  Roy's  wife  of  Aldivalloch, 
Roy's  wife  of  Aldivalloch, 
Wat  you  how  she  cheated  me 

As  I  came  o'er  the  braes  of  Balloch? 
Her  hair  so  fair,  her  een  sae  clear, 
Her  wee  bit  mou  sae  sweet  and  bonny, 
To  me  she  ever  will  be  dear 
Tho'  she's  forever  left  her  Johnnie! 

126 

I  Wish  My  Love  Was  in  a  Ditch 

This  peculiarly  forthright  denunciation  of  an  unfaithful  mistress 
is  perhaps  part  of  North  Carolina's  Scottish  inheritance.  At  any 
rate  the  song  'I  Wish  My  Love  Was  in  a  Mire'  in  Jamieson's 
Popular  Ballads  and  Songs  (1806)  i  350  has  a  like  content,  though 
not  much  verbal  resemblance.^  I  have  not  found  it  elsewhere.  It 
is  not  the  sort  of  thing  that  the  ballad  press  commonly  prints.  The 
singer  is  the  same  who  sang  'The  Wee  Wee  Man,'  p.  47  above. 

'I  Wish  My  Love  Was  in  a  Ditch.'  Sung  by  Mr.  Saunders  of  Salem, 
Forsyth  county,  who  said  that  his  grandfather  had  known  more  stanzas 
but  that  he  himself  had  forgotten  them. 

I      I  wish  my  love  was  in  a  ditch 
Without  no  clothing  to  her. 
With  nettles  up  and  down  her  back. 
Because  she  was  not  truer. 

*  Still  further  removed  from  our  text  is  the  song  of  like  title  in  Herd's 
Ancient  and  Modern  Scottish  Songs  (i  235  of  the  1869  reprint),  which 
is  decidedly  "literary"  in  tone. 


362  NORTH  CAROLINA  FOLKLORE 

2  She  kissed  me  with  her  red,  red  lips, 
She  swore  she  would  be  mine  O ; 

But  she  swore  the  same  to  Alan  O'Chree, 
Who  lives  way  down  the  line  O. 

3  Her  belly  grew  big,  her  face  grew  pale, 
But  it  was  no  fault  of  mine  O ; 

It  must  have  been  that  Alan  O'Chree 
Who  lives  way  down  the  line  O. 

4  She  swore  the  brat  was  mine  alone, 
And  sQon  enough  we  were  wed. 

But  I  swear  by  the  light  of  Kincastle  Hill 
She  shall  not  share  my  bed. 


127 
Shule  Aroon 

Of  this  old  Jacobite  song,  still  widely  known  and  sung — see  BSM 
281  and  OFS  i  400;  also  OFS  in  209  and  FSV  222 — our  collection 
shows  only  the  refrain.  It  is  a  good  deal  corrupted  from  the 
original  but  is  nonetheless  recognizable.  For  the  original  Gaelic, 
see  JAFL  xxii  387-8: 

Siubhal,  siubhal,  siubhal  a  run, 
Siubhal  go  sochair,  agus  siubhal  go  cun. 
Siubhal  go  den  duras,  agus  eligh  Horn. 
Is  go  de  tu,  mo  muirnin  slan. 

which  Barry  translates : 

Walk,  walk,  walk,  my  love. 
Walk  quietly  and  walk  boldly. 
Walk  to  the  door  and  flee  with  me ! 
Here's  a  health  to  you,  my  darling ! 

Perhaps  it  will  help  the  reader  to  connect  this  with  the  Gaelic 
given  above  to  look  at  the  way  it  sounded  years  ago  to  a  Missourian : 

Shule,  shule,  shule-a  mac-a-rne, 
Shule-a-mac-a-rac-stack  Sally  Bobby  cue 
Shule-a-mac-a-rac-stack,  Sally  Bobby  Lee 
Come  bibble  un-a-boose,  said  Lora. 

No  title.  Contributed  by  Miss  Louise  Watkins  of  Goldsboro,  Wayne 
county,  with  no  explanation  except  that  it  is  a  "song."  I  have  retained 
her  spelling. 

Scheel-di-scheel-di  scheel  I  ru 

Sche-li-schackle-i-lack-i 

Schil-i-bal-i-coo 

The  first  time  I  saw  my  il-li-bil-i-bee 

This  come  bib-ie-lapi  slowree. 


OLDER     BALLADS  —  MOSTLY     BRITISH  363 

128 

William  Riley 

This  is  to  be  found  in  Joyce's  Old  Irish  Folk  Music  and  Song 
230-2  and  in  Christie's  Traditional  Ballad  Airs  ii  144-5,  where  it 
is  said  to  be  taken  from  Will  Carleton's  IVilly  Reilly  and  His 
Colleen  Baum,  published  in  1855.  For  its  occurrence  as  traditional 
song  in  England  and  America,  see  BSM  289,  and  add  to  the  ref- 
erences there  given  Arkansas  (OFS  i  419),  Michigan  (BSSM 
483),  and  Indiana  (BSI  260-1). 

'William  Riley.'     Reported  in  1939  by  James  York  from  Iredell  county. 

1  It's  of  a  brave  young  couple 
That  I  am  going  to  sing, 

Way  over  high  hills  and  mountains 
Our  company  to  refrain. 

2  His^  father  followed  after  her 
With  his  vile  armied  men, 
And  so  taken  was  poor  Riley 
And  his  pretty  Polly  Bann. 

3  Then  taken  was  this  lady 
And  in  her  closet  bound, 
And  taken  was  poor  Riley 
And  in  cold  iron  bound. 

4  Just  like  some  thief  or  murderer 
Chained  down  unto  the  ground ; 
It  was  for  nothing  else 

But  stealing  Polly  Bann. 

5  Then  early  the  next  morning 
The  jealous  son^  went  down, 
Saying,  'Rise  up,  William  Riley, 
And  put  your  clothing  on. 

6  'For  at  the  bar  of  justice 
Your  trial  you  must  stand. 
I'm  afraid  you'll  suffer  sorely 
For  stealing  Polly  Bann.' 

7  Then  up  speaks  her  old  father 
With  courage  very  bold : 
'He's  robbed  me  of  my  money, 
He's  robbed  me  of  my  gold ; 

*  For  "his"  read  "her." 

*  For  "jealous  son"  read  "jailer's  son." 


364  NORTH     CAROLINA     FOLKLORE 

8  'Likewise  my  silver  buckles 
And  rings  with  him  I've  found. 
I'll  have  the  life  of  Riley 

If  it  costs  ten  thousand  pounds.' 

9  Then  up  speaks  this  young  lady, 
With  courage,  you  may  see. 
'The  fault  is  not  in  Riley, 

The  blame  I  lay  all  in  me. 

For  I  have  loved  him  out  of  measure 

And  he  caused  my  destiny. 

10  'I  gave  those  rings  to  Riley 
In  token  of  my  love. 

But  if  you  have  them,  Riley, 
Return  them  back  to  me.' 
'I  will,  my  loving  lady, 
With  many  thanks  to  thee.' 

11  'There  is  one  ring  among  the  rest 
I  allow  yourself  to  wear. 

It's  decked  all  around  with  diamonds 
Like  unto  the  morning  star. 

12  'And  when  you  wear  it,  Riley, 
Wear  it  on  your  right  hand. 

It'll  make  you  think  of  me,  my  love, 
When  you're  in  a  foreign  land.' 

13  Then  up  speaks  the  old  lawyer  Fox: 
'You  may  let  your  prisoner  go. 
This  lady's  oath  has  cleared  him, 
And  that  the  jurors  know. 

14  'She  saved  her  own  true  lover, 
Likewise  renewed  her  name.' 
'I'll  marry  her,'  says  Riley, 
'And  that  you  all  shall  see.' 

15  Then  up  gets  William  Riley 
All  dressed  in  green  so  bold. 
His  hair  hangs  over  his  shoulders 
In  glittering  locks  of  gold. 

16  He  is  quite  tall  and  handsome 
And  rare  for  to  be  seen. 

He  deserves  Squire  Poleon's  daughter 
If  she's  as  fair  as  any  queen. 


OLDER     BALLADS  —  MOSTLY     BRITISH  365 

129 

Johnny  Doyle 

This  Irish  song  is  known  also  in  Scotland,  England  (Sussex, 
JFSS  V  142),  and  rather  widely  in  America:  Nova  Scotia  (BSSNS 
106-7),  Vermont  (NGMS  248-50),  Virginia  (SharpK  11  28.  FSV 
64),  North  Carolina  (SharpK  11  27-8,  SCSM  249-50,  JAFL  xlvi 
32-3),  Georgia  (FSSH  162-3),  Mississippi  (FSM  159-60,  FTM 
9),  Florida  (SFLQ  viii  163-4),  Arkansas  (OFS  i  351-2),  Mis- 
souri (OFS  I  350-1.  353).  and  Ohio  (BSO  187-8);  and  it  is  in 
Barry's  list  for  the  North  Atlantic  states  and  in  Shearin's  for 
Kentucky.  The  texts  are  likely  to  be  somewhat  defective  or  con- 
fused, as  is  the  case  with  that  in  the  Brown  Collection.  For  'The 
Faultless  Bride,'  which  tells  the  same  story  but  is  not  the  same 
ballad,  see  BSM  165. 

'Johnny  Dye.'  From  the  Henneman  collection,  secured  like  his  other 
North  Carolina  texts  from  Mrs.  Elizabeth  Simpkins  of  Vanceboro, 
Craven  county.    In  the  manuscript  it  is  not  divided  into  stanzas. 

1  Last  Friday  night 

Me  and  my  true  love  took  a  flight. 

2  My  waiting  maid  was  standing  by,  so  plainly  I  did  see 
She  run  to  my  mama  and  told  upon  me. 

3  My  mama  bundled  up  my  clothes,  she  bid  me  be  gone. 
So  slow  and  so  slow  as  I  bundled  up  my  clothes. 

4  She  locked  me  up  in  a  chamber  so  high 

Where  no  one  could  see  me  as  they  were  passing  by. 

5  My  father  he  gave  me  five  hundred  a  year, 

A  horse,  bridle,  and  saddle  for  me  to  ride  upon ; 

6  Five  loaded  horsemen  to  ride  at  my  side ; 

All  for  to  make  me  young  Sammy  More's  bride. 

7  We  all  rode  on  till  we  come  to  the  highlands  town, 
To  young  William  More's ;  and  there  we  all  got  down. 

8  'You  may  all  see  pleasure,  but  I  feel  a-tired. 

My  poor  heart  is  aching  for  young  Johnny  Dye.' 

9  No  sooner  than  the  squire  he  entered  at  the  door, 
Her  ear-rings  were  busted  and  fell  on  the  floor. 

10  Oh,  there  is  ten  pieces,  if  there  be  no  more. 
'He  never  shall  enjoy  me  nor  call  me  his  own.' 

1 1  She  and  her  eldest  brother  was  about  to  turn  it  home ; 
Her  mother  conducted  her  into  the  room. 


366                            NORTH     CAROLINA     FOLKLORE 
12 

She  hove  herself  along  the  bed. 

13  'Oh,  mother,  dear  mother,  pray  push  to  the  door; 

For  your  own  life's  sake  don't  let  in  the  young  Sammy 
More. 

14  'For  you  all  may  see  a  pleasure,  but  I  feel  a-tired. 
My  poor  heart  is  aching  for  young  Johnny  Dye.' 

15  'Oh,  daughter,  oh,  daughter,  let's  send  for  young  Johnny 

Dye.' 
*No,  mother,  no,  mother,  it's  not  worth  your  while ; 

16  'For  there's  more  grief  at  heart  than  my  poor  tongue  can 

tell. 
My  last  dying  words  shall  be  "Johnny  dear,  farewell."  ' 

130 
Sweet  William  and  Nancy 

This  seems  to  be  an  elaboration  of  the  song  sometimes  called 
'Courting  Too  Slow'  (see  BSM  196)  with  the  addition  of  certain 
stanzas  from  'Green  Grows  the  Laurel'  (see  BSM  490).  Or  per- 
haps it  is  the  earlier  form  of  the  'Courting  Too  Slow'  song.  In  its 
present  form  I  have  not  found  it  elsewhere.  Cf.  'Johnny  Doyle,' 
just  above. 

'Sweet  William  and  Nancy.'  Reported  by  Thomas  Smith  of  Zionville, 
Watauga  county,  as  "recited  to  me  February  6,  1915,  by  Mrs.  Rhoda 
Wilson,  Silverstone.  She  learned  it  from  a  singing-school  teacher,  she 
says,  well  beyond  50  years  ago.  She  is  65  or  thereabouts."  Mrs.  Daisy 
Jones  Couch  of  Durham  also  knew  the  first  stanza. 

1  She's  neat  and  she's  rare,  she's  neat  to  behold, 

And  the  rings  on  her  fingers  is  bright  glittering  gold. 

2  She's  neat  and  she's  rare,  she's  proper,  she's  tall, 
Her  modest  behavior  doth  far  exceed  all. 

3  I've  been  well  educated  in  the  days  of  my  youth. 

In  young  women's  company  very  much  introduced. 

4  I've  been  enclosed  by  my  saddened  downfall. 

My  love  she's  enclosed  by  the  line  of  the  stone  wall. 

5  Green  grows  the  laurel,  also  grows  the  rue. 
So  loath  I  am  to  part  with  you. 

6  But  after  next  meeting  our  joys  we'll  renew. 

So  we'll  change  the  green  and  yellow  for  the  orange  or  blue. 


OLDER     BALLADS  —  MOSTLY     BRITISH  367 

7  Though  she  hadn't  been  gone  but  scarcely  one  half  year 
Until  he  wrote  on  and  said  'Dearest,  be  here.' 

8  I  wrote  in  my  letter  for  her  to  be  kind 

And  send  me  an  answer  that  I  might  know  her  mind. 

9  She  was  lawfully  married  when  this  letter  did  go, 
And  I  lost  pretty  Nancy  by  courtin'  too  slow. 

10  Oh,  many  words  were  spoken  when  few  are  the  best; 
He  or  she  that  courts  leastly  are  soonest  at  rest. 

11  Sweet  William  was  taken  so  sick  in  the  breast, 
Saying,  'I'll  die  for  my  love  since  I  can't  take  no  rest.' 

12  When  Nancy  heard  of  it  it  filled  her  with  grief. 
Saying,  'I'll  go  to  him  and  give  him  relief.' 

13  When  she  came  nigh  his  bedside. 

Saying  'Here  is  one  who  might  have  been  my  bride, 

14  'But  she's  lawfully  married,  and  I'll  die  for  her  sake.' 
She  laid  her  arms  around  him  and  felt  his  heart  break. 

15  'Now  he's  dead,  and  I  hope  he's  at  rest.' 
She  fainted  away  and  died  on  his  breast. 

16  Sweet  William  he  died  by  the  bitter  grove, 
He  left  none  but  small  birds  to  make  mourn. 

17  Small  birds  are  singin'  and  makin'  mourn, 
Ofttimes  troubled  and  singin'  when  I  am  alone. 

131 

The  Irish  Girl 

A  love-lyric  of  variable  length  and  content,  frequent  in  ballad 
print  and  in  traditional  song-;  see  BSSN  199  and  BSM  292.  The 
reduced  form  in  the  North  Carolina  collection  is  nearest  to  the 
Missouri  texts. 

'As  I  Walked  Out  One  Morning.'     Contributed  by  Miss  Jewell  Robbins 
of  Pekin,  Montgomery  county,  in  1922. 

1  As  I  walked  out  one  morning 
All  down  the  river  side, 

I  cast  my  eyes  around 
And  an  Irish  girl  I  spied. 

2  So  red  and  rosy  was  her  cheeks 
And  so  curly  was  her  hair, 

So  costly  was  the  jewelry 
That  Irish  girl  did  wear. 


368  NORTH     CAROLINA     FOLKLORE 

3  The  tears  came  flowing  down  her  cheeks 
And  she  began  to  cry : 

'My  true  love's  in  Ireland 
And  quietly  I'm  forsaken  !^ 

4  'Then  I  wish  I  was  in  Ireland, 
A-sitting  in  my  chair, 

And  in  my  hand  a  glass  of  wine 
And  by  thy  side,  my  dear. 

5  'I'd  call  for  whiskey,  wine,  and  punch 
And  I'd  drink  before  I  go; 

I'd  cross  the  deep,  deep  ocean 
Let  the  tide  be  high  or  low.' 


132 
Pretty  Susie,  the  Pride  of  Kildare 

This  presumably  Irish  ballad  has  become  folk  song  of  a  sort  in 
England  (JFSS  vi  11-12 — Surrey,  Sussex,  and  Somerset;  printed 
also  by  Fortey  and  Catnach)  but  has  not  hitherto  been  reported 
from  America.  'Jennie,  the  Flower  of  Kildare,'  known  in  the 
North  Woods  (Dean  71-2)  and  in  Mississippi  (FTM  45),  has  noth- 
ing in  common  with  it  beyond  the  place  name. 

'Pretty  Susie.'  Reported  by  Mrs.  Sutton  as  obtained  from  the  wife  of 
Silas  Buchanan  of  Horse  Creek,  Ashe  county.  "She's  a  'doctor  woman,' " 
Mrs.  Sutton  writes,  "and  the  kitchen  of  their  cabin  was  filled  with  roots 
drying.  She  gave  me  some  vile  stuff  called  'yeller  root'  to  chew  for  an 
ulcer  on  my  tongue.  I  expected  it  to  kill  me,  but  instead  it  cured  the 
ulcer !" 

1  When  first  from  sea  I  landed,  I  had  a  roving  mind ; 
Undaunted  for  to  ramble  far  my  true  love  for  to  find. 
I  met  pretty  Susie,  her  cheeks  were  like  a  rose, 

Her  bosom  hit  was  fairer  than  the  lily  that  blows. 

2  Her  keen  eyes  they  glistened  like  the  bright  stars  of  night, 
The  robe  she  was  a-wearing  it  was  costly  and  white. 

Her  fair  neck  was  shaded  by  her  long  raven  hair. 
Her  name  it  was  pretty  Susie,  the  pride  of  Kildare. 

3  A  long  time  I  courted  her,  but  I  wasted  of  my  store ; 
Her  love  it  turned  to  hatred  because  I  was  poor. 

She  said,  'I  love  another  man  whose  fortune  I'll  share; 

So  get  you  gone  from  pretty  Susie,  the  pride  of  Kildare,* 

4  How  my  heart  was  a-aching  as  I  lonely  did  stray ! 
I  met  pretty  Susie  with  her  young  lord  so  gay, 

*  This  line  should  read,  as  in  Missouri  B,  "And  quite  forsaken  am  I." 


OLDER     BALLADS  —  MOSTLY     BRITISH  369 

And  as  they  passed  by  me,  with  my  mind  full  of  fear, 
I  sighed  for  pretty  Susie,  the  pride  of  Kildare. 

Once  more  on  the  ocean  I  resolved  for  to  go ; 
Away  to  the  East  with  my  heart  full  of  woe. 
I  beheld  many  fair  ladies  with  jewels  so  rare 
But  none  like  pretty  Susie,  the  pride  of  Kildare. 


133 

I  WAS  Sitting  on  a  Stile 

Lady  Dufferin's  'Lament  of  the  Irish  Emigrant'  was  widely  known 
and  sung ;  it  is  to  be  found  in  various  song  collections,  and  Dean 
reports  it  as  sung  by  his  people  in  the  Northwest  (The  Flying 
Cloud,  p.  81).  In  our  collection  it  is  represented  only  by  a  single 
stanza. 

'I  was  Sitting  on  a  Stile.'     Reported  by  Southgate  Jones  of  Durham  as 
sung  by  his  grandfather,  James  Southgate. 

I  was  sitting  on  a  stile,  Mary, 
And  we  were  side  by  side ; 
It  was  in  the  days  of  long  ago 
When  first  you  were  my  bride. 


134 

1  Left  Ireland  and  Mother  because  We  Were  Poor 

This  song  of  the  Irish  immigrant  was  sung  in  the  North  Woods 
(Dean  1 17-18,  a  considerably  fuller  text).  I  have  not  found  it 
recorded  elsewhere. 

'Boy  Leaving  Home.'     Reported  by  L.  W.  Anderson :   "Collected   from 
Lizzie  Hines  as  sung  by  her  aunt,  Mrs.  W.  T.  Perry,  Kitty  Hawk." 

1  There  is  a  dear  spot  in  Ireland 
I  long  for  to  see. 

It  is  my  old  native  birthplace. 
But  it's  heaven  to  me. 

2  We  hadn't  any  money, 
But  my  poor  mother  dear 
Pressed  a  kiss  on  my  forehead, 
Bid  my  heart  be  [of]  good  cheer. 

3  How  sad  is  my  heart! 
My  poor  mother  is  gone. 
I  left  Ireland  and  mother 
Because  we  were  poor. 


37©  NORTH     CAROLINA     FOLKLORE 

Three  Leaves  of  Shamrock 

This  is  reported  from  Pennsylvania  (NPM  75-6) — where  the 
contributor  says,  under  date  1919,  that  it  was  "popular  in  lumber 
and  railroad  construction  camps  forty  years  ago" — and  from  Vir- 
ginia (FSV  123).  It  is  known  in  North  Carolina  both  on  the  coast 
and  in  the  mountains.  Our  five  texts  do  not  dif¥er  significantly. 
Three  of  them  were  communicated  by  L.  W.  Anderson  of  Nag's 
Head  on  the  coastal  bar  as  reported  by  pupils  in  the  school  there, 
Maxine  Tillett,  Rhoda  Baum,  and  Lizzie  Hines  (the  last  a  de- 
fective and  somewhat  disordered  text)  ;  a  fourth  is  from  Miss 
Eugenia  Clarke  of  Gollettsville,  Caldwell  county;  and  the  fifth  is 
from Clayton,  place  and  date  not  recorded.  It  will  be  suffi- 
cient to  give  Maxine  Tillett's  text. 

1  When  leaving  dear  old   Ireland,  in  the  merry  month  of 

June, 
The  birds  were  sweetly  singing ;  all  nature  seemed  in  ttine. 
An  Irish  girl  accosted  me  with  a  sad  tear  in  her  eye, 
And  as  she  spoke  these  words  to  me  she  bitterly  did  cry. 
'Kind  sir,  I  ask  a  favor ;  oh,  grant  it  to  me,  please ; 
'Tis  not  much  that  I  ask  of  you,  but  'twill  set  my  heart  at 

ease. 
Take  these  to  my  brother  Ned,  who  is  far  across  the  sea. 
And  don't  forget  to  tell  him,  sir,  that  they  were  sent  by 

me.' 

Chorus: 

Three  leaves  of  shamrock,  the  Irishman's  shamrock. 
From  his  own  darling  sister ;  her  blessings  too  she  gave. 
'Take  these  to  my  brother,  for  I  have  no  one  other. 
And  these  are  the  shamrock  from  his  dear  old  mother's 
grave.' 

2  'And  tell  him,  since  he  went  away,  how  bitter  was  our  lot. 
The  landlord  came  one  winter  day  and  turned  us  from  our 

cot. 
Our  troubles  were  so  many ;  our  friends  so  very  few. 
And,  brother  dear,  our  mother  used  to  often  sigh  for  you: 
"O  darling  son,  come  back  to  me,"  she  often  used  to  say. 
Alas !  one  day  she  sickened,  and  soon  was  laid  away. 
Her  grave  I've  watered  with  my  tears ;  there's  where  these 

flowers  grew. 
And,  brother  dear,  they're  all  I've  got,  and  them  I  send  to 

you.' 


OLDER     BALLADS MOSTLY     BRITISH  37I 

136 

Skew  Ball 

Here  follow  two  fragments  of  the  Irish  racing  ballad  'Skew  Ball' 
or  'The  Noble  Skewball.'  Scarborough  TNFS  61-4  gives  some 
account  of  its  history,  an  early  nineteenth-century  English  broad- 
side version  of  it,  and  several  versions  from  the  South.  There  is 
an  early  American  printing  of  it:  'The  Noble  Scuball,'  in  The 
Songster's  Museum,  A  New  and  Choice  Collection  of  Popular 
Songs,  Selected  from  the  Best  Authors  (Hartford  [Conn.],  1826), 
p.  3.  In  the  South  'Skew  Ball'  has  been  more  or  less  dismantled 
and  reassembled.  For  other  American  texts  see,  besides  Scarbor- 
ough, Lomax  ABFS  68-71,  Perrow  JAFL  xxviii  134,  Flanders 
et  al.  NGMS  172-4,  Davis  FSV  41,  257-8.  Both  of  our  fragments 
are  reported  as  Negro  songs. 


'Skew  Ball.'  From  Thomas  Smith,  Zionville,  Watauga  county,  1915, 
with  music  "as  sung  by  Mrs.  Peggy  Perry,  whose  uncle,  Thomas  Duty, 
sang  it  before  the  Civil  War." 

Gentlemen,  ladies,  and  all, 

I'll  tell  you  the  tale  of  my  noble  'skew-ball' — 

White  mane  and  tail  and  cast  [or  least]  on  his  back. 

A  short  drummer  riding  along 

With  his  hands  in  the  stirrup  to  keep  his  head  warm. 

From  saddle  to  stirrup  I  mounted  again 

And  with  my  ten  toes  I  tripped  over  the  plain. 


'Stewbald.'     From  G.  B.  Caldwell,  Monroe,  Union  county;  not  dated. 

Stewbald,  Stewbald  was  uh  race  boss; 

Racehoss  of  great  renown, 

And  his  record,  record  was  established, 

Established  in  every  town. 

His  bridle  was  made  of  silver,  silver. 

And  his  harness,  harness  made  of  gold, 

And  the  price  of  his  saddle,  saddle  remain  untold. 

137 

When  You  and  I  Were  Young,  M.\ggie 

This  song — the  tune  by  J.  A.  Butterfield,  the  words  by  George  W. 
Johnson — is  known  in  Scotland  (Ord  159)  and  among  the  woods- 
men of  the  Northwest  (Dean  93-4)  ;  probably  much  more  widely 
than  this  would  indicate,  for  collectors  have  not  acknowledged  it 
as  folk  song.  It  is  included  here,  however,  because  it  seems  to 
have  acquired  something  like  folk  currency  elsewhere  as  well  as  in 


372  NORTH  CAROLINA  FOLKLORE 

North  Carolina.  It  appears  twice  in  our  collection,  but  as  the  two 
texts  are  practically  identical  it  will  be  sufficient  to  give  one. 

When  You  and  I  Were  Young,  Maggie.'  From  the  manuscript  of  Mrs. 
Mary  Martin  Copley,  Route  8,  Durham,  obtained  by  Jesse  T.  Carpenter. 
(The  other  text  comes  from  O.  L.  Coflfey  of  ShuU's  Mills,  Watauga 
county.) 

1  I  wandered  today  to  the  hill,  Maggie, 
To  watch  the  scene  below, 

The  creek  and  the  creaking  old  mill,  Maggie, 

As  we  used  to  long  ago. 

The  green  grove  is  gone  from  the  hill,  Maggie, 

Where  first  the  daisies  sprung. 

The  creaking  old  mill  is  still,  Maggie, 

Since  you  and  I  were  young. 

Chorus: 

But  now  we  are  aged  and  gray,*  Maggie, 
And  the  trials  of  life  are  nearly  done; 
Let  us  sing  of  the  days  that  are  gone,  Maggie, 
When  you  and  I  were  young. 

2  A  city  so  silent  and  lone,  Maggie, 
Where  the  young  and  the  gay  and  the  best. 
In  polished  white  mansions  of  stone,  Maggie, 
Have  each  found  a  place  of  rest. 

Is  built  where  the  birds  used  to  play,  Maggie, 
And  join  in  the  songs  that  we  sung. 
For  we  sang  as  gay  as  they,  Maggie, 
When  you  and  I  were  young. 

3  They  say  I  am  feeble  with  age,  Maggie, 
My  steps  are  less  sprightly  than  then ; 
My  face  is  a  well  written  page,  Maggie, 
But  time  alone  was  the  pen. 

They  say  we  are  aged  and  gray,  Maggie, 
As  sprays  by  the  white  breakers  flung. 
But  to  me  you  are  fair  as  you  were,  Maggie, 
When  you  and  I  were  young, 

138 

The  Happy  Stranger 

This  retains  in  America  approximately  the  form  that  it  has  in 
England,  where  it  is  reported  from  Hampshire  (FSE  iii  37).  In 
this  country  it  is  known  in  West  Virginia  (FSS  346-7)  and  Ken- 
tucky (Shearin  25).  See  also  'The  Rebel  Soldier,  or  The  Poor 
Stranger,'  reported  from  Virginia  and  Kentucky   (SharpK  11  212- 


OLDER     BALLADS  —  MOSTLY     BRITISH  373 

15),  though  this  is  the  lament  of  a  man,  not  a  woman;  and  'The 
Inconstant  Lover'  (BSM  473). 

'The  Happy  Stranger.'     Communicated  in  1923  by  Mildred  Peterson  of 
Bladen  county. 

1  As  I  was  walking  one  morning  in  the  woods 
To  hear  the  bird's  whistle  and  nightingale  sing, 
I  heard  a  young  damsel  making  her  moan, 
Says,  'I  am  a  stranger  and  far  from  my  home.' 

2  I  stepped  up  to  her  and.  bending  my  knee, 
And  asked  her  pardon  for  making  so  free : 
'I  take  pity  on  you  by  hearing  your  moan, 
For  I  am  a  stranger  and  far  from  my  home.' 

139 

Sweet  Lily 

This  piece  is  puzzling,  partly  because  the  story  that  seems  to  lie 
behind  it  is  obscure  and  partly  because  it  is  made  up  of  fragments 
that  occur  elsewhere  in  other  connections.  From  Tennessee,  Henry 
(JAFL  XLii  292-3,  FSSH  2-j(i-'j)  reports  a  song  that  has  the  "foot 
in  the  stirrup"  stanza  and  "Willie"  instead  of  "Lily"  in  the  chorus 
but  throws  no  light  on  the  story  that  seems  to  be  implied  in  our  text ; 
and  from  North  Carolina  (JAFL  xlv  99-100,  FSSH  277)  another 
connected  therewith  but  that  has  nothing  to  do  with  our  text  beyond 
the  name  "Willie"  in  the  chorus — it  drifts  away  into  the  song  'I'm 
Going  to  Georgia.'  Perrow  (JAFL  xxviii  177)  reports  a  song 
from  Tennessee  that  begins  with  the  opening  stanza  of  our  text 
but  then  passes  to  other  matter.  A  'Rye  Whisky'  song  from  Colo- 
rado (JAFL  Liv  38)  has  the  "foot  in  the  stirrup"  line.  Randolph 
(OFS  IV  205)  reports  two  fragments  from  Missouri.  None  of 
these  throws  any  light  on  the  story  implied  in  our  text.  The 
Archive  of  American  Folk  Song  has  a  record  of  'Sweet  Lily'  from 
Tennessee  and  many  records  of  'Sweet  Willie'  which  may  or  may 
not  be  our  song. 

'Sweet    Lily.'      Contributed    by   Cousor   from    Bishopville,    South 

Carolina — so  that  this  item  is  not  strictly  speaking  from  North  Carolina. 
But  the  regional  tradition  may  not  be  greatly  different. 


My  foot's  in  the  stirrup. 
My  whip  is  in  my  hand, 
I'm  going  to  see  sweet  Lily 
And  marry  if  I  can. 

Chorus: 

Lily,  sw^eet  Lily, 

So  fair,  fair  to  me. 

And  oh,  oh,  Lily, 

If  only,  sweet  Lily,  you  my  wife  will  be ! 


374  NORTH     CAROLINA     FOLKLORE 

2  I  carried  Lily  riding 
Down  by  the  surging  sea 
And  there  sweet  Lily 
Promised  to  marry  me. 

3  So  I  met  sweet  Lily  at  the  altar 
On  a  beautiful  summer  noon ; 
And  there  my  sweet  Lily 
Seemed  to  have  a  look  forlorn. 

4  It  wasn't  but  a  few  days  later 
A  voice  said  to  me — 

And  I  knew  that  voice  was  Lily's — 
'Why  did  you  marry  me? 

5  'You've  broken  your  old  promise, 
You've  been  unfair  to  me.' 

And  then  my  sweet  Lily 

Turned  as  white  as  white  could  be. 

6  She  worried  all  the  morning 
And  wandered  by  the  sea ; 
And  then  my  sweet  Lily 
She  went  away  from  me. 


140 
Once  I  Had  a  Sweetheart 

This  song,  known  also  in  Tennessee  (JAFL  xlv  86-7,  FSSH 
270-1)  and  Mississippi  (JAFL  xxxix  150),  tells  in  its  fuller  form 
— the  Tennessee  text  has  eight  stanzas — how  her  sweetheart  was 
persuaded  away  to  the  wars  and  was  killed.     Our  text  is  incomplete. 

'Once  I  Had  a  Sweetheart.'     From  the  John  Burch  Blaylock  Collection. 

1  Once  I  had  a  sweetheart, 

A  sweetheart  brave  and  true ; 
His  hair  was  dark  and  curly, 
His  cunning  eyes  were  blue. 

2  I  guess  he  was  like  all  other  boys 
Who  had  a  friend  in  charm, 
And  ofif  together  they  would  roam 
For  pleasure  and  for  fun. 

3  He  bought  a  golden  finger  ring 
And  placed  it  upon  my  hand. 
'When  this  you  see  remember  me. 
When  I'm  in  some  foreign  land.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  375 

4     He  was  persuaded, 

For  what  I  do  not  know ; 

But  when  he  came  to  say  good-bye 

My  heart  did  overflow. 

141 
A  False-Hearted  Lover 

Akin  to  this,  though  not  the  same,  are  songs  reported  from  Ken- 
tucky (Archive  of  American  Folk  Song  under  this  title)  and  Ten- 
nessee (SSSA  170,  ETWVMB  40).  In  all  of  these  the  boy  speaks, 
not  the  girl. 

'A  False-Hearted  Lover.'     Collected  by  C.  B.  Houck  from  Miss  Pearl 
Webb  of  Pineda,  Avery  county,  in  April  1920. 

1  There  is  more  than  one,  there  is  more  than  two, 
There  is  more  pretty  boys,  my  love,  than  you, 
There  is  more  pretty  boys  than  you. 

2  You've  slighted  me  once,  you've  slighted  me  twice. 
You'll  never  slight  me  any  more,  my  love. 
You'll  never  slight  me  any  more. 

3  You  slighted  me  for  that  other  girl ; 
You  may  take  her  now  and  go,  my  love, 
You  may  take  her  now  and  go. 

4  For  the  loss  of  one  is  the  gain  of  two 

And  the  choice  out  of  twenty-five  more,  my  love, 
And  the  choice  out  of  twenty-five  more. 

5  I  wished  to  the  Lord  you  had  never  been  born 
Or  have  died  when  I  was  young,  my  love, 

Or  have  died  when  I  was  young. 

142 
Mama  Sent  Me  to  the  Spring 

This  is  a  fragment  of  the  song  'Jumbo'  reported  from  Kentucky 
(JAFL  XLix  222).  The  Archive  of  American  Folk  Song  has 
recordings  of  it  from  North  Carolina  and  Virginia.  It  is  prob- 
ably a  derivative  of  the  Scottish  song  'Whistle  o'er  the  Lave  o't,' 
printed  in  the  1776  edition  of  Herd's  Ancient  and  Modern  Scottish 
Songs. 

'Mama  Sent  Me  to  the  Spring.'     Contributed  by  Miss  Florence  Coleman 
of  Durham  in  July  1922. 


Mama  sent  me  to  the  spring, 
Told  me  not  to  stay. 
I  fell  in  love  with  a  pretty  little  boy 
And  stayed  till  Christmas  Day. 


376  north    carolina   folklore 

Annie  Lee 

This  is  known  in  southern  Illinois,  or  was  (TSSI  231-3),  is  re- 
ported in  the  Archive  of  American  Folk  Song  list  from  New  York 
and  Tennessee,  is  known  in  Missouri  (BSM  213-14,  OFS  iv  288-9). 
Arkansas  (OFS  iv  289-90),  and  possibly  is  the  piece  listed  in 
Shearin's  Syllabus  (p.  29)  as  known  in  Kentucky.  Tiiere  are  two 
texts  in  the  North  Carolina  collection. 

A 

'Annie  Lee.'     Contributed  by  Ethel  Brown  of  Catawba,  Catawba  county. 

1  I  have  finished  him  a  letter 
Telling  him  that  he  is  free. 
And  forever  from  this  moment 
He  is  nothing  more  to  me. 

And  my  heart  feels  light  and  gayer 
Since  that  deed  at  last  is  done. 
I  will  teach  him  that  when  courting 
He  can  never  court  but  one. 

2  It  was  twilight  in  the  evening 
When  he  promised  to  visit  me, 
But  of  course  he  is  with  Annie. 
He  may  stay  for  all  of  me. 

Oh,  they  say  he  smiles  upon  her 
As  he  courts  her  by  his  side. 
And  they  say  that  he  has  promised 
Soon  to  make  her  his  bride. 

3  I  was  riding  out  this  morning 
With  my  cousin  by  my  side ; 
She  was  telling  her  intentions 
For  to  soon  become  a  bride. 

And  it  seemed  that  in  the  twilight 
There  is  someone  coming  near 
Can  it  be  ?    It  is  his  figure 
As  sure  as  I  am  here. 

4  Now  he's  coming  in  the  gateway. 
I  will  meet  him  at  the  door. 

I  will  tell  him  that  I'll  love  him 
If  he'll  court  Miss  Lee  no  more. 
'Madame,  I  received  your  letter 
Telling  me  that  I  am  free 
And  forever  from  this  moment 
You  are  nothing  more  to  me. 


OLDER     BALLADS MOSTLY     BRITISH  377 

'You  were  chosen  for  the  bride, 
I  the  groom  was  to  be. 
But  I  want  you  to  rememl^er 
You  are  nothing  more  to  me !' 
*Oh,  forgive,  forgive,  forgive  me ! 
I  repent  for  all  I've  done.' 
'To  forgive  I  will  no,  never ; 
I  will  choose  another  one. 

'Goodbye,  Addie,  goodbye,  darling ; 
Happy  may  you  ever  be. 
But  I  hope  you  will  remember 
This  all  came  from  jealousy.' 


'Saucy  Anna  Lee.'  Sung  by  Mrs.  Charles  K.  Tillett  of  Wanchese, 
Roanoke  Island,  in  December  1922.  The  text  is  somewhat  disordered 
but  is  in  general  similar  to  A.  The  conclusion  is  somewhat  less  dra- 
matic ;  after  she  sees  him  coming  in  the  twilight  it  runs : 

5  Now  I  almost  wish  I'd  written 
Not  to  him  that  he  was  free ; 
For  perhaps  it  is  a  story 
That  he  rode  with  Anna  Lee. 

There,  he's  coming  through  the  gateway ! 

And  I'll  meet  him  at  the  door 

And  I'll  tell  that  I  love  him 

If  he'll  court  Miss  Lee  no  more. 

6  I  regret  I  wrote  the  letter 
That  told  him  he  was  free 
From  this  hour  and  forever 
He  is  ever  dear  to  me. 


144 

Hateful  Mary  Ann 
Perhaps  a  vaudeville  song,  but  it  has  a  folksy  temper.    It  has  not 
been  found  elsewhere. 

'Hateful  Mary  Ann.'  Reported  by  Otis  Kuykendall  of  Asheville  in  1939. 
The  last  two  stanzas  are  in  the  mouth  of  the  jealous  girl ;  the  first  stanza 
appears  to  be  sung  by  some  friend  of  hers.  But  I  have  not  used  quotation 
marks. 

I     Oh,  do  not  fear  one  moment, 
'  Mollie  darling ;  don't  you  know 
There  never  was  a  hurricane 
Of  lightning,  hail,  and  snow? 
And  the  hardest  thing  I've  heard  of 


3/8  NORTH     CAROLINA     FOLKLORE 

And  the  truest  friend  you  know 
He  never  kept  a  girl  a-waiting 
With  a  heart  Hke  yours  so  true. 

2  Perhaps  my  WilHe  started 
Before  the  rain  began. 

If  he  did,  he'll  spend  the  evening 
With  that  hateful  Mary  Ann. 
She  lives  just  three  blocks  nearer, 
And  she'll  keep  him  if  she  can, 
And  it's  all  for  the  chilly,  driving  rain. 

3  Oh,  hark !  I  hear  his  footsteps 
A-swinging  at  the  gate. 

It  is  my  Willie  darling. 

Why  have  you  come  so  late? 

You've  kept  me  here  waiting 

From  sundown  until  late, 

And  it's  all  for  the  chilly,  driving  rain. 


145 

The  Girl  I  Left  behind  Me 

For  some  account  of  the  range  of  this  favorite  song  of  soldiers 
and  sailors — and  others — both  in  the  old  country  and  in  America, 
both  in  print  and  in  oral  tradition,  see  BSM  198;  and  add  to  the 
references  there  given  Connecticut  (FSONE  79-80,  a  dance  song), 
Virginia  (FSV  127-8),  North  Carolina  (FSRA  137-9),  the  Ozarks 
(OFS  I  283-8,  III  352-4,  the  latter  as  play-party  songs),  Indiana 
(Wolford  46,  play-party),  Michigan  (BSSM  98-100),  Iowa 
(MAFLS  XXIX  48),  and  Wisconsin  (JAFL  lii  35-40,  from  Ken- 
tucky). Sometimes  it  is  known  as  'Peggy  Walker,'  even  (in  our 
collection)  as  'The  Tennessee  Girl.'  While  it  is  always  referable 
to  the  same  original  song  (least  clearly  in  the  Iowa  version  listed 
above),  it  is  surprising  to  note  its  infinite  variety  in  detail.  This 
is  apparent  in  the  North  Carolina  texts  here  given. 

A 
'The  Girl  I  Left  Behind.'     Secured  for  L.  W.  Anderson  by  Irene  Meek- 
ins  from  Mrs.  H.  G.  Haywood  of  Colington,   Dare  county.     Date  not 
noted. 

I     My  parents  reared  me  tenderly,  they  had  no  child  but  me. 
My  mind  was  bent  on  rambling,  but  with  them  I  could  not 

agree. 
Until  I  became  a  rover  bold;  it  grieved  their  hearts  full 

sore. 
I  left  my  aged  parents  that  I  never  shall  see  any  more. 


OLDER     BALLADS MOSTLY     BRITISH  379 

There  was  a  wealthy  gentleman  living  in  that  part ; 
He  had  one  only  daughter  dear,  and  I  had  won  her  heart. 
She  was  noble-minded,  tall,  and  true,  so  beautiful  and  fair, 
With     Columbus^     fairest    daughters    she    surely    could 
compare. 

I  told  her  my  intentions  was  soon  to  cross  the  main. 

I  asked  her  if  she  would  prove  true  until  I  returned  again. 

She  threw  her  arms  around  my  neck,  she.  Oh,  so  gently 

sighed ; 
'Fear  not,'  said  she,  'for,  brave  youth,  my  love  can  never 

die. 

'I  had  a  dream  the  other  night  which  I  cannot  believe; 
It's  distance  breaks  the  links  of  love  and  leaves  fair  maids 

to  grieve.' 
I  pressed  a  kiss  upon  her  lips,  I  told  her,  'Never  fear.' 
I  vowed  by  him  who  rules  the  sky  that  I  would  be  sincere. 

According  to  agreements  I  went  on  board  my  ship 
And  to  the  town  of  Galveston  I  made  a  pleasant  trip. 
There  I  found  gold  was  plentiful  and  the  maidens  somewhat 

kind. 
Of  course  the  gold  destroyed  my  love  for  the  girl  I  left 

behind. 

It  was  handsome  Jenny  Wilkins  first  took  me  by  the  hand ; 
Says  she,  'I've  gold  a-plenty,  and  love,  you  will  find. 
The  gold  I  possess  is  yours,  and  I  will  constant  prove ; 
But  your  parents  dear  and  other  friends  that  you  have 

left  behind, 
Don't  never,  if  you  marry  me,  bear  them  into  your  mind.* 

To  this  I  soon  consented,  and  I  owned  it  to  my  shame ; 
For  how  can  a  man  be  happy  when  he  knows  he  is  to 

blame  ? 
'Tis  true  I've  gold  in  plenty  and  my  wife  is  somewhat  kind, 
But  my  pillow  is  often  haunted  by  the  girl  I  left  behind. 

My  mother  in  the  winding  sheet,  my  father  too  appears, 
The  girl  I  love  stands  by  their  side  to  wipe  away  their 

tears. 
They  all  died  broken-hearted ;  but  it  is  now  too  late ;  I  find 
That  God  has  seen  my  cruelty  to  the  girl  I  left  behind. 


The  Maid  I  Left  Behind.'     From  Mrs.  Charles  K.  Tillett  of  Wanchese, 
Roanoke  Island.    Fairly  close  to  A,  yet  with  numerous  minor  differences. 

^  Should  probably  be  "Columbia's." 


380  NORTH  CAROLINA  FOLKLORE 

1  My  parents  raised  me  tenderly;  they  had  no  child  but  me. 
And  I,  being  bent  on  rambling,  with  them  could  not  agree. 

2  So  I  became  a  rover  soon,  which  grieved  their  hearts  full 

sore. 
I  left  my  aged  parents  I  never  shall  see  no  more. 

3  There  was  a  wealthy  gentleman  who  lived  within  this  part. 
He  had  a  loving  daughter  fair,  and  I  had  gained  her  heart. 

4  And  she  was  noble-minded,  too,  most  beautiful  and  fair, 
And  with  dumblus^  daughter  she  surely  would  compare. 

5  I  went  unto  my  true  love,  I  told  her  my  sad  tale ; 

With  aching  hearts  and  broken  sighs  we  both  did  weep  and 
wail. 

6  I  told  her  my  intention  was  quite  soon  to  cross  the  main. 
Says  I,  'Will  you  prove  faithful,  love,  till  I  return  again?' 

7  The  drops  of  tears  came  in  her  eyes,  her  bosom  held  a 

sigh ; 
'Dear  you,'  said  she,  'fear  not  for  me ;  my  love  can  never 
die. 

8  'Tho,'   said   the  maid,   'I   had   a  dream,   which   I   cannot 

believe. 
That  distance  breaks  the  link  of  love  and  leaves  the  maid 
to  grieve.' 

9  I  pressed  a  kiss  upon  her  cheek,  saying,  'Love,  have  no 

fear/ 
And  swore  by  him  who  rules  the  skies  that  I  would  prove 
sincere. 

10  'Well,  go,'  said  she,  'my  prayers  shall  be  for  health  and 

prosperous  winds. 
May  heaven  grant  you  safe  return  to  the  maid  you  left 
behind.' 

11  According  to  the  agreement  then  I  got  on  board  the  ship 
And  to  the  town  of  Glasgow  first  made  a  pleasant  trip. 

12  I  found  that  gold  was  plenty  there,  the  girls  were  free  and 

kind ; 
My  love  began  to  cool  a  bit  for  the  girl  I  left  behind. 

13  For  Rumford's  town  we  next  set  sail,  to"  that  hospitable 

land 
Where  handsome  Jinnie  came  on  board  and  took  me  by  the 
hand. 
*  See  the  corresponding  place  in  A. 


OLDER      H  A  I,  I.  A  U  S M  0  S  T  L  Y      H  K  I  T  I  S  H  381 

14  Says  she,  'I've  gold  a-plenty,  fine  houses  and  rich  land. 

If  you'll  consent  to  marry  me,  shall  he  at  your  command.' 

15  With  her  of  course  I  soon  agreed,  I'll  own  it  in  my  shame; 
For   what   man   is   contented   when    he   knows   himself   to 

blame  ? 

16  'Tis  true  I've  gold  a-plenty,  my  wife  is  somewhat  kind. 
My  ])illow  haunted  every  nigJit  hy  the  maid   1  left  behind. 

17  My    mother    is    in    her    winding    sheet,    my    father    t()[o| 

appear [s]  ; 
The  girl  1  loved  sets  by  their  side  a-kissing  of|  f  |  the  tears. 

18  With  broken  hearts  they  all  have  died;  and  now  too  late 

I  find 
That  God  has  seen  my  cruelty  to  the  girl  I  left  behind. 


No  title.  Obtained  from  James  York  of  Olin,  Iredell  county,  in  August 
1939.  Here  the  story  has  changed ;  he  resists  the  allurements  of  the 
new  girl  with  all  her  gold,  and  returns  to  his  first  love. 

I     I  asked  that  girl  to  remember  me  as  I  crossed  over  the 

plain. 
She  said  she  would  remember  me  till  I  returned  again. 
W^e  two  shook  hands  and  parted ;  for  Missouri  I  was  bound. 
I    reached   that   dear   old  country ;   I   rambled   round   and 

round. 


I  found  money  and  work  a-plenty,  the  people  were  all  kind. 
But  the  girl  I  left  behind  was  the  object  of  my  mind. 

3  At  length  I  hired  to  a  merchant.    A  stranger  he  was  to  me. 
He  had  a  loving  daughter  fell  deep  in  love  with  me. 

One  day  when   we  were  talking,  she  says,   'Young  man. 

don't  cry ; 
For  I  have  money  a-plenty  to  serve  both  you  and  I. 

4  'If  you'll  consent  to  marry   me  and   roam   this   world   no 

more, 
Your  pockets  shall  be  filled  with  gold  and  your  silver  have 

no  end.' 
'I  can't  consent  to  marry  you,  for  I  would  be  to  blame ; 
For  the  girl  I  left  behind  me  would  laugh  at  me  for  shame.' 

5  One  day  I  was  in  the  city  a-standing  on  the  square. 

The  mail  boy  he  came  riding  up  while  I  was  standing  there. 


382  NORTH     CAROLINA     FOLKLORE 

The  postmaster  handed   me   a  letter  which  gave   me   to 

understand 
That  the  girl  I  left  behind  me  had  married  another  man. 

6     I  threw  myself  around  and  around  and  knew  not  what  to  do, 
But  I  kept  reading  farther  down,  and  found  it  was  not  true. 
Card-playing  I'll  give  over,  dram-drinking  I'll  resign. 
And  I'll  return  back  home  again  to  the  girl  I  left  behind. 

D 

'Maggie  Walker.'  Reported  by  Professor  Abrams,  Boone,  Watauga 
county;  he  does  not  say  from  whom.  The  story  is  like  that  of  C  except 
that  the  girl  he  left  behind  him  does  marry  another  man.  The  second 
girl  is  Maggie  Walker;  the  places  are  different,  all  being  in  the  United 
States.  After  he  parts  from  the  wealthy  farmer's  daughter  the  story 
runs: 

6  Then  I  became  a  roamer,  strange  faces  oft  to  see. 

Till  I  met  Miss  Maggie  Walker,  who  fell  in  love  with  me. 

7  Said :  'If  you'll  consent  to  marry  me  and  say  you'll  roam 

no  more. 
Your  pockets  shall  be  lined  with  silver,  and  labor  you'll 
give  o'er.' 

8  'No,  Maggie,  I  can't  marry  you,  for  I  should  be  to  blame ; 
For  all  of  my  connection  would  look  on  me  with  shame. 

9  'For  I  loved  a  girl  in  Tennessee,  and  she's  engaged  to  ine.' 


10  Oh,  when  I  left  Missouri,  for  the  Salt  Lake  I  was  bound. 
I  got  [to]  Salt  Lake  City  and  viewed  the  city  all  around. 

11  Labor  and  money  was  plenty  and  the  girls  to  me  proved 

kind, 
But  the  only  object  of  my  heart  was  the  girl  I'd  left  behind. 

12  While   roving   around   one   evening   down   at   the   public 

square. 
The  mail-coach  being  arriven,  I  met  the  driver  there. 

13  He  handed  me  a  letter  which  gave  me  to  understand 
That  the  girl  I  loved  in  Tennessee  had  married  another 

man. 

14  I  read  on  down  a  little  further  till  I  found  that  this  was 

true. 
I  turned  all  around  and  about  there  and  didn't  know  what 
to  do. 


OLDER     BALLADS  —  MOSTLY     BRITISH  383 

15     My  horses  I'll  turn  over,  your  company  I'll  resign, 

And  I'll  rove  around  from  town  to  town  for  the  girl  I  left 
behind. 


'The  Girl  I  Left  Behind.'  Written  down  by  Fannie  Grogan  for  Mrs. 
Julia  Grogan  of  Zionville,  Watauga  county,  in  1922.  Essentially  the 
same  version  as  D,  with  some  corruptions  apparently  due  to  mishearing. 

F 

'The  Girl  I  Left  Behind.'  From  the  collection  of  Miss  Edith  B.  Fish 
of  White  Rock,  Madison  county.  She  sent  this  text  to  C.  Alphonso 
Smith  in  1913.  The  tune  accompanying  it  is  as  sung  by  Miss  Fannie 
Grogan,  June  22,  1927.     Similar  to  D  but  with  Irish  coloring. 

1  When  I  became  a  rover  it  grieved  my  heart  most  sore 
To  leave  my  aged  parents,  to  never  see  them  more. 

2  My  parents  did  treat  me  tenderly;  they  had  no  child  but 

me; 
But  my  mind  was  bent  on  roving ;  with  them  I  couldn't 
agree. 

3  There  was  a  noble  gentleman  in  yonder  town  drew  nigh, 
He  had  one  only  daughter ;  on  her  I  cast  my  eye. 

4  She  was  young  and  tall  and  handsome,  most  beautiful  and 

fair; 
There  wasn't  a  girl  in  that  whole  town  with  her  I  could 
compare. 

5  I  told  her  my  intention ;  it  was  to  cross  the  main. 

It's  'Love,  will  you  prove  unfaithful  till  I  return  again?' 

6  She   said  she  would   prove   faithful  till  death   did  prove 

unkind. 
We  kissed,  shook  hands,  and  parted ;  I  left  my  girl  behind. 

7  It's  when  I  left  old  Ireland,  to  Scotland  I  was  bound. 
I'll  march  from  Zion  to  me^  to  view  the  country  round. 

8  The  girls  were  fair  and  plenty  there,  and  all  to  me  proved 

kind, 
But  the  dearest  object  of  my  heart  was  the  girl   I   left 
behind. 

9  I  walked  out  one  evening,  all  down  the  George's  Square; 
The  mailcoach  ship  had  just  arose,  when  the  postboy  met 

me  there. 

*  So  the  manuscript  seems  to  read.     The  editor  has  no  suggestion  to 
offer. 


384  NORTH  CAROLINA  FOLKLORE 

10  He  handed  me  a  letter,  which  gave  me  to  understand 
That  the  girl  I  left  behind  me  had  wedded  to  another  man. 

1 1  I  advanced  a  little  further ;  I  found  the  news  was  true. 

I  turned  myself  all  round  about,  I  knew  not  what  to  do. 

12  I'll  serve  my  trade,   I'll  give  my  woe,-  bad  company  I'll 

resign, 
I'll   rove  around  from   town  to  town   for  the  girl   I   left 
behind. 

G 

'The  Tennessee  Girl.'  This,  like  the  D  text,  is  from  Professor  Abranis 
at  Boone,  sent  in  in  October  1937.  He  does  not  say  from  whom  he  had 
it.  The  text  is  a  compound ;  the  first  six  stanzas  are  a  form  of  'The 
Girl  I  Left  Behind  Me'  that  leaves  out  entirely  the  episode  of  the 
second  girl ;  the  last  five  constitute  a  version  of  'Bill  Stafford,'  sometimes 
called  'The  Arkansas  Traveler,'  and  will  be  given  under  that  title. 
The  first  six  stanzas  run : 

1  My  parents  treated  me  tenderly,  they  had  no  child  but  me. 
Since  father's  been  out  roving  he  and  I  couldn't  agree, 
And  I  left  my  aged  parents,  and  them  I  never  shall  see, 

2  There  was  a  wealthy  farmer  who  lived  very  close  by. 
He  had  a  handsome  daughter  on  whom  I  cast  an  eye. 
She  was  so  long  and  slender,  so  handsome  and  so  fair, 
There's  never  been  a  girl  in  this  wide  world  with  her  I 

could  compare. 

3  I  asked  her  if  it  made  any  dififerenqe  if  I  crossed  over  the 

plain. 
She  says,  'It  makes  no  difiference,  if  you'll  return  again.' 
So  we  shook  hands  and  parted,  and  I  left  my  girl  behind 

4  So  when  I  left  old  Tennessee,  for  the  Salt  Lake  City  I'se 

bound. 
When  I  got  to  the  Salt  Lake  I  viewed  that  city  around. 
Labor  and  money  was  plentiful,  the  girls  proved  to  me 

kind; 
But  the  only  object  of  my  heart  was  the  girl  I  left  behind. 

5  So  I  went  out  one  morning,  all  on  the  public  square. 
The  mail  car  being  just  around,  I  met  the  driver  there. 
He  handed  me  a  letter  that  gave  me  to  understand 

That  the  girl  I  left  in  Tennessee  had  married  another  man. 

6  I  read  on  down  a  little  farther  to  see  if  it  was  true. 

I  turned  all  around  and  about  there  like  I  didn't  know  what 
to  do. 
'  So  the  manuscript.     I  cannot  guess  the  meaning. 


OLDER      HALLADS MOSTLY      BRITISH  385 

I'll  turn  my  mules  and  wagon,  this  company  I'll  resign; 
I'll  travel  all  around  from  town  to  town  for  the  girl  I  left 
behind. 

And  then,  without  any  indication  of  a  break,  follows 

My  name  it  is  Bill  Stravage     .... 

146 
The  Isle  of  St.  Helena 

In  our  collection  there  are  four  variants  of  a  song  describing  the 
state  of  Napoleon  after  his  banishment  to  St.  Helena.  The  song 
has  been  often  printed  and  is  also  frequently  reported  as  traditional 
song.  See  Kittredge's  bibliographical  note  JAFL  xxxv  359,  and 
Belden,  BSM  146  (where  the  reference  to  BSSN  is  wrong;  198-9 
should  be  168-9).  Chappell,  FSRA  186-7,  prints  a  text  from 
Charles  Tillett,  Wanchese,  1933-35,  which  is  close  to  that  recorded 
by  either  Mr.  or  Mrs.  Charles  K.  Tillett  for  Dr.  Brown  in  1922 
but  lacks  the  two  lines  in  stanza  5  addressed  to  the  parliament  of 
England. 


'Napoleon.'  With  music.  "Recorded  as  'Napoleon'  ...  by  Mr.  or  Mrs. 
C.  K.  Tillett,  Wanchese,  12/29/22.  Most  of  Mrs.  Tillett's  contributions 
were  sung  into  the  phonograph  Dec.  29,  1922,  and  texts  furnished  later 
either  by  Mrs.  Tillett  or  by  J.  B.  Midgett."  See  reference  to  Chappell, 
above. 

1  Bony  he  has  gone  from  the  wars  of  all  fighting. 

He  has  gone  to  the  place  where  he  never  took  delight  in ; 
And  there  he  may  set  down  and  tell  the  sence^  he  has  seen 

of, 
For  long  he  does  mourn  on  the  Isle  of  St.  Helena. 

2  Eloisa  she  mourns  of  her  husband  departing, 

She  dreams  when  she  sleeps  and  she  wakes  broken-hearted ; 
Not  a  friend  to  console  her,  even  those  who  might  be  with 

her, 
For  she  mourns  when  she  thinks  of  the  Isle  of  St.  Helena. 

3  Now  the   rude   rushing  waves  all   around  the   shores   are 

washing, 
And  the  great  billows'  heaves  on  the  wild  rocks  are  dashing. 
He  may  look  to  the  moon  over  the  great  mount  Diana 
With  his  eyes  over  the  waves  rolded  around  St.  Helena. 

4  Now  no  more  in  St.  Cloud's  he'll  be  seen  in  such  splendor, 
Or  go  on  with  his  crowds  like  the  great  Alexander ; 

*  The  Missouri  text  has  here  "scenes,"   which  comes  nearer  to  mak- 
ing sense. 


386  NORTH  CAROLINA  FOLKLORE 

For  the  great  king  of  Rome  and  the  prince  of  Gahanah^ 
Says  they  bring  their  father  home  from  the  Isle  of   St. 
Helena. 

5     Now,  you  parliaments  of  England  and  your  Holy  Elinance 
To  a  prisoner  of  war  you  may  now  bid  defiance ; 
For  his  base  intruding  and  his  base  misdemeanor 
Has  caused  him  to  die  on  the  Isle  of  St.  Helena. 


'Bone  Part.'  '  From  Miss  Fanny  Grogan,  Silverstone,  Watauga  county. 
Not  dated. 

1  Bone's  gone  to  the  war  in  the  battle  he  is  fighting, 

He  has  gone  to  a  place  where  he  never  took  no  delight  in. 
Oh,  there  he  may  sit  down  and  tell  all  that  he  has  seen  of 
While  for  home  he  doth  weep  on  the  Isle  of  St.  Tellena, 

2  Louise  she  doth  weep,  for  her  husband  hath  departed. 

She  dreams  when  she  sleeps,  and  she  wakes  all  broken- 
hearted. 

Not  a  friend  to  console  her,  even  those  who  might  be  with 
her, 

For  she  weeps  when  she  thinks  on  the  Isle  of  St.  Tellena. 

3  The  rude,  rushing  waves  all  around  the  shores  are  washing, 
And  the  great  Bill  of  loo,  and  the  wild  rocks  are  bursting. 
He  may  look  to  the  moon  of  the  great  omount  taenia, 
With  his  eyes  over  the  waves  that  around  St.  Tellena. 

4  No  more  at  church  he'Jl  be  seen  in  such  splendor, 
Nor  again  with  his  crowd,  not  the  great  Alexander 


'Napoleon  Bonaparte.*     Collected  by  L.  W.  Anderson  from  Alva  Wise 
of  Nag's  Head  on  the  Banks.    No  date  given. 

1  Now  Bony  is  gone  from  the  wars  of  all  fighting, 
He's  gone  to  a  place  where  he  never  took  delight  in. 

Oh,  there  he'll  sit  down  to  the  scene  where  he's  seen  her, 
While  for  Boney  he  doth  warm  on  the  Isle  of  St.  Helena. 

2  No  more  in  St.  Cloud's  he'll  be  seen  in  such  splendor. 
Nor  gone  with  his  crowd  like  the  great  Alexandria ; 

But  the  great  king  of  Rome  and  the  prince  of  Gay  Hanna 
They  will  bring  their  father  home  from  the  Isle  of  St. 
Helena. 

■  The  Newfoundland  text  has  here  "prince  of  Guiana,"  but  that  does 
not  help  much. 


OLDER     BALLADS MOSTLY     BRITISH  387 

3  The  wife  she  doth  mourn  for  her  husband's  departure, 
She  dreams  while  she  sleeps  and  she  wakes  broken-hearted, 
Not  a  soul  to  console  her,  even  those  who  might  have  been 

with  her. 
Oh,  she  mourns  when  she  thinks  of  the  Isle  of  St.  Helena. 

4  The  rude  rushing  waves  beat  around  St.  Helena 


'Bonapart's  Retreat.'     Collected  by  W.  A.  Abrams  from  Mrs.  Ira  Reese 
of  Mabel,  Watauga  county.     No  date  given. 

1  Bonapart  he's  gone  from  the  wars  of  all  fighting, 
He's  gone  to  the  land  where  [he]  doth  take  delighting. 
No  more  in  such  clouds  he'll  be  seen  in  such  splendor 
Nor  going  with  his  crowds  and  the  great  Alexander. 

2  Louise  doth  weep  for  her  husband  departed, 

She  dreams  when  she  sleeps  and  wakes  broken-hearted. 
There's  no  friend  to  contol  her,  not  even  those  near  her ; 


The  young  king  of  Rob  and  the  prince  of  Gemira 
Say  they  will  bring  their  father  home  from  the  Isles  of  Saint 
Delina 


'npWO  groups  of  ballads — if  so  they  may  be  called;  they  are 
-^  sometimes  merely  monologues  with  little  action  indicated — are 
placed  here  although  some  of  them  are  very  likely  not  older  than  the 
nineteenth  century  and  are  not  certainly  British.  They  may  be 
and  they  may  not  be;  their  origin  has  not  been  made  out.  Some 
of  them,  the  editor  thinks,  are  pretty  surely  of  American  manu- 
facture. But  they  are  given  here  because  they  are  not  demonstrably 
American  as  are  the  songs  and  ballads  given  under  that  label  later 
in  the  present  volume.  One  of  these  groups  deals  with  the  pathos 
of  children,  especially  orphans.  Oldest  and  best  known  of  these, 
and  indisputably  English,  is  'The  Babes  in  the  Wood';  others,  not 
improbably  of  American  origin,  are  'The  Poor  Little  Sailor  Boy,' 
'The  Orphan  Girl, '"and  'The  Blind  Girl' — who  dies  when  her  father 
takes  a  new  wife.  The  other  group  is  less  definite  in  content,  but 
its  members  are  held  together  by  the  fact  that  they  are  all.  in  one 
way  or  another,  tales  of  broken  or  disappointed  love,  of  lovers 
parting  after  a  quarrel.  The  type  song  here  is  'Fond  Affection,' 
which   appears   in   a   great   variety   of   texts,   stanzas   taken   up   or 


388  NORTH     CAROLINA     FOLKLORE 

dropped  or  reordered  until  it  is  hard  to  say  whether  a  given  text 
is  a  form  of  this  song  or  should  be  entered  separately.  Others  on 
this  theme  are  'We  Have  Met  and  We  Have  Parted,'  'Broken  Ties,' 
'They  Were  Standing  by  the  Window,'  and  some  fifteen  others. 
It  is  a  topic  dear  to  the  folk  muse. 


147 

The  Babes  in  the  Wood 

See  Kittredge's  bibliographical  note  JAFL  xxxv  349-50  and  the 
headnote  to  this  song  BSM  106.  To  the  references  in  the  latter  add 
Vermont  (NGMS  234-8),  Virginia  (FSV  38),  Florida  (FSF 
401-7),  the  Ozarks  (OFS  i  365-8),  Indiana  (BSI  313),  and  Michi- 
gan (BSSM  343-5).  It  is  probably  a  good  deal  more  widely  known 
than  collectors'  lists  would  imply;  it  is  so  familiar  that  collectors 
are  likely  to  disregard  it. 

'Babes  in  the  Wood.'     Reported  by  Miss  Pearl  Webb  of  Pineola,  Avery 
county,  probably  in  1921. 

1  Oh,  don't  you  remember,  a  long  time  ago, 

Of  two  little  children,  their  names  I  don't  know. 
They  were  stole  on  the  way^  on  a  bright  summer  day 
And  lost  in  the  woods,  I've  heard  people  say. 

2  And  when  it  was  night  so  sad  was  their  plight, 
The  moon  went  down  and  the  stars  gave  no  light. 
They  sobbed  and  they  sighed  and  they  bitterly  cried ; 
Poor  babes  in  the  woods,  they  lay  down  and  died. 

3  And  when  they  were  dead  the  robins  so  red 
Brought  strawberry  leaves  and  over  them  spread 
And  sang  a  sweet  song  the  whole  day  long. 
Poor  babes  in  the  woods,  they  lay  down  and  died. 

148 

The  Orphan  Girl 

Well  known  in  the  southern  Appalachians  and  not  unknown  in 
the  Middle  West;  see  BSM  277,  and  add  to  the  references  there 
given  Virginia  (FSV  117-18),  North  Carolina  (FSRA  196-7), 
Florida  (FSF  119-23),  the  Ozarks  (OFS  iv  194-6),  Indiana  (BSI 
291-7,  SFLQ  IV  198),  and  Michigan  (BSSM  481,  listed  but  text 
not  given).  Shearin  lists  it  in  his  Syllabus  for  Kentucky.  Mrs. 
Steely  found  it  in  the  Ebenezer  community  in  Wake  county.  The 
numerous  texts  in  our  collection  are  pretty  much  alike,  the  varia- 
tions being  due  for  the  most  part  to  imperfect  recollection  by  the 
contributors.     Only  two  are  given  in  full. 

*  Miswritten,  presumably,  for  "stolen  away." 


OLDER     BALLADS  —  MOSTLY     BRITISH  389 

A 

'The  Orphan  Girl.'     Contributed  by  Jesse  T.  Carpenter  of  Durham  about 
1922. 

1  'No  home,  no  home,'  plead  a  little  girl 
At  the  door  of  a  rich  man's  hall 

As  she  trembling  stood  on  the  marble  steps 
And  leaned  against  the  marble  wall. 

2  'My  father's  face  I  never  knew' — 
With  tears  in  eyes  so  bright — 

'My  mother  sleeps  in  a  new-made  grave; 
I'm  an  orphan  girl  tonight. 

3  'My  dress  is  thin,  my  feet  are  bare, 
The  snow  has  covered  my  head. 
Give  me  a  home,'  she  feebly  plead, 
*A  home  and  a  bit  of  bread.' 

4  The  night  was  dark  and  the  snow  still  fell. 
The  rich  man  closed  his  door. 

His  proud  face  frowned  as  he  scornfully  said 
'No  home  and  no  bread  for  the  poor.' 

5  'No  home,  no  home,'  said  the  little  girl 
As  she  strove  to  wrap  her  feet. 

Her  tender  frame  all  covered  with  snow, 
Yes,  covered  in  snow  and  sleet. 

6  The  night  was  dark,  and  the  midnight  chimes 
Rang  out  like  a  funeral  knell. 

The  earth  seemed  wrapped  in  winding  sleet 
And  the  drifting  snow  still  fell. 

7  The  rich  man  slept  on  his  velvet  couch 
And  dreamed  of  his  silver  and  gold. 
While  the  orphan  girl  on  a  bed  of  snow 
She  murmured  'So  cold,  so  cold.' 

8  The  morning  dawned,  and  the  orphan  girl 
Still  lay  at  the  rich  man's  door. 

But  her  soul  had  fled  to  a  world  above 
Where  there's  room  and  bread  for  the  poor. 


'The  Orphan  Girl.'  Obtained  by  Jesse  T.  Carpenter  from  the  manuscript 
of  Mrs.  Mary  Martin  Copley,  Route  8,  Durham,  apparently  in  1923. 
The  air  was  set  down  by  Miss  Vivian  Blackstock.  The  text  is  close 
to  A,  the  chief  dififerences  being  that  stanzas  2  and  3  are  interchanged 
and  that  what  is  now  stanza  2  is  in  the  third  person : 

Her  clothes  were  thin  and  her  feet  were  bare, 
But  the  snow  had  covered  her  head. 


390  NORTH  CAROLINA  FOLKLORE 

C 

'The  Orphan  Girl.'  From  Professor  M.  G.  Fulton  of  Davidson  Col- 
lege, Mecklenburg  county,  about  191 4- 15.  Eight  stanzas,  some  of  them 
incomplete. 

D 

'The  Orphan  Girl.'  From  Virginia  Bowers,  Stanly  county.  Eight 
stanzas ;  stanzas  2  and  3  as  in  B,  and  stanzas  5,  6,  7  of  A  become  stanzas 
6,  7,  5  in  D.    There  are  also  numerous  minor  variations. 

E 
'The  Orphan  Girl.'  From  Mrs.  Sutton,  apparently  in  1923  or  there- 
abouts. Seven  stanzas,  corresponding  with  slight  variations  to  stanzas 
I,  3,  2,  4,  7,  6,  8  of  A.  Her  informant  "got  this  from  his  mother 
in  Buncombe.  Myra  knows  it  and  Miss  Blackstock  has  heard  her  old 
nurse  sing  it." 

F 
'The   Orphan   Girl.'     Contributed   by   Mrs.   Minnie   Church   of   Heaton, 
Avery  county,  in  October  1930.     Nine  stanzas. 

G 
'The  Orphan  Girl.'     From  the  manuscript  songbook  of  Miss  Lura  Wag- 
oner of  Vox,  set  down  probably  about  1912.     Seven  stanzas. 

H 
'The  Orphan  Girl.'     Contributed  by  Beulah  Walton  of  Durham  in  1923. 
Seven  stanzas. 


'The  Orphan  Girl.'  Secured  by  L.  W.  Anderson  from  Maxine  Tillett, 
one  of  his  pupils  at  Nag's  Head.  Seven  stanzas,  corresponding,  with 
slight  variations,  with  stanzas  i,  3,  2,  6,  5,  8  of  A. 

J 
'The   Orphan   Girl.'     Contributed  by   Macie   Morgan   of   Stanly  county. 
Here  the  story  is  expanded,  especially  at  the  close. 

1  'No  home,  no  home,'  said  a  little  girl 
At  the  door  of  a  princely  hall 

As  she  trembling  stood  on  the  marble  steps 
And  leaned  on  the  polished  wall. 

2  Her  clothes  were  thin  and  her  feet  were  bare, 
And  snow  covered  her  head. 

'Give  me  a  home,'  she  faintly  cried, 
'A  home  and  a  piece  of  bread. 


3     'My  father,  alas,  I  never  knew,' 
And  tears  did  fall  so  bright. 
'My  mother  sleeps  in  a  new-made  tomb 
'Tis  an  orphan  that  begs  tonight.' 


OLDER     BALLADS  —  MOSTLY     BRITISH  39I 

4  The  night  was  dark  and  the  snow  still  fell 
When  the  rich  man  closed  his  door, 

And  his  proud  lips  curled  as  he  courtly^  said, 
'No  room,  no  bread  for  the  poor.' 

5  'I  must  freeze,'  she  said  as  she  sat  on  the  steps 
And  strove  to  cover  her  feet 

With  her  old  tattered  clothes  all  covered  with  snow, 
Yes,  covered  with  snow  and  sleet. 

6  Bright  angels  came  at  the  midnight  storm, 
Yes,  came  to  her  relief 

And  bore  her  away  on  their  snowy  white  wings 
To  heaven,  her  mother  to  greet. 

7  A  golden  crown,  a  snow-white  robe 
Was  given  her  then  to  wear ; 

And  the  bread  of  life  her  soul  to  eat 
To  reward  her  suffering  here. 

8  No  more  will  she  beg  for  the  rich  man's  bread, 
No  more  will  she  sleep  on  the  snow ; 

For  her  soul  has  gone  to  that  home  above. 
Where  there's  room  and  bread  for  the  poor. 

9  The  rich  man  arose  at  the  dawn  of  day, 
And  slowly  he  opened  the  door 

To  find  at  his  feet  a  frozen  girl 
He  had  left  so  late  before. 

10  As  he  gazed  on  the  beautiful  form  at  his  feet 
And  thought  of  the  dreadful  sin, 

He  whispered  low  as  the  tears  rolled  down, 
'Alas !  it  might  not  have  been !' 

1 1  The  rich  man  arose  at  the  dawn  of  day 
And  slowly  opened  the  door. 

'I'm  ruined,'  he  said  as  he  fainted ; 
'Alas !  it's  my  sister's  child.' 

12  A  few  more  years  and  the  rich  man  died, 
And  his  soul  was  carried  below. 

And  his  own  little  girl,  his  joy  and  pride. 
Was  begging  from  door  to  door. 

13  And  now,  kind  friends,  take  warning  from  this 
And  never  refuse  to  give ; 

For  the  Lord  above,  who  gives  to  all. 
May  refuse  to  let  you  live. 
*  Probably  niiswritten  for  "curtly." 


392  NORTH  CAROLINA  FOLKLORE 

K 

'"No  Home,  No  Home,"  said  a  Little  Girl.'  Secured  in  1927  by  Julian 
P.  Boyd  from  Carlos  Holton,  one  of  his  pupils  at  Alliance,  Pamlico 
county.     Somewhat  reduced;  five  and  a  half  stanzas. 

L 
*The  Orphan  Child.'    From  Ruth  Efird,  Stanly  county.    Reduced  to  four 
stanzas ;  ends  with  the  little  girl  murmuring  "so  cold,  so  cold." 


'  "No  Home,  No  Home,"  said  a  Little  Girl.'  Reported  by  Thomas 
Smith  of  Zionville,  Watauga  county,  presumably  in  191 5.  Only  four 
stanzas,  with  the  notation  that  it  "is  part  of  the  song  only.  I  heard  it 
sung  when  a  child  probably  30  or  more  years  ago." 

N 
'The  Orphan  Girl.'     From  the  John  Burch  Blaylock  Collection.     Eight 
stanzas. 


149 
The  Blind  Girl 

The  authorship  of  this  exercise  in  pathos  has  eluded  the  editor, 
though  it  is  patently  from  print  and  is  widely  known  and  sung  in 
the  South  and  West.  See  BSM  275,  and  add  Virginia  (FSV 
115-16),  Indiana  (SFLQ  iv  191-2),  and  the  Ozarks  (OFS  iv  191-3). 
There  are  thirteen  copies  of  it  in  the  North  Carolina  collection. 
They  are  closely  alike,  and  yet  full  of  slight  variations,  due  some- 
times to  forgetting,  sometimes  to  displacement  of  parts,  and  occa- 
sionally to  improvisation — all  indicative  of  oral  transmission.  It 
will  be  sufficient  to  print  one  of  the  fuller  and  more  correct  texts. 

A  'Blind  Girl's  Prayer.'  Contributed  by  I.  G.  Greer  of  Boone,  Watauga 
county,  with  the  note  "Sung  for  Miss  Hundley  and  set  down  June  3, 
1915."    With  the  air. 

B  'The  Blind  Child.'  Set  down  5  August  1915,  for  Thomas  Smith  by 
Mrs.  Anne  Smith  of  Sugar  Grove,  Watauga  county,  with  the  notation 
that  "this  song  used  to  be  popular  in  our  neighborhood." 

C  'The  Blind  Girl.'  From  the  manuscript  songbook  of  Miss  Lura 
Wagoner  of  Vox,  where  it  was  entered  probably  about  191 2.  This  con- 
tains, after  the  first  half  of  the  fifth  stanza  of  A,  the  following  lines 
not  found  in  the  other  texts : 

I  know  I  love  you,  papa  dear; 

But  how  I  long  to  go 

Where  God  is  light;  and  I  am  sure 

There'll  be  no  blind  ones  there. 

D  'The  Blind  Child's  Prayer.'  From  Miss  Pearl  Webb  of  Pineola, 
Avery  county,  in  1922. 

E  'The  Blind  Girl.'  Contributed  by  W.  Amos  Abrams  in  1937,  with  the 
notation:  "My  father  learned  it  from  his  mother,  who  learned  it  from 
her  mother."  Incomplete  text;  lacks  the  last  half  of  stanza  4,  the 
whole  of  stanza  5,  and  the  first  half  of  stanza  6  of  A. 


OLDER     BALLADS MOSTLY     BRITISH  393 

F  'Blind  Girl's  Death.'  Secured  from  Mamie  Mansfield  of  Durham  as 
sung  by  F.  Coleman  in  1922.    With  the  tune. 

G  'The  Blind  Girl.'     From  Ethel  Brown  of  Catawba  county. 

H  'The  Blind  Child's  Prayer.'  Secured  by  Julian  P.  Boyd  in  1927  from 
Mary  Price  of  Alliance,  Pamlico  county. 

I  'The  Blind  Child's  Prayer.'     From  Ruth  Morgan,  Stanly  county. 

J  'The  Blind  Child's  Prayer.'  Contributed  by  Mrs.  Minnie  Church  of 
Heaton,  Avery  county,  in  1930. 

K  'The  Blind  Child.'  Contributed  by  Otis  Kuykendall  of  Asheville 
m  August  1939. 

L  'The  Blind  Girl.'  Contributed  by  I.  T.  Poole  of  Burke  county,  with 
the  notation:  'This  was  obtained  from  Mrs.  W.  H.  Poole,  who  reports 
that  It  was  popular  in  Burke  county  as  a  community  song  about  twentv- 
nve  years  ago."  •' 

M  'The  Blind  Girl's  Death.'     From  the  John  Burch  Blaylock  Collection. 

A 

1  'They  tell  me,  father,  that  tonight 
You're  to  wed  a  new-made  bride, 
That  you  will  clasp  her  in  your  arms 
Where  my  dear  mother  died, 

That  she  will  lean  her  graceful  head 
Upon  your  loving  breast, 
Where  she  who  now  lies  down  in  death 
In  life's  best  hour  did  rest. 

2  'They  say  her  name  is  Mary,  too, 
The  name  my  mother  bore. 

And,  father,  is  she  kind  and  true 
Like  the  one  you  loved  before? 
And  is  her  steps  as  soft  and  low, 
Her  voice  as  sweet  and  mild  ? 
And,  father,  will  she  love  me  too, 
Your  blind  and  helpless  child  ? 

3  'Please,  father,  do  not  bid  me  come 
To  meet  your  new-made  bride. 

I  could  not  meet  her  in  the  room 

Where  my  dear  mother  died. 

Her  picture  hanging  on  the  wall, 

Her  books  are  lying  near. 

And  there's  the  harp  of  her  soft,  sad  tune, 

And  there's  her  vacant  chair. 

4  'The  chair  by  which  I  used  to  kneel 
To  say  my  evening  prayer. 

Oh,  pa,  it  almost  breaks  my  heart — 


394  NORTH     CAROLINA     FOLKLORE 

I  could  not  meet  her  there. 
And  when  I  cry  myself  to  sleep, 
As  now  I  often  do, 
Then  softly  to  my  chamber  creep, 
My  new  mamma  and  you, 

5  'And  bid  her  gently  press  a  kiss 
Upon  my  throbbing  brow 

Just  as  my  own  dear  mother  did. 

Oh,  pa,  you're  weeping,  now. 

Oh,  let  me  kneel  down  by  your  side 

And  to  our  Saviour  pray 

That  God's  right  hand  may  lead  you  both 

Through  life's  long  weary  way.' 

6  The  prayer  was  offered,  then  a  song. 
'I'm  weary  now,'  she  said. 

Her  father  raised  her  in  his  arms 

And  laid  her  on  the  bed. 

And  as  he  turned  to  leave  the  room 

One  joyful  cry  was  given. 

He  turned  and  caught  the  last  bright  smile — 

His  blind  child  was  in  heaven. 

7  They  laid  her  by  her  mother's  side 
And  raised  a  marble  fair. 

On  it  engraved  those  simple  words : 
'There'll  be  no  blind  ones  there.' 


150 

Two  Little  Children 

Similar  in  temper  to  'The  Orphan  Girl'  but  not  so  widely  known; 
recorded  for  Virginia  (ETWVMB  32,  FSV  1 14-15),  and  Ten- 
nessee (SSSA  126-7)  and  known  also  in  Michigan  (BSSM  483, 
listed  but  no  text  given).  Of  the  four  texts  in  our  collection  it 
will  be  sufficient  to  print  one,  the  fullest  of  the  four. 


'The  Orphans.'  From  the  manuscripts  of  Obadiah  Johnson  of  Cross- 
nore,  Avery  county,  secured  in  July  1940.  "He  did  not  sing  it;  but  we 
have  the  air  as  it  was  sung  by  Estalena  Graybeal." 

1  Two  little  children,  a  boy  and  a  girl, 
Sat  by  an  old  church  door ; 

The  little  girl's  feet  were  as  brown  as  the  curl 
That  fell  on  the  dress  that  she  wore. 

2  The  boy's  coat  was  faded  and  hatless  his  head, 
A  tear  shone  in  each  little  eye. 


OLDER     BALLADS MOSTLY     BRITISH  395 

'Why  don't  you  run  home  to  your  mama,'  I  said ; 
And  this  was  the  maiden's  reply : 

3  'Mama's  in  heaven ;  they  took  her  away, 
Left  me  and  Jim  alone. 

We  come  here  to  sleep  at  the  close  of  the  day, 
For  we  have  no  mama  at  home. 

4  'We  can't  earn  our  bread,  we're  too  little,'  she  said ; 
'Jim  is  five  and  I'm  only  seven. 

We  have  no  one  to  love  us  since  papa  is  dead 
And  our  darling  mama's  in  heaven. 

5  'Papa  was  lost  out  to  sea  long  ago. 
We  waited  all  night  on  the  shore. 

For  he  was  a  life-saving  captain,  you  know ; 
But  he  never  came  back  any  more, 

6  'Then  mama  got  sick ;  angels  took  her  away, 
She  said,  to  a  home  warm  and  bright. 

She  said  they'd  come  for  her  darlings  some  day ; 
Perhaps  they  are  coming  tonight. 

7  'Perhaps  they  have  no  room  in  heaven,'  she  said, 
'For  two  little  darlings  to  keep.' 

She  then  placed  her  hand  on  Jim's  little  head ; 
She  kissed  him ;  and  both  fell  asleep. 

8  The  sexton  came  early  to  ring  the  church  bell. 
He  found  them  beneath  the  snow  white. 

The  angels  made  room  for  two  darlings  to  dwell 
In  heaven  with  mama  that  night. 


'The  Orphans.'  Secured  by  L.  W.  Anderson  of  Nag's  Head  from  Alva 
Wise,  one  of  his  pupils  there.  Same  as  A  except  that  the  last  line  of 
stanza  6  has  somehow  dropped  out. 


'Two  Little  Children.'  Secured  by  W.  Amos  Abrams  from  Margaret 
Barlowe,  student  at  Appalachian  Training  School,  Boone,  who  had  it 
from  a  friend.  Differs  from  A  in  that  the  third  stanza  of  A  is  here 
marked  "chorus"  to  be  repeated  after  successive  pairs  of  stanzas  and 
that  stanzas  4,  5,  6  of  A  become  stanzas  6,  4,  5  in  C. 


Two  Little  Orphans.'  Contributed  in  1923  by  Zilpah  Frisbie  of  Mc- 
Dowell county,  with  the  notation  that  "there  are  other  verses  but  I  do 
not  remember  all  of  them."  The  same  as  C  except  that  it  has  lost  the 
penultimate  stanza. 


396        north  carolina  folklore 

The  Soldier's  Poor  Little  Boy 

Sometimes  called  'The  Poor  Little  Sailor  Boy,'  and  printed  as  a 
stall  ballad  both  in  this  country  and  in  England  in  the  nineteenth 
century,  this  is  also  known  as  traditional  song  on  both  sides  of  the 
Atlantic.  See  BSM  273,  and  add  to  the  references  there  given  Ken- 
tucky (Shearin's  syllabus  29),  Arkansas  (OFS  iv  182-3),  Ohio 
(BSO  297-8),  Indiana  (BSI  394-6),  and  Michigan  (BSSM  482, 
listed  but  text  not  given).  Mrs.  Steely  notes  that  it  is  found  also 
in  Geneva  Anderson's  "A  Collection  of  Ballads  and  Songs  from 
East  Tennessee,"  a  master's  thesis  submitted  at  the  University  of 
North  Carolina  in  1932. 


'Poor    Little    Sailor    Boy.'      Contributed    in    1922,    with    tune,    by    Mrs. 
Charles  K.  Tillett  of  Wanchese,  Roanoke  Island. 

1  It  was  of  a  dark  and  stormy  night, 
So  cold  the  w^ind  does  blow ; 

It  was  of  a  poor  little  sailor  boy 

Up  to  a  lady's  door. 

A-setting  at  her  window^ 

He  lifted  his  eyes  with  joy, 

Saying,  'For  the  Lord's  sake  some  pity  take 

On  a  poor  little  sailor  boy. 

2  'A  rain  it  is  a-sending  down 
And  the  night  is  drawing  on, 
And  if  you  don't  some  pity  take 
I  shall  die  before  it's  morn. 

My  mother  died  when  I  was  young. 
My  father  went  to  the  war, 
And  the  next  news  come,  oh,  he  was  slain. 
And  he  died  of  wounds  and  scars. 

3  'A  many  a  day  all  in  his  arms 
He  toted  me  with  joy, 

But  now  I  am  left  quite  friendless, 

A  poor  little  sailor  boy ; 

But  now  I'm  left  quite  friendless, 

So  I'll  set  me  down  and  cry. 

The  children  can  run  to  their  parents  at  home ; 

No  friends  at  home  have  L' 

4  The  lady  arose  all  from  her  chair 
And  opened  the  ancient  door, 
Says,  'Come  you  in,  little  sailor  boy, 
You  never  shall  want  for  more. 
For  on  the  sea  my  son  was  lost ; 

^  The  Missouri  A  text  shows  how  this  should  run :  "And  seeing  her  in 
her  window  so  high." 


OLDER     BALLADS  —  MOSTLY     BRITISH  397 

He  was  my  only  joy. 

So  as  long  as  I  live  I  willingly  give 

To  a  poor  little  sailor  boy, 

So  as  long  as  I  live  I  willingly  give 

To  a  poor  little  sailor  boy.' 


'The   Soldier's  Poor   Little  Boy.'     Obtained  by   Mrs.   Steely   from    Mi 
Rebecca  Jones,  of  the  Ebenezer  community,  Wake  county,  in  1931. 

1  'My  mother  died  whenst  I  was  young, 
My  father  went  to  the  war, 

And  so  many  a  mile  has  carried  me 
In  his  knapsack  with  joy.' 

2  And  as  he  walked  out  to  the  lady  so  gay,^ 
'O  lady  gay,  some  pity  on  me  take, 

I'm  a  poor  little  soldier  boy. 


3  'And  that  would  grieve  your  heart,  I  know, 
With  many  a  broken  sigh, 

To  find  lying  dead  at  your  door 
One  poor  little  soldier  boy.' 

4  T  have  one  son  in  the  army  so  gay ; 
He's  my  only  hope  and  joy. 

And  as  long  as  I  have  shelter,  I'll  give 
To  a  poor  little  homeless  boy. 

5  'Walk  in,  walk  in,  my  little  soldier  boy. 
And  never  wander  no  more ; 

As  long  as  I  have  shelter,  I'll  give 
To  a  poor  little  homeless  boy.' 

152 

The  Orphan 

This  sounds  like  the  sort  of  thing  to  be  sung  by  a  begging  child 
at  street  corners,  but  I  have  no  evidence  that  it  is  so  used.  It  has 
been  reported  from  Kentucky  (BKH  147),  North  Carolina  (JAFL 
XLV  68-9,  FSSH  377),  Missouri  (BSM  278-9),  and  Indiana  (SFLQ 
IV  198).    There  are  two  texts  in  our  collection. 

A 
'The    Orphan    Girl.'      Contributed    by    Miss    Edith    Walker    of    Boone. 
Watauga  county,  in  1936. 

I     Have  you  heard  the  mournful  story? 
All  my  friends  are  dead  and  gone. 
I'm  cast  out  in  the  world  to  roam  ; 
I'm  a  poor  orphan  left  alone. 

^  "That  was  when  he  walked  to  her  door." — Mrs.  Jones's  explanation. 


398  NORTH  CAROLINA  FOLKLORE 

Chorus: 

Brothers  and  I  have  no  sisters;^ 
All  my  friends  are  dead  and  gone, 
I've  no  one  to  care  for  me; 
I'm  a  poor  orphan  left  alone. 

2  Take  your  Bible  in  your  closet, 
Read  and  pray  each  night, 
Seek  protection  in  your  Savior, 
And  no  more  be  left  alone. 

3  Mother  said  to  me  when  dying, 
When  her  breath  was  almost  gone, 
'Dearest  daughter,  you  soon  will  be 
A  poor  orphan  left  alone.' 

4  When  her  eyes  were  closed  in  death 
And  her  body  laid  in  the  tomb, 
I've  no  one  to  care  for  me ; 

I'm  a  poor  orphan  left  alone. 

5  Dreary  is  the  shade  of  eve 
When  the  night  is  coming  on. 
Often  I  think  of  only  Jesus, 
I,  a  poor  orphan  left  alone. 

6  Oft  times  I  walk  in  the  lonesome  graveyard 
Praying  for  the  time  to  come 

When  by  mother  I'll  be  buried 
And  no  longer  be  left  alone. 


'The  Orphant  Girl.'  Collected  by  W.  Amos  Abrams  in  1938  from 
Melba  Lovill  of  Boone,  Watauga  county.  Differs  from  A  in  that  the 
stanzas  are  slightly  rearranged  and  no  part  is  marked  as  chorus. 

Fond  Affection 

A  favorite  among  songs  of  disappointed  love.  Its  origin  has  not 
been  discovered.  It  is  sung  in  Scotland  (Ord  181-2)  and  is  known 
in  this  country  in  Virginia  (a  record  of  it  from  that  state  is  listed 
by  the  Archive  of  American  Folk  Song),  Kentucky  (ASb  232, 
FSKH  12-3),  Tennessee  (JAFL  xlv  70-1,  FSSH  250-1),  North 
Carolina  (SharpK  11  109,  BMFSB  52-3),  Arkansas  (OFS  iv 
251,  252-3,  255),  Missouri  (BSM  209,  OFS  iv  250,  251-2,  254), 
and  Illinois  (TSSI  234-7,  a  somewhat  remote  representative  of  the 
song)  ;  it  seems  not  to  have  been   found  in  New  England.     The 

*  The  B  text  is  similarly  unintelligible  here.  The  Missouri  texts  show 
what  is  intended :  "Brothers,  sisters,  have  I  neither" ;  "Brothers  I  have 
none  nor  sisters." 


OLDER     BALLADS MOSTLY     BRITISH  399 

thirteen  texts  in  our  collection  strikingly  illustrate  the  way  of  the 
folk  with  a  song.  Though  all  of  them  are  forms  of  this  song,  no 
two  of  them  are  just  alike;  elements  are  taken  up,  dropped,  moved 
about,  modified.  One  assumes  that  it  circulated  at  some  time  in 
print,  but  the  present  texts  have  all  the  appearance  of  having  moved 
through  various  minds  and  mouths. 


'Fond  Affection.'  Obtained  by  J.  T.  Carpenter  in  1920  or  thereabouts 
from  the  manuscript  songbook  of  Mrs.  Mary  Martin  Copley,  Route  8, 
Durham. 

1  Once  I  loved  with  fond  aflFection 
And  I  thought  that  he  loved  me. 
But  another  girl  persuaded 

And  he  cares  no  more  for  me. 

Chorus: 

Go  and  leave  me  if  you  wish  to, 
Never  let  me  cross  your  mind ; 
If  you  think  I'm  so  unworthy, 
Go  and  leave  me,  never  mind. 

2  Many  a  time  while  you  lie  sleeping, 
Dreaming  at  your  sweet  repose, 

I,  poor  girl,  lie  broken-hearted. 
Listening  to  the  wind  that  blows. 

3  Many  a  time  with  you  I've  wandered, 
Many  an  hour  with  you  I've  spent 
When  I  thought  you  was  mine  forever ; 
But  I've  found  your  heart  is  bent, 

4  Now  you  are  happy  with  another, 
One  who  has  more  gold  than  I ; 
You  have  proved  to  me  false-hearted 
Just  because  I  am  so  poor. 

5  Farewell,  friends  and  fond  relations. 
Fare  thee  well,  my  false  young  man. 
You  have  caused  me  all  this  sorrow ; 
Fare  thee  well,  and  never  mind. 


'Once  I  Loved  with  Fond  Affection.'  Obtained  from  Mrs.  W.  L, 
Pridgen  of  Durham  in  1923.  What  is  marked  as  the  chorus  in  A  be- 
comes merely  the  fifth  stanza  here ;  other  stanzas  corresponding  to  those 
in  A  are  differently  placed ;  several  stanzas  are  not  represented  in  A 
at  all. 

I     Once  I  loved  with  fond  affection 
And  I  thought  that  you  loved  me ; 


400  NORTH  CAROLIN/   FOLKLORE 

But  I  found  that  you'd  deceived  me 
And  you  cared  no  more  for  me. 

2  You  have  left  me  for  another, 
One  who  has  more  gold  than  I ; 
But  my  heart  has  loved  none  other 
Fondly  as  it  once  loved  you. 

3  They  have  told  you  false  stories, 
You  believed  them,  all  they  say. 
You  are  false,  but  I'll  forgive  you — 
But  forget  I  never  may. 

4  You  have  tried  your  powers  to  lead  me 
From  the  paths  of  duty  true ; 

But  thank  God  your  powers  are  ended, 
I  shall  care  no  more  for  you. 

5  Go  and  leave  me  if  you  wish  to. 
Never  let  me  cross  your  mind. 
If  you  think  me  so  unworthy. 
Go  and  leave  me ;  never  mind. 

6  I  have  written  you  a  letter 
To  tell  you  that  you  are  free; 
From  this  hour  and  forever 

I  shall  care  no  more  for  thee. 

7  One  more  word  and  all  is  over. 
Why  were  you  unkind  to  me? 
Tell  me  why  you  do  not  love  me? 
Turned  aside — how  can  it  be? 

c 
'Fond  Affection.'     Contributed  by  Louise  Bennett  of  Middleburg,  Vance 
county.    Has  a  good  deal  in  common  with  A,  but  is  by  no  means  identical 
with  that  text. 

1  Thou  hast  learned  to  love  another, 
Thou  hast  broken  every  vow. 

We  have  parted  from  each  other. 
And  my  heart  is  breaking  now. 

2  Once  I  loved  with  fond  affection ; 
You  were  all  the  world  to  me 

Till  some  dark-eyed  girl  persuaded, 
Then  you  thought  no  more  of  me. 

3  Many  a  night  while  you  lie  sleeping. 
Dreaming  in  your  sweet  repose, 

I,  poor  girl,  lie  broken-hearted 
Listening  to  the  wind  that  blows. 


OLDER     BALLADS MOSTLY     BRITISH  4OI 

4  I  am  writing  you  this  letter 
Telling  you  that  you  are  free ; 
From  this  moment  and  forever 
You  are  nothing  more  to  me. 

5  May  your  life  be  long  and  happy, 
May  your  troubles  be  but  few, 
May  you  find  a  rest  in  heaven 
When  your  earthly  task  is  through. 

D 
'If  It's  in  Your  Heart'  or  'I  Once  Did  Love  Your  Fond  Affection.' 
From  the  manscripts  of  G.  S.  Robinson  of  Asheville,  copy  taken  August 
4,  1939.  Four  stanzas  and  chorus.  All  of  the  stanzas,  including  the 
chorus,  are  in  the  preceding  texts,  but  they  are  altered.  In  the  last  line 
of  stanza  2  "them"  should  presumably  be  "lent"  (though  it  is  "bent" 
in  A).  The  peculiar  misuse  of  language  in  the  opening  line  appears 
also,  with  slight  variation,  in  texts  E  and  F. 

1  I  once  did  love  your  fond  affection, 
All  my  hopes  on  thee  I  placed, 
Until  that  dark -eyed  girl  persuaded ; 
Then  you  cared  for  me  no  more. 

Chorus: 

Just  go  and  leave  me  if  you  want  to. 
Through  this  lonely  world  I'll  flee. 
If  it's  in  your  heart  to  love  another 
In  my  grave  I'd  rather  be. 

2  A  many  a  night  with  you  I've  rambled, 
A  many  a  night  with  you  I've  spent. 

I  thought  I'd  won  your  heart  forever, 
Now  I  see  it  was  only  them. 

3  A  many  a  night  while  you  lay  sleeping, 
Dreaming  of  some  sweet  repose, 

And  me,  a  poor  girl,  lay  broken-hearted 
Listening  to  the  wind  that  blows. 

4  Just  go  and  leave  me  if  you  want  to. 
Through  this  lonely  world  I'll  flee. 
If  it's  in  your  heart  to  love  another 
In  my  grave  I'd  rather  be. 

E 
'Fond  Affection.'  Communicated  by  Austin  E.  Elliott  of  Randolph 
county  in  1919.  Most  of  the  matter  in  this  text  has  appeared  in  the 
preceding  versions  but  with  slight  variation  in  the  order  and  the  phrasing. 
The  last  line  of  stanza  4  seems  to  have  been  borrowed  from  'We  Have 
Met  and  We  Have  Parted,'  for  which  see  pp.  409-14. 


402  NORTH  CAROLINA  FOLKLORE 

1  Once  I  loved  a  fond  affection, 
And  he  thought  this  world  of  me, 
Till  some  dark-eyed  girl  persuaded; 
Then  he  thought  no  more  of  me. 

Chorus: 

Go  and  leave  me  if  you  wish  to. 
Never  let  me  cross  your  mind. 
If  you  think  I'm  so  unworthy 
Go  and  leave  me,  never  mind. 

2  Darling,  when  you  lay  in  slumber, 
Dreaming  in  your  sweet  repose, 
I'm  a  poor  girl  broken-hearted 
Listening  to  the  wind  that  blows. 

3  I  have  loved  you,  dearly  loved  you 
More  than  all  this  world  can  know. 

You  have  broken  the  heart  that  loved  you 
And  I  say,  forever  go. 

4  Go  now,  but  to  flirt  with  another, 
Try  and  gain  her  for  your  bride. 

In  your  heart  her  love  she  has  written ; 
Love  will  never  conquer  pride. 

5  I  have  written  you  a  letter 
Telling  you  that  you  are  free; 
From  this  moment  now  forever 
You  are  nothing  more  to  me. 

6  Future  days  may  bring  on  sorrow. 
Though  your  troubles  now  are  few. 
If  you  live  until  tomorrow 
Would  you  die  for  sake  of  me? 

7  Sweet  the  hour  when  first  I  met  you, 
Sad  the  hour  my  lips  shall  say 

'By  and  by  you  will  forget  me, 
By  and  by  and  so  far  away.' 

8  Tell  me  one  thing,  tell  me  truly : 
Do  you  love  none  else  but  me? 

I  will  love  you  if  you  let  me, 
I  don't  believe  one  word  you  say. 


'Fond  of  Affection.'  Secured,  probably  about  1923,  from  Miss  Jewell 
Robbins  of  Pekin,  Montgomery  county  (afterwards  Mrs.  C.  P.  Perdue). 
Sung  to  the  tune  of  'The  Gypsy's  Warning.'  The  last  stanza  and  a 
half  of  this  version  have  not  appeared  in  the  preceding  texts. 


OLDER     BALLADS MOSTLY     BRITISH  403 

1  Once  I  loved  a  fond  affection 
And  he  thought  the  world  of  me, 
Till  some  dark-eyed  girl  persuaded; 
Then  he  thought  no  more  of  me. 

2  When  the  golden  sun  is  setting 
And  from  cares  your  mind  is  free, 
When  of  others  you  are  thinking, 
Will  you  sometimes  think  of  me? 

3  Go  and  [leave]  me  if  you  wish  to, 
Never  let  me  cross  your  mind. 

If  you  think  I  am  unworthy 
Go  and  leave  me,  never  mind, 

4  Many  a  night  when  you  lay  sleeping, 
Dreaming  in  your  sweet  repose, 

I,  poor  girl,  all  broken-hearted 

Lie  and  listen  to  the  wind  that  blows. 

5  When  I  was  down  on  low-oak  river 
Sitting  under  a  weeping-willow  tree 

I  could  hardly  keep  from  fainting 
When  you  turned  your  back  on  me. 

6  Hard  to  love  and  can't  be  loved, 
Hard  to  please,  to  please  man's  mind. 

G 

'Raven  Dark  Hair.'  Obtained  by  W.  Amos  Abrams  from  Margaret 
Bariowe  in  October  1937.  She  had  "borrowed  this,  along  with  many 
others,  from  some  friends."  The  title — a  phrase  which  does  not  appear 
anywhere  in  the  text — shows  that  it  was  somehow  associated  in  the 
contributor's  mind  with  'The  Pale  Wildwood  Flower'  (no.  258  in  vol. 
III).  The  last  stanza — which  is  a  reply  to  the  preceding  four — belongs 
to  'Little  Sparrow'  (no.  249  in  vol.  III).  In  the  manuscript  "girl" 
is  written  in  in  parentheses  after  "boy"  in  stanzas  i,  4,  and  5  to  show 
that  the  song  may  be  applied  to  either  sex. 

1  I  once  did  love  with  fond  affection ; 
All  my  care  was  then  of  thee. 

Until  some  dark-eyed  boy  persuaded ; 
And  now  you  care  no  more  for  me. 

2  Just  go  and  leave  me  if  you  wish  to. 
From  this  old  town  I  will  flee. 

If  in  your  heart  you  love  some  other 
In  my  grave  I  would  rather  be. 

3  A  many  a  time  with  you  I've  rambled. 
My  happiest  hours  with  you  I've  spent. 


404  NORTH     CAROLINA     FOLKLORE 

I  thought  your  heart  was  mine  forever, 
But  found  it  to  be  only  lent. 

4  A  many  a  night  while  you  lay  sleeping, 
Dreaming  in  your  sweet  repose, 

Me,  a  poor  boy,  lay  broken-hearted 
Listen  to  the  wind  that  blows. 

5  My  darling  boy,  since  first  I  saw  you 
It's  been  many  a  dark  and  gloomy  day. 
Many  a  bright  sunshiny  morning 
Has  turned  to  a  cold  and  rainy  day. 

H 

'Fond  Devotion.'  Reported  by  Miss  Pearl  Webb  of  Pineola,  Avery 
county,  in  1921,  with  the  tune.  Only  stanza  i  and  the  chorus  have 
appeared  in  the  preceding  versions,  but  the  rest  is  kindred  matter. 

1  Once  I  had  a  fond  devotion. 
More  than  all  the  world  to  me, 
Till  some  fairy  won  him  from  me ; 
Now  no  more  he  thinks  of  me. 

Chorus: 

Now  go  and  leave  me  if  you  wish  to, 
Never  let  me  cross  your  mind. 
For  in  your  heart  you  love  another. 
Go  and  leave  me.     I  don't  mind. 

2  Pretty  flowers  were  made  for  blooming, 
Pretty  stars  were  made  for  shining. 
Pretty  boys  were  made  for  girl-love. 
But  you  were  not  made  for  mine. 

3  Every  night  in  this  creation 
Bowing  on  my  bended  knee 

I  pray  to  God,  oh,  tell  and  ask  him 
If  my  sweetheart  e'er  thinks  of  me. 

4  Just  three  more  things  I  only  wish  for, 
That's  my  coffin,  shroud,  and  grave. 
When  I'm  dead  and  in  my  coffin 
Think  of  the  heart  that  you've  betrayed. 

5  God  may  teach  me  to  forgive  you 
For  the  wrong  that  you  have  done ; 
But  forget  you  I  can  never. 

My  whole  heart  and  soul  you've  won. 


ALL  ADS  —  MOSTLY     BRITISH  405 


'Future  Days.'  Communicated  by  Mamie  Mansfield  of  Durham  in  July 
1922.  Further  from  the  ordinary  text  than  the  others,  but  clearly  a 
form  of  the  same  song. 

1  Future  days  may  bring  on  sorrow. 
Oh.  my  troubles  they  are  great. 
If  we  never  seek  tomorrow, 
Only  think  it  for  your  sake. 

Chorus: 

Go  and  leave  me  if  you  wish  to, 
Never  let  me  cross  your  mind. 
If  you  think  I'm  too  unworthy 
Go  your  way,  and  never  mind. 

2  God  may  teach  me  to  forgive  you 
For  the  way  that  you  have  done. 
But  forget  you  I  can  never, 

For  my  whole  heart  you  have  won. 

3  Here  is  your  ring;  I  pray  you,  take  it, 
Give  it  to  the  one  you  love ; 

For  you  have  placed  it  on  my  finger 
In  the  presence  of  our  love. 

4  Once  I  thought  you  really  loved  me 
And  I  thought  that  you  would  be  true ; 
But  the  dark-haired  girl  persuaded 
And  now  you  no  longer  care  for  me. 

5  Many  times  with  you  I've  rambled, 
Many  days  with  you  I've  been, 
Thought  your  heart  was  mine  forever ; 
But  I  found  it  was  not  true. 

6  Oh,  it's  time  that  we  are  parting. 
For  the  night  is  growing  late. 

Now  you  have  proved  to  be  false-hearted : 
Now  I'll  go  and  meet  my  fate. 

7  Here  is  my  hand.     Oh,  clasp  it  gently 
As  you  have  in  days  of  yore ; 

For  we  are  parting  now  forever, 
Parting  now  forevermore. 

8  Down  among  the  reeds  and  bushes 
Where  the  tall  green  willows  wave. 
When  I  am  dead  and  in  my  cofifin 
There  you  will  find  my  lonely  grave. 


406  NORTH  CAROLINA  FOLKLORE 

J 

'Old  Love  Song.'  Contributed  by  Mrs.  Sutton  in  1928  as  sung  by  Mrs. 
Becky  Gordon  of  Saluda  Mountain,  Henderson  county.  Made  up  of 
quatrains  found  in  the  other  versions. 

1  Many  a  mile  with  you  I've  rambled, 
Many  an  hour  with  you  I've  spent. 
Thought  your  love  was  mine  forever. 
But  I  find  it's  all  in  vain. 

Chorus: 

Go  and  leave  me  if  you  wish  to, 
Never  let  me  cross  your  mind. 
If  you  think  me  so  unworthy 
Go  and  leave  me ;  I  don't  mind. 

2  Many  a  night  when  you  lay  sleeping, 
Dreaming  of  your  fond  report, 
Me,  poor  girl,  all  broken-hearted 
Listening  to  the  cold  wind  roar. 

3  Pretty  flowers  was  made  to  bloometh. 
Pretty  stars  was  made  to  shine, 
Pretty  girls  was  made  for  man's  love 
And  perhaps  you  was  made  for  mine. 

K 

'Little  Darling  Pal  of  Mine.'  Obtained  by  L.  W.  Anderson  from  Max- 
ine  Tillett,  Nag's  Head.  The  "darling  pal"  and  the  "casket,  shroud, 
and  grave"  have  somehow  been  brought  into  our  song  from  outside. 

1  Many  a  night  while  you  lay  sleeping, 
Dreaming  of  your  rambling  mind, 
While  your  poor  wife  lies  broken-hearted. 
Listening  to  the  wind  that  sighs. 

Chorus: 

My  little  darling,  you  know  I  love  you, 
Love  you  more  than  tongue  can  tell. 
In  your  heart  you  love  another. 
Little  darling  pal  of  mine. 

2  Many  a  day  with  you  I've  rambled, 
Happiest  hours  with  you  I've  spent. 
I  thought  I  had  your  heart  forever 
But  I  find  it  only  lent. 

3  There  is  just  three  things  I  wish  for. 
That's  my  casket,  shroud,  and  grave. 
When  I'm  dead  don't  weep  o'er  me ; 
Just  kiss  these  lips  that  you've  betrayed. 


OLDER     BALLADS  —  MOSTLY     BRITISH  4O7 

L 
Separation.'     A  two-stanza  fragment  reported  by  Clara  Hearne  of  Chat- 
ham county;  here  put  into  the  mouth  of  the  man. 

1  Oft  at  night  when  you  were  sleeping, 
Dreaming  in  your  sweet  repose, 

I,  poor  boy,  am  broken-hearted. 
Listening  to  the  wind  that  blows. 

2  Go  and  leave  me  if  you  wish  to, 
Never  let  ine  cross  your  mind. 
If  you  think  that  I'm  unworthy. 
Go  and  leave  me ;  never  mind. 


'Darling,  Do  You  Know  Who  Loves  You?'  Obtained  in  Davidson  county 
by  S.  M.  Holton,  Jr.,  of  Durham.  Date  not  noted.  Previously  reported 
(with  considerable  differences  in  the  text)  only  from  North  Carolina, 
BMFSB  52-3.  Stanzas  5-7  have  suffered  somewhat  in  transmission,  as 
will  be  seen  by  comparing  them  with  the  relevant  stanzas  in  preceding 
texts. 

1  Darling,  do  you  know  who  loves  you, 
Do  you  know  whose  heart  you've  won  ? 
I'm  so  lonely  here  without  you, 
Though  the  parting  time  has  come. 

2  You  may  go  and  flirt  with  another, 
Try  to  win  her  for  your  bride. 

This  poor  aching  heart  must  smother ; 
Love  can  always  conquer  pride. 

3  You  may  meet  with  many  bright  faces ; 
They  may  tell  you  I'm  not  true. 

Don't  believe  them,  no,  don't  believe  them ; 
No  one  loves  you  as  I  do. 

4  You  may  meet  with  many  bright  changes 
Glittering  down  the  river  stream. 
Remember,  oh,  remember 

You  are  always  in  my  dreams. 

5  Many  nights  with  you  I  rambled. 
Many  hours  with  you  I  spent. 
Though  your  heart  was  mine  forever 
I  found  it  only  at  length. 

6  Many  nights  while  you  lie  asleep. 
Dreaming  of  whom  you  love, 

So  I  lie  here  all  heart-broken. 
Listening  to  the  wind  that  blows. 


4o8  NORTH  CAROLINA  FOLKLORE 

7     God  teaches  me  to  forgive  you 
For  the  way  that  you  have  done. 
Forget  you  I  can  never ; 
Your  cold  heart  I  have  won. 


154 

You  Are  False,  but  Fll  Forgive  You 

The  three  texts  assembled  under  this  title  might  perhaps  have 
been  entered  under  'Fond  Affection.'  Their  theme  is  the  same. 
But  they  use  little  of  the  preferred  imagery  of  that  composite  song, 
and  do  maintain  something  approaching  an  identity  of  their  own. 
Two  of  them  are  from  the  same  contributors  who  supplied  the  A 
and  the  H  texts  of  'Fond  Affection,'  showing  apparently  that  they 
considered  it  a  different  song.  Davis  (FSV  88)  reports  it  as  in 
the  Virginia  collection.  Randolph  (OFS  iv  214)  reports  it  from 
Missouri. 


'You   Are   False,   but    I'll    Forgive   You.'     From    Miss    Pearl    Webb   of 
Pineola,  Avery  county,  March  24,  1909. 

1  Fare  thee  well,  for  once  I  loved  you 
Even  more  than  tongue  can  tell ; 
Little  did  I  think  you'd  leave  me ; 
Now  I  bid  you  all  farewell. 

You  have  wrecked  the  heart  I  cherished. 
You  have  doomed  me  day  by  day, 
You  are  false;  but  Fll  forgive  you. 
But  forget  you  I  never  may. 

2  When  I  saw  your  eyes  in  virtue, 
I  could  scarce  believe  my  own ; 
When  I  heard  your  voice  in  anger 
It  was  death  to  every  tone. 

They  have  told  you  some  false  stories 
And  you  believed  them  all  they  say. 
You  are  false,  but  Fll  forgive  you; 
But  forget  you  I  never  may. 

3  One  more  word  and  all  is  over. 
Why  are  you  unkind  to  me? 

Tell  me  why  you  do  not  love  me, 
Turn  aside — how  can  it  be? 
No  word,  not  one  word  of  pleasure, 
You  believe  them  all  they  say. 
You  are  false;  but  Fll  forgive  you. 
But  forget  you  I  never  may. 


OLDER     BALLADS  —  MOSTLY     BRITISH  4O9 

B 

'You  Were  False.'  From  the  manuscript  songbook  of  Mrs.  Mary  Martin 
Copley,  Route  8,  Durham — from  whom  came  also  version  A  of  'Fond 
Affection.' 

1  Fare  thee  well,  for  once  I  loved  thee 
Even  more  than  tongue  can  tell. 
Little  did  I  think  you'd  leave  me, 
That  we'd  ever  say  farewell. 

2  You  have  wrecked  the  heart  that  loved  you. 
You  have  doomed  me  day  by  day, 

You  were  false,  but  I'll  forgive  you, 
But  forget  you  I  never  may, 

3  Oh !  true  love  is  ever  constant, 
Not  one  spark  e'er  fades  away. 
You  were  false,  but  I  forgive  you. 
But  for  you  I'll  always  pray. 

4  Just  one  word,  and  all  is  over: 
Why  are  you  unkind  to  me  ? 
Tell  me  why  you  do  not  love  me. 
Turn  aside — how  can  it  be? 

5  You  have  left  me  for  another, 
You  have  turned  from  me  away. 
You  were  false,  but  I'll  forgive  you ; 
But  forget  you  I  never  may. 

c 
'Fare  Thee  Well.'     From  Katherine  Bernard  Jones,  Raleigh.     No  date 
given. 

1  Fare  thee  well,  for  once  I  loved  thee, 
Loved  you  more  than  tongue  can  tell, 
Little  thought  you  would  deceive  me ; 
Now  I  bid  you  fare-thee-well. 

You  have  wrecked  the  hopes  I  cherished, 
You  have  doomed  me  day  by  day. 
You  are  false,  but  I'll  forgive  you: 
But  forget  you  I  never  may. 

2  When  I  saw  you  rise^  in  anguish 
I  could  scarce  believe  my  own ; 
When  I  heard  your  voice  in  anger 
It  was  death  in  every  tone. 

One  more  word,  and  all  is  over: 
Why  are  you  unkind  to  me? 
They  have  told  you  some  false  stories. 
But  believe  them  if  you  may. 
*  The  next  line  suggests  that  we  should  read  here  "your  eyes." 


410  NORTH     CAROLINA     FOLKLORE 

You  are  false,  but  I'll  forgive  you ; 
But  forget  you  I  never  may. 

155 

We  Have  Met  and  We  Have  Parted 

The  parting  of  lovers  after  a  quarrel  or  a  misunderstanding  is 
the  theme  of  countless  folk  lyrics — countless  because,  using  various 
combinations  of  familiar  motives,  they  often  lack  integration;  it  is 
impossible  to  say  with  certainty  that  two  texts  are  forms  of  one 
song.  An  attempt,  however,  is  here  made  to  group  at  least  some 
of  them  under  discrete  titles  for  convenience  in  reference.  The 
seven  texts  and  the  fragment  here  assembled  under  the  above  title 
seem  to  represent  one  song.  It  is  found  also  in  Kentucky  (JAFL 
XLix  219-20),  Tennessee  (SSSA  165-6),  and  Missouri  (BSM 
212-3)  ;  more  or  less  like  it  are  songs  reported  from  Tennessee 
(JAFL  XLV  77-8)  and  Georgia  (JAFL  xliv  96-7),  and  items  listed 
in  Shearin's  Syllabus  and  in  the  Archive  of  American  Folk  Song 
under  the  title  'Broken  Engagement'  may  be  forms  of  this  song. 

A 
'We  Have  Met  and  We  Have  Parted.'     Communicated  by  I.  G.  Greer  of 
Boone,  Watauga  county.     Not  dated,  but  most  of  his  contributions  were 
sent  in  in  191 5-16. 

1  We  have  met  and  we  have  parted, 
We  have  said  our  last  goodbye. 
You  have  proved  to  be  false-hearted, 
Yet  I  scorn  to  breathe  a  sigh. 

Chorus : 

Though  I  loved  you,  dear,  I  loved  you 
More  than  all  this  world,  I  know. 
But  you've  broken  the  troth  that  binds  us ; 
You  may  now  forever  go. 

2  Go,  but  not  to  deceive  another, 
Go,  try  and  win  her  for  your  bride. 
This  poor  broken  heart  I'll  smother, 
For  love  shall  never  conquer  pride. 

3  'Tis  getting  time  that  we  were  parted. 
For  the  night  is  growing  late. 

You  have  left  me  broken-hearted ; 
Thus  I  go  to  meet  my  fate. 

4  Oh,  I  wish  that  I  was  marble. 
Cold  and  white  upon  some  shore ; 
This  poor  heart  would  know  no  trouble, 
I  should  feel  love's  pain  no  more. 


OLDER     BALLADS MOSTLY     BRITISH  4II 

5  I  will  send  you  back  your  letters 
And  the  ring  I  love  so  well, 

For  we've  met  and  we've  parted. 
Still  'tis  hard  to  say  farewell. 

6  Here  is  your  ring ;  I  pray  you  take  it, 
Give  it  to  the  one  you  love. 

My  poor  heart  you  have  broken. 
Oh,  you  know  that  you  have  sinned ! 

7  When  your  name  is  called  in  heaven 
You  may  neither  scringe  nor  sigh. 
Think  of  nothing  you  are  leaving — 
Oh,  'tis  hard  to  say  goodbye! 

8  We  are  parting  now  forever, 
Gathering  flowers  from  the  dell. 
Oh,  I  pray  that  you  may  never 
Feel  the  pain  I  cannot  tell. 

9  Along  the  river  bank  I'll  loiter 
Till  I  see  you  free  once  more. 
Then  I'll  plunge  beneath  its  water 
And  land  on  some  fair  shore. 

10     There  among  the  trees  and  bushes 
Where  the  dark  green  willows  wave, 
Where  the  gentle  zephyr  rushes, 
There  will  be  my  lonely  grave. 

B 

The  Broken  Engagement.'    Contributed,  with  the  tune,  by  C.  E.  Buckner 
of  Asheville  in  May  1920. 

1  We  have  met  and  we  have  parted, 
We  have  said  our  last  goodbye. 
You  have  proved  to  me  false-hearted, 
Though  I  fain  would  have^  a  sigh. 

Chorus: 

For  I  loved  you,  dearly  loved  you. 
More  than  all  this  world,  I  know. 
But  you've  broken  the  trust  you  plighted ; 
Now  you  may  forever  go. 

2  Go,  but  not  to  deceive  another. 
Try  to  win  her  for  your  bride. 
While  this  broken  heart  I'll  smother. 
Love  can  never  conquer  pride. 

'So  the  manuscript.     Is  "heave"  intended? 


412 


NORTH     CAROLINA     FOLKLORE 


3  Here's  your  ring ;  I  pray  you  take  it. 
Give  it  to  the  one  you  love, 
Though  you  placed  it  on  my  finger 
In  the  presence  of  our  God. 

4  We  are  parting  now  forever, 
Gathering  flowers  upon  the  dell; 
And  I  pray  that  you  may  never 
Feel  the  pain  I  cannot  tell. 

5  Oh,  'tis  time  that  we  are  parting, 
For  the  night  is  growing  late. 

You  have  proved  to  me  false-hearted. 
Now  ril  go  and  meet  my  fate. 

6  On  the  river  bank  I'll  loiter 
Till  I  see  your  face  no  more. 
Then  I'll  plunge  beneath  the  water 
And  I'll  light  on  some  fair  shore. 

7  Then  among  the  reeds  and  bushes 
Where  the  deep  green  willows  wave 
And  the  gentle  zephyr  rushes 
There  you'll  find  my  lonely  grave. 

8  When  your  name  is  called  in  heaven 
You  may  neither  screnge  nor  sigh. 
Think  of  nothing  you  are  leaving. 
Oh,  'tis  hard  to  say  goodbye ! 

9  Here's  my  hand.     Oh,  clasp  it  gently 
As  you  did  in  days  of  yore, 

For  we're  parting  now  forever. 
Parting  now  forevermore. 

10  When  at  last  we  meet  in  heaven. 
Where  we  ne'er  will  part  any  more, 
Where  there'll  be  no  broken-hearted 
On  that  bright  celestial  shore. 

1 1  For  I  loved  you  dearly,  loved  you 
More  than  all  this  world  I  know. 
But  you've  proved  to  be  false-hearted, 
Now  I  bid  you  ever  go. 


'Rroken  Engagement.'  From  Mrs.  Minnie  Church,  Heaton  Avery 
county  in  193a  Shorter  and  less  coherent,  especially  in  the  last  two 
stanzas,  than  A. 


OLDER     BALLADS — MOSTLY     BRITISH  413 

Darling,  we  have  long  been  parted. 
How  I  miss  the  love  of  old ! 
I  am  almost  broken-hearted ; 
For  my  love  has  never  grown  cold. 

I  am  dreaming  of  you,  darling, 
Dreaming  of  your  eyes  so  blue. 
Take  me  back  ;  for  love  I'm  dying; 
I  can  love  no  one  but  you. 

Think  how  often  we  have  wandered 
Down  beside  the  foamy  sea. 
There  you  promised  you'd  be  true,  dear, 
That  you  loved  no  one  but  me. 

Oh,  I  love  you  dearly,  love  you 
More  than  all  the  world  can  know. 
But  you've  broken  the  vow  you  made  me ; 
You  may  now  forever  go. 

Go !     But  don't  forsake  another. 
I  am  with  a  royal  pride, 
And  this  broken  heart  does  smother ; 
Love  can  never  conquer  pride. 

Now  I'll  give  you  back  your  letters 
And  the  ring  I  love  so  well. 
We  must  meet  him  for  that  treasure 
Where  we'll  never  say  farewell. 


Lovers'  Farewell.'  Contributed  by  W.  Amos  Abrams ;  not  dated :  six 
stanzas  and  the  chorus.  The  stanzas  in  their  order  as  they  come  cor- 
respond to  stanzas  i,  3,  4,  8,  9,  10  of  A,  with  numerous  slight  variations. 

E 
'I  Wish  That  I  Was  Marble.'  From  the  manuscripts  of  G.  S.  Robinson 
of  Asheville,  copied  off  August  4,  1939.  Like  D  it  consists  of  six 
stanzas  and  the  chorus,  and  as  in  D  all  the  stanzas  are  found  in  A,  but 
the  stanzas  are  not  the  same  as  in  D.  They  are,  successively,  stanzas 
1,  2,  5,  10,  4,  7  of  A — again  with  numerous  small  differences  in  the  text. 

F 
'Met,  Loved,  and  Parted.'  From  the  manuscript  songbook  of  Mrs.  Mary 
Martin  Copley,  Route  8,  Durham,  obtained  by  Jesse  T.  Carpenter.  Five 
stanzas  (with  chorus),  the  first  three  of  which  are,  with  slight  variations, 
stanzas  i,  5,  and  2  of  A ;  the  last  two  stanzas  are  not  quite  like  any  in 
the  preceding  texts : 


When  you've  won  her  love  and  aflfection 
Cast  a  lingering  thought  on  me, 


414  NORTH  CAROLINA  FOLKLORE 

On  the  one  who  loved  you  so  dearly 
And  would  have  died  for  thee. 

5     We  have  parted  now  forever, 
We  have  said  our  last  farewell. 
I  will  think  of  you,  but  never 
Will  I  love  again  so  well. 


'Sweet  the  Hour  When  First  I  Met  You.'  On  this  manuscript  Dr. 
Brown  has  noted  under  date  July  14,  1940:  "From  MSS  of  Mr.  Obie 
Johnson,  Crossnore;  not  sung  by  Mr.  Johnson  (I  knew  this  song  when 
I  was  a  boy)."    The  chorus  appears  to  have  been  supplied  by  Dr.  Brown. 

1  Sweet  was  the  hour  when  first  I  met  thee, 
Sad  the  hour  of  parting  be. 

By  and  by  you  will  forget  me, 
By  and  by,  when  far  away. 

2  In  the  past  I  loved  you  dearly, 
Loved  you  more  than  tongue  can  tell. 
Little  did  I  think  you'd  ever, 

Ever  say  farewell. 

3  Go  but  to  deceive  another. 
Go  and  worship  at  her  shrine, 
Win  her  heart  and  cruelly  break  it 
Just  as  you  have  broken  mine. 

4  Tell  me,  darling,  tell  me  truly 
Why  you  are  unkind  to  me ; 
For  I  know  that  I  could  never, 
Never  be  unkind  to  thee. 

5  Go  but  to  deceive  another, 
Try  to  win  her  for  your  bride. 

I  a  broken  heart  must  smother; 
Love  can  never  conquer  pride. 

6  One  more  word,  and  all  is  over, 
One  more  word  to  the  one  I  love. 
If  on  earth  we  meet,  no,  never. 
Pray  we'll  meet  in  heaven  above. 

"I  think,"  says  the  manuscript,  "there  was  a  chorus  which  went  thus: 

For  I've  loved  you,  dearly  loved  you, 
More  than  all  this  world  can  know ; 
But  you've  proven  to  me  false-hearted 
And  I  say,  forever  go." 

H 
Mrs.  Daisy  Jones  Couch  of  Durham  knew  the  first  stanza  only. 


older   ballads mostly   british  415 

Broken  Ties 

This  title  is  chosen  from  the  three  offered  by  the  different  ver- 
sions to  avoid  confusion  with  other  songs  on  the  same  theme.  It 
is  known  in  Kentucky  (BKH  140),  Tennessee  (ETWVMB  103, 
SSSA  167,  FSSH  235-6),  Missouri  (OFS  iv  333-4),  Indiana 
(SFLQ  IV  181-2),  and  Illinois  (TSSI  229-30),  and  is  perhaps  the 
same  as  an  item  reported  in  the  Archive  of  American  Folk  Song 
as  recorded  in  Mississippi.  If  it  was  originally  a  parlor  song, 
it  has  suffered  somewhat  in  oral  transmission. 


'The  Broken  Engagement.'    Reported  by  I.  G.  Greer  of  Boone,  Watauga 
county.    Date  not  given,  but  it  should  probably  be  about  1915. 

1  'Twould  have  been  better  for  us  both  hcJ  we  never 
In  this  wide,  wicked  world  'a'  met ; 

Tho'  the  pleasures  we've  both  seen  together 
I  can  never,  no,  never  forget. 

Chorus: 

When  the  cold,  cold  clay  is  laid  upon  me, 
Won't  you  come,  love,  and  shed  just  a  tear? 
And  say  to  the  strangers  around  you 
That  a  heart  you  have  broken  lies  here. 

2  'Twould    have    been    better    for    us    both    had    we    been 

strangers. 
But  oh !  why  should  I  speak  of  it  now  ? 
For  it  was  long,  long  ago 
That  I  saw  danger  of  sad,  broken  heart. 

3  You  always  told  me  that  you  loved  me. 
That  no  other  could  ever  come  between ; 
But  it  was  long,  long  ago  since  you  told  me. 
And  the  words  in  my  memory  are  still  green. 

4  Farewell!     For  in  vain  I  have  departed. 

And  I  shall  struggle  through  this  sad  and  lonely  world, 
Although  you  have  left  me  broken-hearted. 
And  your  last  words  shall  be  mingled  with  tears. 


'Broken   Ties.'     Communicated  by   Miss   Kate   R.    Russell   of   Roxboro, 
Person  county,  probably  in  1923. 

I     It  would  have  been  better  if  we  never 

In  this  wide  wicked  world,  never  to  have  met; 
For  the  pleasures  we've  had  together 
I'm  sure  I  shall  never  forget. 


4l6  NORTH     CAROLINA     FOLKLORE 

2  Oh,  how  sadly  my  heart  is  turned  towards  thee! 
Tho  the  distance  has  kept  us  apart. 

Do  you  love  me  as  dear  as  when  you  told  me 
Long  ago,  folded  close  to  your  heart? 

3  It  has  been  long  ago  since  you  told  me, 
Tho  the  words  in  my  memory  lies  deep ; 
You  told  me  that  you  would  always  love  me, 
Said  that  nothing  could  come  in  between. 

4  It  would  have  been  better  if  we'd  been  strangers. 
But  why  do  I  speak  of  it  now  ? 

Have  I  not  long  ago  felt  the  danger 

Of  a  heart  broken  through  a  false  vow? 

5  Fare  thee  well !     For  all  hoj^es  have  departed, 
I  shall  struggle  through  life  until  death. 
And  since  you've  left  me  broken-hearted, 
Thy  name  shall  employ  my  heart's  depths. 

6  And  when  death's  cold  grave  surrounds  me 
Won't  you  come,  love,  and  shed  just  one  tear? 
To  tell  to  the  strangers  around  me 

That  a  heart  you  have  broken  lies  here. 

c 
'Blue  Eyes.'     From   Mrs.  Minnie  Church  of   Heaton,  Avery  county,  in 
1930.    The  "chorus"  is  not  found  in  the  other  versions,  and  seems  alien ; 
but  the  rest  of  the  text  belongs  clearly  to  the  same  song  as  A  and  B. 

1  It  would  have  been  better  for  us  both  to  have  never 
In  this  wide  wicked  world  never  met ; 

For  the  good  times  we've  both  spent  together. 
Love,  I'm  sure  I  can  never  forget. 

Chorus: 

I  am  thinking  today  of  my  blue  eyes 
Who  are  sailing  forever^  the  sea, 
I  am  thinking  today  of  my  blue  eyes. 
And  I  wonder  if  he  ever  thinks  of  me. 

2  Oh,  you  told  me  once,  dear,  that  you  loved  me, 
And  you  said  that  we  never  would  part. 

But  the  links  and  the  chains  they  have  broken ; 
Leave  me,  love,  with  a  sad  broken  heart. 

3  When  the  cold,  cold  grave  shall  enclose  [me] 
Will  you  come,  love,  and  shed  just  one  tear? 
It  will  show  to  the  strangers  around  me 

A  poor  heart  you  have  broken  lies  there. 
^  Probably  miswritten  for  "far  over." 


OLDER     BALLADS MOSTLY     BRITISH  4I7 

D 

'The  Broken  Engagement.'  Secured  from  Miss  Lura  Wagoner  of  Vox 
in  1936;  one  of  the  entries  in  her  manuscript  songbook,  made  probably 
about  1912.    The  text  does  not  differ  significantly  from  A. 


They  Were  Standing  by  the  Window 

The  song  with  this  opening  line  maintains  a  fair  degree  of  identity 
in  the  southern  Appalachians:  Tennessee  (SSSA  147-8),  North 
Carolina  (BMFSB  56-7),  and  Georgia  (SSSA  1^9-50).  Davis 
(FSV  90)  reports  it  as  in  the  Virginia  collection.  Known  also  in 
Missouri  (OFS  iv  283-4).  Presumably  a  parlor  song  originally, 
its  authorship  and  the  date  and  place  of  its  origin  have  tiot  been 
discovered, 

A 

'The    Broken    Heart.'      Contributed    by    I.    G.    Greer,    Boone,    Watauga 
county. 

1  They  were  standing  by  a  window 
As  the  night  wind  kissed  her  cheeks. 
As  he  waited  long  in  silence, 
Waited  long  for  her  to  speak. 

2  And  at  last  she  murmured  sadly 
As  she  raised  her  tearful  eyes 
With  a  look  so  full  of  sadness 
That  it  filled  him  with  surprise : 

3  'I  have  summoned  you,  my  darling, 
So  that  I  may  tell  you  all 

Ere  our  vows  by  angels  written 
Are  forever  past  recall. 

4  'For  they  say  you  love  another, 
That  you  never  have  loved  me. 

If  those  cruel  words  are  true,  dear, 
I  forever  set  you  free.' 

5  Then  she  gazed  with  eager  yearning. 
Gazed  upon  that  face  so  fair 

Till  was  stamped  upon  her  memory 
Dark  brown  eyes  and  raven  hair. 

6  Then  from  her  blue  eyes  faded 
All  the  tender  misty  light, 

And  her  small  hands  clenched  in  passion 
While  her  face  grew  stern  and  white. 


4l8  NORTH     CAROLINA     FOLKLORE 

7  "Tis  enough!'  she  cried  in  anguish, 
'Stain  no  more  your  guilty  soul; 
May  oblivion's  silent  water 
Evermore  between  us  roll. 

8  'Long  have  I  in  faith  unshaken 
Trusted  every  word  of  thine ; 

Even  now,  though  I've  been  forsaken 
And  thy  heart's  no  longer  mine. 

9  'Long  you've  held  my  soul  in  bondage, 
Long  I've  been  thy  willing  slave. 
Even  now,  tho  you  forsake  me, 

I  would  die  thy  life  to  save. 

10  'I'll  return  each  little  missive 
You  have  written  in  the  past. 
But  the  burning  words  within  them 
E'er  will  haunt  me  to  the  last. 

11  'Do  not  think  that  I'll  forget  you. 
No,  I'll  live  on  just  as  now 

Till  the  arms  of  earth  enfold  me 
And  the  dew  is  on  my  brow. 

12  'Fare  you  well,'  she  added  gently, 
As  he  seized  her  outstretched  hand, 
Covered  it  with  burning  kisses, 
Whispering,  'God  will  understand. 

13  'He  will  know  that  to  deceive  you 
Ne'er  has  been  a  wish  of  mine, 
And  I  shall  obtain  forgiveness ; 
But  I  cannot  hope  for  thine. 

14  'Fare  you  well,'  he  added  hoarsely, 
'But  by  yonder s  star  above 

To  deceive  I  ne'er  intended 
When  I  told  you  of  my  love.' 

15  'He  is  gone,'  the  white  Hps  quivered; 
Lower  bends  the  golden  head. 

And  the  little  hands  were  folded 
As  the  gentle  spirit  fled. 

16  God  in  mercy  sent  an  angel 
To  relieve  her  from  all  care. 
For  he  knew  the  weight  of  sorrow 
Was  far  more  than  she  could  bear. 


OLDER     BALLADS MOSTLY     BRITISH  4I9 

17     She  was  wafted  home  to  heaven, 
To  that  mansion  of  the  blest 
Where  the  sad  heart  knows  no  sorrow 
And  the  weary  are  at  rest. 


'Broken  Engagement.'  Contributed  by  Miss  Constance  Patten  of  Duke 
University  in  March  1936,  as  sent  to  her  by  Lillie  Rhinehart.  Somewhat 
shorter  than  A  and,  though  evidently  deriving  from  the  same  original, 
giving  numerous  evidences  of  change  by  oral  transmission. 

1  They  were  standing  by  the  window 
As  the  night  wind  kissed  her  cheek. 
There  he  waited  long  in  silence, 
Waited  long  for  her  to  speak. 

2  'That's  enough,'  he  added  gently 
As  he  seized  her  outstretched  hand. 
Covering  it  with  burning  kisses. 
Whispering,  'God  will  understand. 

3  'When  we  meet  we  meet  as  strangers; 
On  the  street  just  pass  me  by. 
Never  think  that  I  don't  love  you, 
For  to  save  your  life  I  die. 

4  'I  must  go,'  he  added  gently. 
'Grieve  no  more  my  guilted  soul ; 
Let  the  deepest  and  silent  water 
Evermore  between  us  roll.* 

5  'He  has  gone,'  her  pale  lips  quivered, 
'Left  me  standing  by  the  gate. 

Tell  him  for  me,  sister  darling, 
That  his  message  came  too  late.' 

6  God  in  heaven  sent  an  angel 
To  release  her  from  all  care, 

For  he  knew  the  weight  of  sorrow 
Was  far  more  than  she  could  bear. 

7  He  was  standing  by  her  casket 
As  he  looked  into  her  face. 
There  he  realized  that  he  loved  her 
And  no  one  could  take  her  place. 

c 
'They  Were  Standing  by  the  Window.'     Obtained  from  Edna  Whitley, 
but  the  manuscript  is  not  dated.     Compared  with  A  and  B  it  curiously 
illustrates   the   way  in   which   oral   transmission  changes   a   text.     It   is 
given  here  verbatim  from  the  manuscript. 


420  NORTH     CAROLINA     FOLKLORE 

1  They  were  standing  by  the  window 
As  the  night  wind  kissed  her  cheek ; 
He  had  waited  long  in  silence, 
Waited  long  for  her  to  speak. 

2  As  he  turned  with  eager  yearning, 
Gazed  upon  her  face  so  fair. 
There  he  stamped  upon  his  memory 
Dark  blue  eyes  and  raven  hair. 

3  'I  have  summoned  you,  my  darling. 
Oh.  that  I  could  tell  you  all ! 

But  by  vows  of  angels  unbroken 
Are  far-well  past  recall.' 

4  'Oh,  they  say  you  love  another 
And  that  you  never  love  me. 

If  these  cruel  words  be  true,  dear, 
I'll  forever  set  you  free.' 

5  Tt  is  true,'  he  whispered  softly, 
Looking  at  the  stars  above, 

'But  to  deceive  you  I  never  intended 
When  I  told  you  all  my  love.' 

6  "Tis  enough,'  she  cried  in  anguish, 
'Stain  no  more  thy  guilty  soul. 
May  oblivious  mercies  waters 
Ever  more  between  us  roll.' 

7  'Farewell,  darling,'  he  whispered  softly 
As  he  seized  her  outstretched  hands, 
Covering  them  with  burning  kisses, 
Say,  'God  will  understand. 

8  'He  will  know  that  to  deceive  you 
Never  was  a  wish  of  mine ; 

Tho  I  shall  obtain  forgiveness 
I  can  never  hope  for  thine.' 

9  'He  is  gone,'  her  white  lips  quivered; 
Lower  drooped  her  lovely  head. 
With  her  right  hand  raised  in  anguish 
As  her  gentle  spirit  fled. 

lo     God  in  mercy  sent  an  angel 
To  relieve  her  of  her  care. 
For  he  knew  her  wants  of  sorrow 
Was  too  great  for  her  to  bear. 


OLDER     BALLADS  —  MOSTLY     BRITISH  42I 

11  She  was  wafted  to  heaven 

With  the  ransomed  and  the  blest, 
Where  sad  hearts  know  no  sorrow 
And  the  weary  forever  at  rest. 

12  He  was  standing  by  the  cofifin ; 
And  as  he  gazeH  upon  her 

Full  then  he  realized  that  he  loved  her 
And  no  one  could  take  her  place. 

D 

They  Were  Standing  by  the  Window.'  From  the  John  Burch  Blaylock 
Collection  Here  a  new  element  is  introduced;  the  engagement  is  broken 
because  the  man  is  a  drunkard. 

I      They  were  standing  by  the  window 
On  the  night  he  kissed  her  cheeks ; 
They  were  standing  there  in  silence, 
Waiting  for  her  heart  to  speak. 

2  'Though  they  say  you  love  another 
And  you  never  cared  for  me, 

If  those  cruel  words  be  true,  dear, 
I'll  forever  set  you  free. 

3  T  can't  be  your  sweetheart  any  longer. 
And  I'll  tell  you  the  reason  why. 

For  my  mother  always  told  me 
Just  to  pass  a  drunkard  by. 

4  'Here's  the  little  ring  you  gave  me; 
From  my  finger  it  must  part. 
Take  and  give  it  to  your  lover ; 
Leave  me  with  a  broken  heart. 

5  'When  we  meet  again  as  strangers 
On  the  streets,  just  pass  me  by. 
Never  think  that  I'll  forsake  you. 
For  to  save  your  life  I'd  die.' 


158 

The  Broken  Heart 

Just  this   form  of  the  song  of  lovers  parting  I  have  not   found 
elsewhere. 

7cr^nf^/nf.ZJ}^TM   ^V^'^^r  ^^''%^;   Carpenter  from  the  manu- 
script songbook  of  Mrs.  Mary  Martin  Copley,  RFD  8,  Durham. 


422  NORTH     CAROLINA     FOLKLORE 

1  Dearest  one,  don't  you  remember 
The  last  time  we  did  part  ? 

My  feelings  off  time  have  been  tender 
While  piercing  pains  roll  through  my  heart. 

2  To  think  how  we  loved  each  other, 
Think  of  the  happy  hours  we  have  spent 
In  peace  and  pleasure  both  together ; 
Our  joyful  hearts  were  then  content. 

3  But  oh,  alas !  we  are  sundered  apart 
Never  more  to  meet  again. 

There's  none  can  heal  the  broken-hearted 
Nor  banish  away  doubts  and  pains. 

4  Oh,  pleasure  it  is  a  beautiful  flower 
And  peace  it  is  the  joy  of  hearts, 
But  trouble  will  come  in  in  the  hour 
And  cause  true  lovers  to  part. 

5  You  left  me,  darling,  lonely  weeping. 
I  loved  you,  and  I  loved  you  true. 
And  oftime  when  I  am  sleeping 

Yet  in  my  lonesome  dreams  you  appear. 


159 

This  Night  We  Part  Forever 

One  more  of  the  songs  of  lovers'  quarrels.  It  might  perhaps  be 
entered  as  a  form  of  'Fond  Affection,'  or  'We  Have  Met  and  We 
Have  Parted,'  or  another.  In  just  this  form  it  has  not  been  found 
elsewhere. 

No  title.    Communicated  by  Miss  Pearl  Webb  of  Pineda,  Avery  county; 
not  dated,  but  probably  in  1921  or  1922. 

1  This  night  we  part  forever ; 
Thou  art  nothing  more  to  me. 
From  thee  each  tie  I'll  sever 
That  binds  my  heart  to  thee. 

2  Not  a  single  nerve  shall  quiver 
When  I  bid  thee  last  adieu; 
Though  it  breaks  my  heart  forever 
Not  a  tear  shall  fall  for  thee. 


Forget  the  kiss  I  gave  you. 
Think  you  I  prize  it  yet  ? 


OLDER     BALLADS  —  MOSTLY     BRITISH  423 

For  the  one  you  have  so  shghted 
Looketh  only  to  forget. 

Take  your  love ;  I  do  not  want  it ; 
All  your  gifts  take  back  again. 
Not  a  breeze  that  whispers  of  you, 
Not  a  flower  would  I  retain. 

Go  and  smile  upon  some  other, 
Go  worship  at  her  shrine, 
Win  her  heart  and  cheerily  break  it 
As  you  would  have  broken  mine. 

Go  in  peace,  although  you've  blighted 
All  the  hopes  so  dear  to  me. 
Yet  I  pray  that  God's  best  blessing 
May  ever  rest  on  thee. 


160 
Parting  Words 

One  of  the  many  songs  of  lovers  parting  after  a  quarrel.  Under 
various  titles  they  combine  much  the  same  elements,  often  the  same 
phrasing.  With  the  song  here  given  compare  'Annie  Lee'  of  this 
volume  and  'Faded  Flowers'  and  'The  Finished  Letter'  of  BSM. 
The  chorus  and  stanza  2  of  the  present  text  are  both  to  be  found 
in  'Faded  Flowers'  (BSM  216). 

'Parting  Words.'     Contributed,  with  the  tune,  by  L  G.  Greer  of  Boone, 
Watauga  county,  probably  about  1915. 

1  When  the  parting  words  were  spoken 
And  I  told  him  he  was  free, 

He  might  go  with  those  who  loved  him ; 
It  would  never  trouble  me. 

Chorus: 

I  am  free,  oh,  free  again, 

I  am  free,  oh,  free  at  last, 

Tho  sometimes  I  may  be  haunted 

With  the  visions  of  the  past. 

2  I  saw  him  with  another 
When  the  twilight  sparkled  dim, 
And  he  had  his  arms  around  her ; 
She  was  murmuring  love  to  him. 

3  You  have  told  me  you  would  never 
Love  no  other  one  but  me, 


424  NORTH     CAROLINA     FOLKLORE 

And  I  hope  you  will  remember 
You're  forever  dead  to  me. 

4  I  would  not  have  a  sweetheart 
If  I  couldn't  believe  him  true ; 
And  if  there  is  any  more  flirting 
It  will  all  be  done  by  you. 

5  I  have  learned  to  love  another, 
And  that  you  can  plainly  see ; 
And  if  there  is  any  more  flirting 
It  will  not  be  done  by  me. 

6  Then  he  hung  his  head  in  sorrow 
And  he  wiped  his  dark  brown  eye, 
And  I  heard  him  gently  murmuring 
'Life  is  nothing  more  to  me.' 


i6i 

Bye  and  Bye  You  Will  Forget  Me 

Another  lyric  of  love's  foreboding.  It  has  not  been  found  in 
other  collections,  though  the  substance  of  it  appears  in  many  other 
songs  on  the  same  general  topic. 

'Bye  and  Bye  You  Will   Forget  Me.'     Reported  by  W.  Amos  Abrams 
of  Boone,  Watauga  county,  but  he  does  not  say  from  whom  he  had  it. 

1  Bye  and  bye  you  will  forget  me, 
When  your  face  is  far  from  me 
And  the  day  when  first  I  met  you 
Only  lives  in  memory. 

Chorus: 

Sweet  the  hour  when  first  I  met  you, 
Sad  the  hour  my  lips  shall  say 
'Bye  and  bye  you  will  forget  me, 
Bye  and  bye  when  far  away.' 

2  For  'mid  other  scenes  and  pleasures 
Nearer  joys  my  heart  would  sway ; 
And  the  love,  like  childish  measures. 
Will  be  tossed  and  thrown  away. 

3  Bye  and  bye  you  will  forget  me, 
When  our  dream  of  life  is  o'er 
And  the  voice  that  used  to  pet  me 
By  my  side  is  heard  no  more. 


OLDER     BALLADS  —  MOSTLY     BRITISH  425 

Lonely  then  I'll  sit  and  ponder, 
And  my  quivering  lips  shall  say : 
'Bye  and  bye  you  will  forget  nie. 
Bye  and  bye  when  far  away.' 

When  this  you  see  think  of  me, 
Though  on  this  earth  I  may  not  be ; 
But  if  the  grave  should  be  my  bed 
Oh,  think  of  me  when  I  am  dead. 


162 

The  One  Forsaken 
The  first  stanza  of  this  is  an  echo  from  Child  68,  'Young  Hunt- 
ing. The  rest  is  a  miscellany  of  bits  of  folk  lyric  which  reappear 
in  other  ^ongs^  Pieces  approximating  this  have  been  reported  from 
Virginia  (SCSM  125-6)  and  Kentucky  (FSKM  64,  TKMS  =;o-^) 
See  also  'As  I  Stepped  Out  Last  Sunday  Morning'  and  the  ref- 
erences there  given. 

WoL°"^  FyP^^^A'u     f '■''"'    ^^^   manuscript    songbook   of    Miss    Lura 
Wagoner  of  Vox,  Alleghany  county,  where  it  is  dated  October  30,  191, 

I     'I  will  come  in  but  I  won't  sit  down, 
For  I  haven't  a  moment  of  time. 
I  hear  you  have  chosen  a  new  sweetheart 
And  you  are  no  longer  mine, 
And  you  are  no  longer  mine,  my  love, 
And  you  are  no  longer  mine. 
I  hear  you  have  chosen  a  new  sweetheart 
And  you  are  no  longer  mine. 

2  'The  blackest  crow  that  ever  flew 
It  surely  will  turn  to  white. 

If  ever  I  forsake  the  one  I  love 
Bright  days  will  turn  to  night, 
Bright  days  will  turn  to  night,  my  love. 
Bright  days  will  turn  to  night. 
If  ever  I  forsake  the  one  I  love 
Bright  days  will  turn  to  night.' 

3  'I  wish  to  the  Lord  I  had  never  been  horned 
Or  had  died  when  I  was  young ; 

I  never  would  'a'  seen  your  red  rosy  cheeks 
Or  'a'  heard  your  flattering  tongue. 
Or  V  heard  your  flattering  tongue,  my  love. 
Or  'a'  heard  your  flattering  tongue. 


426  NORTH     CAROLINA     FOLKLORE 

I  never  would  'a'  seen  your  red  rosy  cheeks 
Or  'a'  heard  your  flattering  tongue.' 

4     'Hush  up,  hush  up,  hush  up,  my  love; 
I  hate  to  hear  you  cry. 
The  best  of  friends  they  too  must  part, 
And  why  not  you  and  I  ? 
And  why  not  you  and  I,  my  love, 
And  why  not  you  and  I  ? 
The  best  of  friends  they  too  must  part, 
And  why  not  you  and  I  ?' 


163 

Don't  Forget  Me,  Little  Darling 

This  should  perhaps  have  been  entered  as  a  form  of  'Fond  Affec- 
tion,' since  stanzas  5  and  6  are  versions  of  stanzas  3  and  4  of  the 
M  version  of  that  song,  which  only  illustrates  again  the  remarkably 
fluid  character  of  the  love  songs  of  ballad  singers. 

'Don't  Forget  Me,  Little  Darling.'     Communicated  by  C.  B.  Houck  of 
Todd,  Ashe  county,  in  April  1920. 

1  Don't  forget  me,  little  darling. 
Don't  forget  the  happy  past, 
Don't  forget  the  time  we  parted ; 
We  will  surely  meet  at  last. 

2  Don't  forget  me,  little  darling. 
When  from  me  you're  far  away, 
But  remember,  little  darling, 
We  will  meet  again  some  day. 

3  Don't  forget  the  night  we  parted. 
We  were  sitting  side  by  side 

When  you  whispered  that  you  loved  me. 
You  have  won  my  heart's  regard. 

4  Who  will  kiss  you,  little  darling? 
Who  will  clasp  you  to  their  breast? 
Who  will  talk  the  future  over 
While  I  roam  the  desert  West? 

5  You  may  meet  with  many  lovers. 
Some  may  tell  you  I'm  not  true. 
But  remember,  little  darling. 

No  one  loves  you  as  I  do. 


OLDER     BALLADS MOSTLY     BRITISH  427 

6  You  may  meet  with  many  chances 
GHding  down  the  river  stream ; 
But  remember,  Httle  darhng. 
You  are  always  in  my  dream. 

7  At  my  window,  sad  and  lonely, 
Often  do  I  think  of  you, 

And  I  wonder,  little  darling. 
If  you  ever  think  of  me. 

8  Should  you  ever  change,  my  darling, 
What  would  this  life  be  to  me? 
Nothing  but  a  stream  of  sorrow 
Would  this  poor  child  ever  see. 

164 
She  Was  Happy  till  She  Met  You 

Randolph,  who  reports  two  texts  from  Missouri  (OFS  iv  346-7), 
notes  that  in  a  songbook  published  by  a  St.  Louis  patent  medicine 
concern  it  is  credited  to  Chas.  Graham  and  Monroe  H.  Rosenfeld 
and  was  copyrighted  in  1899.  It  is  listed  in  Shearin's  Syllubus  as 
known  in  Kentucky. 

'She  Was  Happy  till  She  Met  You.'  Obtained  by  Jesse  T.  Carpenter 
some  time  in  the  period  1921-23  from  the  manuscript  songbook  of  Mrs. 
C.  T.  Weatherly  of  Greensboro,  Guilford  county. 

1  'Twas  a  bright  and  sunny  day  when  a  young  wife  went 

away 
From  a  husband  who  had  wrung  her  heart  with  pain. 
On  the  table  lay  a  note :  these  simple  words  she  wrote, 
'Goodbye !     I  hope  we'll  never  meet  again.' 
To  her  mother  she  returned,  her  home  for  which  she'd 

often  yearned. 
For  every  spark  of  love  for  him  had  fled ; 
But  he  sought  her  out  at  last,  with  repentance  of  the  past, 
When  her  mother  met  him  at  the  door  and  said : 

Chorus: 

'She  was  happy  till  she  met  you,  and  the  fault  is  all 

your  own. 
If  she  wishes  to  forget  you  you  will  please  let  her  alone. 
She  has  come  to  her  own  mother,  just  because  there  is 

no  other ; 
She'll  be  happy  in  her  own  sweet  home.' 

2  'I  have  come  to  say  goodbye,'  said  the  husband  with  a  sigh. 
Just  let  me  take  her  to  my  heart  again.' 


428  NORTH     CAROLINA     FOLKLORE 

Said  the  mother,  '  'Tis  too  late ;  all  her  love  has  turned  to 

hate. 
So  go  your  way ;  your  pleasings^  are  in  vain.' 
'She  is  my  wife,'  the  husband  cried,  'you  shall  not  take  her 

from  my  side ; 
The  law  forbids  you  part  us ;  we  are  wed.' 
But  the  mother  answered,  'Nay,'  as  she  sadly  turned  away, 
And  once  again  to  him  she  firmly  said : 

165 

The  Ripest  Apple 

The  title  line  of  this  occurs  in  a  song  of  the  general  character 
of  'Waly  waly,  but  love  is  bonny'  reported  from  Maine  (JFSS  1 
45)  ;  otherwise  it  has  not  been  traced. 

'The  Ripest  Apple.'     Reported  by  I.  G.  Greer,  Boone,  Watauga  county, 
probably  in  191 5. 

1  The  ripest  apple  the  soonest  rotten. 
The  purest  love  the  soonest  cold. 

A  young  man's  words  are  soon  forgotten ; 
Oh,  my  love,  don't  be  so  bold. 

2  Let  my  name  be  kindly  spoken 
When  I'm  far  away  from  you ; 
And,  although  the  vows  be  broken, 
I  will  fondly  speak  of  you. 

3  In  the  past  we  loved  each  other, 
Loved  each  other  fond  and  true, 
And  I  know  that  I  shall  never 
Love  another  as  I  loved  you, 

4  Though  I  wander  on  forever 
Seeking  lands  beyond  the  sea. 
Well  I  know  that  I  shall  never, 
Never  find  the  like  of  thee. 

166 

Sweetheart,  Farewell 

This  belongs  in  the  same  general  category  as  'Fond  Affection,' 
'We  Have  Met  and  We  Have  Parted,'  and  others,  and  should  per- 
haps have  been  entered  as  a  form  of  one  or  the  other  of  them. 
'True  Love  from  the  Eastern  Shore,'  SharpK  11  264,  from  Virginia, 
is  somewhat  similar  but  not  the  same  song. 

^  Miswritten,  assuredly,  for  "pleadings." 


OLDER     BALLADS  —  MOSTLY     BRITISH  429 

'Sweetheart,   Farewell.'     From    Miss   Lura   Wagoner's  manuscript   book 
of  songs  at  Vox,  Alleghany  county,  lent  to  Dr.  Brown  in  1936. 

1  Sweetheart,  farewell ;  at  last  we  part. 
I  leave  you  with  an  aching  heart. 
You  bid  me  go  with  cruel  scorn 

Nor  felt  the  pain  which  I  have  borne. 

2  \'our  heart  was  false ;  it  proved  untrue. 
As  I  have  loved  you  never  knew. 
Though  cast  away,  I  love  you  yet ; 

I  can  forgive,  but  not  forget. 

3  I  can  forgive,  but  not  forget ; 

1  love  you,  dear,  with  sad  regret. 
Some  other's  smiles,  some  other's  face 
In  your  false  heart  has  found  a  place. 

4  False  friends  may  leave,  and  when  alone 
You  may  repent  what  you  have  done. 
Sometimes  perhaps  you'll  think  of  me, 
And  in  a  dream  my  face  may  see. 

5  Remember,  dear,  though  I  depart. 
The  image  lies  within  my  heart. 
Though  you  may  hate,  I  love  you  yet; 
I  can  forgive,  but  not  forget. 

167 

My  Little  Dear,  So  Fare  You  Well 

The  lover's  complaint,  by  either  sex,  is  a  recurrent  theme  of 
folk  song,  using  the  same  or  like  elements  in  endless  combinations 
and  permutations.  This  particular  combination  has  not  been  found 
elsewhere.     Our  collection  has  four  texts  and  a  fragment. 

A 

Alas !      My    Darling.'      Communicated    by    Bonnie    Ethel    Dickson    of 
Watauga  county.     No  date  given. 

1  Alas,  my  darling,  fare  you  well ; 

You  have  slighted  me,  but  I  wish  you  well. 
You've  slighted  me  and  broken  my  heart, 
But  how  can  I  from  you  depart? 

2  Come,  all  young  girls  of  Adam's  race, 
With  red  rosy  cheeks  and  lily-white  face. 
I  loved  you  so  true  no  tongue  can  tell, 
But  alas,  my  darling,  fare  you  well. 

3  The  pain  of  love,  I  know  full  well, 

No  heart  can  think,  no  tongue  can  tell ; 


430  NORTH  CAROLINA  FOLKLORE 

But  I  can  tell  you  in  a  few  short  lines 

Love's  worse  than  sickness  ten  thousand  times. 

4  I  loved  you  once,  and  that  you  know, 
I  loved  the  ground  on  which  you  go; 
I  loved  you  with  a  free  good  will, 
And  upon  my  honor  I  love  you  still. 

5  If  ever  you  marry  another  girl 

I  wish  you  happy  in  this  world ; 
I  hope  that  she  will  treat  you  kind, 
Just  as  I  would  if  you  were  mine. 

6  When  I'm  dead  and  gone  to  rest 
Remember  the  one  that  loved  you  best; 
And  when  you're  passing  by  my  grave 
Remember  the  promise  to  me  you  gave. 

7  Go  dig  my  grave,  go  dig  it  deep, 

And  place  a  marble  at  my  head  and  feet ; 
And  in  my  hands  place  flowers  few 
To  show  this  world  I  died  for  you. 


'Sing  with  Feeling'  is  the  only  caption  provided  for  this  text,  communi- 
cated in  1938  by  W.  Amos  Abrams  as  "written  for  Alice  R.  Moody  by 
her  sister  Katie  Bell  Moody,  Vilas,"  Watauga  county,  in  1912. 

1  My  little  dear,  so  fare  you  well. 
You've  slighted  me,  but  I  wish  you  well. 
You've  slighted  me,  you  have  broke  my  heart. 
Oh,  how  can  I  from  you  depart? 

2  Oh,  pain  of  love,  to  you  I'll  tell, 

No  heart  can  think,  no  tongue  can  tell. 

I'll  tell  you,  in  a  few  short  lines. 

It's  worse  than  sickness  ten  thousand  times. 

3  My  little  love,  you  harmless  dove, 

I  hope  to  see  you  in  the  world  above. 

But  if  on  earth  I  never  more  see, 

I'll  never  serve  you  as  you  have  served  me. 

4  Oh,  many  a  hour  I've  spent  with  you. 
But  never  knew  you  was  not  true. 

It  breaks  my  heart  to  have  to  part 
And  think  of  your  deceitful  heart. 


Come,  all  you  girls  of  Adam's  race, 
I'll  tell  to  you  my  sad  disgrace. 
I  loved  him  long,  I  loved  him  bold ; 
My  Httle  dear,  God  bless  you[r]  soul. 


OLDER     BALLADS MOSTLY     BRITISH  43I 

6     When  I  am  dead  and  gone  to  rest, 
Remember  the  one  who  loves  you  best. 
And  as  you  pass  along  my  grave 
Just  view  the  grass  that  o'er  me  wave. 

c 
'Broken-Hearted.'     From  the  John  Burch  Blaylock  Collection. 

1  Oh,  my  love,  so  fare  you  well ; 

You  slighted  me,  but  I  wish  you  well. 
You  slighted  me  and  broke  my  heart, 
'Tis  how  come  I  from  you  depart. 

2  The  pain  of  love  I  know  so  well ; 

My  heart  can't  think,  my  tongue  can't  tell. 

I'll  write  to  you  a  few  short  lines — 

It's  worse  than  sickness  ten  thousand  times. 

3  I'll  grieve,  I'll  moan,  I'll  weep, 
But  satisfied  I'll  never  more  be 
If  you  on  earth  I  never  more  see. 

I  wouldn't  treat  you  like  you  have  me. 

4  Come  all  you  boys  from  Adam's  race — 
Your  rosy  cheeks  and  lily-white  face, 
Your  rosy  cheeks  and  lily-white  hands, 
I  love  the  ground  on  which  you  stand. 

5  I  love  your  heart,  I  love  your  bone. 

My  pretty  little  darling,  God  bless  your  soul. 


D 

'My  Little  Love,  So  Farewell.'  From  Virginia  Bowers  of  Stanly  county. 
A  somewhat  fragmentary  text  of  four  stanzas  introducing  no  new 
elements. 


'Come  All  Ye  Girls  from  Adam's  Race.'    A  fragment,  not  dated,  secured 
from  Jennie  Belvin  of  Durham ;  lines  i  and  2  and  the  final  stanza  of  A. 

168 
Dreary  Weather 

Randolph,  who  reports  four  texts  from  the  Ozarks  (OFS  iv 
234-6),  points  out  the  resemblance  of  various  phrases  in  it  to  parts 
of  other  songs.  Cf.  also  BSM  490-2.  The  last  stanza  seems  to 
belong  to  'The  Boys  Won't  Do  to  Trust/  No.  207  in  the  present 
volume. 


432  NORTH  CAROLINA  FOLKLORE 

'Dreary  Weather.'  Sent  to  Dr.  Brown  by  W.  Amos  Abrams,  apparently 
in  1935  or  1936.  After  each  stanza  is  written  "repeat,"  which  probably 
means  that  the  last  two  lines  are  repeated. 

1  'Twas  dark  and  dreary  weather 
And  most  inclined  to  rain ; 

The  clouds  all  float  to  the  center ; 
My  lover's  gone  on  the  train. 

2  How  could  he  ever  forget  me? 
And  far,  far  away, 

As  if  he  had  never  met  me 
Upon  that  happy  golden  day. 

3  Some  say  that  gold  and  silver 
Will  melt  away  like  snow. 
When  poverty  overtakes  him, 
Then  he'll  think  of  me,  I  know. 

4  But  now  I  have  another 
To  love  me  just  as  well. 
And  he'll  regret  the  moment 
He  ever  said  farewell. 

5  I  don't  see  why  I  love  him. 

I  know  he  doesn't  care  for  me. 
But  my  thoughts  are  always  of  him 
Wherever  he  may  be. 

6  Had  I  the  wings  of  an  angel. 
Or  even  the  wings  of  a  dove, 
I'd  roam  this  wide  world  over 
And  rest  in  the  arms  of  my  love. 

7  But  I  must  cease  my  singing 
And  bid  you  all  adieu. 
Beware  of  boys,  dear  girls. 
For  they'll  go  back  on  you. 

169 

My  Sweetheart's  Dying  Words 

Just  this  piece  has  not  been  found  in  other  collections  of  folk 
song,  though  the  general  theme  is  familiar.  The  quotation  marks 
indicating  change  of  speaker  are  the  editor's. 

'My  Sweetheart's  Dying  Words.'  Contributed  by  Efifie  Tucker  but  with- 
out indication  of  time  or  place. 

I     'Dear  Charlie  dear,  don't  grieve  for  me, 
For,  dear,  I  will  not  grieve  for  thee. 


WIND    AND    PINE 


OLDER     BALLADS  —  MOSTLY     BRITISH  433 

For  when  I'm  dead  and  leave  this  world 
I'll  pray  for  you  and  the  other  girl. 

2  'Do  you  remember  two  years  ago? 
'Twas  then  you  said.  "I  love  you  so." 
Oh,  1  will  never  forget  those  tears 

If  I  would  live  for  years  and  years. 

3  "Twas  tears  of  joy,  my  Charlie  dear, 
For  those  words  you  whispered  in  my  ear. 
I'll  tell  you  more,  Charlie  dear, 

If  you  will  come  a  little  nearer.' 

4  'Twas  then  she  sighed  and  called  to  me, 
'Farewell,  my  dear,  farewell  'twill  be.' 
She  then  closed  those  eyes  so  blue. 
'Twas  then  I  realized  she'd  been  true. 

5  'Oh,  will  you,  darling,  forgive  me 
For  all  the  wrong  I've  treated  thee? 

I  thought  that  you  were  untrue  to  me ; 
That's  why  1  went  with  Carryl-Lee. 

6  'Oh,  no,  my  dear,  I  do  love  you, 
Although  you're  gone  from  me  forever. 
Oh,  marry  her  I'll  never  do, 

For  I  love  you,  and  marry  her?     Never.' 

170 
The  Homesick  Boy 

The  A  text,  though  it  appears  in  the  Collection  without  any  indi- 
cation of  source,  is  probably  a  genuine  item  secured  by  Dr.  Brown, 
who  neglected  or  forgot  to  indicate  whence  he  had  it.  Combs 
(FSKH  14-5)  gives  a  text  and  tune  from  Kentucky,  noting  that 
he  has  not  found  it  elsewhere.  His  text  is  of  three  stanzas  and 
chorus.  His  stanza  i  is  stanza  i  of  our  A,  his  stanza  2  is  stanza 
3  of  our  A  and  2  of  our  B,  his  stanza  3  is  stanza  i  of  our  B,  his 
chorus  is  stanza  2  of  our  A  and  3  of  our  B ;  the  chorus  of  our  ver- 
sions does  not  appear  in  the  Kentucky  text. 

A 
'Homesick  Boy.'     An  anonymous  sheet  in  the  collection. 

I     Away  on  a  lonely  river. 
Ten  thousand  miles  away, 
I  have  an  aged  mother 
Whose  locks  are  turning  gray. 


434  NORTH     CAROLINA     FOLKLORE 

Chorus: 

Then  I  wish  I  were  a  little  bird; 
I  would  fly  so  far  away, 
I  would  fly  to  the  Roanoke  River, 
Ten  thousand  miles  away. 

2  Oh,  blame  me  not  for  weeping, 
Oh,  blame  me  not,  I  pray, 

For  I  want  to  see  my  dear  mother 
Whose  locks  are  turning  gray. 

3  Last  night  I  had  a  letter ; 
'Twas  *from  my  sister  Mae. 
She  told  me  of  my  dear  mother 
Whose  locks  were  turning  gray, 

B 

'I  Wish  I  Were  a  Liule  Bird.'  Contributed  by  Miss  Jewell  Robbins 
(afterwards  Mrs.  C.  P.  Perdue)  of  Pekin,  Montgomery  county,  some 
time  between  1921  and  1924.     The  tune  was  recorded  in  1922. 

1  Last  night  while  I  was  sleeping 

I  dreamed  a  happy,  happy  dream. 
I  dreamed  I  saw  my  mother 
A-praying  to  God  for  me. 

Chorus: 

I  wish  I  was  a  little  bird,  a  little  bird ; 
I'd  fly,  I'd  fly  far  away, 
I'd  fly  beyond  the  river. 
Ten  thousand  miles  away. 

2  Today  I  had  a  letter. 

It  was  from  sister  dear ; 
It  spoke  of  my  dear  mother. 
How  I  wish  that  she  were  here ! 

3  Then  blame  me  not  for  weeping, 
Oh,  blame  me  not,  oh,  then  I  say, 
For  I  would  see  my  mother, 
Ten  thousand  miles  away. 

171 

Over  the  Hills  to  the  Poor-House 

Not  the  same  thing  as  Will  Carleton's  poem  of  a  like  title,  nor  as 
the  piece  reported  from  Missouri  (BSM  280-1);  but  it  is  to  be 
found  in  Dean's  Flying  Cloud  (121-2),  and  was  printed  as  a  broad- 
side by  Wehman  of  New  York  in  the  nineteenth  century.  It  is 
listed  also  in  Miss  Pound's  syllabus.  The  text  in  the  North  Caro- 
lina collection  comes  from  O.  L.  Coffey  of  ShuH's  Mills,  Watauga 
county,  reported  in  1939. 


OLDER     BALLADS  —  MOSTLY     BRITISH  435 

I     Oh.  yes,  it  is  true  they  have  driven 
Their  father  so  helpless  and  old ; 
Oh,  God !  may  their  crime  he  forgiven 
h^or  driving  him  out  in  the  cold. 
Oh,  heaven!     I'm  saddened  and  weary. 
See  the  tears  how  they  course  down  my  cheeks. 
Oh,  this  world  is  lonely  and  dreary, 
And  my  heart  for  relief  vainly  seeks. 

Chorus: 

For  I'm  old,  and  I'm  helpless  and  feeble. 
And  the  days  of  my  youth  have  gone  by ; 
And  over  the  hills  to  the  poor-house 
They  are  sending  me  alone  there  to  die. 

2  Ah  me !  on  that  old  door-step  yonder 
I've  sat  with  my  babes  on  my  knee. 
No  father  was  happier  or  fonder 
Than  I  with  my  little  ones  three. 
The  boys  both  so  rosy  and  chubby. 
And  the  darling  little  girl  so  sweet, 

God  knows  how  their  father  has  loved  them ; 
But  they  have  driven  him  out  in  the  street. 

3  It's  long  years  since  Mary  was  taken. 
My  faithful  affectionate  wife. 

Since  then  I'm  forlorn  and  forsaken 
And  the  light  has  died  out  of  my  life. 
When  the  boys  grew  up  to  manhood 
I  gave  them  a  deed  for  the  farm  and  more. 
I  gave  them  the  house  they  were  born  in  ; 
And  they  turned  me  out  from  its  door. 

4  Oh,  children,  will  you  yet  hear  me? 

I  have  journeyed  along  on  life's  stage 

With  the  hope  that  you  all  would  l)e  with  me 

To  comfort  and  cheer  my  old  age. 

My  life-blood  I'd  gladly  have  given 

To  shield  and  j^rotect  you  from  harm ; 

Though  my  heart  breaks.  I'll  say  it : 

You've  driven  me  out  here  to  die  in  the  storm. 

5  But  perhaps  they'll  live  happier  without  me. 
Farewell,  dear  old  home,  oh.  farewell : 

For  over  the  hills  to  the  poor-house 
I  am  forced  to  go  there  to  dwell. 


436  NORTH     CAROLINA     FOLKLORE 

172 

You're  the  Man  That  Stole  My  Wife 

This  is  perhaps  a  remnant  of  a  ballad,  perhaps  no  more  than  a 
truculent  jingle.     I  have  not  found  it  elsewhere. 

No  title.     Contributed  by  Miss   Mamie  E.   Cheek  of  Durham  in   1923. 

You're  the  man  that  stole  my  wife, 
You're  the  man  that  stole  my  wife, 
You're  the  man  that  stole  my  wife, 
You  shouldn't  have  'er  for  to  save  your  life. 

173 

I'm  Going  to  Get  Married  Next  Sunday 

This  belongs  to  the  tradition  of  English  milkmaid  songs,  but  is 
not  often  found  in  collections.  It  is  known  in  Vermont  (NGMS 
225-6),  Tennessee  (SharpK  11  189,  with  notation  that  it  is  to  be 
found  in  Joyce's  Ancient  Irish  Miisic,  p.  14,  and  Sharp's  Folk 
Songs  from  Somerset  No.  3  and  One  Hundred  English  Folk  Songs, 
p.  88),  and  Wisconsin  (JAFL  lii  34-5,  from  Kentucky)  ;  and  it  is 
No.  48  in  Barry's  list  of  songs  known  in  the  North  Atlantic  States. 

'I'm  Going  to  Get  Married  Next  Sunday.'  Reported  by  Obadiah  John- 
son of  Crossnore,  Avery  county,  in  1940.  "He  did  not  sing  it ;  he 
does  not  know  the  air." 

1  Good  morning,  good  morning,  good  morning  in  spring. 
I  spied  a  fair  damsel  so  sweetly  did  sing, 

Sitting  under  a  cow  milking, 

'I'm  going  to  get  married  next  Sunday. 

2  'My  shawl  and  my  mantle  lie  up  in  the  press ; 
My  true  love  will  be  here  before  I  am  dressed. 
Now  it's  my  mind  I  intend  to  fulfill ; 

I'm  going  to  get  married  next  Sunday. 

3  'Next  Saturday  morning  will  take  all  my  care 
To  fold  up  my  ribbons  and  comb  out  my  hair. 
Now  it's  my  mind  I  intend  to  fuUfiU ; 

I'm  going  to  get  married  next  Sunday. 

4  'Next  Monday  morning  I'll  flight  up  in  town 

With  a  bunch  of  blue  ribbons  and  a  new-fashioned  gown. 
There  I'll  invite  all  the  ladies  in  town 
To  dine  at  my  wedding  next  Sunday.' 


older   ballads  —  mostly   british  437 

Katie's  Secret 

For  some  account  of  the  currency  of  this  stall  ballad  see  BSM 
215,  and  add  to  the  references  there  given  the  Ozarks  (OFS  iv 
293-4)  and  Michigan  (BSSM  480).  Randolph  (OFS  in  114)  re- 
ports stanza  7  of  our  text  as  a  fragment  of  a  drinking  song  from 
Missouri. 

'Song  Ballad,  Kate  Seacret.'  So  labeled  in  the  "faded  old  MS.  dated 
April  22nd,  1865"  from  which  this  text  is  taken.  It  was  given  to  Dr. 
Brown  by  someone  whose  name  he  forgot  to  record,  "by  whom  it  was 
found  in  an  old  arithmetic." 

1  The  sunlight  is  beautiful,  mother. 

And  sweetly  the  flowers  bloomed  today, 
And  birds  in  the  branches  of  hawthornes 
Are  carolling  ever  so  gay. 

2  And  down  by  the  brook  in  the  meadow 
The  rill  ripples  by  with  its  song ; 
And,  mother,  I  too  have  Ijeen  singing 
The  merriest  all  the  day  long. 

3  Last  night  I  was  weeping,  dear  mother, 
Last  night  I  was  weeping  alone. 

The  world  was  so  dark  and  so  dreary ; 
My  heart  it  grew  heavy  as  stone. 

4  I  thought  of  the  lone  and  the  loveless, 
All  lonely  and  loveless  as  L 

I  can  scarce  tell  why  it  was,  mother, 
But  oh,  I  was  wishing  to  die. 

5  Last  night  I  was  weeping,  dear  mother. 
When  Willie  came  down  to  the  gate 

And  whispered,  'Come  out  in  the  moonlight; 
I've  something  to  say  to  you,  Kate.' 

6  Oh,  mother,  to  him  I  am  dearer 
Than  all  in  this  world  besides. 

He  told  me  so  out  in  the  moonlight. 
He  called  me  his  darling  bride. 

7  So  now  I  will  gather  me  roses 

And  twine  in  my  long  braided  hair, 
And  Willie  will  come  in  the  evening 
And  smile  when  he  sees  me  so  fair. 

8  And  out  in  the  moonlight  we'll  wander 
And  down  by  the  old  hawthorne  tree. 
Oh,  mother,  I  wonder  if  any 

Were  ever  so  happy  as  we. 


438  NORTH     CAROLINA     FOLKLORE 

The  Farmer's  Daughter 

Randolph,  who  reports  two  texts  from  the  Ozarks  (OFS  iv 
1 1 1- 12),  notes  that  Stout  found  it  also  in  Iowa.  It  is  reported  also 
from  Michigan  (BSSM  290-1). 

'A  Farmer's  Daughter.'     Obtained  from  O.  L.  Coffey  of  Shull's   Mills, 
Watauga  county,  in  August  1939. 

1  I  once  did  know  a  farmer,  a  good  and  faithful  soul 

Who  used  to  work  upon  his  farm  around  his  cottage  home. 

He  had  an  only  daughter ;  to  win  her  I  did  try, 

And  when  I  asked  him  for  her  hand,  oh,  this  was  his  reply : 

Chorus: 

Treat  my  daughter  kindly,  and  say  you  will  do  no  harm. 
And  when  I  die  I'll  leave  to  you  my  home  and  little  farm, 
My  horse,  my  plough,  my  sheep,  my  cow,  my  hogs  and 

little  barn. 
And  all  the  little  chickens  in  the  garden. 

2  She  and  I  went  for  the  cows,  we  went  arm  in  arm; 
We  drove  the  cows  together  up  to  that  little  barn. 

I  watched  her  milk  her  father's  cows,  and  viewed  her  every 

charm, 
And  many  a  drink  of  milk  I  got  before  I  left  that  farm. 

3  Oh,  now  the  old  man  has  consented  and  married  we  will  be ; 
We'll  own  the  little  farm  ourselves,  and  live  in  harmony, 
And  try  to  keep  the  promise  that  the  old  man  ask[ed]   of 

me. 
To  use  her,  his  only  child,  and  treat  her  kindly. 


Dost  think,  because  thou  art  znrtuous,  there  shall  be  no  more 
cakes  and  ale? — Yes,  by  Saint  Anne,  and  ginger  shall  be  hot  i" 
the  mouth,  too. 

*  I  ^HAT  ballad  singers  in  North  Carolina,  as  elsewhere,  find  the 
-^  tragedies  of  life  and  especially  of  love  the  most  appealing  sub- 
jects for  song  does  not  mean  that  they  sang  no  merry  ballads.  They 
knew  and  sang,  and  still  sing,  store  of  merry  songs,  some  of  them 
of  as  venerable  age  as  the  tragic  ballads.  Some  of  them  indeed 
are  in  the  Child  collection  and  are  given  above:  'The  Farmer's 
Curst  Wife';  'Our  Goodman,'  which  is  a  tale  of  cuckoldry ;  'The 
Wife  Wrapt  in  Wether's  Skin,'  which  tells  how  to  deal  with  a 
shrewish  wife;  and  'Get  up  and  Bar  the  Door,'  which  shows  that 
a  woman  will  have  the  last  word.  Other  comic  ballads  too  deal 
with  domestic  problems  as  do  the  tragic  and  romantic  ballads.    'The 


OLDER     BALLADS  —  MOSTLY     BRITISH  439 

Holly  Twig'  tells  how  a  man  ran  through  the  whole  gamut  of 
marital  infelicity  in  the  successive  clays  of  one  week;  'The  Dumb 
Wife'  shows  that  a  man  with  such  a  treasure  should  know  enough 
to  keep  her  such;  'The  Old  Dyer'  is  a  fabliau,  a  tale  of  cuckoldry 
like  'Our  Goodman';  'Father  Grunihle'  illustrates  in  lively  fashion 
what  happens  when  the  husbandman  undertakes  the  housewife's 
functions ;  'Johnny  Sands'  and  its  companion  piece  'The  Old 
Woman's  Blind  Husband'  tell  how  a  woman  tries  to  get  rid  of  an 
undesired  husband  by  drowning  him  and  is  instead  drowned  or  at 
least  ducked  herself.  A  woman's  determination  to  get  herself  a 
husband  is  presented  in  various  ways:  in  'Whistle,  Daughter, 
Whistle'  a  girl  declares  herself  unable  to  whistle  in  response  to 
her  mother's  various  bribes  until  the  mother  promises  her  a  man, 
whereupon  she  whistles  fast  enough;  in  'Hard  of  Hearing'  an  old 
woman  recovers  her  hearing  when  she  receives  what  she  takes  for 
a  proposal ;  'Nobody  Coming  to  Marry  Me'  is  a  young  girl's  com- 
plaint about  the  lack  of  wooers;  'Billy  Grimes  the  Drover'  satirizes 
a  girl's,  and  her  mother's,  attitude  on  the  question  of  marriage; 
'Grandma's  Advice'  and  'Common  Bill'  treat  the  girl's  feeling  in  a 
lighter  manner.  There  are  also  gibes  at  certain  trades :  in  'The 
Miller  and  His  Three  Sons'  the  miller  examines  his  three  sons  and 
gladly  wills  his  mill  to  the  youngest,  who  vows  that  he'll  steal  all 
the  corn  and  swear  to  the  sack ;  'The  Three  Rogues'  that  come  to  a 
bad  end  are  a  miller,  a  weaver,  and  a  tailor.  Occasionally  appear 
satires  on  other  races  or  nationalities:  'Bryan  O'Lynn'  was  origi- 
nally a  gibe  at  the  Scotch  but  has  been  transferred  to  the  Irish; 
'The  Three  Jolly  W^elshmen'  pokes  fun  at  the  Welsh  and  in  some 
versions  at  the  Scotch  and  the  Irish.  The  humor  of  exaggeration 
is  exemplified  in  'The  Derby  Ram.'  'The  Swapping  Song'  and 
'The  Good  Old  Man'  show  the  singer  delighting  in  nonsense  for 
its  own  sake.  The  humors  of  courtship  are  dealt  with  separately 
later,  in  volume  III. 

176 
The  Derby  Ram 

This  bit  of  folk  humor  holds  its  place  in  the  affections  of  the 
people  pretty  well.  See  BSM  224,  and  add  to  the  references  there 
given  Virginia  (FSV  134-6),  Kentucky  (BTFLS  iii  95),  North 
Carolina  (FSRA  182),  Missouri  (OFS  i  398-400),  Ohio  (BSO 
199),  Indiana  (BSI  319-21),  and  Michigan  (BSSM  460-3). 

A 
'The  Great  Sheep.'  Reported  by  Thomas  Smith  in  191 5,  as  sung  "by 
Mrs.  Polly  Rayfield,  who  named  two  people  she  had  heard  sing  it  40 
years  earlier.  Mrs.  S.  Chaney  Smith,  of  Silverton,  over  84  years  old. 
heard  it  many  years  ago."  (Mrs.  Isenhour,  of  Zionville,  also  sang  stanza 
3  for  Dr.  Brown.) 


440  NORTH     CAROLINA     FOLKLORE 

1  The  greatest  sheep  that  ever  was  found 
Weighed  eleven  hundred  pounds. 

Chorus: 

Urn  ta  diddle  ta  diddle  urn  ta  diddle  ta  day^ 

2  Every  foot  it  had  covered  an  acre  of  ground. 

3  The  wool  on  the  sheep's  back,  it  growed  to  the  sky ; 

The  eagles  built  their  nests,  for  I  heard  the  young  ones  cry. 

4  The  sheep's  horns,  they  growed  to  the  moon ; 

They  started  in  February  and  never  got  there  till  June. 

5  The  wool  on  the  sheep's  belly  dragged  the  ground. 
Wasn't  that  the  biggest  sheep  ever  was  found  ? 

B 
No  title.  Contributed  by  Wm.  C.  Gumming,  of  Brunswick  county,  with 
the  notation:  "Mother  told  me  of  a  Negro  song  that  she  thought  was 
brought  to  Kentucky  by  a  cousin  of  my  Grandma's,  who  married  a 
wealthy  slave  owner  in  Louisiana.  The  words,  which  were  sung  to  a 
weird  air,  are  in  part  as  follows" : 

1  As  I  went  to  Darby,  sir, 
As  I  went  one  cloudy  day, 
I  saw  the  biggest  ram,  sir, 
That  ever  fed  on  hay. 

2  It  had  four  feet  to  walk,  sir, 
It  had  four  feet  to  run, 
And  every  foot  it  had,  sir. 
Covered  an  acre  of  ground. 

3  It  had  four  eyes  to  see,  sir, 
It  had  four  eyes  to  see, 
And  every  eye  it  had,  sir. 
Was  looking  straight  at  me. 

The  tune  was  sung  by  Otis  Kuykendall  of  West  Asheville  in  1939. 

177 

The  Miller  and  His  Three  Sons 

This  satire  upon  the  knavery  of  millers  is  old  and  widely  known; 
see  BSM  244  and  add  Vermont  (NGMS  11-13),  Virginia  (FSV 
137-8),  North  Carolina  (FSRA  183),  Florida  (FSF  381-3).  Indi- 
ana (HFLB  III  2),  and  Michigan  (BSSM  247-9).  The  ten  texts 
in  our  collection  differ  chiefly  in  the  names  of  the  three  sons   (de- 

^  Dr.  Brown  noted  here  the  refrain  as  he  knew  it : 
Rimy  dimy  dime,  sir. 
Rimy  dimy  day. 
He  was  the  finest  sheep 
That  ever  was  fed  on  hay. 


OLDER     BALLADS MOSTLY     BRITISH  44I 

vised  to  rhyme  respectively  with  "peck,"  "half,"  and  "sack"  or 
"all")  and  in  the  stanzaic  and  refrain  structure.  Not  all  of  them 
need  be  given  in  full. 

A 

'The  Miller  and  His  Three  Sons.'  From  Dr.  E.  E.  Ericson  of  Chapel 
Hill,  not  dated.    With  the  music  as  set  down  by  R.  Chase. 

1  There  was  an  old  miller  and  he  lived  all  alone. 
He  had  three  sons  that  were  almost  grown. 
He  was  about  to  make  his  will, 

And  all  that  he  had  was  a  little  old  mill. 
Hi !    Fol !    Diddle  all  the  day ! 

2  So  he  said  to  his  oldest  son, 
'Son,  O  son,  I'm  almost  gone; 
And  if  to  you  this  mill  I  take, 

Pray  tell  me  the  toll  that  you  mean  to  take.' 
Hi !    Fol !    Diddle  all  the  day ! 

3  'Father,  you  know  my  name  is  Jack; 
Out  of  a  bushel  I'll  take  a  peck ; 
For  if  my  fortune  I  would  make, 

O  that  is  the  toll  that  I  mean  to  take.' 
Hi !     Fol !    Diddle  all  the  day ! 

4  'Son,  O  son,  I'm  afraid  you're  a  fool; 
You  have  not  learned  to  follow  my  rule. 
To  you  this  mill  I  will  not  give, 

For  by  such  a  toll  no  man  can  live.' 
Hi !    Fol !    Diddle  all  the  day ! 

5  Then  he  said  to  his  second  son,  &c.  as  above 

6  'Father,  you  know  my  name  is  Ralph ; 

Out  of  a  bushel  I'll  take  a  half ;  &c.  as  above 

7  'Son,  O  son,'  &c.  as  in  stanza  4  above 

8  Then  he  said  to  his  youngest  son,  &c.  as  above 

9  'Father,  you  know  my  name  is  Paul ; 
Out  of  a  bushel  I'll  take  it  all, 

I'll  take  all  the  grain  and  swear  by  the  sack 
And  beat  the  boys  when  they  come  back.' 

Hi !    Fol !    Diddle  all  the  day ! 
10     'Glory  be  to  God!'^  the  old  man  says, 

'I've  got  one  son  that's  learned  my  ways.' 

'Hallelujah !'  the  old  woman  cried. 

And  the  old  man  straightened  out  his  legs  and  he  died 

Hi !    Fol !    Diddle  all  the  day  ! 

B 

'The   Miller.'     Reported  by  Jesse  T.  Carpenter  of  Durham.     Does  not 
differ  significantly  from  A. 
'  Or :  "  'Oh,  that's  fine  !'  " 


442  NORTH     CAROLINA     FOLKLORE 


'The  Miller's  Will.'  Contributed  by  Miss  Amy  Henderson  of  Worry, 
Burke  county,  in  1914.  The  opening  stanza  was  not  remembered.  The 
names  are  Jake  (rhymes  with  "take"),  Ralph,  and  Jack  (rhymes  with 
"sack").     The  final  stanza  will  be  a  sufficient  specimen: 

He  called  to  him  his  youngest  son : 
'Son,  oh,  [son,]  my  race  is  run. 
If  I  you  the  miller  make 
I  want  you  to  tell  me  what  toll  you'll  take.' 
'Father,  father,  my  name  is  Jack ; 
I'll  take  all  the  corn  and  swear  to  the  sack.' 
'Hurrah!  hurrah!'  the  old  woman  cried; 
The  old  man  shut  his  eyes  and  died. 
Far-lack-a-day,  far-lack-a-day. 


'The  Miller.'  Obtained  from  Frank  Proffitt,  Sugar  Grove,  Watauga 
county,  in  1937.  A  somewhat  reduced  version  with  no  refrain  indicated. 
The  names  of  the  sons  are  Heck,  Taflf,  and  Jack.  And  the  point  of  the 
story  is  lost ;  for  the  last  stanza  runs : 

'Pop,  oh  pop,  my  name  is  Jack, 
I'll  take  it  all  and  swear  to  the  sack.' 
'Son,  oh  son,  no  man  can  live, 
At  no  sich  a  toll  no  man  can  live.' 


'The  Will  of  the  Old  Milliar.'  A  manuscript  secured  in  1913  or  1914 
from  "a  farmer's  wife."  Rudely  spelled,  and  without  any  refrain  indi- 
cated. The  sons'  names  are  feck,  galf,  and  Jack.  "Toll"  becomes 
"tale"  and  "thrive"  becomes  "rive."  But  the  story  does  not  differ  from 
the  norm  presented  by  other  texts. 


'The  Old  Miller.'  From  Mrs.  R.  D.  Blacknall  of  Durham,  apparently 
in  1922  or  1923.  Lacks  the  opening  stanza  ;  the  two  older  sons  are  Jack 
and  Ralph,  but  the  youngest  is  not  named.     Final  stanza : 

He  called  to  him  his  youngest  son. 

Saying,  'My  race  is  almost  run. 

If  I  to  you  these  mills  should  make, 

Tell  me  what  toll  you  mean  to  take.' 

'Father.'  said  he,  'I  am  your  boy, 

To  do  your  will  is  all  my  joy. 

If  you  to  me  the.se  mills  should  make, 

I'd  steal  the  corn,  and  hide  the  sack.' 

'You  are  my  son!'  the  old  man  said, 

'You've  learned  your  good  old  father's  trade ! 

You  are  my  joy !     You  are  my  pride !' 

Then  closed  his  good  old  eyes  and  died. 


OLDER     BALLADS  —  MOSTLY     BRITISH  443 

G 

'The  Old  Miller  Rake.'  Reported  by  L.  W.  Anderson  as  collected  by 
Delma  Haywood  from  Mrs.  Sallie  Meekins  of  Colington  on  the  Banks. 
Here  there  is  no  attempt  to  make  tiie  sons'  names  rhyme  with  their 
proposals  for  taking  toll;  they  all  claim  the  same  name  (if  "Rage"  in 
stanza  3  is  a  mere  misvvriting  for  "Rake"). 

1  The  old  miller  Rake,  and  he  lived  on  a  hill. 

He  had  three  sons  and  he  was  going  to  make  his  will. 

2  He  called  up  his  oldest  son, 
Says,  'Son,  my  day  is  almost  rini. 
If  to  you  my  will  I  make, 

Now  pray  tell  me  the  toll  you  will  take.' 

3  'Father,  you  know  my  name  is  Rage ; 
For  one  bushel  I'll  take  one  peck.' 

'The  mill  hain't  yours,'  the  old  man  cried. 
'By  such  a  toll  no  man  can  abide.' 

4  He  called  up  his  second  son, 
Says,  'Son,  my  day  is  almost  run. 
If  to  you  this  will  I  make, 

Now  pray  tell  me  the  toll  you'll  take.' 

5  'Father,  you  know  my  name  is  Rake. 
From  one  bushel  I'll  take  two  pecks.' 
'The  mill  hain't  yours,'  the  oldliian  cried. 
'By  such  a  toll  no  man  can  abide.' 

6  He  called  up  his  youngest  son, 
Says,  'Son,  my  days  are  almost  run. 
Now  to  you  this  will  I  make. 

Now  pray  tell  me  the  toll  you'll  take.' 

7  'Father,  you  know  my  name  is  Rake, 
And  from  one  bushel  I'll  take  three  pecks; 
And  if  they  grumble  much  at  that 

I'll  take  the  whole  and  swear  to  the  sack.' 

8  'The  mill  is  yours,'  the  old  man  cried. 
So  he  shut  his  eyes  and  died. 

Fol de ....  rol ....  d ...  .  ride.- 

H 
•The  Miller's  Will.'  Reported  by  J.  E.  Massey  of  Elon  College  as 
"recited  to  me  by  J.  W.  Massey,  December  28,  1916."  Here  the  sons 
have  no  names  and  their  replies  are  limited  to  a  single  line  each  ;  and 
there  is  a  rather  lengthy  refrain.  The  closing  section  will  sufficiently 
illustrate  its  method : 

He  called  to  his  youngest  son 
And  says,  'My  cup  is  almost  run. 

*  This  last  line  looks  like  an  indication  of  a  refrain ;   but  if  so,  one 
wonders  just  where  it  comes  in,  and  why  it  was  not  indicated  earlier. 


444  NORTH     CAROLINA     FOLKLORE 

Pray  tell  me  how  much  toll  do  you  mean  for  to  take,' 
'I'll  take  the  whole  and  swear  to  the  sack.' 

Chorus: 

To  my  foddle  dinky  day 

To  my  foil  doll  doll  doll  doddle  dinky  day 

'Ho,  ho !'  the  old  man  says, 

'You  have  fully  learnt  my  trade, 

So  unto  you  tlie  mill  I  decide.' 

And  the  old  man  closed  his  eyes  and  died. 

Chorus: 

1 
The  Miller  and  His  Three  Sons.'  Reported  by  Mrs.  Sutton,  but  she 
does  not  tell  where  and  when  she  found  it.  There  is  no  refrain.  The 
oldest  son  is  named  Heck,  which  supplies  a  satisfactory  rhyme  for 
"peck."  Otherwise  it  agrees  fairly  well  with  A.  The  opening  stanza, 
however,  has  a  reminiscence  of  another  miller  song  in  its  second  line. 
The  stanza  runs : 

There  was  an  old  miller  and  he  lived  at  the  mill, 
And  the  wheel  goes  around  with  a  right  good  will. 
He  was  about  to  die  and  he  had  to  make  his  will. 
And  all  that  he  had  was  his  little  old  mill. 

J 
'The  Miller  and  His  Three  Sons.'     From  Alexander  Tugman  of  Todd. 
Ashe  county.    The  refrain  runs :  "I  rec  ko  rek  tum  I  rin  ko  ry  do." 

178 

I  Tuck  Me  Some  Corn  to  the  County  Seat 
This   is   a   form  of   the   familiar  gibe  at  the  cheating  miller,   a 
charge  as  old  at  least  as  The  Canterbury  Tales  and  still  current  in 
folk  song  as  'The  Miller  and  His  Three  Sons.'     But  this  particular 
form  of  the  gibe  I  have  not  found  elsewhere. 

No  title  except  the  first  line.  Dr.  Brown  contributed  it  to  the  Collection, 
but  without  noting  whence  he  got  it.  The  two  halves  of  the  last  line 
should,  one  supposes,  be  transposed. 

I  tuck  me  some  corn  to  the  county  seat. 
Three  bushel  of  corn,  three  bushel  of  wheat. 
The  miller  tuck  fur  his  millin^turn 
Three  bushel  of  corn,  three  bushel  of  wheat. 

179 
The  Old  Dyer 
Also  known  as  'The  Dog  in  the  Closet.'     For  it  origin  and  his- 
tory, see  Barry's  note  on  the  Vermont  version,  NGMS  125.    Morris 
reports  a  quite  different  version  from  Florida,  FSF  371-2. 


OLDER     BALLADS  —  MOSTLY     BRITISH  445 

The  Old  Dyer.'  Contributed  by  Miss  Laura  Matthews,  Durham  (later 
Mrs.  E.  J.  Stephenson).  The  two  halves  of  the  fourth  stanza  seem  to 
have  been  transposed. 

1  There  was  an  old  dyer  who  had  a  young  wife. 
They  lived  together  a  quarrelsome  life. 

Old  dyer  got  mad.  and  'twas  not  without  cause ; 
It  was  the  young  hatter  who  pled  the  great  pause.^ 

Toodle  li  day,  li  toodle  li  doodle 

Li  doodle  li  doodle  li  doodle  li  day. 

2  Old  dyer  came  home  with  his  neighbor  that  night. 
He  swore  by  the  way  he'd  show  them  a  sight, 
He'd  show  them  a  sight,  he  swore  by  the  way, 
He'd  kept  him  locked  up  in  the  cupboard  all  day, 

3  And  this  young  wife  got  in  a  sad  pout. 
She  tried  almost  every  key  in  the  house ; 

At  last  she  found  one  that  would  unlock  the  door. 
She  gave  the  young  hatter  his  freedom  once  more. 

4  Old  dyer  stepped  up,  so  bold  and  so  stout ; 

He  opened  the  door  and  the  doggie  jumped  out. 
To  save  her  own  credit  and  hide  her  disgrace 
She  locked  the  great  master  dog  up  in  his  place. 

5  Says  this  young  wife,  'You've  pled  a  great  strife. 
You've  pled  a  great  strife  on  your  loving  wife. 
If  you'll  do  so  no  more  I'll  pardon  you  for  this.* 
And  the  old  fool  embraced  her  with  a  sweet  kiss. 


i8o 
Father  Grumble 

This  is  perhaps  the  best  title  for  those  versions  of  the  story  of 
the  farmer  turned  housewife  that  are  traditional  in  this  country. 
For  the  history  of  the  story  in  ballad  print,  se»  Kittredge's  note  in 
JAFL  XXVI  364-5 ;  for  its  appearance  as  traditional  song,  see  BSM 
225,  and  add  to  the  references  there  given  Massachusetts  (FSONE 
248-50),  Virginia  (FSV  162-3),  Arkansas  (OFS  i  321-3),  Mis- 
souri (OFS  I  318-20),  Ohio  (BSO  135-6),  and  Michigan  (BSSM 
415-16).  St.  John  Honeywood  of  Massachusetts  about  a  hundred 
and  fifty  years  ago  dressed  it  up  as  'Darby  and  Joan,'  and  his 
version  has  achieved  something  like  traditional  currency;  at  least, 
a  text  clearly  enough  derived  from  it  is  one  of  the  items  in  our 
North  Carolina  collection. 

^  The  Vermont  text  makes  this  intelligible :  "It  was  the  young  hatter 
that  gave  him  the  cause."  The  manuscript  has  'hater'  for  'hatter' 
throughout.     The  refrain  is  repeated  after  each  stanza. 


446  NORTH     CAROLINA     FOLKLORE 

A 

'Darby  and  Joan.'  Reported  by  Miss  Amy  Henderson  of  Worry,  Burke 
county.  This  is  clearly  Honeywood's  piece,  though  it  has  suffered  some 
slight  losses  in  its  descent  through  the  memory  of  singers.  It  is  in 
couplets  of  four-stress  lines,  the  favorite  verse  form  of  eighteenth-century 
tales  and  apologues. 

When  Darby  saw  the  setting  sun, 

He  swung  his  scythe  and  home  he  run ; 

Sat  down,  drank  off  his  pint,  and  said, 

'My  work  is  done ;  I'll  go  to  bed.' 

'  "My  work  is  done,"  '  retorted  Joan, 

'  "My  work  is  done"  your  constant  tone ; 

But  helpless  woman  ne'er  can  say 

"My  work  is  done"  till  judgment  day.' 

Here  Darby  hemmed  and  scratched  his  head 

To  answer  what  his  Joan  had  said. 

But  all  in  vain ;  her  clack  went  on. 

'Yes,  woman's  work  is  never  done.' 

At  early  dawn,  ere  Phoebus  rose, 

Old  Joan  resumed  her  tale  of  woes, 

When  Darby  said:  'I'll  end  the  strife. 

Be  you  the  man  and  I  the  wife. 

Take  you  the  scythe  and  mow,  while  I 

Will  all  your  boasted  cares  supply,' 

'Content,'  quoth  Joan ;  'give  me  thy  flint.' 

This  Darby  did,  and  out  she  went. 

Darby  arose  and  seized  the  broom 

And  whirled  the  dirt  about  the  room. 

Which  having  done,  he  scarce  knew  how, 

He  tried  to  milk  the  brindle  cow ; 

The  brindle  cow  whisked  round  her  tail 

In  Darby's  eyes,  and  kicked  the  pail. 

The  clown,  perplexed  with  grief  and  pain. 

Swore  he'd  ne'er  try  to  milk  again. 

When,  turning  round  in  sad  amaze, 

He  saw  his  cottage  in  a  blaze ; 

For,  as  he  chanced  to  brush  the  room 

In  careless  haste,  he  fired  the  broom. 

The  fire  at  last  subdued,  he  swore 

The  broom  and  he  should  meet  no  more. 

Pressed  by  misfortune  and  perplexed. 

Darby  prepared  for  breakfast  next ; 

But  what  to  get  he  scarcely  knew ; 

The  bread  was  spent,  the  butter  too. 

His  hands  bedaubed  with  paste  and  flour 

Old  Darby  laboured  full  an  hour, 

But,  hapless  wight,  he  could  not  make 


OLDER     BALLADS MOSTLY     BRITISH  447 

The  bread  take  form  of  loaf  or  cake. 

As  every  door  wide  open  stood 

In  came  the  sow  in  quest  of  food 

And,  stunibHng  onward,  with  her  snout 

Overset  the  churn  ;  the  cream  ran  out. 

As  Darby  turned  the  sow  to  beat 

The  sHppery  cream  betrayed  his  feet ; 

He  caught  the  bread  trough  in  his  fall 

And  down  came  Darby,  trough  and  all. 

The  children,  wakened  by  the  clatter, 

Start  up  and  cry,  'La.  what's  the  matter?' 

Old  Jowler  barked,  the  tabby  mewed, 

And  hapless  Darby  brawled  aloud : 

'Return,  my  Joan,  as  heretofore ; 

I'll  play  the  housewife's  part  no  more. 

Since  now,  by  sad  experience  taught. 

Compared  to  thine  my  work  is  naught. 

Henceforth  as  business  calls  I'll  take, 

Content,  the  plough,  the  scythe,  the  rake. 

And  never  will  transgress  the  line 

Our  fates  have  marked,  while  thou  art  mine. 

I'll  vex  thy  honest  soul  no  more 

By  scolding  as  I've  done  before. 

Let  each  our  proper  task  attend, 

Forgive  the  past,  and  try  to  mend.' 


'Old  Summerfield.'  This  text  also  was  secured  by  Miss  Henderson.  It 
■differs  from  A  (as  do  also  the  other  versions  following),  being  in  the 
tradition  of  other  texts  secured  in  America,  which  go  back  apparently 
to  the  Scottish  form  'John  Grumlie.' 

1  Old  Summerfield  swore  by  the  sun  and  the  moon 
And  the  green  leaves  on  the  tree 

That  he  could  do  more  work  in  one  day 
Than  his  wife  could  do  in  three. 

2  'Be  it  so,'  the  old  woman  said, 
'But  that  I'll  not  allow. 

You  can  stay  in  the  house  today 
And  I'll  go  follow  the  plow. 

3  'You  must  milk  the  Teeny  cow. 
For  fear  she  does  go  dry ; 

And  you  must  feed  the  little  pigs 
That  are  within  the  sty. 

4  'You  must  watch  the  speckled  hen, 
For  fear  she  lays  astray ; 

And  you  must  wind  the  bobbin  of  thread 
That  I  spun  yesterday.' 


448  NORTH     CAROLINA     FOLKLORE 

5  The  old  woman  took  her  staff  in  her  hand 
To  go  and  follow  the  plow. 

The  old  man  took  the  pail  in  his  hand 
To  milk  the  Teeny  cow. 

6  Tenny  inched  and  Teeny  winced 
And  Teeny  curled  her  tail ; 

She  gave  the  old  man  such  a  kick  in  the  face 
It  made  him  drop  his  pail, 

7  *Wosh,  Teeny,  soo,  Teeny, 
My  good  little  cow,  stand  still. 
If  ever 'I  do  milk  you  again 
It'll  be  against  my  will.' 

8  The  old  man  took  the  tray  on  his  head 
To  give  the  pigs  their  hire ; 

The  old  sow  ran  between  his  legs 
And  threw  him  in  the  mire, 

9  The  old  man  watched  the  speckled  hen 
For  fear  she  laid  astray, 

But  forgot  to  wind  the  bobbin  of  thread 
That  his  wife  spun  yesterday. 

10     Old  Summerfield  swore  by  the  sun  and  the  moon 
And  the  green  leaves  on  the  tree 
That  his  wife  could  do  more  work  in  one  day 
Than  he  could  do  in  three. 


No  title.  Communicated  by  Mamie  Mansfield,  a  Trinity  College  stu- 
dent; date  not  noted.  Essentially  the  same  text  as  B;  but  Tenny  jumped 
and  ran  round  the  hill  instead  of  kicking  the  old  man  in  the  face,  and 
when  the  sow  ran  under  him  she  "kicked  him  up  sky-high"  instead  of 
throwing  him  into  the  mire. 


'Old  Summa.'    From  Miss  Carrie  Strope.    Only  a  four-stanza  fragment, 
agreeing  so  far  as  it  goes  with  B. 


181 
Johnny  Sands 

For  the  currency  of  this  bit  of  domestic  satire  on  both  sides  of 
the  water  and  in  print  as  well  as  in  tradition,  see  BSM  237  and 
add  to  the  references  there  given  Virginia  (FSV  165),  Florida 
(FSF  368-70),  Missouri  (OFS  iv  246-7),  Ohio  (BSO  89-90), 
Indiana  (BSI  262-3),  and  Illinois  (JAFL  lx  204).    It  is  listed  also 


OLDER     BALLADS  —  MOSTLY     BRITISH  449 

as  found  in  Michigan  (BSSM  480),  but  the  text  is  not  given.  The 
texts  do  not  vary  greatly  from  place  to  place,  probably  because 
they  all  derive  by  no  great  number  of  stages  from  print.  Accord- 
ingly not  all  the  North  Carolina  texts  are  given  in  full. 


•Johnny  Vands.'     Submitted  by  Mrs.  Donald  MacRea  in  1917  as  given 
her  by  Betty  Coffey  of  Avery  county. 

1  Johnny  Vands  he  married  a  wife, 
Whose  name  was  Becky  Hays. 
Altho  she  was  a  scolding  wife 
She  brought  him  house  and  lands. 

2  One  day  said  he,  'I  tire  of  life.' 
Said  she.  'I  tire  of  you.' 

'I'll  drown  myself  at  Carts,'  said  he. 
'I'll  help  you  all  I  can,'  said  she. 

3  Then  hand  in  hand  they  went 
Down  by  the  water  side. 

'Twas  his  intent  to  drown  himself, 
It  cannot  I)€  denied. 

4  'So  tie  my  hands  behind  my  back. 
Be  sure  I  cannot  swim.' 

She  tied  his  hands  behind  his  back, 
And  'twas  securely  done. 
'Stand  you  here  upon  the  bank 
While  I  prepare  to  run.' 

5  She  came  running  down  the  hill 
With  all  her  force  to  push  him  in. 

He  stepped  aside 

And  she  went  in,  of  course. 

6  All  in  the  deep  he  heard  her  say 
*Oh  help  me  out,  my  sugar  Jack.' 
'I  can't,'  said  he,  'for  you  have  tied 
My  hands  behind  my  back.' 


'Johnny  Sands.'  A  clipping  supplied  by  Professor  White  from  the  Neio 
York  Times  Book  Revieiv  for  October  3,  1920,  with  the  notation  :  'This 
text  is  exactly  as  I  learned  it  long  ago  from  a  book."  Four  eight-line 
stanzas,  with  the  tune.  The  actors  here  are  Johnny  Sands  and  Betty 
Hague. 

C 

'Johnny  Sands.'  From  Miss  Mary  Morrow  of  Greensboro,  Guilford 
county,  in  1928.  Six  stanzas.  The  wife's  name  here  is  Betty  Spray. 
The  last  stanza  has  a  touch  of  the  picturesque: 


450  NORTH     CAROLINA     FOLKLORE 

Then  splashing,  dashing,  Hke  a  fish, 
*0,  save  me,  Johnny  Sands !' 
*I  can't,  my  dear,  though  much  I  wish, 
For  you  have  tied  my  hands.' 

When  Professor  White  made  a  record  of  this  he  used,  he  says,  a 
slightly  different  text  in  that  the  last  line  of  each  stanza  is  three  times 
repeated. 


•Johnny    Sams.'      From    James    York    of    Iredell    county,    1939.      Seven 
stanzas,  of  which  the  last  is  Johnny's  jeer: 

'Float  on,  float  on,  my  tender  bride, 
Away  to  some  foreign  land; 
And  when  you  get  to  the  land  of  rest 
Please  write  for  Johnny  Sams.' 

182 
The  Old  Woman's  Blind  Husband 

This  is  an  alternative  form  of  the  Johnny  Sands  story,  in  which 
the  wife  blinds  her  husband  instead  of  tying  his  hands.  It  goes  by 
various  names  :  in  Scotland  it  is  called  'The  Wily  Auld  Carle'  or  'The 
Wife  of  Kelso,'  in  Maine  'The  Old  Woman  of  Dover,'  in  Kentucky 
'The  Old  Woman  of  London,'  in  Ohio  'The  Old  Woman  of  Slapsa- 
dam.'  See  BSM  237,  and  add  to  the  references  there  given  Maine 
(FSONE  255-8),  Virginia  (SharpK  i  349,  FSV  164-5),  North 
Carolina  (SharpK  i  238-349,  FSRA  79-80),  Arkansas  (OFS  iv 
248-9),  Missouri  (Hoosier  Folklore  v  34),  Ohio  (JAFL  xl  40-1, 
BSO  90-1),  and  Indiana  (Leah  J.  Wolford's  The  Play-Party  in 
Indiana  93).  In  Ohio  and  Indiana  it  is  a  play-party  song.  There 
is  among  the  manuscripts  of  our  collection  a  single  stanza  of  the 
A  version  with  no  name  attached  but  probably  from  H.  C.  Martin 
of  Lenoir,  written  out  with  the  tune. 

A 
The  Old  Woman's   Blind  Husband.'     Contributed  by  J.  W.   Brady  of 
Durham.    With  the  tune,  as  sung  by  Mrs.  O.  D.  Barnett  of  Durham  in 
1921. 

1  There  was  an  old  woman  in  our  town, 
In  our  town  did  dwell. 

She  loved  her  dearest  husband 
But  another  man  twice  as  well. 

Chorus: 

Oh  sing  tid-e-ree-um,  tid-e-ree-um, 
mac-falu-falai. 

2  She  went  down  to  the  doctor's  shop 
To  see  what  she  could  find. 


OLDER     BALLADS  —  MOSTLY     BRITISH  45I 

To  see  if  she  could  find  anything 
To  make  her  old  man  blind. 

3  She  found  six  dozen  old  beef  bones 
And  made  him  chew  them  all. 

He  says,  'Old  woman,  I  am  so  blind 
I  can't  see  you  at  all.' 

4  He  says,  'Old  woman,  I'd  drown  myself 
If  I  could  only  see.' 

She  says,  'My  dearest  husband, 
I'll  go  show  you  the  way.' 

5  She  took  him  by  the  hand 
And  led  him  to  the  brim. 

He  says,  'Old  woman,  I'll  drown  myself 
If  you  will  push  me  in.' 

6  The  old  woman  stepped  a  little  one  side 
To  give  a  rounding  spring; 

The  old  man  stepped  a  little  one  side. 
And  she  went  a-bouncing  in. 

7  Then  she  bawled  out,  she  squalled  out 
As  loud  as  she  could  bawl. 

He  says,  'Old  woman,  I  am  so  blind 
I  can't  see  you  at  all.' 

8  The  old  man  being  goodnatured 
And  thought  that  she  might  swim 
He  goes  and  gets  a  good  long  pole 
And  pushed  her  further  in. 


'The   Old  Woman's   Blind   Husband.'     Reported  by  Julian   P.   Boyd  of 
Alliance,  Pamlico  county,  in  1927,  from  James  Tingle,  one  of  his  students. 

1  There  was  a  rich  lady, 

At  Richmond  did  she  dwell. 
She  loved  her  husband  dearly 
But  another  man  twice  as  well. 

Chorus: 

Oh,  sing  dory,  the  ring  ding  dory, 
Oh,  sing  dory,  the  ring  ding  dory,  oh! 

2  She  went  into  a  blacksmith  shop 
To  see  what  she  could  find ; 
Something  rather  special. 

To  make  her  old  man  blind. 


452  NORTH  CAROLINA  FOLKLORE 

3  She  found  three  old  marrow  bones. 
She  told  him  to  eat  them  all. 

And  when  he  ate  the  last  one 
He  could  not  see  at  all. 

4  Her  husband  was  so  down-hearted 
When  he  found  he  could  not  see 
He  said,  'I'll  go  and  drown  myself, 
And  that  will  be  the  last  of  me.' 

5  Then,  going  to  the  water. 
So  sweetly  did  she  sing: 

'The  old  man  is  going  to  drown  himself, 
And  I'll  go  push  him  in.' 

6  But  when  they  got  to  the  water. 
Standing  on  the  brink. 

The  old  man  shoved  her  in 
And  calmly  watched  her  sink. 

7  When  she  struck  the  water 
So  loudly  did  she  squeal 
'Oh,  my  dearest  husband, 

I  cannot  swim  at  all.' 

8  But  he  was  a  man  so  tender-hearted. 
He  saw  she  could  not  swim ; 

He  picked  up  a  little  stick 
And  pushed  her  farther  in. 

9  Now  this  must  end  my  story; 
I  won't  sing  any  more 
About  the  silly  woman 

Who  could  not  swim  ashore. 

183 

The  Dumb  Wife 

Though  this  quip  about  women's  tongues  is  old,  it  is  not  often 
found  in  modern  ballad  collections.  There  is  a  seventeenth-century 
broadside  of  it  in  the  Roxburghe  Ballads  (iv  357-9,  where,  on  the 
preceding  page,  Ebsworth  prints  the  modern  stall-ballad  form  of  it, 
much  the  same  as  our  texts)  and  it  is  found  in  Joyce's  Old  Irish 
Folk  Music  and  Song,  pp.  196-7.  The  Journal  of  the  English 
Folk-Song  Society  does  not  record  it.  Barry  knew  it  (it  is  No.  yy 
in  his  list  of  Folk-Songs  of  the  North  Atlantic  States)  but  does 
not  appear  to  have  printed  it.  Davis  reports  it  from  Virginia 
(FSV  161),  Morris  from  Florida  (FSF  379-8i),  and  Randolph 
from  Missouri    (OFS  iii  119-20).     Brewster  found  it  in  Indiana 


OLDER     BALLADS  —  MOSTLY     BRITISH  453 

(JAFL  LVii  282-3,  SFLQ  v  181-2).  And  these  are  the  only  traces 
of  it  that  I  have  found  in  America.  There  are  two  texts  of  it  in 
the  North  Carolina  collection. 


'The  Dumb  Girl.'     Reported  by  K.   P.  Lewis  of  Durham  as  set  down 
by  Dr.  Kemp  P.  Battle  of  Chapel  Hill  in  1910. 

1  O  ye  that  pass  along !    Come  listen  to  my  song 
Concerning  of  a  youth  that  was  young,  young,  young, 
And  of  a  maiden  fair,  few  with  her  that  could  compare — 
But  alack  and  alas !     She  was  dumb,  dumb,  dumb ! 

2  At  length  this  country  blade  did  wed  this  pretty  maid 
And  proudly  conducted  her  home,  home,  home. 
Thus  in  her  beauty  bright  lay  all  his  chief  delight. 
But  alack  and  alas  !    She  was  dumb,  dumb,  dumb ! 

3  Let   me   make   it   plain   to   you   that   the   work   this   maid 

could  do 
This  a  pattern   ought  to  be  for  maidens  young,  young, 

young. 
Oh,  she  both  day  and  night  in  working  took  delight. 
But  alack  and  alas !    She  was  dumb,  dumb,  dumb  ! 

4  She  could  brew  and  she  could  bake,  she  could  wash  and 

wring  and  shake. 
And   she  could   sweep  the  house  with  a  broom,   broom, 

broom ; 
She  could  knit  and  sew  and  spin  and  do  all  that  kind  of 

thing ; 
But  alack  and  alas !    She  was  dumb,  dumb,  dumb ! 

5  At  length  this  man  did  go  to  a  doctor  skilled  to  know. 
Saying,  'Doctor,  can  you  cure  a  woman  who  is  dumb,  dumb, 

dumb  ?' 
He  replied,  'The  easiest  part  that  belongs  unto  my  heart^ 
Is  the  curing  of  a  woman  who  is  dumb,  dumb,  dumb.' 

6  To  the  doctor  he  did  her  bring,  and  he  cut  her  chattering 

string. 
And  then  he  set  her  tongue  on  the  run.  run,  run. 
In  the  morning  she  did  arise,  and  she  filled  his  house  with 

cries. 
And  she  rattled  in  his  ears  like  a  drum,  drum,  drum. 

7  To  the  doctor  he  did  go  with  his  heart  all  full  of  woe. 
Saying,  'Doctor,  oh,  I  am  undone,  done,  done ; 

She  has  turned  a  scolding  wife,  and  I'm  weary  of  my  life 
If  I  cannot  make  her  hold  her  tongue,  tongue,  tongue.' 

^  So  the  manuscript  reads ;  but  surely  it  is  miswritten,  or  misheard, 
for  "art." 


454  NORTH  CAROLINA  FOLKLORE 

8  But  the  doctor  then  did  say,  'When  from  me  she  went 

away 
She  was  perfectly  cured  of  her  dumb,  dumb,  dumb ; 
But  it  is  beyond  the  art  of  man,  let  him  do  whate'er  he  can, 
To  make  a  scolding  wife  hold  her  tongue,  tongue  tongue.' 

9  I  heard  the  doctor  say,  before  he  went  away, 
'The  oil  of  hickory  is  strong,  strong,  strong. 

Just  anoint  her  body  round  until  the  rooms  begin  to  sound ; 
It  may  make  a  scolding   wife  hold   her  tongue,   tongue, 
tongue.' 


'The  Bonnie  Blade.'  From  the  singing  of  Mrs.  N.  T.  Byers  of  Durham 
in  1921.  J.  E.  Massey  of  Caswell  county  notes  regarding  it:  "The  above 
ballad  was  recited  to  me  by  my  grandfather,  J.  W.  Massey,  Dec.  28, 
1916."    It  is  considerably  shorter  than  Dr.  Battle's  version. 

1  There  was  a  bonnie  blade 
That  married  a  country  maid 

And  safely  conducted  her  home,  home,  home. 

2  She  was  neat  in  every  part 
And  pleased  him  to  the  heart, 

But  hae,  hae,  alas !  she  was  dumb,  dumb,  dumb. 

3  To  the  doctor  he  goes. 
With  his  heart  full  of  woes. 

Saying,  'Doctor,  my  wife  is  dumb,  dumb,  dumb.' 

4  And  the  doctor  he  did  come. 

Cut  loose  the  chattering  string  of  her  tongue, 
And  that  set  her  tongue  at  liberty,  ty,  ty. 

5  She  picked  up  the  broom 

And  began  to  sweep  the  house  (room?) 
And  made  it  rattle  like  a  drum,  drum,  drum. 

6  To  the  doctor  he  goes 
With  his  heart  full  of  woes : 

'I'd  give  anything  again  if  she  was  dumb,  dumb,  dumb.' 


184 
The  Holly  Twig 

So  It  seems  best  to  call  this  old  song,  though  the  phrase  does  not 
occur  in  our  North  Carolina  copies.  In  its  shorter  nursery  rhyme 
form   (Halliwell  29-30)   it  is  familiar.     As  'The  Holly  Twig'  it  is 


OLDER     BALLADS MOSTLY     BRITISH  455 

known  in  Hampshire  (JFSS  iii  315-16,  where  the  notes  shovy  that 
it  is  also  found  in  Baring-Gould's  Songs  of  the  West),  and  it  has 
been  reported  in  this  country  from  Virginia  (SharpK  11  341-3, 
FSV  161,  OSC  134-5),  North  Carolina  (FSRA  77-8),  Georgia 
(FSSH  154-5),  Mississippi  (JAFL  xxix  155-6,  FSM  174-5), 
Missouri  (OFS  in  71-2),  and  Indiana  (SFLQ  v  183-4),  and  as 
sung  by  Negroes  (Talley  145-6). 


'When   I   was  a  Bachelor.'     Obtained   from   Miss   Penelope   Nichols  of 
Durham  county  in  May  1920. 

1  When  I  was  a  bachelor  bold  and  young 
I  courted  a  gal  wMth  a  flattering  tongue ; 

She  said  she  would  have  me,  but  she  didn't  say  when, 
And  the  kisses  I  gave  her  were  a  hundred  and  ten. 

2  So,  Monday  morning  I  married  my  wife, 
Hoping  for  to  spend  a  happy  life 
Fiddling  and  dancing  and  many  fine  ways 
To  see  how  merry  we  were  made. 

3  So,  Tuesday  morning  I  carried  her  home. 
'Stead  of  a  wife  she  was  a  scolding  Joan. 
She  tuned  up  a  prattle,  and  she  scolded  more 
Than  I  think  I  ever  heard  in  my  life  before. 

4  So,  Wednesday  morning  I  went  to  the  wood, 
Hoping  that  she  would  prove  good. 

I  cut  me  a  hickory,  'twas  of  the  willow  green, 

And  I  think  it  was  the  keenest  that  I  ever  have  seen. 

5  So,  Thursday  morning  I  whipped  her  well. 
Whipped  her  more  than  tongue  could  tell ; 
Told  her  if  she  didn't  prove  better  to  be 

The  devils  might  come  and  take  her  'way  from  me. 

6  So,  Friday  morning  at  break  of  day 
Sleeping  old  Jonah  on  the  pillow  lay ; 

The  buggars  and  the  ruggars  and  the  little  devils  came 
And  carried  her  away  in  a  shower  of  rain. 

7  So,  Saturday  morning  I  was  left  all  alone. 
Neither  a  wife  nor  a  scolding  Joan. 

My  biggest  bottle  was  my  best  friend, 
And  my  week's  work  was  at  an  end. 

B 

'Monday  Morning  I  Got   Me  a   Wife.'     Contributed  by  Miss  Eliza  A. 
Pool  of  Raleigh.     Substantially  the  same  as  A  except  that  it  lacks  the 


456  NORTH     CAROLINA     FOLKLORE 

first  Stanza;  but  the  minor  variations  of  language  are  interesting  as 
showing  how  texts  change  in  oral  tradition.  In  this  version  the  last 
line  of  each  stanza  is  repeated  by  way  of  a  refrain. 

1  Monday  morning  I  got  me  a  wife, 
Hoping  to  spend  a  happy,  happy  life. 

Music  and  dancing  and  all  things  were  played. 
To  think  how  happy  I  was  made! 

2  Tuesday  morning  I  brought  her  home, 
Instead  of  a  wife  a  scolding  Joan. 

She  rattled  up  her  clapper  and  scolded  more 
Than  ever  I  had  heard  in  my  life  before. 

3  Wednesday  morning  I  took  her  to  the  wood. 
Hoping  there  she  might  prove  good ; 

I  cut  a  switch  from  the  willow,  willow  green, 
I  think  it  was  as  keen  a  one  as  ever  I  had  seen. 

4  Thursday  morning  I  whipped  her  well, 

I  whipped  her  more  than  tongue  can  tell ; 

I  told  her  if  she  didn't  better  be 

Old  Harry  would  come  and  take  her  from  me. 

5  Friday  morning  at  break  of  day, 
As  on  her  pillow  she  scolding  lay. 
Goblins  and  furies  and  little  devils  came 
And  took  her  ofT  in  a  shower  of  rain. 

6  Saturday  morning  I  breakfasted  alone 
Without  my  wife  or  scolding  Joan. 

My  very  biggest  bottle  was  my  very  best  friend, 
And  so  it  must  be  to  the  end. 

185 

Nobody  Coming  to  Marry  Me 

The  marriageable  girl's  impatience  over  the  lack  of  wooers  is 
the  theme  of  divers  songs.  This  particular  development  of  the 
theme  was  probably  originally  a  stage  song.  Kittredge  in  a  bib- 
liographical note  on  a  two-line  fragment  of  it  reported  by  Tolman 
as  remembered  in  Ohio  in  1835  (JAFL  xxix  187)  lists  various 
garland  and  songbook  prints  of  it  both  English  and  American,  one 
of  them  as  sung  in  New  York  in  181 1  by  Mrs.  Poe — mother  of  the 
poet,  who  was  something  of  a  stage  favorite  at  the  time. 

'My  Father's  a  Hedger  and  Ditcher.'  Contributed  by  Mrs.  R.  D.  Black- 
nail  of  Durham  as  one  of  the  songs  she  learned  from  her  mother.  "I 
know  nothing  of  their  origin.  She  sang  them,  to  my  knowledge,  since 
1862,"  says  Mrs.  Blacknall. 


OLDER     BALLADS  —  MOSTLY     BRITISH  457 

1  My  father's  a  hedger  and  ditcher ; 
My  mother  does  nothing  but  spin ; 
And  I  am  a  handsome  young  lassie, 
But  money  comes  slowly  in. 

Chorus: 

And  it's  oh,  dear,  what  will  become  of  me? 
Oh,  dear,  what  shall  I  do? 
There's  nobody  coming  to  marry  me, 
There's  nobody  coming  to  woo. 

2  Last  night  the  dogs  did  bark. 
I  went  to  the  window  to  see. 
Someone  was  going  a-hunting, 
But  no  one  was  hunting  for  me. 

1 86 

Whistle,  Daughter,  Whistle 

The  notes  on  this  in  SharpK  show  that  it  is  well  known  in  the 
old  country;  Newell,  Gam£s  and  Songs  of  Atnerican  Children  96-7, 
gives  it  as  sung  by  children  in  New  York ;  it  is  known  also  in  Vir- 
ginia (SharpK  11  169,  FSV  232),  Kentucky  (SFLQ  vi  257-9), 
North  Carolina  (SHF  24-5),  Florida  (FSF  420),  Arkansas  (OFS 
I  412),  and  Missouri  (OFS  i  410-11).  Another  form  of  the  same 
joke,  'Lazy  Mary,'  is  reported  from  Massachusetts  (FSONE  31-3), 
Arkansas  (OFS  in  121-2),  Indiana  (JAFL  xlix  254-5),  and 
Nebraska  (JAFL  xxviii  273-4).  It  appears  three  times  in  our 
collection,  but  as  the  three  texts  are  identical  only  the  first  is  given. 

A 

'Whistle,  Daughter.'     Contributed  by  Miss  Lucille  Massey  of  Durham. 

1  'Whistle,  daughter,  whistle,  and  I'll  give  you  a  pin.' 
'I  cannot  whistle,  mother,  neither  can  I  spin.' 

2  'Whistle,  daughter,  whistle,  and  I'll  give  you  a  book.' 
'I  cannot  whistle,  mother,  neither  can  I  cook.' 

3  'Whistle,  daughter,  whistle,  and  I'll  give  you  a  sheep.' 
'I  cannot  whistle,  mother,  neither  can  I  sweep.' 

4  'Whistle,  daughter,  whistle,  and  I'll  give  you  a  cow.' 
'I  cannot  whistle,  mother,  indeed  I  don't  know  how.' 

5  'Whistle,  daughter,  whistle,  and  I'll  give  you  a  man.' 
'I  cannot  whistle,  mother,  but  I'll  do  the  best  I  can.' 

{Last  line  whistled) 


'Whistle,  Daughter.'    From  Miss  Lura  Wagoner,  Vox,  Alleghany  county. 
Text  as  in  A. 


458  NORTH     CAROLINA     FOLKLORE 

C 

•Whistle,  Daughter.'  From  Miss  Amy  Henderson,  Worry,  Burke  county, 
in  1914.    Text  as  in  A. 

187 

Hard  of  Hearing 

The  note  on  this  in  SharpK  (where  it  is  reported,  11  252,  from 
North  Carolina)  shows  that  it  is  known  in  Scotland  and  in  Eng- 
land. In  this  country  it  has  not  often  been  reported  by  collectors — 
very  likely  because,  like  many  of  the  Mother  Goose  rhymes,  it  is 
so  familiar.  Texts  have  been  published  from  Arkansas  (OFS  iii 
40)  and  from  Missouri  (BSM  265,  OFS  iii  39),  and  Davis  (FSV 
235)  reports  it  from  Virginia. 

'Old  Woman.'  From  the  manuscripts  of  Obadiah  Johnson  of  Crossnore. 
Avery  county,  who  had  it  from  the  singing  of  Ethel  Burleson  and  Joe 
Powles.  It  is  pure  dialogue  throughout.  Each  line  is  repeated  once, 
so  that  it  runs  in  couplets,  but  this  repetition  is  not  given  in  our  print. 

'Old  w^oman,  old  woman,  are  you  fond  of  smoking?' 
'Speak  a  little  louder,  sir ;  I  am  very  hard  of  hearing,' 
'Old  woman,  old  woman,  are  you  fond  of  quilting?' 
'Speak  a  little  louder,  sir ;  I  am  very  hard  of  hearing.' 
'Old  woman,  old  woman,  are  you  fond  of  courting?' 
'Speak  a  little  louder,  sir;  I've  just  begun  to  hear  you.* 
'Old  woman,  old  woman,  would  you  like  to  marry?' 
'Lock  a  mas  upon  my  soul,^  now  I  think  I  hear  you.* 

188 

The  Three  Rogues 

This  song  is  widely  known  both  in  England  and  in  America.  See 
BSM  268,  and  add  to  the  references  there  given  Maine  (FSONE 
213-14),  Virginia  (FSV  136-7),  North  Carolina  (FSRA  185),  the 
Ozarks  (OFS  i  416),  and  Ohio  (BSO  177-8). 


'In  the  Good  Old  Colony  Times.'  Copied  by  K.  P.  Lewis  from  the 
manuscript  book  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill  in  1914.  "In 
the  singing,"  says  the  manuscript,  "clap  your  paw  on  one  of  your  audi- 
ence."   The  last  lines  of  each  stanza  are  repeated  as  indicated  in  stanza  i. 

I     In  the  good  old  colony  times, 
When  we  were  under  the  king. 
Three  roguish  chaps  fell  into  mishaps 
Because  they  could  not  sing. 
Because  they  could  not  sing, 
Because  they  could  not  sing. 
Three  roguish  chaps  fell  into  mishaps 
Because  they  could  not  sing. 
*  This  is  a  corruption  of  "Lord  have  mercy  upon  my  soul." 


OLDER     BALLADS MOSTLY     BRITISH  459 

2  Now  the  first  he  was  a  miller, 
And  the  second  he  was  a  weaver, 
And  the  third  he  was  a  little  tai-lor — 
Three  roguish  chaps  together, 

3  Now  the  miller  he  stole  corn, 
And  the  weaver  he  stole  yarn, 

And  the  little  tailor  stole  broadcloth 
For  to  keep  the  three  rogues  warm. 

4  The  miller  got  drowned  in  his  pond. 
And  the  weaver  got  hung  in  his  web, 
And  the  little  tai-lor  went  down  below 
With  the  broadcloth  under  his  arm. 

With  the  broadcloth  under  his  arm. 

With  the  broadcloth  under  his  arm. 

And  Satan  clapped  his  claws  on  the  little  tai-lor 

With  the  broadcloth  under  his  arm. 


'Colony  Times.'  Contributed  by  Miss  Eula  Todd  of  Jeflferson,  Ashe 
county,  in  1921.  The  same  as  A  except  that  it  has  "dam"  instead  of 
"pond"  in  the  last  stanza  and  ends : 

But  the  divil  clept  his  claw  on  the  little  tailor 
With  a  broadcloth  under  his  arm. 

c 

The  Three  Rogues.'  From  Mrs.  J.  J.  Miller  (Mrs.  Sutton's  Myra 
Barnett),  Caldwell  county,  in  1921.  Mrs.  Miller  recalled  but  one  stanza, 
as  follows : 

The  first  was  a  miller  and  he  stole  yarn. 
The  second  was  a  weaver  and  he  stole  corn, 
The  third  was  a  tailor  and  he  stole  cloth 
To  keep  those  three  rogues  warm. 

D 
'In  Good  Old  Colony  Times.'     From  Miss  Amy  Henderson  of  Worry, 
Burke  county,  in  1914.     The  same  as  B  except  that  it  does  not  indicate 
the  repetition  by  way  of  refrain. 

189 
Bryan  O'Lynn 

This  bit  of  satire — originally  on  the  Scots,  later  adapted  to  the 
Irish — goes  back  to  the  sixteenth  century,  and  is  known  still  in 
Scotland  and  England  as  well  as  in  America.  See  BSM  501,  and 
add  to  the  references  there  given  Connecticut  (JAFL  liv  83-4). 
Kentucky  (OSC  117-18),  and  Missouri   (OFS  iii  231-2). 


460  NORTH     CAROLINA     FOLKLORE 

'Bryan  O'Lynn.'     Reported  by  K.  P.  Lewis  as  set  down  from  the  sing- 
ing of  Dr.  Kemp  P.  Battle  of  Chapel  Hill  in  1910. 

1  Bryan  O'Lynn  had  no  breeches  to  wear, 

So  he  got  him  a  sheepskin  and  made  him  a  pair 
With  the  skinny  side  out  and  the  woolly  side  in ; 
'They  are  nice,  light,  and  thin,'  said  Bryan  O'Lynn. 

2  Bryan  O'Lynn  had  no  coat  to  put  on, 

So  he  got  him  a  goat  skin  and  made  him  a  one 
And  planted  the  horns  right  under  his  chin ; 
'They'll  take  them  for  pistols,'  said  Bryan  O'Lynn. 

3  Bryan  O'Lynn  had  no  watch  for  to  wear, 

So  he  got  him  a  turnip  and  scooped  it  out  fair ; 
He  planted  a  ticket  close  under  the  skin : 
'They'll  think  it's  a-tickin','  said  Bryan  O'Lynn. 

4  Bryan  O'Lynn  had  to  bring  his  wife  home ; 

He  had  but  one  horse,  and  he  was  all  skin  and  bone. 

'I'll  set  her  before  me  as  neat  as  a  pin. 

And  her  mother  behind  me,'  said  Bryan  O'Lynn. 

5  Bryan  O'Lynn  and  his  wife  and  his  mother 
Were  all  going  over  the  bridge  together. 

The  bridge  it  fell  down  and  they  all  tumbled  in ; 
'We'll  find  ground  at  the  bottom,'  said  Bryan  O'Lynn. 

190 

Three  Jolly  Welshmen 

This  humorous  hunting  song  exists  in  two  traditional  forms ;  see 
BSM  246,  and  add  to  the  references  there  given  Vermont  (NGMS 
127-9),  Massachusetts  (FSONE  290-2),  Virginia  (FSV  198,  208), 
North  Carolina  (FSRA  174-5,  the  "Reynard"  form),  Missouri 
(OFS  I  328),  and  Ohio  (BSO  208-9).  It  goes  back,  as  Barry 
(NGMS  128-9)  has  pointed  out,  to  a  seventeenth-century  broadside, 
'A  Choice  of  Inventions,'  Roxburghe  Ballads  i  104-10.  The  three 
are  not  always  Welshmen;  they  are  likely  to  be  an  Englishman,  a 
Scot,  and  an  Irishman;  but  even  in  the  Roxburghe  ballad  they  go 
a-hunting  on  St.  David's  day.  Of  the  five  texts  in  our  collection 
the  first  two  belong  to  the  "jolly  Welshmen"  tradition,  the  other 
three  to  the  "Reynard"  tradition. 


Three  Jolly  Welshmen.'     Contributed  by  E.   G.  Taylor,  unfortunately 
without  indication  of  time  or  place. 

I     Three  jolly  Welshmen,  jolly  men  were  they, 
All  went  a-hunting  on  a  summer's  day. 
Look  a  there  now,  look  a  there. 


OLDER     BALLADS MOSTLY     BRITISH  461 

They  hunted,  whooped,  and  hallooed,  and  the  first  thing 

they  did  find 
Was  a  frog  in  a  spring,  and  that  they  left  behind. 
Look  a  there  now,  look  a  there. 

One  said  it  was  a  frog,  one  said  nay. 

One  said  it  was  a  bluebird  with  its  feathers  washed  away. 

Look  a  there  now,  look  a  there. 

They  hunted,  whooped,  and  hallooed,  and  the  next  thing 

they  did  find 
Was  a  barn  in  a  cornfield,  and  that  they  left  behind. 
Look  a  there  now,  look  a  there. 

One  said  it  was  a  barn,  one  said  nay, 

One  said  it  was  a  church  with  the  steeple  blown  away. 

Look  a  there  now,  look  a  there. 

They  hunted,  whooped,  and  hallooed,  and  the  next  thing 

they  did  find 
Was  an  owl  in  an  ivy  bush,  and  that  they  left  behind. 
Look  a  there  now,  look  a  there. 

One  said  it  was  an  owl,  one  said  nay, 
One  said  the  devil,  and  they  all  ran  away. 
Look  a  there  now,  look  a  there. 


'We  Hunted  and  We  Hollered.'  Contributed  by  Isabel  B.  Busbee  of 
Raleigh,  with  the  notation  that  it  was  sung  by  her  great-aunt,  who  died 
in  1914. 

1  And  we  hunted  and  we  hollered,  and  first  thing  we  did  find 
Was  the  barn  in  the  barnyard,  and  that  we  left  behind. 

Lookee-da ! 

One  said  it  was  a  barn,  and  the  other  said  nay, 
He  said  it  was  a  church  with  the  steeple  blown  away. 
Lookee-'da-ah-ah-ah-ah ! 

2  And  we  hunted  and  we  hollered,  and  the  next  thing  we  did 

find 
Was  the  moon  in  the  elements,  and  that  we  left  behind. 

Lookee-da ! 
One  said  it  was  a  moon,  and  the  other  said  nay, 
He  said  it  was  a  green  cheese  with  one  half  cut  away. 

Lookee-da-ah-ah-ah-ah ! 

3  And  we  hunted  and  we  hollered,  and  the  next  thing  we  did 

find 


462  NORTH     CAROLINA     FOLKLORE 

Was  the  lighthouse  on  Cape  Ann,  and  that  we  left  behind. 

Lookee-da ! 
One  said  it  was  a  lighthouse,  and  the  other  said  nay, 
He  said  it  was  a  sugarloaf  with  the  paper  blown  away. 

Lookee-da-ah-ah-ah-ah ! 

4  And  we  hunted  and  we  hollered,  and  the  next  thing  we  did 

find 
Was  the  frog  in  the  millpond,  and  that  we  left  behind. 

Lookee-da ! 
One  said  it  was  a  frog,  and  the  other  said  nay, 
He  said  it  was  a  canary  with  the  feathers  washed  away. 

Lookee-da-ah-ah-ah-ah ! 

5  And  we  hunted  and  we  hollered,  and  the  last  thing  we  did 

find 
Was  the  owl  in  the  ivy,  and  that  we  left  behind. 

Lookee-da ! 
One  said  it  was  an  owl,  and  the  other  said  nay, 
He  said  it  was  the  devil,  and  we  all  ran  away. 

Lookee-da-ah-ah-ah-ah ! 

c 

'The  Fox  Chase.'  Secured  by  Thomas  Smith  from  Mrs.  Julia  Grogan 
of  Zionville,  Watauga  county,  in  1915.  "She  heard  it  over  thirty  years 
ago."     This  belongs  to  the  "Reynard"  tradition. 

1  The  first  I  saw  was  a  maiden  a-combing  of  her  locks. 
She  said  she  saw  Ben  Reynor  among  the  geese  and  ducks. 

Chorus: 

Tuma  boat  toat  tum  a  ha  la  and  around  the  narrow 

strand 
Rum  a  runtum  his  a  tif  a  tan  trum  tum  a  rainbow  round 
The  bugle  sound  and  through  the  woods  he  ran  and 

very  wild  he  ran. 

2  The  next  I  saw  was  a  teamster  a-driving  of  his  team. 
He  said  he  saw  Ben  Reynor  a-running  up  the  stream. 

3  The  next  I  saw  was  a  hunter  a-hunting  with  his  gun. 
He  said  he  saw  Ben  Reynor  and  shot  him  as  he  run. 

D 

'Come  All  Ye  Jolly  Sportsmen.'  From  a  manuscript  notebook  lent  to 
Dr.  White  in  1943  by  Mrs.  Harold  Glasscock  of  Raleigh.  Most  or  all 
of  her  songs  Mrs.  Glasscock  learned  from  her  parents.  This  text  is  close 
to  that  printed  by  Barry  in  JAFL  xxvii  71-2  as  sung  in  Cambridge. 
Massachusetts,  but  is  incomplete — "all  I  recall." 

T     Come  all  ye  jolly  sportsmen  who  love  to  chase  the  fox, 
Who  love  to  run  poor  redman  among  the  hills  and  rocks. 


OLDER     BALLADS  —  MOSTLY     BRITISH  463 

Chorus: 

Come  a  whoop  whoop  and  a  heighlo  while  on  the  merry 

stream 
Come  a  ran  tan  tan  come  a  ripy  tily  tipy 
And  away  with  a  royal  bow  wow  wow 
Come  a  ruddle  toodle  toodle  and  a  bugle  horn 
Sing  whack  fuh  la  and  \\  de  o 
Through  the  woods  we'll  run,  brave  boys, 
And  through  the  woods  we'll  run. 

2  First  I  met  was  a  farmer  a-plowing  up  his  ground. 

He  said  he  saw  poor  redman  as  he  went  round  and  round. 

3  Next  I  saw  was  a  fair  lady  a-combing  back  her  locks. 
She  said  she  saw  poor  redman  among  the  geese  and  ducks. 

E 
The  Fox  Hunt.'     Collected  by  Julian  P.  Boyd  from  one  of  his  pupils 
at   the   school   in   Alliance,    Pamlico   county.     The   chorus   is   much   the 
same  as  m  D. 

Chorus: 

He  whooped  and  he  whooped  and  he  hollered 
Way  down  by  the  merry  stream. 
Come  rang  tang  tang  come  tip  a  tip  a  tan 
And  away  with  roaring  bow-wow  dogs 
Come  yudle  yudle  yudle  with  the  bugle  horn 
Through  the  woods  we'll  go,  brave  boys, 
Through  the  woods  we'll  go. 

1  First  came  the  blind  man,  as  blind  as  he  could  be, 
He  said  he  saw  the  foxes  climb  up  a  swiggum^  tree. 

Come  rang  tang  tang  etc. 

2  Next  came  the  sailors,  sailing  in  a  boat. 

They  said  they  saw  the  foxes  a-going  on  a  float. 
Come  rang  tang  tang  etc. 

191 
The  Good  Old  Man 

Known  in  Virginia  (FSV  164),  Kentucky  (SharpK  11  338-0 
OSC  128-9),  the  Ozarks  (OPS  iii  171-4),  and  Illinois  (SFLQ  11 
155-6,  from  Virgmia);  also  in  Wales;  see  note  on  it  in  SharpK. 

A 
[Good  Old  Man.'     From  Miss  Amy  Henderson,  Worry,   Burke  county, 
m   1914.     The  questions  are  each  repeated  three  times,   as  in  the  first 
stanza;  and  the  old  man's  answers  are  spoken,  not  sung. 
*  For  "sweet-gum." 


464  NORTH  CAROLINA  FOLKLORE 

1  Where  are  you  going,  my  good  old  man? 
Where  are  you  going,  my  good  old  man  r 
Where  are  you  going,  my  good  old  man? 
Best  old  man  in  the  world. 

H  tin  tin'. 

2  What  d'you  want  for  breakfast  ? 

Eggs. 

3  How  many  d'you  want  ? 

4  A  bushel  will  kill  you. 

5  Where  must  I  bury  you 

6  The  pot  will  boil  over. 


A  bushel. 

I  don't  care. 

In  the  chimney  corner. 

I  don't  care. 


'The  Good  Old  Man.'  From  the  manuscripts  of  Obadiah  Johnson  ol 
Crossnore,  Avery  county,  in  1940.  Here  the  repeated  wording  is  a  little 
different,  as  shown  in  the  first  stanza,  here  given  in  full.  The  answers 
doubtless  are  spoken,  as  in  A,  not  sung.  The  sense  of  the  last  stanza  is 
obscure — to  the  editor,  at  least. 

1  Where  are  you  a-going,  my  good  old  man? 
Where  are  you  a-going,  my  honey,  my  love? 
Best  old  soul  in  the  world. 

Going  to  the  store. 

2  What  are  you  going  to  buy  ? 

New  dress. 

3  How  much  will  it  cost? 

Fifty  cents. 

4  Fifty  cents  will  break  you. 

Fix  my  supper,  old  woman. 

5  What  do  you  want  for  your  supper? 

Sack  of  potatoes. 

6  A  sack  will  kill  you. 

IV ant  to  die  anyhow. 

7  Where  do  you  want  to  be  buried  ? 

In  the  chimney  corner. 

8  Ashes  will  fall  on  you. 

Don't  care  if  they  do. 


OLDER     BALLADS MOSTLY     BRITISH  465 

9     V\'hy  do  you  want  to  be  buried  there? 

So  I  can  Jia'nt  you. 

10     A  ha'nt  can't  ha'nt  a  ha'nt,  my  good  old  man. 
A  ha'nt  can't  ha'nt  a  ha'nt,  my  honey,  my  love. 
Meanest  old  devil  in  the  world ! 


192 
The  Burglar  Man 

This  piece  of  music-hall  humor  has  heen  reported  as  traditional 
song,  of  a  sort,  in  Mississippi  (FSM  249-50),  and  the  Archive  of 
American  Folk  Song  has  a  recording  of  it  made  in  Kentucky. 
Otherwise  I  have  not  found  it  reported  as  folk  song. 

'The  Burglar  Man.'    From  the  John  Burch  Biaylock  Collection. 

1  I'll  tell  you  a  story  of  a  burglar  man 
Who  toddled  to  a  robber's  house. 

He  peeped  in  the  window  and  in  he  crept. 
Just  as  quiet  as  a  mouse. 

2  He  was  thinking  of  some  money  to  get. 
While  under  the  bed  he  lay ; 
Burglar  saw  a  sight  that  night 

That  made  his  hair  turn  grey. 

3  About  nine  o'clock  an  old  maid  came  m. 
'I'm  so  tired,'  she  said. 

Glad  to  see  her  home  was  well. 
She  forgot  to  look  under  the  bed. 

4  She  took  out  her  teeth  and  a  big  glass  eye. 
The  hair  ofT  of  her  head ; 

The  burglar  man  had  nineteen  fits 
As  he  came  from  under  the  bed. 

5  From  under  the  bed  this  burglar  came ; 
He  was  a  total  wreck. 

The  old  maid  didn't  holler  at  all 
But  she  grabbed  him  round  the  neck. 

6  She  drew  out  a  revolver. 
Unto  the  burglar  said. 

'Young  man,  you  had  better  marry  me. 
Or  I'll  blow  oflf  the  top  of  your  head.' 

7  She  held  him  by  the  arm  so  tight 
He  had  no  chance  to  scoot ; 

He  looked  up  to  the  old  maid  : 
'Woman,  for  the  Lord's  sake  shoot!' 


466  north    carolina   folklore 

Billy  Grimes  the  Drover 

This  bit  of  social  satire  is  widely  known  in  the  United  States. 
See  BSM  251,  and  add  to  the  references  there  given  Virginia 
(FSV  234),  North  CaroHna  (FSRA  134-5),  Florida  (SFLQ  viii 
190-1),  and  Wisconsin  (JAFL  lii  40-1,  from  Kentucky),  and,  per- 
haps, an  entry  in  Davis's  list  (FSV  178).  It  is  also  listed  as  known 
in  Michigan  (BSSM  477).  In  our  collection  it  exists  in  two  forms: 
a  shorter,  in  which  only  the  mother's  worldliness  is  satirized  (texts 
A  B  C  E  G),  and  a  longer,  in  which  the  drover  turns  upon  the 
girl's  calcuhations.  The  use  in  the  D  text  of  pounds  instead  of 
dollars  suggests  that  the  piece  is  of  British  origin,  not  American 
as  Belden  (BSM  251)  supposed;  but  it  seems  to  be  of  record  only 
in  the  United  States.  That  Grimes  is  sometimes  called  a  rover  in- 
stead of  a  drover  is  probably  due  to  the  singer's  being  unfamiliar 
with  the  old  way  of  conducting  the  cattle  business.  The  texts  are  so 
much  alike  that  only  one  specimen  of  the  short  form  and  one  of  the 
long  are  given  here     There  are  eight  texts  in  the  collection : 

A  'Billy  Grimes.'  From  Miss  Amy  Henderson  of  Worry,  Burke  county, 
in  1914. 

B  'Billy  Grimes.'  From  Miss  Lura  Wagoner's  manuscript  book  of  songs 
compiled  at  Vox,  Alleghany  county,  apparently  in  the  second  decade  of 
this  century. 

C  'Billy  Grimes.'     From  Mrs.  Sutton.    Time  and  place  not  indicated. 

D  'Billy  Grimes,  the  Drover ;  or,  Across  the  Fields  of  Barley.'  Con- 
tributed in  1923  by  Miss  Gertrude  Allen  (later  Mrs.  Vaught)  from 
Taylorsville,  Alexander  county. 

E  'Billy  Grimes.'  Contributed  in  1927  by  Julian  P.  Boyd,  presumably 
from  one  of  his  pupils  in  the  school  at  Alliance,  Pamlico  county. 

F  'Billy  Grimes.'  From  Miss  Susie  Hageman  of  Beach  Creek,  Watauga 
county,  in  1922. 

G  'Billy  Grimes.'  From  Miss  Laura  Matthews  of  Durham.  Two  stanzas 
only. 

H  'Billy  Grimes.'    From  E.  B.  Spivey,  Jr.,  of  Trotville,  Gates  county. 

Mrs.  Sutton's  text  exemplifies  the  shorter  form. 

1  'Tomorrow  morn  I  am  sweet  sixteen,  and  Billy  Grimes,  the 

drover, 
He  pops  the  question  to  me,  maw,  and  wants  to  be  my 

lover. 
He  says  tomorrow  morning,  maw,  he's  coming  here  quite 

early 
To  take  a  pleasant  walk  with  me  across  the  fields  of  barley.' 

2  'You  must  not  go,  my  daughter  dear.     There's  no  more 

use  in  talking. 
You    shall   not   go   with    Billy    Grimes   across    the    fields 
a-walking. 


OLDER     BALLADS MOSTLY     BRITISH  467 

To  think  of  his  presumption,  too,  the  ugly  dirty  drover. 
I  wonder  where  your  pride  has  gone,  to  think  of  such  a 
lover.' 

3  'Old  Grimes  is  dead,  you  know,  my  maw,  and  Billy  is  so 

lonely. 
Besides,  they  say  of  Grimes'  estate  that  Billy  is  the  only 
Surviving  heir  to  all  that's  left,  and  that,  they  say,  is  nearly 
A  good  ten  thousand  dollars,  maw,  and  about  six  hundred 

yearly.' 

4  'My  daughter  dear,  I  did  not  hear  your  last  remark  quite 

clearly. 
For  Billy  is  a  clever  lad  and  no  doubt  loves  you  dearly. 
Remember,  then,  tomorrow  morn  to  be  up  bright  and  early 
To   take  a  pleasant  walk   with  him  across  the   fields  of 

barley.' 
The  longer  version  adds  two  stanzas,  taken  here  from  the  D  text : 

5  'And  when  we're  married,  dear  inama,  we  both  shall  look 

so  neatly. 
I'll  wear  a  thousand  dollar  shawl;  'twill  make  me  look  so 

sweetly. 
This  common  frock  is  getting  old,  and  silks  will  soon  be 

fashion ; 
I'll  turn   his  pockets  inside  out,  and  meet  with  a  short, 

guess  him.'^ 

And  then  the  drover — who  has  been  there  all  along,  perhaps,  or  perhaps 
has  just  dropped  in — speaks  for  himself: 

6  'Not  quite  so  fast,  my  pretty  miss;  don't  try  to  win  the 

drover, 
Who's  traveled  this  whole  country  through  in  search  of  a 

true  lover. 
My  money  ne'er  shall  buy  your  shawl  nor  build  your  castles 

higher. 
Please,  madam,  take  your  daughter  home ;  I  did  it  but  to 

try  her.' 

194 

Grandma's  Advice 

This  old  English  ditty,  still  sung  in  Oxfordshire  (FSUT  74),  is 
widely  known  in  America:  in  Nova  Scotia  (BSSNS  379),  Massa- 
chusetts (FSONE  243-5),  New  York  (SCSM  375),  Virginia  (FSV 

*  F  has  here  "and  meet  with  a  short  guess  him" ;  H  has  "and  count  him 
short  to  guessing."  Shoemaker's  Pennsylvania  text  has  "all  in  a  short 
digression,"  which  is  perhaps  the  right  reading.  These  variant  readings 
point  to  aural  rather  than  visual  transmission. 


468  NORTH     CAROLINA     FOLKLORE 

176),  West  Virginia  (FSS  469),  North  Carolina  (SCSM  374-5)» 
Florida  (FSF  363-4),  Mississippi  (JAFL  xxxix  157-8),  the  Ozarks 
(OFS  I  383-4),  Ohio  (BSO  300-1),  Indiana  (BSI  243),  and  Iowa 
(MAFLS  XXIX  21-2).  It  is  included  in  Mrs.  Richardson's  Ameri- 
can Mountain  Song  and  in  Ford's  Traditional  Music  of  America. 
It  is  sometimes  called  'Little  Johnny  Green,'  from  the  name  of  the 
wooer  that  appears — or  one  of  them.  There  are  four  texts  and  a 
fragment  in  our  Collection,  but  they  are  so  closely  alike  that  it 
seems  sufficient  to  give  one  of  them.    The  texts  are : 

A  'My  Grandma  Lives  on  Yonder  Little  Green.'  From  the  collection 
of  Miss  Elizabeth  Walker  of  Boone,  Watauga  county. 

B  'My  Grandmother  Lived  on  Yonder  Little  Green.'  From  Mrs.  Sut- 
ton, reported  probably  in  the  early  1920s. 

C  'Grandma's  Advice.'  Contributed  by  Jessie  Hauser  of  Forsyth  county 
about  1923. 

D  'My  Grandma's  Advice.'  Secured  by  Jesse  T.  Carpenter  from  the 
manuscript  book  of  Mrs.  Mary  Martin  Copley,  Route  8,  Durham.  The 
opening  stanza  only. 

E  'Grandma's  Advice.'  Contributed  by  M.  K.  Carmichael,  with  the  no- 
tation that  it  was  sung  in  Dillon  county,  South  Carolina,  in  the  latter 
part  of  the  nineteenth  century. 

The  C  text  runs  as  follows : 

1  My  grandma  lives  on  yonder  little  green, 
As  fine  an  old  lady  as  ever  was  seen. 
She  often  cautioned  me  with  care 

Of  all  false  yoimg  men  to  beware. 
Timmy  I  timmy  um  timmy  umpy  ta 
Of  all  false  young  men  to  beware. 

2  'These  false  young  men  they'll  flatter  and  deceive, 
So,  my  love,  you  must  not  believe. 

They'll  flatter  and  they'll  coax  till  you're  in  their  snare, 
Then  away  goes  poor  old  grandma's  care. 
Timmy  I  timmy  um  timmy  umpy  ta 
Away  goes  poor  old  grandma's  care.' 

3  The  first  came  a-courting  was  little  Johnny  Green, 
As  fine  a  little  fellow  as  ever  was  seen ; 

But  the  words  of  my  grandma  rang  in  my  head, 
I  could  not  hear  one  word  that  he  said. 
Timmy  I  timmy  um  timmy  umpy  ta 
I  could  not  hear  one  word  that  he  said. 

4  The  next  came  a-courting  was  young  Ellis  Grove. 
'Twas  then  we  met  with  a  joyous  love. 

With  a  joyous  love,  and  I  couldn't  be  afraid. 
You'd  better  get  married  than  to  be  an  old  maid. 
Timmy  I  timmy  um  timmy  umpy  ta 


OLDER     BALLADS MOSTLY     BRITISH  469 

You'd  better  get  married  than  to  be  an  old  maid. 
More  often  the  conclusion  is  as  in  the  B  text : 

If  the  boys  and  the  girls  had  all  been  afraid 
Grandma  herself  would  have  died  an  old  maid. 


195 

Common  Bill 

This  pleasantly  humorous  song,  presumably  of  English  origin,  is 
reported  from  Leicestershire  (ECS  52-3),  Maine  (FSONE  187-8), 
Virginia  (FSV  176-7,  SCSM  309-10),  Kentucky  (Shearin  29), 
North  Carolina  (SCSM  308-9),  Florida  (FSF  372-3),  Mississippi 
(JAFL  XXVIII  173-4,  XXXIX  158-9,  FSM  173-4),  Arkansas  (OFS 
I  427),  Missouri  (OFS  i  428),  Ohio  (JAFL  xxxv  363-4,  ASb 
62-3,  BSO  160-2),  Indiana  (JAFL  xxix  171),  Michigan  (BSSM 
430-1),  Iowa  (ABS  214-15,  MAFLS  xxix  90),  Nebraska  (Pound 
61),  and  is  included  without  location  in  ABES  325-6.  Kittredge 
(JAFL  xxxv  364)  has  a  note  on  its  appearance  in  songbooks.  The 
texts  in  our  collection  are  so  nearly  alike  that  it  will  not  be  neces- 
sary to  give  them  all. 


'Silly  Bill.'  In  an  anonymous  penciled  manuscript  on  faded  blue  paper 
in  an  old  hand  and  dated  May  26,  i860.  How  it  came  into  the  Collection 
does  not  appear. 

1  Oh,  I'll  tell  you  of  a  fellow, 
Of  a  fellow  I  have  seen, 

Who  is  neither  white  nor  yellow 
But  is  altogether  green. 
His  name  it  is  not  charming 
For  it's  only  common  Bill, 
And  he  urges  me  to  wed  him — 
But  I  hardly  think  I  will. 

Chorus: 

Oh,  Bill !  Silly,  silly  Bill ! 
He  urges  me  to  wed  him 
But  I  hardly  think  I  will. 

2  He  has  told  me  of  a  cottage. 
Of  a  cottage  among  the  trees. 
And  don't  you  think  the  blockhead 
Fell  down  upon  his  knees, 

While  the  tears  the  creature  wasted 
Were  enough  to  turn  a  mill ! 
And  he  urges  me  to  wed  him — 
But  I  hardly  think  I  will. 


470  NORTH     CAROLINA     FOLKLORE 

3  Oh !  he  whispered  of  devotion, 
Of  devotion  pure  and  deep, 
But  it  seemed  so  very  silly 
That  I  almost  fell  asleep. 

And  he  thinks  it  would  be  pleasant. 
As  we  journey  down  the  hill, 
To  go  hand  in  hand  together — 
But  I  hardly  think  I  will. 

4  He  was  here  last  night  to  see  me 
And  he  made  so  long  a  story^ 

I  began  to  think  the  blockhead 
Never  meant  to  go  away. 
At  first  I  learned  to  hate  him. 
And  I  know  I  hate  him  still ; 
Yet  he  urges  me  to  wed  him. 
But  I  hardly  think  I  will. 

5  I  am  sure  I  would  not  choose  him. 
But  the  very  devil  is  in  it, 

For  he  says  if  I  refuse  him 
That  he  could  not  live  a  minute. 
And  you  know  the  Blessed  Bible 
Says  we  must  not  kill. 
So  I  have  thought  the  matter  over 
And  I  rather  think  I  will. 


'Silly  Bill.'  From  the  collection  of  Miss  Isabel  Rawn  (later  Mrs.  T.  L. 
Perry),  contributed  before  1915.  The  matter  is  almost  identical  with 
that  of  A  but  the  order  is  different.  The  first  half  of  stanza  2  is  the 
last  half  of  stanza  3  of  A  and  the  stanza  is  completed  by  repeating  the 
chorus ;  stanza  3  is  stanza  2  of  A ;  and  at  the  end  the  chorus  is  repeated 
with  variation : 

Bill,  Bill,  dearest,  dearest  Bill, 
I've  studied  the  matter  over 
And  I  rather  think  I  will. 

c 

'Silly  Billy.'  From  I.  G.  Greer,  Boone,  Watauga  county,  probably  in 
191 5.  Five  stanzas,  no  chorus.  Does  not  diflfer  significantly  from  the 
preceding  two. 


'Silly  Bill.'  From  the  manuscript  songbook  of  Miss  Lura  Wagoner  of 
Vox,  Alleghany  county,  in  which  it  was  probably  entered  about  1912. 
Does  not  differ  significantly  from  A. 

E 

'Bill.'  Collected  from  James  York  of  Olin,  Iredell  county,  in  1939. 
No  significant  differences  from  other  texts. 

*  Evidently  miswritten  for  "stay." 


OLDER     BALLADS  —  MOSTLY     BRITISH  47I 

196 

Swapping  Songs 

There  are  in  the  Collection  more  than  one  song  on  the  theme  of 
successive  exchanges  at  a  loss.  First  is  that  commonly  called 
simply  'Swapping  Song.'  This  is  found  both  in  Halliwell  (6-8) 
and  Rimbault  (54-6),  and  has  been  reported  from  Connecticut 
(Hoosier  Folklore  Bulletin  iv  56)  and  Tennessee  (ETWVMB 
78-9).  It  is  marked  by  a  refrain,  as  in  our  A  text,  mentioning 
Jack  Straw,  which  is  supposed  to  have  come  down  from  the  four- 
teenth century,  when  one  Jack  Straw  was  the  partner  of  Wat  Tyler 
in  the  rebellion  in  the  days  of  Richard  II.  Another  is  'The  Foolish 
Boy,'  in  which  the  old  nursery  rhyme  'When  I  was  a  little  boy  I 
lived  by  myself  is  extended  with  a  series  of  unprofitable  exchanges. 
This  has  been  reported  from  Indiana  (Hoosier  Folklore  Bulletin  iv 
87-8).  The  nursery  rhyme  without  the  swapping  is  separately  con- 
sidered under  another  caption.  Then  there  is  a  quite  distinct  song 
in  which  a  girl  tells  how  her  father  is  going  to  buy  her  a  mocking- 
bird, a  ring,  a  looking  glass,  a  billy  goat,  and  so  on.  And  there 
is  still  another,  a  fragment  perhaps,  that  seems  not  to  belong  to  any 
of  these. 


'Swapping  Song.'     From  W.  Amos  Abrams  of  Boone,  Watauga  county. 
Date  and  provenience  not  given. 

1  My  father  died,  but  I  don't  know  how, 
He  left  a  horse  to  hitch  to  the  plow. 

Refrain: 

To  my  wing  wong  waddle, 
To  my  Jack  straw  straddle, 
To  my  John  far  faddle. 
To  my  long  ways  home. 

2  I  swapped  my  horse  and  got  a  cow, 
And  in  that  trade  I  just  learned  how. 

3  I  swapped  my  cow  and  got  me  a  calf, 
And  in  that  trade  I  just  lost  half. 

4  I  swapped  my  calf  and  got  me  a  goat, 
Rode  to  election  and  sold  my  vote. 

5  I  swapped  my  goat  and  got  me  a  pig ; 

The  piggy  was  so  little  and  he  never  growed  big. 

6  I  swapped  my  pig  and  got  me  a  hen 
To  lay  me  an  egg  every  now  and  then. 


472  NORTH  CAROLINA  FOLKLORE 

7  I  swapped  my  hen  and  got  me  a  cat; 
The  pretty  Httle  thing  by  the  chimney  sat. 

8  I  swapped  my  cat  and  got  me  a  mouse ; 

His  tail  caught  a-fire  and  he  burned  down  the  house. 

9  I  swapped  my  mouse  and  got  me  a  mole ; 
The  dad-burned  thing  went  straight  to  his  hole. 


'I  Swapped  My  Horse  and  Got  Me  a  Mare.'  Reported  by  Mrs.  Sutton 
from  the  singing  of  a  man  named  Huskins  in  Mitchell  county.  "The 
mountain  children,  familiar  with  this  song,  find  the  basic  truth  in  it  and 
enjoy  it  a  great  deal.  Mr.  Huskins  said  his  'younguns  druther  hear  hit 
than  ary  nother  song  he  knowed.'  "  Note  that  the  refrain  is  really  that 
of  A  though  it  has  lost  the  Jack  Straw  memory. 

1  I  swapped  my  horse  and  got  me  a  mare, 
And  then  I  rode  to  the  county  fair. 

Refrain: 

And  a  whang  dang  a  foddle  all  day,  all  day, 
And  a  whang  dang  a  foddle  all  day. 

2  I  swapped  my  mare  and  got  me  a  cow, 
And  in  that  trade  I  learned  just  how. 

3  I  swapped  my  cow  and  got  me  a  calf. 
And  in  that  trade  I  lost  just  half. 

4  I  swapped  my  calf  and  got  me  a  sheep, 
And  then  I  cried  myself  to  sleep. 

5  I  swapped  my  sheep  and  got  me  a  hen ; 

She  ain't  laid  an  egg  since  Lord  knows  when. 

6  I  swapped  my  hen  and  got  me  a  cat ; 
She  put  her  kitten  in  Dad's  old  hat. 

7  I  swapped  my  cat  and  got  me  a  mouse ; 

His  tail  cotch  a-fire  and  burnt  down  the  house. 


I  swapped  my  mouse  and  got  me  a  mole ; 
The  dog-gone  thing  run  right  to  his  hole. 


No  title.  From  Miss  Gertrude  Allen  (afterwards  Mrs.  Vaught),  Tay- 
lorsville,  Alexander  county.  This  seems  to  belong  neither  to  the  tradition 
of  The  Swapping  Song'  as  given  above  nor  to  The  Foolish  Boy.' 
Negroes  know  it  in  Alabama  (ANFS  195). 


OLDER     BALLADS MOSTLY     BRITISH  473 

Paid  five  dollars  for  an  old  gray  horse. 
Horse  wouldn't  pull  and  I  sold  it  for  a  bull. 
Bull  wouldn't  holler  and  I  sold  it  for  a  dollar. 
Dollar  wouldn't  pass,  so  I  throwed  it  in  the  grass. 
Yonder  comes  a  yaller  gal  walking  mighty  fast. 

'The  Foolish  Boy'  is  simply  the  'Swapping  Song'  appended  to  the 
nursery  rhyme  about  the  little  boy  who  tried  to  bring  his  wife  home 
in  a  wheelbarrow,  for  which  see  no.  131  in  Vol.  III.  The  combina- 
tion is  fairly  familiar  in  the  South:  West  Virginia  (FSmWV  48- 
50),  Kentucky  (SharpK  11  307-9,  TKMS  10-3,  JAFL  xxvi  143-4), 
with  some  form  of  the  refrain  already  exemplified  in  A,  and  without 
precise  location  in  the  southern  Appalachians  (AMS  48-9),  with  a 
quite  different  refrain,  the  same  as  that  used  in  the  nursery  song 
'Poor  Little  Lamb  Cries  "Mammy." '  Reported  also  from  Ohio 
(BSO  215-16)  with  the  'Swapping  Song'  refrain.  It  occurs  but 
once  in  the  North  Carolina  collection,  and  without  refrain. 


'When  I  Was  a  Little  Boy '  Reported,  probably  by  W.  Amos  Abrams, 
as  "given  to  me  on  September  29,  1939,  by  Louise  Hutchins,  who 
learned  it  from  her  classmates  in  school  at  White  Plains."  White 
Plains  is  in  Surry  county. 

1  When  I  was  a  little  boy  I  lived  by  myself. 

All  the  bread  and  meat  I  got  I  laid  it  on  the  shelf. 

2  The  rats  and  the  mice  led  me  such  a  life 

I  had  to  go  to  London  to  buy  me  a  wife. 

3  The  roads  were  muddy  and  the  streets  were  narrow ; 
I  had  to  bring  her  home  in  an  old  wheelbarrow. 

4  The  wheelbarrow  broke  and  wife  caught  a  fall. 
Down  went  the  wheelbarrow,  wife  and  all. 

5  I  sold  my  wife  and  bought  me  a  cow; 
In  that  trade  I  learned  how. 

6  I  sold  my  cow  and  bought  me  a  calf; 
In  that  trade  I  lost  half. 

7  I  sold  my  cow  and  bought  me  a  cat ; 
In  that  trade  I  got  me  a  hat. 

8  I  sold  my  cat  and  bought  me  a  mouse ; 
The  darned  little  devil  set  fire  to  my  house. 

'Papa's  Going  to  Buy  Me  a  Mockingbird'  has  no  connection  with 
the  'Swapping  Song'  or  'The  Foolish  Boy'  except  that  it  recounts 
a  similar  series  of  nonsensical  exchanges.  From  the  temper  of  it 
one  suspects  an  origin  on  the  vaudeville  stage;  but  Dr.  White  notes 
on  Knox's  copy  that  he  knew  it  as  a  nursery  song  in  his  childhood. 
It  has  been  reported  also  from  Virginia  (SharpK  11  342)  and 
Arkansas  (OFS  iii  51). 


474 


NORTH  CAROLINA  FOLKLORE 


'Sister,  Sister,  Have  You  Heard?'     Obtained  from  Carl  G.  Knox,  stu- 
dent at  Trinity  College  1922-24.    Goes  to  the  tune  of  'Mr.  Bullfrog.' 

1  Sister,  sister,  have  you  heard? 
Papa's  goin'  a  buy  me  a  mocking  bird. 

2  If  that  mocking  bird  won't  sing, 
Papa's  goin'  a  buy  me  a  diamond  ring. 

3  If  that  diamond  ring  turns  brass, 
Papa's  goin'  a  buy  me  a  looking-glass. 

4  If  that  looking-glass  gets  broke. 
Papa's  goin'  a  buy  me  a  billy  goat. 

5  If  that  billy  goat  won't  pull, 
Papa's  goin'  a  buy  me  a  Jersey  bull. 

6  If  that  Jersey  bull  won't  bellow, 

Papa's  goin'  a  buy  me  a  brand  new  fellow. 

7  If  that  brand  new  fellow  won't  work, 
Papa's  goin'  a  buy  me  a  woolen  shirt. 

8  If  that  woolen  shirt  won't  fit, 
Papa's  goin'  a  have  a  fit,  fit,  fit. 


'Mama,  Mama,  Have  You  Heard?'  From  Miss  Florence  Coleman  of 
Durham  in  1922.  The  first  four  couplets  as  in  E  except  for  "mama" 
instead  of  "sister"  in  the  opening  line;  the  last  two  couplets  are: 

5  If  that  billy  goat  runs  away, 

Papa's  going  to  buy  me  a  load  of  hay ; 

6  If  that  load  of  hay  gets  wet. 

Papa's  going  to  woop  my  back,  I  bet. 

197 
Dog  and  Gun 

Often  called  'The  Golden  Glove,'  but  the  title  here  used  serves  to 
keep  it  from  confusion  with  the  very  different  story  of  the  glove 
thrown  into  the  lions'  den,  for  which  see  no.  89,  above.  The  song  is 
widely  known  and  sung  in  Great  Britain  and  in  America,  with  no 
great  variation  in  the  text.  See  BSM  229,  and  add  to  the  ref- 
erences there  given  Virginia  (FSV  38-9),  Kentucky  (SFLQ  11 
149-51),  North  Carolina  (FSRA  106-7),  Missouri  (OFS  i  308-10), 
Indiana  (HFLB  iii  7-8),  Ohio  (BSD  173-5).  Illinois  (JAFL  lx 
228-9),  Michigan  (BSSM  195-7),  and  Wisconsin  (JAFL  lii  36). 


OLDER     BALLADS  —  MOSTLY     BRITISH 


475 


The  Golden  Glove.'     Contributed  by  Mrs.  Charles   K.  Tillett  of  Wan- 
chese,  Roanoke  Island,  in  1923. 

1  There  was  a  young  squire  in  Plymouth  did  dwell, 

He  loved  an  old  man's  daughter,  he  loved  her  full  well. 
The  day  was  appointed,  the  wedding  was  to  be, 
The  squire  he  was  chosen  to  take  her  away. 

2  Instead  of  going  to  the  wedding,  this  lady  went  to  bed. 
The  thought  of  her  farmer  ran  swiftly  through  her  iiead 
With  waistcoat  and  breeches  this  lady  she  put  on 

And  olT  went  a-hunting  with  her  dog  and  her  gun. 

3  She  hunted  around  where  the  farmer  he  did  dwell. 

It  ran  through  her  mind  that  she  loved  him  full  well 

Often  did  she  fire,  but  nothing  did  she  kill. 

At  last  the  brisk  young  farmer  came  out  in  his  field. 

4  'Why  aren't  you  to  the  wedding'  the  lady  she  replied. 
To  wait  upon  the  squire  and  give  to  him  his  bride  ?' ' 
'Oh  no,'  said  the  farmer,  'the  truth  to  you  I'll  tell, 

I  love  that  young  lady— I  love  her  too  well.' 

5  This  pleased  the  young  lady  to  hear  him  speak  so  bold. 
She  paid  a  very  good  attention  and  lost  her  glove  of  gold 
And  said,  'The  one  that  will  find  it  and  bring  it  unto  me 
Is  the  one  I'll  marry,  is  the  bride  I'll  be.'^ 

6  As  soon  as  the  farmer  this  news  he  did  know 
Straight  to  the  lady,  right  straight  to  her  he  goes, 
Saymg,  'Honor  me,  fair  lady,  for  I've  found  your  glove. 
And  won't  you  be  as  kind  as  to  grant  me  your  love  ^' " 

7  'It's  already  granted,'  the  lady  she  replied, 

'And  I  love  the  breath  of  the  farmer  as  he  goes  riding  bv. 
I'll  be  mistress  of  my  dairy,  the  milker  of  my  cow, 
While  Charlie  the  brisk  young  farmer  goes  whistling  to  his 
plow.' 

8  Now  Polly's  married  she's  telling  of  the  fun. 

How  she  hunted  up  her  farmer  with  her  dog  and  her  gun. 

B 

The  Rich  Esquire.'  Contributed  by  Miss  Jewell  Robbins  of  Pekin 
Montgomery  county  (afterwards  Mrs.  C  P.  Perdue),  about  1022  or 
1923.     The  text  does  not  differ  significantly  from  A. 

'  Apparently  should  read  "the  one  whose  bride  I'll  be." 


476  NORTH  CAROLINA  FOLKLORE 


Kitty  Clyde 

This  sprightly  little  song  is  known  in  Pennsylvania  (NPM  1 14-15, 
"Sung  in  Potter  County.  Copied  from  old  newspaper")  and  Vir- 
ginia (FSV  102)  and  is  listed  in  Miss  Pound's  syllabus;  further  it 
has  not  been  traced.  One  of  our  texts  has  a  chorus  borrowed  appar- 
ently from  'Kitty  Cline,'  and  the  other  ends  in  two  stanzas  remin- 
iscent of  that  song. 

A 
'Kitty  Clyde.'     From  the  manuscript  songbook  of  Miss  Lura  Wagoner 
of  Vox,  Alleghany  county,  lent  to  Dr.   Brown  in   1936.     Some  of  the 
entries  in  the  book  are  dated  191 1,  others  1913,  which  gives  an  approxi- 
mate date  for  the  entry  of  this  song. 

1  Oh,  who  has  not  seen  Kittie  Clyde? 
She  lives  at  the  foot  of  the  hill 

In  a  sly  little  nook  by  the  bab^  little  brook 
That  carries  her  father's  old  mill. 

Chorus: 

Oh,  say  that  you  love  me,  Kittie  Clyde, 

Oh,  say  that  you  love  me,  Kittie  Clyde, 

Oh,  say  that  you  love  me,  my  sweet  turtle  dove, 

Oh,  say  that  you  love  me,  Kittie  Clyde. 

2  Oh,  who  does  not  love  Kittie  Clyde? 
That  sunny-eyed  rose  glass 

With  a  sweet  little  chin  that  looks  roguish- 
With  always  a  smile  as  you  pass. 

3  With  a  bucket  to  put  in  her  fish, 
Every  morning  a  line  and  a  hook. 

That  sweet  little  lass  through  the  tall  heavy  grass 
Steals  along  by  the  clear  running  brook. 

4  She  throws  her  line  into  the  stream 
And  tries  it  along  the  river  side. 
Oh,  how  I  do  wish  I  was  a  fish 

To  be  caught  by  sweet  Kittie  Clyde ! 


'Kitty  Clyde.'     Contributed  by  Mrs.  C.  K.  Tillett,  Wanchese,  Roanoke 
Island,  in  March  1923. 

I     Who  have  seen  Kitty  Clyde? 
She  lives  at  the  foot  of  the  hill 

*  The  Pennsylvania  text  shows  that  this  should  read  "babbling." 

*  The  Pennsylvania  text  clears  up  the  difficulties  here : 

The  rosy-cheekd,  sunny-eyed  lass, 

With  a  sweet  dimpled  chin  that  looks  roguish  as  sin. 


OLDER     BALLADS MOSTLY     BRITISH  477 

In  a  shy  little  nook  by  the  boobling  brook 
She^  carries  her  father's  old  mill. 

Chorus: 

Kitty,  sweet  Kitty, 

My  own  darling  Kitty  Clyde, 

In  a  shy  little  nook  by  the  boobling  brook 

There  lives  my  own  Kitty  Clyde. 

2  She  has  a  basket  to  put  her  jfish  in, 
Every  morning  a  hook  and  a  line,^ 

With^  a  shy  little  lass  as  she  trods  the  heavy  grass 
And  straightway  to  the  running  brook. 

3  She  throwed  her  line  in  the  stream 
As  I  was  along  the  brook-side. 
How  I  wish  I  was  a  fish 

To  be  caught  by  sweet  Kitty  Clyde ! 

4  Oh,  if  I  was  some  bee 

I  wouldn't  gather  honey  from  the  flowers ; 
I'd  take  one  sweet  sip  from  sweet  Kitty's  lips, 
And  build  my  hive  in  her  bowers. 

5  Oh,  if  I  was  some  bird 

I'd  not  build  my  nest  in  the  air; 

I'd  keep  by  the  side  of  my  sweet  Kitty  Clyde 

And  build  my  nest  in  her  hair. 

199 

Father,  Father,  I  Am  Married 

This  is  the  only  representative  in  our  collection  of  an  English 
ballad  of  the  fabliau  type,  'Will  the  Weaver,'  current  more  or  less 
both  in  England  and  in  this  country.  See  Mackenzie's  headnote 
BSSNS  328  and  Williams's  FSUT  io6.  The  question  about  who 
shall  wear  the  breeches  appears  also  in  other  songs  that  have  noth- 
ing to  do  with  a  weaver:  the  English  'Struggle  for  the  Breeches' 
(FSUT  268-71)  and  'Devilish  Mary'  reported  from  Florida  and 
Louisiana  by  the  Lomaxes  (OSC  136-8).  Mrs.  Sutton,  who  seems 
to  have  contributed  our  fragment,  remarks  that  the  singer.  Mrs. 
Silas  Buchanan  of  Horse  Creek,  Ashe  county,  "sang  snatches  of 
one  very  coarse  song  with  a  catchy  tune  that  I've  heard  a  lot  up 
here.  ...  It  has  no  name,  nor  is  it  sung  at  parties.  I've  stayed 
at  three  places  where  it  was  sung  before  breakfast."  The  two 
stanzas  are  both  in  the  mouth  of  the  married  man  but  are  not  con- 
nected;  the  first  is  addressed  to  his  father,  the  second  to  his  wife. 

*  For  "She"  read  "That." 

'  Here  "hook"  and  "line"  should  be  transposed,  as  the  rhyme  shows. 

*  This  word  is  hardly  construable  here.  Perhaps  we  should  read 
"This"  for  "With  a." 


478  NORTH  CAROLINA  FOLKLORE 

1  Father,  father,  I  am  married. 
Would  that  longer  I  had  tarried ; 
For  my  wife  she  does  declare 
That  the  britches  she  will  wear. 

2  Wife,  O  wife,  make  no  objection ; 
You  must  live  by  my  direction. 
Wife,  O  wife,  I  do  declare 

That  the  britches  I  will  wear ! 


200 

If  I  Had  a  Scolding  Wife 

This  is  one  of  those  detachable  stanzas  likely  to  bob  up  in  a 
variety  of  contexts.  With  New  Orleans  in  place  of  the  still-house 
in  the  penultimate  line  it  is  reported  as  sung  by  Negroes  in  Missis- 
sippi (JAFL  XXVIII  188)  and  by  whites  in  Missouri  (OFS  11  360) 
and  in  the  Midwest  (Ford's  Traditional  Music  of  America  395,  as 
part  of  'Lucy  Long'),  in  Nebraska  (JAFL  xxviii  272  as  part  of 
'Ain't  I  Goin"  brought  from  Arkansas),  and  in  our  own  collection 
(see  'Uncle  Joe  Cut  Off  His  Toe,'  no.  96  in  vol.  Ill;  and  'Lynch- 
burg Town,'  no.  412)  ;  Virginia  Negroes  knew  it  (TNFS  125)  as 
part  of  'Bile  dem  Cabbage  Down'  with  an  even  more  savage  threat : 

If  I  had  a  scolding  wife 
I'd  whoop  'er  sho's  you  born, 
Hitch  her  to  a  double  plow 
And  make  her  plow  my  corn. 

'If  I  Had  a  Scolding  Wife.'     Reported  by  Clara  Hearne  of  Pittsboro, 
Chatham  county,  in  1923. 

If  I  had  a  scolding  wife 
I'd  whip  her,  sho  as  you  born. 
I'd  take  her  down  to  the  still-house 
And  swap  her  off  for  corn. 


201 

The  Scolding  Wife 

There  are  divers  traditional  songs  on  this  subject,  but  this  one 
I  have  not  found  in  other  collections.  Randolph  reports  from 
Arkansas  (OFS  iii  127-8)  a  song  with  the  same  title  but  a  quite 
different  text.    Compare  'The  Dumb  Wife,'  No.  183  above. 


'The  Scolding  Wife.'     Contributed  by  Ethel  Day  of  Cook's  Gap,  near 
Blowing  Rock,  Watauga  county,  in  1922. 


OLDER     BALLADS MOSTLY     BRITISH  479 

Oh,  you've  often  heard  it  asked 

Why  a  woman  talks  so  fast. 

Oh,  she  runs  around  with  every  bit  of  news. 

She'll  talk  a  man  to  death 

Before  he  can  catch  his  breath, 

And  the  way  she  wags  her  tongue  it  beats  the  Jews. 

Chorus: 

Oh,  there's  no  use  to  try. 

The  reason  for  is,  why. 

Whatever  you  say  she'll  quarrel. 

Just  take  my  advice  and  drop  it, 

For  I'm  sure  you  cannot  stop  it ; 

For  a  woman's  tongue  will  never  take  a  rest. 

When  a  man  goes  home  to  his  meals, 
Oh,  it's  how  do  you  reckon  he  feels? 
Her  chin  music  she  will  commence. 
When  he's  off  working  hard 
She'll  be  standing  in  the  yard 
A-chatting  to  the  neighbor  across  the  fence. 

Oh,  the  young  folks  go  a-courting, 

They  say  it  is  for  sport ; 

Oh,  the  old  folks  say,  'You'll  catch  it  while  you're  young.* 

To  live  a  scornful  life 

Marry  a  loving  childish  wife ; 

Better  marry  one  that's  blind,  deaf,  and  dumb. 


'The  Scolding  Wife.'  Obtained  by  Dr.  Brown  from  Mrs.  Daisy  Jones 
Couch  of  Durham.  Only  the  first  stanza  is  given,  and  that  is  the  same 
as  in  A.  Dr.  Brown  has  noted  on  the  manuscript  "Otherwise  same  as 
in  JAFL  xxviii  p.  88" ;  but  there  is  nothing  of  this  sort  at  that  place 
in  JAFL. 


202 
The  Little  Black  Mustache 

Clearly  a  music-hall  production,  this  has  established  itself  more 
or  less  as  folk  song,  especially  in  the  South.  It  has  been  reported 
from  Virginia  (FSV  177),  Kentucky  (FSMEU  210-11),  Tennessee 
(BTFLS  IV  76),  North  Carolina  (JAFL  xlv  116-17),  Mississippi 
(JAFL  xxxix  159-60),  Texas  (PFLST  vi  231-2),  the  Ozarks 
(OFS  III  125-30).  and  Iowa  (MAFLS  xxix  85-6).  The  texts 
in  our  collection  vary  slightly,  but  not  enough  to  justify  printing 
more  than  one. 


480  NORTH  CAROLINA  FOLKLORE 

A 

'The  Little  Black  Mustache.      From  the  manuscript  of  Mrs.  Mary  Mar- 
tin Copley,  Route  8,  Durham ;  obtained  by  Jesse  T.  Carpenter. 

1  Oh,  once  I  had  a  chaniiing  beau,  I  loved  him  dear  as  Hfe, 
And  I  thought  that  the  time  would  surely  come  when  I 

could  he  his  wife. 
His  pockets  they  were  full  of  gold,  and,  oh!  I  cut  a  dash 
With  a  diamond  ring  and  a  watch  and  chain,  with  a  darling 

black  mustache. 

Clion{s: 

That  little  black  mustache,  that  darling  black  mustache ; 
Oh,  every  time  I  think  of  it  my  heart  lieats  quick  and 

fast. 
That  little  black  mustache,  that  darling  black  mustache ; 
Oh,  now  you  know  I  had  a  beau  with  a  darling  black 

mustache. 

2  He   often   came   on    Saturday   night   and   stayed   till   after 

three. 
He  told  me  he  never  loved  a  girl  as  well  as  he  loved  me. 
Now,  my  ladies,  take  my  advice  and  never  be  so  rash 
To  fall  in  love  with  any  boy  that  wears  a  black  mustache. 

3  There  came  an  old  maid  there,  she  was  worth  her  weight 

in  gold; 

She  wore  false  hair,  she  wore  false  teeth,  she  was  forty- 
five  years  old. 

And  [my]  young  man  deserted  me  for  that  old  maid's 
cash. 

And  then  he  pressed  upon  her  lips  that  darling  black 
mustache. 

B 

'Black   Mustache.'     From  W.   Amos  Abrams,   Boone,   Watauga  county. 

C 
'The  Black  Mustache.'     From  Gertrude  Allen   (Mrs.  Vaught),  Taylors- 
ville,  Alexander  county. 

D 
'The  Little  Black  Mustache.'    Taken  from  the  manuscripts  of  G.  S.  Rob- 
inson of  Asheville  in  August  I939-     This  adds  two  lines  of  advice: 

And  now,  young  girls,  take  my  advice  and  never  be  so  rash 
As  to  fall  in  love  with  any  gent  that  has  a  black  mustache. 

E 
•That   Little    Black    Mustache.'      From    O     L.    Coffey   of    Shull's    Mills, 
Watauga  county.     The  manuscript  bears  the  notation :  "Recorded  in  .  .  . 
for   the    .   .    .    Co.,"    which    probably   means    that   it   is   obtainable   as   a 
phonograph  record. 

F 
'Little  Black  Mustache.'     From  the  John  Burch  Blaylock  Collection. 


OLDER     BALLADS  —  MOSTLY     BRITISH  481 

203 

No  Sign  of  a  Marriage 

The  "five  hundred  pounds"  in  A  and  the  general  tone  of  this  piece 
suggest  an  origin  in  the  British  stall  press.  But  if  that  is  its  source, 
the  original  has  not  been  found.  Nothing  resembling  it  appears  in 
any  of  the  collections  of  folk  song  available  to  the  editors. 

A 
*No  Sign  of  a  Marriage.'     Collected  from  James  York  of  Olin,  Iredell 
county,  in  1939. 

1  Av^^ay  in  the  north  country  there  lived  a  yottng  couple, 
A  man  and  a  maid  both  gallant  and  gay. 

A  long  time  a-courting  and  no  sign  of  a  marriage, 
No  sign  of  a  marriage  to  be. 

2  At  length  this  young  maid  began  for  to  speak : 
'Come,  come,  kind  sir,  it's  what  do  you  mean, 

A  long  time  a-courting  but  no  sign  of  a  marriage, 
No,  no  sign  of  a  marriage  to  be?' 

3  He  made  her  a  very  unlovingly  answer : 

'As  soon  as  a  man  is  married  his  joys  are  all  fled ; 

He's  freed  from  all  liberty,  bound  down  to  hard  slavery: 

So  I've  a  mind  to  go  free — and  goodnight.' 

4  And  while  she  was  sitting  lamenting  and  mourning, 
Up  stepped  a  young  squire  all  ready  to  wed. 

Saying,  'Here's  five  hundred  pounds  if  you  will  marry  me.* 
They  quickly  agreed  to  marry  with  speed. 

5  She  sat  down  and  wrote  her  old  lover  a  letter 
To  come  to  her  wedding  the  ninth  day  of  June, 
To  come  as  a  waiter  instead  of  a  better 

To  wait  on  the  table  and  on  the  bridegroom. 

6  And  when  he  did  get  it  he  sadly  groaned, 
Saying,  'Have  I  so  foolishly  lost  her  at  last?' 
He  bridled  and  saddled  and  rode  to  the  station. 
Expecting  to  see  her  before  she  was  wedded. 

7  Saying,  'Get  up  behind  me  and  leave  him  alone.' 
'But  don't  you  remember  those  words  you  told  me, 
As  soon  as  you're  married  your  joys  are  all  fled. 

He's  freed  from  all  liberty,  bound  down  to  hard  slavery; 
So  I've  a  mind  to  go  free — and  goodnight?' 


'Pretty  Polly.'  From  J.  B.  Midgett  of  Wanchese,  Roanoke  Island.  The 
manuscript  is  not  divided  into  stanzas,  but  as  it  seems  to  be  stanzaic  in 
structure  the  editor  has  attempted  the  division. 


482  NORTH     CAROLINA     FOLKLORE 

1  All  down  in  yonder  country  where  a  couple  was  dwelling, 
All  down  in  yonder  country  where  a  couple  did  dwell, 
Long  they  had  tarried  but  never  had  married. 

'Oh  say,  pretty  William,  ain't  you  going  to  wed?' 

2  'Indeed,  pretty  Polly,  I  once  loved  you  dearly 
And  in  your  sweet  company  I  took  great  delight ; 
But  when  a  man  is  once  wed  his  joy  is  all  fled, 

He  is  free  from  all  liberty,  bound  down  to  hard  slavery. 
We  are  both  free,  love,  and  I  bid  you  goodnight. 

3  'Though  indeed,  pretty  Polly,  there  is  one  thing  yet  to  tell 

you, 
That  is  to  ask  me  to  your  wedding,  love,  and  I  will  do  the 

same. 
For  you  need  never  mind,  a  husband  you'll  find 
If  there's  any  such  a  thing  in  this  world  to  be  had.' 

4  She  wrote  him  a  letter  to  come  to  her  wedding 
On  the  ninth  day  of  June.    This  letter  he  reads. 
His  poor  heart  did  bleed,  crying,  'I've  lost  her, 
I've  lost  her,  I've  lost  her  indeed.' 

5  With  his  bridle  and  saddle  he  rode  to  her  station, 
He  rode  to  the  place  where  pretty  Polly  did  dwell ; 
And  when  he  got  there  through  his  trouble  and  snares 
The  bride  and  bridegroom  was  out  on  the  floor. 

6  'Oh,  indeed,  pretty  Polly,  if  I  only  had  have  known  it. 

If  I  only  had  have  known,  love,  that  you  wedded  so  soon, 
We  would  have  got  married,  no  longer  have  tarried  ; 
So  step  up  beside  me,  love,  and  leave  him  alone.' 

7  'Oh,  indeed,  pretty  William,  I  once  loved  you  dearly 
And  in  your  sweet  company  I  took  great  delight; 
But  remember,  you  said  when  a  man  he  was  wed 

He  was  freed  from  liberty,  bound  down  to  hard  slavery ; 
So  we  are  both  free,  love,  and  I'll  bid  you  goodnight.' 


204 
WiLKiNS  AND  His  Dinah 

This  song  in  its  burlesque  form  was  often  printed  and  widely 
sung  in  the  last  century,  and  has  not  yet  passed  out  of  the  repertory 
of  singers.  For  a  brief  note  of  its  two  forms,  the  tragic  and  the 
comic,  and  its  occurrence  as  traditional  song,  see  BSM  147,  and 
add  to  the  references  there  given  Virginia  (FSV  60-2),  Florida 
(FSF  339-40),  Massachusetts  (FSONE  301-3),  Kentucky  (FSKH 
5-7),  Missouri  (OFS  i  331-2),  Ohio  (BSO  149-51),  and  Michigan 
(BSSM   395-8).     It  is  not  always  easy  to  say  of  a  given  text 


OLDER     BALLADS  —  MOSTLY     BRITISH  483 

whether  it  is  comic  or  tragic  in  intention,  but  most  American  texts 
are  pretty  certainly  consciously  burlesque,  like  the  first  text  given 
below. 


■\'il!ikens  and  his  Dinah.'  Contributed  by  K.  P.  Lewis  of  Durham  from 
the  singing  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill  in  1910.  The  refrain 
is  of  course  repeated  after  each  stanza— with  appropriate  changes  of  tem- 
per in  its  rendition. 

1  It  is  of  a  rich  merchant  I  am  going  for  to  tell, 

Who  had  for  a  daughter  an  uncommon  fine  young  gal. 
Her  name  it  was  Dinah,  just  sixteen  years  old, 
And  she  had  a  large  fortune  of  silver  and  gold. 

Ri-tooly-li-looly-li-looly-li-lay 
Ri-tooly-li-looly-li-looly-li-lay 
Ri-tooly-li-looly-li-looly-li-lay 
Ri-tooly-li-looly-li-looly-li-lay 

2  When  Dinah  was  walking  in  the  garden  one  day 
Her  papa  came  to  her  and  to  her  did  say, 

'Go  dress  yourself,  Dinah,  in  gorgeous  array. 

And  I'll  bring  you  a  husband  both  galliant  and  gay.' 

3  'Oh,  no,  dearest  papa,'  the  daughter  she  cried, 
'To  marry  just  yet  I  don't  feel  inclined. 
And  all  my  large  fortune  I'll  gladly  give  o'er 

If  you'll  just  let  me  stay  singuel  for  one  twelvemonth  more.' 

4  'Go,  go,  dearest  daughter,'  the  parient  he  cried. 

'If  you  do  not  consent  to  be  this  here  young  man's  bride 

I'll  give  your  large  fortune  to  nearest  of  kin, 

And  you  shan't  have  the  benefit  of  one  single  pin.' 

5  As  Villikins  was  walking  in  the  garden  around 
He  spied  his  dear  Dinah  lying  dead  on  the  ground 
With  a  cup  of  cold  pizon  lying  down  by  her  side 
And  a  billet  dux  which  said  'twas  by  pizon  she  died. 

6  He  kissed  her  cold  corpus  a  thousand  times  o'er, 
And  vowed  she  was  his  Dinah,  tho'  she  was  no  more ; 
Then  he  drank  up  the  pizon  like  a  lovyer  so  brave, 

And  Villikins  and  his  Dinah  were  both  laid  in  one  grave. 

7  At  twelve  the  next  night,  'neath  a  tall  poplar  tree, 
A  ghost  of  his  Dinah  the  parient  did  see 

Arm  in  arm  with  her  Villikins,  and  both  looking  blue, 
Saying,  'We  would  not  have  been  pizoned  if  it  hadn't  been 
for  you.' 


484  NORTH  CAROLINA  FOLKLORE 

8  Now  the  parient  was  seized  of  horror  of  home, 

So  he  packed  up  his  portmanteau  around  the  world  to 

roam; 
But  as  he  was  starting  he  was  seized  with  a  shiver 
Which  shook  him  in  pieces,  and  ended  him  foriver. 

9  Now,  all  you  young  men,  don't  you  thus  fall  in  love,  nor 
Do  by  no  means  disobey  your  gov-nor ; 

And  all  you  young  maidens,  mind  who  you  clap  eyes  on ; 
Think  of  Villikens  and  his  Dinah,  not  forgetting  the  pizon. 


'Billikins  and  his  Dinah.'  Contributed  by  Charles  R.  Bagley  in  1913  as 
heard  from  his  grandparents,  Mr.  and  Mrs.  W.  R.  Dudley,  in  Moyock, 
Currituck  county.  Text  is  much  the  same  as  A  except  that  the  last 
four  stanzas  of  A  are  represented  only  by 

Now  all  you  young  maidens  take  warning  at  this 

And  all  you  young  men  mind  who  you  clap  your  eyes  on 

This  of  Billikens  and  Dinah  and  the  cup  of  cold  pizen. 

c 

'Miss  Dinah.'  Contributed  by  Mrs.  Sutton  in  1928,  she  does  not  say 
from  whom  secured  or  where,  with  the  music  as  set  down  by  her  sister 
Miss  Pearl  Minish.  A  reduced  version,  but  with  no  variants  that  seem 
worth  recording. 

D 

'Robert  Lerow  and  his  Dila.'  Contributed  by  Thomas  Smith  of  Zion- 
ville,  Watauga  county,  as  sung  by  Miss  Pearl  Graham  in  1915.  The 
names  are  changed  but  otherwise  the  story  runs  as  in  A,  including  the 
appearance  of  the  ghosts  and  the  consequent  death  of  the  cruel  father. 
There  is  about  it,  however,  no  suggestion  of  burlesque ;  it  is  a  straight 
and  simple  tragedy  of  thwarted  love. 


'Sweet  William.'  Contributed  in  1928  by  Mrs.  Vaught  (who  was  then 
Miss  Gertrude  Allen)  from  one  of  her  students  in  the  school  at  Oak- 
boro,  Stanly  county.  A  reduced  form  of  four  stanzas,  but  without  sig- 
nificant variants. 


205 
Thimble  Buried  His  Wife  at  Night 

This  is  a  fragment  of  a  humorous  ballad  probably  British  by 
origin,  though  I  have  found  it  only  in  Virginia  (JAFL  viii  159-60; 
Davis  lists  it  also,  FSV  161).  It  tells  how,  when  Thimble's  scold- 
ing wife  lay  dead,  he  grieved  at  the  thought  that  the  diamond  ring 
on  her  finger  would  be  buried  with  her ;  how,  when  the  sexton 
came  to  cut  off  her  finger  and  save  the  ring,  the  corpse  rose  up 

and  screamed  at  him,  'D n  you,  you  dog,  you  shall  do  no  such 

thing !'  and  rushed  off  to  the  house,  where  her  husband 


OLDER     BALLADS  —  MOSTLY     BRITISH  485 

looked   from  the  casement  and  said  with  a  grin, 
'You  are  dead,  dearest  duck,  and  I  can't  let  you  in.' 

The   refrain  lines   in  the   Virginia  version  are   from   one   of   the 
forms  of  'The  Frog's  Courtship,'  running 

Heighho !  says  Thimble 


With  a  rowley  powley  gammon  and  spinach, 
Heigho !  says  Thimble. 

The  distinctive  "rowley  powley"  line  has  been  lost  from  our  North 
Carolina  version. 

'Thimble  Buried  His  Wife  at  Night.  Reported  by  Isabel  B.  Busbee  of 
Raleigh  in  December  1938,  as  learned  from  her  great-aunt,  Miss  Louisa 
Nora  Taylor,  who  lived  from  1823  to  1914. 

Thimble  buried  his  wife  at  night, 
*Heigh-ho,'  said  Thimble. 
'I  grieve  to  sew  up  my  heart's  delight 
With  a  diamond  ring  on  her  finger  so  tight. 
Heigh-ho,'  said  Thimble. 

206 

Boys,  Keep  Away  from  the  Girls 

Conceived  probably  as  a  retort  to  'The  Boys  Won't  Do  to  Trust,' 
but  in  a  broader  strain  of  humor.  Henry  reports  it  from  Tennessee 
(SSSA  34)  and  Randolph  from  Missouri  (OFS  iii  io6). 

'Boys,  Keep  Away  from  the  Girls.'  Reported  by  Julian  P.  Boyd  in 
1927,  presumably  from  some  of  his  students  in  the  school  at  Alliance, 
Pamlico  county. 

I     Love  is  such  a  very  funny  thing, 
And  it  catches  the  young  and  old 
Just  like  a  plate  of  boarding-house  hash, 
And  many  a  man  it  has  sold. 
Makes  you  feel  like  a  fresh-water  eel 

And  causes  your  head  to  swell. 
Lose  your  mind — for  love  is  blind — 
And  empties  your  pocketbook  as  well. 

Chorus: 

Boys,  keep  away  from  the  girls,  I  say, 

And  give  them  lots  of  room. 

You'll  find  when  you're  wed  they'll  bang  you  till  you're 

dead 
With  the  bald-headed  end  of  the  broom. 


486  NORTH     CAROLINA     FOLKLORE 

2     Cross-eyed  baby  on  each  knee 

And  a  wife  with  a  plaster  on  her  nose. 
You'll  find  true  love  don't  run  so  smooth 
When  you  have  to  wear  second-handed  clothes. 
Rent  is  high  and  the  kids  all  cry 
'Cause  they  ain't  got  no  grub  to  chaw. 
Holler  for  your  son  to  load  up  the  gun 
While  you  vaccinate  your  mother-in-law. 


207 

The  Boys  Won't  Do  to  Trust 

The  Archive  of  American  Folk  Song  has  a  record  of  this  from 
Kentucky;  Davis  reports  it  from  Virginia  (FSV  88)  and  Randolph 
from  Missouri  (OFS  iii  216-18)  ;  further  than  that  it  has  not  been 
traced.  Cf.  SharpK  11  80.  In  subject  matter  it  belongs  with  the 
Satirical  Songs,  volume  III,  section  ix. 

'The  Boys  Won't  Do  to  Trust.'  From  the  manuscript  songbook  of 
Miss  Edith  Walker  of  Boone,  Watauga  county;  copied  out  in  193b. 
(There  is  another  copy  of  this  contributed  by  Professor  Abrams,  but  it 
does  not  differ  significantly  from  Miss  Walker's.) 

1  I  own  the  boys  are  handsome 
And  sweet  as  sweet  can  be. 

I  own  I  love  one  dearly. 
And  aren't  you  just  Hke  mer 

Chorus: 

No,  they  won't  do  to  trust, 
No,  they  won't  do  to  trust. 
I  tell  you,  girls,  I  know  them 
And  the  boys  won't  do  to  trust. 

2  They'll  do  to  buy  cheap  whiskey 
And  then  get  on  a  drunk. 

I'll  tell  you,  girls,  I  know  them 
And  the  boys  won't  do  to  trust. 

3  And  you  may  start  and  wonder, 
And  ask  me  in  surprise 

Why  a  girl  so  young  as  I  am 
Should  chance  to  be  so  wise. 

4  I  hate,  I  hate  to  tell  you, 
But  then  suppose  I  must. 

I've  learned  from  sad  experience 
That  the  boys  won't  do  to  trust. 


II 


NATIVE  AMERICAN   BALLADS 


FROM  A  SNAKE  bite  on  a  pioneer  Yankee  farmer's  heel  to  an 
iceberg  splitting  an  ocean  liner  and  a  storm  plunging  a  dirigible's 
crew  to  death — in  the  search  for  strong  situations,  one  type  of 
American  ballads  has  played  the  gamut  of  mishaps  and  disaster. 
The  oldest  traditionally  current  ballad  of  American  origin  in  the 
Frank  C.  Brown  Collection,  'Springfield  Mountain,'  remembers  the 
"pizen  sarpent's"  malevolence  and  a  family's  grief.  It  has  not, 
however,  maintained  its  elegiac  tone  so  well  as  'Young  Charlotte,' 
a  Vermont  story  about  a  young  girl  who  froze  to  death  on  a  sleigh 
ride  one  night  in  the  1830s.  Another  century-old  lament  for  young 
people  snuffed  out  by  violent  death  is  'Three  Drowned  Sisters,'  be- 
moaning an  accident  that  might  have  occurred  almost  anywhere  but 
actually  took  place  in  rural  Pennsylvania,  and  was  still  sad  enough 
to  stir  the  emotion  of  a  Caswell  county.  North  Carolina,  ballad 
singer.  'Floyd  Collins,'  a  comparatively  recent  ballad,  is  a  morbid 
handling  of  the  pathos  of  suffering  in  unusual  circumstances: 

Oh  !  how  the  news  did  travel ! 
Oh  !  how  the  news  did  go ! 
It  traveled  through  the  papers 
And  over  the  radio  ! 

The  enormous  diffusion  of  the  piece  by  phonograph  and  by  the 
other  two  media  mentioned  is  one  of  the  phenomena  of  modern 
communication  which  require  fresh  examination  of  the  criteria 
of  folk  song.  'The  Jam  at  Gerry's  Rock,'  'Casey  Jones,'  and  'Wreck 
of  Old  Ninety-Seven'  are  older  and  better  treatments  of  occupational 
disasters,  making  some  effort  to  celebrate  heroic  courage  in  danger 
and  death.  'The  Ore  Knob'  is  little  more  than  a  rude  coronach  of 
the  mines.  More  generalized  treatment  of  disasters  is  found  in  a 
number  of  ballads  about  wrecks.  'The  Ship  That  Never  Returned,' 
'The  Titanic'  (in  several  versions),  and  'Lost  on  the  Lady  Elgin' 
commemorate  sea  disasters.  The  'Train  That  Never  Returned'  and 
'Wreck  of  the  Royal  Palm,'  deviating  from  the  pattern  of  'Casey 
Jones'  and  'Old  Ninety-Seven,'  narrate  train  wrecks  without  heroes. 
The  willingness  of  the  ballad  muse  to  adapt  itself  to  the  air  age  is 
exemplified  by  'Wreck  of  the  Shenandoah.' 

The  history  of  American  wars  is  sporadically  glossed  by  a   few 
ballads   in  this  collection.     'Paul   Jones,'  once  sung  in  the   North 


488  NORTH     CAROLINA     FOLKLORE 

Carolina  coast  country,  is  a  spirited  account  of  a  victory  won  by 
the  Bonhomme  Richard  off  the  coast  of  England  in  1778.  From 
the  War  of  1812  comes  'James  Bird,'  one  of  the  best  and  most 
moving  of  traditional  American  historical  ballads.  Various  aspects 
of  the  American  Civil  War  are  presented  in  half  a  dozen  pieces. 
Of  these,  'The  Cmnberland'  is  one  of  the  liveliest  American  naval 
ballads  coming  down  through  tradition.  Recovery  of  an  orally  sur- 
viving text  of  it  on  the  North  Carolina  coast,  where  one  would  not 
expect  "Yankee  ballads"  to  be  long  remembered,  was  a  curious 
piece  of  luck  for  the  Frank  C.  Brown  Collection.  By  a  similar 
accident,  'The  Dying  Fifer,'  another  broadside,  but  of  inferior 
quality,  was  remembered  in  the  same  locality.  'The  Battle  of 
Shiloh'  and  'The  Drummer  Boy  of  Shiloh'  dwell  impartially  upon 
the  sadness  of  death  and  severed  family  ties.  'The  Last  Fierce 
Charge,'  in  elaborate  and  somewhat  mannered  style,  quotes  the  ex- 
change of  life-stories  and  the  farewells  of  two  soldiers,  now  Yankee, 
now  Confederate  (depending  upon  the  version),  about  to  die  in 
battle.  'The  Texas  Rangers'  obscurely  chronicles  an  Indian  fight 
in  the  West.  Another  group  of  songs  views  the  Spanish-American 
War,  with  attempted  heroics  in  'Manila  Bay,'  with  artificial  pathos 
in  three  pieces  about  the  Maine  that  hover  between  ballad  and  song, 
and  with  cynicism  in  'That  Bloody  War.'  The  latter  piece  was  also 
adapted  to  World  War  I,  maintaining  its  songs-my-mother-never- 
taught-me  tone.  And  the  muse  brings  herself  up  to  date  with  'Just 
Remember  Pearl  Harbor,'  a  Negro  recital  of  atrocities  that  pre- 
cipitated World  War  II. 

The  outlaw  ballad  is  but  sparsely  represented  in  the  Frank  C. 
Brown  Collection,  though  this  collection  enjoys  the  distinction  of 
recording  two  North  Carolina  traditional  survivals  of  famous  Robin 
Hood  ballads.  The  best  American  example,  however,  'Jesse  James,' 
occurs  in  numerous  versions  and  variants.  So,  too,  does  its  inferior, 
'The  Boston  Burglar,'  which  is  a  slightly  Americanized  version  of 
an  English  broadside.  'John  Hardy,'  from  West  Virginia,  'Claud 
Allen,'  from  just  across  the  line  in  Virginia,  'Frank  Dupree,'  prob- 
ably from  Georgia,  and  'Kenny  Wagner's  Surrender,'  from  Mis- 
sissippi, are  neighborly  borrowings  of  a  commodity  which,  it  would 
seem,  the  North  Carolina  ballad-maker  has  not  chosen  to  manu- 
facture out  of  local  materials. 

Not  so,  however,  with  murder  ballads.  Of  these,  the  North 
Carolina  products,  to  be  noted  later,  are  in  excess  of  importations. 
These  latter  include,  in  many  variants,  the  somber  'Charles  Guiteau' 
and  the  low-life  'Frankie  and  Albert'  (or  'Johnny'),  normally  pres- 
ent in  American  collections.  'Florella'  ('The  Jealous^Lover'),  of  all 
American  ballads,  is  most  numerously  represented  in  this  as  in  most 
other  American  collections.  It  is  one  of  the  few  native  pieces  with 
harmony  of  atmosphere,  action,  and  tone,  however  crude  these 
elements  may  be.     The  others  with  murder  as  the  main  core  include 


NATIVE     AMERICAN     BALLADS  489 

four  pieces  about  the  brutal  slaying  of  little  girls — one  concerning 
Mary  Phagan,  the  others  concerning  Marian  Parker. 

A  few  ballads  of  the  Old  West  found  their  way  into  North 
Carolina  favor.  Among  these  is  ']oe  Bowers,'  a  humorous  yarn 
of  the  hero's  hardships  and  disappointment  in  the  Gold  Rush  of 
1849.  To  students  of  American  literature  it  is  interesting  as  per- 
haps the  first  of  the  'Pike  County  ballads,'  later  popularized  by 
John  Hay  and  Bret  Harte.  Like  'Joe  Bowers'  in  some  respects, 
but  with  an  account  of  a  sea  voyage  rather  than  an  overland  trek, 
and  with  a  happier  denouement,  'Sweet  Jane'  relates  the  odyssey 
of  another  Gold-Rusher.  'The  Dying  Cowboy'  and  'Bury  Me  Not 
on  the  Lone  Prairie' — both  reworkings  of  older  pieces — have  been 
sung  con  amore  from  Manteo  to  Murphy. 

Several  other  common  American  ballad  types  are  also  represented 
by  single  pieces  or  at  most  a  few.  'Jack  Haggerty'  is  one  of  the 
rare  raftsman  pieces  that  have  floated  into  North  Carolina.  A 
homiletic  favorite,  'Wicked  Polly,'  in  the  fullest  versions,  presents 
the  terrors  of  damnation  with  a  vigor  that  reminds  one  of  Michael 
Wigglesworth's  'Day  of  Doom,'  a  New  England  masterpiece  of  the 
species.  'The  Blue  Tail  Fly'  owes  its  currency  as  much  to  the  mid- 
nineteenth-century  exploitation  of  it  by  singing  companies  and 
minstrel  troupes  as  to  its  intrinsic  comedy. 

Of  the  comparatively  few  native  American  Negro  ballads  that 
have  established  themselves  by  firmness  of  structure  and  memorable- 
ness  of  content,  'John  Henry'  is  easily  first,  rivaled  only  by  'The 
Ballet  of  the  Boll  Weevil.'  Because  of  its  relation  to  'John  Hardy' 
and  its  epic  flavor,  we  have  included  it  here,  while  placing  'The 
Ballet  of  the  Boll  Weevil'  among  the  work  songs.  'Asheville 
Junction,  Swannanoa  Tunnel'  is  a  fragmentation  of  both  'John 
Hardy'  and  'John  Henry.' 

The  final  group  of  native  American  ballads  is  made  up  of  pieces 
that  demand  recognition  of  their  existence  by  sheer  weight  of 
popularity,  not  by  intrinsic  worth  or  historic  interest:  'The  Fatal 
Wedding,'  'Little  Rosewood  Casket,'  'Jack  and  Joe,'  and  'They 
Say  It  Is  Sinful  to  Flirt'  and  its  sentimental  sister  'The  Little  White 
Rose.'  All  of  these  have  traveled  far  from  their  music-hall  and 
parlor  debuts. 


208 
Springfield  Mountain 

The  history  of  this  song,  probably  the  oldest  piece  of  purely 
native  American  balladry,  has  been  carefully  worked  out  by  Barry 
in  successive  numbers  of  the  Bulletin  of  the  Folk-Song  Society  of 
the  Northeast.  (Cf.  also  JAFL  lix  530.)  Originally  a  quite 
serious  memorial  to  a  young  man  who  died  of  a  snake  bite  in  the 


490  NORTH  CAROLINA  FOLKLORE 

eighteenth  century,  its  wide  currency  is  doubtless  due  to  its  having 
been  taken  up  about  a  hundred  years  ago  by  two  impersonators  of 
the  stage  Yankee,  George  G.  Spear  and  George  H.  Hill,  and  turned 
into  a  comic  variety-stage  piece.  All  of  our  North  Carolina  texts 
are  of  this  character,  A  the  least  evidently  so. 

A 
'On  Springfield  Mountain.'     Reported  by  K.  P.  Lewis  of  Durham  from 
the  singing  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill  in  1910. 

1  On  Springfield  Mountain  there  once  did  dwell 
A  likely  youth,  as  I've  heard  tell, 
Lieutenant  Curtis,  only  one,^ 

A  likely  youth,  now  twenty-one. 

2  Now  this  young  man  one  day  did  go 
Into  the  meadow  for  to  mow ; 

And  as  he  mow-ed  he  did  feel 
A  pisen  sarpent  bite  his  heel. 

3  He  threw  his  scythe  upon  the  grass. 
'Ah  me,'  he  cried,  'ah  me,  alas. 

To  think  that  my  life  should  break 
Because  of  the  bite  of  this  pizenous  snake,' 

4  His  mother  then  to  him  did  go ; 
She  sent  for  Dr.  San  Grado. 

He  cut  him  deep  with  lancet  cruel 
And  gave  him  a  dose  of  water  gruel. 

5  Now  this  young  man  gave  up  the  ghost. 
To  the  land  of  spirits  he  did  post, 
A-singing,  as  along  he  went, 

'Oh,  cru-el,  cru-el,  cru-el  sarpent.' 


'The  Serpent.'  Reported  by  Mrs.  Sutton  from  the  singing  of  Myra 
Barnett  (Mrs.  J.  J.  Miller)  of  King's  Creek  in  the  Brushies,  Caldwell 
county.  Mrs.  Sutton  remarks  that  "This  ballad  is  a  great  favorite  with 
children,"  and  that  the  tune,  "played  on  the  banjo,  has  lots  of  pep,  a 
great  spirit ;  it  never  fails  to  raise  a  laugh,  and  the  comments  on  the 
story  show  that  John  and  the  'pizen  ole  sarpint'  are  very  real  to  the 
kiddies." 

1  'John,'  said  Sal,  'why  don't  you  go 

Away  down  yonder  in  the  meadow  for  to  mow  ?' 
Li  toddle  dink  a  daylight, 
Li  toddle  dink  a  daylight, 
Li  toddle  dink  a  toddle  dink  a  do  dal  day. 

2  John  hadn't  mowed  more'n  half  around  the  field 
When  a  pizen  old  serpent  bit  him  on  the  heel. 

*  This  third  line  should  read  "Lieutenant  Curtis'  only  son." 


NATIVE     AMERICAN     BALLADS  49I 

3  'John  P  dear,  what  made  you  go 

Way  down  yonder  in  the  meadow  for  to  mow  ?' 

4  'Sal  I  dear,  I  'lowed  you  knowed 

It  was  Dad's  hay  and  it  had  to  be  mowed.' 

4     Now  John  is  dead,  give  up  the  ghost, 

In  Abraham's  bosom  he  departs^  ( reposes ).- 

6     Come  all  ye  men  of  Adam's  race 

And  shun  the  bite  of  a  great  big  snake. 

c 
'Rattle   Snake.'     Contributed   by    Miss    Pearle   Webb   of   Pineola,   Avery 
county,  in  1939.     This  is  the  stuttering  form  of  the  song  found  in  many 
other  places. 

1  A  nice  young  ma-wa-wan 
Lived  on  a  hi-wi-will 

A  nice  young  ma-wa-wan 
For  I  knew  him  we-we-well. 
Refrain: 

To  my  rattle  to  my  roo  rah  ree 

2  This  nice  young  ma-wa-wan 
Went  out  for  to  mo-wo-wow 
To  see  if  he-we-we 

Could  make  a  show-wow-wow. 

3  He  had  not  mow-wow-wowed 
Half  round  the  fie-we-wield 

When  up  jumped  a  come  a  rattle  come  a  sna-wa-wake 
And  bit  him  on  the  he-we-weel. 

4  He  laid  right  dow-wow-wown 
Upon  the  grow-wow-wownd 
And  shut  his  ey-wy-eyes 

And  looked  all  arou-wow-wownd. 

D 
'The    Serpent.'     A    single    stanza    (identical    with    the    first    stanza    and 
refrain   of    B)    which   seems    to   have   been   sung   by    H.    C.    Martin    of 
Lenoir.    At  least  it  is  on  the  same  sheet  of  music  with  another  sone  that 
IS  certainly  his. 

E 
'Sarpint.'     A   single   stanza  copied  oflf  from  a   record  made   by   W    E 
Poovey  of  Marion,  McDowell  county,  in  June,  1924. 

'  This  T   represents  the  long   final   syllable  of  "Johnny  "  and  in  the 
next  stanza  "Sally." 

These  two  guesses  seem  to  show  that  the  reporter  here  has  forgotten 
how  the  line  runs.  The  A  text  shows  how  the  rhyme  should  run-  "To 
Abraham  s  bosom  he  did  post." 


492  NORTH  CAROLINA  FOLKLORE 

I  took  my  scythe  one  Sunday,  you  know, 
And  went  down  to  the  meadow  to  mow. 
I  scarcely  had  mowed  across  the  field 
Till  a  dog-ged  old  blacksnake  bit  my  heel. 

Sing  humble  drumble  sticherei  bum 

To  me  lick  to  me  resom  doo 


'Oh,  Molly,  Dear.'     Again  a  single  stanza,  contributed  by  Bell  Brandon 
of  Durham. 

Oh,  Molly,  dear,  why  did  you  go 
Into  the  meadow  for  to  mow? 
As  you  went  walking  through  the  field 
A  black  snake  struck  you  on  the  heel 
And  away  you  did  go. 


'Hi  O,  Qiarleston  Row.'  Contributed  by  Charles  R.  Bagley  of  Moyock, 
Currituck  county,  in  1913,  as  heard  from  his  grandparents.  Only  one 
stanza,  and  that  seems  to  have  drifted  somewhat  away  from  the  original 
story.     The  refrain  also  is  different. 

As  gwine  through  the  farmer's  field 
A  black  snake  bite  me  on  my  heel. 
I  jumped  up  and  run  my  best. 
Shoved  my  head  in  a  hornet's  nest. 

Chorus: 

Hi  O,  Charleston  row 

Hi  O,  Charleston  row 

I  spend  my  money  and  spend  it  free 

'Cause  the  Charleston  gals  are  the  gals  for  me. 

209 
Young  Charlotte 

The  origin  of  this  very  widely  known  song  was  discovered  by 
Barry  and  announced  in  the  last  issue  of  the  Bulletin  of  the  Folk- 
Song  Society  of  the  Northeast  (xii  26).  See  BSM  308-9,  and 
add  to  the  references  there  given  Massachusetts  (FSONE  305-9), 
Ohio  (BSO  278-83),  Indiana  (SFLQ  in  201-3,  v  172-4,  HFLB 
III  13-14),  Michigan  (BSSM  126-9),  Virginia  (Davis  FSV  72, 
listed),  Florida  (FSF  1 14-17).  It  is  known  by  oral  tradition  pretty 
much  all  over  the  country  and  with  surprisingly  little  variation  in 
the  text.  There  are  three  texts  and  a  fragment  in  our  collection, 
of  which  it  will  be  sufficient  to  give  only  the  fullest.    The  texts  are : 

A  From  I.  G.  Greer  of  Boone,  Watauga  county.  Fifteen  four-line 
stanzas. 


NATIVE     AMERICAN     BALLADS  493 

B  From  Miss  Amy  Henderson  of   Burke  county.     An  incomplete  text, 
the  first  nine  stanzas  only. 

C  From  Mrs.  Minnie  Church,  Heaton,  Avery  county,  in  1930. 

D  From   Mrs.  Sutton,  Lenoir,  Caldwell  county,  in  October   1927.     The 
opening  stanza,  copied  from  the  musical  score. 
The  C  text  runs  as  follows : 

1  Young  Charlotte  lived  by  the  mountain  side 
In  a  wild  and  lonely  spot ; 

No  dwelling  there  for  three  miles  round 
Except  her  father's  cot. 

2  And  yet  on  many  a  winter  night 
Young  swains  would  gather  there ; 
For  her  father  kept  a  social  board 
And  she  was  very  fair. 

3  Her  father  liked  to  see  her  dressed 
As  fine  as  a  city  belle ; 

For  she  was  the  only  child  he  had, 
And  he  loved  his  daughter  well. 

4  It  was  New  Year's  eve.    The  sun  had  set. 
Why  looks  her  anxious  eye 

So  long  from  the  frosty  windows  forth 
As  the  merry  sleighs  go  by  ? 

5  At  the  village  inn  fifteen  miles  ofT 
There's  a  merry  ball  tonight. 

The  piercing  air  is  cold  as  death 
But  her  heart  is  warm  and  light. 

6  But  oh !  how  laughs  her  beaming  eye 
As  a  well  known  voice  she  hears 
And  dashing  up  to  the  cottage  door 
Young  Charles  with  sleigh  appears ! 

7  'Oh,  daughter  dear,'  her  mother  said, 
'This  blanket  round  you  fold ; 

For  it's  a  dreadful  night  abroad 
And  you'll  get  your  death  of  cold.' 

8  'No,  mother,  no,'  fair  Charlotte  said. 
And  she  laughed  like  a  Gypsy  queen, 
'To  ride  in  blankets  all  muffed  up 

I  never  can  be  seen. 

9  'My  silken  coat  is  quite  warm ; 
It's  lined  throughout,  you  know. 
Besides,  I  have  a  silken  scarf 
Which  around  my  neck  I'll  throw.' 


494  NORTH  CAROLINA  FOLKLORE 

10  Her  gloves  were  on,  her  bonnet  tied; 
She  jumped  into  the  sleigh 

And  away  they  ride  by  mountain  side 
And  o'er  the  hills  so  gay. 

11  There's  life  in  the  sound  of  the  merry  bells 
As  o'er  the  hills  they  go. 

What  a  creaking  sound  the  runners  make 
As  they  bite  the  frozen  snow ! 

12  With  muffled  faces,  silently 
O'er  five  long  miles  they  pass, 
When  Charlie  with  these  frozen  words 
The  silence  broke  at  last : 

13  'Such  a  night  as  this  I  never  saw; 
The  reins  I  scarce  can  hold.' 

When  Charlotte,  shivering,  faintly  said : 
'Oh,  I  am  very  cold.' 

14  He  cracked  his  whip  and  urged  his  team 
More  swiftly  than  before, 

Until  five  other  dreary  miles 
In  silence  were  passed  o'er. 

15  'Oh,  see,'  said  Charles,  'how  fast  the  frost 
Is  gathering  on  my  brow' ; 

When  Charlotte  said  in  a  feeble  voice, 
'I'm  growing  warmer  now.' 

16  And  on  they  ride  through  the  frosty  air 
And  the  glittering  cold  starlight. 
Until  at  last  the  village  inn 

And  ballroom  are  in  sight. 

17  They  searched  the  inn  and  Charlie  jumped 
And  held  his  arms  to  her. 

'Why  sit  you  like  a  monument 
Within  is  power  to  stir?'^ 

18  He  called  her  once,  he  called  her  twice ; 
She  answered  not  one  word. 

He  called  her  by  her  name  again, 
But  still  she  never  stirred. 

19  He  took  her  hand  in  his ;  oh  God, 
'Twas  cold  and  hard  as  stone. 

He  tore  the  mantle  from  her  brow 
And  there  the  cold  stars  shone. 

'  In  the  first  line  of  this  stanza  "searched"  is  evidently  miswritten  for 
"reached"  and  there  should  be  an  "out"  at  the  end  of  the  line ;  and  the 
last  line  should  read  "That  hath  no  power  to  stir." 


NATIVE     AMERICAN     BALLADS  495 

20  And  then  into  the  Hghted  hall 
Her  lifeless  form  he  bore. 

For  Charlotte  was  a  frozen  corpse 
And  words  spoke  never  more. 

21  He  threw  his  arms  around  her  neck 
And  kissed  her  marble  brow ; 

And  his  thoughts  went  back  to  where  she  said, 
'I'm  growing  warmer  now.' 

210 

The  Three  Drowned  Sisters 

This  is  a  version  of  a  song  published  in  Gardner  and  Chickering 
BSSM  301-2  under  the  title  Three  Girls  Drowned'  (with  music), 
from  the  singing  of  Mr.  E.  W.  Harns,  Greenville,  Michigan,  "who 
learned  the  song  from  his  mother.  Mr.  Harns  said  that  these  girls 
were  drowned  in  Elk  Creek,  which  ran  through  his  parents'  farm  in 
Erie  county,  Pennsylvania.  His  parents  knew  the  girls,  who  lived 
only  a  few  miles  from  their  farm  when  this  tragedy  took  place  in 
1849."  The  editors  of  BSSM  refer  to  "  'an  original  copy'  of  the 
song,  'Three  Voices  from  the  Grave,'  which  is  more  than  twice  the 
length  of  the  Michigan  text,  although  the  story  remains  the  same." 

'The  Three  Drowned  Sisters'  has  the  following  passages  rather 
closely  corresponding  to  passages  in  'Three  Girls  Drowned':  (l) 
stanza  3,  11.  3-4  to 

Bright  forked  lightning  flashed  around 
While  awful  thunder  shook  the  ground; 

(2)  Stanza  4,  11.  3-4  to 

In  God's  own  house  they  did  repair 
With  young  John  Ash  to  worship  there; 


(3)  Stanza  5  to 


A  prayer  of  hymn  and  praises  sung 

As  they  rode  back  to  Washington. 

A  following  stream  they  thought  to  ford. 

Which  sent  their  spirits  back  to  God ; 

(4)  Stanza  6  to 

Lucinda  Phelps,  Harriet  Strong, 
Elizabeth  Ash,  all  three  are  gone. 

The  rolling  current  stopped  their  breath 
And  left  their  bodies  cold  in  death. 

Otherwise,  though  telling  substantially  the  same  story,  the  two  ver- 
sions differ  considerably. 

'The  Three  Drowned  Sisters.'    From  the  John  Burch  Blaylock  Collection. 


496  NORTH  CAROLINA  FOLKLORE 

1  Let  truth  and  wisdom  guide  my  pen 
While  writing  to  the  sons  of  men. 
The  captain  asks  us  to  relate, 
Concerning  three  young  ladies'  fate. 

2  'Twas  on  the  twenty-fourth  of  June, 
The  summer  flowers  in  their  bloom ; 
The  month,  the  year,  the  day,  and  time 
Was  eighteen  hundred  sixty-nine. 

3  Dark  clouds  and  tempests  had  arose 
Their  fearful  ...  to  disclose. 

The  ligl^tning  flashed  all  around. 
And  awful  thunder  shook  the  ground. 

4  Was  just  before  the  day  described 
To  .  .  .  those  three  did  ride. 

In  God's  own  house  they  did  prepane 
With  young  John  Ashe  to  worship  there. 

5  They  hymns  of  praise  there  then  they  sung 
As  they  rode  back  to  Washington. 

Their  thoughts  of  swelling  streams  to  ford 
Which  sent  their  spirits  to  the  Lord. 

6  Lauranda  Philips  and  Marion  Strong, 
With  Elizabeth  Ashe — those  three  are  gone. 
The  rolling  torrent  stopped  their  breath 
And  left  their  bodies  cold  in  death. 

7  The  mournful  tidings  soon  went  round 
That  those  three  ladies  all  were  drowned, 
Which  filled  their  friends  with  deep  despair 
And  overwhelmed  tlieir  hearts  with  care. 

8  The  people  went  and  searched  around. 

At  French  Creek  their  dead  bodies  found. 
And  in  the  coroner's  house  were  laid 
Their  funeral.  .  .  . 

9  Take  warning,  all  you  friends  who  weep. 
That  His  commandments  you're  to  keep. 
His  precious  hand  on  that  great  day 
Will  wipe  your  flowing  tears  away. 


211 

The  Ore  Knob 

There  is  no  Ore  Knob  mine  or  town  in  atlases  of  North  Carolina. 
The  informant's  home,  Vox,  is  in  Alleghany  county.     The  nearest 


NATIVE     AMERICAN     BALLADS  497 

place  with  a  name  similar  to  Ore  Knob  is  Orebank,  close  to  Kings- 
port,  Tennessee.  The  Century  Atlas  (c.  191 1)  locates  a  village 
named  Oreknob  in  Pike  county,  eastern  Kentucky.  In  1896  there 
was  an  Ore  Hill  in  Chatham  county,  North  Carolina.  The  Chatham 
Record  (Pittsboro)  for  May  28,  1896,  reports  the  organization  of 
a  company  to  set  up  a  furnace  and  "get  the  mine  at  Ore  Hill  in 
shape  for  mining  ore,"  and  in  its  issue  of  June  4  it  reports  progress 
of  the  project.  O.  Strickland  and  Raymond  Campbell,  of  Pittsboro, 
both  of  whom  once  worked  in  coal  mines  within  the  Chatham-Lee 
counties  area,  state  that  there  was  considerable  mining  until  about 
1927,  when  operations  ceased  in  consequence  of  several  disasters. 
All  of  the  places  named  are  in  mining  country,  and  any  of  them 
might  have  been  the  .scene  of  this  coronach. 

'The  Ore  Knob.'  From  Miss  Lura  Wagoner,  Vox,  in  a  "MS  book  of 
songs  loaned  F.  C.  B.  in  August  1936.  Several  of  the  songs  are  dated, 
some  1911,  some  1913.  Many  .  .  .  were  copied  by  F.  C.  B.  without 
name,  date,  or  place"  (N.  I.  W.). 

1  Come,  blooming  youth  in  the  midst  of  day 
And  see  how  soon  some  pass  away. 

There  was  two  men  that  worked  with  us  here. 
What  became  of  them  you  soon  shall  hear. 

2  They  worked  all  day  until  evening  tide 
Before  the  ground  it  made  a  slide. 

At  fifty  minutes  after  five 

They  was  healthy  men  and  yet  alive. 

3  Before  the  whistle  blew  for  six 

Their  death  was  cast,  their  doom  was  fixed ; 
The  rocks  and  dirt  came  tumbling  down, 
And  under  it  those  men  were  found. 

4  Both  cold  and  dead  and  could  not  live 
For  God  had  took  the  spark  he  gave. 

They  was  brought  to  the  top,  a  dreadful  sight. 
How  lonesome  was  that  Tuesday  night. 

5  Poor  Sherley  and  Smith,  how  much  we  miss  them 
Around  the  Ore  Knob  today. 

We  hope  they  are  gone  to  a  world  of  bliss, 
But  none  of  us  we  dare  to  say. 

6  But  with  the  Lord  there's  nothing  strange; 
He  can  their  hearts  in  a  moment  change. 
We  hope  he  did  their  hearts  renew 

And  receive  them  in  that  heavenly  care. 

7  Poor  Sherley  had  a  wife  and  children  dear, 
And  Smith  had  a  mother  this  news  to  hear. 
We  hope  they  all  for  consolation 

To  read  and  believe  John's  Revelation, 


498  NORTH     CAROLINA     FOLKLORE 

8  That  says  the  dead  will  one  day  rise 
And  saints  will  mount  them  upward  skies 
And  sing  with  the  angels  and  adore, 
Where  friends  that  meet  will  part  no  more. 

9  Let  us  take  heed  when  the  scripture  say 
That  we  must  watch  as  well  as  pray, 
For  in  a  hour  when  the  least  if  thought. 
The  summons  of  death  it  may  be  brought. 


Floyd  Collins 

Floyd  Collins  descended  into  a  "sandhole"  cave,  near  Mammoth 
Cave,  Kentucky,  on  January  30,  1925.  Missed  next  day,  he  was 
found  by  his  brother,  trapped  by  a  landslide.  Attempts  to  rescue 
him,  continuing  until  February  16,  when  he  was  discovered  to  be 
dead,  excited  the  whole  nation.  Oland  D.  Russell,  who  wrote  a 
-summary  account  of  the  occurrence,  in  "Floyd  Collins  in  the  Sand 
Cave,"  American  Mercury,  November  1937,  concludes  with  the  re- 
mark: "Phonograph  records  that  recited  The  Death  of  Floyd  Col- 
lins in  doleful  lament  to  the  accompaniment  of  hillbilly  music 
outsold  all  other  of  the  Americana  series  for  a  few  years,  but  they 
are  no  longer  on  the  market."  He  quotes  a  version  from  which  the 
following  differs  in  a  number  of  verbal  details  which  suggest  oral 
transmission.  Perhaps  no  American  ballad  owes  more,  for  its  wide 
diffusion,  to  the  phonograph  than  does  'Floyd  Collins.' 


'Floyd  Collins.'  From  the  manuscript  book  of  Miss  Edith  Walker, 
Boone,  with  a  note  accompanying  the  transcript  which  shows  how  de- 
tails of  Collins's  misfortune  have  become  folklore: 

Floyd  Collins  was  a  young  man  who  spent  much  of  his  time  exploring 
old  caves.  He  had  been  wanting  to  explore  an  old  sandstone  cave  in 
Kentucky.  Before  he  entered  the  cave  it  is  said  that  he  dreamed  that 
he  was  imprisoned  there.  He  told  his  dream  to  his  parents  and  they 
begged  him  not  to  explore  the  standstone  cave.  However,  their  pleadings 
were  in  vain.  Floyd  entered  the  cave  and  it  fell  in  on  him,  catching 
him  by  the  leg  Doctors  went  into  the  cave  and  amputated  his  leg, 
hoping  to  save  him  thus.  [According  to  Russell,  op.  cit.,  amputation  was 
impractical  because  the  surgeons  could  not  reach  Collins's  leg.]  Before 
he  could  get  out,  the  cave  fell  in  on  him  again.  The  doctors  escaped, 
but  he  could  not.  For  quite  a  time  the  rescue  party  communicated  with 
him  and  fed  him  through  pipes.  During  this  time  they  were  trying  to 
reach  him  by  digging  through  the  mountain  to  him,  and  they  had  almost 
reached  his  body  when  he  died. 

Of  a  version  close  to  Miss  Walker's,  Jean  Thomas,  in  Blue  Ridge 
Mountain  Country  (New  York,  1942),  p.  237,  says:  "This  ballad  was 
written  by  fifty-year-old  Adam  Crisp  who  lived  in  Fletcher,  North 
Carolina,  at  the  time  of  Collins'  death.  Crisp  could  neither  read  nor 
write  but  composed  many  ballads." 


NATIVE     AMERICAN     BALLADS  499 

I     O  come  all  you  young  people 
And  listen  while  I  tell 
The  fate  of  Floyd  Collins, 
A  lad  we  all  knew  well. 
His  face  was  fair  and  handsome ; 
His  heart  was  true  and  brave. 
His  body  now  lies  sleeping 
In  a  lonely  sandstone  cave. 

2     How  sad,  how  sad  the  story- 
It  fills  our  eyes  with  tears. 
The  memory,  too,  shall  linger 
For  many,  many  years. 
A  broken-hearted  father 
Who  tried  his  boy  to  save 
Will  now  weep  tears  of  sorrow 
At  the  door  of  Floyd's  cave. 

3  'O  mother,  don't  you  worry. 
Dear  father,  don't  be  sad. 
I'll  tell  you  all  my  troubles 
In  an  awful  dream  I  had. 

I  dreamed  I  was  a  prisoner; 
My  life  I  could  not  save. 
I  cried,  "Oh,  must  I  perish 
Within  this  silent  cave  ?"  ' 

4  The  rescue  party  labored, 

It  worked  both  night  and  day. 
To  move  the  mighty  barrier 
That  stood  within  the  way. 
To  rescue  Floyd  Collins, 
This  was  their  battle  cry : 
'We'll  never,  no,  we'll  never 
Let  Floyd  Collins  die !' 

5  But  on  that  fatal  morning 
The  sun  rose  in  the  sky. 
The  workers  still  were  busy: 
'We'll  save  him  by  and  by!' 
But  oh,  how  sad  the  ending: 
His  life  they  could  not  save. 
His  body  then  lay  sleeping 
In  the  lonely  sandstone  cave 

6  O,  come  all  you  young  people. 
And  listen  to  Floyd's  fate. 
And  get  right  with  your  Maker 
Before  it  is  too  late. 


500  NORTH     CAROLINA     FOLKLORE 

It  may  not  be  a  sand  cave 
In  which  we  find  our  tomb, 
But  at  the  bar  of  judgment 
We,  too,  must  meet  our  doom. 


'Floyd  Collins'  Death.'  From  Miss  Pauline  Miller ;  without  date  or 
address.    The  only  significant  differences  occur  in  the  last  stanza. 

6  Young  people,  all  take  warning — 
This  is  for  you  and  I : 

We  may  not  be  like  Collins, 
But  you  and  I  must  die. 
It  may  not  be  in  sandstone  cave 
In  which  we  find  our  home 
But  at  the  Mighty  Judgment 
We  all  must  meet  our  doom. 

c 

'Floyd  Collins.'  From  the  John  Burch  Blaylock  Collection.  Eighteen 
four-line  stanzas,  the  first  six  of  which  correspond,  with  verbal  variations, 
to  the  first  three  eight-line  stanzas  of  A.  Stanzas  7-12  (printed  below) 
add  details  not  present  in  the  other  versions.  Stanzas  13-18  then  cor- 
respond to  stanzas  4-6  of  A. 

7  'Oh !  Floyd,'  cried  his  mother, 
'Don't  go,  my  son,  don't  go. 

It  would  leave  us  broken  hearted 
If  this  should  happen  so.' 

8  Though  Floyd  did  not  listen 
To  advice  his  mother  gave. 
So  his  body  now  lies  sleeping 
In  a  lonely  sandstone  cave. 

9  His  father  often  warned  him 
From  follies  to  desist ; 

He  told  him  of  the  danger. 
And  of  the  awful  risk, 

10  But  Floyd  would  not  listen 
To  advice  his  father  gave. 
So  his  body  now  lies  sleeping 
In  a  lonely  sandstone  cave. 

11  Oh  !  how  the  news  did  travel ; 
Oh !  how  the  news  did  go. 

It  traveled  through  the  papers 
And  over  the  radio. 


NATIVE     AMERICAN     BALLADS  501 

12     A  rescue  party  gathered; 
His  life  they  could  not  save. 
But  his  body  now  lies  sleeping 
In  a  lonely  sandstone  cave. 

213 

The  Jam  at  Gerry's  Rock 

Mrs.  Eckstorm  (MM  176-98)  has  made  a  careful  study  of  the 
origin  and  history  of  this  woodsman's  song,  and  it  has  been  ably 
supplemented  by  Phillips  Barry  (BFSSNE  xii  22-3).  It  seems 
that  it  originated  in  Maine,  some  time  shortly  after  the  close  of  the 
Civil  War,  and  has  spread  pretty  much  wherever  river-drivers  have 
gone  to  carry  on  their  dangerous  trade.  Barry  recognizes  two 
forms  of  it,  one  of  which  shows  the  influence  of  Canadian  loggers 
in  Maine.  Neither  the  hero  of  it  nor  the  girl  nor  the  "Gerry's 
Rock"  that  is  the  scene  of  the  incident  can  now  be  identified.  Mrs. 
Eckstorm  pretty  thoroughly  demolishes  Gray's  theory  that  it  is  the 
spontaneous  creation  of  a  communal  throng  (SBML  xv-xvi).  The 
ballad  has  even  found  its  way  to  Scotland,  Cox  says  (FSS  256)  ; 
it  has  been  reported  as  folk  song  from  Newfoundland  (BSSN 
331-3),  Nova  Scotia  (BSSNS  (367-70),  Maine  (MM  82-90, 
SBML  3-9,  MWS  52-3,  FSONE  217-20,  BFSSNE  x  18-20,  xii 
21-3 — this  last  really  from  New  Hampshire),  Vermont  (NGMS 
44-6),  Pennsylvania  (NPM  83-5),  West  Virginia  (FSS  236-8), 
Michigan  (BSSM  272-3,  SML  133-6),  Wisconsin  (BSSB  15-18), 
Minnesota  (BSSB  11-14,  Dean  25-6),  North  Dakota  (BSSB  19), 
Oregon  (ASb  394-5).  and  Florida  (FSF  107-9).  Barry  (BFSSNE 
XII  22)  mentions  an  unpublished  text  from  New  Brunswick.  Only 
one  of  the  three  texts  in  our  collection  is  strictly  speaking  from 
North  Carolina  tradition;  but  the  interest  of  the  ballad  is  such  that 
it  seems  best  to  give  here  all  of  them,  for  comparison  with  the  other 
texts  listed  above. 

A 
No  title.     Given  to  Mrs.  Vance  at  Plumtree,  Avery  county,  by  a  stu- 
dent, Miss  Dorothy  Royall,  of  Shelby,  Wisconsin.     A  text  originating — 
see  stanzas  3  and  4 — among  woodsmen  from  Canada. 

1  Come  all  ye  brave  shanty-boys,  wherever  ye  may  be, 
I  would  have  you  pay  attention  and  listen  unto  me. 

For  it  concerns  a  shanty-boy  so  noble,  true,  and  brave. 
Who  broke  the  jam  on  Garry's  rock  and  met  with  a  watery 
grave, 

2  It  was  on  a  Sunday  morning,  as  you  shall  quickly  hear. 
The  logs  were  piling  mountain  high,  we  could  not  keep 

them  clear. 
'Cheer  up,  cheer  up !  brave-hearted  youths,  relieve  your 

hearts  of  fear; 
We'll  break  this  jam  on  Garry's  Rock  and  to  Saginaw  we 

will  steer.' 


502  NORTH  CAROLINA  FOLKLORE 

3  Now  some  of  them  were  willing,  while  others  they  were  not. 
To  work  a  jam  on  Sunday  they  did  not  think  they  ought; 
Till  six  of  our  Canadian  boys  did  volunteer  to  go 

And  break  the  jam  on  Garry's  Rock  with  their  foreman, 
young  Monroe. 

4  They  had  not  picked  off  many  logs  when  the  boss  to  them 

did  say : 
'I  would  have  you  be  on  your  guard,  for  the  jam  will  soon 

give  way.' 
His  lips  to  this  short  warning  scarce  gave  vent  when  the 

jam  did  go 
And  carried  away  the  six  brave  Canadian  youths  and  the 

foreman,  young  Monroe. 

5  Now  when  the  boys  up  at  the  camp  the  news  they  came  to 

hear, 
In  search  of  their  dead  bodies  to  the  river  they  did  steer; 
And  they  found  to  their  surprise,  their  sorrow,  grief,  and 

woe. 
All  bruised  and  mangled  on  the  beach  lay  the  corpse  of 

young  Monroe. 

6  They  picked  him  up  most  tenderly,   smoothed  down   his 

raven  hair. 
There  was  one  among  the  watchers  whose  cries  did  rend 

the  air. 
This  fair  one  most  distracted  was  a  girl  from  Saginaw 

town. 
And  her  wails  and  cries  did  reach  the  skies  for  her  true 

love  who  was  drowned. 

7  The  Missus  Clark,  a  widow,  lived  by  the  riverside. 

This  was  her  only  daughter  (and  Jack's  intended  bride). 
So  the  wages  of  her  own  true  love  the  boss  to  her  did  pay, 
And  a  liberal  subscription  was  made  up  by  the  shanty-boys 
next  day. 

8  When  she  received  the  money  she  thanked  them,  every  one, 
Though  it  was  not  her  portion  to  live  for  very  long ; 

And  it  was  just  six  weeks  or  more  when  she  was  called 

to  go. 
And  her  last  request  was  to  be  laid  to  rest  by  the  side  of 

young  Monroe. 

9  They  buried  him  most  decently   ('twas  on  the  fourth  of 

May). 
Come  one  and  all,  ye  shanty-boys,  and  for  a  comrade  pray. 
Engraven  on  a  hemlock  tree  which  by  the  beach  did  grow 
Was  the  name  and  date  of  this  sad  fate  of  the  foreman, 

John  Monroe. 


NATIVE     AMERICAN     BALLADS 


503 


The  Jam  at  Gerry  s  Rock;  or,  Young  Monroe.'  Contributed  by  E.  Emer- 
son of  Ldgecombe,  Maine ;  the  manuscript  does  not  say  when  or  through 
whom  It  was  secured.  This  text  is  fairly  close  to  A,  and  yet  has  some 
mterestmg  variants.  Note  the  repeated  objection  to  working  on  Sunday, 
stanzas  3  and  6.  o  j, 

1  Come  on,  all  you  brave  shanty  boys,  and  list  while  I  relate. 
I'll  sing  about  a  shanty  boy  and  his  untimely  fate. 

This  river  man,  called  Young  Monroe,  so  manly,  true  and 

brave, 
He  broke  the  jam  at  Gerry's  Rock,  and  found  a  wat'ry 

grave. 

2  'Twas  on  a  Sunday  morning,  as  you  will  quickly  hear. 
Our  logs  were  piled  up  mountain  high;  we  could  not  keep 

them  clear. 

Our  foreman  said,  'Come  on,  brave  boys,  with  hearts  de- 
void of  fear; 

We'll  break  the  jam  at  Gerry's  Rock,  for  Agon's  town 
we'll  steer.' 

3  Now  some  of  them  were  willing,  while  others  they  were  not. 
To  go  to  work  on  Sunday  wasn't  right,  they  hadn't  ought 
But  SIX  of  our  brave  shanty  boys  they  volunteered  to  go 
And  break  the  jam  at  Gerry's  Rock  with  foreman  Young 

Monroe.  ^ 

4  Now  when  they  got  out  on  the  jam,  the  foreman  and  his 

crew, 

The  logs  were  rolled  up  mountain  high ;  it  was  a  frightful 
view.  ** 

They  had  not  rolled  off  many  logs  before  they  heard  him 

say, 
•I'd  have  you  boys  be  on  your  guard;  the  jam  will  soon 

give  way. 

5  These  words  he'd  scarcely  spoken  when  the  jam  did  break 

and  go. 
And  with  it  went  those  six  brave  boys  and  foreman  Young 

Monroe.  * 

Six  of  their  mangled  bodies  floating  down  the  stream  did  go 
While  crushed  and  bleeding  near  the  banks  lay  foreman 

Young  Monroe. 

6  Those  shanty  boys  upon  the  shore  beheld  the  awful  sight 
They  shook  their  heads  and  said  to  work  on  Sunday  wasn't 

right. 
The  first  they  found  was  Young  Monroe ;  brushed  back  his 
raven  hair. 


504  NORTH     CAROLINA     FOLKLORE 

And  when  his  sweetheart  knew  him,  how  her  cries  did  rend 
the  air ! 

7  Fair  Clara  was  a  noble  girl,  the  riverman's  true  friend. 
She  and  her  widowed  mother  lived  down  at  the  river's 

bend. 
The  wages  of  her  own  true  love  the  boss  to  her  did  pay 
While  shanty  boys  made  up  for  her  a  generous  sum  next 

day. 

8  They  buried  him  quite  decently,  upon  the  first  of  May, 
And  all  the  brave  young  shanty  boys  did  gather  round  to 

pray. 
Engraved  upon  the  hemlock  tree  that  by  the  grave  does 

grow 
You'll  find  the  date  of  that  sad  fate  of  foreman  Young 

Monroe. 

9  Fair  Clara  did  not  long  survive ;  her  heart  it  broke  with 

grief, 
And  less  than  three  months  afterwards  death  came  to  her 

relief. 
Her  time  had  come,  and  she  was  glad,  because  she  wanted 

so 
To  join  her  own  true  lover  and  be  laid  by  Young  Monroe. 

10     For  if  you're  ever  down  that  way  I'd  have  you  call  and  see 
Two  green  graves  by  the  riverside  where  grows  a  hemlock 

tree. 
The  shanty  boys  carved  in  the  wood  where  lay  these  lovers 

low, 
"Tis   handsome   Clara   Vernon   and   her  true   love.   Jack 

Monroe.' 

c 

'The  Death  of  Young  Monroe.'  From  the  John  Burch  Blaylock  Col- 
lection. This  is  the  only  one  of  our  three  texts  that  shows  the  song 
current  in  North  Carolina. 

1  Come  all  you  jolly  shanty  boys,  I  would  have  you  to  draw 

near 
And  listen  to  a  story  I  mean  to  let  you  hear 
About  a  gallant  shanty  lad,  so  manful  and  so  brave. 
Who  on  the  jam  at  Garry's  Rock  met  with  his  watery 

grave. 

2  'Twas  on  a  Sunday  morning,  about  the  first  of  May. 
Our  logs  were  piled  up  mountain  high ;  we  could  not  clear 

the  way. 


NATIVE     AMERICAN     BALLADS  505 

The  foreman  said,  'Turn  out,  my  boys,  regardless  of  all 

fear; 
And  we'll  break  the  jam  on  Garry's  Rock  and  to  Saginaw 

town  we'll  steer.' 

There  were  some  who  were  not  afraid  to  go,  while  others 
they  hung  back ; 

A-working  on  a  Sunday  they  did  not  think  it  right. 

There  were  six  brave  young  Canadian  youths  who  volun- 
teered to  go 

And  break  the  jam  on  Garry's  Rock  with  their  foreman, 
young  Monroe, 

They  had  not  rolled  'way  many  a  log  when  their  foreman 
he  did  say, 

T  would  have  you  on  your  guard,  my  boys,  this  jam  will 
soon  give  way.' 

These  words  had  scarce  been  spoken  when  the  jam  did 
break  and  go 

And  carried  away  those  six  brave  youths,  with  their  fore- 
man, young  Monroe. 

When  the  rest  of  these  brave  shanty  boys  this  sad  news 

came  to  hear, 
In  search  of  their  dead  comrades  to  the  river  they  did  steer. 
In  search  of  their  dead  comrades  to  the  river  they  did  go. 
All  bruised  and  mangled  on  the  rocks  lay  the  body  of  young 

Monroe. 

They  took  him  from  his  watery  tomb  and  smoothed  his 

waving  hair. 
There  was  one  fair  form  among  them  whose  cries  would 

rend  the  air ; 
There  was  one  fair  form  among  them  who  had  come  from 

Saginaw  town, 
Whose  mournful  cries  would  rend  the  air  for  the  lover 

who  had  drowned. 

They  buried  him  most  decently,  being  on  the  third  of  May. 
Come  all  you  jolly  shanty  boys  who  may  chance  to  pass 

this  way. 
On  a  marble  slab  by  the  river's  bend,  where  the  hemlock 

trees  do  grow, 
Engraved  is  the  name  and  the  date  of  the  death  of  our 

hero,  young  Monroe. 

Miss  Clara  was  a  noble  girl,  likewise  the  raftsmen's  friend. 
Her  mother  was  a  widow,  lived  by  the  river's  bend. 
The  foreman  he  gave  to  her  all  her  dead  lover's  pay. 


506  NORTH     CAROLINA     FOLKLORE 

Likewise  a  liberal  subscription  was  raised  by  the  boys  next 
day. 

9     Miss  Clara  had  not  long  to  mourn  her  sorrow  and  her 
grief ; 
In  less  than  three  weeks  after,  death  came  to  her  relief. 
In  less  than  three  weeks  after,  death  called  on  her  to  go; 
And  her  last  wish  it  was  granted — to  be  buried  by  young 
Monroe. 

10     They  buried  her  most  decently,  being  on  the  twentieth  of 

May. 
Come  all  of  you  young  people  who  may  chance  to  pass  this 

way. 
On  a  little  knoll  by  the  river's  bend,  where  the  hemlock 

trees  do  grow. 
Lies  the  body  of  Miss  Clara  Belle  of  Saginaw  town  and 

her  lover,  young  Monroe. 

214 
Lost  on  the  Lady  Elgin 

Miss  Pound  (ABS  134-135)  has  a  version  of  this  song  which  is 
almost  the  same  as  the  one  given  below.  There  are  two  verbal 
differences  in  the  chorus  and  in  stanzas  i  and  2.  Miss  Pound 
does  not  print  the  third  stanza.  The  song  commemorates  a  wreck 
on  Lake  Michigan  in  i860.  Wehman  printed  it  as  a  broadside  (No. 
988)  ;  copyright,  1861,  by  H.  M.  Higgins. 

'Lost  on  the  Lady  Elgin.'     From  the  John  Burch  Blaylock  Collection. 

1  Up  from  the  poor  man's  cottage, 
Forth  from  the  mansion's  door. 
Sweeping  across  the  waters 
And  echoing  'long  the  shore ; 
Caught  by  the  morning  breezes, 
Borne  on  the  evening's  gale, 
Cometh  a  cry  a-mourning, 
And  a  sad  and  solemn  wail. 

Chorus: 

Lost  on  the  Lady  Elgin, 
Sleeping  to  wake  no  more, 
Numbered  among  the  three  hundred 
Who  failed  to  reach  the  shore. 

2  Oh,  'tis  the  cry  of  children 
Weeping  for  parents  gone, 
Children  who  slept  at  evening. 


NATIVE     AMERICAN     BALLADS  507 

But  orphans  who  woke  at  dawn ; 
Sisters  for  brothers  weeping, 
Husbands  for  missing  wives — 
Such  were  the  ties  to  sever 
With  those  three  hundred  Hves. 

Staunch  was  the  noble  steamer; 
Precious  the  freight  she  bore; 
Gaily  she  loosed  her  cables 
A  few  short  hours  before. 
Grandly  she  swept  our  harbors ; 
Joyfully  rang  her  bell ; 
Little  thought  that  ere  morning 
'T would  ring  so  sad  a  knell. 


215 
The  Ship  That  Never  Returned 

One  of  the  more  successful  of  Henry  C.  Work's  songs  (copy- 
righted in  1865).  It  has  been  reported  as  folk  song  from  Kentucky 
(Shearin  T)^,  ASb  146),  Tennessee  (FSSH  369),  North  Carolina 
(JAFL  XXVIII  171-2),  Indiana  (SFLQ  iv  201),  Michigan  (BSSM 
482,  listed  merely),  Virginia  (Davis  FSV  106,  listed),  and  in  Miss 
Pound's  syllabus.  It  is  doubtless  much  more  widely  remembered 
than  this  list  indicates.  Its  popularity  is  attested  by  the  parodies 
it  has  prompted — see  below.  The  numerous  copies  of  Work's  song 
in  our  collection  do  not  differ  significantly,  so  that  it  will  be  suffi- 
cient to  give  one  of  them.  Our  eleven  copies,  all  with  the  title 
given  above,  are : 

A  From    the   manuscript    songbook   of    Miss    Edith    Walker   of    Boone, 
Watauga  county.    Text  given  below. 

B  From    the    manuscript    of    Mrs.    Mary    Martin    Copley    of    Durham, 
secured  by  Jesse  T.  Carpenter,  apparently  in  1923. 

C  Secured  by  Julian  P.  Boyd,  Alliance,   Pamlico  county,  in   1927  from 
Catherine  Bennett,  a  pupil  in  the  school  there. 

D  From  J.  B.  Midgett,  Jr.,  of  Wanchese,  Roanoke  Island,  in  1922. 

E  From  Loy  V.  Harris,  Durham,  of  the  class  of  1924  at  Trinity  College. 

F  From  O.  L.  Coffey  of  Shull's  Mills,  Watauga  county,  in  1939. 

G  From  Ruth  Efird  of  Stanly  county.     Not  dated. 

H  From  B.  C.  Reavis,  date  and  place  not  indicated.    With  the  tune. 

I  From  EfFie  Tucker.     Date  and  place  not  indicated. 

J  From  the  'My  Favorite  Song'  column  of  the  Monroe  Journal  (Monroe. 
Union  county),  November,  191 6. 

K  From  the  John  Burch  Blaylock  Collection. 


508  NORTH  CAROLINA  FOLKLORE 

1  On  a  summer  day,  as  the  waves  were  rippling 
By  the  soft,  gentle  breeze, 

Did  a  ship  set  sail  with  her  cargo  laden 

For  a  port  beyond  the  seas. 

There  were  sweet  farewells,  there  were  loving  signals, 

And  her  fate  was  yet  unlearned ; 

Though  they  knew  it  not,  'twas  a  solemn  party 

On  the  ship  that  never  returned. 

Chorus: 

Did  she  ever  return?    She  never  returned, 

And  her  fate  was  yet  unlearned. 

Though  for  years  and  years  there  were  fond  ones  waiting 

For  the  ship  that  never  returned. 

2  Said  a  feeble  lad  to  his  anxious  mother, 
'I  must  cross  the  wide,  wide  sea ; 

For  they  say,  perchance,  in  a  foreign  clime 

There  is  health  and  strength  for  me.' 

'Twas  a  gleam  of  hope  in  a  maze  of  danger 

And  her  heart  for  her  youngest  yearned, 

Though  she  sent  him  forth  with  a  smile  and  blessing 

On  the  ship  that  never  returned. 

3  'Only  one  more  trip,'  said  a  gallant  seaman 
As  he  kissed  his  weeping  wife, 

'Only  one  more  bag  of  golden  treasure 

And  'twill  last  us  all  through  life. 

Then  we'll  spend  our  days  in  our  cozy  cottage 

And  enjoy  the  sweet  rest  we  earned.' 

But  alas,  poor  man,  who  sailed  commander 

On  the  ship  that  never  returned. 

Of  the  parodies  or  imitations  of  Work's  song  there  are  two  in 
our  collection.  One  might  be  called  'The  Face  That  Never  Re- 
turned' : 

a 
'The  Parted  Lover.'    From  the  manuscript  of  Mrs.  Mary  Martin  Copley, 
Route  8,  Durham,  obtained  by  Jesse  T.  Carpenter,  probably  in  1923. 

I     She  was  young  and  fair,  he  was  tall  and  handsome, 
And  they  loved  each  other  dear. 
But  he  rode  away  to  a  foreign  country 
For  to  see[k]  his  fortunes  there. 

Chorus: 

Did  he  ever  return?    No,  he  never  returned, 
And  her  heart  has  often  yearned ; 
And  with  anxious  eyes  she's  been  watching,  longing 
For  the  face  that  never  returned. 


NATIVE     AMERICAN     BALLADS  SOQ 

2  Hasty  words  were  passed,  caused  their  separation; 
They  were  words  all  harmless  too, 

But  they  broke  the  hearts  of  this  loyal  couple 
That  has  always  been  so  true. 

3  She  had  said  to  him,  in  an  angry  passion, 
That  he  might  forever  go, 

And  his  heart  was  broke  with  this  cruel  message, 
Yet  he  left  this  maiden  so. 

4  When  he  roves  about  over  hills  and  valleys, 
Let  him  go  where'er  he  will, 

Still  his  mind  reverts,  while  his  heart  is  breaking, 
Of^  that  girl  he  loved  so  well. 

5  When  the  evening  shade  gathers  round  her^  slowly 
Then  his  heart  is  filled  with  pain, 

As  he  thinks  of  her  who  has  caused  this  anguish; 
Shall  he  ever  see  her  again? 

6  She  looks  tried^  and  worn,  and  her  cheeks  are  paling, 
And  her  steps  are  becoming  slow, 

And  her  eyes  are  dim  with  excessive  weeping, 
And  her  voice  is  soft  and  low ; 

y    And  at  night  the  tears  bathed  her  cheeks  and  pillow 
While  her  head  is  crushed  with  pain. 
And  she  cries,  'O  God,  keep  my  absent  lover ! 
Bring  him  back  to  me  again.' 

8     Now,  young  men  and  maids,  from  my  song  take  warning 
Or  your  hearts  will  break  with  pain. 
Never  speak  harsh  words  to  a  faithful  lover 
Or  he'll  leave  you  to  never  return. 

b 
'Lovers  Parted.'  Contributed  by  Professor  Abrams  from  Boone,  Watauga 
county,  some  time  in  1935  or  1936.    It  does  not  differ  significantly  from  a. 


The  other  parody  of  Work's  song  in  our  collection  is  'The  Train 
That  Never  Returned,'  obtained  from  the  manuscripts  of  Obadiah 
Johnson  of  Crossnore,  Avery  county,  in  July  1940.  It  is  also  in 
part  of  a  memory  of  'Casey  Jones.'  The  chorus  is  the  same  as  that  of 
'The  Parted  Lovers.'  Perrow  (JAFL  xxviii  171)  printed  a  text 
from  North  Carolina  whites.  It  is  noted  elsewhere  that  the  first 
stanza  and  the  chorus  appear,  with  some  differences,  in  'The  Wreck 
of  the  Old  Ninety-Seven.' 

*  So  the  manuscript ;  evidently  it  should  be  "To." 

*  One  expects  "him." 

*  Miswritten,  probably,  for  "tired." 


510  NORTH  CAROLINA  FOLKLORE 

1  I  was  going  round  the  mountain  one  cold  winter  day, 
A-watchin'  the  steam  boil  up  high. 

It  was  from  a  fast  train  on  the  C  and  O  railway, 
And  the  engineer  waved  me  goodby. 

Chorus: 

Did  she  never  return?     No,  she  never  returned, 
Tho  the  train  was  due  at  one. 

For  hours  and  hours  the  watchman  stood  waiting 
For  the  train  that  never  returned. 

2  His  sweet  little  wife  came  up  to  the  station. 
Says,  'Last  night  my  heart  did  yearn ; 

I  dreamed  last  night,  and  it's  still  in  my  mem'ry ; 
I'm  afraid  she  will  never  return.' 

3  'Go  back,  sweet  wife,'  said  the  drunken  conductor 
As  he  waved  his  cap  with  delight, 

'If  the  wheels  will  roll  and  the  engine  stay  sober 
We  will  all  reach  home  tonight.' 

2l6 

Casey  Jones 

This  is  probably  the  best  known  and  most  widely  sung  of  all  the 
songs  dealing  with  the  life  of  men  that  work  for  the  railroad. 
Spaeth,  Read  'Em  and  Weep  119-22,  says  it  is  the  work  of  "two 
actual  railroad  men,  T.  Lawrence  Seibert  and  Eddie  Newton,"  but 
assigns  no  date;  Sandburg  (ASb  366)  notes  its  wide  currency  but 
is  not  specific  as  to  its  origin;  Miss  Pound  (ABS  250)  calls  the 
Seibert  and  Newton  form  of  it  (which  was  published  in  1909)  the 
"vaudeville  version,"  and  says,  on  the  authority  of  Barry,  that  the 
hero  of  the  story  was  really  John  Luther  Jones,  engineer  of  the 
Chicago  and  New  Orleans  Limited,  who  was  killed  in  a  wreck 
March  18,  1900,  and  that  the  song  was  composed  by  Wallace 
Saunders,  a  Negro.  It  is  so  generally  known  and  sung  that  no 
attempt  is  made  here  to  trace  it  geographically.  An  Associated 
Press  dispatch  from  Jackson,  Tenn.,  stated  that  on  August  7,  1947, 
a  monument  to  Casey  Jones  was  unveiled  at  that  place.  In  1950 
the  fiftieth  anniversary  of  the  wreck  was  commemorated  by  a  special 
United  States  three-cent  postage  stamp  picturing  Casey  Jones  and 
his  locomotive,  and  by  a  celebration  at  Jackson,  Tennessee. 

A 
'Casey  Jones.'     From  the  manuscripts  of  G.   S.  Robinson  of  Asheville. 
copied  out  August  4,  1939.     Evidently  the  vaudeville  version. 

I     Come  all  you  rounders  if  you  want  to  hear 
The  story  about  a  brave  engineer. 
Casey  Jones  was  the  rounder's  name ; 
On  a  six-eight  wheeler,  boys,  he  won  his  fame. 


NATIVE     AMERICAN     BALLADS  511 

The  caller  called  Casey  at  half  past  four. 

He  kissed  his  wife  at  the  station  door, 

He  mounted  to  the  cab  with  his  orders  in  his  hand, 

And  he  took  a  farewell  trip  to  the  Promised  Land. 

Casey  Jones  mounted  to  his  cabin, 

Casey  Jones  with  his  orders  in  his  hand ; 

Casey  Jones  mounted  to  his  cabin, 

He  took  a  farewell  trip  to  the  Promised  Land.^ 

'Turn  on  your  water,  shovel  in  your  coal. 

Put  your  head  out  the  window,  watch  your  drivers  roll ; 

I'll  run  her  till  she  leaves  the  rail, 

For  I'm  eight  hours  late  with  the  western  mail.' 

He  looked  at  his  watch  and  his  watch  was  slow, 
He  looked  at  his  water  and  his  water  was  low. 
He  turned  to  his  fireman  and  he  said, 
'We're  going  to  reach  Frisco  but  we'll  all  be  dead.' 

Casey  Jones,  we're  going  to  reach  Frisco, 

Casey  Jones,  but  we'll  all  be  dead. 

Casey  Jones,  we're  going  to  reach  Frisco, 

We're  going  to  reach  Frisco  but  we'll  all  be  dead.^ 

Casey  pulled  up  that  Reno  hill. 
Tooted  for  the  crossing  with  an  awful  thrill ; 
The  switchman  knew  by  the  engine's  moan 
That  the  man  at  the  throttle  was  Casey  Jones. 

And  when  they  got  in  about  two  miles  of  the  place 

The  coal  sparks  fired  him  right  in  the  face. 

He  turned  to  his  fireman  and  he  said, 

'We're  going  to  reach  Frisco,  but  we'll  all  be  dead.' 

Casey  said  just  before  he  died 

There  was  two  more  roads  that  he  wanted  to  ride. 
Everybody  wondered  what  roads  that  could  be : 
Across  Colorado  and  the  Santa  Fe. 

Mrs.  Jones  sat  on  her  bed  a-sighing. 

Just  received  a  message  that  Casey  was  dying. 

She  said,  'Go  to  bed,  children,  and  hush  your  crying, 

You've  got  another  papa  on  the  Salt  Lake  line.' 


There  is  in  the  Collection  another  text  without  contributor's  name. 
It  does  not  differ  materially  from  Robinson's,  but  upon  it  Dr.  Brown 
has   written   an   interesting  note :   "Author   died  at   "j-j,   in   August,   1940. 

'  Although  not  so  marked  in  the  manuscript,  this  stanza  is  the  chorus. 

*  This  again  is  a  chorus  stanza. 


512  NORTH  CAROLINA  FOLKLORE 

Written  in  1888.  The  original  of  this  song  is  still  living  (1940)  at 
Silver  Spring,  Maryland."  One  would  like  to  know  just  where  Dr. 
Brown  found  this  information. 


217 
The  Wreck  of  the  Old  Ninety-Seven 

'The  Wreck  of  the  Old  Ninety-Seven'  has  left  a  mazy  record  in 
court  reports  as  well  as  in  folk  song.  The  following-  account  of 
the  history  of  the  song  has  been  drawn  mainly  from  Federal  Re- 
porter, Second  Series,  69  (April-May,  1934),  871  ff.,  reporting 
"Appeal  from  the  District  Court  of  the  United  States  for  the  Dis- 
trict of  New  Jersey,"  tried  in  the  Circuit  Court  of  Appeals,  Third 
Circuit,  January  3,  1934:  "Suit  by  David  Graves  George  against 
the  Victor  Talking  Machine  Company."  The  District  Court  had 
awarded  George  damages,  adjudging  him^  to  be  the  author  of  'The 
Wreck  of  the  Old  Ninety-Seven,'  which  th'e  Victor  Talking  Machine 
Company  had  recorded  and  sold  at  great  profit.  From  this  decree 
the  Victor  Talking  Machine  Company  was  appealing. 

On  September  27,  1903,  a  Sunday  train,  No.  97,  which  ran  over  the 
Southern  Railway  from  Washington  to  Atlanta,  was  late  at  Lynchburg 
and  in  making  up  lost  time,  its  engineer  ran  it  at  a  high  rate  of  speed 
on  a  steep  grade  down  one  side  of  White  Oak  Mountain,  just  north  of 
Danville,  Va.  As  the  train  reached  a  curving  trestle,  it  left  the  tracks 
and  plunged  into  a  ravine  below.  The  crew  was  killed  and  the  train  was 
completely  destroyed. 

To  the  court's  brief  account  of  the  wreck  should  be  added  some 
details  given  one  of  the  editors  of  the  Frank  C.  Brown  Collection 
by  Mrs  Ruth  M.  Carter,  of  Greensboro,  North  Carolina,  in  the 
summer  of  1944.  "My  father,"  she  wrote,  "has  been  for  many  years 
an  engineer  on  the  Southern  Railroad.  I  have  often  heard  him  speak 
of  his  personal  acquaintance  and  association  with  many  of  the  men 
about  whom  some  of  these  songs  were  written."  In  her  account. 
Mrs.  Carter  explained  that  Number  97  was  a  fast  mail  train  and 
carried  no  passengers,  only  the  crew  and  the  mail  clerks.  "The 
engineer,"  she  stated,  "was  Joe  Broady,  of  Spencer,  North  Caro- 
lina, and  his  fireman  was  a  white  man  named  Clapp.  In  this  latter 
respect,  the  ballad  differs  from  the  facts,  for  in  the  song  Mr.  Clapp 
is  spoken  of  as  'his  black,  greasy  fireman.'  The  regular  conductor, 
a  Mr.  Aaron  of  Spencer,  had  marked  off  for  that  trip,  on  account 
of  illness,  and  is  still  living  and  railroading  on  the  Southern.  Mr. 
Broady's  brother  is  at  present  an  engineer,  running  over  the  same 
division  on  which  Joe  was  killed." 

To  continue  from  Federal  Reporter. 

Quite  a  number  of  songs  were  written  by  different  persons  to  com- 
memorate this  sad  event.  The  testimony  shows  that  shortly  after  the 
accident  one  was  written  by  Fred  Lewey,  another  by  Charlie  Noell,  and 
a  third  is  alleged  to  have  been  written  by  the  plaintiff,  David  Graves 
George.    Afterwards  others  were  written. 

These  songs,  more  or  less  alike,  became  very  popular  in  and  about 


NATIVE     AMERICAN     BALLADS  513 

Fries,  Monroe,  Lynchburg,  Gretna,  Lima,  Danville,  and  Spencer,^  Va., 
and  were  sung  to  the  music  of  instruments  such  as  guitars  and  banjos 
at  country  gatherings,  in  plank  taverns,  and  under  electric  lights  on 
street  corners  on  summer  nights.  They  then  mostly  passed  into  disuse 
and  were  even  forgotten  for  many  years,  except  at  Fries,  where  they 
seem  to  have  been  kept  alive  largely  through  the  singing  and  playing  of 
Henry  Whitter,  an  accomplished  musician,  who  played  a  double  accom- 
paniment of  the  guitar  and  harmonica. 

With  the  dramatic  instinct  of  a  real  musician,  Whitter  shortened 
Noell's  song  and  made  it  more  "peppy"  by  changing  a  few  words  and 
quickening  the  time  of  the  music  of  the  song  known  as  "The  Ship  That 
Never  Returned,"  to  which  he  sang  it.  He  added  the  concluding  stanza 
from  the  song  of  "The  Parted  Lovers."     His  rendition  follows  :* 


They  gave  him  up  his  orders  at  Monroe,  Virginia, 
Saying  Steve  you're  way  behind  time, 
This  is  not  'Thirty  Eight'  but  it's  'Old  Ninety-Seven,' 
You  must  put  her  in  Spencer  on  time. 

2 

Steve  Brooklyn  said  to  his  black  greasy  fireman. 
Just  shovel  on  a  little  more  coal, 
And  when  we  cross  the  White  Oak  Mountain, 
You  can  watch  old  Ninety-Seven  roll. 

3 
It's  a  mighty  rough  road  from  Lynchburg  to  Danville, 
And  a  line  on  a  three  mile  grade. 
It  was  on  this  grade  when  he  lost  his  air-brakes 
And  see  what  a  jump  he  made. 

4 
He  was  going  down  grade  making  ninety  miles  an  hour 
When  his  whistle  began  to  scream. 

He  was  found  in  the  wreck  with  his  hand  on  the  throttle 
And  was  scalded  to  death  by  steam. 

5 
So  come  you  ladies  you  must  take  warning  from  this  time,  now  and  on. 
Never  speak  harsh  words  to  your  true  loving  husband, 
He  may  leave  you  and  never  return. 

Some  time  prior  to  August,  1924,  Vernon  Dalhart  of  Mamaroneck, 
N.  Y.,  was  recording  for  the  Edison  Talking  Machine  Company.  He 
had  never  heard  Whitter's  song,  but  was  given  a  record  containing  it. 
He  listened  to  the  record  as  it  was  played,  copied  the  words  as  he 
understood  them  and  rendered  the  same  to  the  Edison  Company. 

In  August,  1924,  he  began  to  work  for  the  defendant  [Victor]  and 
rendered  the  song  for  it.  [Here  follows  quotation  of  the  Dalhart 
rendering,  which  is  reproduced  in  full  because  it  accounts  for  another 
North  Carolina  version.] 

^  Spencer  is  in  North  Carolina,  a  division  point  of  the  Southern  Rail- 
way.— Ed. 

*  This  'rendition'  of  the  song  is  here  reproduced  in  full  because  it  is 
the  original  of  one  of  the  North  Carolina  versions. 


514  NORTH  CAROLINA  FOLKLORE 

They  gave  him  orders  at  Monroe,  Virginia, 
Saying,  'Pete,  you're  way  behind  Time. 
This  is  not  38,  but  it's  old  97. 
You  must  put  her  in  Center  on  time.' 

He  looked  round  then  to  his  black,  greasy  fireman 
•Just  shove  on  in  a  little  more  coal 
And  when  we  cross  that  White  Oak  Mountain, 
You  can  watch  old  97  roll.' 

It's  a  mighty  rough  road  from  Lynchburg  to  Danville, 

And  a  line  on  a  three-mile  grade. 

It  was  on  that  grade  that  he  lost  his  average 

And  you  see  what  a  jump  he  made. 

He  was  going  down  grade  making  ninety  miles  an  hour 
When  his  whistle  broke  into  a  scream. 
He  was  found  in  the  wreck  with  his  hand  on  the  throttle 
And  a-scalded  to  death  with  the  steam. 

Now  ladies  you  must  take  a  warnipg 

From  this  time  now  and  on. 

Never  speak  harsh  words  to  your  true  love  and  husband, 

He  may  leave  you  and  never  return. 

After  due  and  careful  investigation  to  ascertain  if  there  were  any  rights 
of  authors  to  be  protected,  and  finding  none,  the  song  was  recorded  on 
one  side  of  a  record  for  the  defendant  company  and  thereafter  sold, 
mostly  through  the  South. 

The  plaintiff  says  that  he  composed  and  wrote  this  song  and  brought 
this  suit  to  recover  damages  for  the  violation  of  his  common-law  rights 
in  the  song.  The  defendant  denies  that  George  wrote  it.  The  author- 
ship of  the  song,  therefore,  is  the  real  question  in  this  case. 

George  says  that  he  wrote  and  sang  it  within  a  week  or  ten  days  after 
the  wreck.  He  relies  upon  his  own  testimony  in  open  court  and  the 
depositions  of  members  of  his  family  and  of  several  other  witnesses  to 
prove  his  authorship. 

It  is  established  beyond  doubt  that  Noell  and  Lewey  wrote  the  songs 
bearing  their  names.  .  .  . 

The  court's  account  of  the  relations  between  Noell  and  Lewey, 
and  its  quotation  of  Noell's  song  follow.  Noell's  song  begins  with 
five  introductory  stanzas,  continues  with  parts  of  the  Whitter- 
Dalhart  song,  interspersed  with  additional  stanzas,  and  ends  with 
three  other  stanzas  not  found  in  Whitter-Dalhart.  "This  song, 
written  soon  after  the  accident,  was  sent  to  The  Mill  Nezvs,  a  news- 
paper edited  by  a  Mr.  Escott  and  published  by  the  Mill  News  Pub- 
lishing Company  of  Charlotte,  N.  C."  It  does  not,  however,  appear 
in  the  Frank  C.  Brown  Collection.  Concerning  these  songs,  the 
court  continues : 

Robert  W.  Gordon,  an  eminent  authority  on  the  subject,  made  an 
exhaustive  examination  of  all  the  songs  written  about  this  wreck.  For 
twenty-five  years  he  devoted  himself  to  the  study  of  American  folk 
songs.  ...  He  sought  to  determine  the  authorship  of  these  songs  be- 
fore any  controversy  about  them  arose  and  before  this  case  was  begun. 
During  his  investigation,  he  never  heard  of  the  plaintiff.  But  he  learned 
of  the  authorship  of  Lewey,  Noell,  and  others,  and  of  the  rendition  of 
Whitter  and  Dalhart. 


NATIVE     AMERICAN     BALLADS  515 

The  following  is  the  version  of  the  song  of  the  plaintiff,  who  says  the 
defendant's  record  was  copied  from  it. 

On  a  cold  frosty  morning  in  the  month  of  September 

When  the  clouds  were  hanging  low 

97  pulled  out  from  the  Washington  station 

Like  an  arrow  shot  from  a  bow. 

They  gave  him  his  orders  at  Monroe,  Va. 
Saying  Peat  you  are  a  way  behind  time 
It's  not  38  but  it's  old  97 
You  must  put  her  in  Spencer  on  time. 

He  looked  at  his  black  greasy  fireman 

And  said  shovel  in  a  little  more  coal 

For  when  we  cross  that  White  Oak  Mountain 

You  can  see  old  97  roal. 

It's  a  mighty  rough  road  from  Lynchburg  to  Danville 

And  Lima  its  a  three  mile  grade 

It  was  on  this  grade  that  he  lost  his  average 

And  you  can  see  what  a  jump  he  made. 

[Th]ey  was  going  down  grade  making  90  miles  an  hour 
Who  when  the  whistle  whistle  whistle  broke  in  to  a  scream 
He  was  found  in  a  reck  with  his  han  on  the  throttle 
And  sca[l]ded  to  deth  with  the  s . 

Now  ladies  you  must  take  warning 

From  this  time  on 

Never  speak  harsh  words  to  your  true  loving  husbands 

For  they  may  leave  you  and  never  r . 

Did  she  ever  pull  in  no  she  never  pulled  in 

For  hours  and  hours as  watching 

For  the  Train  that  never  pulled  [in?] 

The  plaintiff's  song  and  Dalhart's  rendition  of  Noell's  are  so  nearly 
alike  that  it  is  evident  that  one  copied  from  the  other. 

The  testimony  establishes  with  reasonable  certainty  the  authorship  of 
the  songs  of  Noell  and  Lewey  and  the  rendition  of  Whitter  and  Dalhart. 

Did  Dalhart  copy  his  song  from  any  song  composed  and  written  bv 
the  plaintiff? 

Before  attempting  to  answer  this  question,  the  court  explained 
how  it  arose.  In  response  to  a  query  about  the  authorship  of  the 
song,  in  the  News  Leader  of  Richmond,  March  i,  1927,  in  which 
it  was  indicated  that  the  successful  claimant  could  expect  royalty 
on  the  sale  of  recordings  of  it,  George  came  forward  with  a  letter 
asserting,  "I  with  others  composed  the  poetry  of  97."  Regaining 
possession  of  the  letter,  he  changed  "with  others"  to  "alone,"  and 
opened  negotiations  with  the  Victor  Company.  The  company  re- 
fused to  pay,  and  suit  followed. 

If  the  plaintiff  wrote  the  song  in  question  [continues  the  decision],  he 
is  entitled  to  damages.  The  question  is  whether  or  not  he  wrote  it. 
Counsel,  in  an  unusually  able  argument  based  upon  clear  and  searching 
analysis  of  the  evidence,  has  convinced  us  that  the  plaintiff  did  not  write 
the  song  used  on  the  defendant's  record,  but  that  he  copied  it  largely 


5l6  NORTH     CAROLINA     FOLKLORE 

from  Dalhart's  rendition  of  the  Whitter  record.  This  conclusion  de- 
pends not  so  much  upon  the  veracity  of  witnesses  as  upon  documentary 
evidence. 

Into  the  court's  analysis  of  this  documentary  evidence  it  is  not 
necessary,  for  the  present  purpose,  to  go.  Most  of  it  is  present  in 
the  songs  previously  quoted,  centering  around  such  points  as  the 
name  of  the  engineer  of  Old  Ninety-Seven;  the  adjectives  used  to 
describe  the  fireman ;  the  phrases  describing  the  road  from  Lynch- 
burg to  Danville  (all  the  phonograph  recordings — Columbia,  Bruns- 
wick, Harrell,  Okeh — which  follow  the  Whitter-Dalhart,  say  "It's 
a  mighty  rough  road")  ;  the  expression  "lost  his  average,"  in  the 
Dalhart  rendering,  for  "lost  his  air  brakes,"  in  the  Whitter  orig- 
inal— a  mistake  which  George  repeated  and  was  unable  to  explain 
satisfactorily. 

In  short,  unsatisfactory  testimony  by  George  explaining  errors 
in  his  song  which  agreed  with  Dalhart's  rendition  of  Whitter, 
"suspicious  agreement  among  plaintiff's  witnesses  as  to  dates  and 
other  facts,"  and  the  testimony  of  a  chemist  and  handwriting  ex- 
pert to  the  effect  that  the  basic  materials  of  George's  alleged 
"original"  copy  of  the  song  and  his  handwriting  indicated  copying 
of  it  about  1927  rather  than  shortly  after  the  wreck — these  were 
the  grounds  on  which  the  Court  of  Appeals  reversed  the  decision 
of  the  Circuit  Court. 

Successive  appeals  of  George  to  the  Supreme  Court  of  the  United 
States  left  the  case  substantially  where  it  was  in  the  decision  of 
the  Circuit  Court  of  Appeals,  January  1934.  See  Federal  Reporter 
Second  Series,  105   (September-October,  1939),  pp.  697-699. 

For  a  fairly  early  published  version  of  the  song,  see  R.  W.  Gor- 
don's "Old  Songs  That  Men  Have  Sung,"  in  Adventure,  January 
30,  1924,  p.  191. 


Without  title.  From  a  carbon  typescript,  undated,  sent  to  Dr.  Brown 
by  W.  Amos  Abrams,  Boone.  This  is  very  close  to  the  Whitter  rendition, 
quoted  in  full  on  p.  513.  It  is  either  directly  from  the  Whitter  "original" 
or  from  the  recording  of  it  (unspecified  in  the  decision  of  the  United 
States  Court  of  Appeals)  from  which  Dalhart  first  made  an  Edison 
record,  then  a  Victor  record. 

1  They  gave  him  his  orders  at  Monroe,  Virginia, 
Saying  Steve  you're  away  behind  time. 

This  is  not  thirty-eight  but  it's  old  Ninety  Seven, 
You  must  put  her  in  Spencer  on  time. 

2  Steve  Brooklyn  said  to  his  black  greasy  fire-man 
Just  shovel  in  a  little  more  coal, 

And  when  we  cross  that  White  Oak  Mountain 
You  can  watch  old  ninety  seven  roll. 

3  It's  a  mighty  rough  road  from  Linchburg  to  Danville 
And  a  line  on  a  three  mile  grade. 

It  was  on  this  grade  that  he  lost  his  air-brakes 
And  you  see  what  a  jump  he  made. 


NATIVE     AMERICAN     BALLADS  S'^7 

He  was  going  down  grade  making  ninety  miles  an  hour, 
When  his  whistle  began  to  scream. 

He  was  found  in  the  wreck  with  his  hand  on  the  throttle, 
And  was  scalded  to  death  by  the  steam. 

Come  all  you  young  ladies  you  must  take  warning. 
From  this  time  now  and  on 
Never  speak  harsh  words  to  a  loving  husband. 
For  he  may  leave  you  and  never  return. 


•The  Wreck  of  the  Old  Ninety-Seven  (Air:  The  Ship  That  Never  Re- 
turned).' From  Miss  Hattie  McNeill,  Ferguson,  Wilkes  county;  un- 
dated. This  appears  to  be  based  on  the  Dalhart  rendition,  quoted  in 
full  on  p.  514;  note  the  name  of  the  engineer  and  the  phrase  "lost  his 
average."  It  has,  however,  been  made  more  colloquial,  and  it  shows 
other  signs  of  oral  transmission.  The  alternative  names  of  the  destina- 
tion of  the  train,  both  in  parentheses,  in  the  fourth  line  of  stanza  i, 
suggest  that  the  transcriber  first  wrote  what  she  knew  to  be  the  correct 
one,  then  wrote  the  one  she  had  heard. 

1  Oh  they  gave  him  his  orders  in  Monroe,  Virginia ; 
Saying  'Pete  you're  way  behind  time. 

Now  this  ain't  the  38,  but  the  old  97, 
You  got  to  get  her  to  (Spencer)  on  time.' 
(Center) 

2  So  he  turned  to  his  black  and  greasy  fireman, 
Yelling  'Hay — shovel  on  more  coal ; 

'Cause  when  we  hit  the  other  side  of  the  mountains 
Old  97's  gonna  roll.' 

3  It's  a  mighty  rough  road  from  Lynchburg  to  Danville, 
It  was  on  the  nine  mile  grade. 

It  was  on  this  stretch  that  he  lost  his  average ; 
You  can  see  what  a  jump  he  made. 

4  He  was  goin'  down  the  grade,  doin'  ninety  mile  an  hour — 
When  the  whistle  began  to  scream: 

And  they  found  him  in  the  wreck  with  his  hand  on  the 

throttle 
All  scalded  to  death  by  the  steam. 

5  No[w?]  ladies  do  take  warnin' 
From  this  tune  and  now  on. 

Don't  speak  harsh  words  to  your  kind  lovin'  husband, 
Or  he'll  leave  you,  and  never  return. 

c 

'The  Wreck  of  No.  97.'  From  Miss  Effie  Tucker ;  no  address ;  no  date. 
A  shortened  and  garbled  version  going  back,  perhaps,  to  the  Whitter 
form;  note  "Stevenson." 


5l8  NORTH     CAROLINA     FOLKLORE 

1  He  gave  in  his  orders  in  old  Monroe,  Virginia, 
Saying  Stevenson  your  way  behind  time, 
This  is  not  thirty-eight,  but  is  old  ninety-seven. 
You  must  throw  her  in  Spencer  on  time. 

2  He  said  to  his  black  greasy  fireman 
Just  shovel  in  a  little  more  coal. 
When  we  reach  that  white  oak  mountain 
You  can  watch  old  97  roll. 

3  He  was  going  down  grade  making  ninety  miles  an  hour, 
When  the  whistle  began  to  blow. 

He  was  found  in  a  wreck  with  his  hand  on  the  throttle. 
And  was  scalded  to  death  by  the  steam. 

4  Take  warning  all  you  maidens 


And  never  speak  a  horrid  word  to  your  husband. 
He  may  leave  you  and  never  return. 


'Old  Ninety  Seven.'  From  Miss  Pearle  A.  Webb,  Pineola,  August  1922. 
Has  "frosty  morning"  (in  the  first  line)  and  "Did  she  ever  pull  thru" 
(stanza  8)  in  common  with  the  George  text,  but  gets  the  name  of  the 
engineer  right  and  avoids  the  "lost  his  average"  error.  May  owe  the 
first  two  lines  of  stanzas  2,  4  (with  some  changes),  and  7  (with  a  few 
changes)  to  Noell's  version  (referred  to  but  not  quoted  on  p.  514).  The 
first  two  stanzas  also  have  a  good  deal  in  common  with  the  first  stanza 
and  the  chorus  of  The  Train  That  Never  Returned.' 

r     I  was  watching  on  the  mountain  one  frosty  morning 
Just  watching  the  smoke  from  below. 
It  was  truly  from  a  long  tall  smokestack 
Way  down  on  Southern  Railroad. 

2  It  was  Old  Ninety  Seven,  the  fastest  mail  train 
That  runs  on  the  Southern  line. 

And  when  she  pulled  into  Monroe,  Virginia, 
She  was  forty-seven  minutes  behind. 

3  They  gave  him  his  orders  at  Monroe,  Virginia. 
Says  Steve  you're  way  behind. 

This  is  not  Thirty-Eight  but  old  Ninety-Seven 
And  she's  bound  to  be  in  Spencer  on  time. 

4  He  mounted  to  his  cabin  and  he  said  to  his  brave  young 

fireman 
This  we'll  do  or  die. 

He  reversed  his  engine  and  he  pulled  open  the  throttle. 
Says  watch  old  Ninety-Seven  fly. 


NATIVE     AMERICAN     BALLADS  519 

5  He  turned  to  his  black  and  greasy  fireman, 
Says  shove  in  a  Httle  more  coal, 

And  when  we  cross  over  those  White  Oak  Mountains 
You  can  watch  the  drivers  roll. 

6  They  was  falling  down  grade  at  ninety  miles  an  hour, 
When  the  whistle  began  to  scream ; 

He  was  found  in  a  wreck  with  his  hand  on  the  throttle 
And  was  scalded  to  death  by  the  steam. 

7  The  message  came  in  on  a  telegram  wire, 
And  this  is  what  it  said, 

There's  a  brave  engineer  lying  over  Danville, 
But  he's  lying  over  Danville  dead. 

8  Did  she  ever  pull  thru,  no  she  never  pulled  thru, 
And  I'm  sure  she  was  due  at  two, 

But  for  hours  and  hours  the  switchman  stood  watching. 
For  the  fast  mail  train  that  never  pulled  through. 

E 

'The  Wreck  of  the  Old  Ninety-Seven.'  As  published  in  the  Winston- 
Salem  Journal  and  Sentinel,  February  9,  1941.  Note  "cold  frosty  morn- 
ing" in  the  first  line,  and  "lost  his  average"  in  the  third  line  of  stanza  5, 
as  in  the  George  text;  but  "Steve"  as  in  the  Whitter  rendition.  The 
first  two  lines  of  stanza  2  resemble  "Ninety  Seven  was  the  fastest  mail 
that  was  ever  on  the  Southern  line,"  in  the  Noell  version  (referred  to 
but  not  quoted  on  p.  514).  The  next  two  lines  and  "Now  he  looked 
around  the  bin,"  in  stanza  4,  are  not  matched  in  the  other  texts. 

1  I  was  up  on  the  mountain  one  cold  frosty  morning 
Just  watching  the  smoke  from  below ; 

It  was  whirling  from  a  short,  black  smokestack 
Way  down  on  the  Southern  Railroad. 

2  It  was  Old  Ninety-Seven,  the  fastest  mail  train 
The  South  had  ever  seen, 

And  it  ran  so  fast  on  that  fatal  Sunday 
That  death  met  fourteen. 

3  Now  they  gave  him  his  orders  in  Monroe,  Virginia, 
Saying,  'Steve,  you're  way  behind  time; 

This  is  not  Thirty-Eight,  but  it's  old  Ninety-Seven; 
And  you  put  her  in  Spencer  on  time.' 

4  Now  he  looked  around  the  bin  and   [to?]   his  black  and 

greasy  fireman 
Said,  'Shovel  in  a  little  more  coal. 
And  when  we  cross  that  Whiteoak  Mountain 
You  can  watch  Ole  Ninety-Seven  roll.' 


520  NORTH     CAROLINA     FOLKLORE 

5  Now  it's  a  mighty  rough  road  from  Lynchburg  to  Danville 
With  a  line  on  three-mile  grade. 

It  was  on  that  grade  that  he  lost  his  average, 
And  you  see  what  a  jump  he  made. 

6  He  was  going  down  grade  making  ninety  miles  an  hour 
When  the  whistle  broke  into  a  scream. 

He  was  found  in  the  wreck  with  his  hand  on  the  throttle, 
And  was  scalded  to  death  by  the  steam. 

7  Now,  ladies,  you  must  take  warning, 
From  this  time  now  and  on ; 

Never  speak  harsh  words  to  your  true-living  husband ; 
He  may  leave  you  and  never  return. 

F 

'Wreck  of  the  Old  97.'     From  the  John  Burch  Blaylock  Collection. 

1  On  a  bright  Sunday  evening  I  stood  on  the  mountain 
Just  watching  the  smoke  from  below. 

It  was  springing  from  a  long  slender  smokestack, 
Away  down  on  the  Southern  road. 

Chorus: 

Did  she  ever  pull  in  ?    No,  she  never  pulled  in, 
Though  at  one  forty-five  she  was  due. 
For  hours  and  hours  has  the  switchman  been  watching 
For  the  mail  train  that  never  came  through. 

2  It  was  ninety-seven — the  fastest  train 
That  the  South  has  ever  seen ; 

But  she  ran  too  fast  on  that  fatal  Sunday  evening, 
And  the  death  list  numbered  fourteen. 

3  The  engineer  was  a  fast,  brave  driver 
On  that  fatal  Sunday  eve. 

And  his  fireman  leaned  far  out  in  Lynchburg 
Waiting  for  the  signal  to  leave. 

4  When  they  got  the  board,  well,  he  threw  back  his  throttle, 
And  although  his  air  was  bad 

The  people  all  said,  as  he  passed  Franklin  junction. 
But  they  couldn't  see  the  man  in  the  cab. 

5  There's  a  mighty  bad  road  from  Lynchburg  to  Danville, 
And  although  he  knew  this  well. 

He  said  he'd  pull  his  train  on  time  into  Spencer 
Or  he'd  jerk  it  square  into  Hell. 

6  When  he  hit  the  grade  from  Lima  to  Danville 
His  whistle  began  to  scream. 


NATIVE     AMERICAN     BALLADS  521 

He  was   found  when  she  wrecked  with  his  hand  on  the 

throttle 
Where  he'd  [been]  scalded  to  death  from  the  steam. 

218 
Wreck  of  the  Royal  Palm 

The  Southern  Railway  fliers  Ponce  de  Leon  and  Royal  Palm 
(Cincinnati-Jacksonville)  collided  head-on  near  Rockmart,  Georgia, 
on  December  23,  1926.  "This  accident  was  caused  by  failure  to 
obey  a  meet  order.  ...  It  was  dark  and  raining  at  the  time.  .  .  ." 
Nineteen  persons  were  killed,  and  123  were  injured  (New  York 
Times,  December  24,  1926,  p.  i ;  Interstate  Commerce  Commission, 
Bureau  of  Safety,  Summary  of  Accident  Investigations,  No.  30 
[Washington,  1927],  pp.  33-35)- 

The  following  ballad  about  the  disaster  does  not  seem  to  have 
appeared  in  other  collections.  Of  authorship  and  origin  unknown 
to  the  editors  of  this  collection,  it  handles  its  subject  in  good  con- 
ventional railroad  ballad  style,  with  moral  application  to  Christians 
in  general  and  railroad  men  in  particular. 

'Wreck  of  the  Royal  Palm.'     From  the  John  Burch  Blaylock  Collection. 

1  On  a  dark  and  stormy  night 
The  rain  was  falling  fast. 

Two  crack  trains  on  the  Southern  road, 

With  a  screaming  whistle  blast. 

Were  speeding  down  the  line 

For  home  and  Christmas  Day. 

On  the  Royal  Palm  and  the  Ponce  de  Leon 

Was  laughter  bright  and  gay. 

2  Then  coming  around  the  curve 
At  forty  miles  an  hour, 

The  Royal  Palm  was  making  time 
Amid  the  drenching  shower. 
There  came  a  mighty  crash — 
The  two  great  engines  met, 
And  in  the  minds  of  those  who  live 
Is  a  feeling  they  can't  forget. 

3  It  was  an  awful  sight 
Amid  the  pouring  rain. 

The  dead  and  dying  lying  there 

Beneath  that  mighty  train. 

No  tongues  can  ever  tell. 

No  pen  can  ever  write, 

No  one  will  know  but  those  who  saw 

The  horrors  of  that  night. 


522  NORTH     CAROLINA     FOLKLORE 

4  On  board  the  two  great  trains 
The  folks  were  bright  and  gay. 
When  Hke  a  flash  the  Master  called 
They  had  no  time  to  pray. 

Then  in  a  moment's  time 
The  awful  work  was  done, 
And  many  souls  that  fatal  night 
Had  made  their  final  run. 

5  There's  many  a  saddened  home 
Since  that  sad  Christmas  Day, 
Whose  loved  ones  never  will  return 
To  drive  the  gloom  away. 

They  were  on  the  Royal  Palm 
As  she  sped  across  the  state; 
Without  a  single  warning  cry 
They  went  to  meet  their  fate. 

6  We're  on  the  road  of  life 
And  like  the  railroad  man, 

We  ought  to  do  our  best  to  make 

The  station  if  we  can. 

Then  let  us  take  care 

And  keep  our  orders  straight ; 

For  if  we  get  our  orders  mixed, 

We  sure  will  be  too  late. 


219 
Wreck  of  the  Shenandoah 

En  route  from  Lakehurst,  New  Jersey,  to  St.  Louis,  on  September 
3,  1925,  the  United  States  Navy  dirigible  airship  Shenandoah,  com- 
manded by  Lieutenant  Commander  Zachary  Lansdowne,  of  Green- 
ville, Ohio,  was  wrecked  in  a  storm,  near  Caldwell,  Ohio.  Fourteen 
of  the  crew  were  killed  and  two  injured  (New  York  Times,  Septem- 
ber 4,  1925,  pp.  1-4).  The  wife  of  Captain  Lansdowne  is  reported 
to  have  said :  "The  mother  of  Lieutenant  Lansdowne  lives  in  Green- 
ville, Ohio,  not  many  miles  from  where  he  fell,  and  I  feel  sure  he 
had  intended  to  circle  her  home."  A  dispatch  from  Dayton  stated : 
"Betty  Ross  Lansdowne  arose  early  this  morning,  happy  in  the 
thought  that  she  would  see  her  boy  today.  There  came  the  news 
that  there  had  been  an  accident.  .  .  .  Mrs.  Lansdowne  collapsed. 
Tonight  her  life  hangs  by  a  thread"  (ibid).  The  following  ballad 
treats  the  disaster  with  journalistic  precision. 

'Wreck  of  the  Shenandoah.'     Contributed  by  Miss  Mary  Canada.  Dur- 
ham, March  1941. 


I     At  four  o'clock  one  evening 
On  a  warm  September's  day 


NATIVE     AMERICAN 

A  great  and  mighty  airship 
From  Lakehurst  flew  away. 

2  The  mighty  Shenandoah, 
The  pride  of  all  this  land, 
Her  crew  was  of  the  bravest, 
Captain  Lansdowne  in  command. 

3  At  four  o'clock  next  morning 
The  earth  was  far  below 
When  a  storm  in  all  its  fury 
Gave  her  a  fatal  blow. 

4  Her  side  was  torn  asunder, 
Her  cabin  was  torn  down. 

The  captain  and  his  brave  men 
Went  crashing  to  the  ground. 

5  And  fourteen  lives  were  taken. 
But  they've  not  died  in  vain. 
Their  names  will  live  forever 
Within  the  hall  of  fame. 

6  In  the  little  town  of  Greenville 
A  mother's  watchful  eye 
Was  waiting  for  the  airship, 
To  see  her  son  go  by. 

7  Alas  !     Her  son  lay  sleeping ; 
His  last  great  flight  was  o'er. 
He's  gone  to  meet  his  Maker; 
His  ship  will  fly  no  more. 


Paul  Jones 

'Paul  Jones,'  represented  by  two  versions  in  our  collection,  ap- 
pears to  be  an  account  of  the  victory  won  off  Flamborough  Head, 
Yorkshire,  September  23,  1778,  by  Commodore  Paul  Jones,  with  the 
Bonhomme  Ricliard  and  the  Pallas,  from  the  British  ships  Serapis 
and  Countess  of  Scarborough.  Jones's  flagship,  the  Bonhomme 
Richard,  was,  before  being  refitted  as  a  man-of-war,  the  East 
Indianman  Duras.  His  French  allies  behaved  badly  in  the  engage- 
ment. 

Mackenzie,  in  BSSNS  205-7,  gives  a  detailed  history  of  the  bal- 
lad, showing  that  Paul  Jones  was  the  subject  of  British  as  well  as 
American  ballads,  and  citing  numerous  collections  and  songsters 
containing  pieces  about  him,  both  British  and  American.  Of  these, 
the  most  popular  first  appeared  as  broadsides,  which  seem  to  be 
the  source  of  the  North  Carolina  versions.     Chappell,  in  FSRA  48, 


5^4  NORTH  CAROLINA  FOLKLORE 

prints  a  version  from  Charles  Tillett,  Wanchese,  Roanoke  Island, 
obtained  in  1924-25,  which  begins  with  a  stanza  corresponding  to 
A  7,  below ;  has  a  refrain,  "Hurrah  !  our  country  forever,  hurrah  !" 
repeated  at  the  end  and  at  the  end  of  each  following  stanza;  but 
lacks  a  stanza  corresponding  to  A  6. 


'Paul  Jones.'     Contributed  by  P.  D.  Midgett,  Jr.,  from  Wanchese,  June 

S.  1920. 

1  A  forty-gun  frigate  from  Baltimore  came, 

Her  guns  mounted  forty,  and  Richard  by  name, 
Went  cruising  the  channel  of  old  England, 
With  a  noble  commander,  Paul  Jones  was  the  man. 

2  We  had  not  sailed  long  before  we  did  spy 
A  large  forty-four  and  a  twenty  close  by, 

All  these  warlike  vessels  full  laden  with  store ; 
Our  captain  pursued  them  on  the  bold  York  shore. 

3  At  the  hour  of  twelve  Pierce  came  alongside 

With  a  large  speaking  trumpet :  'Whence  came  you  ?'  he 

cried. 
'Quick  give  me  an  answer,  I've  hailed  you  before, 
Or  at  this  moment  a  broadside  I'll  pour.' 

4  We  fought  them  five  glasses,  five  glasses  so  hot, 
Till  sixty  bright  seamen  lay  dead  on  the  spot, 
Full  seventy  wounded  lay  bleeding  in  gore. 

How  fierce  our  loud  cannons  on  the  Richard  did  roar. 

5  Our  gunner  got  frightened,  to  Paul  Jones  he  came. 
'Our  ship  she  is  sinking,  likewise  in  a  flame.' 
Paul  Jones  he  smiled  in  the  height  of  his  pride, 
Saying,  'This  day  I'll  conquer  or  sink  alongside.' 

6  Here's  health  to  those  widows  who  shortly  must  weep, 
For  the  loss  of  their  husbands  who  sunk  in  the  deep. 
Here's  a  health  to  those  young  girls  who  shortly  must 

mourn 
For  the  loss  of  their  sweethearts  that's  overboard  thrown. 

7  Here's  a  health  to  Paul  Jones  with  sword  in  hand — 
He  was  foremost  in  action,  in  giving  command. 
Here's  a  health  to  Paul  Jones  and  all  his  crew — 

If  we  hadn't  a  French  Captain,  boys,  what  could  we  do ! 


'Paul  Jones.'  From  Professor  J.  B.  Henneman,  Vanceboro,  Craven 
county,  who  got  it  from  Mrs.  Elizabeth  Simpkins  (nee  Laughinghouse). 
of  Vanceboro,  through  H.  W.  Tichenor,  in  1906. 


NATIVE     AMERICAN     BALLADS  525 

1  An  American  frigate  from  Baltimore  come, 

Her  guns  mounted  forty  in  the  Richard  Bonhomme, 
Went  to  cruise  in  the  channels  of  old  England's  shore 
With  a  noble  commander,  Paul  Jones  was  his  name. 

2  Two  likely  warships  were  laden  with  store. 
Our  captain  he  pursued  to  the  bold  York  shore. 
At  the  hour  of  twelve  Pierce  came  alongside, 

With  a   fine   speaking-trumpet,   'Whence  came  you?    he 
cried. 

3  'Quick,  make  me  an  answer,  I've  hailed  you  before, 
Else  this  very  instant  a  broadside  I'll  pour.' 

Paul  Jones  he  exclaimed,  'My  boys,  we'll  not  run ; 
Let  every  brave  seaman  stand  fast  by  his  gun.' 

4  A  broadside  was  fired  by  the  brave  Englishman. 
We  bold  buckskins  we  returned  it  again. 

We  fought  them  five  glances,  five  glances  most  hot ; 
Fifty  dead  seamen  lay  dead  on  the  spot. 

5  Whilst  full  seventy  more  lay  bleeding  in  gore. 
And  Pierce's  loud  cannon  on  the  Richard  did  roar. 
One  gunner  was  frightened,  to  Paul  Jones  he  came; 
'Our  luckless  warship  is  sinking,  likewise  in  a  flame.' 

6  Paul  Jones  he  smiled  in  the  height  of  his  prime  [pride?], 
'We've  conquered  this  day,  boys,  or  we'll  smk  alongside. 
The  Lion  bore  down  the  Richard  to  rake. 

Caused  the  proud  heart  of  Britain  to  ache. 

7  Paul  Jones  he  smiled  in  the  height  of  his  pride : 

'We've  taken  the  prize  of  a  large  forty-four  and  a  twenty 

likewise. 
Two  likely  warships  were  laden  with  store, 
We'll  toss  up  our  cantoos    [cans  to?]    our  country  once 

more.' 

8  God  help  the  poor  widows  who  shortly  must  weep 
For  the  loss  of  their  husbands  now  sunk  in  the  deep. 
We'll  drink  to  the  brave  Paul  Jones,  Paul  Jones  is  the  man, 
Who  stood  foremost  in  action  and  gave  us  command. 

221 

James  Bird 

After  fighting  bravely  in  the  battle  of  Lake  Erie  (1814),  James 

Bird  deserted.     He  was  court-martialed  and  shot.     In  1814  Charles 

Miner  composed  a  ballad  on  Bird's   fate  and  published  it   m  his 

paper,  the  Gleaner,  at  Wilkes-Barre.  Pennsylvania.     (For  further 


526  NORTH  CAROLINA  FOLKLORE 

details,  see  Tolman  and  Eddy,  JAFL  xxv  379-383 ;  Cox  FSS  261 ; 
Belden,  BSM  296-97;  Pound  ABS  No.  41  ;  and  Harold  W.  Thomp- 
son's Body,  Boots  &  Britches  [Philadelphia,  1940],  pp.  344-48.) 

Though  somewhat  corrupt,  the  North  Carolina  text  (20  stanzas) 
is  almost  as  long  as  Tolman  and  Eddy's  (22),  as  long  as  Thomp- 
son's, and  longer  than  Belden's  (19).  Tolman  remarks:  "The 
[original]  ballad  gives  the  facts  of  Bird's  career  accurately  and 
with  considerable  fulness,"  and  asks :  "Has  this  country  produced 
any  historical  ballad  that  has  passed  into  tradition,  which  is  more 
interesting  than  this?" 

'James  Byrd.'  Contributed  by  P.  D.  Midgett,  Jr.,  Wanchese,  Roanoke 
Island,  June  5,  1920. 

1  Sons  of  freedom,  listen  to  me, 
And  ye  daughters  too  give  ear. 
You  a  sad  and  mournful  story 
As  was  ever  told  shall  hear. 

2  Hull,  you  know,  his  troops  surrendered 
And  defenceless  left  the  West ; 

Then  our  forces  quickly  assembled 

They  inveighed  us  [The  invader?]  to  resist. 

3  Among  the  troops  that  marched  to  Erie 
Were  the  Kingston  Volunteers, 
Captain  Thomas  still  commander. 

To  protect  our  West  frontier. 

4  There  was  one  among  the  number. 
Tall  and  graceful  in  his  mind  [mien?]. 
Firm  his  steps,  they  looked  undaunted, 
Scarce  a  nobler  youth  was  seen. 

5  Tender  were  the  scenes  of  parting ; 
Mothers  wrung  their  hands  and  cried. 
Maidens  wept  their  swain  in  secret. 
Fathers  strove  their  hearts  to  hide. 

6  One  sweet  kiss  he  snatched  from  Mary, 
Craved  his  mother's  prayers  once  more. 
Pressed  his  father's  hands  and  left  him, 
For  Lake  Erie's  distant  shore. 

7  Soon  they  came  where  noble  Perry 
Had  assembled  all  his  fleet. 
There  the  gallant  Byrd  enlisted. 
Hoping  soon  the  foe  to  meet. 

8  I  [Aye,?]  behold  him  seeing  Perry — 
In  the  selfsame  ship  he  fights, 


NATIVE     AMERICAN     BALLADS  527 

Though   his   missmoter    [messmates?]    all    [fall?]    around 

him, 
Nothing  can  his  soul  affright. 

9     But  behold,  a  ball  has  struck  him — 
See  the  crimson  current  flow ! 
'Leave  the  deck!'  exclaimed  brave  Perry. 
'No!'  cries  Byrd,  'I  will  not  go  I 

10  'Here  on  deck  I  took  my  station. 
Never  will  Byrd's  colors  fly; 

I'll  stand  by  you,  gallant  Captain, 
Till  we  conquer  or  we  die.' 

1 1  Still  he  fought,  though  faint  and  bleeding. 
Till  our  Stars  and  Strii^es, 

Victory  having  crowned  our  efforts, 
W'e  did  triumph  o'er  the  foe. 

12  And  did  Byrd  receive  a  pension? 
Was  he  to  his  friends  restored? 
No,  nor  never  to  his  bosom 
Clasped  the  maid  his  heart  adored. 

13  But  then  came  most  dismal  tidings 
From  Lake  Erie's  distant  shore. 
Better  if  Byrd  had  have  perished 
'Mid  the  cannons'  awful  roar. 

14  'Dearest  parents,'  said  the  letter, 
'This  will  bring  sad  news  to  you. 
Do  not  mourn  your  first  beloved, 
Though  it  brings  sad  news  to  you. 

15  'I  must  suffer  for  deserting 
From  the  brig  Niagara. 

Read  this  letter,  brother,  sister, 
'Tis  the  last  you'll  have  from  me.' 

16  Though  [Lo?]  he  fought  so  brave  at  Erie, 
Freely  bled  and  nobly  dared. 

Let  his  courage  plead  for  mercy, 
Let  his  noble  life  be  spared. 

17  Sad  and  gloomy  was  the  morning 
Byrd  was  ordered  out  to  die, 
Where  the  rest  dared  to  pity, 
But  for  him  would  have  a  sigh. 


528  NORTH  CAROLINA  FOLKLORE 

18  See  him  march  and  bear  his  fitten  [fetters?], 
Hear  them  clang  upon  the  ear. 

See  him  step — he  looks  so  manly, 
For  his  heart  never  harboured  fear. 

19  See  him  kneel  upon  his  coffin. 

Since  [Sure?]  his  death  can  do  no  good. 
Speak— hark,  O  God  !  they  shot  him ! 
See,  his  bosom  streams  with  blood ! 

20  Farewell,  Byrd,  farewell  forever  ; 
Home  and  friends  you'll  see  no  more. 
But  his' mangled  corpse  lie  buried 

On  Lake  Erie's  distant  shore. 


In  Eighteen  Hundred  and  Sixty-One 
Botkin,  in  APPS  210,  prints  two  texts  of  this  from  Oklahoma 
and  cites:  Ames  JAFL  xxiv  314-15  (Missouri);  Randolph  JAFL 
XL  218-19   (Ozarks,  Missouri)  ;  and  "For  this  Civil  War  parody 
of  'Three  Crows,'  Davis  TBV  i45-" 

From  Bertha  Pendergraph,  of  Durham  (later,  Mrs.  J.  S.  Bowman,  of 
Graham,  N.  C.)  ;  manuscript  undated,  but  probably  written  in  1918, 
when  she  was  a  student  at  Trinity  College. 

1  In  eighteen  hundred  and  sixty-one,  hurrah,  hurrah. 
In  eighteen  hundred  and  sixty-one,  hurray  says  I ; 
In  eighteen  hundred  and  sixty-one 

The  cruel  war  had  just  begun. 
We'll  all  drink  stone  blind ; 
Johny  come  fill  up  the  bowl. 

2  In  eighteen  hundred  and  sixty-two,  hurrah,  hurrah, 
In  eighteen  hundred  and  sixty-two,  hurrah  says  I ; 
In  eighteen  hundred  and  sixty  two 

The  Yankees  thought  they  would  put  us  through. 
We'll  all  drink  stone  blind ; 
Johny  come  fill  up  the  bowl. 

3  In  eighteen  hundred  and  sixty-three,  hurrah,  hurrah, 
In  eighteen  hundred  and  sixty-three,  hurray  says  I ; 
In  eighteen  hundred  and  sixty-three 

The  negroes  thought  they'd  be  set  free. 
We'll  all  drink  stone  blind ; 
Johny  come  fill  up  the  bowl. 

4  In  eighteen  hundred  and  sixty-four,  hurrah,  hurrah, 
In  eighteen  hundred  and  sixty-four,  hurrah  says  I ; 


NATIVE     AMERICAN     BALLADS  529 

In  eighteen  hundred  and  sixty-four 
We'll  all  go  home  to  fight  no  more. 
We'll  all  drink  stone  blind ; 
Johny  come  fill  up  the  bowl. 

5  In  eighteen  hundred  and  sixty-five,  hurrah,  hurrah, 
In  eighteen  hundred  and  sixty-five,  hurrah  says  I ; 
In  eighteen  hundred  and  sixty-five 

The  soldiers  at  home  with  their  wives. 
We'll  all  drink  stone  blind ; 
Johny  come  fill  up  the  bowl. 

6  In  eighteen  hundred  and  sixty-six,  hurrah,  hurrah. 
In  eighteen  hundred  and  sixty-six,  hurrah  says  I ; 
In  eighteen  hundred  and  sixty-six 

The  Yankees  and  Rebs  are  all  in  a  mix. 
We'll  all  drink  stone  blind; 
Johny  come  fill  up  the  bowl. 

223 
On  the  Plains  of  Manassas 

The  Battle  of  Manassas  (or  Bull  Run)  was  fought  on  July  21, 
1861. 

General  John  Bankhead  Magruder  commanded  Confederate  troops 
at  the  Battle  of  Big  Bethel,  near  Hampton,  Virginia,  on  June  10, 
1861.  Major  General  Ben  F.  Butler  was  the  Union  commander  of 
the  expedition  against  Bethel,  though  fighting  command  was  held 
by  Brigadier  General  E.  W.  Pierce.  The  First  North  Carolina 
Regiment  participated,  and  Henry  Lawson  Wyatt,  a  private,  was 
killed.  He  is  said  to  have  been  the  first  Confederate  soldier  killed 
in  battle.  There  is  a  portrait  of  Wyatt  in  the  North  Carolina  State 
Library,  and  a  sculptured  figure  of  him  surmounts  the  Confederate 
Monument  in  Raleigh. 

'On  the  Plains  of  Manassas.'  Contributed  by  Julian  P.  Boyd,  then  of 
Alliance,  Pamlico  county,  who  obtained  it  from  a  pupil  in  his  school, 
c.  1927-28. 

1  On  the  plains  of  Manassas  the  Yankees  we  met ; 
We  gave  them  a  lickin'  they'll  never  forget. 

2  We  commenced  in  the  morning  and  fought  until  two. 
When  glory  waved  over  the  red,  white,  and  blue. 

Chorus: 

Hurrah,  hurrah,  we're  a  nation  that's  true, 

And  we're  all  defending  the  red,  white,  and  blue. 

3  We  had  a  nice  little  fight  on  the  fourth  of  last  June, 

When  MacGruder  of  Bethel  wiped  out  Picayune. 


530  NORTH     CAROLINA     FOLKLORE 

4     Later  in  June  they  mustered  their  crew 

To  shove  the  Confederates  the  wilderness  through. 

5     But  they  had  not  got  far  before  back  they  all  flew, 
With  the  Union  banners  all  busted  in  two. 


224 
Old  Johnston  Thought  It  Rather  Hard 

The  first  stanza  seems  to  be  an  allusive  account  of  the  Battle  ol 
Shiloh,  in  April  1862.  On  the  eve  of  the  battle  there  was  public 
demand  that  Albert  Sidney  Johnston  be  removed  from  command  of 
the  Confederate  army  opposing  General  Grant.  President  Davis 
stood  by  him,  however,  and  Johnston  then  planned  to  join  his  corps 
to  Beauregard's  (cf.  "ride  over  Beauregard,"  in  the  song)  and 
attack  Grant  before  Generals  Buell  and  Mitchel  could  join  him. 
At  the  end  of  the  first  day  of  battle,  ApMl  6,  when  victory  seemed 
certain  for  the  Confederates,  Johnston  was  killed.  The  arrival  of 
Buell  and  Mitchel  that  night  compelled  the  Confederates  to  retreat. 

The  second  stanza  may,  more  doubtfully,  be  related  to  events  in 
Virginia  during  the  spring  of  the  same  year,  when  an  ironclad 
named  the  Galena  took  part  in  operations  up  the  James  River 
against  Richmond,  and  the  Monitor  and  the  Virginia  (Merrimac), 
both  "monsters"  and  "Naval  Wonders,"  fought  their  duel  in  Hamp- 
ton Roads.  (See  W.  Tindall,  p.  135,  cited  in  headnote  to  'The 
Cumberland,') 

No  title.     From  Julian  P.  Boyd,  then  of  Alliance,  Pamlico  county,  from 
James  Tingle,  a  pupil ;  undated,  but  c.  1927-28. 

1  Old  Johnston  thought  it  rather  hard 
To  ride  over  Beauregard ; 

Old  Johnston  proved  the  deuce  of  a  battle, 

And  it's  clear  beyond  the  doubt 

That  he  didn't  like  the  rout, 

And  the  second  time  he  thought  he'd  try  another. 

2  Oh,  the  Great  Galena  came. 
With  his  portals  all  aflame, 

And  the  monster,  the  famous  Naval  Wonder, 

And  the  guns  they  drew  his  blulT, 

And  gave  him  speedily  enough 

Of  the  very  loudest  sort  of  Rebel  Thunder. 

225 
The  Cumberland 

This  is  a  more  detailed  account,  from  the  Union  point  of  view, 
of  the  event  related  in  'The  Merrinmc'  (see  below).  That  historic 
fight,  first  proving  the  power  of  ironclads,  was  the  subject  of  bal- 


NATIVE     AMERICAN     BALLADS  531 

lads  by  Longfellow,  Herman  Melville,  and  George  H.  Boker.  Per- 
haps the  most  elaborate  factual  treatment  of  it  is  that  by  W. 
Tindall.  "The  True  Story  of  the  Virginia  and  the  Monitor."  Vir- 
ginia Magazine  of  History  and  Biography,  xxxi  (1023),  1-38, 
90-145- 

The  firing  actually  began  at  about  two  o'clock,  March  8,  1862, 
when  the  Virginia  was  nearly  a  mile  from  the  Congress  and  the 
Cumberland.  Passing  the  Congress,  the  Virginia  rammed  the 
Cumberland,  then  backed  off  about  one  hundred  yards ;  and  the 
captain  of  the  Virginia  demanded  that  the  Cumberland  surrender. 
This  demand  the  Cumberland  defiantly  refused.  There  may  have 
been  a  second  ramming,  or  a  movement  that  resembled  one.  At  any 
rate,  after  further  battering,  during  which  she  kept  up  a  heavy  fire, 
the  Cumberland  sank,  at  about  3:30  p.m.,  "with  her  pennant  still 
flying  from  the  topmast  above  the  waves." 

The  printed  original  of  Mrs.  Wise's  oral  version  is  a  broadside 
in  a  collection  of  war  songs,  1861-65,  once  belonging  to  John  E. 
Burton,  Geneva  Lake,  Wisconsin,  and  acquired  by  the  Harvard 
College  Library  in  1924.  The  broadside  is  headed:  "Good  Ship 
Cumberland.  Which  was  sunk  by  The  Rebel  Steamer  Merrimac, 
in  Hampton  Roads,  March  9th,  1862.  The  little  Monitor  then 
whipped  the  Merrimac  and  the  whole  school  of  Rebel  steamers.  Air 
— 'Raging  Canal.'  Johnson,  Song  Publisher,  Philadelphia."  The 
heading  bears  the  direction,  "See  the  companion  to  this  song,  Cum- 
berland Crew."  (This  is  in  Wehman's  Good  Old  Time  Songs  No.  1 
[New  York,  1890],  p.  13.)  Interesting  parts  of  the  broadside  are 
here  given. 

1  Come  all  ye  merry  sailors,  and  all  ye  landsmen  too, 
Come  listen  to  a  story  that  I'll  unfold  to  you ; 

It's  all  about  The  Cumberland,  the  ship  so  true  and  brave, 
And  of  her  bold  and  loyal  crew,  who  met  a  watery  grave. 

2  [Much  as  in  N.  C.  text,  1.2  reading]   .  .  .  safe  did  lay. 

3  [Much  as  in  N.  C] 

4  [Much  as  in  N.  C.  except  1.4:] 

Then  she  sent  a  ball  a  humming  that  stilled  the  beat  of  many  a 
heart. 

5  In  vain  we  poured  our  broadside  into  her  ribs  of  steel. 
Yet  still  no  breach  made  in  her,  or  damage  did  she  feel ; 
Then  to  our  bold  Commander  the  rebel  captain  spoke — 
'Haul  down  your  flying  colors  or  I'll  sink  your  Yankee  boat.' 

6  Our  Captain's  eyes  did  glisten  and  his  cheeks  grew  white  with  rage, 
And  to  the  rebel  pirate  in  a  voice  of  thunder  said : 

'My  men  are  brave  and  loyal,  my  flag  shall  ever  stand, 
Before  I  strike  my  colors  you  shall  sink  us  and  be  d d!' 

7  Then  the  iron-clad  monster  left  us  some  hundred  yards  or  more, 
And  with  her  whistle  screaming  at  our  wooden  sides  she  bore ; 
She  struck  us  right  amidship,  and  her  ram  went  crashing  through. 
And  the  waters  came  rushing  in  on  our  gallant  crew. 

8  Then  turning  to  his  gallant  crew  that  bold  Commander  said: 
'I  will  never  strike  the  colors  while  the  vessel  rides  the  wave; 
I'll  go  down  with  the  flag  a  flying  into  a  watery  grave, 

But  you,  my  gallant  comrades,  may  seek  your  life  to  save.' 


532  NORTH  CAROLINA  FOLKLORE 

9    They  swore  they'd  never  leave  him,  and  manned  their  guns  afresh, 
And  poured  broadside  after  broadside,  till  the  water  reached  their 

breasts ; 
And  she  sank  far  down,  far  down  in  the  briny  deep 
And  the  stars  and  stripes  were  flying  from  the  main  top's  highest 

peak. 

The  same  is  in  Wehman  Bros.'  Good  Old  Time  Songs  No.  4  (New 
York,  1916),  pp.  84-85. 

'Cumblom.'  Contributed  by  L.  W.  Anderson,  of  Nag's  Head,  who  had  it 
from  Alva  Wise,  Nag's  Head,  who  obtained  it  from  his  mother,  Mrs. 
J.  P.  Wise.     Undated. 

1  Was  early  in  the  morning,  just  at  the  break  of  day, 
When  our  good  ship  the  Cumblom  anchored  safe  delay, 
The  men  up  in  the  look  out  to  those  below  did  cry, 

*I  see  something  at  the  starber  like  a  house  top  it  does  lie.'^ 

2  Our  Captain  ceased  the  telescope  and  gaze  far  over  the  blue. 
Then  turning  to  his  comrades,  his  brave  and  noble  crew, 
'That  thing  you  see  right  yonder  looks  like  a  turtle's  back, 
It's  that  infernal  rebel-ship  they  call  the  Mary  Mack,' 

3  Our  decks  were  cleared  for  action,  our  guns  were  pointed 

true. 

When  the  Mary  Mack  came  skimming  across  the  watery 
blue. 

She  came  right  up  right  onward  till  they  weren't  no  dis- 
tance apart, 

Then  she  sent  a  ball  screaming  to  sink  some  aching  heart. 

4  Out  Rebel  Captain  to  Yankee  Captain  spoke, 

'If   you  don't  haul  down  your  colors,   sir,   I'll  sink  your 

Yankee  boat.' 
Our  Captain's  eyes  flashed  fire,  his  cheeks  turned  deathly 

pale. 
'I'll  not  haul  down  my  colors,  sir,  as  long  as  she  rides  the 

gale.' 

5  Our  old  arm  manester^  left  us  one  hundred  yards  or  more ; 
Then  with  a  whistle  screaming  the  wooden  side  she  bore. 
She  went  far  down,  far  downward  all  in  the  briny  deep. 
And  the  stars  and  stripes  were  flying  from  the  main  and 

top  mast  peak. 

'  This    detail    has   its   analogy   in   George   H.    Boker's    On   Board   the 
Cumberland: 

And  then  began  the  sailors'  jests: 
'What  thing  is  that,  I  say?' 
'A  'long-shore  meeting-house  adrift 
Is  standing  down  the  bay.' 

*  In  stanza  7  of  printed  version,  "iron-clad  monster." 


NATIVE     AMERICAN     BALLADS  533 

226 

The  Merrhnac 

On  March  8,  1862,  off  Newport  News,  in  Hampton  Roads,  the 
Confederate  ironclad  Virginia  (known  to  the  Federals  as  the 
Merritnac)  sank  the  Union  frigate  Cumberland  and  set  the  Congress 
on  fire  and  captured  her.  Two  distinct  ballads  in  the  Frank  C. 
Brown  Collection  celebrate  the  battle.  (See  also  'The  Cumberland,' 
No.  225.) 

'The  Merrimac'  From  Charles  R.  Bagley,  early  address,  Moyock,  Curri- 
tuck county;  c.  191 4- 16. 

1  The  Merrimac  she  went  out ; 
The  Yankees  wa'n't  a-thinking. 
The  fust  thing  the  Yankees  knew 
The  Cumberland  was  a-sinking. 

Chorus: 

Holler,  boys,  oh,  holler ! 

Hurray  for  Dixie ! 

You  oughter  seen  her  go  down. 

2  She  turned  around,  she  steered  about, 
She  went  up  a  little  higher. 

Half -past  seben  P.  M. 
The  Congress  was  on  fire. 

227 
The  Dying  Fifer 

An  interesting  oral  survival  of  a  broadside  published  by  H.  de 
Marsan:  "Our  Fifer-Boy.  Composed  by  C.  G.  Wright,  on  board 
the  U.  S.  Steamship  Mississippi,  (New-Orleans).  Air:  James 
Byrd:  or  Dying  Calif ornian."  It  follows  the  first  three  stanzas, 
with  verbal  variations,  telescopes  4  and  5,  omits  6  (message  to 
sister),  and  makes  some  omissions  and  alterations  in  7  and  8. 

'The  Dying  Fifer.'  Contributed  by  L.  W..  Anderson,  Nag's  Head,  as 
collected  by  Delma  Haywood  from  Mrs.  Sallie  Meekins,  of  Colington. 
Undated.  (Mr.  Anderson  received  his  A.B.  from  Duke  University  in 
I93I-) 

1  When  the  battle  was  hot  and  raging 
Shot  and  shell  around  did  fly ; 
Smoke  was  curling  around  our  riggin' 
When  I  heard  a  piercing  cry. 

2  Close  beside  me  lay  our  fifer ; 
From  his  bosom  spouted  blood. 
There  he  lies,  pierced  by  a  bullet. 
Dying  in  a  crimson  flood. 


534  NORTH     CAROLINA     FOLKLORE 

3  'Shipmates,'  cried  he,  'go  tell  my  mother 
That  her  son  died  like  a  man, 

Died  in  battle  for  his  country 
While  blood  around  in  torrents  ran. 

4  Tell  my  mother,  Heaven  bless  her, 
For  she's  now  a-growing  old, 

Tell  her  that  her  son  would  liked  to  have 
Kissed  her  when  his  lips  grew  cold  and  pale. 

5  'Tell  my  brother  in  the  army 
That  his  brother  is  no  more. 
That  our  name^  is  victorious 
And  will  be  forever  more.' 

6  Then  he  paused  and  ceased  speaking, 
Gently  giving  up  his  breath ; 
Heavens  lighted  up  his  countenance ; 
And  his  eyes  were  closed  in  death. 

228 
The  Dying  Soldier  to  His  Mother 

"The  Dying  Soldier  to  His  Mother.  Words  by  Thomas  Mac- 
Kellar.  Music  by  William  U.  Butcher"  is  one  of  five  hundred 
illustrated  ballads,  lithographed  and  printed  by  Charles  Magnus, 
New  York,  for  Union  soldiers  during  the  Civil  War.  It  appears  in 
Beadle's  Dime  Songster  No.  11  (New  York,  1863),  pp.  38-39.  The 
song  was  extensively  parodied,  as  in  'The  Bounty  Jumper,'  a  broad- 
side in  the  Burton  collection  (see  'The  Cumberland'),  and  'Skedad- 
dling Song'  (ibid.). 

'On  the  Field  of  Battle,  Mother.'  From  a  manuscript  in  a  hand  identified 
by  Dr.  Brown  elsewhere  as  "Miss  Robbins — Civil  War  Song?"  On  that 
identification,  then,  from  Miss  Jewell  Robbins,  Pekin,  Montgomery 
county. 

1  On  the  field  of  battle,  mother. 
All  the  night  alone  I  lay ; 
Angels  watching  o'er  me,  mother, 
Till  the  breaking  of  the  day. 

2  I  lay  thinking  of  you,  mother. 
And  the  loving  ones  at  home, 
Till  to  our  dear  cottage,  mother, 
Boy  again  I  seemed  to  come. 

3  He  to  whom  you  taught  me,  mother, 
On  my  infant  knees  to  pray 

Kept  my  heart  from  fainting,  mother, 
Till  the  vision  passed  away. 
*  "Navy." 


NATIVE     AMERICAN     BALLADS  535 

4  Kiss  for  me  my  little  brother, 
Kiss  my  sister  loved  so  well ; 
When  you  sit  together,  mother, 
Tell  them  how  their  brother  fell. 

5  Tell  to  them  the  story,  mother, 
When  I  sleep  beneath  the  sod, 
How  I  died  to  save  my  country, 
All  for  love  of  them  and  God. 

6  I  must  soon  be  going,  mother. 
Going  to  that  home  of  rest. 
Kiss  me  as  of  old,  my  mother. 
Press  me  nearer  to  your  breast. 

7  Would  I  could  repay  you,  mother, 
For  your  tender  love  and  care. 
God  uphold  and  bless  you,  mother, 
In  the  bitter  woe  you  hear  [bear?]. 

8  Leaning  on  the  merits,  mother, 
Of  the  One  who  died  for  all, 
Peace  is  in  my  bosom,  mother ; 
Hark !    I  hear  the  angels  call. 

9  Don't  you  hear  them  singing,  mother? 
Listen  to  their  music  swell. 

Now  I  leave  you,  loving  mother ; 
God  be  with  you,  fare  you  well. 

229 
The  Battle  of  Shiloh  Hill 

From  Professor  M.  G.  Fulton,  Davidson  College,  Davidson, 
Mecklenburg  county;  undated  and  described  as  "incomplete."  On 
October  9,  1914,  Professor  Fulton  wrote  Dr.  Brown  that  he  was 
enclosing  the  "remainder  of  'Shiloh  Hill.'  " 

The  "incomplete"  copy  differs  from  the  "remainder"  in  having  a 
refrain,  in  being  shorter  and  having  some  fragmentary  stanzas,  and 
in  showing  slight  verbal  variations. 

Study  of  the  two  indicates  that  the  "remainder"  was  copied  from 
some  printed  collection.  A  likely  source  for  the  copying  seems  to 
be  Allan's  Lone  Star  Ballads,  A  Collection  of  Southern  Patriotic 
Songs,  Made  during  Confederate  Times,  compiled  and  revised  by 
Francis  D.  Allan  (Galveston,  Texas:  J.  D.  Sawyer,  Publisher, 
1874),  pp.  44-5.  The  "remainder"  and  Allan's  version  have  the 
same  title,  the  same  subcaption,  "(Air:  Wandering  Sailor.  Ascribed 
to  M.  B.  Smith,  Company  C,  Second  Regiment,  Texas  Volunteers.)," 
and  the  same  wording;  neither  has  a  refrain. 

It  is  concluded,  then,  that  the  following  is  an  oral  version,  from 
memory,  and  the  "remainder"  text  will  not  be  reproduced. 


536  NORTH     CAROLINA     FOLKLORE 

1  Come  all  ye  valiant  soldiers, 
A  story  I  will  tell 

About  a  noted  battle 
Ye  all  remember  well. 

Refrain: 

Sing  carry  me  away,  oh,  carry  me  away. 

2  It  was  an  awful  strife, 

And  will  cause  your  blood  to  chill. 

It  was  an  awful  battle 

That  was  fought  on  Shiloh's  Hill. 

3  It  was  the  first  of  April, 
About  the  break  of  day; 

The  drums  and  fifes  were  playing 
For  us  to  march  away. 

4  About  the  hour  of  sun 

The  two  armies  they  did  meet; 
The  battle  it  began. 


Before  the  day  was  ended. 
They  fought  hand  to  hand. 

So  early  the  next  morning 
We  were  called  to  arms  again. 
Mindful  of  the  wounded, 
And  mindful  of  the  slain. 

'Protect  my  wife  and  children, 
If  it  be  Thy  holy  will' — 
These  were  the  cries  I  heard 
All  over  Shiloh's  Hill. 


230 
The  Drummer  Boy  of  Shiloh 

This  ballad  appears  in  Frank  Lum's  The  'Beauty  of  Broadway' 
Songster  (New  York,  1870),  p.  13,  and  in  Allan's  Lone  Star  Ballads, 
A  Collection  of  Southern  Patriotic  Songs,  Made  during  Confederate 
Times,  compiled  and  revised  by  Francis  D.  Allan  (Galveston,  Texas, 
1874),  p.  145.  It  is  also  included  in  the  anonymously  edited  Our 
War  Songs  North  and  South  (Cleveland:  S.  Brainard's  Sons, 
1887),  pp.  174-5,  and  is  there  ascribed  to  Will  S.  Hays.  De 
Marsan  printed  it  as  a  broadside.  See,  also,  Belden,  Partial  List, 
No.  123;  Henry  FSSH  366;  Randolph  OFS  11  308. 


NATIVE     AMERICAN 


537 


From  Miss  Pearle  Webb,  Pineola,  Avery  county.  It  may  be  one  of 
"several  song  ballads"  sent  Dr.  Brown  on  July  29,  1921.  Compared  with 
the  printed  version  in  Allan's  Lone  Star  Ballads,  Miss  Webb's  version 
shows  several  differences  in  the  order  and  the  diction  of  the  drummer 
boy's  prayer,  and  it  simplifies  the  account  of  the  burial. 

1  On  Shiloh's  dark  and  bloody  plain 
The  dead  and  dying  lay. 
Among  them  was  a  drummer  boy 
That  beat  the  drum  that  day. 

2  A  wounded  soldier  held  him  up ; 
His  drum  lay  by  his  side. 

He  raised  his  eyes  and  clasped  his  hands 
And  prayed  before  he  died. 

3  T  love  my  country  and  my  God ; 
To  serve  them  have  I  tried.' 

He  smiled,  shook  hands ;  death  seized  the  boy 
Who  prayed  before  he  died : 

4  'Angels  around  the  throne  of  Grace, 
Look  down  from  heaven  on  me. 
Receive  me  in  thy  fond  embrace 
And  carry  me  home  to  thee.' 

5  Each  soldier  wept  then  like  a  child. 
Stout  heart  and  brave  were  they 

Who  mourned  the  loss  of  the  drummer  boy 
Who  beat  the  drum  that  day. 

6  They  wrote  upon  a  single  board, 
Each  word  it  was  a  guide ; 

They  mourned  the  loss  of  the  drummer  boy 
That  prayed  before  he  died. 

7  Angels  around  the  throne  of  Grace 
Look  down  upon  the  brave 

Who  fought  and  died  on  Shiloh's  plains 
And  now  slumbers  in  the  grave. 


•Drummer  Boy  at  Shiloh.'  From  Charles  R.  Bagley,  Moyock,  Currituck 
county,  "as  sung  by  W.  R.  Dudley" ;  undated,  but  probably  sent  in  1923. 
Four  stanzas.  Stanzas  i  and  2  correspond  to  A  1-2.  Stanza  3  ("O 
Mother  .  .  .")  has  its  equivalent  in  the  Allan's  Lone  Star  Ballads  version, 
which  has  prayers  to  both  "Angels"  and  "Mother,"  but  not  in  A,  which 
has  the  prayer  to  "Angels"  only.  The  equivalent  of  stanza  4  is  not 
found  in  either  Allan's  or  A,  but  does  appear  in  Henry  FSSH  366  (from 
Crossnore,  N.  C). 


538  NORTH     CAROLINA     FOLKLORE 

3  'O  Mother,'  cried  the  dying  boy, 
'Look  down  from  Heaven  on  me. 
Receive  me  to  thy  fond  embrace, 
And  take  me  home  to  thee.' 

4  How  many  homes  made  desolate, 
How  many  a  heart  has  sighed, 

How  many  like  that  poor  drummer  boy, 
Who  prayed  before  he  died. 

c 

Drummer  Boy  of  Shiloh.'  From  the  John  Burch  Blaylock  Collection. 
After  the  first  stanza,  corresponding,  with  a  few  verbal  changes,  to 
A  1-2,  this  version  differs  in  a  number  of  particulars. 

2  'Look  down  upon  the  battlefield, 
Oh,  thou  our  Heavenly  Friend ; 
Have  mercy  on  our  sinful  souls.' 
The  soldiers  cried,  'Amen,' 

And  gathered  round  the  little  group ; 
Each  brave  man  knelt  and  cried ; 
They  listened  to  the  drummer  boy, 
Who  prayed  before  he  died. 

3  'Oh,  Jesus,'  said  the  drummer  boy, 
'Look  down  from  heaven  on  me. 
Receive  me  to  Thy  fond  embrace, 
And  take  me  home  to  Thee. 

I  love  my  country  and  my  God, 

To  serve  them  both  I've  tried.' 

He  smiled,  shook  hands.     Death  seized  the  boy. 

Who  prayed  before  he  died. 

4  Each  soldier  wept  then  like  a  child ; 
Stout  hearts  were  there,  and  brave. 
The  flag  his  winding  sheet,  God's  book 
They  laid  upon  his  grave. 

They  wrote  upon  a  simple  board. 
These  words,  'This  is  the  guide 
To  those  that  mourn  the  drummer  boy. 
Who  prayed  before  he  died.' 

5  Ye  angels  'round  the  throne  of  grace. 
Look  down  upon  the  braves 

Who  fought  and  died  on  Shiloh's  plains. 
Now  slumber  in  their  graves. 
How  many  homes  made  desolate, 
How  many  hearts  have  sighed. 
How  many  like  the  drummer  boy. 
Who  prayed  before  he  died. 


NATIVE     AMERICAN     BALLADS  539 

231 

The  Last  Fierce  Charge 

Belden  BSM  383-7,  who  prints  two  texts  of  this  ballad  (from 
Missouri),  describes  it  as  "patently  'literary'  and  widely  known," 
but  adds,  "I  have  not  been  able  to  find  its  authorship,  nor  have  I 
seen  it  in  print  except  as  a  collector's  item."  He  cites  texts  from 
Nova  Scotia,  Kentucky,  Georgia,  Texas,  Minnesota,  and  Massa- 
chusetts. Add  Eddy  BSO  301-4  (two  texts,  from  Ohio),  Ran- 
dolph OFS  II  297, 

In  a  scrapbook  apparently  compiled  by  Phillips  Barry  and  now 
belonging  to  the  Harvard  Library  appear  four  newspaper  copies 
of  the  ballad :  ( i )  "The  Last  Fierce  Charge,  requested  by  G.E.S., 
North  Berwick,  Me."  (2)  "The  Battle  of  Gettysburg  by  Virginia 
F.  Townsend,"  with  a  note  in  ink  "Hearth  and  Home,  Augusta, 
Me.,  May  '32.  Southern  version,"  (3)  "The  Battle  of  Gettysburg 
(By  Virginia  F.  Townsend),"  with  note  in  ink,  "Have  never 
found  two  copies  alike  of  this  song."  (4)  "The  Last  Fierce  Charge 
of  the  French  at  Waterloo.  Requested  by  M.E.R."  No.  i,  stanza 
16,  has  the  line  "Where  the  Rebels  with  shot  and  shell"  (17 
stanzas).  No.  2  (in  octaves)  has,  in  stanza  7,  the  line  "Where 
the  Yankees  with  shot  and  shell."  No.  3  is  the  same  as  No.  2. 
No.  4  (18  stanzas)  is  close  to  Nos.  2  and  3,  but  has  some  verbal 
peculiarities.  The  line  "Where  the  rebels'  shot  and  shell"  is  in- 
congruous with  the  title;  and  there  is  nothing  in  the  text  to  con- 
nect the  story  with  Waterloo. 

A 
The  Two  Soldiers.'  "Sent  to  C.  Alphonso  Smith  by  I.  G.  Greer,  of 
Boone,  N.  C.,  Aug.  6,  1913"  Professor  Smith  gave  this  and  other 
songs  to  Professor  Brown.  This  text  shows  a  considerable  number  of 
differences  from  both  of  Belden's,  is  in  general  more  colloquial,  and 
more  often  misses  the  sense  of  what  the  original  must  have  conveyed 
(e.g.,  "fate,"  for  "faith"?  in  stanza  3). 

1  It  was  just  before  the  last  fierce  charge, 
Two  soldiers  drew  their  reins, 

With  a  parting  word  and  a  touch  of  the  hand — 
They  might  never  meet  again. 

2  One  had  blue  eyes  and  curly  hair, 
Nineteen  but  a  month  ago; 

There  was  red  on  his  cheek,  and  down  on  his  chin ; 
He  was  only  a  lad,  you  know. 

3  The  other  was  a  tall,  dark  man, 
Whose  fate  in  this  world  was  dim, 
But  he  only  trusted  the  more  on  those 
Who  were  all  the  world  to  him. 

4  They  had  ridden  together  thru  many  a  round, 
And  marched  for  many  a  mile, 


540  NORTH     CAROLINA     FOLKLORE 

But  never  before  had  they  met  their  foe 
With  a  calm  and  a  helpless  smile. 

5  The  first  to  speak  was  the  tall,  dark  man, 
Saying,  'Charlie,  my  time  has  come ; 
We'll  up  yonder  hill  together. 

But  you'll  come  back  alone. 

6  'Will  you  promise  a  little  trouble  to  take 
For  me  when  I  am  gone  ? 

I  have  a  picture  next  to  my  heart, 
With  blue  eyes  and  curly  hair. 

7  'As  morning  light  she  was  to  me. 
For  she  gladdened  a  lonely  life, 

And  little  cared  I  for  the  thought  of  fate 
When  she  promised  to  be  my  wife. 

8  'Oh,  Charlie,  write  to  her  tenderly. 
Send  her  back  this  fair,  fond  face, 
Tell  her  tenderly  how  I  died 
And  where  is  my  resting  place. 

9  'Tell  her  my  soul  shall  wait  for  her 
In  a  bordering  land  between, 

In  a  space  between  heaven  and  earth, 
And  it  won't  be  long,  it  seems.' 

10  Tears  dimmed  the  blue  eyes  of  the  boy; 
His  voice  was  low  with  pain. 

'I'll  do  your  bidding,  comrade  mine. 
If  I  ride  back  again. 

11  'But  if  you  ride  back  and  I  am  dead, 
You  must  do  as  much  for  me. 

My  mother  at  home  must  hear  the  news ; 
Write  to  her  tenderly. 

12  'One  after  another  of  those  she  loved, 
She  buried  both  father  and  son, 

And  I  am  the  last  of  my  country's  call ; 
She  prayed  and  sent  me  on. 

13  'She's  praying  at  home  like  a  waiting  saint, 
Her  fair  face  wet  with  tears ; 

Her  heart  will  be  broken  when  she  hears  I'm  dead. 
But  I'll  see  her  soon,  I  know.' 

14  Just  then  the  order  came  to  march. 
For  an  instant  hand  touched  hand. 
They  answered,  'Aye' ;  then  on  they  rode, 
That  brave,  devoted  band. 


NATIVE     AMERICAN     BALLADS  541 

15  Right  over  the  crest  of  the  hill  they  dashed, 
Where  rebels  with  shot  and  shell 

Poured  earth  of  dust  in  their  towering  ranks, 
And  they  charged  them  as  they  fell. 

16  And  of  those  that  were  left  among  the  dead 
Was  the  boy  with  the  curly  hair, 

And  the  tall,  dark  man  that  rode  by  his  side 
Lay  dead  beside  him  there. 

17  No  one  to  tell  the  blue-eyed  girl 
The  words  her  lover  said ; 

No  one  to  tell  the  weeping  mother 
Her  only  son  was  dead. 

18  They  never  will  know  the  last  fond  thoughts 
That  were  sought  to  soften  a  pain, 

Until  they  cross  the  river  of  death 
And  stand  by  their  sides  again. 


'Two  Soldiers.'  From  W.  Amos  Abrams,  of  Boone ;  without  date ;  with 
note,  "A  Civil  War  ballad  sung  by  my  stepmother,  who  learned  it  about 
1900."  With  slight  verbal  variations,  consists  of  the  following  stanzas 
of  A:  1-3,  5-7,  11-18. 


232 

Kingdom  Coming 

White,  in  ANFS  170-1,  who  prints  a  confused  version  from 
Alabama,  cites  authority  for  ascribing  the  original  of  this  song, 
'Kingdom  Come'  (c.  1861),  to  Henry  Clay  Work,  author  of 
'Marching  through  Georgia'  and  other  popular  songs  of  the  Civil 
War  period,  and  he  reprints  a  portion  of  'Kingdom  Come.'  There 
is  an  early  text  of  it  in  Frank  Moore's  Songs  of  the  Soldiers  (New 
York,  1864),  pp.  189-90.  It  was  often  printed  as  a  broadside  or 
penny  song  (e.g.,  by  Johnson  &  Cartlick,  Philadelphia;  Charles 
Magnus,  New  York  [on  notepaper  for  soldiers]  ;  Partridge,  Boston, 
[Nos.  778  and  859]). 


'Massa's  Gone  Away.'  With  music.  Contributed  by  Otis  S.  Kuykendall, 
Asheville,  August  8,  1939.  This  North  Carolina  version  is  substantially 
close  to  that  in  Moore,  cited  above,  but  shows  interesting  verbal  diflfer- 
ences.  "For  I  hear  de  bugle  blow"  is  substituted  for  "An'  the  yar  of 
Jubilo" ;  "dat  country  band,"  for  "he's  contraband" ;  and  some  lines 
about  the  overseer  are  omitted. 

I     Say,  darkies,  have  you  seen  de  Massa  wid  de  mustache  on 
his  face? 
He  went  down  de  road  sometime  dis  mawnin'  like  he  gwine 
to  leave  dis  place. 


542  NORTH     CAROLINA     FOLKLORE 

He  seen  de  smoke  way  up  de  river  whar  de  Lincoln  gun- 
boats lay; 

He  picked  up  his  hat  and  he  left  very  sudden  an'  I  guess 
he's  gone  away. 

Chorus: 

Oh,  de  Massa  run,  ha,  ha,  and  de  darkies  stay  at  home. 
Must  be  now  de  Kingdom  comin*,  for  I  hear  de  bugle 
blow. 

2  He's  six  foot  one  way,  two  foot  de  odder,  and  he  weighs 

three  hundred  pounds. 
His  coat's   so  big  dat  he  couldn't  pay  de  tailor,  and  it 

wouldn't  go  half  way  round. 
He  drills  so  much  dey  calls  him  Captain,  and  he  gets  so 

dreadful  tanned 
I  guess  he'll  try  and  fool  dose  Yankees  for  to  take  dat 

country  band. 

3  De  darkies  feel  so  lonesome  a  libbin'  in  de  log  house  on 

de  lawn. 
Dey  moved  dere  things  to  de  Massa's  parlor  for  to  keep 

'em  while  he's  gone. 
Dere's  wine  and  cider  in  de  kitchen,  and  de  darkies  dey'll 

have  some ; 
I  s'pose  dey'll  be  all  confiscated  when  de  Lincoln  soldiers 

come. 


Oh,  de  whip  is  lost,  de  handcufifs  broken,  ol'  Massa  have 

his  pay. 
He's  old  enough,  big  enough,  he  ought  to  knowed  better 

dan  to  went  and  runned  away. 


'The    Lincoln    Gun    Boat.'      From    Julian    P.    Boyd,    Alliance,    Pamlico 
county,  who  obtained  it  from  Minnie  Lee,  a  pupil ;  undated,  but  c.  1927-28. 

I     I  saw  a  smoke  was  up  the  river. 

Where  the  Lincoln  Gun  Boats  lay. 
.    Moosy  drilled  so  much  we  called  him  Captain, 
And  I  speck  he  run  away. 

Chorus: 

Darky  days,  ho,  ho,  hum ! 

Moosy  run  away. 

I  think  it's  now  the  Kingdom  Come, 

The  Year  of  Jubilee. 


NATIVE     AMERICAN     BALLADS  543 

2     Moosy  two  feet  one  way,  three  feet  de  oder, 
And  he  weigh  five  hundred  pounds ; 
His  coat's  so  large  he  couldn't  pay  the  tailor, 
And  it  wouldn't  go  half  way  round ! 

c 

'Ole  Massa  Run,  Ha,  Ha ;  or.  The  Kingdom  Coming.'  From  J.  H. 
Burrus,  Weaverville,  Buncombe  county,  August  22,  1922,  with  the  fol- 
lowing erroneous  account  of  its  origin:  "When  the  war  was  over  and 
the  negroes  were  delivered,  they  composed  a  song  about  their  'Massas 
Running'  composed  about  the  time  of  Sherman's  March  to  the  Sea  or 
soon  afterwards." 

1  Say,  darkies,  have  you  seen  ole  massa 
With  a  mustache  on  his  face 

Come  up  dis  road  so  soon  dis  mawnin'  ? 
I  speck  he's  lef  de  place. 

Chorus: 

Ole  Massa  run,  ha,  ha, 

An'  de  darkies  stay  at  home. 

It  must  be  now  de  kingdom  coming 

And  de  year  of  jubilee. 

2  He's  six  feet  tall  one  way  and  five  feet  de  odder, 
And  he  weighs  seben  hundred  pounds ; 

His  coat  so  big  dat  he  couldn'  pay  de  tailor. 
And  it  wouldn'  go  half  way  aroun'. 


233 
Ol'  Gen'ral  Bragg's  a-Mowin'  Down  de  Yankees 

From  Robert  B.  Murray;  text  without  date  and  informant's  address. 
Stanza  2  seems  incomplete.  In  dialect  and  narrative  content  the  song 
resembles  'Kingdom  Coming.' 

I     or  Gen'ral  Bragg's  a-mowing  down 
De  Yankees  ober  dar  !    Oh — O,  oh — o  ! 
You,  Pomp  and  Pete,  and  Dinah,  too. 
You'll  catch  it  now,  I'll  sw'ar. 


2 


I'll  whoop  you  good  for  mixin'  wid 

Dem  Yankees  when  dey'z  heah!    Oh — O,  o — 

Heah  comes  our  troops  in  crowds  on  crowds- 

I  know  dat  red  an'  gray. 

But  Lawd,  what  make  dem  hurry  so 

An*  frow  deyr  guns  away? 


544  NORTH  CAROLINA  FOLKLORE 

4  or  Massa  den  keep  boff  feet  still 
An'  stared  wiff  boff  he  eyes, 

Twell  he  seed  de  blue-coats  jes'  behin', 
Which  cotch  him  wid  surprise. 

5  or  Massa's  busy  duckin'  'bout 
In  de  swamps  up  to  he  knees, 

While  Dinah,  Pomp,  an'  Pete  dey  look 
As  if  dey  mighty  pleas'.    Oh — ,  o — ee. 

234 

The  Texas  Ranger 

For  the  frequency  of  this  song  both  in  print  and  in  tradition, 
see  BSM  336,  and  add  to  the  references  there  given  Vermont 
(NGMS  226-8),  North  Carolina  (SFLQ.  v  141-2),  Ohio  (BSO 
291-3),  Indiana  (BSI  316-7),  Illinois  (JAFL  lvii  72-3),  Missouri 
and  Arkansas  (Randolph  OFS  11  169),  Virginia  (Davis  FSV  290, 
listed),  Florida  (FSF  44-6),  and  Michigan  (BSSM  239-40)  ;  it  is 
also  in  Barry's  list  of  songs  found  in  the  North  Atlantic  States. 
It  will  not  be  necessary  to  give  in  extenso  all  the  texts  found  in 
our  collection.  It  should  be  noticed  that  Mrs.  Sutton's  text  turns 
the  story  into  a  Civil  War  ballad,  whereas  properly  the  Rangers 
fought  not  Yankees  but  Indians — and,  later,  bandits  of  divers  sorts. 

A 
'Texas  Rangers.'    Communicated  in  1937  by  W.  Amos  Abrams  of  Boone, 
Watauga  county.     The  normal  version. 

1  Come  all  you  Texas  Rangers,  wherever  you  may  be, 
A  story  I  will  tell  you  that  happened  to  me. 

My  name  is  nothing  extra.    The  truth  to  you  I'll  tell, 
I  am  a  roving  Ranger,  and  I'm  sure  I  wish  you  well. 
'Twas  at  the  age  of  sixteen  I  joined  this  jolly  band. 
We  marched  from  San  Antonio  unto  the  Rio  Grande. 
Our  captain  he  informed  us,  perhaps  he  thought  it  right, 
'Before  you  reach  the  station,  boys,'  said  he,  'you'll  have 
to  fight!' 

2  I  saw  the  Injuns  coming,  I  heard  them  give  the  yell; 
My  feelings  for  one  moment  no  tongue  can  ever  tell. 

I  saw  their  glittering  lances  like  arrows  round  my  head ; 
My  heart  it  sank  within  me,  my  courage  almost  fled. 
We  fought  them  nine  hours  before  the  strife  was  o'er. 
The  likes  of  the  dead  and  wounded  I  never  saw  before. 
Six  as  noble  Rangers  as  ever  trod  the  West 
Lay  buried  by  their  comrades ;  sweet  peace  be  to  their  rest. 

3  I  thought  of  my  dear  old  mother,  who  in  tears  to  me  did 

say. 


NATIVE     AMERICAN     BALLADS  545 

'Perhaps  they  are  all  strangers ;  with  me  you'd  better  stay.' 
But  I  thought  her  old  and  childish  and  that  she  did  not 

know; 
My  mind  was  bent  on  soldiering  and  I  was  bound  to  go. 
Perhaps  you  have  a  mother,  likewise  a  sister  too, 
And  perhaps  you  have  a  sweetheart  to  grieve  and  mourn 

for  you. 
If  this  be  your  condition,  and  you  may  wish  to  roam, 
I  advise  you  by  experience,  you'd  better  stay  at  home. 


'The  Texas  Ranger.'  Communicated  by  Mrs.  Sutton,  with  the  notation 
"This,  like  many  others  I  have,  must  be  attributed  to  Mrs.  J.  J.  Miller. 
She  could  not  read  or  write  when  I  first  heard  her  sing  it.  She  had 
doubtless  never  seen  a  cowboy  nor  did  she  have  the  least  idea  of  what 
the  work  and  life  of  a  'Texas  Ranger'  was.  Yet  she  liked  these  songs 
very  much  and  took  a  lot  of  pleasure  in  their  melancholy.  She  said  she 
thought  her  father  learned  the  latter  in  the  war.  He  taught  it  to  her. 
Like  many  people  whose  range  of  experience  is  limited,  she  has  a 
marvelous  memory."  Observe  that  the  action  here  is  transferred  from 
Texas  to  the  Civil  War  in  Virginia. 

1  Come  all  ye  Texas  Rangers 
And  listen  unto  me, 

I  will  tell  you  of  some  trouble 
That  happened  unto  me. 

2  My  name  is  nothing  extry, 
My  name  I  will  not  tell. 

It  is  to  you,  all  true  rangers, 
I  know  I  wish  ye  well. 

3  At  the  age  of  sixteen 
I  joined  a  jolly  band 

And  marched  from  Western  Texas 
To  old  Virginia's  land. 

4  Our  captain  did  inform  us, 
Because  he  thought  it  right, 
Before  we  reached  Manassas 
We  sure  would  have  to  fight. 

5  We  seen  the  Yankees  comin', 
Our  captain  give  command  ; 
'To  arms,  to  arms !'  he  shouted, 
'And  by  your  horses  stand.' 

6  We  saw  the  Yankees  comin'. 
Their  bullets  round  us  hailed. 
My  heart  sunk  within  me, 
My  courage  purt'  near  failed. 


546  NORTH     CAROLINA     FOLKLORE 

7     We  charged  agin  them  Yankees, 
We  give  the  Rebel  yell, 
And  many  of  them  Yankees 
They  soon  woke  up  in  hell. 

c 
'Texas    Ranger.'      Communicated    by   J.    F.    Doering.     Does    not    differ 
significantly  from  A. 

D 
'Texas  Rangers.'     Reported  by  L.  W.   Anderson  of   Nag's  Head  from 
one  of  his  pupils  there,   Maxine  Tillett.     The  first  two   stanzas  of   A. 

235 

The  Battleship  Maine  (I) 

In  SFLQ  IV  185,  Paul  G.  Brewster  prints  a  text  of  The  Battle- 
ship Maine'  from  Indiana,  learned  by  his  informant  from  her 
mother,  who  sang  it  to  the  tune  'On  the  Banks  of  the  Wabash.' 
With  only  a  few  verbal  differences,  it  is  the  same  as  the  following 
North  Carolina  texts.  The  song  is  probably  from  a  broadside  or 
sheet-music  original  of  the  Spanish-American  War  period. 

A 
'The  Battleship  Maine.'    Collected  by  L.  W.  Anderson,  while  teaching  at 
Nag's  Head,   from   Maxine  Tillett.      (Mr.   Anderson  received  his   A.B. 
degree  from  Duke  University  in  1931.) 

1  Many  homes  are  wrecked  with  sorrow  and  with  sadness, 
Many  hearts  are  torn  with  anguish  and  with  pain, 

And  a  nation  now  is  draped  in  deepest  mourning 
O'er  the  heroes  of  the  battleship,  the  Maine. 
Some  are  asleep  beneath  the  waters  in  the  harbor, 
Some  repose  beneath  the  mount  of  Spanish  clay ; 
But  their  spirits  seem  to  cry  aloud  for  vengeance, 
On  the  shores  of  Havana,  far  away. 

Chorus: 

Oh,  the  moon  shines  down  tonight  along  the  waters, 
Where  the  heroes  of  the  Maine  in  silence  lay. 
May  they  rest  in  peace,  the  dear  ones  who  are  sleeping 
On  the  shores  of  Havana,  far  away. 

2  Some  were  thinking  of  their  mothers,  wives,  and  sweet- 

hearts ; 
Some  were  dreaming  of  the  dear  ones  left  at  home. 
And  perhaps  some  lad  who'd  left  the  old  folks  grieving 
Was  just  writing  them  from  far  across  the  foam. 
When  suddenly  there  came  a  loud  explosion. 


NATIVE     AMERICAN     BALLADS  547 

Like  a  stone,  a  wreck,  she  sank  down  in  the  bay, 
And  two  hundred  noble-hearted  sailors  perished, 
On  the  shores  of  Havana,  far  away. 


'Off  the  Shores  of  Havana,  Far  Away.'  From  Jesse  T.  Carpenter, 
Durham,  as  copied  from  the  manuscript  notebook  of  songs  of  Mrs.  C.  T. 
Weatherly,  R.F.D.  No.  3,  Greensboro.  Differs  in  only  six  verbal 
variations  from  A,  the  most  important  being  "mound"  for  "mount"  in 
1.6. 

236 
The  Battleship  Maine  (II) 

There  are  two  oral  variants  of  this,  a  second  and  dififerent  song 
on  the  Maine,  'My  Sweetheart  Went  Down  on  the  Maine,'  words 
and  music  by  Bert  Morgan  (Macomb,  Illinois:  The  Morgan  Music 
Co.,  c.  1898). 

A 

'Battleship  Maine.'  With  music.  Recorded  by  O.  L.  Coflfey  at  Shull's 
Mills,  Watauga  county,  July  18,  1936.  MS  borrowed  and  copied  later. 
This  version  corresponds  to  stanzas  i  and  2  of  the  copyrighted  song, 
with  a  few  verbal  variations  and  with  a  different  arrangement  of  the 
chorus.  What  Mr.  Coffey's  text  designates  as  chorus  is,  in  the  copy- 
righted song,  the  completion  of  stanza  i ;  and  there  are  other  trans- 
positions and  arrangements. 

1  Once  I  had  a  sweetheart,  noble,  brave,  and  true, 
Fearless  as  the  sunrise,  gentle  as  the  dew. 

We  loved  and  waited,  we  had  named  the  day. 

And  we  had  pledged  to  wed  each  other  in  the  month  of 

May, 
And  we  had  pledged  to  wed  each  other  in  the  month  of 

May. 

Chorus: 

Out  on  the  high  seas  he  sailed, 
Under  the  red,  white,  and  blue. 
Faithful  to  country  and  home. 
Faithful  to  captain  and  crew. 

2  Anchored  at  Havana  on  a  Cuban  shore, 
Conscious  of  no  danger,  dreaming  love  days  o'er, 
Peacefully  he  slumbered  on  his  hammock  bed, 
While  the  stars  in  glowing  beauty  benediction  shed, 
While  the  stars  in  glowing  beauty  benediction  shed. 

3  Then  came  the  death-dealing  crash, 
Rendering  the  vessel  in  twain ; 
Down  went  my  sweetheart  to  death, 
Down  went  the  gallant  ship  Maine. 


548  NORTH  CAROLINA  FOLKLORE 


'The  Gallant  Sailor.'  Collected  by  Julian  P.  Boyd,  then  of  Alliance, 
Pamlico  county,  while  he  was  principal  of  the  school ;  from  Catherine 
Bennett,  a  pupil,  c.  1927-28.  This  version  omits  part  of  stanza  i  of  the 
copyrighted  original  and  puts  in  part  of  stanza  3  omitted  in  A. 

Once  I  had  a  sweetheart,  noble,  brave,  and  true, 
Fearless  as  the  sunrise,  gentle  as  the  dew. 
Peacefully  he  slumbers  in  his  hammock  bed. 
While  the  stars  in  glowing  beauty  benediction  said. 

Chorus: 

Out  on  the  high  seas  he  sailed, 
Under  the  red,  white,  and  blue, 
Faithful  to  home  and  country, 
Faithful  to  captain  and  crew. 

2  Anchored  at  Havana,  on  the  Cuban  shore, 
Conscious  of  no  danger,  dreaming  loved  days  o'er, 
Peacefully  he  slumbers  in  his  hammock  bed. 
While  the  stars  in  glory  benediction  said. 

3  Buried  in  a  foreign  land,  in  an  unknown  grave. 
Where  the  bells  of  liberty  soon  must  ring  to  save, 
Peacefully  he  slumbers  in  his  hammock  bed. 
While  the  stars  in  glory  benediction  said. 


237 
Marching  to  Cuba 

Regarding  this  song  Mr.  William  Lichtenwanger,  Assistant  Ref- 
erence Librarian,  Music  Division,  Library  of  Congress,  who  was 
asked  to  identify  it,  wrote:  "I  believe  that  your  version  must  be 
derived  from  Marching  to  Cuba,  words  by  Josie  M.  Galloway, 
music  by  J.  H.  Dohrmann,  published  by  the  Zeno  Mauvais  Music 
Company  of  San  Francisco  in  1898.  .  .  .  Here  there  is  consider- 
able variation,  but  of  the  kind  to  be  expected  when  a  song  has  been 
passed  along  orally  by  a  number  of  different  singers.  The  second 
line  of  the  chorus,  incidentally,  is  'Hurrah  !  Hurrah  !  for  flag  of 
liberty!'  Perhaps  the  second  line  of  your  version  should  read: 
'.  .  .  boys,  Cuba  shall  be  free.'  "  (By  "version"  he  evidently  means 
"chorus.") 

'Away  to  Cuba.'     From  W.  Amos  Abrams,  of  Boone,  without  indication 
of  date. 

I     We're  going  down  to  Cuba,  boys,  to  battle  for  the  right. 
We're  going  to  show  those  Spaniards  that  we  Yankee  boys 
can  fight. 


NATIVE     AMERICAN     BALLADS  549 

And  when  they  see  us  coming  they'll  scatter  left  and  right, 
When  we  march  into  Cuba. 

Chorus: 

Hurrah!     Hurrah!     We'll  sound  the  jubilee. 

Hurrah !     Hurrah  !     Boys,  Bub  shall  be  free, 

And  we'll  sing  the  chorus  from  Mt.  Gretna  to  the  sea. 

While  we  are  marching  to  Cuba. 

'Twas  in  Manila,  boys,  our  ships  the  foe  did  meet. 

We  didn't  need  a  hurricane  to  wreck,  to  wreck  the  Spanish 

fleet, 
But  just  one  Dewey  morning,  and  our  victory  was  complete. 
As  we  were  marching  to  Cuba. 

In  Santiago  harbor  Sampson  had  them  bottled  tight. 
Hobson  put  the  cork  in,  and  we  think  he  did  it  right, 
And   when  they   find   they  can't   get  out,   they'll  have  to 

stand  and  tight. 
When  we  march  into  Cuba. 

With  Dewey,  Schley,  and  Sampson,  we  need  not  have  a 

fear. 
For  they  will  guard  the  harbors  while  we  attack  the  rear. 
We'll  plant  our  flag  on  Morro  and  give  one  mighty  cheer, 
When  we  march  into  Cuba. 


238 
Manila  Bay 

Regarding  this  song  Mr.  William  Lichtenwanger,  Assistant  Ref- 
erence Librarian,  Music  Division,  Library  of  Congress,  wrote : 
"Several  songs  by  that  title  and  by  Hurrah  for  Dewey  were  found, 
but  none  that  showed  any  similarity  to  Dr.  Boyd's  version." 

'Manila  Bay.'     Obtained  by  Julian  P.   Boyd,  then  of  Alliance,   Pamlico 
county,  from  an  unnamed  pupil,  c.  1927-28. 

I     You  have  heard  about  the  battle  over  in  Manila  Bay, 
How  the  Yankees  met  the  Spaniards,  fought  them  on  the 

first  of  May. 
Our  commander's   name  was  Dewey,  and  a   valiant  man 

was  he, 
For  he  sent  the  Spanish  squadron  to  the  bottom  of  the  sea. 

Chorus: 

Hurrah,  hurrah  for  Dewey!    Surpass  him  if  you  can. 
He  won  a  mighty  battle  and  never  lost  a  man. 


550  NORTH  CAROLINA  FOLKLORE 

Our  navy  boys  are  heroes,  for  they  were  true  and  bravt-, 
And  sent  the  Spanish  squadron  beneath  Manila  wave. 

2  They  were  boasting  of  their  valor  and  ability  to  fight, 
When  our  vessel  overcame  them  in  the  darkness  of  the 

night. 
They  were  sure  that  they  could  whip  us,  but  their  efforts 

were  in  vain, 
For  we  sent  the   Spanish  squadron  where  they  sent  the 

gallant  Maine. 

3  How  they  laughed  before  the  battle,  how  they  gloried  in 

their  fame ! 
They  belittled  our  commander,  but  he  got  there  just  the 

same. 
Though  our  squadron  was  outnumbered,  it  was  made  of 

better  stuff. 
And  it  gave  them  red-hot  metal   till  the   Spaniards   got 

enough. 


239 

That  Bloody  War 

'That  Bloody  War'  burlesques  the  heroics  of  the  Spanish- 
American  and  the  First  World  wars,  with  variant  details  character- 
istic of  folk  song.  It  probably  has  a  sheet-music  or  broadside  origin, 
and  possibly  a  history  of  vaudeville  or  minstrel  singing,  but  printed 
record  of  it  has  not  been  found. 


'That  Bloody  War.'  From  a  phonograph  recording  made  by  Miss  Aura 
Helton,  of  Durham,  and  from  a  manuscript  of  the  first  stanza  sent  by 
her.  The  copy  of  the  recording  is  dated  1922;  the  MS,  "about  1924." 
It  seems  probable  that  the  two  dates  have  been  transposed,  or  that  both 
MS  and  recording  date  from  1922;  for  the  MS  bears  Miss  Holton's 
note,  "There  are  innumerable  verses  I  can  get,  I  think ;  I  know  the 
melody,"  and  the  record  containing  the  song  is  dated  1922. 

1  McKinley  called  for  volunteers ;  I  shouldered  up  my  gun. 
The  first  fat  Spaniard  that  I  saw,  I  dropped  it  down  and 

run. 
That  bloody  war  !     That  bloody  war ! 

2  The  captain  said :  'Why  did  you  run  ?    Were  you  afraid  to 

die?' 
I  said :  "Oh,  no !     The  reason  I  ran  was  'cause  I  couldn't 

fly!' 
That  bloody  war !    That  bloody  war ! 


NATIVE     AMERICAN     BALLADS  551 

3  The  captain  said  the  flag  was  down,  to  get  it  if  I  could. 

I  said,  'Oh,  no!     There're  other  men  can  do  that  just  as 

good.' 
That  bloody  war!    That  bloody  war! 

4  The  beans  were  awful  greasy ;  the  meat  was  awful  fat. 
The  rest  were  fighting  Spaniards,  but  I  was  fighting  that. 
That  bloody  war!     That  bloody  war! 

5  I've  chased  all  over  Europe  a-tryin'  to  save  my  life ; 
Before  I'll  go  to  war  again,  I'll  send  my  darling  wife. 
That  bloody  war!     That  bloody  vKar! 

6  There  are  a  thousand  verses  more;  I  could  sing  them  just 

as  well. 

Before  I'll  sing  another  verse,  I'll  see  you  all  in ! 

That  bloody  war  !     That  bloody  war ! 


'Battle  Ship  of  Maine.'     From  the  John  Burch  Blaylock  Collection. 

1  McKinley  called  for  volunteers 
And  I  grabbed  my  gun ; 

The  Spaniards  are  sure  coming, 

I  dropped  my  gun  and  run. 

I  was  fighting  about  that  battleship  of  Maine. 

2  Why  are  you  running? 
Are  you  afraid  to  die? 
The  reason  I  am  running 
Is  because  I  cannot  fly. 

I  am  fighting  about  that  battleship  of  Maine. 

3  Blood  was  running 
And  I  was  running  too ; 
Giving  my  feet  good  exercise 
That  nothing  else  could  do. 

I  was  fighting  about  that  battleship  of  Maine. 

4  They  caught  me  oflF  duty ; 
I  thought  I'd  lose  my  life. 
Before  I'd  go  back  to  war  again 
I'd  send  my  darling  wife — 

To  fight  for  that  battleship  of  Maine. 

5  I  saw  the  Spaniards  coming, 
I  fell  upon  my  knees  ; 

The  first  thing  I  put  my  arms  on 


552  NORTH     CAROLINA     FOLKLORE 

Was  a  great  big  pot  of  peas. 

I  was  fighting  about  that  battleship  of  Maine. 

6  The  peas  they  were  greasy, 
The  meat  it  was  fat ; 

The  soldiers  were  fighting  Spaniards 

While  I  was  fighting  that. 

It's  all  about  that  battleship  of  Maine. 

7  What  kind  of  shoes 

Do  the  Rough  Riders  wear? 

Buttoned  on  the  side. 

Cost  five  and  a  half  a  pair. 

It  was  all  about  that  battleship  of  Maine. 

8  What  kind  of  shoes 

Do  the  old  soldiers  wear  ? 

Old  brogans  that  cost 

Four  dollars  a  pair. 

It  was  all  about  that  battleship  of  Maine. 


'It's  Bloody  War.'  With  music.  From  Kate  S.  Russell,  of  Roxboro 
Person  county.  A  phonograph  recording  of  the  song  was  made  by  her 
at  Roxboro  c.  1923. 

I     The  President  called  for  volunteers ; 
I  shouldered  my  big  gun. 
The  first  old  German  that  I  saw, 
I  dropped  my  gun  and  run. 

Chorus: 

It's  bloody  war, 
It's  bloody  war. 


2  The  captain  said,  'Our  flag  is  down. 
Won't  you  go  bring  it  on?' 

I  said,  'No,  let  the  old  thing  stay; 
We've  plenty  more  at  home.' 

3  The  captain  said  to  fire  at  will. 
I  said,  'Which  one  is  he?' 
And  that  old  fool,  he  got  mad. 
And  shot  his  gun  at  me. 


'Bloody  Wars.'  With  music.  From  Miss  Mary  Scarborough,  Dare 
county,  who  made  a  phonograph  recording  in  1923.  Stanza  i  varies 
slightly  from  B  i  ;  otherwise,  the  same. 


NATIVE     AMERICAN     BALLADS  553 

The  President  called  for  volunteers ; 
I  shouldered  my  big  gun. 
The  first  old  German  that  I  saw, 
I  dropped  my  gun,  and  shouted — 

'Bloody  wars, 
Bloody  wars!' 


240 
Strange  Things  Wuz  Happening 

From  Will  ("Shorty")  Love,  Negro  janitor  of  Trinity  College  and 
Duke  University,  c.  1920-22.  Holograph  copy  from  Dr.  Brown,  with 
typescript  and  with  music. 

Chorus. 

Well,  they'z  strange  things  wuz  happening  in  the  land, 
Strange  things  wuz  uh  happening  in  the  land. 
The  war  wuz  going  on,  caused  many  hearts  to  moan, 
Strange  things  wuz  happening  in  the  land. 

1  But  Uncle  Sam  with  Germany  tried  to  live  in  peace. 
Kept  blowin'  up  his  vessels,  did  not  'tempt  to  cease. 

The  boys  they  treat  us  mean,  we  don't  'guize  our  sub- 
marines, 
We  don't  'guize  our  submarines. 
They  wuz  strange  things  wuz  happening  in  the  land. 

2  Boys,  uh  be  loyal  to  your  country,  stand  up  and  be  a  man. 
Fight  everywhere  they  put  you,  on  earth  or  in  the  air. 
They  wuz  strange  things  wuz  happening  in  the  land. 

241 
Just  Remember  Pearl  Harbor 

One  of  several  songs  sent  in  September  1944  to  Professor  A.  P. 
Hudson,  Chapel  Hill,  by  Mrs.  Katherine  Thomas,  a  teacher  in  the 
Durham  High  School  for  Negroes,  who  had  been  a  member  of  one 
of  Professor  Hudson's  classes  in  the  North  Carolina  College  for 
Negroes  in  the  spring  of  1943.  Regarding  the  songs,  Mrs.  Thomas 
stated:  "I  secured  most  of  them  from  my  students."  Mrs.  Thomas's 
typewritten  copy  of  the  song  looks  as  if  it  may  be  a  copy  of  a 
manuscript  copy  made  by  a  pupil  from  memory.  The  representa- 
tion of  the  word  "tragedy"  ("tra-gedy"),  in  1.  10,  suggests  that  the 
original  copyist  may  have  remembered  the  representation  of  the 
word  in  some  sort  of  sheet  music  or  broadside  printing.  The  rest, 
however,  looks  like  transcription  of  a  song  that  the  writer  knew  bv 


554  NORTH     CAROLINA     FOLKLORE 

heart.  The  style  of  the  song  is  reminiscent  of  'The  Titanic'  (B 
and  C)  and  'Strange  Things  Wuz  Happening,'  both  of  which  may 
have  originated  in  Durham. 

Wasn't  that  an  awful  time  at  Pearl  Harbor? 

What  a  time,  what  a  time ! 

Wasn't  that  an  awful  time  at  Pearl  Harbor? 

What  a  time,  what  a  time ! 

When  the  Japs  came  passing  by. 

Three  thousand  lost  their  lives. 

Wasn't  that  an  awful  time  at  Pearl  Harbor? 

What  a  time,  what  a  time ! 

Well,  stop,  great  God,  and  listen  to  me, 

I'm  going  to  tell  you  about  a  tra-gedy. 

Read  your  papers  and  read  them  well ; 

You  know  the  story  that  Pm  going  to  tell. 

One  Sunday  morning  about  seven  o'clock. 

They  tell  me  Pearl  Harbor  did  wheeled  and  rock. 

The  bombers  came  over  and  filled  the  sky ; 

The  nation  got  angry  somebody  had  to  die. 

The  enemies  came  in  and  had  a  feast, 

And  left  so  many  hearts  didn't  agree. 

The  men  didn't  have  time  to  repent ; 

Their  souls  went  rushing  to  judgment. 

Just  remember  Pearl  Harbor  all  the  time,  all  the  time. 

When  the  Japs  came  passing  by 

Three  thousand  heroes  lost  their  lives. 

Just  remember  Pearl  Harbor  all  the  time,  all  the  time. 

Well,  the  ship  was  struck  but  they  didn't  blame. 

Tell  me  the  men  called  on  God's  name. 

Crying,  'Oh,  Saviour,  don't  pass  me  by ! 

Oh,  Lord!'  I  heard  him  crying. 

'Oh,  Lord  some  [Son?]  of  David.' 

Well,  they  call  on  God  and  they  called  Him  loud. 

Said,  'Lord,  have  mercy,  don't  let  me  by.' 

They  got  in  the  Heaven,  had  a  man  to  pass, 

Like  McArthur,  chief  of  the  staflf ; 

Like  old  Moses  in  the  days  of  old. 

His  heels  start  to  galloping  and  stop  him  cold. 

They  got  in  the  history,  say  we  must  win. 

We  ain't  go'n'  stop  fighting  until  the  end. 


242 

The  Boston  Burglar 

This  is  an  American  adaptation  of  the  English  stall  ballad  of 
'Botany   Bay.'     Spaeth    (Read  'Em  and   Weep,  p.    178)   says  that 


NATIVE     AMERICAN     BALLADS  555 

"M.  J.  Fitzpatrick  is  credited  with  its  authorship."  It  has  been 
reported  as  traditional  song  in  Nova  Scotia  (SENS  206-7),  Ver- 
mont (VFSB  53-4),  Virginia  (SCSM  289-93  and  Davis  FSV  280, 
listed),  West  Virginia  (FSS  296-9),  North  Carolina  (SCSM 
294-6,  FSRA  loo-ioi),  Ohio  (BSO  204-6).  Indiana  (BSI  223-5), 
Michigan  (BSSM  335-6),  Iowa  (ABS  57-8),  and  Wyoming  (ABS 
59-60).  Finger  (FB  88)  says  he  has  heard  it  from  Canada  to 
Cape  Horn  and  that  the  text  he  gives  was  sung  by  a  native  of 
Arkansas.  The  texts  in  our  collection  are  so  closely  alike  that  it 
will  not  be  necessary  to  give  them  all. 


'The  Boston  Burglar.'  Transcribed  by  Dr.  Brown  from  a  manuscript 
songbook  lent  to  him  in  1936  by  Miss  Lura  Wagoner  of  Vox,  .Alleghany 
county.     The  entries  in  this  book  were  made  from  1911  to  1913. 

1  I  was  born  in  the  town  of  Boston, 
A  town  you  all  know  well. 
Raised  up  by  honest  parents — 
The  truth  to  you  I  will  tell— 
Raised  up  by  honest  parents, 
Raised  up  most  tenderly, 

Until  I  became  a  sporting  man 
At  the  age  of  twenty-three. 

2  My  character  was  taken 
And  I  was  sent  to  jail. 

The  people  tried,  but  all  in  vain, 
To  keep  me  out  on  trail. ^ 
The  juror  found  me  guilty, 
The  clerk  he  wrote  it  down. 
The  judge  he  passed  the  sentence 
To  send  me  to  Charlestown. 

3  They  put  me  on  the  east-bound  train 
One  cold  December  day, 

And  every  station  I  would  pass. 
This  is  what  they  would  say : 
'There  goes  the  Boston  burglar ; 
His  arms  in  chains  are  bound. 
'Tis  for  some  crime  or  other 
They  have  sent  him  to  Charlestown.' 

4  There  was  my  aged  father 
A-standing  at  the  bar, 
Likewise  my  dear  old  mother 
A-tearing  down  her  hair. 

*  The  other  texts  show  that  this  should  be  "bail." 


556  NORTH     CAROLINA     FOLKLORE 

She  was  tearing  down  her  old  gray  locks 
And  trembling,  as  she  said, 
'My  son,  my  son,  what  have  you  done 
To  be  taken  to  Charlestown  ?' 

5     There  lives  a  girl  in  Boston, 
A  girl  that  I  loved  well. 
If  ever  I  gain  my  liberty 
It's  with  that  girl  I'll  dwell. 
If  ever  I  gain  my  liberty 
There  are  two  things  I  '11  shun : 
That  being  a  night  street  walker 
And  drinking  of  the  rum. 


'The  Bugle  Boy.'  As  sung  December  29,  1922,  by  Mrs.  Charles  K. 
Tillett  of  Wanchese,  Roanoke  Island.  Six  stanzas,  the  first  five  of  which 
are  the  same  as  A  except  that  stanzas  3  and  4  have  changed  places, 
"trail"  becomes  "bail,"  "juror"  "juries,"  and  "Charlestown"  "Charleston 
town."    The  sixth  stanza  runs : 

6     Oh,  you  that  has  your  liberty 
Pray  keep  it  if  you  can ; 
Don't  walk  around  the  streets  at  night 
An'  break  the  laws  of  man. 
For  if  you  do  you  will  surely  be 
And  find  yourself  like  me. 
Who  has  fto]  serve  out  there  twenty-one  years 
In  the  penitentiary. 


The  Boston  Burglar.'  Secured  from  Otis  S.  Kuykendall  of  Heaton, 
Avery  county,  in  1929.  Six  stanzas,  the  same  as  B  except  that  it  has 
"jury"  for  "juries,"  "Charlestown"  for  "Charleston  town,"  and  in  the 
penultimate  stanza  "Likewise  wild  walking  gambling"  instead  of  "Like- 
wise night  walking  gambling." 


'Boston  Burglar.'  Secured  from  O.  L.  Coffey  of  Shull's  Mills,  Watauga 
county.  It  is  metrically  defective  in  places,  and  introduces  new  matter 
after  stanza  3 : 

Down  came  the  jailor  about  eight  o'clock 

With  the  keys  in  his  hand 

A-shoving  for  the  lock ; 

'Cheer  up,  cheer  up,' 

I  think  I  heard  him  say, 

'You're  bound  for  old  Charles  Town, 

Twenty-one  long  years  to  stay.' 


NATIVE     AMERICAN     BALLADS  557 

Down  came  little  Lula, 
Five  dollars  in  her  hand ; 
'Cheer  up,  boy,  cheer  up, 
I've  done  you  all  I  can ; 
May  God  Almighty  bless  you, 
Wherever  you  may  be. 
Farewell,  farewell ! 
Alas  for  you  and  me !' 


'The  Boston  Burglar.'  Secured  from  Otis  S.  Kuykendall  of  Asheville 
in  1939.  The  only  noteworthy  variants  in  the  text  are  "Franklin  town" 
for  "Charlestown,"  "Stop  hanging  on  the  street  at  night"  in  his  warning 
to  youth,  and  the  habitat  of  his  sweetheart :  "There  is  a  girl  in  the 
mountains"— which  fits  the  topography  of  North  Carolina  better  than  that 
of  Massachusetts. 


'The  Boston  Burglar.'  From  Ruth  Efird  of  Stanly  county.  Four  stanzas 
only.  The  seat  of  the  prison  is  Franklin  town,  he  travels  thither  in  a 
"Southbound"  train,  and  his  crime  is  the  "robbing  of  the  Cleveland  bank." 


243 

Jesse  James 

Probably  the  exploits  and  fate  of  no  other  American  bandit  are 
so  widely  celebrated  as  those  of  this  Missouri  outlaw  of  the  years 
immediately  following  the  Civil  War.  After  about  fifteen  years  of 
successful  operations  on  banks  and  trains  he  was  shot  by  one  of 
his  own  gang,  Robert  Ford,  for  the  sake  of  the  $10,000  reward 
offered  by  the  governor  of  the  state.  James  was  living  at  the  time 
(1882)  in  St.  Joseph  under  the  name  of  Howard;  one  day,  so  the 
story  goes,  when  Ford  was  in  the  house  with  him,  James  climbed 
a  stepladder  to  correct  the  hanging  of  his  wife's  picture  on  the 
wall ;  and  Ford  seized  the  opportunity  to  shoot  him.  His  taking 
off  by  the  hand  of  a  traitor  was  just  what  was  needed  to  make  him, 
in  a  sort,  a  popular  hero.  Roland  had  his  Ganelon,  Arthur  his 
Modred,  and  Jesse  James  his  Robert  Ford — 

that  dirty  little  coward  that  shot  Mr.  Howard 
And  laid  poor  Jesse  in  his  grave. 

For  some  account  of  the  range  of  the  song  in  popular  tradition  see 
BSM  401-4.  To  the  references  there  given  should  now  be  added 
North  Carolina  (FSRA  132),  Mrs.  Steely  186-8,  two  versions 
(1933  and  1935),  Virginia  (Davis  FSV  283,  listed),  Tennessee 
(BTFLS  II  28),  Florida  (FSF  99),  and  Michigan  (BSSM  339- 
40).  Most  of  the  texts  reported  are  variations  on  what  might  be 
called  the  vulgate  fo'-m  of  the  song,  but  there  are  a  few  that  do 


558  NORTH     CAROLINA     FOLKLORE 

not  belong  to  that  tradition.^     Including   fragments,  there  are  ten 
texts  in  our  collection. 


'Jesse  James.'  Collected  by  L.  W.  Anderson  from  Alva  Wise,  one  of 
his  pupils  in  the  school  at  Nag's  Head  on  the  Banks.  The  claim  o< 
authorship  in  the  last  stanza  appears  in  various  texts  over  the  country, 
most  often  with  the  name  "Gashade." 

1  Jesse  James  was  a  man  that  killed  many  a  man. 
He  robbed  the  Danville  train. 

But  the  dirty  little  coward  that  shot  Mr.  Howard 
Has  laid  Jesse  James  in  the  grave. 

2  It  was  Robert  Ford,  that  dirty  little  coward ; 
I  wonder  how  he  does  feel. 

For  he  ate  Jesse's  bread  and  slept  in  Jesse's  bed, 
Then  laid  Jesse  James  in  his  grave. 

3  Poor  Jesse  had  a  wife  to  mourn  for  his  life. 
Children  that  were  brave ; 

But  that  dirty  little  coward  that  shot  Mr.  Howard 
Has  laid  Jesse  James  in  his  grave. 

4  It  was  with  his  brother  Frank  they  robbed  the  Gallatin 

bank 
And  they  carried  their  money  from  the  town. 
It  was  at  that  very  place  they  had  a  little  chase, 
For  they  shot  Captain  Sheets  to  the  ground. 

5  They  went  to  the  crossing  not  very  far  from  there 
And  they  did  the  same. 

With  the  agent  on  his  knees  he  delivered  up  his  keys 
To  the  outlaws,  both  Frank  and  Jesse  James. 

6  It  was  on  Wednesday  night,  while  the  moon  was  shining 

bright, 
They  robbed  the  Glendale  train. 
The  people  they  did  say,  for  many  miles  away, 
It  was  robbed  by  Frank  and  Jesse  James. 

7  It  was  on  Saturday  night ;  Jesse  was  at  home 
Talking  to  his  family  brave. 

Robert  Ford  came  along  like  a  thief  in  the  night 
And  he  laid  Jesse  James  in  his  grave. 

8  How  people  held  their  breath  when  they  heard  of  Jesse's 

death 
And  wondered  how  he  ever  came  to  die ! 

^  Here  it  may  be  noted  that  the  Brim  text  in  BSM  is  the  work,  as  he 
has  since  told  me,  of  Professor  John  Robert  Moore,  who  was  at  the  time 
a  student  at  the  University  of  Missouri.     ("Me"  here  means  H.  M.  B.) 


NATIVE     AMERICAN     BALLADS  559 

It  was  one  of  the  gang,  called  little  Robert  Ford ; 
He  shot  Jesse  James  on  the  sly. 

This  song  was  made  by  Billy  Bashade 

As  soon  as  the  news  did  arrive. 

He  said,  'There's  no  man  with  the  law  in  his  hand 

Can  take  Jesse  James  alive.' 


'Jesse  James.'  Published  in  1909  in  JAFL  xxii  246-7  by  Louise  Rand 
Bascom.  She  supposes  that  "some  Missouri  mountaineer,  moving  back 
to  North  Carolina,  has  brought  the  songs  with  him."  It  is  the  vulgate 
version,  but  has  some  interesting  variations  from  the  normal  text  as  we 
have  it  in  A.  The  chorus  is  represented  as  sung  after  each  stanza  except 
the  fourth  and  sixth. 

1  Yes,  I  went  down  to  the  depot  not  many  days  ago ; 
They  followed  on  behind, 

And  I  fell  upon  my  knees,  and  I  offered  up  the  keys 
To  Frank  and  his  brother,  Jesse  James. 

C  horns: 

Poor  Jesse  James,  poor  Jesse  James, 

He  robbed  the  Danville  train ; 

Yes,  the  dirty  little  coward,  he  shot  Mr.  Howard, 

And  they  laid  poor  Jesse  in  his  grave. 

2  Frank  says  to  Jesse,  not  many  days  ago, 
'Let's  rob  that  Danville  train.' 

An'  Jesse  says  to  Frank,  'We'll  take  it  as  we  go, 
For  we  may  not  be  hyar  any  more.' 

3  Jesse  was  a  man,  an'  he  travelled  over  the  land, 
With  his  sword  an'  his  pistol  to  his  side. 

Robert  Ford  watched  his  eye  an'  shot  him  on  the  sly, 
An'  they  laid  poor  Jesse  in  his  grave. 

4  Yes,  Jesse  had  a  wife,  the  darlin'  of  his  life. 
An'  the  children  all  was  brave. 

Robert  Ford  watched  his  eye  an'  shot  him  on  the  sly. 
An'  they  laid  poor  Jesse  in  his  grave. 

5  It  was  on  Friday  night,  the  moon  was  shinin'  bright. 
An'  Jesse  was  standin'  'fore  his  glass, 

Robert  Ford's  pistol  ball  brought  him  tremblin'  from  the 

wall. 
An'  they  laid  \k>ov  Jesse  in  his  grave. 

6  Well,  the  people  of  the  West,  when  they  heard  of  Jesse's 

death, 


56o  NORTH  CAROLINA  FOLKLORE 

They  wondered  how  he  come  to  die. 

Robert  Ford  watched  his  eye  an'  shot  him  on  the  sly, 

An'  they  laid  poor  Jesse  in  his  grave. 


'Jesse  James.'  Obtained  from  Otis  S.  Kuykendall,  of  Asheville,  in  1939. 
A  shortened  form,  in  which  the  traitor  has  become  "little  Robert  Bly"— 
to  rhyme  with  "sly" — and  the  chorus  is  different: 

Oh,  Jesse,  won't  you  meet  me,  oh,  Jesse,  won't  you  meet 

me 
On  Canaan's  happy  shore  ? 

It  was^on  Friday  night  when  the  moon  was  shining  bright 
When  they  laid  Jesse  James  in  his  grave. 


'Jesse  James.'    From  Lucille  Cheek,  Chatham  county.     A  fragment,  con- 
sisting of  the  first  stanza  and  the  chorus  of  B. 


'Jesse  James.'  From  Mrs.  Sutton,  but  she  does  not  say  when  or  from 
whom  she  got  it.  Although  she  says  that  "the  song  continues  through 
an  interminable  recital  of  Jesse's  crimes"  she  gives  only  four  stanzas, 
the  first  and  third  of  which  are  the  first  and  third  of  A,  and  the  fourth 
contains  no  new  matter.  But  the  second  stanza  introduces  a  Robin 
Hood  touch : 

Jesse  was  a  robber,  but  he  robbed  from  the  rich 
And  he  gave  what  he  got  to  the  poor. 
But  the  dirty  little  coward  that  shot  Mr.  Howard, 
He  laid  Jesse  James  in  the  grave. 


'Jesse  James.'  From  Thomas  Smith  of  Zionville;  not  dated,  but  prob- 
ably in  1915.  Four  lines  only,  which  Smith  calls  "part  of  'Jesse  James' 
as  sung  by  our  people.  This  was  a  popular  song  here  twenty  or  more 
years  ago  and  is  still  sung  a  good  deal  as  well  as  played  on  the  fiddle." 

When  the  people  of  the  west  heard  of  poor  Jesse's  death 

They  wondered  how  that  hero  came  to  die. 

Robert  Ford's  pistol  ball  brought  him  tumblin'   from  the 

wall. 
And  they  laid  Jesse  James  in  his  grave. 


'Jesse  James.'  From  the  manuscript  book  of  songs  of  Miss  Lura  Wag- 
oner of  Vox,  Alleghany  county,  lent  to  Dr.  Brown  in  1936.  .Mthough 
it  adds  little  new  matter  to  the  texts  already  given,  it  has  a  progressively 
varied  chorus  the  effect  of  which  can  best  be  seen  if  the  whole  text  is 
given. 


NATIVE     AMERICAN     BALLADS  561 

1  Jesse  James  was  a  man  who  traveled  through  the  land. 
He  robbed  many  a  coach  and  train. 

Robert  Ford  caught  his  eye  and  shot  him  on  the  sly, 
And  they  laid  Jesse  James  in  his  grave. 

Chorus: 

Oh,  Jesse,  dear  old  Jesse! 

How  came  the  poor  man  to  die? 

Robert  Ford  caught  his  eye  and  he  shot  him  on  the  sly. 

And  they  laid  Jesse  James  in  his  grave. 

2  It  was  at  the  depot  station  not  many  days  ago 
He  gave  up  the  keys  of  the  bank. 

He  fell  upon  his  knees  and  delivered  up  the  keys 
Of  the  bank  he  had  robbed  the  day  before. 

Chorus: 

Oh,  Jesse,  dear  old  Jesse, 

He  robbed  the  Danville  train. 

Robert  Ford  caught  his  eye  and  he  shot  him  on  the  sly. 

And  they  laid  Jesse  James  in  his  grave. 

3  He  was  brushing  pictures  on  the  wall  when  shot  with  a 

pistol  ball ; 
He  hardly  turned  his  face  away. 
That  dirty  little  coward  who  shot  Mr.  Howard 
Has  laid  Jesse  James  in  his  grave. 

Chorus: 

Oh,  Jesse,  dear  old  Jesse, 

He  was  often  giving  alarm^  to  the  poor. 

Robert   Ford's   pistol   ball   brought  him   tumbling   from 

the  wall. 
And  they  laid  Jesse  James  in  his  grave. 

4  Jesse  James'  little  wive  was  a  mourner  all  her  life. 
Her  two  children  were  very  brave. 

That  dirty  little  coward  who  shot  Mr.  Howard 
Has  laid  Jesse  James  in  his  grave. 

H 

'Jesse  James.'  As  sung  by  Sam  Summer  at  Bear  Waller  near  Bat  Cave, 
Henderson  county.  Date  not  given.  A  very  confused  version  of  four 
stanzas  and  chorus.  Summer  explained  that  Robert  Ford  and  Charlie 
Howard  are  the  same  person,  and  so  they  are  in  the  first  two  stanzas  and 
the  chorus  but  not  in  stanza  3,  where  "the  thief  and  the  coward  who  shot 
Mr.  Howard"  "laid  poor  Jesse  in  the  grave." 

^  Presumably  "alms"  is  meant. 


562  NORTH     CAROLINA     FOLKLORE 


'Song  Ballet.'  Collected  by  W.  Amos  Abrams  at  Boone  from  Margaiet 
Barlow,  who  got  it  from  friends  in  the  Cove  Creek  section.  This  is  not 
a  form  of  the  vulgate  version  but  an  independent  working  over  of  the 
story — on  the  model,  to  judge  from  the  rhythm,  of  'Casey  Jones.' 

1  Way  down  in  Missouri  lived  a  bold,  bad  man, 
He  was  known  from  Seattle  to  the  Birmingham, 
Over  Boston,  Massachusetts,  and  across  the  state 
From  Denver,  Colorado,  to  the  Golden  Gate. 

2  People  will  forget  a  lot  of  famous  names ; 
Every  nook  and  corner  knew  of  Jesse  James. 

How  we  used  to  read  about  him  in  our  homes  at  night, 
When  the  wind  blew  down  the  chimney  made  us  shake  with 
fright ! 

3  Jesse  said  to  his  boys,  'A  little  more  coin  we  need.' 
He  polished  up  his  rifle,  got  his  trusty  steed, 

And  he  galloped  o'er  the  mountain  to  his  brother  Frank, 

Says,  'We  need  a  little  money  from  the  Pittsfield  bank.' 

Her  two  children  were  very  brave. 

That  dirty  little  coward  who  shot  Mr.  Howard 

Has  laid  Jesse  James  in  his  grave. 

4  Well,  they  got  into  town  about  nine  o'clock. 
The  cashier  of  the  bank  he  got  an  awful  shock ; 

While  Jesse  had  him  covered  with  his  harmless  forty-four, 
Frank  got  half  a  million  dollars  or  more. 

5  Jesse  was  a-standing  in  the  door  all  alone ; 

His  wife  had  left  him  there  for  to  polish  up  the  home. 
He  was  standing  in  the  corner  when  the  door-bell  rang 
And  up  stepped  forty  members  of  the  outlaw  gang. 

6  Jesse's  wife's  photo  was  a-hanging  on  the  wall. 
Jesse  said  to  Robert  Ford,  'Tonight  we'll  make  a  haul ; 
For  at  ten  o'clock  tonight  the  western  mail  will  be  in  town.' 
Then  he  reached  for  the  rifle,  knocked  the  picture  down. 

7  Jesse  said  to  Robert  Ford,  'I'll  hang  it  back  up  there.' 
He  stooped  to  pick  it  up ;  he  got  up  in  a  chair. 

The  old  Ford  leveled  his  pistol  at  poor  Jesse  James'  head. 
And  the  news  flew  o'er  the  country  Jesse  James  was  dead. 

J 

'Jessie  James.'  From  the  John  Burch  Blaylork  Collection.  The  text  is 
the  same  as  A  except  that  the  making  of  the  song  is  ascribed  in  the  last 
stanza  to  "Billy  Gashade"  instead  of  "Billy  Bashade." 


NATIVE     AMERICAN     BALLADS  563 

244 

John  Hardy 

Concerning  this  ballad,  its  hero,  and  its  relation  to  the  ballad  of 
'John  Henry,'  see  Cox's  study  in  JAFL  xxxii  505-20,  his  headnote 
to  it  in  FSS  175-7,  White's  notes  in  ANFS  189-90,  and  the  head- 
note  to  'John  Henry'  in  this  volume.  Hardy  was  executed  for  mur- 
der in  McDowell  county,  West  Virginia,  in  1894.  As  an  epic  figure 
of  the  American  Negro  he  has  become  confused,  or  blended,  with 
another  John  Henry,  also  of  West  Virginia,  a  steel  driver  who  chal- 
lenged the  steam  drill;  several  of  the  texts  in  FSS  show  this  con- 
fusion.   The  only  trace  of  it  in  our  texts  is  in  the  first  stanza  of  A. 


'John  Harty.'  Contributed  by  I.  G.  Greer  of  Boone,  Watauga  county. 
The  manuscript,  in  pencil  on  rough  paper,  bears  the  notation  :  "Written 
for  Miss  Elsie  Hagaman  by  Bonnie  Johnson,  Feb.  11,  IQIS-"  For 
"agurvating"  and  "aguvatin"  in  stanza  5  read  "aggravating" ;  for  "close" 
in  stanza  6  read  "clothes"  and  for  "slept"  probably  "slipt" ;  the  failure 
to  repeat  the  last  line  of  stanza  7  is  no  doubt  merely  an  oversight.  The 
meaning  of  'Kasteel  band"  in  stanza  7  I  do  not  know. 

1  John  Harty  came  walking  down  the  street  one  clay 
With  a  nine-pound  hammer  in  his  hand. 

I  thought  I  heard  that  boss  man  say : 

'Yonder  comes  a  steel-driving  man. 

Lord !  Lord !  yonder  comes  a  steel-driving  man.' 

2  John  Harty  was  a  brave  and  dispert  man ; 
He  carried  two  guns  every  day. 

He  killed  him  a  man  in  the  West  Virginia  land, 
And  you  ought  to  have  seen  Johnny  getting  away, 
Poor  boy,  and  to  have  seen  poor  Johnny  getting  away. 

3  John  Harty  had  seventeen  miles  to  go ; 
Eight  of  them  he  run. 

He  run  until  he  came  to  a  large  river  course, 

And  fell  to  his  breast  and  swum. 

Lord !  Lord !  he  fell  to  his  breast  and  swum. 

4  He  swum  until  he  came  to  his  mother's  arms. 
'My  boy,  what  have  you  done?' 

Tve  killed  me  a  man  in  the  West  Virginia  land, 

And  I  know  that  I  have  to  be  hung. 

Lord !  Lord !  and  I  know  that  I  have  to  be  hung.' 


He  asked  his  mother  for  one  fifty  cents. 

'My  son,  I  have  no  change.' 

'Then  hand  me  down  my  old  forty-four ; 


564  NORTH     CAROLINA     FOLKLORE 

I'll  shoot  out  my  agurvating  brains. 

Lord !  Lord !  I'll  shoot  out  my  aguvating  brains. 

6  'Oh,  hand  me  down  my  old  gray  hat 
And  my  other  hoboing  close, 

And  if  the  police  asks  you  where  I'm  gone 

Just  tell  him  that  I  slept  out  the  doors, 

Lord!  Lord !  just  tell  him  that  I  slept  out  the  door.' 

7  John  Harty,  he  joined  that  Kasteel  band, 
He  thought  it  would  set  him  free. 

But  the  police  took  him  by  the  arm, 
Says,  'Jo^inny*  come  and  go  with  me.' 

8  He  took  poor  Johnny  to  the  courthouse  door, 
No  one  to  go  him  bail. 

'Oh,  my  little  boy,  I'm  sorry  for  you. 

But  I'm  going  to  have  to  lock  you  up  in  jail. 

Lord!  Lord!  I'm  going  to  have  to  lock  you  up  in  jail. 


'John  Hardy.'  Pencil  manscript  on  coarse  tablet  paper,  endorsed  "Ballad 
belongs  to  Mrs.  Norma  Grindstaff,  Spruce  Pines."  Spruce  Pine  is  in 
Mitchell  county. 

1  John  Hardy  was  standing  in  the  gambling  room  door. 
He  was  not  concerned  in  the  game. 

Up  stepped  his  little  woman,  threw  down  fifty  cents, 

Says,  'Count  John  Hardy  in  the  game.' 

Lord,  Lord,  Lord,^  says,  'Count  John  Hardy  in  the  game.' 

2  John  Hardy  picked  up  his  fifty  cents. 
Says,  'Half  of  this  I'll  play. 

The  man  that  wins  my  fifty  cents, 

Shoot  him  down  and  leave  him  lay. 

Lord,  Lord !  shoot  him  down  and  leave  him  lay.' 

3  John  Hardy  lost  his  fifty  cents; 
Was  all  he  had  in  the  game. 

He  drew  a  forty-four  from  his  side, 

Blowed  out  that  poor  negro's  brains, 

Lord,  Lord !  blowed  out  that  poor  negro's  brains. 

4  John  Hardy  had  ten  miles  to  go. 
And  half  of  that  he  run ; 

He  ran  till  he  came  to  the  broad  river  bank. 

^  This  third  writing  of  the  exclamation  is  no  doubt  a  case  of  dittog- 
raphy;  see  the  closing  lines  of  the  other  stanzas. 


NATIVE. AMERICAN     BALLADS  565 

He  fell  to  his  breast  and  swum. 

Lord,  Lord !  he  fell  to  his  breast  and  swum. 

John  Hardy  was  lying  on  the  broad  river  bank, 

As  drunk  as  a  man  could  be. 

Up  stepped  John  Gamel  and  another  police. 

Says,  'John,  come  go  with  me, 

John  Hardy,  come  go  with  me.'- 

They  took  John  Hardy  to  have  his  trial. 

No  one  would  go  his  bail. 

His  father  and  mother  was  standing  liy 

When  they  locked  John  Hardy  up  in  jail, 

Lord,  Lord !  when  they  locked  John  Hardy  up  in  jail. 

John  Hardy  had  but  one  little  girl ; 

He  kept  her  dressed  in  red. 

And  when  she  saw  her  papa  through  the  cold  iron  bars 

Says,  'Mama,  I  had  rather  see  him  dead.' 

Lord,  Lord!  says,  'Mama,  I  had  rather  see  him  dead.' 

'Oh,  when  I  die  don't  bury  me  at  all. 

Put  me  down  in  a  silver  gum. 

Sing  the  songs  my  father  used  to  sing. 

With  a  big  brass  horn  blow  on. 

Blow  on !  with  a  big  brass  horn  blow  on.' 

The  last  time  I  saw  John  Hardy's  face 

He  was  standing  on  a  scaffold  high. 

The  last  word  I  heard  John  Hardy  say 

Was  'I  want  to  go  to  heaven  when  I  die.' 

Lord,  Lord !  was  *I  want  to  go  to  heaven  when  I  die.' 


'John  Hardy.'     Published  by  Louise  Rand  Bascom  in  JAFL  xxii  247  as 
heard  in  Western  North  Carolina — her  texts  are  not  precisely  located. 

1  John  Hardy  was  a  mean  an'  disperated  man, 
He  carried  two  guns  ever'  day, 

He  shot  a  man  in  New  Orlean  Town, 
John  Hardy  never  lied  to  his  gun,  poor  boy. 

2  He's  been  to  the  east  and  he's  been  to  the  west, 
An'  he's  been  this  wide  world  round. 

He's  been  to  the  river  an'  been  baptized. 

An'  he's  been  on  his  hangin'  grounds,  poor  boy. 

*  One  expects  the  initial  exclamation  in  this  line  as  elsewhere  at  the 
end  of  stanzas.     Probably  omitted  by  oversight. 


566  NORTH     CAROLINA     Pp  L  K  L  0  R  E 

3  John  Hardy's  father  was  standin'  by, 
Sayin',  'Joh^ie,  what  have  you  done?' 

He  murdered  a  man  in  the  same  ole  town, 

You  ought  to  see  John  Hardy  gittin'  away,  poor  boy. 

4  John  Hardy's  mother  come  weepin'  around 
Cryin',  'Johnie,  what  have  you  done?' 
'It's  all  for  the  sake  of  her  I  love!' 

An'  they  run  John  Hardy  back  in  jail,  poor  boy. 


245 

Kenny  Wagner's  Surrender 

This  ballad  is  one  of  two  about  a  Mississippi  "bad  man"  of  the 
1920s.  For  both  ballads,  see  Hudson  FSM  243-6.  The  following 
text,  with  corruption  of  'Texarkana'  (where  Wagner  was  arrested), 
is  close  to  'Kenny  Wagner's  Surrender,'  Hudson  FSM  245-6.  In 
FSF  90-1,  Morris  gives  a  Florida  text  of  this  ballad  which  is  close 
to  Blaylock's.     The  ballad  is  listed  by  Davis  FSV  283. 

'Kennie  Wagoner's  Surrender.'  From  the  John  Burch  Blaylock  Collection. 

1  I'm  sure  you've  heard  my  story 
From  the  Kennie  Wagoner  song ; 
How,  down  in  Mississippi, 

I  took  the  road  that's  wrong. 

2  It  was  down  in  Mississippi 
Where  I  murdered  my  first  man ; 
When  the  sheriff  there  at  Leaksville 
For  justice  took  his  stand. 

3  Then  I  went  from  Mississippi 
To  the  state  of  Tennessee  ; 
Two  men  went  down  before  me 
Ere  they  took  my  liberty. 

4  I  wandered  through  the  country. 
But  I  never  could  find  rest ; 

Till  I  went  to  Voxaccona 
Away  out  in  the  West. 

5  Again  I  started  drinking, 
And  again  I  pulled  my  gun ; 
And  within  a  single  moment 
The  deadly  work  was  done. 

6  The  sheriff  was  a  woman, 
But  she  got  the  drop  on  me. 


NATIVE     AMERICAN     BALLADS  567 

I  quit  the  game  and  surrendered ; 
She  took  my  Hberty. 

7  I'm  now  in  Mississippi, 

And  I  soon  shall  know  my  fate ; 
I'm  waiting  for  my  trial, 
But  I  do  not  dread  my  fate. 

8  For  still  the  sun  is  shining. 
And  the  sky  is  blue  and  fair ; 
But  my  heart  is  not  repining, 
For  I  do  not  dread  the  chair. 

9  I've  had  my  worldly  pleasure ; 
I've  faced  many  a  man; 

But  it  was  out  in  Voxaccona 
Where  a  woman  called  my  hand. 

10     Young  men,  young  men,  take  warning, 
Oh,  take  my  last  advice ; 
If  you  start  the  game  in  life  wrong. 
You  must  surely  pay  the  price. 

246 
Claud  Allen 

"When  [at  Hillsville,  Virginia,  in  1912]  Judge  Thornton  L.  Mas- 
sie  sentenced  Floyd  Allen  to  a  year  in  the  penitentiary  ...  the 
sentence  was  received  with  a  volley  of  pistol  shots  from  the  sen- 
tenced man  and  from  twenty  of  his  relatives  and  retainers  in  the 
court  room.  In  less  than  a  minute  200  shots  had  been  fired,  the 
judge,  the  sheriff,  the  prosecuting  attorney  lay  dead,  the  clerk  of 
the  court  and  several  of  the  jurors  were  suffering  from  bullet 
wounds,  and  the  murderers  had  swung  onto  their  horses  and  headed 
into  the  mountains"  (Literary  Digest,  xliv  [March  30,  1912],  627- 
8).  Later,  Floyd  and  Claud  S.  Allen  were  captured,  tried,  and 
executed.  [See  New  York  Times,  March  29,  1913,  for  an  account 
of  the  history  of  the  family,  and  March  31,  1913,  for  a  report  of 
the  execution.  See,  also,  Louise  Jones  Du  Bose,  'The  Fatal  Doom 
of  the  Aliens  of  Carroll  County,  Virginia,'  Virginia  and  the  Vir- 
ginia County,  Official  Publication  of  the  League  of  Virginia  Coun- 
ties, vol.  II,  No.  5  (Sept. -Oct.,  1948),  p.  II;  vol.  11,  No.  6  (Nov.- 
Dec,  1948),  p.  15;  vol.  Ill,  No.  I   (Jan.,  1949),  p.  23]. 

Two  ballads  about  these  occurrences  have  been  reported  from 
tradition.  'Sidney  Allen,'  in  Hudson  FSM  242-3  and  Henry  FSSH 
319-20,  tells  about  the  courthouse  massacre  and  the  capture  and 
execution  of  one  of  the  gang.  It  does  not  appear  in  our  collection, 
but  a  North  Carolina  text  of  it  has  been  published  by  Henry  and 


568  NORTH  CAROLINA  FOLKLORE 

Matteson  in  SFLQ  v  142.  The  other  ballad,  'Claud  Allen,'  is 
present  in  the  Collection,  in  four  variants.  For  comparison,  see 
Henry's  'Claud  Allen,'  FSSH  316-18  (one  text  from  North  Caro- 
lina, two  from  Georgia). 

A 

'Claud  Allen.'  Contributed  by  Clarence  D.  Douglas,  Rusk,  Surry  county, 
June  II,  1917- 

1  Claud  Allen  and  his  dear  old  father 
Have  met  their  fatal  doom  at  last. 
Their  friends  are  glad  their  trouble's  over 
And  hope  their  souls  are  now  at  rest. 

2  Poor  Claud  was  young  and  very  handsome 
And  had  a  hope  until  the  end 

That  he  might  in  some  way  or  other 
Escape  his  death  in  the  Richmond  pen. 

3  But  the  governor  being  so  hard-hearted, 
Not  caring  what  his  friends  would  say, 
Kindly  took  his  sweet  life  from  him, 
And  in  the  cold  grave  his  body  lay. 

4  His  mother's  tears  are  gently  flowing, 
For  the  one  is  gone  she  loved  so  well. 
No  one  can  tell  her  of  her  troubles ; 

It  seems  no  one  can  tell  but  her. 

5  Claud  Allen  had  a  pretty  sweetheart 

Who  mourned  the  loss  of  the  one  she  loved. 
She  hopes  to  meet  him  beyond  the  river 
With  a  fair  young  face  in  heaven  above. 

6  'Tis  sad  indeed  to  think  of  killing 
A  man  just  in  his  youthful  years 
And  leave  his  dear  old  mother  grieving 
And  all  his  friends  in  bitter  tears. 

7  To  all  young  men :  You  must  take  warning ; 
Be  careful  where  you  go  or  stray, 

For  you  might  be  like  poor  Claud  Allen 
And  have  that  awful  debt  to  pay. 

8  Poor  Claud  is  gone,  but  we  can't  forget  him ; 
He's  loved  by  all  the  country  round. 

His  health  is  like  the  rose  in  summer, 
But  now  he  sleeps  beneath  the  ground. 

9  High  upon  yonder  lonely  mountain, 
Poor  Claud  sleeps  beneath  the  clay. 


NATIVE     AMERICAN     BALLADS  569 

No  one  can  hear  his  words  of  mercy 
Nor  see  his  face  till  the  Judgment  Day. 

His  sweetheart  must  have  been  sad-hearted 
When  she  saw  poor  Claud  lying  still  and  cold. 
Down  on  her  knees  she  wept  beside  him, 
And  prayed  to  God  to  save  his  soul. 


'Claude  Allen.'  Contributed  by  C.  B.  Houck,  Todd,  Ashe  county,  May 
7,  1920.  Dr.  Brown  notes :  "Air  also  by  C.  B.  Houck,  16  April,  1920" ; 
but  no  music  is  attached.  Six  and  one-half  stanzas:  Stanzas  B  1-5  cor- 
respond, with  slight  verbal  differences,  to  A  1-5;  B  6  consists  of  two 
lines  corresponding  to  A  8,  11.  3-4;  B  7  corresponds  to  A  6. 


'Claude  Allen.'  From  W.  Amos  Abrams,  Boone,  without  date.  Text, 
with  music.  The  music,  from  an  anonymous  contributor,  is  accom- 
panied by  a  slightly  variant  second  stanza,  the  principal  variation  being 
'Richmond  Pen'  for  'rich  man's  pend.'  Six  and  one-half  stanzas.  C  i 
(lacking  two  lines)  corresponds  to  A  i,  11.  1-2;  C  2  (1.  4  of  text  read- 
ing "And  escape  his  death  at  rich  man's  pend")  corresponds  to  A  2; 
C  3,  4,  5.  6  correspond,  respectively,  to  A  3,  5,  7,  9. 

D 
'Claud  Allen.'     From  the  John  Burch  Blaylock  Collection. 

1  Claud  Allen  and  his  dear  father 
Had  met  their  fatal  doom  at  last. 

Their  friends  were  glad  their  troubles  were  over, 
And  hoped  their  souls  were  now  at  rest. 

2  Claud  Allen  was  young  and  very  handsome, 
But  still  had  hopes  until  the  end, 

That  he  might  in  some  way  or  other 
Escape  his  death  in  the  Richmond  pen. 

3  Claud  Allen  was  honored  with  a  gold  medal 
For  taking  his  dear  father's  part. 

He  told  them  all  when  he  was  gone 
To  give  it  to  his  dear  sweetheart. 

4  His  sweetheart  she  was  young  and  handsome. 
His  mother  she  was  bending  old; 

Down  on  their  knees  they  knelt  before  him, 
And  prayed  that  God  might  spare  his  soul. 

5  Come,  all  you  young  men,  you  must  take  warning. 
Be  careful  how  you  go  astray ; 

Or  you  might  be  like  poor  Claud  Allen 
And  have  that  awful  debt  to  pay. 


570  NORTH     CAROLINA     FOLKLORE 

247 

Frank  Dupree 

In  Our  Singing  Country,  pp.  328-30,  Lomax  gives  one  version  of 
this  song  under  the  title  'Dupree.'  In  that  version  the  protagonist's 
actions  are  clearly  motivated  by  love  for  his  sweetheart,  Betty.  He 
kills  the  jewelry  store  owner,  taxis  to  Memphis  and  then  Chicago ; 
there  he  kills  one  cop  and  wounds  several  more,  is  caught  while 
getting  his  mail,  and  is  taken  to  the  Atlanta  jail.  Odum  and  John- 
son, NWS,  give  two  Negro  versions  of  the  song  and  say :  "One" 
of  the  most  interesting  aspects  of  this  Dupree  song  is  that  it  may 
be  compared  with  the  Atlanta  ballad  of  the  white  Frank  Dupree  as 
popularly  sung  on  the  phonograph  records." 

In  FSF  87-90  Alton  C.  Morris,  giving  two  Florida  texts  of 
this  ballad,  shows  that  it  was  based  on  the  case  of  Frank  Dupree, 
of  Abbeville,  South  Carolina,  who  in  a  jewelry  store  robbery  in 
Atlanta  on  December  15,  1921,  killed  a  policeman,  and  was  executed 
for  murder  on  September  i,  1922.  With  minor  differences,  Morris' 
texts  are  close  to  Blaylock's. 

'Frank  Dupree.'    From  the  John  Burch  Blaylock  Collection. 

I     Come  here,  buddy,  come  here  quick ; 
I'll  tell  you  what  I  done. 
I  followed  the  movies  and  a  sporting  life 
Until  my  race  is  run. 

I     I  went  to  Atlanta  with  a  sweetheart  fair ; 
I  went  in  a  jewelry  store. 
I  took  a  diamond  while  standing  there, 
But  I'll  never  take  any  more. 

3  I  took  the  diamond  and  left  that  shop ; 
I  walked  out  on  the  street. 

I  pulled  my  pistol  and  shot  that  cop, 
And  laid  him  dead  at  my  feet. 

4  I  caught  a  flivver  and  left  that  town 
To  make  my  get-away. 

But  my  sweetheart  didn't  come  around, 
And  I  couldn't  stay  away. 

5  They  had  me  arrested  and  carried  to  trial. 
At  last  the  jury  did  say, 

'Frank  Dupree,  that  innocent  child. 
Has  thrown  his  life  away.' 

6  Come  here,  father,  come  here  quick, 
To  see  the  last  of  your  son. 


NATIVE     AMERICAN     BALLADS  571 

See  what  smoking  wicked  cigarettes 
And  a  sporting  life  has  done. 

7     I  want  all  my  buddies  and  all  my  friends 
To  take  this  warning  from  me. 
Stop  that  roaming  and  live  like  men, 
Don't  live  like  Frank  Dupree. 

248 
Brady 

This  song  seems  to  be  related  to  'Brady,'  in  Gordon's  "Old  Songs 
That  Men  Have  Sung,"  Adventure,  July  30,  1924,  p.  191,  and  to  a 
song  of  the  same  title  in  Perrow,  JAFL  xxv  151.  Metrically  and 
phrasally,  it  resembles  'Duncan  and  Brady'  in  Lomax  OSC  (with 
references)  333-4.  The  Lomax  tune  is  from  Parchman,  Mississippi, 
where  it  was  sung  by  a  Negro  convict,  and  the  text  is  a  "composite." 
The  Lomaxes  opine,  "The  song  comes,  probably,  from  the  Missis- 
sippi Valley." 

Some  light  on  its  history  was  afforded  by  the  testimony  of  Pro- 
fessor Ronald  J.  Slay,  of  Wagner  College,  Staten  Island,  New 
York,  in  a  conversation  with  A.  P.  Hudson  at  Durham  in  June, 
1948.  A  native  of  Purvis,  Lamar  county,  Mississippi,  and,  as  a 
freshman  at  the  University  of  Mississippi  in  1908-9,  an  informant 
of  E.  C.  Perrow  {Songs  and  Rimes  from  the  South),  Professor 
Slay  taught  for  about  twenty-five  years  at  East  Carolina  Teachers 
College,  Greenville,  North  Carolina,  until  September,  1947,  when 
he  went  to  Wagner  College.  His  account  of  the  'Brady'  which  he 
contributed  to  Perrow's  JAFL  xxv  151  version  is  substantially  as 
follows. 

The  incident  on  which  the  ballad  was  based  occurred  about  1900 
in  Lamar  county,  near  Purvis  and  Sumrall,  Mississippi  (old  Marion 
county).  Alfred  Bounds  was  a  deputy  sheriff.  Brady  was  a  would- 
be  Copeland  but  a  small-time  holdup  man.  Bounds  was  deputized  to 
get  Brady  for  one  of  his  crimes — $500  dead,  $1000  alive.  The  two 
met  on  a  railroad  track,  suddenly.  Bounds  beat  Brady  to  the  draw, 
cracked  each  arm  in  turn,  then,  when  Brady  ran,  shot  iiim  in  die 
back. 

In  the  June  1948  communication  to  A.  P.  Hudson,  Professor  Slaj 
sang  two  stanzas  and  the  chorus  of  the  song  which  he  had  given 
Perrow  in  1908,  reversing,  however,  the  order  of  the  stanzas.  One 
of  his  1908  stanzas  is  in  the  same  meter  as  Lomax's  'Duncan  and 
Brady,'  and  has  lines  in  common  with  the  Lomax  text. 

'Brady.'    "As  sung  by  Miss  Cooper  Martin,  Brier  Creek,  Wilkes  county." 
— Note  by  Dr.  Brown. 

I      Brady  went  down  to  the  grocery  store, 

Looked  on  the  counter  and  looked  on  the  floor, 
Looked  in  the  sugar  bowl,  looked  in  the  pan, 
Saying,  'Where  in  the  world  is  the  grocery  man  ?' 


572  NORTH     CAROLINA     FOLKLORE 

Chorus : 

Singing  Brady,  singing  Brady,  oh  Brady ! 
Good  Lord,  Lord,  why  didn't  you  run? 

2     Brady  went  down  to  the  Hcensed  saloon. 
He  thought  he'd  arrest  him  a  rowdy  coon. 
He  got  there — and  found  himself  under  arrest — 
They  shot  poor  Brady  in  the  breast. 

249 

Charles  Guiteau 

President  James  A.  Garfield  was  shot  in  the  Baltimore  and 
Potomac  railway  station  at  Washington  on  July  2,  1881,  by  Charles 
Guiteau,  a  disappointed  office-seeker,  and  died  on  September  19. 
Guiteau  was  indicted  for  murder,  and  after  a  sensational  trial,  in 
which  he  pleaded  insanity,  he  was  found  guilty;  he  was  hanged  on 
June  30,  1882.  A  ballad  purporting  to  be  Guiteau's  good-night, 
probably  a  broadside  (though  no  printed  original  seems  to  have 
been  found  and  published),  has  had  wide  diffusion. 

This  was  based  on  an  earlier  murder  ballad,  printed  by  J.  An- 
drews, a  penny  song  publisher  of  New  York,  ''Lament  of  James 
Rodger s,  Who  Was  Executed  November  12th,  1858,  for  the  Murder 
of  Mr.  Swanston.  By  J.  A.  D.  Air — Home  Sweet  Home"— -four 
stanzas.  The  Latnentation  of  Jam^s  Rodgers,  a  broadside  published 
by  H.  J.  De  Marsan,  Andrews'  successor,  expands  The  Lament  into 
thirteen  stanzas.  The  first  two  of  these  were  taken  over  by  the 
unknown  composer  of  'Charles  Guiteau,'  as  the  following  copy  will 
show: 

1  Come  all  you  tender  Christians,  I  hope  you  will  draw  near. 
And  likewise  pay  attention  to  these  few  lines  I  have  here ; 
For  the  murder  of  Mr.  Swanton  I  am  condemned  to  die. 
On  the  twelfth  of  November  upon  the  gallows  high. 

2  My  name  is  James  Rodgers — the  same  I  never  denied, 
Which  leaves  my  aged  parents  in  sorrow  for  to  cry, 
It's  little  ever  they  thought,  all  in  my  youth  and  bloom, 
I  came  into  New  York  for  to  meet  my  fatal  doom. 

The  rest  is  composed  of  autobiography,  a  detailed  confession  of 
the  crime,  farewell,  and  warning. 

Belden,  in  BSM  412-13,  cites  texts  taken  from  the  singing  of 
'Charles  Guiteau'  in  West  Virginia,  North  CaroHna,  Mississippi, 
Illinois,  Iowa,  and  South  Dakota,  and  remarks  that  "it  is  probably 
much  more  widely  known  than  the  record  .  .  .  would  indicate."  Cf. 
Chappell  FSRA  188  (a  North  Carolina  text  with  music),  and  Mrs. 
Steely  185-6  (1935).    Listed  by  Davis  FSV  262. 

A 
'The    Murder   of   James   A.    Garfield.'     From   L.    W.    Anderson,    Nag's 
Head,  "as  taken  from  Katherine  Haskett"  ;  undated. 


NATIVE     AMERICAN     BALLADS  573 

Come  all  ye  tender-hearted  people 

And  listen  to  what  I  say, 

And  likewise  pay  attention 

To  these  few  words  from  me. 

I^^or  the  murder  of  James  A.  Garfield 

I  am  condemned  to  die, 

And  on  the  thirtieth  day  of  June 

I  meet  my  fatal  doom. 

Chorus: 

My  name  is  Charles  Guiteau, 
My  name  I  can't  deny. 
And  I  leave  my  aged  parents 
In  sorrow  for  to  die. 
How  little  did  they  think 
While  in  my  youthful  hloom 
I'd  be  taken  to  the  scaffold 
To  meet  my  fatal  doom. 

It  was  down  at  the  depot 
I  tried  to  make  my  escape, 
But  providence  being  against  me, 
I  found  it  was  too  late. 
I  was  taken  to  the  prison 
All  in  my  youthful  bloom, 
And  today  I  take  the  scaffold 
To  meet  my  fatal  doom. 

I  tried  to  play  off  insane, 
But  I  found  that  would  not  do ; 
The  people  all  being  against  me, 
They  proved  my  sentence  true. 
Judge  Cox,  he  read  my  sentence; 
The  clerk,  he  wrote  it  down ; 
And  on  the  thirtieth  day  of  June 
I  meet  my  fatal  doom. 

My  sister  came  to  the  prison 

To  bid  her  last  farewell. 

She  threw  her  arms  around  me 

And  wept  most  bitterly,  saying, 

'My  dearest  darling  brother. 

You  are  condemned  to  die. 

For  the  murder  of  James  A.  Garfield, 

Upon  the  scaffold  high.' 


'The  Murder  of  James  A.  Garfield.'    From  Miss  Bonnie  Ethel  Dickson 
of  Helton,  Ashe  county;  MS  without  date  and  address.     (Miss  Dickson 


574  NORTH     CAROLINA     FOLKLORE 

received  an  A.B.  degree  from  Duke  University  in  1931  and  an  M.A.  in 
1938.)     Practically  identical  with  A. 

C 
'Charles  Guiteau.'     From  the  MSS  of  G.  S.  Robinson,  Asheville,  August 
4,  1939- 

1  Come  all  you  Christian  people, 
Wherever  you  may  be, 

And  likev^ise  pay  attention 

To  these  few  lines  from  me. 

In  the  thirteenth  day  of  June 

I  am  condemned  to  die 

For  the  murder  of  James  A.  Garfield 

Upon  the  scaffold  high. 

Chorus: 

My  name  is  Charles  Guiteau, 
My  name  I'll  never  deny. 
To  leave  my  aged  parents 
In  sorrow^  I  must  die. 
But  little  did  I  think  of 
All  in  my  youthful  bloom 
I'd  be  carried  to  the  scafifold 
To  meet  my  fatal  doom. 

2  My  sister  came  to  see  me. 
To  bid  me  a  farewell ; 

She  threw  her  arms  around  my  neck 
And  bitterly  did  she  dwell. 
She  said,  'My  darling  brother. 
This  day  you  must  surely  die 
For  the  murder  of  James  A  Garfield 
Upon  the  scafifold  high.' 

3  They  carried  me  to  the  depot. 
I  thought  I'd  make  escape, 

But  Providence  was  against  me ; 

I  found  I  was  too  late. 

They  took  me  to  the  prison 

All  in  my  youthful  bloom. 

And  they  carried  me  to  the  scafifold 

To  meet  my  fatal  doom. 

4  And  now  I'm  on  the  scafifold 
To  bid  you  all  adieu. 

The  hanging  man  is  waiting; 

'Tis  a  quarter  after  two. 

Now  the  black  cap's  on  my  forehead, 


NATIVE     AMERICAN     BALLADS  575 

And  I  never  more  shall  see ; 
And  when  I'm  dead  and  buried 
You  can  all  remember  me. 

D 

'Charles  Guiteau.'  From  Mrs.  Minnie  Church,  whose  early  address  was 
Heaton,  Avery  county,  1930.  Stanza  i  and  chorus  are,  with  some  verbal 
differences,  like  A  and  C.  The  copying  of  the  second  stanza  indicates 
that  it  is  interrupted  after  the  first  four  lines  by  a  new  chorus,  but  in 
comparison  with  stanzas  i  and  3  this  ordering  seems  to  be  a  slip. 

2  I  went  to  see  Mr.  Garfield ; 
He  took  me  to  be  his  friend. 
The  bullet  I  shot  through  him 
Proved  his  fatal  end. 

Chorus: 

Oh  the  murder  of 

[The  rest,  if  any,  is  wanting.] 

I  went  down  to  the  depot 

To  make  my  escape. 

The  train  had  gone  and  left  me ; 

I  found  I  was  too  late. 

3  I  was  standing  around  the  depot, 
All  in  my  usual  form. 

The  policeman  stepped  up  to  me 

And  took  me  by  the  arm. 

Oh,  he  led  me  to  the  prison ; 

The  doors  flew  open  wide. 

'For  the  murder  of  James  A.  Garfield 

By  the  law  you  must  abide.' 

E 
'Charles  Gettau.'  From  O.  L.  Coffey,  Shull's  Mills,  Watauga  county, 
August  1936.  Stanza  i  is  closest  to  C  i  ("thirtieth"  for  "thirteenth"). 
Stanzas  2  and  4  with  slight  verbal  variations  are  the  same  as  A  2  and  4 
("Judge  Caudell"  for  "Judge  Cox").  Stanza  3  corresponds  to  D  3 
(with  "All  dressed  in  my  uniform"  for  "All  in  my  usual  form"). 

F 

No  title.  Obtained  by  Jesse  T.  Carpenter  from  the  MS  book  of  Mary 
Martin  Copley,  Route  8,  Durham — "written  down  30  years  ago" ;  date 
of  procurement  not  given.  A  fragment.  Begins  with  lines  corresponding 
to  the  first  half  of  A  3,  indicating  chorus  but  not  copying  it.  Stanza  2, 
beginning  with  a  statement  that  "The  jury  met  in  the  back  room,  and 
quickly  did  agree."  continues  as  in  the  second  half  of  A  3  (omitting 
name  of  judge  and  reading  "thirtieth  of  August").  Stanza  3  relates  the 
visit  of  the  sister  as  in  A  4.  Stanza  4  corresponds  to  C  4,  with  a  few 
verbal  differences  ("A  black  cap  now  are  over  me"). 


5/6  NORTH     CAROLINA     FOLKLORE 

G 

'Charles  Guiteau.'  With  music.  From  Mrs.  Sutton,  Lenoir;  without 
date ;  with  this  note :  "An  old  man  who  was  interested  in  our  story 
telling  the  other  evening  said  he  knew  a  very  fine  'ballet'  he  would  sing 
for  me  when  I  came  to  Upper  Hinson's  Creek.  So  I  went  there  for 
dinner  today.  When  he  got  his  banjo  down,  he  fixed  his  very  blood-shot 
eyes  on  my  face  and  said  in  the  most  lugubrious  voice,  'Charles  Guiteau 
killed  James  A.  Garfield.'  I  tried  to  look  as  if  it  was  news  to  me,  and 
he  went  on,  'He  wrote  this  here  song  and  sung  it  before  he  died.' 

"That  is  what  they  all  do.  I  have  heard  forty  confessions  in  my  ballad 
hunting. 

"(This  song  is  crude  as  it  can  be  but  it  is  an  excellent  illustration 
of  a  characteristic  I've  found  very  noticeable — the  desire  to  'balladize' 
about  every  dramatic  event.  Myra  said  she  got  the  'song-ballet'  from 
'Neece  Keller  and  she  could  go  no  further  into  details.  I'm  going  to 
try  to  get  the  dialect.)" 

1  My  name  hit's  Charles  Guiteau, 
A  name  I'll  never  deny; 

I  leave  my  aged  parents 
In  sorrow  now  to  die. 

2  Fur  the  murder  of  James  A.  Garfield 
I  am  condemned  to  die, 

On  the  thirteenth  day  in  June 
Upon  the  scaffold  high. 

3  And  on  that  fatal  morning, 
All  in  my  youthful  bloom, 
I'll  be  taken  to  the  scaffold 
To  meet  my  awful  doom. 

H 
'Charles  Guitar.'  From  R.  T.  Hubbard,  a  student  in  Trinity  College, 
November  28,  1920,  with  this  note :  "This  poem  was  sung  by  Charles 
Guitar  after  he  had  been  placed  upon  the  scaffold  to  be  hung.  Charles 
Guitar  came  from  a  Christian  home  but  had  joined  the  Anarchist  and 
had  murdered  the  President  of  the  U.  S.,  James  A.  Garfield,  and  for  this 
crime  he  was  hung.  The  first  and  last  stanzas  are  all  that  I  remember 
of  the  ballad." 

1  My  name  is  Charles  Guitar, 
My  name  I'll  never  deny, 
Although  I'm  on  the  scaffold 
Doomed  here  to  die. 

2  The  Black-Cap  o'er  my  eyes, 
No  longer  can  I  see ; 

But  when  I'm  dead  and  buried. 
Good  Lord,  remember  me. 


'James  A.   Garfield.'     From   Kate   S.   Russell,   Roxboro,   Person  county, 
c.  1925.     "Can't  remember  the  other  words. — KSR." 


NATIVE     AMERICAN     BALLADS  577 

1  My  name  is  Charles  Guitar, 
My  name  I'll  never  deny, 

For  the  murder  of  James  A.  Garfield 
Upon  the  scaffold  high. 

2  My  sister  came  to  the  prison 
To  bid  her  last  farewell 

And  threw  her  arms  around  me 
And  at  my  feet  she  knell, 

3  Saying,  'Brother  dear, 
You  are  condemn  to  die 

For  the  murder  of  James  A.  Garfield 
Upon  the  scaffold  high.' 

J 

No  title.  From  Mrs.  Harold  Glasscock,  Raleigh,  1943,  in  "a  manuscript 
notebook  loaned  N.  I.  White  December  1943.  Most  or  all  of  her  songs 
Mrs.  Glasscock  learned  from  her  parents,  and  she  can  sing  all  but  one 
of  those  copied  from  her  notebook"   (N.  I.  W.,  Nov.  15,  1944). 

Charles  Guitaw,  my  name  I'll  never  deny. 

For  the  killing  of  James  A  Garfield 

I  am  condemned  to  die. 

Oh,  little  they  think  while  in  my  youth  bloom 

I'd  be  taken  to  the  gallows  to  meet  my  fatal  doom. 


No  title.  From  Valeria  Johnson  Howard,  Roseboro,  Sampson  county ; 
undated.  The  same  as  the  first  stanza  of  I,  except  "Guiteau"  for 
"Guitar"  and  "not"  for  "never." 


'The   Murder  of  James   A.   Garfield.'     From  the  John    Burch   Blaylock 
Collection. 

1  Come  all  ye  christians 
Wherever  ye  may  be ; 
And  likewise  pay  attention. 
To  these  few  lines  from  me. 

2  The  thirteenth  day  of  June 
I  was  come  to  die. 

For  the  murder  of  James  A.  Garfield, 
Upon  the  scaffold  high. 

3  My  name  is  Charles  Gintary, 
My  name  I'll  never  deny; 

I  leave  my  aged  parents. 
In  sorrow  to  die. 


578  NORTH     CAROLINA     FOLKLORE 

4  And  little  did  I  think, 
When  in  my  youthful  bloom, 
I'd  be  taken  to  the  scaffold 
To  meet  my  fatal  doom. 

5  While  down  at  the  depot 

I  made  an  attempt  to  esca^^e  ; 
But  Providence  being  against  me, 
I  proved  to  be  too  late. 

6  I  tried  to  plead  in  tears 
But  found  it  would  not  do ; 
The  people  all  against  me. 
It  proved  to  be  no  use. 

7  My  sister  came  to  prison 
To  bid  her  last  farewell ; 

She  threw  her  arms  around  me 
And  wept  most  bitterly. 

8  She  said,  'My  dearest  brother, 
Tomorrow  you  must  die, 

For  the  murder  of  James  A.  Garfield, 
Upon  the  scaffold  high.' 

9  And  now  I  am  on  the  scaffold, 
To  bid  you  all  farewell ; 

The  hangman  is  awaiting 
Until  a  quarter  past  two. 

10     The  black  cap  is  on  my  face, 
I  can  no  longer  see ; 
But  when  I'm  dead  and  buried, 
Dear  friends,  remember  me. 


250 
Florella  (The  Jealous  Lover) 

The  sentimental  cruelty  and  the  brooding  melancholy  of  'Florella' 
('The  Jealous  Lover')  are  perhaps  the  qualities  which  have  made  it 
one  of  the  most  popular  ballads  in  America.  Belden,  in  BSM 
324-5,  has  described  its  traits  as  follows: 

Similar  in  theme  to  The  Oxford  Girl  and  Oma  Wise,  this  is  none  the 
less  a  distinct  piece.  In  those,  the  man  kills  the  girl  to  get  rid  of  her ; 
in  this,  the  motive  (avowed  in  most  texts,  and  perhaps  to  be  inferred 
in  the  others)  is  jealousy.  The  girl  is  stabbed,  not  drowned.  Persistent 
features  of  Florella  are  the  rhymes  bloom  and  tomb,  dew  and  flezv  (or 
drew),  heart  and  part,  her  asking  to  be  taken  home,  his  plunging  the 
fatal  knife  into  her  snow-white  bosom,  and  her  forgiving  him  as  she  dies. 
Common,  too,  is  the  openini?  'down  by  the  weeping  willows.'     The  names 


NATIVE     AMERICAN     BALLADS  579 

vary  widely :  Ellen,  Ella,  Florella,  Florilla,  Floretta,  Flora  Ella,  Flo  Ella, 
Lorella,  Lorilla,  Louella,  Lena,  Emma,  Emily,  Alice,  and  (in  Missouri) 
Nellie,  Lillie,  Willie,  Nina,  Lemo,  Abbie,  Abbie  Summers;  Edward, 
Edwin,  Edmund,  William,  Willie,  Henry,  and  (in  Missouri)  Elmer.  See 
Kittredge  JAFL  xxx  344  and  Barry  AS  in  441-7.  Just  what  relation 
our  song  bears  to  T.  H.  Bayly's  "She  never  blamed  him,"  which  was 
sufficiently  in  vogue  in  Civil  War  times  to  be  copied  into  a  manuscript 
ballad-book  in  Arkansas,  is  not  clear.  In  Bayly's  song  the  girl  is  not 
murdered,  apparently,  but  pines  away ;  but  the  cruder  imagination  of 
ballad  singers  may  not  so  have  understood  it.  At  any  rate,  one  of 
Bayly's  stanzas. 

She  sighed  when  he  caressed  her 
For  she  knew  that  they  must  part ; 
She  spoke  not  when  he  pressed  her 
To  his  young  and  panting  heart, 

appears,  variously  modified,  in  most  of  the  Missouri  texts,  and  another, 

The  banners  waved  around  her 
And  she  heard  the  bugle  sound. 
They  passed  and  strangers  found  her 
Cold  and  lifeless  on  the  ground, 

appears  (sometimes  with  "bound"  for  "found")  in  Pennsylvania  (NPM 
58),  West  Virginia  (FSS  199,  200,  FSMEU  203-4),  Nebraska  (ABS 
loi),  in  Mrs.  Richardson's  collection  (AMS  31),  and  in  Missouri  D. 

In  our  texts,  of  which  there  are  twenty-three,  the  most  common 
opening  is  "Down  (Way  down)  in  the  low  (lone,  lonesome,  low 
green,  love)  valley."  The  names  of  the  victim  are  Florella,  Florilla. 
Floella,  Ella,  Ellen,  Annie,  Anna,  Emily,  Lula,  Lorena,  and  Pearl 
Bryant ;  of  the  murderer,  Edward,  Edgar,  Willie,  and  Jackson  Wal- 
ton. The  names  Pearl  Bryant  and  Jackson  Walton  belong  to  a 
single  text  (U),  for  reasons  that  are  explained  in  the  headnote 
to  that  text.  The  first  of  the  two  quoted  stanzas  from  Bayly's  song 
appears,  "variously  modified,"  in  the  B,  E,  K,  and  M  North  Caro- 
lina texts:  the  second,  in  A,  E,  H,  N  and  R  (badly  garbled),  and  U. 

"Florella,"  continues  Belden,  "seems  to  be  known  only  on  this 
side  of  the  Atlantic,  and  only  by  word  of  mouth — at  least  I  have 
found  no  ballad  or  songbook  print  of  it."  He  cites  reports  from 
traditional  knowledge  of  it  in  Newfoundland,  Nova  Scotia,  Ontario, 
New  Hampshire,  Vermont,  Massachusetts,  Pennsylvania,  West  Vir- 
ginia, Kentucky,  Tennessee,  North  Carolina,  Georgia,  Mississippi, 
Arkansas,  Missouri,  Illinois,  Michigan,  Iowa,  Nebraska,  and  Wyo- 
ming. To  Belden's  citations  add:  Eddy,  BSO  236-41  (Ohio); 
Brewster,  BSI  248-52  (Indiana):  Gardner  and  Chickering,  BSSM 
83-5  (Michigan),  Randolph,  OFS  11  44;  Davis,  FSV  267-9 
(listed)  ;  and  Morris,  FSF  76-80  (Florida). 

A 
'The  Jealous  Lover.'  With  music.  From  the  Rev.  L.  D.  Hayman,  a 
former  student  of  Trinity  College  (A.B.,  1913),  with  the  note:  "Gath- 
ered from  the  Currituck  and  Dare  county  sections.  Sung  many  years 
ago  .  .  .  has  a  tune  familiar  to  the  present  day."  The  text  is  in  a  type- 
script of  songs  assembled  by  Dr.  Brown  in  1916-18  for  printing. 


580  NORTH     CAROLINA     FOLK  I.  OR  F. 

1  Down  in  the  low  green  valley. 
Where  violets  bloom  and  fade, 
'Tis  there  sweet  Florella 
Lies  moldering  in  the  grave. 

2  She  died  not  broken-hearted. 
Nor  of  disease  she  fled. 

But  in  a  moment  parted 
With  those  she  loved  so  well. 

3  One  night  the  moon  was  shining. 
The  stars  were  shining  too, 
When  softly  to  her  cottage 

Her  jealous  lover  drew. 

4  He  said,  'Come,  Love,  let's  wander 
Out  in  the  wood  so  cool ; 

While  wandering  we  will  i)ondcr 
Upon  our  wedding-day.' 

5  The  way  grew  dark  and  dreary. 
'I  cannot  stay,'  she  said. 

'For  rambling  I  am  weary ; 
I  must  retrace  my  way.' 

6  'Retrace  your  way  ?    No  !  never ; 
No  more  in  this  world  to  roam ; 
So  bid  farewell  to  loved  ones. 
To  parents,  friends,  and  home.' 

7  'Farewell ;  the  loving  parents 
No  more  on  earth  I'll  see, 
For  long  will  be  my  coming 
Back  to  the  cottage  door.' 

8  Then  on  her  knees  before  hnn. 
She  pleaded  for  her  life ; 

But  deep  into  her  bosom 
He  plunged  the  fatal  knife. 

9  'Dear  WiUie,  I'll  forgive  you,' 
Was  the  last  in  her  dying  groan ; 
'I  never  have  deceived  you,' 
Then  closed  her  eyes  in  death, 

10     The  banner  floated  o'er  her 
That  filled  the  bugle-song. 
And  strangers  came  and  found  her, 
Cold,  lifeless  on  the  ground. 


NATIVE     AMERICAN     BALLADS  581 


'Jealous  Lover.'  Without  name  or  address  of  the  contributor,  but  among 
the  typescripts  of  the  songs  assembled  by  Dr.  Brown  in  1916-18  for 
publication. 

1  Way  down  in  the  lone  lone  valley, 
Where  the  violets  early  bloom, 
There  lies  a  gentle  Anna 

In  a  cold  and  silent  tomb. 

2  She  died  not  broken-hearted, 
Neither  in  sickness  she  fell, 
But  in  one  moment  parted 
From  the  one  she  loved  so  well. 

3  One  night  when  the  moon  shone  brightly 
And  early  fell  the  dew 

Up  to  the  little  cottage 
Her  jealous  lover  drew. 

4  'Come,  Anna,  let's  go  roaming 
O'er  the  meadows  wide  and  gay ; 
Come,  love,  and  let  us  ponder 
O'er  our  happy  wedding  day.' 

5  'Oh,  Edward,  I'm  so  tired 
And  I  do  not  care  to  roam, 
For  roaming  is  so  dreary. 
Dearest  Edward,  stay  at  home.' 

6  Up  stepped  her  jealous  lover ; 
One  solemn  vow  he  made : 
'No  mortal  man  can  save  you; 
In  one  moment  you'll  be  slain.' 

7  Down  on  her  knees  before  him. 
She  begged  him  for  her  life. 
But  in  her  snow-white  bosom 
He  plunged  the  fatal  knife. 

8  'Oh,  Edward,  I'll  forgive  you, 
Tho  it  be  my  very  last  breath  ; 
I  never  loved  no  other.' 

Then  she  closed  her  eyes  in  death. 

9  He  sighed  not  as  he  pressed  her 
To  his  young  and  jealous  heart ; 
He  sighed  not  as  he  kissed  her, 
Tho  he  knew  they  soon  must  part. 


582  NORTH     CAROLINA     FOLKLORE 

C 

'The  Jealous  Lover.'  From  an  unidentified  newspaper  clipping  marked 
"I.G.G.  (Greer)"  in  Dr.  Brown's  hand.  With  music  by  I.  G.  Greer. 
Stanzas  i,  2,  and  9  are  the  same,  with  slight  verbal  variations,  as  in 
B.    The  rest  follow  : 

3  One  evening  as  the  moon  shone  brightly 
And  soft,  o'er  hill  and  dale, 

Unto  this  maiden's  cottage 
Her  jealous  lover  came. 

4  'Flotilla,  let  us  wander 
Down  by  yon  meadows  gay  ; 
There  will  we  sit  and  ponder 
Upon  our  wedding-day.' 

5  The  way  was  cold  and  dreary. 
And  the  night  was  coming  on ; 
Into  this  lonely  valley 

He  led  this  maiden  on. 

6  'Oh,  Edward,  I  am  tired 
Of  wandering  here  along ; 
The  night  is  cold  and  dreary ; 
I  pray  you  take  me  home.' 

7  'You  have  not  the  wings  of  an  eagle. 
Nor  from  me  can  you  fly ; 

No  earthly  soul  can  hear  you ; 
You  instantly  must  die.' 

8  Down  on  her  knees  she  bended 
And  begged  him  for  her  life, 
But  into  that  snowy  bosom 
He  plunged  a  gleaming  knife. 

10  'Here's  adieu  to  my  fond  parents. 
And  to  my  friends  adieu ; 

And  you,  my  dearest  Edward, 
May  all  your  words  prove  true.' 

11  Down  on  his  knees  he  bended, 
Saying,  'Oh,  what  have  I  done? 
I've  murdered  my  Florilla, 
True  as  the  rising  sun.' 

12  Now  in  that  lonely  valley. 

Where  the  willows  weep  o'er  her  grave, 

Florilla  lies  forgotten 

Where  the  merry  sunbeams  play. 


NATIVE     AMERICAN     BALLADS  583 


'Florilla.'  From  Miss  Jane  Christenbury,  who  graduated  from  Trinity 
College  in  1923;  with  words  and  music.  Repeats  with  minor  verbal 
variations  the  first  four  stanzas  of  B,  then  stanzas  5-1 1  of  C. 


'The  Jealous  Lover.'  From  L.  W.  Anderson,  Nag's  Head,  as  collected 
from  Maxine  Tillett,  Nag's  Head,  undated.  Stanzas  3,  4,  5,  6,  8,  and  9 
of  B  (with  verbal  variations),  ending: 

7  The  willows  waved  above  her 
And  caused  a  mournful  sound. 
A  stranger  came  and  found  her 
Cold,  lifeless  on  the  ground. 

8  He  took  her  to  her  parents, 
As  you  will  always  see. 
And  now  Lorena  is  sleeping 
Beneath  the  willow  tree. 


'Blue-Eyed  Ella.'  From  Miss  Bonnie  Ethel  Dickson,  of  Helton,  Ashe 
county;  MS  undated.  (Miss  Dickson  took  degrees  from  Duke  Univer- 
sity in  1931  and  1938.)  With  minor  verbal  variations,  same  as  B,  but 
lacks  the  last  stanza  of  that  version  and  contains  two  additional  stanzas : 

5     Then  deep  into  the  forest 
He  led  his  lover  dear, 
Saying,  Tt's  for  you  only 
That  I  am  wandering  here.' 

9     'Now,  Ella,  you  must  forgive  me, 
Your  parents  forgive  me,  too. 
There's  nothing  for  my  country 
That's  left  for  me  to  do.' 

G 

'The  Jealous  Lover.'  From  Miss  Dickson,  as  above ;  undated.  Close  to 
C,  with  verbal  variations  from  that  text  and  from  those  stanzas  which 
it  shares  with  F. 

H 

'Blue-Eyed  Ella.'  From  Miss  Lura  Wagoner,  Vox,  Alleghany  county, 
in  a  manuscript  book  of  songs  loaned  to  Dr.  Brown  in  1936.  Several 
of  the  songs  are  dated,  some  1911,  some  1913.  (Many  were  copied  by 
Dr.  Brown  without  name,  date,  or  place.)  This  is  the  longest  text  of 
the  song  in  our  collection,  having  stanzas  corresponding  to  all  those  in 
the  preceding  versions  except  B  9,  C  11  and  12,  and  E  12,  plus  an  addi- 
tional stanza  (13)  relating  the  punishment  of  the  murderer. 

I     Down  in  some  lonesome  valley, 
Where  the  violets  bloom  and  fade. 
There  is  where  our  blue-eyed  Ella 
Lies  mouldering  in  the  grave. 


584  NORTH     CAROLINA     FOLKLORE 

2  She  died  not  broken-hearted, 
Nor  sickness  caused  her  death, 
But  it  was  a  jealous  lover 

With  a  dagger  pierced  her  breast. 

3  One  night  the  moon  was  shining. 
And  the  stars  were  shining  too, 
When  quick  into  the  cottage 
Her  jealous  lover  drew. 

4  'Come,  Ella,  let's  go  rambling 
Into  the  meadows  gay 

And  together  we  will  ponder 
And  appoint  our  wedding  day.' 

5  Into  the  lonely  forest 
He  led  his  lover  dear. 

And  she  says,  'It  is  for  you  only 
That  I  am  wondering  here.' 

6  Their  way  grew  dark  and  dreary. 
Tm  afraid,'  she  said,  'to  say, 
And  of  wondering  I  am  weary; 

I  would  retrace  my  way.' 

7  'Retrace  your  way!     No,  never, 
While  in  this  wide  world  you  roam ; 
So  bid  farewell  to  parents 

And  to  my  friends,  and  home.' 

8  'Farewell,  dear  loving  parents; 
I  may  never  see  you  any  more. 
And  long  may  be  my  coming 
To  the  little  cottage  door.' 

9  Then  on  her  knees  before  him 
She  pleaded  for  her  life ; 

But  deep  into  her  bosom 
He  plunged  the  dagger  knife. 

10  'Now,  Ella,  you  must  forgive  me, 
Your  parents  forgive  me  too. 
And  I'll  flee  to  a  foreign  country, 
And  never  hear  of  you.' 

11  'Yes,  Edgar,  I'll  forgive  you,' 
Was  her  last  and  dying  breath ; 
'I  never  have  deceived  you,' 
And  she  closed  her  eyes  in  death. 


NATIVE     AMERICAN     BALLADS  585 

12  A  banner  waved  above  her, 
Which  caused  a  bugle  sound, 

And  friends  and  strangers  found  her, 
Cold,  lifeless  on  the  ground. 

13  Then  Edgar  was  convicted 
And  to  the  gallows  hung. 

For  the  murder  of  Blue- Eyed  Ella 
And  the  crime  that  he  had  done. 

I 

'The  Jealous  Lover.'  From  Julian  P.  Boyd,  Alliance,  Pamlico  county, 
as  collected  from  a  student,  Mary  Price,  1927-28.  Same  as  B,  except 
for  slight  changes  in  wording  and  lack  of  equivalent  of  B  9. 

J 

'The  Jealous  Lover.'  From  W.  Amos  Abrams,  Boone,  as  collected  from 
Melba  Lovill,  Boone,  in  1938.  Has  the  "weeping  willows"  opening. 
The  woman  is  named  Florilla ;  the  man,  Edward.  Stanzas  2-5  cor- 
respond rather  closely  to  A  2-5;  6-8  to  C  6-8;  9  to  B  9;  10-12  to  C  10-12 
(with  "advice"  for  "adieu"  in  10). 

K 
'The  Lone,   Lone   Valley.'     From   W.   Amos   Abrams.    Boone;   undated. 
Nine  stanzas,  very  close  to  B    ("true"   for  "drew"  in  stanza  3;  "wild" 
for  "wide"  in  stanza  4;  "silent"  for  "solemn"  in  6).     Names,  Anna  and 
Edward. 


'Down  in  a  Lone  Valley.'  Two  copies:  (i)  Designated  as  from  Thomas 
Smith,  Zionville,  Watauga  county,  c.  1915,  without  music;  (2)  marked 
"Mrs.  Byers"  (without  address  or  date,  though  her  early  address  is 
known  to  have  been  Silverstone) — evidently  a  copy  of  the  same  text 
made  from  Mrs.  Byers'  singing,  for  this  has  a  note,  "With  Music."  The 
two  copies  are  exactly  alike  except  in  the  representation  of  stanza  i, 
11.  1-2:  (i)  "Way  down  in  a  lone  lone  /  Valley  .  .  .  ";  (2)  "Way  down 
in  a  lone  valley  /  Where.  .  .  ."  The  two  copies  have  the  same  footnote, 
the  footnote  in  the  first  being  in  the  handwriting  of  Thomas  Smith : 
"The  above  song  is  not  very  well  liked  by  some  persons  who  say  it  is 
real  silly.  The  tune  is  heartrending.  Some  young  ladies  used  to  sing 
it  and  play  the  tune  on  an  organ.  This  was  in  1903  I  think."  Seven 
stanzas,  close  to  B  1-7  (with  "Annie"  for  "Anna"  in  stanza  i ;  "love" 
for  "Anna"  in  5;  "steps"  for  "stepped"  in  6). 

M 

'The  Love  Valley.'  From  Miss  Edith  Walker's  manuscript  book  of 
songs,  sent  from  Boone  in  1941.  Nine  stanzas,  close  to  B  ("Way  down 
in  the  Love,  Love  Valley,"  in  stanza  i,  1.  i;  "Annie"  for  "Anna"  in  i; 
"love"  for  "Anna"  in  4;  "silent"  for  "solemn"  in  6. 

N 

'Floella's  Death.'  From  Effie  Tucker ;  without  address  and  date.  Eleven 
stanzas:  1-6  close  to  A  1-6  (with  "Deep,  deep  in  yonders  valley," 
"Floella,"  and  preservation  of  the  bloom:  tomb  rhyme)  ;  7  (copied  be- 
low) ;  8  as  in  A  8;  9  (copied  below)  ;  10  as  in  A  7;  11   (copied  below). 


586  NORTH  CAROLINA  FOLKLORE 

7     'While  ill  these  woods  I  have  you, 
From  me  you  cannot  fly ; 
No  human  arms  can  save  you ; 
Floella,  you  must  die.' 

9     'What  have  I  done,  dear  Edw^ard, 
That  you  have  taken  my  hfe  ? 
I've  always  been  so  faithful, 
And  would  have  been  your  wife.' 

1 1     The  birds  sing  in  the  morning. 
But  funeral  there  was  sound. 
They  found  Floella  sleeping, 
Her  bed,  the  cold,  cold  ground. 


'The  Jealous  Lover.'  From  Mrs.  Minnie  Church,  Heaton,  Avery  county, 
1930.  Seven  stanzas:  1-2  corresponding  to  B  1-2  ("Away  down  in  the 
lone  lone  valley")  ;  Z-7,  to  B  4,  5,  3,  7,  and  8. 

P 
'Down  in  a  Lone  Valley.'     From   Mrs.   Daisy  Jones   Couch,   Durham; 
undated.    One  stanza : 

Way  down  in  a  long  valley. 
Where  early  violets  bloom. 
There  sleeps  one  gentle  Annie 
In  her  cold  and  silent  tomb. 

Q 

No  title.  From  a  manuscript  notebook  loaned  N.  L  White  by  Mrs. 
Harold  Glasscock,  Raleigh,  in  December  1943.  "Most  or  all  of  her 
songs  Mrs.  Glasscock  learned  from  her  parents,  and  she  can  sing  all 
but  one  of  those  copied  from  her  notebook"  (N.  L  W.).  Six  stanzas, 
1-5  corresponding  to  B  4-8  (with  a  difference  in  stanza  i  worth  nothing), 
stanza  6  borrowing  from  the  store  of  folksong  commonplaces. 

I     'Come,  Emily,  let  us  wander 
Upon  some  sad  seashore. 
Come,  Emily,  let  us  ponder 
Upon  our  wedding  day.' 

6     Some  say  that  love  is  a  pleasure. 
What  pleasure  can  there  be 
When  the  one  I  love  most  dearly 
Has  wandered  away  from  me? 

R 

'Annie,  My  Darling.'  From  Miss  Lucy  Dunnegan,  a  student  at  Trinity 
College  in  1921,  1923,  and  1924-    A  two-stanza  fragment: 


NATIVE     AMERICAN     BALLADS  587 

1  Annie  knelt  in  mercy, 
A-pleading  for  her  life, 
And  in  her  lily-white  hosom 
He  pierced  the  shining  knife. 

2  Down  by  the  shadow  of  willows, 
Down  by  the  roaring  sea, 

There  sleeps  sweet  Annie,  my  darling, 
In  a  cold  and  silent  grave. 

s 

'Jealous  Lover.'  With  music.  "Clipped  from  an  unidentified  newspaper 
and  recorded  by  Miss  Jewell  Robbins,"  Pekin,  Montgomery  county,  c. 
1921-24.  Eight  stanzas,  the  first  seven  corresponding  to  B  3,  4  ("Ellen" 
for  "Anna"),  5  ("Edgar"  for  "Edward"),  9.  7  ("dagerd"  for  "fatal"), 
8,  I  ;  the  eighth  being  an  addition. 

8     We  know  not  how  she  suffered, 
We  know  not  how  .she  morn, 
But  we  know  the  words  were  spoken, 
'Please,  Edgar,  take  me  home.' 

T 
'The  Lone  Green  Valley.'  From  Miss  Nancy  Maxwell,  of  Hazel  wood, 
Haywood  county;  Trinity  College,  A.B.,  1920;  c.  1919-20.  Text  in 
five  long-line  stanzas,  with  some  confusion  of  punctuation  and  lining  in 
the  first  (1.  3  ending  ".  .  .  nor  by  disease" ;  and  1.  4  beginning  "She 
fell  .  .  ."),  corrected  below;  and  with  other  peculiarities. 

1  Down  in  the  lone  green  valley  where  the  violets  fade  and 

bloom 
There  is  where  my  Lula  lies  molding  in  the  tomb. 
She  died  not  broken-hearted  nor  by  disease  she  fell, 
And  in  a  moment  departed  from  the  ones  she  loved  so  well. 

2  The  moon  was  shining,  the  s'-ars  were  shining,  too. 
When  off  to  a  little  cottage  a  jealous  lover  drew. 
'Come  and  let  us  wander  out  in  the  woods  so  gay. 

While  wandering  we  will  ponder,  and  plan  for  the  wed- 
ding day.' 

3  The  way  grew  dark  before  them;  says  she,  'I'm  afraid  to 

roam. 
Farewell  to  the  peaceful  cottage,   farewell  to  the   friends 

and  home.' 
*Oh,  down  to  this  I  have  got  you;  you  have  no  wings 

to  fly. 
No  mortal  arms  can  save  you.     Lula,  you  must  die.' 

4  'Farewell,  kind,  loving  parents.     I  will  never  see  you  no 

more, 


588  NORTH  CAROLINA  FOLKLORE 

But  long  will  be  my  coming  to  the  little  cottage  door.' 
Down  on  her  knees  she  was  pleading  for  her  life, 
But  deep  into  her  bosom  flashed  a  fatal  knife. 

5     'Oh,  if  you  will  forgive  me  for  the  crime  that  I  have  done, 
I  will  go  to  some  foreign  country  and  never  more  return.' 
'Yes,  I  will  forgive  you,'  was  her  last  dying  word. 
Her  pulse  were  closed  in  beating,  her  eyes  were  closed  in 
death. 

u 
'Pearl  Bryant.'     From  Miss  Zilpah  Frisbie,  a  student  in  Trinity  College 
summer  school  in  1922  and  1923,  whose  address  at  the  time  was  Marion, 
McDowell  county;  1923. 

This  is  a  slight  adaptation  of  'Florella'  to  the  actual  story  of  Pearl 
Bryan,  concerning  which  Cox,  in  FSS  197-8,  states  the  main  facts.  A 
Greencastle,  Indiana,  girl.  Pearl  Bryan,  died  near  Fort  Thomas,  Ken- 
tucky, January  31,  1896,  as  the  result  of  a  criminal  operation.  Pregnant, 
she  had  sought  the  aid  of  Scott  Jackson,  a  student  in  the  Ohio  College 
of  Dental  Surgery,  at  Cincinnati.  Jackson  was  assisted  in  the  operation 
by  a  fellow  student,  named  Alonzo  Walling.  The  two  men  were  found 
guilty  of  murder  and  hanged. 

In  our  collection  there  is  a  twelve-stanza  text  entitled  'Pearl  Bryan' 
following  'Florella'  closely  but  substituting  the  names  "Pearl  Bryan," 
"Scott  Jackson,"  and  "Jackson."  This  was  given  to  Dr.  Brown  by 
Professor  J.  B.  Hubbell,  who  obtained  it  in  1924  from  a  Texas  student 
at  Southern  Methodist  University. 

Not  represented  in  the  Frank  C.  Brown  Collection  is  a  fairly  inde- 
pendent 'Pearl  Bryan,'  owing  something  to  'Florella'  but  showing  de- 
tailed knowledge  of  the  actual  facts  about  the  murder  of  Pearl  Bryan. 
For  it  and  for  further  account  of  the  background,  see  Brewster,  BSI  283. 
In  SFLQ  III  15-19,  Ann  Scott  Wilson  attempts  to  present  "an  adequate 
case  history,"  documenting  facts  from  contemporaneous  reports  of  the 
trial  of  Jackson  and  Walling  and  showing  that  in  the  more  independent 
'Pearl  Bryan'  desire  for  riddance  rather  than  jealousy  is  the  distinguish- 
ing motive. 

Miss  Frisbie's  text  is  as  follows : 

1  Down  in  a  lonely  valley 
Where  the  fairest  flowers  bloom, 
'Tis  there  that  Pearl  Bryant 
Lies  moulding  in  her  tomb. 

2  Down  to  Pearl  Bryant's  dwelling 
Jackson  Walton  flew. 

His  love  for  her  was  telling. 
And  she  loved  him,  too. 

3  'Come,  Pearl,'  he  said,  'let's  wander 
All  through  these  woods  again, 
And  while  we  roam  we'll  ponder 
Upon  our  wedding  day.' 


NATIVE     AMERICAN     BALLADS  589 

4  Down  through  the  woods  they  wandered 
Just  at  the  close  of  day. 

Says  Pearl.  'I  am  so  weary ; 
Let  us  retrace  our  way.' 

5  'Retrace  your  way,  no,  never, 

For  in  these  woods  you're  doomed ; 

So  bid  farewell  forever 

To  parents,  friends,  and  home.' 

6  Down  on  her  knees  she  knelt  before  him 
And  pleaded  for  her  life. 

But  in  her  snow-white  bosom 
He  plunged  the  fatal  knife. 

7  The  flags  are  waving  o'er  her, 
And  loud  the  trumpets  sound. 
A  stranger  came  and  found  her 
Cold,  lifeless  on  the  ground. 

V 

'Fair  Young  Ellen.'  From  the  John  Burch  Blaylock  Collection.  Thir- 
teen stanzas;  lovers'  names  are  Ellen  and  Edgar;  stanza  12  ("young 
Edgar  was  condemned  .  .  .")  corresponds  to  H  13. 

W 

'Way  Down  in  Lone  Green  Valley.'  From  the  John  Burch  Blaylock 
Collection.  Mr.  Blaylock  notes  that  this  is  the  same  song  as  'Fair  Young 
Ellen.'  Ten  stanzas.  The  man's  name  is  Willie ;  the  woman's  is  not 
given.    The  first  stanza  is  unusual. 

I     Way  down  in  Lone  Green  Valley 
Where  roses  bloom  and  fade, 
There  was  a  jealous  lover 
In  love  with  a  beautiful  maid. 


251 
Frankie  and  Albert 

"The  dramatic  power  of  its  bare  narrative  and  the  force  of  its 
refrain"  have  made  'Frankie  and  Albert'  "the  most  widely  known 
and  sung  of  native  American  ballads."  Belden,  who  describes  it 
thus  (BSM  330),  gives  the  most  complete  summary  of  the  numer- 
ous and  varied  accounts  of  its  origin,  and  the  fullest  account  of  its 
diffusion. 

In  The  Mauve  Decade,  p.  120,  Thomas  Beer  states  that  the  song 
was  based  on  a  murder  at  Natchez  in  the  1840s  and  was  sung  by 
Federal  troops  before  Vicksburg  in  1863.  This  account  Belden 
says  he  has  not  been  able  to  document.  Sandburg's  ASb  assertion 
that  the  song  "was  common  along  the  Mississippi  River  and  among 
railroad  men  of  the  middle  west  as  early  as  1888"  the  editor  of  BSM 


590  NORTH     CAROLINA     FOLKLORE 

quotes  without  comment.  So  with  the  history  appearing  in  Frankic 
and  Johnny  (New  York,  1930),  John  Huston's  play  based  on  the 
song:  that  it  sprang  "from  the  kilHng  of  Allen  Britt  by  Frankie 
Baker,  figures  in  the  negro  underworld  of  St.  Louis,  in  1899,"  and 
that  (quoting  Huston)  "  'the  song  has  not  been  traced  to  any 
Frankie  before  her.'  "  There  is  some  inherent  probability,  Belden 
thinks,  in  the  suggestion  made  by  Phillips  Barry  (BFSSNE  x  24) 
that  'Frankie  and  Johnny'  "was  based  on  the  killing  of  Charles 
Silver  by  his  wife  Frankie  at  Toe  River,  North  Carolina,  in  1831, 
on  the  same  provocation  that  led  to  the  shooting  of  Albert  (or 
Johnnie)  in  the  song  as  we  now  have  it;  and  that  the  original 
ballad  has  been  'readapted,  probably  more  than  once,  to  modern 
instances  of  underworld  life.'  "  In  the  opinion  of  the  other  editor 
of  the  folk  songs  in  the  Frank  C.  Brown  Collection,  the  style  of 
'Frankie  Silver,'  the  lack  of  any  evidence  that  it  had  wide  diffusion, 
and  the  absence  of  any  but  the  most  trifling  variations  in  the  re- 
covered texts,  all  discount  Barry's  suggestion.  All  that  the  two 
ballads  have  in  common  is  that  a  woman  kills  her  man  and  is 
executed  for  the  murder.  The  ballad  'Frankie  Silver'  itself  has 
nothing  to  say  about  the  motive,  which  is  quite  clear  in  'Frankie 
and  Albert.' 

Belden  BSM  330-1  notes  reports  of  'Frankie  and  Albert'  as  a 
folk  song  from  Connecticut,  West  Virginia,  Kentucky,  Tennessee, 
North  Carolina,  Georgia,  Alabama,  Mississippi,  Louisiana,  Texas, 
Arkansas,  Illinois,  and  a  few  other  unspecified  locations.  He  prints 
a  very  full  composite  text  given  him  by  H.  A.  Chapman,  of  the 
School  of  Mines  at  Rolla,  Missouri.  Add:  Eddy  BSO  245-52 
(Ohio)  ;  John  Huston's  Frankic  and  Albert  (thirteen  versions 
appended  to  the  play — the  whole  illustrated  by  Covarrubias)  ;  The 
Saga,  of  Frankie  &  Johnny  Beautifidly  Engraved  by  John  Held, 
Jr.  (n.p.,  1930);  Randolph  OFS  11  125;  Davis  FSV  265  (listed); 
Morris  FSF  126-8. 

No  two  of  the  ten  versions  in  our  collection  are  alike,  but  there 
are  enough  similarities  among  most  of  them  to  justify  collation  and 
comparison  of  some  without  printing  all  of  them.  Where  this  de- 
vice is  resorted  to,  it  is  to  be  understood  that  there  are  some  unnoted 
verbal  differences  between  stanzas  that  are  indicated  as  correspond- 
ing to  each  other. 

A 

'Frankie  Baker.'  Contributed  by  Miss  Bonnie  Ethel  Dickson,  of  Helton, 
Ashe  county;  MS  undated.  (Miss  Dickson  took  degrees  from  Duke 
University  in  1931  and  1938.) 

1  Frankie  was  a  good  girl, 
As  everybody  knows ; 

She  paid  a  htmdred-dollar  bill 

For  a  suit  of  Albert's  clothes, 

Because  she  loved  him  so,  because  she  loved  him  so. 

2  Frankie  went  down  the  Broadway 
With  a  razor  in  her  hand, 

Saying,  'Stand  back,  you  loving  girls, 


NATIVE     AMERICAN     BALLADS  59I 

I'm  looking  for  my  gambling  man! 

Oh,  he's  my  man,  won't  treat  me  right.' 

Frankie  went  to  the  gin  house 

And  called  for  a  glass  of  gin, 

Calling  out  to  the  gin  keeper, 

'I'm  going  to  get  drunk  again. 

Oh,  he's  my  man,  won't  treat  me  right.' 

Frankie  went  to  the  barroom 

And  called  for  a  glass  of  beer. 

Calling  out  to  the  barroom  tender, 

'Have  you  seen  Albert  here  ? 

Oh,  he's  my  man,  won't  treat  me  right.' 

The  barroom  tender  said  to  Frankie, 
'Oh,  girl,  I'll  tell  no  lie : 
Albert  left  here  a  moment  ago 
With  a  girl  called  Alice  Frye; 
So  he's  your  man,  won't  treat  you  right.' 

Frankie  went  to  the  pool-room, 

Started  in  at  the  pool-room  door. 

There  she  spied  her  gambling  man 

Standing  in  the. middle  of  the  floor. 

'Oh,  there's  my  man,  won't  treat  me  right. 

'Oh,  come  to  me,  little  Albert, 

I'm  not  calling  you  in  fun. 

If  you  don't  come  to  the  one  you  love 

I'll  shoot  you  with  your  own  gun. 

For  you're  my  man,  won't  treat  me  right.' 

Little  Albert  ran  around  the  table 

And  fell  down  on  his  knees, 

Calling  out  to  his  loving  wife, 

'Don't  shoot  me,  Frankie,  please. 

For  I'm  your  man,  won't  treat  you  right.' 

It  was  on  last  Thursday  morning 

At  half-past  nine  o'clock, 

^Frankie  grabbed  a  forty-four  gun, 

She  fired  two  fatal  shots. 

She  killed  her  man,  wouldn't  treat  her  right. 

'Oh,  turn  me  over,  Frankie, 

Oh,  turn  me  over  slow ; 

Turn  me  over  on  my  left  side 

So  the  bullets  won't  hurt  me  so ; 

You've  killed  your  man,  wouldn't  treat  you  right.' 


592  NORTH  CAROLINA  FOLKLORE 

1 1  The  people  all  said  to  Frankie, 
'Oh,  girl,  why  don't  you  run? 
Yonder  comes  a  chief  police 
With  a  forty-four  smoking  gun, 

For  killing  your  man  wouldn't  treat  you  right.' 

12  Frankie  went  down  the  Broadway 
As  far  as  she  could  see. 

All  she  could  hear  was  a  twofold  band 
Playing  'Nearer  My  God  to  Thee.' 
It  seemed  so  sad,  little  Albert's  dead. 

13  Frankie  went  to  the  river 

And  looked  from  bank  to  bank, 

Saying,  'I've  done  all  I  can  for  my  gambling  man, 

And  still  I  get  no  thanks. 

Oh,  he's  my  man,  wouldn't  treat  me  right.' 

14  They  took  her  to  the  prison 

An'  cooled  her  with  an  electric  fan. 
She  whispered  low  in  her  sister's  ear, 
'Never  love  a  gambling  man.  whatever  you  do. 
He  won't  treat  you  right.' 

15  They  took  her  to  the  courthouse 
And  sat  her  in  a  big  armchair. 

She  waited  there  to  hear  the  judge  say, 

'Just  give  her  ninety-nine  year. 

For  killing  her  man,  wouldn't  treat  her  right.' 

16  The  judge  said  to  the  jury, 
'Oh,  gentlemen,  I  can't  see ; 
Frankie  killed  the  man  she  loved. 
And  I  think  she  ought  to  go  free. 

For  killing  her  man  wouldn't  treat  her  right.' 

17  Little  Frankie  walked  out  on  the  scaffold 
As  brave  as  she  could  be. 

Calling  out  to  the  judge  and  jury, 

'I've  murdered  Albert  in  the  first  degree ; 

Oh,  he's  my  man,  wouldn't  treat  me  right.' 

18  Little  Frankie's  dead  and  buried 
In  a  tomb  by  Albert's  side. 
They've  erected  a  marble  square 
And  on  it  these  words  inscribed : 

'He's  a  gambling  man,  and  she's  his  bride.' 

B 
'Frankie  and  Albert.'    From  Julian  P.  Boyd,  of  Alliance,  Pamlico  county, 
as  collected  from  a  pupil,  Graham  Wayne,  c.  1927-28.     Eleven  stanzas. 


NATIVE     AMERICAN     BALLADS  593 

Stanzas  B  i,  2,  3,  4,  5  correspond,  respectively,  to  stanzas  A  i,  4,  5,  6,  7; 
stanza  B  6  ("Albert  got  up  from  behind  the  counter"),  to  A  8;  stanza 
B  7  ("On  one  Sunday  morning"),  to  A  9 ;  stanzas  B  8- 11,  to  A  10,  ^ I, 
15,  12.     Frankie's  rival  is  "Alice  Bright." 


'Frankie  Baker.'  From  Miss  Lura  Wagoner,  Vox,  Alleghany  county, 
in  a  MS  dated  October  30,  191 1,  and  loaned  Dr.  Brown  in  August  1936. 
Fourteen  stanzas.  Stanzas  C  1-2  correspond,  respectively,  to  A  1-2; 
stanza  C  3,  to  A  5 ;  stanza  C  4,  to  A  13 ;  stanzas  C  5,  6,  7,  8,  9,  10,  to 
A  4,  5,  6,  7,  8,  9;  stanza  C  11,  to  A  17;  stanza  C  12,  to  A  12;  stanza 
C  13,  to  A  14;  stanza  C  14,  to  A  18.  "Alice  Frye"  and  "Thursday 
morning"  as  in  A. 


'Frankie  and  Johnnie.'  From  Miss  Fanny  Grogan,  Silverstone,  Watauga 
county,  September  12,  1920.  Seventeen  stanzas :  Stanza  D  i  corresponds 
to  A  I  ;  stanza  D  2  (as  copied  below)  ;  stanzas  D  3  and  4,  to  stanzas  A  4 
and  5;  stanza  D  5  (as  copied);  stanzas  D  6,  7,  8,  9,  10,  11,  12,  to 
stanzas  A  2,  6,  7,  13,  9,  10,  11,  respectively;  stanza  D  15  (as  copied)  ; 
stanza  D  16,  to  stanza  A  17;  stanza  D  17  (as  copied).  "Alice  Fry"  and 
"Friday  morning." 

2     She  took  them  to  Httle  Albert, 
And  Httle  Albert  put  them  on, 
Started  off  down  the  broad  way 
Saying,  'By  by,  I  am  gone, 
For  I  am  your  man,  won't  treat  you  right.' 

5     Frankie  turned  round  to  the  gin-well 
And  called  for  a  glass  of  gin, 
Calling  out  to  the  gin-well  keeper, 
'I  am  a-goin'  to  get  drunk  again. 
I'll  kill  that  man  won't  treat  me  right.' 

13     Now  Frankie  is  in  the  jailhouse 
With  her  back  turned  to  the  wall. 
Writing  a  letter  to  the  boys  and  girls, 
Saying,  'You're  the  cause  of  it  all. 
I  killed  my  man  wouldn't  treat  me  right.' 

15     The  judge  charged  the  jury, 
And  the  jury  run  away. 
They  found  her  guilty  in  the  first  degree 
For  killing  little  Albert  Bay 
It  was  her  man,  wouldn't  treat  her  right. 

17     Now  Frankie  is  dead  and  buried 
By  the  side  of  little  Albert  Bay. 
Albert  was  a  gambling  man. 
And  Frankie  was  a  bride. 


594  NORTH     CAROLINA     FOLKLORE 

E 
Trankie.'     Contributed  by  Julian   P.   Boyd,   then  of  Alliance,    Pamlico 
county,  who  obtained  it  from  an  anonymous  student,  c.  1927-28.     Eleven 
stanzas:  E  i  corresponds  to  A  i ;  E  2,  3,  4,  5,  6   (as  copied)  ;  E  7,  8, 
9,  ID,  II,  respectively,  like  A  12,  D  13,  A  15,  14,  18. 

2  Frankie  went  to  the  ballroom, 
She  looked  inside  the  door, 
She  asked  the  ballroom  keeper 
Was  little  Albert  there. 

'He  is  my  man,  my  gambling  man.' 

3  'Yes,  ma'am.  Misses  Frankie, 
You'rb  a  girl  I've  never  denied. 
He  just  then  left  a  minute  ago 
With  a  girl  named  Nellie  Spy. 

He  is  your  man,  your  gambling  man.' 

4  Frankie  went  to  the  barroom ; 
She  did  not  go  for  fun. 

For  under  her  calico  apron 
She  'cealed  a  forty-five  gun, 
To  kill  her  man,  her  gambling  man. 

5  Frankie  went  to  the  barroom; 
She  stepped  inside  the  door ; 
There  she  killed  her  Albert 
Standing  in  the  middle  of  the  floor. 
'He  is  my  man,  my  gambling  man.' 

6  'Turn  me  over,  Frankie, 
Turn  me  over  slow ; 

Pray  don't  touch  my  wounded  side. 

Do,  my  heart  will  overflow. 

You've  killed  your  man,  your  gambling  man.' 

F 
'Aggie  and  Alfred.'     From  Julian   P.   Boyd,  then  of  Alliance,   Pamlico 
county,  who  obtained  it  from  an  anonymous  student,  c.   1927-28. 

1  Aggie  was  a  good  old  woman, 
As  everybody  knows ; 

She  did  the  work  around  the  house 

And  washed  old  Alfred's  clothes. 

He  was  her  man,  but  he  done  her  wrong, 

2  Aggie  went  down  to  the  barroom 
To  get  her  a  bottle  of  beer ; 

She  said,  'Oh,  Mister  Bartender, 

Have  you  seen  my  Alfred  here  ? 

He  was  my  man,  but  he  done  me  wrong.* 


NATIVE     AMERICAN     BALLADS  595 

3  'I  ain't  gonna  tell  no  story, 
I  ain't  gonna  tell  no  lie ; 

I  saw  your  Alfred  drunk  last  night, 

Lying  in  the  mire. 

He  was  your  man,  but  he  done  you  wrong.' 

4  Aggie  went  up  them  stair  steps 
Intending  to  have  some  fun, 
For  in  the  folds  of  her  petticoat 
She  had  a  nasty  forty-one. 

He  was  her  man,  but  he  done  her  wrong. 

5  Aggie  pulled  aside  them  curtains 
And  saw  a  scene  of  strife. 

The  second  time  she  fired  that  gun 

She  took  old  Alfred's  life. 

He  was  her  man,  but  she  done  him  wrong. 

6  Aggie  got  a  double-seated  buggy 
And  a  rubber-tired  hack ; 

She  took  him  to  the  cemetery 

And  refused  to  bring  him  back. 

He  was  her  man,  but  she  done  him  wrong. 

7  Aggie  went  to  Alfred's  mother 
And  fell  upon  her  knees. 

She  said,  'Oh,  Alfred's  mother. 

Forgive  me  if  you  please. 

He  was  my  man,  but  I  done  him  wrong.' 

8  The  judge  he  said  to  Aggie, 
'Now,  Aggie,  you  come  to  me.' 
He  sent  her  to  the  'lectric  chair 
Way  down  in  Santa  Fe. 

He  was  her  man,  but  she  done  him  wrong. 

9  Now  I've  told  my  story, 
And  I  hope  I've  told  it  well. 
Aggie  went  to  Heaven, 
And  Alfred  went  to — well, 

He  was  her  man,  but  he  done  her  wrong. 

G 
'Frankie    Baker.'      From    Mrs.    Minnie   Church,    Heaton,    Avery  county, 
1930.     Twelve  stanzas :  G  i  corresponds  to  A  i  ;  G  2,  to  D  2 ;  G  3,  4, 
5,  6,  7,  8,  9,  10,  to  A  4,  5,  6,  7,  8,  9,  10,  II,  respectively;  G  11,  to  A  15; 
G  12,  to  A  12.    Frankie's  rival  is  "Alice  Fly,"  and  her  lover  is  "Albert." 

H 
'Frankie  Baker.'    From  Mamie  Mansfield,  Durham,  1922-23.    On  the  text 
there  is  a  note,  "Recorded  by  F.  Coleman  1922."     Seven  stanzas,  cor- 


596  NORTH  CAROLINA  FOLKLORE 

responding:  H  1-2  to  A  i  and  4;  H  3  (".  .  .  girl  name  Sallie  Dry") 
to  A  5;  H  4,  5,  6,  7  to  A  6,  7,  8,  9,  respectively.  H  7  has  "Thursday 
morning  /  About  half  past  ten  o'clock"  and  "forty-four  gun." 

I 
'Frankie.'     From  a  typescript  marked  "Mrs.   Pridgen"  by  Dr.  Brown — 
probably  Mrs.  W.  L.   Pridgen,   Durham,   who  received  an   A.B.  degree 
from  Duke  University  in  1925.     This  version  is  a  wire-drawn  reduction 
of  the  story  to  its  lyric  and  narrative  elements. 

1  Frankie  was  a  good  woman, 
As  everybody  knows. 

She  spent  three  hundred  dollars 

Just  to  buy  her  Albert  clothes, 

'Cause  he  was  her  man,  till  he  done  her  wrong. 

Chorus: 

I  ain't  gonna  tell  you  no  .stories, 

I  ain't  gonna  tell  you  no  lies ; 

I  seed  your  Albert  with  a  yellow  girl, 

Yes,  I  seed  him  with  my  eyes. 

And  he  was  your  man,  but  he  done  you  wrong. 

2  Frankie  went  down  to  the  corner, 
She  didn't  go  there  for  fun, 

For  under  her  kimono 

Was  a  great  big  forty-four  gun. 

She  was  looking  for  that  man  who  done  her  wrong. 

3  Bring  on  your  rubber-tired  hearses, 
Bring  on  your  rubber-tired  hacks ; 
Your  Albert's  gone  to  Heaven, 
And  he  ain't  never  coming  back. 

And  he  was  your  man,  but  he  done  you  wrong. 

4  Frankie  was  sitting  in  the  parlor, 
Cooling  by  the  electric  fan. 
Telling  to  her  daughter, 

'Don't  you  marry  no  drinking  man ; 

He'll  be  your  man,  but  he'll  do  you  wrong.' 

J 
'He  Done  Her  Wrong.'     With  music.     Phonograph  recording  February 
II,  1921.     The  first  three  stanzas  are  from  MS  of  Blake  B.  Harrison. 
Durham,    1919,  and  were  printed  by  White   in   ANFS   214;   the   fourth, 
remembered  later,  from  MS  given  to  Dr.  Brown. 

I     Amy  was  a  good  woman,  everybody  knows. 

She  spent  ten  thousand  dollars  to  buy  her  Albert  clothes. 

Rejrain: 

He  was  her  man,  but  he  done  her  wrong. 


NATIVE     AMERICAN      BALLADS  597 

Amy  went  to  de  barroom,  to  git  a  bottle  ob  beer. 
Amy  said  to  de  bartender,  'You  seen  my  Albert  here?' 

Bartender  said  to  Amy,  'I  ain't  gwine  tell  you  no  lie, 
I   seen   your  Albert  down  here  wid  a  woman   what  had 
blue  eyes.' 

Frankie  went  to  de  pool-room,  started  in  at  de  pool-room 

door; 
There  she  spied  her  gambling  man  standing  in  de  middle 

ob  de  floor. 


252 
Sadie 

Henry's  SSSA  39  includes  a  Tennessee  version  of  this  low-life 
ballad,  lacking  stanzas  4  and  5  and  showing  some  verbal  differences. 
'Out  Last  Night,'  in  Bess  Alice  Owens'  "Songs  of  the  Cumberlands" 
(JAFL  XLix  221),  a  fragment  of  three  stanzas,  corresponds  to  the 
first  three  stanzas  of  the  following.    Davis  lists  it  in  FSV  274. 

'Sadie.'     From  Mrs.  Minnie  Church,  of  Heaton,  Avery  county;  no  date. 
but  between  1930  and  1939. 

1  I  was  out  last  night  making  my  round ; 
I  met  my  Sadie  and  I  shot  her  down. 

I  run  home  and  jumped  in  bed, 

A  forty-four  caliber  under  my  head. 

2  I  woke  next  morning  at  half-past  nine. 
The  horses  and  hacks  were  formed  in  line ; 
Sports  and  gamblers  gathered  around 

To  carry  my  Sadie  to  the  burying-ground. 

3  Then  I  got  to  studying  of  the  deed  I'd  done; 
I  jumped  out  of  bed  and  away  I  run. 

I  made  a  good  run  but  a  little  too  slow ; 
They  overtook  me  in  Jeryco. 

4  Standing  on  the  corner  reading  a  bill. 
Up  stepped  the  sherf  Mr.  Thos.  Hill, 

Says,  'Young  man,  ain't  your  name  Brown  ? 

Do  you  rem  [ember]  the  night  you  shot  Sadie  down?' 

5  'My  name's  Brown,  my  name's  Lee; 

I  murdered  Sadie  in  the  first  degree — 

First  degree,  second  degree ; 

If  you've  got  any  papers  please  read  them  to  me.' 

6  They  took  me  to  town,  dressed  me  in  black, 
Put  me  on  the  train,  sent  me  back. 


598  NORTH     CAROLINA     FOLKLORE 

I  had  no  friends  to  go  my  bail ; 

They  shoved  me  back  in  the  county  jail. 

7  The  sheriff  called  court;  the  judge  took  his  stand, 
He  held  them  papers  in  his  right  hand, 

Says,  'Fourty  long  years,  fourty  long  night ; 
You'll  have  to  wear  them  ballin  stripes.' 

8  Now  all  young  men  take  my  advice : 
Never  do  take  your  Sadie's  life. 

It  will  cause  you  to  weep,  it  will  cause  you  to  mourn. 
It  will  cause  you  to  loose  your  Home  Sweet  Home. 


253 
Little  Mary  Phagan 

One  of  the  South's  greatest  murder  stories  was  commemorated, 
for  a  while  at  least,  in  a  folk  song  of  fairly  wide  diffusion.  The 
main  facts  are  summarized  in  the  New  York  Times  of  August  18, 
1915- 

Mary  Phagan  was  killed  on  April  26,  1913,  under  most  revolting  cir- 
cumstances. Her  bruised  body  was  found  on  a  pile  of  cinders  in  the 
refuse  bin  in  the  dark  cellar  of  [the  National  Pencil  Factory  at  Atlanta, 
Georgia]  early  the  following  morning  by  Newt  Lee,  negro  nightwatch- 
man.  At  the  time  the  child  met  death  [Leo  M.]  Frank  [superintendent 
of  the  factory]  and  a  dissipated  negro  employee  named  Conley  were  in 
the  factory.  They  were  arrested,  first  Conley  on  suspicion,  when  he 
was  found  washing  his  shirt,  and  later  Frank  himself  was  charged  with 
the  murder  and  Conley  with  being  an  accomplice.  The  negro  confessed 
and  charged  Frank  with  the  crime.  Conley,  after  his  confession,  was 
sentenced  to  one  year  in  the  chain  gang. 

His  sordid  story  was  to  the  effect  that  Mary  Phagan  had  gone  to 
Frank  to  obtain  her  pitiful  wage  of  $1.20,  and  had  been  attacked  by 
the  latter.  There  was  no  one  in  the  factory  at  the  time  except  the  girl, 
Frank  and  the  negro.  Conley  swore  that  he  had  simply  aided  Frank  in 
disposing  of  the  girl's  body.  It  was  on  his  evidence,  largely,  that 
Frank  was  convicted  on  August  25,  1913,  [and  sentenced  to  death  by 
Justice  Roan]. 

Of  the  remainder  of  the  story — a  furious  nationwide  controversy, 
involving  racial  prejudice,  concerning  Frank's  guilt;  the  commuta- 
tion of  Frank's  sentence  to  life  imprisonment;  the  cutting  of  Frank's 
throat  by  a  fellow-convict;  the  kidnaping  of  the  scarcely  recovered 
victim ;  and  the  lynching  of  Frank  by  a  Georgia  mob  on  August 
17,  191 5 — the  ballad  does  not  tell. 

In  JAFL  XXXI  264-6  Franklyn  Bliss  Snyder  published  a  "ballad 
on  Leo  Frank  and  Mary  Phagan,"  taken  down,  c.  1917,  at  Bessemer, 
Alabama,  from  the  singing  of  a  wandering  one-armed  young  Geor- 
gian, who  "made  no  claim  to  the  authorship  of  what  he  sang,  though 
he  said  he  made  up  some  of  the  tunes.  (He  had  been  a  guitar- 
player  of  considerable  ability  before  his  accident.)"  Professor 
Snyder's  informant  "had  heard  it  in  various  forms  from  a  number 


NATIVE     AMERICAN     BALLADS  599 

of  different  people  .  .  .  and  no  one  had  ever  seen  it  in  print."  To 
him  the  ballad  seemed  "to  represent  a  piece  of  folklore  'in  the 
making.' "  His  text,  twenty  stanzas  in  length,  though  confused 
about  some  details,  is  rather  thoroughly  circumstantial.  The  North 
Carolina  texts  (one  recovered  in  1919,  a  second  in  1922,  the  third 
and  fourth  at  unknown  dates)  follow  Snyder's  in  some  respects  but 
show  considerable  compression. 

Henry,  in  FSSH  336-7,  and  Carter,  in  JAFL  xlvi  39-40,  pub- 
lished texts  from  Tennessee ;  Gardner  and  Chickering,  in  BSSM 
352,  one  from  Michigan,  which  seems  to  refer  to  a  lynching  (not 
of  Frank  but  of  the  janitor).  Morris  FSF  81-4  contains  two  texts 
from  Florida. 

A 
'Little  Mary  Phagan.'  Dr.  Brown  noted :  "Collected  by  Miss  Nancy 
Maxwell  at  Hazelwood  [Haywood  county],  N.  C,  from  a  girl  named 
Bertha  Bailey,  who  was  reared  in  the  mountains  of  East  Tennessee 
near  the  North  Carolina  line.  The  air  was  collected  also." — "The  MS 
must  be  in  the  hand  of  Bertha  Bailey,  as  Nancy  Maxwell  was  an  ad- 
vanced student  in  English  in  1919,  incapable  of  such  an  illiterate  MS" 
(N.  I.  W.). 

1  Little  Mary  Phagan  she  went  to  town  one  day. 

She  went  to  the  pencil  factory  to  see  the  great  parade. 
She  went  to  draw  her  money  that  she  had  worked  the  week 

before, 
Down  in  the  pencil  factory  with  Leo  Franks,  you  know. 

2  She  left  her  home  at  eleven  o'clock  and  kissed  her  mother 

good-bye ; 
Not  one  time  did  the  poor  girl  think  that  she  would  have 

to  die. 
Leo  Franks  met  her  with  a  bruteless  heart,  you  know. 
He  smiled  and  said,   'Little  Mary,  you  will  go  home  no 

more.' 

3  He  sneaked  along  behind  her  till  she  reached  the  middle 

room. 
He   laughed  and   said,   'Little   Mary,   you  met  your   fatal 

doom.' 
Down  on  her  knees  she  was  crying,  'Leo  Franks,'  she  plead. 
He  took  a  stick  from  the  trash  pile  and  struck  her  across 

the  head. 

4  While  the  tears  rolled  down  her  rosy  cheeks  and  the  blood 

flowed  down  her  back, 
She  remembered  telling  her  mother  the  time  she  would  be 

back. 
How  Leo  Franks  killed  little  Mary,  it  was  on  one  holiday. 
He  called  on  old  Jim  Conard  for  to  carry  her  body  away. 

5  He  drug  her  down  the  stairway  by  her  head,  by  her  feet. 
Deep  down  in  the  basement  little  Mary  lay  a  sleep. 


6oO  NORTH     CAROLINA     FOLKLORE 

Utely  was  the  watchman.     He  came  to  wind  his  keys. 
Deep  down  in  the  basement  little  Mary  he  could  see. 

6  He  called  upon  the  officers,  some  names  I  do  not  know. 
They  come  and  said,  'Jim  Conard,  Jim  Conard,  you  must 

go.' 
They  took  him  to  the  jailhouse  and  locked  him  in  the  cell, 
But  the  poor  old  innocent  negro  knew  nothing  for  to  tell. 

7  Little  Mary  is  in  heaven,  and  Leo  Franks  in  jail, 
Waiting  for  the  day  to  come  that  he  could  tell  his  tale. 
But  the  poor  old  Judge  and  jury  they  passed  his  sentence 

well. 
Little  Mary  is  in  heaven,  and  Leo  Franks  in  hell. 


'Little  Mary  Faggen.'    From  Miss  Mamie  Mansfield,  Durham,  c.  1922-2.^. 
"as  sung  by  F.  Coleman,  1922." 

1  A  little  Mary  Faggen, 
She  went  to  town  one  day. 
She  went  to  the  pencil  factory 
To  receive  her  weekly  pay. 

2  She  left  her  home  at  eleven, 
And  kissed  her  mother  good-by, 
But  little  did  the  poor  girl  think 
That  she  was  going  to  die. 

3  Leo  Frank,  he  met  her 

With  an  evil  heart,  you  know. 
He  smiled  and  said,  'Little  Mary, 
You  won't  go  home  no  more.' 

4  Down  upon  her  bending  knees 
To  Leo  Frank  she  plead. 

He  picked  up  a  stick  from  the  trash  pile 
And  struck  her  on  the  head. 

5  Tears  run  down  her  rosy  cheeks, 
While  blood  flowed  from  her  back. 
She  remembered  telling  her  mother 
The  time  she  would  be  back. 

6  Leo  Frank  killed  Mary, 
It  was  one  holiday. 

They  sent  for  Lamar  Gardner 
To  take  her  body  away. 

7  He  took  her  to  the  basement 
And  bound  her  head  and  feet, 


NATIVE     AMERICAN     BALLADS  6oi 

And  down  in  the  basement 
Little  Mary  lay  fast  asleep. 

8  Judge  Rose,  he  passed  the  sentence, 
You  know  he  passed  it  well ; 

He  passed  little  Mary  to  heaven 
And  Leo  Frank  to  hell. 

9  Little  Mary  is  in  heaven, 
While  Leo  Frank  is  in  jail. 

They  are  waiting  for  that  wonderful  day 
To  tell  their  awTul  tale. 

c 
'Little  Mary  Phagan.'  From  Miss  Effie  Tucker ;  no  date,  no  address. 
Ten  stanzas:  i  and  2  close  to  A  1-2;  3  says  "villian  met  her  .  .  . 
With  a  brutal  heart"  (the  name  of  Frank  does  not  appear  in  the 
ballad)  ;  4  goes  back  to  A  for  the  scene  of  the  murder,  but  says  "metal 
room" ;  5  names  the  watchman  correctly  and  says  "he  would  the  key" ; 
the  text  continues : 

6  They  called  for  the  policemen, 
Their  names  I  do  not  know. 
They  came  to  the  Pencil  Factory 
And  told  Newt  he  must  go. 

7  Her  mother  now  weeping, 

She  weeps  and  mourns  all  day ; 
She  prays  to  meet  her  baby 
In  a  better  world  some  day. 

8  Just  along  passed  the  city. 
You  bet  he  did  not  fail. 
Solicitor  New  Dautry 

He  sent  the  brute  to  jail. 

9  Her  son  he  asks  the  question ; 
The  angels  they  did  say 
Why  he  killed  poor  Mary 
Upon  one  holiday. 

10     Now,  come  all  you  good  people. 
Wherever  you  may  be  ; 
Suppose  now  little  Mary 
Belonged  to  you  or  me. 


'Little  Mary  Phagon.'     From  Merle  Smith,  Stanly  county;  undated, 
fragment — two  stanzas  corresponding  to  the  first  two  of  B  and  C. 

E 
'Little  Mary  Phagen.'     From  the  John  Burch  Blaylock  Collection. 


602  NORTH     CAROLINA     FOLKLORE 

1  Little  Mary  Phagen, 

She  went  to  town  one  day ; 
She  went  to  the  pencil  factory 
To  get  her  little  pay. 

2  She  left  her  home  at  seven ; 
She  kissed  her  mother  good-bye. 
Not  one  time  did  the  poor  child  think 
That  she  was  going  to  die. 

3  Leo  Benton  met  her ; 

With  a  brutal  heart,  we  know, 
He  smiled  and  said,  'Little  Mary, 
You'll  go  home  no  more.' 

4  He  sneaked  along  behind  her 
Until  she  reached  the  little  room. 
He  laughed  and  said,  'Little  Mary. 
You've  met  your  fatal  doom.' 

5  Jim  Newt  was  the  watchman, 
And  when  he  turned  the  key, 
Away  down  in  the  basement 
Little  Mary  he  could  see. 

6  He  called  the  policemen. 
Their  names  I  do  not  know ; 
They  came  to  the  pencil  factory 
And  told  Newt  he  must  go. 

7  Her  mother  sits  a-weeping, 
She  weeps  and  prays  all  day ; 
She  prays  to  meet  her  baby 
In  a  better  world  some  day. 

8  Judge  Long  passed  the  sentence ; 
You  bet  he  did  not  fail. 

Oh,  then  he  passed  a  sentence 
To  send  the  brute  to  jail. 

9  Come,  all  you  good  people, 
Wherever  you  may  be, 
Suppose  Little  Mary 
Belonged  to  you  or  me. 

F 
'Mary   Phagan  and  Leo  Frank.'     One  of  133  miscellaneous  items  con- 
tributed in  1923  by  Miss  Eleanor  Simpson,  East  Durham,  a  member  of 
Dr.  Brown's   Summer   School  class  in  folklore. 

I      Little  Mary  Phagan  went  to  the  mill  one  day ; 

She  went  to  the  pencil  factory  to  draw  her  little  pay. 


NATIVE     AMERICAN     BALLADS  603 

Leo  Frank  he  met  her.  he  met  her  with  an  awful  sigh ; 
He  said  to  her,  'Little  Mary,  this  day  you  are  going  to  die.' 

She  knelt  on  her  knees  before  him  and  prayed  that   she 

might  live 
And  go  back  to  her  dear  old  parents  and  the  friends  that 

she  loved  best. 

But  Leo  Frank  did  not  listen  to  a  single  word  she  had  said, 
But  he  picked  up  a  stick  from  the  trash  pile  and  hit  little 
Mary  on  the  head. 


254 

Marian  Parker 

Four  ballads  in  our  collection  (Nos.  255,  256,  257,  258)  relate 
independently  of  each  other  the  kidnaping  and  murder  of  Marian 
Parker.  The  twelve-year-old  daughter  of  a  Los  Angeles  banker 
was  abducted  from  her  home  on  December  14,  1927.  On  Decem- 
ber 17  her  mutilated  body  was  left  at  the  feet  of  her  father,  who 
had  gone  to  an  appointed  place  carrying  ransom  money  demanded 
by  her  abductor.  On  December  20  W.  E.  Hickman  was  named  as 
her  murderer.  Hickman  was  convicted  on  February  9,  1928,  and 
was  hanged  on  October  19  following. 

'Marion   Parker.'     From   Mrs.    Minnie   Church,   Heaton,   Avery  county, 
1930. 

1  Away  out  in  California 
A  family  bright  and  gay 
Was  planning  for  their  Xmas 
Not  very  far  away. 

2  They  had  a  little  daughter, 
A  sweet  and  pretty  child, 

And  all  the  folks  who  knew  her 
Loved  Marion  Parker's  smiles. 

3  She  left  her  home  one  morning 
For  school  not  far  away, 

And  no  one  dreamed  that  danger 
Could  come  to  her  that  day. 

4  When  the  murderous  Vilion 
All  beamed  with  heart  of  stone 
Took  little  Marion  Parker 
Away  from  friends  and  home. 

5  The  world  was  horrid  stricken 
And  People  held  their  breath 
Until  they  found  poor  Marion 
Her  body  cold  in  death. 


604  NORTH  CAROLINA  FOLKLORE 

6  And  then  they  caught  the  coward 
Young  Hickman  was  their  man 
They  sent  him  back  to  Justice 
His  final  trial  to  stand. 

7  Now  People  all  take  warning 
Both  Parents  far  and  near 
We  cannot  guard  too  closely 
The  ones  we  love  so  well. 


255 

The  Murder  of  Marian  Parker 

For  the  background  facts,  see  the  preceding  ballad. 

'The   Murder   of   Marian   Parker.'     From   O.   L.   Coffey,   Shull's    Mills. 
Watauga  county,  August  1939. 

1  In  a  home  out  in  Los  Angeles 
Lived  a  sweet  little  darling  so  fair. 
'Twas  a  pleasure  her  loved  ones  to  be, 

But  these  loved  ones  her  joy  no  more  they'll  share. 

2  For  one  fatal  day  there  entered  in 
To  that  home  a  demon  steeped  in  sin. 
Little  Marian  Parker  crudely  played; 
Left  those  loved  ones  ne'er  to  return  again. 

3  Lured  away  from  school  that  fatal  day. 
Her  father  a  ransom  had  to  pay ; 
And  her  body  severed  limb  from  limb, 
Crudely  brought  by  the  fiend  and  cast  at  him, 

4  May  this  sad  story  bring  to  our  hearts 
A  message  of  warning  and  care. 

For  those  from  whom  she  must  part 

Made  a  whole  nation  breathe  to  God  a  prayer. 

5  When  the  final  day  of  time  shall  come, 
And  the  Great  Judge  tries  the  guilty  one, 

May  those  loved  ones  all  meet  before  the  Throne, 
Gathered  there  in  that  eternal  home. 

256 

Little  Marion  Parker 
'Little  Marion  Parker.'     From  the  John  Burch  Blaylock  Collection. 

I      Now  little  Marion  Parker, 
She  left  her  home  one  day. 


NATIVE     AMERICAN     BALLADS  605 

She  Started  to  the  schoolhouse ; 
Her  heart  was  light  and  gay. 

Upon  that  fatal  morning 
She  kissed  her  mother  good-bye ; 
But  little  did  the  poor  child  think 
That  she  was  going  to  die. 

She  took  her  loving  sister 
And  started  down  the  street ; 
She  left  her  home  that  morning, 
An  awful  fate  to  meet. 

And  as  they  walked  together, 
Although  they  did  not  know 
That  following  in  their  footsteps 


5  For  at  her  class  that  morning, 
This  Edward  Hickman  went 
To  tell  little  Marion  Parker 
Of  her  papa's  accident. 

6  He  took  her  from  the  schoolroom 
And  carried  her  away ; 

And  wrote  to  her  dear  papa, 
T  kidnapped  her  today. 

7  'If  you  want  your  daughter 
A  ransom  you  must  pay. 

Now  let  me  give  you  fair  warning. 
You  do  just  what  I  say. 

8  'Bring  fifteen  hundred  dollars 
Unto  some  hiding  place, 

Or  Marion's  death  will  follow ; 
You'll  never  see  her  face.' 

9  Her  papa  took  the  money 
Just  as  the  lad  had  said. 

But  when  he  found  little  Marion, 
His  darling  child  was  dead. 

10     It  was  an  awful  murder, 
The  blackest  in  the  state ; 
At  the  hands  of  Edward  Hickman 
Little  Marion  met  her  fate. 


6o6  north    carolina   folklore 

Edward  Hickman 
'Edward  Hickman.'     From  the  John  Burch  Blaylock  Collection. 

1  Oh,  come  all  ye  good  people 
And  listen  while  I  tell, 

The  fate  of  Edward  Hickman, 
A  boy  we  all  know  well. 

2  He  kidnapped  Marion  Parker ; 
He  thought  he'd  gain  a  ransom, 
But  the  law  soon  ran  him  down. 


3  He  took  her  to  the  movie 
And  gave  her  candy  too, 
And  made  her  every  promise 
To  every  kind  and  true. 

4  T  only  need  some  money 
That  your  rich  dad  can  give. 
If  you  will  pay  the  ransom, 
Your  little  girl  shall  live.' 

5  Then  he  took  poor  little  Marion 
And  brought  her  to  his  room. 

But  little  did  she  dream  that  night 
She  would  meet  her  doom. 

6  Then  early  in  the  morning 
She  found  that  he  had  lied. 
Before  the  evening  sun  had  set 
The  little  girl  had  died. 

7  Oh,  how  the  news  was  flying, 
Broadcast  by  the  radio. 
Throughout  the  entire  country, 
Stirring  up  the  people  so. 

8  So  way  up  in  Oregon, 

In  a  far  ofif  Western  town, 
The  fox  at  last  was  captured — 
The  law  had  run  him  down. 

9  The  judge  then  found  him  guilty; 
In  black  the  bird  is  dressed. 

The  people  pass  the  trial; 
The  judge  then  took  his  seat. 


NATIVE     AMERICAN     HALLADS  607 

10  The  Story  of  that  murder 
Is  too  awful  to  repeat; 

The  jury  passed  the  sentence, 
'We  will  hang  him  'til  he's  dead.' 

11  There  stood  his  anxious  mother 
With  a  tear  drop  in  her  eye. 
'What  a  pity,  oh,  what  a  pity 
My  precious  son  must  die. 

12  'Edward,  darling  Edward, 
Unto  your  fateful  doom 
You'll  be  carried  to  the  chapel 
To  meet  an  awful  doom.' 


258 

Joe  Bowers 

For  an  account  of  the  range  of  this  most  widely  known  of  the 
songs  of  the  forty-niners  and  the  theories  as  to  its  origin,  see  BSM 
341-2.  To  the  references  there  given  may  be  added  Michigan 
(BSSM  480 — listed  but  text  not  given),  Virginia  (Davis  FSV, 
listed). 

'Joe  Bowers.'  Reported  by  Thomas  Smith  in  191 5  as  obtained  from 
Mrs.  Mae  Smith  Fox  of  Vilas,  Watauga  county;  with  the  notation  that 
it  "was  sung  in  this  part  of  the  county  fifty  years  ago.  George  Smith 
of  Sugar  Grove  used  to  sing  this  song  a  great  deal." 

1  My  name  is  Joe  Bowers;  I've  got  a  brother  Ike. 

I  came  from  old  Missouri,  all  the  way  from  Pike. 
I'll  tell  you  why  I  left  thar,  and  why  I  came  to  roam 
And  leave  my  poor  old  mammy  so  far  away  from  home. 

2  I  used  to  court  a  gal  thar ;  her  name  was  Sally  Black. 

I  axed  her  if  she'd  marry  me;  she  said  it  was  a  whack. 
Says  she  to  me,  'Joe  Bowers,  before  we  hitch  for  life. 
You  ought  to  get  a  little  home  to  keep  your  little  wife.' 

3  'Oh,  Sally,  dearest  Sally,  oh,  Sally,  for  your  sake 
I'll  go  to  California  and  try  to  raise  a  stake.' 

Says  she  to  me,  'Joe  Bowers,  you  are  the  man  to  win ; 
Here's  a  kiss  to  bind  the  bargain,'  and  she  hove  a  dozen  in. 

4  When  I  got  in  that  country  I  hadn't  nary  red. 

I  had  such  wolfish  feelings  I  wished  myself  'most  dead. 
But  the  thoughts  of  my  dear  Sally  soon  made  them  feel- 
ings git 
And  whispered  hopes  to  Bowers.     I  wish  I  had  'em  yit. 


6o8  NORTH     CAROLINA     FOLKLORE 

5  At  length  I  went  to  mining,  put  in  my  biggest  licks, 
Went  down  upon  the  boulders  just  like  a  thousand  bricks. 
I  worked  both  late  and  early,  in  rain,  in  sun,  in  snow. 

I  was  working  for  my  Sally ;  'twas  all  the  same  to  Joe. 

6  At  length  I  got  a  letter  from  my  dear  brother  Ike. 
It  came  from  old  Missouri,  all  the  way  from  Pike. 

It  brought  to  me  the  darndest  news  that  ever  you  did  hear ; 
My  heart  is  almost  bustin',  so  pray  excuse  this  tear. 

7  It  said  that  Sal  was  false  to  me,  her  love  for  me  had  fied ; 
She'd  got  married  to  a  butcher.     The  butcher's  hair  was 

red.. 
And  more  than  that,  the  letter  said — it's  enough  to  make 

me  swear — 
That  Sally  had  a  baby ;  the  baby  had  red  hair. 

8  Now  I've  told  you  all  about  this  sad  afifair, 

'Bout  Sally  marrying  a  butcher,  that  butcher  with  red  hair. 
But  whether  'twas  a  boy  or  gal  child  the  letter  never  said. 
It  only  said  the  baby's  hair  was  inclined  to  be  red. 

259 

Sweet  Jane 

A  ballad  of  California  gold  fever  times,  apparently,  very  likely 
circulated  as  a  stall  print  though  it  has  not  been  found  as  such. 
Shearin's  Syllabus  shows  that  it  was  known  in  Kentucky,  and 
Combs  also  reports  it  from  there  (FSMEU  206-7).  The  Archive 
of  American  Folk  Song  has  records  of  it  from  New  York,  Vir- 
ginia, and  Missouri. 

A 
'Sweet  Jane.'     From  the  collection  of  Miss  Isabel  Rawn. 

1  Farewell,  sweet  Jane,  for  I  must  start 
Across  the  foaming  sea. 

My  trunk  is  now  on  Johnston's  barque 
With  all  my  company. 

2  Then  do  not  weep,  sweet,  loving  Jane, 
Come,  dry  those  tearful  eyes, 

For  I'll  return  to  you  again 
Unless  your  Willie  dies. 

3  I  see  the  sails  upon  the  barque, 
The  time's  all  now 

Take  one  sweet  kiss  l^efore  I  start 
It's  mighty  deep  to  plow.^ 
^  Combs's  Kentucky  text  sets  this  right : 

I  see  the  sails  upon  the  bar, 
They  are  all  ready  now ; 
Just  one  sweet  kiss  before  I  go, 
'Tis  mighty  deep  to  plow. 


NATIVE     AMERICAN     BALLADS  609 

4  She  met  my  lips  with  flowing  tears, 
And  then  I  kissed  her  hand. 

'Oh,  think  of  me.  sweet  W'ilhe  dear. 
When  in  some  far  ofl^  land.' 

5  My  bosom  felt  a  feeling  then 
It  never  felt  before. 

I  got  on  board  with  Johnston's  men 
And  left  my  native  shore. 

6  For  three  long  months  we  all  did  sail 
Upon  the  billows  wide ; 

The  crew  was  filled  with  mirth  and  glee. 
But  still  my  bosom  sighed. 

7  At  length  we  drew  in  sight  of  land 
And  landed  on  the  shore 

And  I  did  wander  my  way  to  the  mines 
To  dig  the  golden  ore. 

8  For  three  long  years  I  labored  hard 
A-digging  of  my  wealth. 

]  lived  on  Ijread  and  salted  lard 
And  never  lost  my  health. 

9  I  loaded  up  my  trunk  with  gold 
And  then  I  thought  of  Jane. 

The  anxious  thought  that  homewards  roll 
As  I  recrossed  the  main. 

10  For  four  long  months  we  all  did  sail 
Upon  the  stormy  deep. 

One  night  I  thought  we  all  were  lost. 
The  captain  was  asleep. 

1 1  At  last  we  drew  in  sight  of  land, 
Of  our  old  native  town, 

And  our  good  captain  did  command 
To  take  the  rigging  down. 

12  'At  five  o'clock  we  heard  the  roar 
From  out  the  cannon's  mouth. 

And  we  were  welcomed  to  the  shore 
Of  our  old  sunny  South. 

13  I  saw  a  crowd  of  lovely  girls 
Come  marching  to  the  ship ; 

I  saw  sweet  Jane,  with  all  her  curls, 
And  I  began  to  skip. 


6lO  NORTH  CAROLINA  FOLKLORE 

14  I  met  her  on  the  marble  walk ; 
My  heart  was  filled  with  charm. 

We  both  so  glad  we  could  not  speak ; 
I  caught  her  in  my  arms. 

15  We  walked  along  the  marble  walk 
Up  to  her  father's  door. 

Oh,  Jane  did  look  so  nice  and  neat 
While  standing  on  the  floor ! 

16  The  parson  read  the  marriage  vows 
That  bound  us  both  for  life ; 

And  Jane  is  mine  without  a  doubt, 
My  own  dear  darling  wife. 

B 
'Sweet  Jane.'     From  the  collection  of  Louise  Rand  Bascom,  Highlands, 
Macon  county,  in  1914.     This  text  omits  some  of  the  stanzas  of  A  and 
rearranges  others;  it  consists  of  stanzas  i,  2,  4,  10,  8,  13-16  of  A  with 
some  slight  changes  of  language. 

260 
Jack  Haggerty 

The  history  of  this  song  (otherwise  known  as  'The  Flat  River 
Girl')  has  been  worked  out  by  personal  investigation  of  the  persons 
and  place  concerned  by  Geraldine  J.  Chickering  (MLN  l  465-8). 
Haggerty  was  a  real  person,  though  not  the  author  of  the  song. 
It  was  made,  it  seems,  by  one  of  Haggerty's  fellow  woodsmen  at 
Greenville  on  Flat  River,  Michigan,  in  the  winter  of  1872-73,  as  a 
sort  of  spite-song  against  one  Mercer,  engaged  to  the  girl  of  the 
story  (whose  name  was  Anna  Tucker),  because  Mercer  had  been 
appointed  foreman  of  the  logging  team  though  he  was  younger  and 
less  experienced  in  the  business  than  the  Irishman  McGinnis,  who 
made  up  the  song  and  put  Haggerty's  name  to  it.  One  would  not 
expect  a  song  so  made  to  last  long  or  travel  far ;  yet  'Jack  Haggerty' 
is  known  and  sung  by  woodsmen  pretty  much  everywhere  there  are 
lumberjacks;  in  Maine  (MM  124-5,  MWS  74-5),  New  Hampshire 
(FSONE  214-7),  Pennsylvania  (NPM  212-3),  Michigan  (BSSB 
3-5,  SML  123-32,  BSSM  267-9),  Wisconsin  (ASb  392-3),  Minne- 
sota (BSSB  8-10),  and  North  Dakota  (BSSB  6-8),  and  very  likely 
elsewhere.  The  text  in  our  collection  does  not  represent  North 
Carolina  tradition,  having  been  secured  by  Mrs.  Vance  of  Plum- 
tree,  Avery  county,  from  a  girl  who  came  from  Shelby,  Wisconsin. 

'Jack  Haggerty.'     Contributed  through  Mrs.  Vance  by  Dorothy  Royall 
of  Shelby,  Wisconsin. 

I      I'm  a  broken-hearted  raftsman,  from  Greenville  I  came; 
I  courted  a  lassie,  a  girl  of  great  fame. 
But  cruel-hearted  Cupid  has  caused  me  much  grief; 
My  heart  it's  asunder,  I  can  ne'er  find  relief. 


NATIVE     AMERICAN     BALLADS  6ll 

■1     My  troubles  I'll  tell  you  without  more  delay. 
A  comely  young  lassie  my  heart  stole  away. 
She  was  a  blacksmith's  only  daughter  from  Flat  River  side, 
And  I  always  intended  for  to  make  her  my  bride. 

3  I  brought  her  rich  jewels  and  the  finest  of  lace 
And  the  costliest  of  muslins;  it  was  her  I'd  embrace. 
I  gave  her  my  wages  for  her  to  keep  safe ; 

I  begrudged  her  nothing  that  I  had  myself. 

4  My  name  is  Jack  Haggerty  where  the  white  waters  flow ; 
My  name  it's  engraved  on  the  rocks  of  the  shore ; 

I'm  a  boy  that  stands  happy  on  a  log  in  the  streams, 

My  heart  was  with  Hannah,  for  she  haunted  my  dreams. 

5  I  went  up  the  river  some  money  to  make. 

I  was  steadfast  and  steady,  I  ne'er  played  the  rake. 
Through  Hart  and  through  Shelby  I  am  very  well  known ; 
They  call  me  Jack  Haggerty,  the  pride  of  the  town. 

6  One  day  on  the  river  a  letter  I  received 

That  it  was  from  her  promises  herself  she'd  relieved ; 
She'd  be  wed  to  a  young  man  who  a  long  time  delayed, 
And  the  next  time  I'd  see  her  she  would  not  be  a  maid. 

7  Then  adieu  to  Flat  River!     For  me  there's  no  rest. 
I'll  shoulder  my  peavey  and  I'll  go  out  West. 

I'll  go  to  Muskegon  some  pleasures  to  find. 
And  I'll  leave  my  own  Flat  River  darling  behind. 

8  So  come  all  you  jolly  raftsmen  with  hearts  stout  and  true, 
Don't  depend  on  a  woman ;  you're  sunk  if  you  do. 

And  if  you  chance  to  meet  one  with  dark  chestnut  curls. 
Just  think  of  Jack  Haggerty  and  his  Flat  River  girls. 

261 
The  Ocean  Burial 

This  song,  the  authorship  of  which  has  been  in  dispute  and  from 
which  arose  that  most  widely  known  of  cowboy  songs,  'The  Lone 
Prairie,'  has  some  claim  to  be  considered  an  American  folk  song 
in  its  own  right.  It  has  been  held  (Fulton  and  Trueblood's  Choice 
Readings,  Boston,  1885,  P-  169)  to  be  the  work  of  Capt.  Wm.  H. 
Saunders  of  the  United  States  Army.  For  pieces  akin  to  it,  see 
BSM  388.  But  it  now  seems  clear  that,  as  Barry  long  ago  sug- 
gested, it  is  the  work  of  the  Reverend  E.  H.  Chapin;  for  it  is 
printed  under  his  name  in  the  Southern  Literary  Messenger  v 
615-16  (September,  1839)  at  a  date  some  years  earlier  than  that 
assigned  by  Saunders'  brother  for  Saunders'  composition  of  it.  See 
FSONE  245-8.     It  is  reported  as  traditional  song  from  New  Eng- 


6l2  NORTH  CAROLINA  FOLKLORE 

land  (FSONE  245-8),  West  Virginia  (FSS  250-1),  Wisconsin 
(JAFL  Lii  30-1),  and  now  from  North  Carolina.  Its  popularity 
is  evidenced  not  only  by  these  reports  but  also  by  its  being  used 
as  the  basis  of  'The  Lone  Prairie' — parody  being  perhaps  the  most 
convincing  proof  of  popularity. 

'The  Ocean  Burial.'  Communicated  by  Miss  Mary  Morrow  oi  Greens- 
boro, in  1928. 

1  'Oh,  bury  me  not  in  the  deep,  deep  sea' — 
The  words  came  low  and  mournfully 
From  the  pallid  lips  of  a  youth  who  lay 
On  his  cabin  couch  at  close  of  day. 

He  had  wasted  and  pined  till  o'er  his  brow 
Death's  shadow  had  slowly  passed,  and  now, 
When  the  land  and  his  fond  loved  home  were  nigh, 
They  had  gathered  around  to  see  him  die. 

2  'Oh,  bury  me  not  in  the  deep,  deep  sea 
Where  the  billowy  waves  will  roll  over  me, 

Where  no  light  will  break  through  the  dark  cold  wave 

And  no  sunbeams  rest  upon  my  grave. 

It  matters  not,  I've  oft  been  told. 

Where  the  body  shall  rest  when  the  heart  grows  cold; 

But  grant  ye,  oh,  grant  ye  this  boon  to  me 

And  bury  me  not  in  the  deep,  deep  sea. 

3  'For  in  fancy  I've  listened  to  the  well  known  words. 
The  free  wild  winds,  and  the  songs  of  the  birds ; 

I  have  thought  of  home,  of  cot  and  of  bower, 
And  of  scenes  I  loved  in  childhood's  hour. 
I've  ever  hoped  to  be  laid  when  I  died 
In  the  churchyard  there  on  the  green  hillside. 
By  the  home  of  my  father  my  grave  should  be. 
Oh,  bury  me  not  in  the  deep,  deep  sea. 

4  'Let  my  slumber  be  where  a  mother's  prayer 
And  a  sister's  tear  shall  be  mingled  there ; 
'Twill  be  sweet  ere  the  heart's  gentle  throb  is  o'er 
To  know,  when  its  fountain  shall  gush  no  more, 
That  those  it  so  fondly  hath  yearned  for  will  come 
To  plant  the  first  wild  flowers  of  spring  on  my  tomb ; 
Let  me  He  where  those  loved  ones  will  weep  over  me. 
Oh,  bury  me  not  in  the  deep,  deep  sea. 

5  'And  there  is  another  whose  tears  would  be  shed 
For  him  who  lay  far  in  an  ocean  bed. 

In  hours  that  it  pains  me  to  think  of  now 

She  hath  twined  these  locks,  and  hath  kissed  this  brow. 

In  the  hair  she  hath  wreathed  shall  the  sea-serpents  hiss, 


NATIVE     AMERICAN     BALLADS  613 

And  the  brow  she  had  ]iressed  shall  the  cold  waves  kiss? 
For  the  sake  of  that  bright  one  that  waiteth  for  me 
Oh,  bury  me  not  in  the  deep,  deej)  sea. 

6     'She  hath  been  in  my  dreams' — his  voice  failed  there. 
They  gave  no  heed  to  his  dying  prayer. 
They  have  lowered  him  low  o'er  the  vessel's  side. 
Above  him  hath  closed  the  dark,  cold  tide. 
Where  to  dip  the  light  wing  the  sea  bird  rests. 
And  the  blue  waves  dance  o'er  the  ocean's  crest. 
Where  the  billows  bound,  and  the  winds  sport  free, 
They  have  buried  him  there  in  the  deep,  deep  sea. 

262 
The  Lone  Prairie 

This  most  widely  known  of  cowboy  songs  is  an  adaptation  of 
'The  Ocean  Burial,'  which  see.  Some  of  the  other  poems  upon  the 
same  theme  as  'The  Ocean  Burial'  are  discussed  in  BSM  388,  but 
without  knowledge  of  the  publication  of  Chapin's  poem  in  the 
Southern  Literary  Messenger  in  1839.  For  another  North  Caro- 
lina appearance,  see  Mrs.  Steely  122  (1935). 

A 

'The  Dying  Cowboy's  Prayer.'  Secured  from  Mrs.  Minnie  Church  of 
Heaton,  Avery  county,  in  1930.  The  manuscript  has  been  followed 
literatim,  but  the  pointing  is  the  editor's. 

1  'Oh,  bury  me  not  in  the  lone  pararie' — 
These  words  came  sad  and  mournfully 
From  the  pailed  lips  of  the  one  who  lay 
On  his  dying  bed  at  the  close  of  day. 

2  He  had  waited  in  pain  till  ore  his  brow 
Death's  shadows  fast  were  gathering  now ; 
He  talked  of  home  and  his  loved  ones  there 
As  the  cowboys  gathered  to  see  him  die. 

3  'It  matters  not,  I've  oft  been  toled. 

Where  the  body  lays  when  the  heart  grows  cold ; 
Yet  grant,  oh,  grant  this  wise  to  me 
And  bury  me  not  in  the  lone  pararie. 

4  'Oh,  bury  me  not' — then  his  voice  failed  there. 
But  we  took  no  heed  of  his  dying  prayer ; 

In  a  narrow  grave  just  six  by  three 
We  buried  him  there  on  the  lone  pararie. 

5  'Let  my  body  be  where  my  mother's  prayer 
And  my  sister's  care  will  mingle  there, 


6l4  NORTH  CAROLINA  FOLKLORE 

Where  my  friends  will  come  and  weep  o're  me, 
And  bury  me  not  on  the  lone  pararie.' 

6  Where  the  dew  drops  fall  and  the  butterflies  rest 
When  the  flowers  bloom  on  the  parade's  crest, 
Where  the  wild  cyots  and  the  wind  sports  free 
On  a  west  sadle  blanket  lay  a  cowboyee. 

7  And  the  cowboy  knelt  as  he  wrote  it  plain. 

For  the  marked  the  spot  where  his  body  was  lain ; 
In  the  narrow  grave  just  six  by  three 
They  buried  him  there  on  the  lone  pararie. 


'The  Lone  Prairie.'     Reported  by  L.  W.  Anderson  as  collected  by  Max- 
ine  Tillett,  one  of  his  pupils  at  Nag's  Head.    Three  stanzas  only. 

1  'Oh,  bury  me  not  on  the  lone  prairie' — 

The  words  came  slow  from  a  mournful  youth 
On  his  dying  couch  at  the  close  of  day — 
'O  grant,  O  grant  this  boon  to  me 
And  bury  me  not  on  the  lone  prairie. 

2  T  have  ofttimes  hoped  to  be  laid  when  I  died 
In  the  old  churchyard  by  the  green  hillside ; 
By  my  father's  bones  O  bury  me 

And  bury  me  not  on  the  lone  prairie. 

3  'Oh,  it's  bury  me  where  a  mother's  prayer 
And  a  sister's  tears  might  mingle  there, 
And  passing  friends  can  stop  and  mourn ; 
And  bury  me  not  on  the  lone  prairie.' 

263 

The  Unfortunate  Rake 

It  seems  best  to  use  this  title,  though  it  is  never,  we  believe,  used 
for  the  song  about  the  dying  cowboy,  in  order  to  distinguish  our 
song  from  others  having  a  like  theme — 'The  Lone  Prairie'  and 
others.  Our  song  is  an  adaptation  to  the  life  of  cowboys  of  a 
British  stall  ballad  about  a  soldier  "disordered"  by  a  woman,  well 
known  in  the  British  Isles.  There  is  a  fairly  full  account  of  the 
ballad  and  its  cowboy  adaptation  in  BSM  392-3.  To  the  references 
there  given  should  be  added  Somerset  (JEFDSS  iii  129-30,  the 
'Young  Girl  Cut  down  in  her  Prime'  form  of  the  story),  Vermont 
(NGMS  250-2),  Ohio  (BSO  283-4),  Michigan  (BSSM  252),  Vir- 
ginia (Davis  FSV  287,  listed),  Florida  (FSF  41-3).  The  several 
texts  in  the  North  Carolina  collection  do  not  differ  greatly;  only 
two  or  three  need  be  given  in  full.  The  scene  of  the  action  varies. 
Generally  it  is  a  barroom ;  probably  Lathian's  barroom,  Latherian's 
barroom,  the  Luthern  barroom   (and  in  the  Missouri  texts  Letheric 


NATIVE     AMERICAN     BALLADS  615 

Barren,  Latern  in  Barin)  preserve  the  memory  of  some  actual  drink- 
ing place,  but  it  has  not,  so  far  as  we  know,  been  identified.  In  its 
cowboy  adaptation  the  ballad  seldom  if  ever  hints  at  the  original 
cause  of  the  man's  death ;  instead,  he  has  taken  to  drink  and 
gambling,  and  now  has  been  shot  in  a  tavern  brawl. 


'The  Dying  Cowboy.'  From  Miss  Pearl  Webb  of  Pineda,  Avery  county. 
This  version  lacks  the  customary  opening  stanza ;  but  another  four-stanza 
text  communicated  by  her  begins : 

1  It  was  early  in  the  morning,  as  I  rode  down  the  lane 
To  meet  fair  borow  so  bright/ 

It  was  early  one  morning  I  spied  a  handsome  cowboy 
All  dressed  in  white  linen  and  clothed  for  the  grave. 

2  'The  sun  is  fast  sinking,  the  stars  are  fast  rising, 
And  I  shall  never  see  morning  again. 

Come  stand  ye  around  me ;  my  breath  is  expiring ; 
I'll  soon  be  ready  to  enter  the  tomb. 

3  'Then  play  your  fife  loudly,  and  beat  the  drum  slowly, 
And  play  the  dead  march  as  they  carry  me  along. 
Take  me  to  the  graveyard  and  lay  the  sod  o'er  me ; 
For  I'm  a  young  cowboy  and  know  I've  done  wrong. 

4  'Go  gather  around  me  a  crowd  of  young  cowboys 
And  tell  them  the  story  of  my  sad  fate. 

Go  tell  to  the  others  before  they  go  further 
To  stop  their  drinking  before  it's  too  late. 

5  'I've  missed  life  eternal,  I'm  bound  for  destruction; 
But  God  was  willing  that  I  should  do  so. 

Grieve  not  while  thinking  of  my  condition ; 
I'm  a  vile  sinner,  and  now  I  must  go. 

6  'Oh,  once  in  my  saddle  I  used  to  look  charming, 
Oh,  once  in  my  saddle  I  used  to  look  gay. 

I  first  took  to  drinking  and  then  to  card-playing. 
Got  shot  in  the  breast — and  now  I  must  die. 

7  'Someone  write  a  letter  to  my  aged  mother 
And  break  the  news  gently  to  sister  dear ; 
For  there  is  no  other  so  dear  as  a  mother ; 

And  how  she  would  grieve  if  she  knew  I  was  here ! 

8  'Some  one  go  bring  me  a  glass  of  cold  water, 
A  glass  of  cold  water,'  the  poor  fellow  said. 
And  when  they  returned,  the  spirit  had  left  him 
And  gone  to  its  Giver.     The  cowboy  was  dead. 

*  This  line  appears  also  in  B.     As  to  its  meaning  the  editor  offers  no 
guess. 


6l6  NORTH     CAROLINA     FOLKLORE 


'The  Cowboy.'  Secured  by  James  T.  Carpenter  of  Durham  from  Mrs. 
Mary  Martin  Copley  of  Route  8,  Durham,  in  1923.  Much  the  same  as 
A,  with  the  opening  stanza  as  noted  above ;  but  the  stanza  in  which  he 
asks  that  his  mother  be  notified  ends : 

But  then  there's  another  more  dear  than  a  mother 
Who'll  weep  bitter  tears  when  she  hears  I  am  dead. 

And  the  stanza  of  warning  to  his  fellow  cowboys  is  shifted  to  the  last 
place. 


'The  Dying  Cowboy.'  From  P.  D.  Midgett  of  Wanchese,  Roanoke 
Island.  Lacks  the  opening  stanza  of  location.  The  allusion  to  his  sweet- 
heart takes  the  form 

But  there  is  another  more  dear  than  a  brother 
Who  will  weep  more  bitter  tears  when   she  hears   I  am 
dead. 

And  a  variant  given  by  Miss  Fredericka  Jenkins  runs : 

And  there's  another,  as  precious  as  a  mother, 
Who     .     .     . 


'The  Dying  Cowboy.'  Sent  in  by  L.  W.  Anderson  as  collected  by  Blanche 
Mann  of  Nag's  Head.     Here  the  opening  stanza  runs : 

As  I  rode  down  to  Letherian's  barroom, 
Letherian's  barroom  one  morning  in  May, 
I  spied  a  young  cowboy  all  dressed  in  white  linen, 
All  dressed  in  white  linen  and  robed  for  the  grave. 


'Cow  Boy.'     From  W.  Amos  Abrams,  Boone,  Watauga  county,  in  1935 
or  1936.     Begins : 

As  I  rode  down  to  Lathian's  barroom, 
Lathian's  barroom,  so  early  one  morn     .     .     . 

and  the  directions  for  notification  of  his  death  run : 

Go  carry  the  sad  message  to  my  gray-headed  mother, 
Go  break  the  news  to  my  sister  so  dear ; 
But  don't  mention  a  word  I  have  told  you 
But  gather  around  my  story  to  hear. 

Oh !  yet  there's  another,  as  dear  as  a  sister, 
Who'll  bitterly  weep  when  she  hears  I  am  gone. 
And  yet  there  are  some  for  to  win  her; 
For  I  am  a  cowboy  and  I  know  I  have  done  wrong. 


NATIVE     AMERICAN     BALLADS  617 


'The  Wounded  Cowboy.'  From  Mrs.  Minnie  Church  of  Heaton,  Avery 
county,  in  1929.  Here  the  earlier  part  of  the  song  has  been  lost ;  it 
begins 


know  I've  done  wrong. 


Oh !  write  me  a  letter  to  my  gray-haired  mother, 
And  carry  the  same  to  my  sister  so  dear, 
But  never  a  word  of  this  note  shall  you  mention 
When  they  gather  around  you  my  story  to  hear. 

And  the  refrain  appears  only  as  the  last  stanza : 

We  beat  the  drum  lowly,  and  played  the  fife  slowly, 
And  bitterly  wept  as  we  bore  him  along ; 
For  we  all  loved  our  comrade  so  brave  and  so  handsome. 
We  all  loved  our  comrade  although  he'd  done  wrong. 


'The  Cowboy.'     From  O.  L.  Coflfey  of  ShuH's  Mills,  Watauga  county, 
in  1936.     No  significant  variations.     The  opening  line  is 

As  I  rode  down  to  the  Luthern  barroom     .     .     . 

H 
'The    Dying    Cowboy.'      From   the   manuscripts    of    G.    S.    Robinson    of 
Asheville,  copied  in  1939.     An  incomplete  version,  with  a  new  opening 
line, 

As  I  was  riding  through  old  Indiana, 

which  presents  an  improbable  locale  for  a  cowboy  story. 

I 
'The  Dying  Cowboy.'     From  Miss  Lura  Wagoner's  manuscript  book  of 
songs.     It  begins : 

As  I  wandered  down  the  lane  one  morning. 

As  I  passed  by  the  barroom  one  morning  in  May,     .     .     . 

Otherwise  no  significant  variants. 

J 
'The  Cowboy.'  From  Mrs.  Sutton,  as  sung  by  Myra  (Mrs.  J.  J.  Miller). 
Mrs.  Sutton  remarks :  "I  can't  see  why  the  next  two  songs  ['The  Cow- 
boy' and  'The  Texan  Ranger']  are  so  popular  in  North  Carolina.  Nor 
can  I  see  how  they  drifted  in.  I've  never  seen  a  real  'ballet-singer' 
who  didn't  sing  both."     Begins  simply 

As  I  wandered  down  the  lane  one  morning 

and  ends  somewhat  differently  from  other  versions: 

I  left  the  barroom  to  do  his  bidding, 

I  walked  very  slowly  with  his  downcast  head ; 


6l8  NORTH  CAROLINA  FOLKLORE 

I  sent  for  his  mother,  his  sister  and  sweetheart, 
But  before  I  got  back  the  cowboy  was  dead. 

K 

No  title.     Contributed  by  Allie  Ann  Pearce,  Colerain,  Bertie  county.    An 
abbreviated  text,  without  the  opening  stanza  and  so  without  locale. 


'A    Dying    Cowboy.'      A    single    stanza   only.      From    Merle    Smith,    of 
Stanly  county. 

264 
When  the  Work  Is  Done  This  Fall 

Despite  its  opening  line  this  cowboy  song  is  quite  distinct  from 
the  following  ballad.  No.  266.  It  is  known  in  Tennessee  (FSSH 
351-2),  North  CaroHna  (FSSH  352-3),  Texas  (PFLST  vi  143. 
where  Dobie  says  that  the  man's  name  was  Marshall  Johnson,  of 
Waco,  and  that  he  was  killed  some  time  "in  the  seventies"),  Mon- 
tana (CS  74-6),  and  California  (ASb  260-2);  the  Archive  of 
American  Folk  Song  has  a  recording  of  it  made  in  Texas ;  it  is 
listed  in  Davis  FSV  289. 

'When  the  Work  Is  Done  This  Fall.'     From  the  John  Burch  Blaylock 
Collection. 

1  A  group  of  jolly  cowboys  discussing  plans  at  ease, 

Says  one,  T'll  tell  you  something,  boys,  if  you  will  listen, 

please. 
I'm  an  old  cowpuncher  and  here  I'm  dressed  in  rags, 
But  I  used  to  be  a  tough  one,  and  take  on  big  jags. 

2  'But  I've  got  a  home,  boys,  a  good  one,  you  all  know. 
Although  I  haven't  seen  it  since  long,  long  ago. 

I'm  going  back  to  Dixie  once  more  to  see  them  all ; 
Yes,  I'm  going  to  see  my  mother  when  the  work  is  done 
this  fall. 

3  'After  the  round-ups  are  over  and  after  the  shipping's  done, 
I'm  going   straight   home,   boys,   before   all   my   money   is 

gone. 
I  have  changed  my  ways,  boys ;  no  more  will  I  fall. 
And  I'm  going  home,  boys,  when  the  work  is  done  this 

fall. 

4  'When  I  left  home,  boys,  my  mother  for  me  cried. 
Begged  me  not  to  go,  boys ;  for  me  she  would  have  died. 
My  mother's  heart  is  breaking,  breaking  for  me,  that's  all ; 
And  with  God's  help  I'll  see  her,  when  the  work  is  done 

this  fall.' 


NATIVE     AMERICAN     BALLADS  619 

5  That  very  night  this  cowboy  went  out  to  stand  his  guard. 
The  night  was  dark  and  cloudy  and  storming  awful  hard. 
The  cattle  they  got  frightened  and  rushed  in  wild  stampede ; 
The  cowboy  tried  to  herd  them,  riding  at  full  speed. 

6  While  riding  in  the  darkness  so  loudly  did  he  shout, 
Trying  his  best  to  head  them  and  turn  the  herd  about. 
His  saddle  horse  did  stumble  and  on  him  did  fall. 

The  poor  boy  won't  see  his  mother  when  the  work  is  done 
this  fall. 

7  His  body  was  so  mangled  the  boys  all  thought  him  dead. 
They  picked  him  up  so  gently,  and  laid  him  on  a  bed. 

He  opened  wide  his  blue  eyes  and,  looking  all  around, 
He  motioned  his  comrades  to  sit  near  him  on  the  ground. 

8  'Boys,  send  mother  my  wages,  the  wages  I  have  earned. 
For  I'm  afraid,  boys,  my  last  steer  I  have  turned. 
I'm  going  to  a  new  range,  I  hear  my  Master's  call; 

And  I'll  not  see  my  mother  when  the  work  is  done  this  fall. 

9  'Fred,  you  take  my  saddle ;  George,  you  take  my  bed ; 
Bill,  you  take  my  pistol,  after  I  am  dead. 

And  think  of  me  kindly  when  you  look  upon  them  all, 
For  I'll  not  see  my  mother  when  the  work  is  done  this 
fall.' 

10     Poor  Charlie  was  buried  at  sunrise,  no  tombstone  at  his 

head. 
Nothing  but  a  little  board,  and  this  is  what  it  said : 
'Charlie  died  at  daybreak,  he  died  from  a  fall ; 
And  he'll  not  see  his  mother  when  the  work  is  done  this 

fall.' 


265 
A  Jolly  Group  of  Cowboys 

Substantially  the  same  text  (but  with  'Slaughter'  instead  of 
'Franklin'  in  the  second  line)  is  given  by  J.  Frank  Dobie  from 
Texas  (PFLST  vi  165-6),  and  reprinted  in  CS  124-5  with  the 
editorial  notation  that  "Mrs.  Bob  Criswell  of  the  Swenson  Ranch, 
Throckmorton,  Texas,  sang  me  a  slightly  dififerent  version."  Dobie's 
text — which  he  says  he  "amalgamated"  from  two  versions  known 
to  him — is  entitled  'Home,  Sweet  Home.'  In  content,  however,  it 
is  quite  distinct  from  another  cowboy  song  with  a  like  title,  'The 
Message  from  Home,  Sweet  Home,'  which  is  also  found  in  the 
North  Carolina  collection. 

'A  Jolly  Group  of  Cowboys.'     Contributed  by  W.  Amos  Abrams,  Boone, 
Watauga  county. 


620  NORTH     CAROLINA     FOLKLORE 

1  A  jolly  group  of  cowboys 

On  a  Franklin  ranch  one  night, 
Their  heads  upon  their  saddles 
And  their  camp  fires  burning  bright. 

2  Some  were  telling  stories 
And  some  were  singing  songs, 
Some  were  smoking  cigarettes 
While  the  hours  rolled  along. 

3  At  once  they  began  their  talking 
Of  distant  friends  so  dear. 

A  boy  raised  his  head  from  the  saddle 
And  brushed  away  a  tear. 

4  They  asked  him  why  he  left  his  home 
That  it  seemed  so  dear  to  him ; 

That  he  raised  his  head  from  his  saddle 
And  with  tears  his  eyes  grew  dim. 

5  And  he  raised  his  head  from  his  saddle 
And  gazed  the  rough  boys  o'er. 

Says,  'Boys,  I'll  tell  you  the  reason 
1  stay  at  home  no  more. 

6  T  fell  in  love  with  a  neighbor  girl ; 
Her  cheeks  were  fair  and  white. 
Another  fellow  loved  this  girl, 
And  it  ended  in  a  fight. 

7  'This  fellow's  name  was  Tommie  Smith 
And  we  had  been  great  chums. 

We  shared  each  other's  troubles,  boys. 
And  we  shared  each  other's  fun. 

8  'It  almost  makes  me  shudder 
To  think  of  that  sad  night ; 

When  Tommie  and  I  were  quarreling 
I  stabbed  him  with  my  knife. 

9  *I  fell  upon  my  knees  beside  him 
And  tried  to  stop  the  blood 
That  flowed  down  so  gently 

In  a  glowing  crimson  flood. 

10     'I  can  almost  hear  Tommie's  voice 
As  the  boys  all  gathered  round ; 
Says,  "Bob,  old  boy,  you'll  remember  this 
When  I  am  under  ground!" 


NATIVE     AMERICAN 

*So,  boys,  you  know  the  reason 
Why  I'm  compelled  to  roam, 
And  why  I  am  so  far  away 
From  dear  old  home,  sweet  home. 


266 
Great  Granddad 


621 


This  is  reported  as  cowboy  song  both  by  the  Lomaxes  (CS  302-4) 
and  by  Margaret  Larkin  in  her  Singing  Ccnvboy  (New  York,  1931, 
PP-  73-5)-  It  is  listed  in  the  Archive  of  American  Folk  Song 
Check-List.     Its  authorship  remains  undisclosed. 

'Great  Granddad.'  Sung  by  Obadiah  Johnson  of  Crossnore,  Avery  county, 
in  July,  1940. 

1  Great-grand-dad,  when  the  land  was  young, 
Barred  his  door  with  a  wagon-tongue ; 

For  times  was  tough,  and  the  redskins  mocked. 
And  he  said  his  prayers  with  his  shotgun  cocked. 

2  Great-grand-dad  was  a  lusty  man. 
Cooked  his  grub  in  a  frying  pan. 
Picked  his  teeth  with  his  hunting  knife, 
And  wore  the  same  suit  all  his  life. 

3  Twenty-one  children  came  to  bless 
The  old  man's  home  in  the  wilderness. 
Doubt  this  statement  if  you  can 

That  great-grand-dad  was  a  busy  man. 

4  Twenty-one  boys  and  not  one  bad. 

They  never  got  fresh  with  their  great-grand-dad ! 
If  they  had,  he'd  have  been  right  glad 
To  tan  their  hides  with  a  hickory  gad. 

5  He  raised  them  rough  but  he  raised  them  strong ; 
When  their  feet  took  hold  on  the  road  to  wrong 
He  straightened  them  out  with  the  old  ramrod 
And  filled  them  full  of  the  fear  of  God. 

6  They  grew  strong  in  heart  and  hand, 
A  firm  foundation  of  our  land. 

They  made  the  best  citizens  we  ever  had. 
We  need  more  men  like  great-grand-dad. 

7  Grand-dad  died  at  eighty-nine  ; 
Twenty-one  boys  he  left  behind. 

Times  have  changed,  but  you  never  can  tell ; 
You  might  yet  do  half  as  well. 


622  NORTH     CAROLINA     FOLKLORE 

267 

The  Lily  of  the  West 

Frequently  printed  as  a  stall  ballad,  and  recorded  from  tradition 
in  Nova  Scotia,  Kentucky,  Ohio,  and  Missouri  (see  BSM  132),  and 
in  North  Carolina  (FSRA  192,  two  stanzas  only).  The  text  in  our 
collection  likewise  is  incomplete ;  the  Missouri  version  has  six 
stanzas. 

Mr.  Lamar  Lunsford,  Leicester,  Buncombe  county,  sang  a  much 
longer  version  to  the  North  Carolina  Folklore  Society  at  Raleigh 
on  December  5,  1947. 

'The  Lily  of  the  West.'    Secured  by  Julian  P.  Boyd  of  Alliance,  Pamlico 
county,  in  1927,  from  James  Tingle,  one  of  his  pupils  in  the  school  there. 

I     I  just  came  down  from  Louisville 
Some  pleasure  for  to  find, 
A  handsome  girl  from  Michigan, 
So  pleasing  to  my  mind. 
She  sang,  she  sang  so  merrily. 
While  I  was  so  oppressed. 
Her  name  w^as  Handsome  Mary, 
The  Lily  of  the  West. 

I     I  courted  her  for  many  a  day ; 
Her  love  I  thought  to  gain. 
So  soon,  so  soon  she  slighted  me. 
Which  caused  me  grief  and  pain. 
She  robbed  me  of  my  liberty, 
Deprived  me  of  my  rest ; 
Her  name  was  Handsome  Mary, 
The  Lily  of  the  West. 

268 
Bill  Miller's  Trip  to  the  West 

A  fragment,  looking  back  to  Civil  War  times ;  at  least  the  con- 
tributor, E.  J.  Norris,  has  noted  on  the  manuscript :  "Bill  Miller 
from  Wilkes  county,  captain  in  the  Confederate  Army,  and  killed." 

When  I  got  there  I  looked  around ; 
No  Christian  man  or  church  I  found. 

269 
Cheyenne 

Probably  a  music-hall  piece  originally.  The  song  given  under  this 
title  in  Cowboy  Songs  is  a  quite  different  affair.  Under  the  same 
title  the  Archive  of  American  Folk  Song  lists  records  made  in  Vir- 
ginia and  Texas  which  may  or  may  not  be  the  same  as  our  song. 


NATIVE     AMERICAN     BALLADS  623 

'Cheyenne.'  From  the  John  Burch  Blaylock  Collection.  The  verse 
arrangement  depends  presumably  on  the  music,  which  Mr.  Blaylock  did 
not  record. 

1  Way  out  in  old  Wyoming,  long  ago, 

Where  coyotes  lurk,  while  night  winds  howl  and  blow, 

A  cowboy's  husky  voice  rang  out,  'Hello,' 

And  echoed  through  the  valley  down  below. 

Then  came  back  a  maiden's  answer,  sweet  and  clear ; 

Cowboy  tossed  his  hat  up  in  the  air. 

Said  he,  'I've  come  to  take  you  right  away  from  here; 

Cheyenne,  they  say,  is  miles  away,  but  they've  a  preacher 

there.' 
Then  she  just  dropped  her  eyes;  she  was  so  very  shy,  so 

shy,  oh  my. 
And  then  she  made  reply  :  'Oh !  Oh  !  Oh  !' 

Chorus: 

Shy  Ann,  shy  Ann,  hop  on  my  pony,  there's  room  here 

for  two,  dear. 
But  after  the  ceremony  we'll  both  ride  back  home,  dear, 

as  one. 
On  my  pony  from  old  Cheyenne,  Oh !  Oh !  Oh ! 

2  They  rode  that  night  and  nearly  half  the  day; 
Cheyenne  was  sixty-seven  miles  away. 

But  when  at  last  they  galloped  on  the  street 

The  cowboy's  pride  was  really  hard  to  beat, 

On  his  arms  his  future  bride  a-carrying. 

But  beneath  the  little  church's  dome  said  she, 

'I  feel  like  turning  back,  not  marrying.' 

His  face  got  red,  and  then  he  said, 

'You  will,  or  you'll  walk  home ; 

If  you  ride  back  today,  you'll  honor  and  obey.' 

T  do,  I  do!'     Then  he  was  heard  to  say,  'Oh!  Oh!  Oh!' 


270 

John  Henry 

Few  if  any  folk  songs  of  American  origin  have  been  so  ex- 
tensively and  intensively  studied  as  'John  Henry.'  See  Cox's  orig- 
inal discussion  of  the  relation  between  it  and  'John  Hardy'  (JAFL 
XXXII  505-20)  and  his  headnote  to  the  latter  ballad  (FSS  175-7)  ! 
White's  admirable  note  (ANFS  189-90)  ;  Guy  B.  Johnson's  John 
Henry:  Tracking  Down  a  Negro  Legend  (University  of  North 
Carolina  Press,  1929)  ;  Henry's  headnote  (FSSH  441-2)  ;  and 
Chappell's  John  Henry:  A  Folklore  Study  (Jena,  1933).  Mrs. 
Steely  184-5  (i935).  gives  two  versions.  For  the  relation  between 
'John  Henry'  and  'John  Hardy' — the  latter  a  ballad  about  a  Negro 


624  NORTH     CAROLINA     FOLKLORE 

gambler  and  murderer,  given  here,  pp.  563-66,  one  cannot  do  better 
than  quote  from  Professor  White's  summary : 

The  following  facts  seem  to  be  fairly  clear:  (i)  John  Hardy  and  John 
Henry  were  both  steel-driving  men,  probably  Negroes,  in  West  Virginia. 
(2)  John  Hardy  was  a  gambler,  roue,  and  murderer,  and  was  executed 
for  murder.  (3)  John  Henry  had  no  vicious  traits,  and  died  as  a  result 
of  trying  to  beat  a  steam  drill.  (4)  John  Henry  songs  are  more  com- 
monly sung  and  have  spread  farther  from  West  Virginia. 

From  these  facts  I  draw  the  tentative  conclusions  that  the  John  Henry 
and  John  Hardy  songs  both  arose  in  West  Virginia;  that  they  have 
somewhat  coalesced  in  that  state,  but  are  distinctly  different  songs ;  and 
that  John  Henry  is  probably  the  older  of  the  two. 

Johnson's  book  was  published  a  year  after  White's ;  Chappell's  work 
is  largely  an  attack  upon  Johnson  and  does  not  appreciably  con- 
tribute to  our  knowledge  of  the  song  and  its  origin.  They  are 
agreed  that  the  legend  of  the  "steel-driver"  who  died  in  his  tri- 
umphant duel  with  the  steam  drill  arose* out  of  the  driving  of  the 
tunnel  at  Big  Bend,  West  Virginia,  in  1870-72.  There  are  many 
hammer  songs,  some  of  which  do  not  mention  John  Henry ;  some 
of  them  may  be  older  than  the  Big  Bend  tunnel;  and  Chappell's  con- 
tention that  in  the  songs  the  hammer  often  carries  the  implication 
of  sexual  intercourse  is  in  itself  not  improbable.  Compare  the 
ballad  of  'The  Nightingale.'  But  it  is  primarily  a  work  song,  and 
as  such  has  been  found  pretty  much  wherever  Negroes  work  in 
gangs ;  there  are  phonograph  records  of  it,  also,  and  from  these 
white  people  have  learned  to  sing  it.  All  of  our  texts  but  one  are 
fragmentary,  and  some  of  them  are  merely  hammer  songs,  without 
mention  of  John  Henry. 


•John  Henry.'     From  the  manuscripts  of  G.   S.  Robinson  of  Asheville, 
copy  taken  August  4,  1939. 

1  John  Henry  was  a  steel-driving  man, 
You  could  hear  his  hammer  half  a  mile. 
But,  alas,  one  day  he  couldn't  go  down. 
He  laid  down  his  hammer  and  he  cried, 
He  laid  down  his  hammer  and  he  cried. 

2  When  John  Henry  was  a  little  babe 
A-sitting  on  his  mamma's  knee, 
He  looked  up  in  his  papa's  face : 
'A  hammer'll  be  the  death  of  me, 
A  hammer'll  be  the  death  of  me.' 

3  John  Henry  had  a  little  wo-man, 
Her  name  was  Polly  Ann. 

When  John  Henry  lay  there  on  his  bed : 
Tolly,  do  the  best  you  can.' 

4  John  Henry  had  a  little  wo-man 
And  he  kept  her  all  dressed  in  blue. 


NATIVE     AMERICAN     BALLADS  625 

She  would  talk  out  through  the  old  tunnel 
And  said,  'John  Henry,  I've  heen  true  to  you,' 
And  said,  'John  Henry,  I've  been  true  to  you.' 

John  Henry  had  one  only  son ; 
He  could  sit  in  the  palm  of  your  hand. 
He  awarded  this  lot  to  his  lonesome  cries : 
'Son,  don't  be  a  steel-driving  man, 
'Son,  don't  be  a  steel-driving  man.' 

John  Henry  had  a  little  hammer, 
The  handle  was  made  of  bone ; 
Every  time  he  hit  the  steel  on  the  head 
You  could  hear  the  hammer  moan, 
You  could  hear  the  hammer  moan. 

John  Henry  told  his  shaker, 

Said,  'Boy,  you'd  better  pray. 

For  if  I  should  miss  this  piece  of  steel 

Tomorrow  would  be  your  burying  day, 

Tomorrow  would  be  your  burying  day.' 

They  took  John  Henry  to  the  White  House 
And  laid  him  on  the  stand. 
A  man  from  the  east  and  a  lady  from  the  west 
Come  to  see  the  old  steel-driving  man, 
Come  to  see  the  old  steel-driving  man. 


'[  Been  a  Miner.'  Communicated  as  a  'Negro  Halloa'  by  Miss  Jewell 
Robbins,  Pekin,  Montgomery  county  (later  Mrs.  C.  P.  Perdue),  some 
lime  in  the  years  1921-24. 

1  I  been  a  miner  all  o'  my  life, 

Never  lost  nothing  but  a  barlowe  knife. 

2  Big  John  Henry,  Big  John  Henry, 
Big  John  Henry,  poor  boy  blind. 

c 
'Johnie  Henry.'  A  fragment,  reported  by  Louise  Rand  Bascom  in  JAFL 
XXII  249  as  all  she  had  then  been  able  to  secure  of  this  song.  She  adds 
that  it  "is  obviously  not  a  ballad  of  the  mountains,  for  no  highlander  was 
ever  slifficiently  hard  working  to  die  with  anything  in  his  hand  except 
possibly  a  plug  of  borrowed  'terbac,'  "  but  that  she  hopes  to  get  the 
rest  of  it  "  'when  Tobe  sees  Tom,  an'  gits  him  to  larn  him  what  he 
ain't  forgot  of  hit  from  Muck's  [banjo-]  pickin'.' "     The  fragment: 

Johnie  Henry  was  a  hard-workin'  man. 
He  died  with  his  hammer  in  his  hand. 

This  is  repeated  in  another  manuscript  in  the  collection,  where  it  is 
attributed  to  Mrs.  Birdie  May  Moody,  Shull's  Mills,  Watauga  county, 
who  was  possibly  Miss  Bascom's  informant. 


626  NORTH     CAROLINA     FOLKLORE 

D 

'Take  This  Hammer.'    Obtained  from Hodgin,  southeastern  North 

Carolina ;  not  more  definitely  located,  and  not  dated. 

Take  this  hammer, 
Carry  it  to  the  captain ; 
Tell  him  I'm  gone, 
Tell  him  I'm  gone. 
It  killed  John  Henry, 
Can't  kill  me. 
Can't  kill  me. 

E 
'John   Henry.'     Contributed   by   J.    D.   Johnson,   Jr.,   student   at   Trinity 
College,   as   heard   in   Eastern   North   Carolina,   and   already   printed   in 
ANFS  262. 

Ain'  no  hammer  in  this  mountain 

Rings  like  mine,  babe,  rings  like  mine. 

Take  this  hammer,  give  it  to  the  walker; 

Tell  him  I'm  gone,  babe,  tell  him  I'm  gone. 

If  he  ax  you  where  I'm  gone  to. 

Just  tell  him  I'm  gone,  babe,  tell  him  I'm  gone. 


'John  Henry.'  Contributed  by  J.  G.  Neal  of  Marion,  McDowell  county, 
in  1919.     Same  as  E  except  that  it  lacks  the  last  two  lines. 

G 

'Captain,  I'm  Drivin'.'  Reported  by  Professor  White  as  heard  in  1919 
"sung  by  a  gang  of  street  laborers  digging  a  ditch,"  and  already  printed 
in  ANFS  255. 

Captain,  I'm  drivin'     (huh) 
But  de  steel  won't  stand  it    (huh) 
Captain,  I'm  drivin'    (huh) 
But  de  steel  won't  stand  it     (huh) 
Let  dem  picks  go  down. 

My  ol'  captain     (huh) 
Got  a  fo'ty-fo'-fo'ty     (huh) 
My  ol'  captain     (huh) 
Got  a  fo'ty-fo'-fo'ty     (huh) 
Let  dem  picks  go  down. 

H 
'Asheville  Junction.'     Reported  by   Mrs.   Sutton  from  Lenoir,   Caldwell 
county,  in  1922,  with  the  music,  and  the  notation  :  "Sung  with  banjo  or 
guitar.     Long  pauses  at  each  caesura  for  imitation  of  breath  explosion 
and  sound  of  hammer." 

This  is  a  local  adaptation  of  the  John  Henry-John  Hardy  complex. 
Swannanoa  is  a  few  miles  east  of  Asheville  in  the  North  Carolina  moun- 
tain country.  The  song  has  been  reported  also  from  Georgia  (FSSH 
448-9). 


NATIVE     AMERICAN     BALLADS  627 

1  Asheville  Junction, 
Swannanoah  Tunnel, 
All  caved  in,  babe, 
All  caved  in. 

2  I'm  goin'  back  to 
Swannanoah  Tunnel ; 
That's  my  home,  babe. 
That's  my  home. 

3  Last  December, 
I  remember. 

Wind  blowed  cold,  babe. 
Wind  blowed  cold. 

4  When  you  hear  my 
Watch-dog  howlin' 
Somebody's  round,  babe. 
Somebody's  round. 

5  When  you  hear  my 
Hoot-owl  squallin' 
Somebody's  dyin'. 
Somebody's  dyin'. 

6  Riley  Gardner 
Killed  my  partner. 
Couldn't  kill  me,  babe. 
Couldn't  ketch  me. 

7  Bad  Jack  Ambler 
Killed  a  gambler. 
Couldn't  kill  me,  babe. 
Couldn't  ketch  me. 

8  Hammer  fallin' 
From  my  shoulder 
All  day  long,  babe, 
All  day  long. 

I 
'Swannanoa  Tunnel.'     Contributed  by  B.  L.  Lunsford,  in  1921  apparently, 
as  heard  at  Turkey  Creek.     The  text  is  the  same  as  H  except  for  "kill" 
instead  of  "ketch"  in  the  last  line  of  stanzas  6  and  7  and  the  first  two 
lines  of  stanza  7,  which  run  : 

Ryley  Rambler 
Killed  Jack  Ambler. 


628  NORTH  CAROLINA  FOLKLORE 

271 

Aunt  Jemima's  Plaster 

'Bees  Wax,'  printed  by  J.  Andrews  of  New  York  as  sung  by  Dan 
Emmet,  is  doubtless  the  original  form  of  this,  though  the  text  is 
rather  widely  different  from  either  of  ours.  The  song  is  included 
in  the  Franklin  Sqiuire  Song  Collection  and  in  Trifet's  Budget  of 
Music.  It  has  been  found  in  oral  circulation  in  West  Virginia 
(FSmWV  63-4)  and  Mississippi  (FTM  39)  ;  the  Archive  of 
American  Folk  Song  has  records  of  it  from  Florida  and  California. 

A 
'Aunt  Jemima's  Plaster.'     Reported  by  K.  P.  Lewis  as  taken  down  from 
the  singing  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill  in  1910. 

1  Aunt  Jemima  she  was  old,  but  very  kind  and  clever. 

She  had  a  notion  of  her  own  that  she  would  marry  never. 
She  vowed  she'd  live  and  die  in  peace,  avoiding  all  disaster, 
And  made  her  living  day  by  day  by  selling  of  her  plaster. 

Chorus: 

Sheepskin  and  beeswax  made  that  mighty  plaster ; 

The  more  you  tried  to  pull  it  off  the  more  it  stuck  the 

faster. 

2  She  had  a  sister  very  tall  but  still  she  kept  on  growing. 
She   might   have  been   a  giant   now,   in   fact   there   is   no 

knowing. 
All  of  a  sudden  she  became  of  her  own  height  the  master, 
And    all    because    upon    her    head    she    clapped    Jemima's 

plaster. 

3  There  was  a  thief  who  night  by  night  kept  stealing  from 

the  neighbors ; 
They  ne'er  could  find  the  rascal  out  with  all  their  tricks 

and  labors. 
They  set  a  trap  upon  the  steps  and  caught  him   with  a 

plaster ; 
The  more  he  tried  to  get  away  the  more  he  stuck  the  faster. 

4  Her  neighbor  had  a  Thomas-cat  that  was  a  very  glutton, 
He  never  caught  a  mouse  or  rat,  but  stole  both  milk  and 

mutton. 
To  keep  him  home  they  tried  their  best,  but  ne'er  could  be 

his  master, 
Until   they   stuck   him   to   the   floor   with   Aunt   Jemima's 

plaster. 

5  Aunt  Jemima  went  to  church  because  she  was  a  sinner ; 
She  put  a  plaster  on  her  head  and  drew  herself  out  the 

window. 


NATIVE     AMERICAN     BALLADS  629 

Aunt  Jemima  went  to  town  upon  a  load  of  peaches ; 
She  put  a  plaster  on  her  head,  and  drew  herself  out  of  her 
pantaloons. 

6     Aunt  Jemima  had  a  dog,  his  tail  was  very  stumpy ; 

She  put  a  plaster  on  his  head  and  drew  him  into  a  monkey. 


'Aunt  Jemima's  Plaster.'  From  the  manuscript  book  of  songs  of  Mrs. 
R.  D.  Blacknall  of  Durham,  with  the  notation:  "Old  songs  of  my 
mother's ;  I  know  nothing  of  their  origin.  She  sang  them,  to  my  knowl- 
edge, since  1862."  Four  stanzas  and  chorus.  Three  of  the  stanzas  cor- 
respond to  stanzas   i,  4,  2  of  A,  in  that  order;  the  fourth  stanza  runs: 

Now  if  you  have  a  dog  or  cat,  husband,  wife,  or  lover 
That  you   would   like   to   keep   at   home,   this   secret   just 

discover ; 
And  if  you  would  like  to  live  in  peace,  avoiding  all  disaster, 
Take  my  advice,  and  try  the  strength  of  Aunt  Jemima's 
plaster. 


272 
The  Fatal  Wedding 

This  sentimental  song  of  the  1890s,  the  work  of  the  Negro  com- 
poser Gussie  Davis  and  the  song  writer  W.  H.  Windom,  has  estab- 
lished itself  as  traditional  song  in  Newfoundland,  Mississippi,  Mis- 
souri, Illinois,  and  Nebraska  (BSM  141),  in  Indiana  (BSI  329-31) 
and  Michigan  (BSSM  479),  in  Virginia  (FSV  71,  listed);  the 
Archive  of  American  Folk  Song  lists  it  also  for  Texas;  and  it  is 
to  be  found  in  divers  popular  songbooks.  In  North  Carolina  it  is 
known  from  the  coast  to  the  mountains ;  texts  have  been  recorded 
from  Wanchese,  Roanoke  Island  (Juanita  Tillett,  Jean  Jones),  from 
Pittsboro,  Chatham  county  (Clara  Hearne),  from  Durham  (copied 
by  Jesse  T.  Carpenter  from  the  manuscript  songbook  of  Mrs.  C.  T. 
Weatherly  of  Greensboro),  from  Catawba  county  (Ethel  Brown), 
from  ShuU's  Mills,  Watauga  county  (O.  L.  Coffey),  from  Ashe- 
ville  (Otis  Kuykendall).  They  do  not  vary  much  from  the  printed 
text — chiefly  by  lapses  of  memory  and  slight  changes  due  to  oral 
transmission.     It  will  be  sufficient  to  give  one  of  the  better  texts. 

'The  Fatal  Wedding.'  Copied  by  Jesse  T.  Carpenter  for  Dr.  Brown, 
apparently  in  1923,  from  a  manuscript  songbook  belonging  to  Mrs.  C.  T. 
Weatherly  in  which  her  daughter  Clara  had  written  it  down. 

I     The  wedding  bells  are  ringing 
On  a  moonlit  winter's  night ; 
The  church  was  decorated. 
All  within  was  gay  and  bright. 
A  mother  with  her  baby  came 


630  NORTH  CAROLINA  FOLKLORE 

And  saw  those  lights  aglow. 

She  thought  of  how  those  same  bells  chimed 

For  her,  three  years  ago. 

Chorus: 

While  the  wedding  bells  were  ringing, 
While  the  bride  and  groom  were  there, 
Marching  up  the  aisle  together 
As  the  organ  pealed  an  air, 
Telling  tales  of  fond  affection, 
Vowing  nevermore  to  part ; 
Just  another  fatal  wedding, 
Just  another  broken  heart. 

2  'I'd  like  to  be  admitted,  sir,' 
She  begged  the  sexton  old, 
'Just  for  the  sake  of  baby, 
To  protect  him  from  the  cold.' 
But  he  told  her  that  the  wedding 
Was  for  the  rich  and  grand 

And  with  the  eager,  watching  crowd 
Outside  she'd  have  to  stand. 

3  She  begged  the  sexton  once  again 
To  let  her  step  inside. 

'For  baby's  sake  you  may  come  in,' 
The  gray-haired  man  replied. 
'If  anyone  knows  reasons  why 
This  couple  should  not  wed, 
Speak  now,  or  else  forever  hold 
Your  peace,'  the  preacher  said. 

4  T  must  object,'  the  woman  cried, 
Her  voice  so  meek  and  mild ; 

'The  bridegroom  is  my  husband,  sir, 

And  this  our  little  child.' 

'What  proof  have  you?'  the  preacher  asked. 

'My  baby,  sir,'  she  cried, 

And  knelt  to  pray  to  God  in  heaven — 

The  little  one  had  died. 

5  The  parents  of  the  bride  then  took 
The  outcast  by  the  arm. 

'We'll  care  for  you  through  life,'  they  said ; 

'You've  saved  our  child  from  harm.' 

The  parents,  bride,  and  outcast  wife 

In  a  carriage  rolled  away. 

The  bridegroom  died  by  his  own  hand 

Before  the  break  of  day. 


NATIVE     AMERICAN     BALLADS  63I 

No  wedding  feast  was  spread  that  night ; 

Two  graves  were  made  next  day. 

In  one  the  little  baby  and 

In  one  the  father  lay. 

The  story  has  been  ofttimes  told 

By  fireside  warm  and  bright 

Of  bride  and  groom  and  outcast  wife 

And  that  fatal  wedding  night. 


273 

Little  Rosewood  Casket 

This  piece  rather  strikingly  shows  how  a  merely  sentimental  song 
may  be  taken  up  by  tradition.  No  doubt  a  parlor  song  originally — 
its  author  and  history  are  not  known — it  has  become  traditional 
song  in  the  South  and  Midwest ;  not,  so  far  as  is  known,  in  New 
England.  For  its  range,  see  BSM  220,  and  add  to  the  references 
there  given  Texas  (PFLST  vi  221-2)  and  Indiana  (SFLQ  iv 
197-8).  It  is  listed  also  in  Shearin's  Syllabus,  and  Spaeth  gives 
it  in  JVeep  Some  More,  My  Lady,  p.  35.  The  texts  vary  consider- 
ably, though  they  are  all  clearly  forms  of  one  song.  The  North 
Carolina  texts — there  are  twenty- four  in  our  collection — may  be 
grouped  under  three  heads:  those  in  which  the  dying  girl  speaks 
to  her  sister  (texts  A-P,  T-X),  those  in  which  she  speaks  to  her 
brother  (texts  Q-S),  and  those  in  which,  whether  she  is  speaking 
to  her  brother  or  her  sister,  she  reveals  her  jealousy  of  the  girl  who 
has  supplanted  her  (texts  Q  S  T  U  W  X).  This  element  prob- 
ably does  not  belong  to  the  original  song ;  it  is  borrowed  from 
other  songs  of  lovers'  jealousy,  most  definitely  from  'The  Finished 
Letter,'  for  which  see  BSM  213.  Our  texts  are  listed  here.  It 
seems  sufficient  to  print  only  one  from  each  of  the  three  groups. 

A  'A   Package  of   Old  Letters.'     From   Miss   Clara   Hearne,    Pittsboro, 
Chatham  county. 

B  'The  Rosewood  Casket.'     Obtained  by  Julian  P.  Boyd  from  Graham 
Wayne,  a  pupil  in  the  school  at  Alliance,  Pamlico  county. 

C  'The  Little  Rosewood  Casket.'     From  Jesse  T.  Carpenter,  Durham. 

D  'Package  of    Old   Letters.'     From    Mrs.    Minnie    Church   of    Heaton, 
Avery  county,  in  1930.     An  exceptionally  full  text. 

E  'Little  Rosewood  Casket.'    From  Thomas  Smith  of  Zionville,  Watauga 
county.    Ten  stanzas. 

F  'Little  Rosewood  Casket.'    From  Elsie  Lambert,  Stanly  county. 

G  'The   Little    Rosewood    Casket.'     From   the   manuscript    songbook   of 
Miss  Lura  Wagoner  of  Vox,  Alleghany  county. 

H  'Little  Rosewood  Casket.'     From  the  manuscript  of  Mrs.  Mary  Mar- 
tin Copley,  Route  8,  Durham ;  obtained  by  Jesse  T.  Carpenter. 

I  'The   Little    Rosewood    Casket.'      Secured   by   L.    W.   Anderson    from 
Alva  Wise,  one  of  his  pupils  at  Nag's  Head. 


632  NORTH  CAROLINA  FOLKLORE 

J  'The   Little    Rosewood    Casket.'      From    Miss    Bonnie   Ethel    Dickson. 
Ten  stanzas. 

K  'The   Rosewood   Casket.'     From    Miss   Florence   Holton  of   Durham. 
Three  stanzas  only. 

L  'The  Rosewood  Casket.'     From  C.  G.  Knox,  student  at  Trinity  Col- 
lege.   Not  dated.     Four  stanzas. 

M  'The    Rose-Bud    Casket.'      From    Mamie    Mansfield    of    the    Fowler 
School  District,  Durham  county,  July  1922.     Five  stanzas. 

N  'The   Rosewood   Casket.'     From   P.   D.   Midgett,   Roanoke   Island,   in 

1922.     Seven  stanzas,  with  the  tune. 
O  'Package  of  Old  Letters.'  From  the  manuscripts  of  G.  S.  Robinson  of 

Asheville,  obtained  in  August  1939. 

P  'Little  Rosewood  Casket.'     Anonymous,  but  doubtless  authentic.     Ten 
stanzas. 

Q  'Rosewood  Casket.'    From  Gertrude  Allen  (afterwards  Mrs.  Vaught), 
Taylorsville,  Alexander  county. 

R  'The  Little  Rosewood   Casket.'     From   Mrs.   Church  of   Heaton.     A 
four-stanza  fragment. 

S  'The   Little    Rosewood    Casket.'     From    Miss    Bonnie   Ethel    Dickson. 
Six  stanzas. 

T  'Rosewood  Casket.'     From  Ruth  Efird  of  Stanly  county.     Six  stanzas. 

U  'There's  a  Rosewood  Casket.'     From  Macie  Morgan,   Stanly  county. 
Six  stanzas. 

V  'The   Little   Rosewood   Casket.'     Contributed  by   Nancy   Maxwell   of 
Durham  in  December  1920. 

W  'Little  Rosewood  Casket.'     Anonymous,  but  authentic.     Six  stanzas. 

X  'Little  Rosebud  Casket.'    From  the  Blaylock  Collection.    Eight  stanzas. 

As  a  specimen  of  the  first  of  the  three  groups  mentioned  above  here 
is  the  E  text.  Mr.  Smith  notes  on  the  manuscript :  "This  song,  which 
does  not  sound  very  old,  was  popular  among  the  young  people  of  Zion- 
ville  about  twenty  years  ago;  several  people  still  sing  it." 

1  In  the  little  rosewood  casket 
That  is  resting  on  my  stand 
Is  a  package  of  old  letters 
Written  by  a  cherished  hand. 

2  Will  you  go  and  get  them,  sister? 
Will  you  read  them  o'er  to  me? 
For  ofttimes  I'v  tried  to  read  them 
But  for  tears  I  could  not  see. 

3  Read  those  precious  lines  so  slowly 
That  I'll  not  miss  even  one. 

For  those  cherished  hands  that  wrote  them 
His  last  work  for  me  is  done. 

4  You  have  got  them  now,  dear  sister. 
Come  set  down  upon  my  bed 


NATIVE     AMERICAN     BALLADS  633 

And  press  gently  to  your  bosom 
This  poor  throbbing,  aching  head. 

5  Tell  him  that  I  never  blamed  him 
Though  to  me  he's  proved  untrue. 
Tell  him  that  I'll  ne'er  forget  him 
Till  I  bid  this  world  adieu. 

6  Tell  him  that  I  never  blamed  him ; 
Not  an  unkind  word  was  spoke. 
Tell,  oh,  tell  him,  sister,  tell  him 
That  my  heart  in  coldness  broke. 

7  When  I'm  dead  and  in  my  coffin 
And  my  shroud's  around  me  bound 
And  my  little  bed  is  ready 

In  the  cold  and  silent  ground, 

8  Place  his  letters  and  his  locket, 
Place  together  o'er  my  heart. 
But  the  little  ring  he  gave  me 
From  my  finger  never  part. 

9  Vou  have  finished  now,  dear  sister. 
Will  you  read  them  o'er  again  ? 
While  I  listen  to  you  read  them 

I  will  lose  all  sense  of  pain. 

10     While  I  listen  to  you  read  them 
I  will  gently  fall  asleep. 
Fall  asleep  to  wake  with  Jesus. 
Oh,  dear  sister,  do  not  weep. 

Texts  in  which  the  girl  speaks  not  to  her  sister  but  to  her  brother  are 
generally  shorter.  All  three  of  them  have  taken  over  matter  from  'The 
Finished  Letter.'     Miss  Allen's  Q  text  will  serve  as  a  sample: 

1  I've  a  little  rosewood  casket 
Sitting  on  a  marble  step. 
'Tis  a  package  of  love  letters 
Written  by  my  sweetheart's  hand. 

2  Go  and  bring  them  to  me,  brother, 
Set  them  down  upon  my  bed. 
Lean  your  head  upon  my  pillow ; 
My  poor  aching  heart's  most  dead. 

3  I  will  listen  while  you  read  them 
And  perhaps  I'll  fall  asleep, 
Fall  asleep  to  wake  with  Jesus. 
Dearest  brother,  do  not  weep. 


634  NORTH     CAROLINA     FOLKLORE 

4  When  I'm  dead  and  in  my  coffin 
I'll  be  crowded  all  around, 

And  my  narrow  bed  will  be  hallowed 
In  some  lonesome  churchyard  ground. 

5  He  is  coming  through  the  gateway. 
Brother,  meet  him  at  the  door, 
Tell  him  that  I  will  forgive  him 

If  he'll  court  that  girl  no  more. 

6  I  saw  him  ride  out  last  evening 
With  a  lady  by  his  side, 

And  I  think  I  heard  him  tell  her 
That  she  soon  would  be  his  bride. 

7  Take  this  letter  to  him,  brother, 
Tell  him  that  I'm  dead  and  gone, 
Gone  to  heaven  to  await  his  coming. 
Dearest  brother,  do  not  weep. 

Of  the  texts  in  which  the  girl  speaks  to  her  sister  but  into  which 
the  jealousy  motive  from  The  Finished  Letter'  has  crept,  the  T  text, 
from  Stanly  county,  will  serve  as  a  sample : 

1  There's  a  little  rosewood  casket 
Sitting  on  a  marble  wall. 

'Tis  a  package  of  love  letters 
Written  by  my  sweetheart's  hand. 

2  Go  and  bring  them  to  me,  sister, 
And  sit  down  upon  my  bed. 
Lean  your  head  upon  my  pillow ; 
My  poor  aching  heart's  most  dead. 

3  I  will  listen  while  you  read  them 
And  perhaps  I'll  fall  asleep, 
Fall  asleep  to  wake  with  Jesus. 
Dearest  sister,  do  not  weep. 

4  He  is  coming  at  the  gateway. 
Go  and  meet  him  at  the  door ; 
Tell  him  that  I  will  forgive  him 
If  he'll  court  that  girl  no  more. 

5  Place  his  letters  and  his  pictures 
In  my  casket  near  my  heart ; 
For  in  life  we  met  together 
And  in  death  we  must  not  part. 

6  When  I'm  dead  and  in  my  casket 
I'll  be  shrouded  all  around; 


NATIVE     AMERICAN     BALLADS  635 

I'll  be  carried  to  the  graveyard 
And  be  sank  beneath  the  ground. 


274 

Jack  and  Joe 

This  seems  to  be  a  clear  instance  of  a  music-hall  production 
establishing  itself  as  traditional  song.  At  any  rate,  it  is  reported 
as  such  from  Kentucky  (Shearin  24),  Tennessee  (JAFL  xliv 
iio-ii,  SSSA  135,  FSSH  173-4),  Mississippi  (JAFL  xxxix 
160-1).  Florida  (FSF  64),  and  Illinois  (TSSI  244-5).  The  Archive 
of  American  Folk  Song  lists  records  of  it  from  New  York  (B.  L. 
Lunsford),  Arkansas,  and  Wisconsin.  It  appears  fourteen  times 
in  our  collection,  in  various  sections  from  the  coast  to  the  moun- 
tains. The  texts  hold  together  pretty  well,  differing  sometimes  by 
omissions  and  misplacements,  sometimes  by  minor  differences  in 
language.     Not  all  are  given  here. 


'Jack  and  Joe.'     Obtained  from  Mrs.  Minnie  Church  of  Heaton,  Avery 
county,  in  1930.     An  unusually  full  text. 

1  Three  years  ago  both  Jack  and  Joe  set  sail  across  the  foam, 
They  each  a  fortune  vowed  to  gain  before  returning  home. 
Then  at  the  station  Nellie  turned  to  say  goodbye  to  Jack : 
'I'll  wait  for  you,  my  darling  boy,  for  I  know^  you're  com- 
ing back.' 

2  One  year  had  passed.     Jack^  gained  his  wealth  and  sailed 

for  home  that  day ; 
And  as  the  pals  shook  hands  to  part  poor  Joe  could  only 
say: 

Chorus: 

'Oh,  give  my  love  to   Nellie,  Jack,  and  kiss  her  once 

for  me. 
The  sweetest  girl  in  all  this  world  I'm  sure  you'll  say 

'tis  she. 
Then  treat  her  kindly.  Jack,  old  boy,  and  tell  her  I  am 

well.' 
The  parting  words  were:  'Don't  forget  to  give  my  love 

to  Nell.' 

3  Two   years   had   passed   when   Joe   at   last  gained   wealth 

enough  for  life. 
He  sailed  for  home  across  the  foam  to  make  sweet  Nell 
his  wife, 

*  The  manuscript  has  here  "Joe"— evidently  a  mere  slip  of  the  pen. 


636  NORTH     CAROLINA     FOLKLORE 

When  soon  he  learned  upon  his  way  that  Jack  and  Nell 

had  wed. 
Now  he  regrets,  with  sobs  and  frets,  that  he  had  ever  said : 

4     They  chanced  to  meet  upon  the  street.     Says  Joe,  'You 

selfish  elf, 
The  next  girl  that  I  learn  to  love  I'll  kiss  her  for  myself. 
But  all  is  well  in  love,  you  know,  and  since  you've  gone 

and  wed 
I'll  not  be  angry  with  you,  Jack,'  and  once  again  he  said: 


'Give  My  Love  to  Nell,  O  Jack.'  From  Miss  Martha  Lane,  Hertford, 
Perquimans  county.  Somewhat  reduced  from  A,  and  with  numerous 
small  variations.  Places  that  may  seem  corrupt  can  be  understood  by 
comparing  with  A. 

1  Three  years  ago,  when  Jack  and  Joe  set  sail  across  the 

foam. 
They  found  a    fortune   he   would   make   before   returning 

home. 
In  one  short  year  Joe^  gained  his  wealth  and  then  set  sail 

away, 
And  as  the  boys  shook  hands  to  part  poor  Joe  could  only 

say: 

Chorus: 

'Give  my  love  to  Nell,  O  Jack,  and  kiss  her  once  for  me. 
The  fairest  girl  in  all  this  world  I  know  you  think  is  she. 
Treat  her  kind  and  good,  O  pal,  and  tell  her  that  I'm 

well.' 
These  parting  words  were :  'Don't  forget  to  give  my  love 

to  Nell.' 

2  Three  years  had  passed  when  Joe  at  last  had  gained  his 

wealth  for  life. 
Then  set  sail  across  the  foam  to  make  sweet  Nell  his  wife. 
But  on  his  way  he  heard  them  say  that  Jack  and  Nell  had 

wed. 
He  sighed  and  fretted  and  then  regretted  that  he  had  ever 

said: 

3  They  chanced  to  meet  upon  the  street.     Said  Joe,  'You 

selfish  elf! 
If  ever  I  love  another  girl  I'll  kiss  her  for  myself. 
Though  things  seem  fair  and   lovely,   say,  since  you  and 

Nell  have  wed, 
I'll  not  be  angry  with  you,  pal' ;  and  once  again  he  said : 
*  So  the  manuscript,  but  evidently  it  should  be  "Jack." 


NATIVE     AMERICAN     BALLADS  637 

C 

'Jack,  Joe,  and  Nell.'  From  Gertrude  Allen  (later  Mrs.  Vaught), 
Taylorsville,  Alexander  county.  Substantially  the  same  as  B  in  stanza 
I  and  the  chorus ;  the  last  two  stanzas  show  how  oral  transmission 
changes  a  text : 

2  In  three  more  years  Joe  gained  his  wealth,  set  sail  for  home 

that  day. 
But  soon  he  found  to  his  regret  that  Jack  and  Nell  had  wed. 
He  says,  'Next  time  I  love  a  girl  I'll  kiss  her  for  myself  ; 
For  as  the  pards  shook  hands  to  part  poor  Joe  had  only 

said: 

3  They  chanced  to  meet  upon  the  street.     Joe  says,  'You 

selfish  elf, 
You've  gone  and  wed  the  only  girl  that  I  have  ever  loved. 
But  all  is  fair  in  love  or  war ;  since  you  and  Nell  have  wed 
I'll  not  be  angry  with  you  now.'     So  once  again  he  said: 

D 

'Jack  and  Joe.'  Contributed  by  Ethel  Brown  of  Catawba,  Catawba 
county,  some  time  in  the  period  1916-18.  Substantially  like  B,  but 
without  the  corruptions  that  mar  that  text. 

1  Three  years  ago,  when  Jack  and  Joe  set  sail  across  the 

foam, 
Each  vowed  a  fortune  he  would  win  before  returning  home. 
'Twas  just  one  year  Jack  gained  his  wealth,  and  sailed  for 

home  that  day; 
And  when  the  boys  shook  hands  to  part  poor  Joe  could 

only  say : 

Chorus: 

'Give  my  love  to  Nellie,  Jack,  and  kiss  her  once  for  me. 
The  dearest  girl  in  all  this  world  I'm  sure  you'll  say 

'tis  she. 
Then  treat  her  kindly,  Jack,  old  boy,  and  tell  her  I  am 

well.' 
The  parting  words :  'But  don't  forget  to  give  my  love  to 

Nell.' 

2  Two  years  had  passed   when   Joe  at  last  gained   wealth 

enough  for  life. 
He  sailed  for  home  across  the  foam  to  make  sweet  Nell 

his  wife. 
But  when  he  learned  that  Jack  and  Nell  one  year  ago  had 

wed 
He  sobbed  regrets  and  frets  to  think  that  he  had  ever  said : 

3  They  chanced  to  meet  upon  the  street.     Said  Joe,  'You 

selfish  elf ! 


638  NORTH  CAROLINA  FOLKLORK 

The  next  girl  that  I  learn  to  love  I'll  kiss  her  for  myself.' 
But  they  agreed  that  all  was  well,  'And  since  you've  gone 

and  wed, 
I'll  not  be  angry  with  you,  Jack.'     So  once  again  he  said : 

The  remaining  texts  do  not  differ  significantly  from  D.     They  are: 
E  From  M.  K.  Carmichael.    Date  and  place  not  noted. 

F  From  Carl  G.  Knox — probably  from  Wrightsville  in  New  Hanover 
county,  in  or  about  1924. 

G  Reported  by  L.  W.  Anderson,  Nag's  Head,  as  obtained  from  Alva 
Wise,  a  student  there. 

H  From  Bonnie  Ethel  Dickson,  Helton,  Ashe  county. 

I  Printed  in  the  Monroe   (Union  county)   Journal,  November,   1916. 

J  Copied  by  Jesse  T.  Carpenter  from  the  manuscript  songbook  of  Mrs. 
C.  T.  Weatherly  of  Greensboro,  Guilford  county,  1923. 

K  From  C.  H.  Smith,  Harmony,  Iredell  county,  in  1920. 
L  From  W.  Amos  Abrams,  Boone,  Watauga  county. 
M  From  Mamie  Mansfield,  Durham,  in  1922.     Only  the  chorus. 
N  From  the  Blaylock  Collection,  made  in  Caswell  and  adjoining  counties 
in  1927-32. 

275 

They  Say  It  is  Sinful  to  Flirt 

No  doubt  a  parlor  song  originally,  this  has  not  been  traced  to  an 
individual  author.  It  seems  to  be  current  as  folk  song  only  in  the 
Southern  states:  Virginia  (FSSH  242),  Kentucky  (FSSH  241. 
BTFLS  III  93),  Tennessee  (ETWVMB  90-1),  North  Carolina 
(FSSH  239-41),  Alabama  (FSSH  238-9),  Mississippi  (JAFL 
XXXIX  164)  ;  it  is  also  included  in  Mrs.  Richardson's  AMS  57. 
The  texts  in  our  collection  are  so  much  alike  that  it  will  suffice  to 
give  one  of  them. 

A  'Sinful  Flirting.'  From  Miss  Wagoner's  manuscript  songbook,  com- 
piled at  Vox,  Alleghany  county. 

B  'It  Is  Sinful  to  Flirt.'  Communicated  by  Zilpah  Frisbie  of  Mc- 
Dowell county  in  1923.    With  the  air,  for  which  see  Vol.  II. 

C  'Willie.'  Secured  by  Gertrude  Allen  (Mrs.  Vaught)  in  Alexander 
county. 

D  'Willie.'    From  Mrs.  Minnie  Church,  Heaton,  Avery  county. 

E  'Poor  Willie  Dead  and  Gone.'  Secured  by  W.  Amos  Abrams  from 
Margaret  Barlowe,  one  of  his  students  in  Boone,  Watauga  county,  in 
1937- 

F  No  title.  Secured  by  Professor  Abrams  from  Mary  Bost  of  States- 
ville,  Iredell  county. 

G  'Sinful  to  Flirt.'  From  the  manuscripts  of  Obadiah  Johnson  of 
Crossnore,  Avery  county. 

For  the  same  story  in  another  form,  see  'The  Little  White  Rose,'  No.  277. 


NATIVE     AMERICAN     BALLADS  639 


'Sinful  Flirting.'  Entered  in  Miss  Wagoner's  manuscript  book  probably 
about  1911-13  and  inscribed  "Written  by  a  friend,  Emma  Todd,  Eunice, 
N.  C." 

1  Oh !  they  say  it  is  sinful  to  flirt, 

Oh !  they  tell  me  my  heart  is  made  of  stone. 
Oh !  they  tell  me  to  speak  to  him  kind 
Or  else  leave  the  poor  boy  alone. 

2  Oh  !  they  say  he  is  only  a  boy, 

But  I'm  sure  he's  much  older  than  me ; 

And  if  they  would  let  us  alone 

I'm  sure  he  much  happier  would  be. 

3  I  remember  one  night  when  he  said 
That  he  loved  me  far  more  than  his  life. 
He  called  me  his  darling,  his  pet, 

And  asked  of  me  to  be  his  wife. 

4  'Oh,  my  darling,'  I  said  with  a  sigh, 
'Oh,  I'm  sure  that  I'll  have  to  say  no.' 
He  held  to  my  hand  for  a  while 

And  said,  'Goodby.     I  must  go.' 

5  'Oh,  my  darling,'  P  said  with  a  sigh, 

'Oh!  I'm  sure  that  your  heart  is  made  of  stone.' 
He  took  a  white  rose  from  my  hair 
And  left  me  a-standing  alone. 

6  Next  morning  poor  Willie  was  dead. 
He  was  drowned  in  the  pool  by  the  mill, 
In  the  clear  crystal  water  so  clear 
That  ran  from  the  break  of  the  hill. 

7  His  eyes  were  forever  closed 
And  damp  was  his  soft  brown  hair 
And  close  to  his  pale  lips  he  held 

The  white  rose  that  he  took  from  my  hair. 

8  Oh.  Willie,  my  darling,  come  back ! 
I  will  ever  be  faithful  and  true. 
Oh,  Willie,  dear  darling,  come  back ! 
I  will  ever  be  faithful  to  you. 

*  Other  texts  have  here — and  the  sense  requires — "he." 


640  NORTH     CAROLINA     FOLKLORE 

276 

The  Little  White  Rose 

Based  on  the  same  story  as  'They  Say  It  Is  Sinful  to  FHrt,'  just 
above,  but  the  wording  and  still  more  the  double-rhythm  versifica- 
tion show  that  it  is  a  separate  song.     I  have  not  found  it  elsewhere. 


The  Little  White  Rose.'  Contributed  by  Miss  Jewell  Robbins  of  Pekin, 
Montgomery  county  (afterwards  Mrs.  C.  P.  Perdue),  some  time  in  the 
period  1921-24. 

1  He  gav€  me  a  rose,  a  pretty  white  rose, 
And  asked  me  to  wear  it  for  him. 

I  have  it  yet,  and  I  never  shall  forget 
To  wear  it  so  long  as  he  is  true.^ 

Chorus: 

It  was  on  the  old  oak  stump 

Where  we  sat  side  by  side 

And  watched  the  beautiful  stream  beneath  our  feet. 

We  would  whisper  words  of  love 

While  the  little  birds  sing  above, 

Words  that  were  tender,  low,  and  sweet. 

2  How  oft  do  I  think  of  the  once  happy  days 
As  we  sat  on  the  river  banks. 

It  was  in  the  month  latter  part  of  the  day^ 
We  sat  and  watched  the  sunshine  as  it  danced. 

3  He  was  found  one  cold  morn  in  a  cold,  cold  stream 
Where  he  had  thrown  himself  to  drown 

With  the  rose  between  his  teeth,  as  if  he  seemed  to  say 
T  want  to  wear  the  white  rose  in  my  crown.' 


The  White  Rose.'  From  Miss  Clara  Hearne  of  Pittsboro,  Chatham 
county,  in  1923  or  thereabouts.  It  lacks  the  second  stanza  of  A,  and 
the  first  stanza  is  put  into  the  mouth  of  the  man,  "She  gave  me  a  rose," 
ignoring  the  final  stanza,  which  says  that  the  lover  is  dead. 

C 
'White    Rose.'     From    Miss    Mamie   Mansfield  of   Durham,   in    1922   or 
thereabouts.     The  first  stanza  only,  with  "you"  instead  of  the  "he"  of 
A  and  the  "she"  of  B. 

'  This  line  is  evidently  wrong ;  it  does  not  rhyme,  and  it  forgets  the 
final  stanza. 
*  Just  what  this  line  means  I  cannot  make  out. 


Ill 


NORTH   CAROLINA  BALLADS 


FROM  BATTLE  and  murder,  and  from  sudden  death,  the 
ballad-maker  has  rarely  prayed  his  muse  to  be  delivered.  Almost 
all  of  the  demonstrably  or  probably  native  ballads  in  the  Frank  C. 
Brown  Collection  draw  their  themes  from  these  three  arch  terrors. 
The  small  remaining  group  is  composed  of  satirical  pieces. 

One  of  the  four  Regulator  songs  (for  which,  as  a  group,  the 
reader  is  referred  to  the  extensive  headnote  concerning  them) 
treats  of  a  near-encounter  between  the  Regulators  and  the  King's 
men  at  Hillsboro.  The  whole  group  suggests  the  discontents  which 
exploded  at  the  Battle  of  Alamance  in  1771.  Similarly,  'The  Rebel 
Acts  of  Hyde'  expresses  grievances  which  set  brother  against 
brother  and  neighbor  against  neighbor,  as  well  as  Southerner 
against  Northerner,  in  the  American  Civil  War.  'As  I  Went  Down 
to  Newbern'  is  a  humorous  acknowledgment  of  temporary  discom- 
fiture ending  in  boastful  confidence  in  ultimate  victory. 

Local  mishaps,  disasters,  and  wrecks  provided  subjects  for  an- 
other small  group.  'The  Brushy  Mountain  Freshet'  and  'Man  Killed 
by  Falling  from  a  Horse'  record,  in  dolorous  language,  obscure 
neighborhood  fatalities.  According  to  reliable  testimony,  supported 
by  the  fact  of  local  occurrence,  'The  Florence  C.  McGec,'  a  ballad 
about  a  shipwreck  on  the  coast  of  North  Carolina,  was  composed 
by  an  illiterate  fisher  boy  who  had  a  natural  gift  for  numbers. 
Professor  Brown  was  of  the  opinion  that  a  version  of  'The  Titanic' 
was  composed  in  Durham,  and  he  regarded  this  as  one  of  the  most 
interesting  pieces  in  his  collection.  It  is  possible  that  a  better  sea 
ballad,  'The  Wreck  of  the  Huron,'  was  the  work  of  some  Banks 
bard  who  was  impressed  by  this  major  naval  disaster  of  the  1870s. 
Local  connections  and  the  possibility  of  local  origin  may  justify 
placing  here,  too,  the  dramatic  'Song  of  Dailey's  Life  Boat.'  'The 
Hamlet  Wreck'  was  almost  certainly  composed  by  a  Durham  Negro, 
with  help,  perhaps,  from  singers  in  the  tobacco  factories  there. 
Though  not  so  memorable  a  piece  as  'The  Wreck  of  Old  Ninety- 
seven,'  composed  by  Virginia  ballad-makers  about  a  disaster  that 
nearly  concerned  many  North  Carolinians,  'The  Hamlet  Wreck' 
handles  details  of  scene  and  emotion  with  naive  realism.  If  the 
testimony  of  the  informant  is  correct,  'Edward  Lewis'  is  another 
railroad  ballad  of  North  Carolina  origin. 


642  NORTH     CAROLINA     FOLKLORE 

Murder  (with  one  suicide)  is  the  central  fact  in  fifteen  or  more 
native  ballads.  Three  of  these,  'Manley  Pankey'  and  two  pieces 
about  William  S.  Shackleford,  concern  themselves  with  ordinary 
homicide.  Both,  however,  derive  some  interest  from  the  circum- 
stances of  composition  and  of  rendition.  The  Shackleford  pieces, 
one  a  ballad,  the  other  a  "farewell,"  are  interesting,  too,  for  hav- 
ing been  remembered  so  well,  an  old  Negro  having  been  able  to 
write  down  from  memory  thirteen  of  the  original  fourteen  stanzas 
of  the  ballad,  which  was  composed  thirty  years  before.  The  ballad 
and  the  facts  surrounding  the  murder,  the  trial,  and  the  execution 
give  a  vivid  little  picture  of  North  Carolina  rural  life  fifty  years 
ago.  Two  of  the  ballads,  'Emma  Hartsell'  and  'Gladys  Kincaid,' 
relate  stories  of  rape,  murder,  and  lynching.  'The  Lawson  Murder' 
tells  of  the  extermination  of  a  family  by  the  insane  father. 

The  most  significant  of  the  murder  group  are  seven  pieces  hav- 
ing to  do  with  what  present-day  journalism  denominates  "sex 
crimes."  The  most  famous  of  these,  'Poor  Naomi'  ('Little  Omie 
Wise'),  treating  with  humble  drama  and  pathos  the  story  of  a 
murder  committed  over  a  hundred  years  ago,  has  become  a  folk- 
song heritage  of  almost  national  diffusion.  Equally  (in  some  ways 
more)  effective  as  ballad  treatments  of  a  man's  murder  of  his  sweet- 
heart, though  not  so  widely  known,  are  the  songs  about  Tom  Dula 
and  Laura  Foster.  Both  of  these  owe  a  part  of  their  memorable- 
ness  to  picturesque  circumstances  and  characters.  Though  the 
material  of  the  pieces  about  Nellie  Cropsey  was  equally  sensational, 
their  unknown  composer  did  not  have  the  narrative  skill  of  his 
predecessors  of  the  i86os.  Ballads  about  Ellen  Smith  of  Forsyth 
county  have  been  carried  to  other  states.  'Frankie  Silver'  differs 
from  the  other  murderous-lover  pieces  in  the  important  fact  that 
in  it  the  woman  kills  the  man.  A  stiff  and  dolorous  composition, 
perhaps  never  truly  popular,  'Frankie  Silver'  is  an  unpleasantly 
impressive  confession.  Comparatively  it  is  an  old  folk  song,  and 
the  circumstances  surrounding  its  cause  celebre  are  primitive 
Americana. 

These  native  North  Carolina  ballads  about  casualties  of  the  war 
between  the  sexes  recall  the  other  American  ballads  of  the  same 
sort  in  this  collection — such  as  'Florella'  ('The  Jealous  Lover'), 
'Frankie  and  Albert,'  'Little  Mary  Phagan,'  'On  the  Banks  of  the 
Ohio.'  The  two  groups  will  in  turn  recall  such  pieces  of  British 
origin  as  'The  Gosport  Tragedy'  and  'The  Bloody  Miller,'  broad- 
sides on  which  the  American  ballads  were  largely  modeled.  In  at 
least  twenty  prime  examples,  running  to  perhaps  a  hundred  versions 
and  variants,  a  jealous  or  annoyed  or  frightened  husband  or  lover 
beats  to  death,  shoots,  stabs,  or  drowns  the  beloved.  And  examples 
of  this  occurrence  are  not  lacking  in  the  older  traditional  balladry 
of  England,  Scotland,  and  Ireland:  'Lord  Thomas  and  Fair  Annet' 


NORTH  CAROLINA  BALLADS  643 

(in  which  his  lordship  cuts  off  the  brown  girl's  head,  'and  stove  it 
agin  the  wall'),  'Young  Hunting'  (in  which  the  jealous  mistress 
gets  her  man),  "Polly  Van,'  or  'The  Shooting  of  His  Dear'  (in 
which  the  homicide  is  accidental — Johnny  Randal  'taken  her  for  a 
swan'),  and,  perhaps  most  notorious  of  all,  'Little  Musgrave  and 
Lady  Barnard'  (in  which  Lord  Thomas  'pulled  her  on  his  knee  .  .  . 
and  split  her  head  into  twine').  All  of  these  pieces,  the  native,  the 
American,  and  the  British,  are  abundantly  represented  in  the  Frank 
C.  Brown  Collection. 

Comparison  of  the  number  of  the  native  pieces  on  this  theme 
with  the  number  of  similar  pieces  from  any  other  one  state,  as 
represented  by  collections  from  Missouri,  Mississippi,  Indiana, 
Michigan.  Ohio,  Florida,  and  West  Virginia,  shows  a  clear  pre- 
ponderance for  North  Carolina.  And  the  North  Carolina  native 
pieces  are  equally  well  supported  by  pieces  from  other  sources. 

This  preponderance  raises  an  interesting  question :  How  account 
for  the  relative  frequency  of  the  theme  and  the  evidence  of  its 
popularity  in  North  Carolina? 

One  answer  may  be :  The  North  Carolina  collection  is  a  big  one. 
Therefore,  assuming  that  North  Carolina  domestic  manners  and 
taste  in  folk  poetry  are  normal  as  compared  with  those  of  other 
Americans,  one  might  expect  to  find  a  large  number  of  sex-murder 
ballads.  There  may  be  something  to  this  reply.  But  perhaps  it  is 
not  the  whole  truth  about  the  matter. 

Most  of  the  native  ballads  report  verifiable  homicides  in  North 
Carolina — the  murder  of  Omie  Wise,  Charlie  Silver,  Laura  Foster, 
Ellen  Smith.  Nell  Cropsey.  Surely  it  would  not  be  argued  that 
North  Carolina  husbands  and  lovers  are  more  murderous  than  those 
of  neighboring  states,  or  that  there  are  in  North  Carolina  more 
women  in  need  of  killing ! 

Perhaps  the  answer  may  be  approached  on  the  level  of  taste 
rather  than  on  that  of  sociological  and  criminological  statistics 
and  analysis.  And  though  the  explanation  cannot  be  made  definitive, 
it  may  at  least  mitigate  a  charge  often  made  against  North  Caro- 
linians, that  they  are  more  realistic  and  less  sentimental  than  their 
neighbors. 

The  nineteenth-century  romanticists  believed  that  the  death  of  a 
young  girl  is  the  best  subject  for  pure  pathos.  Wordsworth,  in  the 
'Lucy  Poems' ;  Lamb,  in  'Hester' ;  DeQuincey,  in  The  English  Mail 
Coach  ;  Scott,  in  'Proud  Maisie' ;  Landor,  in  'Iphigeneia'  and  'Rose 
Aylmer' ;  Byron,  in  the  Haidee  episode  of  Don  Jiian ;  Keats,  in 
'Isabella' — all  these  and  others  demonstrated  the  point.  Poe  ex- 
emplified it  in  'Annabel  Lee'  and  'The  Raven,'  and  formulated  it 
as  an  aesthetic  principle.  Browning,  in  'Evelyn  Hope'  and  'Por- 
phyria's  Lover' ;  Tennyson,  in  'The  Lady  of  Shalott' ;  Arnold,  in 
'Requiescat' — these  Victorians  followed  the  romantic  tradition. 
Oscar  Wilde  asserted  pessimistically,  "Each  man  kills  the  thing  he 


644  NORTH     CAROLINA     FOLKLORE 

loves."  (No  cynic  would  suggest  that  North  Carolinians  belong 
to  the  class  of  great  lovers  who  illustrate  the  paradox!) 

Now,  most  of  the  victims  in  the  North  Carolina  murder  ballads 
are  represented  as  young,  innocent,  and  beautiful  women.  In  fact, 
some  of  them  are  purer  and  lighter  than  air,  and  have  a  natural 
tendency  to  go  up  like  angels  or  balloons. 

It  is  possible  that  North  Carolinians,  in  spite  of  their  boasted  plain 
manners  and  blunt  speech,  their  freedom  from  the  alleged  foppish 
gallantry  of  Virginians  and  the  reputed  Gallic  volatility  of  South 
Carolinians;  inconsistently  with  their  predilection  for  a  diversified 
economy  and  a  balanced  budget ;  in  contrast  to  their  realism  and 
common  sense — it  is  possible  that  North  Carolinians  are  at  heart 
more  romantic  than  they  have  been  supposed  to  be.  They  admire 
to  watch  the  moving  spectacle  of 

Beauty  and  anguish  walking  hand  in  hand 
The  downward  slope  to  death. 

When  the  homely  balladist  sings  his  invitation : 

Come  all  good  people,  I'd  have  you  draw  near ; 
A  sorrowful  story  you  quickly  shall  hear — 

they  like  to  step  forward.  And,  also,  edified  by  a  proper  good- 
night, they  like  to  spring  the  guilty  scoundrel  off  the  gallows.  Per- 
haps they  have  more  than  their  share  of  rustic  bards,  fiddlers, 
banjo-pickers,  and  dulcimer  players  capable  of  ballad-making. 

The  muse  of  North  Carolina  folk,  "hamely  in  attire,"  is  capable 
of  treating  passing  events  in  the  spirit  of  comedy  or  the  mood  of 
satire.  The  songs  of  the  Regulators,  though  touching  upon  oppres- 
sion and  oppressors,  employ  the  method  of  ridicule  rather  than  the 
tone  of  invective  that  dominates  'The  Rebel  Acts  of  Hyde.'  Besides 
these  pieces,  there  is  another  group  of  native  ballads  that  belabor 
the  trouble-makers  with  the  clown's  coxcomb. 

'Shu  Lady'  is  from  that  early  mountain  cradle  of  North  Carolina 
folklore,  the  Fisher's  River  country,  made  famous  of  old  by  "Skitt, 
who  lived  thar."  Long  after  Skitt's  time,  fish  traps  on  the  Yadkin 
and  Fisher's  River  were  a  precious  means  of  livelihood  for  men  like 
Pleas  Chandler  and  Jeremiah  Phillips  and  an  affront  to  their 
amateur  hook-and-line  neighbors.     Thus,  when 

Squire  Brown  says,  'Boys, 
Come  go  along  with  me ; 
We'll  tear  out  all  the  mud-sills. 
And  let  the  fish  go  free,' 

trouble  came  galloping  to  the  forks  of  Yadkin  and  Fisher's.  The 
ensuing  neighborhood  fracas  on  the  river  bank  and  the  lawsuit  fol- 
lowing that  were  seized  upon  by  "a  sort  of  Amazon  or  virago" 
with  the  appropriate  name  of  Lawless  and  woven  into  a  ballad 
chorally   trimmed   with   another   song   she   had   made   up   about   a 


NORTH  CAROLINA  BALLADS  645 

"chiseling"  storekeeper.     This  song  the  Reverend  Andrew   Burrus 
still  trolled,  with  banjo  accompaniment,  in  the  1920s. 

Whereas  "whiskey  for  the  crowd"  flavored  the  attack  on  Pleas 
and  Jeremiah's  fish  trap,  it  is  the  chief  ingredient  of  three  satirical 
ballads  on  prohibition  enforcement — two  of  them  from  the  black 
lands  of  Eastern  North  Carolina,  the  third  from  the  big-mountain 
country.  'Prohibition  Boys'  and  'Prohibition  Whiskey,'  both  prob- 
ably from  the  hand  of  Marshal  Laughinghouse,  tell  sprightly  stories 
about  men  who  vote  dry  and  drink  wet.  'Blockader's  Trail,'  by 
Henry  D.  Holsclaw,  is  a  rollicking  ballad  about  a  sheriff  and  his 
deputy  who  arrest  blockaders,  raid  a  still,  pile  themselves,  their 
prisoners,  and  their  spoils  into  a  Ford,  and  in  a  spirit  of  bluff 
camaraderie  get  drunk,  along  with  their  captives,  en  route  to  the 
county  jail.  Composed  by  a  versifier  who  knows  "singlings"  and 
"backings,"  as  well  as  the  table  d'hote  of  a  mountain  jail,  somewhat 
better  than  he  knows  the  metrics  of  ballad  quatrain,  'Blockader's 
Trail'  is  another  expose  of  the  farce  of  prohibition  in  a  state  which 
Will  Rogers  prophesied,  will  remain  dry  as  long  as  the  electorate 
can  stagger  to  the  polls. 


Regulator  Songs 
Nos.  277-80 

One  of  the  earliest  phases  of  North  Carolina  history  that  pro- 
duced verse  in  folk-song  style  recorded  with  accompanying  evidence 
of  popular  acceptance  and  oral  circulation  was  the  Regulator 
movement. 

Beginning  about  1765  in  the  counties  of  Anson,  Orange,  and 
Granville,  the  movement  spread  over  the  middle  and  western  coun- 
ties of  the  province,  then  the  frontier  or  backwoods  country  of 
North  Carolina.  "The  grievances  of  the  Regulators  were  excessive 
taxes,  dishonest  sheriffs,  and  extortionate  fees."^  One  clerk  of  a 
superior  court  was  said  to  have  "charged  $15  for  a  marriage  license; 
and  the  consequence  was  that  some  of  the  inhabitants  on  the  head 
waters  of  the  Yadkin  took  a  short  cut.  They  took  each  other  for 
better  or  for  worse;  and  considered  themselves  as  married  without 
any  further  ceremony."^  Payment  of  taxes  and  fees  was  rendered 
difficult  by  scarcity  of  currency.  One  farmer  who  took  forty  bushels 
of  wheat  to  Fayetteville  was  able  to  get  only  one  shilling  in  cash 
of  the  market  price  of  five  shillings  per  bushel ;  the  remaining  four 
shillings'  value  he  had  to  accept  in  salt  or  some  other  commodity.^ 

^  J.  S.  Bassett,  "The  Regulators  of  North  Carolina  (1765-1771)," 
Avierican  Historical  Association  Report,  1894,  p.  150. 

^  Rev.  E.  W.  Caruthers.  A  Sketch  of  the  Life  and  Character  of  the 
Rev.  David  Caldwell,  D.D.  .  .  .  Including  .  .  .  Some  Account  of  the 
Regulation.  .  .  .     (Greensborough,  N.  C,  1842),  p.  114. 

''Ibid.,  p.  113. 


646  NORTH  CAROLINA  FOLKLORE 

On  October  10,  1766,  protestants  against  these  conditions  held  a 
meeting  at  Maddock's  Mills,  near  Hillsboro,  "to  examine  judiciously 
whether  the  freemen  in  this  country  labor  under  any  abuses  of 
power.  .  .  .  While  the  first  delegates  that  arrived  .  .  .  were  waiting 
for  .  .  ,  the  others,  Col.  Fanning  [clerk  of  the  superior  court  at 
Hillsboro],  who  was  particularly  odious  to  the  people,  sent  out 
James  Watson  to  denounce  or  forbid  the  meeting ;  but  they  pro- 
ceeded to  business"  and  drew  up  a  set  of  resolutions  for  Watson 
to  take  back  to  Fanning.'*  By  1768  the  movement,  now  entitled 
"The  Regulation,"  began  to  assume  the  character  of  a  popular  up- 
rising. When  leaders  were  arrested  and  thrown  into  jail,  the 
Regulators  rose  en  masse  to  liberate  them.  The  new  governor, 
William  Tryon,  assembled  militia  from  the  eastern  counties  to  sup- 
press the  uprising  and  protect  the  courts.  For  a  while  the  Regula- 
tors dispersed  and  took  cover. 

In  1769  suits  against  extortionate  officials  having  failed  to  bring 
relief  and  Governor  Tryon's  promised  reforms  having  come  to 
naught,  "the  resistance  took  the  form  of  driving  local  justices  from 
the  bench  and  threatening  the  officials  of  the  courts  with  violence."^ 
At  the  September  1770  term  of  the  Superior  Court  at  Hillsboro: 
"Several  persons  styling  themselves  Regulators  assembled  together 
in  the  court  yard  under  the  conduct  of  Harmon  Husband,  James 
Hunter,  Rednap  Howel,  William  Butler,  Samuel  Divinny,  and  many 
others,  insulted  some  of  the  gentlemen  of  the  bar,  and  in  a  riotous 
manner  went  into  the  courthouse  and  forcibly  carried  out  some  of 
the  attorneys  and  in  a  cruel  manner  beat  them.  They  then  insisted 
that  the  Judge  (Richard  Henderson  .  .  .)  should  proceed  to  the 
trial  of  their  leaders  who  had  been  indicted  at  a  former  court,  and 
that  the  jury  should  be  taken  out  of  their  party.  Therefore  the 
Judge  finding  it  impossible  to  proceed  with  honor  to  himself  and 
justice  to  his  country,  adjourned  the  court  'til  tomorrow  at  10 
o'clock;  and  took  advantage  of  the  night  and  made  his  escape,  and 
the  court  adjourned  to  meet  in  course."^  On  the  same  day  the 
Regulators  whipped  Fanning  and,  the  following  morning,  repeated 
the  dose  and  demolished  his  house.  In  the  November  following. 
Judge  Henderson's  barns,  stables,  and  dwelling  house  were  burned." 
Ordering  the  arrest  of  the  leaders  of  this  outrage.  Governor 
Tryon  made  energetic  preparations  for  a  military  expedition  to 
Orange  county.  At  the  battle  of  Alamance,  fought  on  May  16, 
1771,  the  comparatively  well-equipped  and  well-led  forces  of  the 
governor   put   the   half-armed   and   leaderless    Regulators   to   flight. 

*  Ibid.,  pp.  109-12. 

"  S.    C.    Williams,    "Regulators    of    North    Carolina,"    Dictionary    oj 
American  History,  ed.  J.  T.  Adams   (New  York,  1940),  iv,  439-40- 
*Caruthers,  op.  cit.,  pp.  131-2,  quoting  court  records. 
^  Williams,  op.  cit.,  iv,  440. 


NORTH     CAROLINA     BALLADS  647 

They  caught  and  hanged  seven  of  the  leaders,  and  thus  crushed  the 
movement.*^ 

Folk-song  treatments  of  these  events  have  three  early  recordings.''* 
(i)  The  earliest  occurs  in  "memoranda  of  Hillsboro  Supreme  Court 
by  the  Clerk  of  said  Court,  July  5,  1819,"  discovered  by  Julian  P. 
Boyd  in  1927.  Three  Regulator  songs  are  included.  (2)  These 
three  appear  again — one  in  full  (with  slight  verbal  variations),  one 
in  part,  and  one  with  an  extra  stanza — together  with  a  fourth 
song  not  in  the  "memoranda."  in  the  Reverend  E.  W.  Caruthers' 
Sketch  of  the  Life  and  Character  of  the  Rev.  David  Caldwell,  D.D. 
These  two  recordings  have,  in  part  at  least,  a  common  source.  The 
"Clerk  of  the  Court"  indicates  that  he  got  his  three  songs  "from 
Joseph  Macpherson  near  Winston."  Caruthers  cites  MacPherson 
[j/c]  as  his  informant  for  only  one  of  the  four  he  quotes  ('When 
Fanning  First  to  Orange  Came')  ;^"  but  he  quotes  MacPherson  fre- 
quently in  other  connections  and  also  cites  as  one  of  his  sources  of 
information  about  the  history  of  the  Regulation  "an  account  fur- 
nished me  by  Dr.  Mitchell  of  the  University,  which  he  obtained  in 
July  1819,  twenty-three  years  ago,  from  Joseph  McPherson  [_sic'\, 
near  Salem,  in  Stokes  county.''^^  (3)  The  third  recording  appears 
in  a  letter,  from  a  correspondent  who  signs  himself  "Regulator,"  to 
the  Raleigh  Register  and  North-Carolina  Gazette  of  June  2,  1826. 
The  three  songs  contained  therein  correspond  closely  to  the  three 
copied  by  the  "Clerk  of  Court"  in  his  "memoranda." 

*  The  following  ex  parte  account  of  the  battle  was  published  in  the 
London  Gentleman's  Magazine  of  June  1771  : 

"Newburn,  N.  C.  May  24,  1771  :  His  excellency,  the  Governor,  having 
reached  Hillsborough  with  about  1300  troops  found  the  Regulators  were 
about  forty  miles  above  him,  embodied  and  in  arms.  He  immediately 
marched  to  attack  them,  in  case  they  should  refuse  to  comply  with  the 
terms  he  offered  them,  which  were  to  give  up  their  principals,  lay  down 
their  arms  and  swear  allegiance  to  his  Majesty.  On  the  i6th  inst.  after 
being  within  a  mile  of  them,  his  Excellency  received  a  messenger  with 
terms  for  an  accommodation  but  they  being  wholly  inadmissible,  he 
marched  to  within  a  small  distance  of  them,  and  formed  in  one  line  about 
half  his  men,  the  other  half  forming  a  second  line  at  about  200  yards 
distance  by  way  of  reserve.  The  Regulators,  to  the  number  of  at  least 
2500,  immediately  formed  within  twenty  to  thirty  paces,  and  behaved 
in  a  daring  and  desperate  manner.  His  Excellency  again  proffered  terms 
to  them,  which  they  spurned  at,  and  cried  out  for  battle !  His  Ex- 
cellency then  immediately  ordered  the  signal  of  battle  to  be  given,  which 
was  a  discharge  of  the  artillery.  When  instantly  ensued  a  very  heavy 
firing  on  both  sides  for  near  two  hours  and  a  half.  When  the  Regulators 
being  hard  pressed  by  our  men,  and  sorely  galled  by  the  artillery,  gave 
way  on  all  sides,  and  were  pursued  to  the  distance  of  a  mile  through 
the  woods.  The  killed  on  our  side  do  not  exceed  ten  and  the  wounded 
are  about  fifty,  but  on  the  Regulators  300  were  found  dead  on  the  field 
next  morning  and  a  very  great  number  wounded." 

"  One  of  these  is  from  the  Frank  C.  Brown  Collection.  The  other 
two  were  found  in  research  by  A.  P.  Hudson. 

'"  Op.  cit.,  p.  116. 

"  Ibid.,  p.  112. 


648  NORTH     CAROLINA     FOLKLORE 

The  Regulators,  wrote  Caruthers,  "had  almost  as  many  songs  as 
the  people  have  now  [c.  1842]  before  a  presidential  election. — 
Rednap  Howell,  who  is  said  to  have  been  from  New  Jersey  and  who 
taught  a  common  school  somewhere  on  Deep  River,  in  Chatham 
county,  was  the  bard  of  the  day ;  and  composed  about  40  songs, 
some  fragments  of  which  still  remain. "^^  In  footnotes  Caruthers 
quotes  two  of  Howell's  songs  as  examples. ^^  Howell's  name  appears 
frequently  in  the  narratives  of  the  Regulators.  He  was  among 
those  who  broke  up  the  Hillsboro  court  in  September  1770.  After 
the  battle  of  Alamance  he  was  outlawed,  "not  for  his  fighting,  but 
for  his  songs, "^■^  along  with  Harmon  Husband,  James  Hunter,  and 
William  Butler,  "and  a  reward  of  £100  and  1000  acres  of  land  was 
promised  to  any  person  who  would  bring  in  either  of  them,  dead 
or  alive;  but  neither  of  them  was  ever  taken."^'"*  A  letter  from 
Howell  to  James  Hunter,  dated  Halifax,  February  16,  1771,  and 
dealing  with  an  unsuccessful  effort  of  Governor  Tryon  to  persuade 
a  force  of  militia  to  march  against  the  Regulators,^*'  shows  Howell 
to  have  been  a  person  of  spirit  and  energy,  with  a  good  education. 
He  is  probably  the  author  of  all  four  of  the  following  Regulator 
songs. ^'^ 


277 
When  Fanning  First  to  Orange  Came 

Edmund  Fanning  was  born  on  Long  Island  to  a  family  of  wealth, 
education,  and  high  social  standing.  He  is  said  to  have  been 
graduated  from  Yale  College  in  1757.  Beginning  his  North  Caro- 
lina career  as  an  attorney  at  Hillsboro,  he  became  a  county  colonel, 
clerk  of  the  superior  court,  member  of  the  assembly,  and  a  favorite 
of  Governor  Tryon.  A  man  of  fine  address  and  ability,  he  regarded 
public  ofllice  in  the  province  as  a  means  to  enrich  himself.  Indicted 
by  the  Regulators  at  a  term  of  the  Hillsboro  court  "for  extortion  in 
six  cases,  he  was  found  guilty  in  all,  notwithstanding  the  partiality 
of  the  court ;  and  was  fined,  in  each  case,  one  penny.  .  .  ."^^    Having 

^^  Ibid.,  p.  129. 

^^  Ibid.,  pp.  129-30. 

"  Ibid.,  p.  163. 

^'Ibid.,  p.  157- 

^"Quoted  in  Hugh  Williamson's  History  of  North  Carolina  (Philadel- 
phia, 1812),  ir,  269-71. 

"  "Where  he  went  after  the  battle  [of  Alamance]  is  not  known" 
(Colonial  Records,  viii,  xxvi).  In  its  session  of  Saturday,  Dec.  7,  1771, 
the  General  Assembly  passed  the  following  resolution :  "On  motion, 
Resolved  that  his  Excellency  the  Governor  be  addressed  to  grant  a  Gen- 
eral Pardon  to  all  Persons  concerned  in  the  late  Insurrection,  Except, 
Herman  Husband,  Rednap  Howell,  and  William  Butler,  the  House  being 
of  Opinion  the  Crimes  of  these  men  are  too  atrocious  to  merit  any  de- 
gree of  Lenity.  .  .  ." 

^*  Caruthers,  op.  cit.,  p.  117. 


NORTH  CAROLINA  BALLADS  649 

"laced  his  coat  with  gold,"  he  was  among  the  most  energetic  and 
inveterate  opponents  of  the  Regulators,  and  consequently  one  of  the 
chief  objects  of  their  derision  and  vengeance. 

One  stanza  of  a  song  about  Fanning  was  discovered  by  Julian  P. 
Boyd,  then  of  Alliance,  Pamlico  county,  in  1927,  and  contributed 
to  the  Frank  C.  Brown  Collection  with  this  note:  "Song  copied  in 
memoranda  of  Hillsboro  Supreme  Court  by  Clerk  of  Said  Court 
July  5,  1819,  who  got  it  from  Joseph  Macpherson  near  Winston. 
Macpherson  came  to  Carolina  in  1765,  settled  in  Chatham.  He 
heard  this  song  at  a  wedding  soon  after  his  arrival  and  before  he 
knew  anything  of  the  person  mentioned." 

The  same  stanza  with  an  additional  one  was  included  by  Caruth- 
ers,  who  stated :  "Fanning  and  others,  who  had  .  .  .  become  ob- 
noxious to  the  people,  were  made  the  subjects  of  ridicule  or  of 
merriment  by  the  wits  and  wags  of  the  day;  and,  as  is  usual  in 
such  cases,  caricatures  and  pasquinades  abounded."  To  this  state- 
ment he  adds,  in  a  footnote:  "Some  fragments  of  the  poetic  effusions 
then  common  in  the  country  are  here  given  as  matters  of  curiosity; 
and  as  shewing  the  manner  and  spirit  of  the  times.  The  following, 
MacPherson  says  he  heard  sung  at  a  wedding  when  he  first  came 
into  Chatham,  in  1765;  and  before  he  knew  any  thing  of  the  indi- 
vidual to  whom  it  refers. "^^* 

When  Fanning  first  to  Orange  came 
He  looked  both  pale  and  w^an, 
An  old  patched  coat  upon  his  back 
An  old  mare  he  rode  on. 

Both  man  and  mare  wa'nt  worth  five  pounds 
As  I've  been  often  told 
But  by  his  civil  robberies 
He's  laced  his  coat  with  gold.^^ 

The  same  song  appears  as  'Canzone  II,'  from  "Regulator,"  Raleigh 
Register  and  North-Carolina  Gazette,  June  2,  1826. 


278 
From  Hillsborough  Town  the  First  of  May 

In  April  1768  the  sheriff  of  Orange  county  seized  a  mare,  a  saddle, 
and  a  bridle  for  taxes  and  carried  them  to  Hillsboro ;  whereupon 
sixty  or  seventy  Regulators  went  to  Hillsboro,  bound  the  sheriff, 
rescued  the  mare,  and  shot  up  the  roof  of  Fanning's  house.  On 
April  30  Harmon  Husband  and  William   Butler  were  arrested,  as 

"*0/'.  cit.,  pp.  115-16. 

"  On  July  13,  1767,  Fanning  ordered  from  a  merchant  in  Halifax 
"some  good  double  Gold  lace  for  a  Hat,  and  some  narrow  double  Gold 
Do  for  a  Jacket"  (Colonial  Records  of  North  Carolina,  vii,  506-7). 


650  NORTH  CAROLINA  FOLKLORE 

recognized  leaders  of  the  Regulators,  and  on  the  next  day  taken  to 
Hillsboro  and  put  in  jail.  On  May  3  seven  hundred  or  more  armed 
Regulators  came  to  town  to  compel  release  of  the  prisoners. ^'^ 

Harmon  (or  Hermon)  Husband  was  born  in  Cecil  county,  Mary- 
land, in  1724.  Though  a  member  of  an  Episcopal  family,  he  became 
a  Quaker  and  acquired  some  repute  as  a  speaker. ^^  Moving  to 
North  Carolina,  "He  lived  on  Sandy  Creek,  in  what  is  now  Randolph 
county,  and  was  in  good  circumstances.  .  .  .  The  tradition  of  his 
old  neighborhood  says  that  he  was  some  relation  of  Dr.  Franklin ; 
and  that  the  two  maintained  at  this  time  a  kind  of  verbal  correspond- 
ence."-- He  drew  up  many  of  the  petitions  and  other  documents 
of  the  Regulators,  was  often  spokesman  for  them,  took  part  in  some 
of  their  boldest  actions,  was  imprisoned  in  their  cause,  was  present 
at  the  battle  of  Alamance  but  rode  away  without  fighting,  was 
among  those  outlawed  after  the  battle,  escaped  to  Pennsylvania, 
and  later  was  arrested  and  imprisoned  on  the  charge  that  he  had 
taken  a  prominent  part  in  the  Whiskey  Rebellion.  He  was  appar- 
ently not  well  educated  but  was  a  man  of  superior  mind  and 
character.23 

"Old  Hamilton,"  named  in  the  following  song  as  leader  of  the 
rescue  party,  was  a  citizen  of  Orange  county,  Ninian  Bell  Hamilton, 
described  by  Caruthers  as  "an  old  Scotchman,  60  or  70  years  of 
age."24 

The  second  Regulator  song  is  from  Julian  P.  Boyd,  as  cited  in 
his  note  on  'When  Fanning  First  to  Orange  Came,'  with  the  fol- 
lowing additional  note:  "On  May  i,  1768,  a  party  of  men  went 
out  from  Hillsboro  to  secure  Husbands,  and  they  accordingly 
brought  him  into  town,  but  the  whole  country  rose  to  rescue  him 
under  the  command  of  Ninningbele  Hamilton.  When  they  ap- 
proached the  town.  Husbands  was  liberated,  and  Fanning  came 
across  the  Eno  and  entreated  Hamilton  not  to  bring  his  men  into 
town,  and  I  [Macpherson]  believe  they  accordingly  dispersed. 
These  matters  are  ...  in  the  following  song  in  which  two  or  three 
rounds  immediately  after  the  first  are  wanting." 

Caruthers  explains  that  when  the  Regulators  reached  the  Eno 
River,  the  southern  boundary  of  Hillsboro,  they  were  informed 
that  Husband  had  been  liberated.  There  "they  were  joined  by 
Husband  .  .  .  ;  and  Isaac  Edwards  [secretary  to  Governor  Tryon] 
.  ,  .  read  the  governor's  proclamation,  informing  them  that  ...  he 
would  redress  their  grievances  and  protect  them  from  extortion  and 

^^  Colonial  Records,  vii,  xxi-xxii. 

^^  Bassett,  op.  cit.,  p.  155. 

^-Caruthers,  op.  cit.,  p.  iiQ- 

-^  Husband  was  the  great-great-grandfather  of  Rear  Admiral  Husband 
E.  Kimmel,  Commander  of  the  Pacific  fleet  at  the  time  of  the  Japanese 
attack  on  Pearl  Harbor,  Dec.  7,  1941.  Greensboro  Daily  News,  Jan.  27, 
1946,  sec.  2,  pp.  I  and  8. 

-'  Op.  cit.,  p.  122. 


NORTH  CAROLINA  BALLADS  65I 

oppression  of  any  officer,  provided  they  would  disperse  and  go 
home."  Caruthers'  account  continues  with  these  picturesque  de- 
tails :  "When  the  Regulators  first  arrived  on  the  banks  of  the  Eno, 
it  is  said  that  Fanning  went  down,  with  a  bottle  of  rum  in  one 
hand,  and  a  bottle  of  wine  in  the  other,  entreating  Hamilton  not  to 
bring  his  men  into  the  town,  but  send  a  horse  to  take  him  across, 
that  they  might  talk  about  matters  in  good  humour.  The  old 
Scotchman,  however,  told  him  that  he  was  none  too  good  to  wade; 
and  that  if  he  had  any  business  with  them,  he  might  bring  himself 
over  the  best  way  he  could.  Fanning  waded  the  stream ;  but  when 
he  got  there  Hamilton  would  not  permit  the  men  to  taste  either  his 
rum  or  his  wine."  To  the  clause  "he  was  none  too  good  to  wade" 
Caruthers  appends  a  footnote :  "On  this  occasion  some  one  made  a 
song  of  eight  verses,  two  of  which  are  here  given  merely  as  a 
specimen. "2^  (These  are  identical  with  stanzas  5-6  of  the  version 
to  be  quoted  below.) 

The  following  is  Boyd's  version : 

I     From  Hillsborough  Town  the  first  clay  of  May 
Marched  those  murdering  traitors. 
They  went  to  oppose  the  honest  men 
That  were  called  the  Regulators. 

2,  3 

4  Old  Hamilton  surrounded  the  Town, 
He  guarded  every  quarter  ; 

The  Regulators  still  marching  on, 
Full  fifteen  hundred  after. 

5  At  length  their  head  men  they  sent  out 
To  save  their  town  from  fire. 

To  see  Ned  Fanning  wade  Eno, 
Brave  boys,  you'll  all  admire. 

6  With  hat  in  hand,  at  our  command, 
To  salute  us  every  one.  Sir ; 

And  after  that,  kept  off  his  hat 
To  salute  old  Hamilton,  Sir. 

7  But  old  Hamilton,  like  an  angry  man 
He  still  craved  satisfaction. 

For  taking  of  Husbands  away  to  the  town 
It  was  a  most  villainous  action. 

"Regulator,"  in  Raleigh  Register  and  North-Carolina  Gazette,  June 
2,  1826,  relating  the  story  of  the  rescue  of  Husband  and  Hunter, 
adds:  "These  matters  are  set  forth  in  the  following  song,  in  which 

-•'  Caruthers,  op.  cit.,  pp.  122-3. 


652  NORTH     CAROLINA     FOLKLORE 

one  or  two  stanzas  are  unfortunately  wanting — a  circumstance 
which  fills  the  breast  of  the  writer  of  this  article  with  unsupportable 
grief  and  sorrow."  (His  version  is  practically  identical  with  the 
"Clerk's"  copy.) 

279 

Says  Frohock  to  Fanning 

Three  Frohocks  figure  in  the  history  of  the  Regulation.  Thomas 
Frohock  was  clerk  of  the  superior  court  for  the  district  of  Salis- 
bury. He  produced  his  commission  March  7,  1769.2*'  In  March 
1771  he  signed  an  agreement  to  return  to  a  committee  of  Regulators 
fees  "taken  through  inadvertency  or  otherwise  over  and  above  what 
we  severally  ought  to  have  taken."  John  Frohock,  as  county  clerk, 
signed  the  same  document. ^^  There  is  record  of  a  charge  of  ex- 
tortion against  William  Frohock,  sub-sheriff  of  Rowan  county,  in 
1769.28  Thomas  is  probably  the  one  referred  to  in  the  following 
song. 

The  text  below  is  from  Julian  P.  Boyd,  as  cited  in  his  note  on 
'When  Fanning  First  to  Orange  Came,'  with  the  additional  note: 
".  .  .  Rednap  Howell  was  a  schoolmaster  from  the  North,  it  is  be- 
lieved, N.  Jersey.  He  acquired  his  importance  in  these  troubles 
solely  from  his  ability  as  a  writer.  He  composed  the  songs  which 
to  the  amount  of  perhaps  40  (for  his  muse  seems  to  have  been 
prolific)  were  sung  or  rather  roared  by  the  Regulators  at  their 
meetings.  It  is  believed  those  which  have  already  been  inserted 
were  from  his  pen,  and  of  the  others,  the  following  is  the  only 
one  I  have  been  able  to  rescue  from  oblivion." 

1  Says  Frohock  to  Fanning,  'To  tell  the  plain  truth, 
When  I  came  to  this  country,  I  was  but  a  youth. 
My  father  sent  for  me,  I  want  worth  a  cross ; 
And  then  my  first  study  was  to  cheat  for  a  boss. 

2  'I  quickly  got  credit  and  straight  ran  away 
And  haven't  paid  for  bim  to  this  very  day.' 
Says  Fanning  to  Frohock,  '  'Tis  a  folly  to  lie ; 
I  rode  an  old  mare  that  was  blind  in  one  eye. 

3  'Five  shillings  in  money  I  bad  in  my  purse. 

My  coat  it  was  patched  but  not  much  the  worse. 
But  now  we've  got  rich  and  it's  very  well  known 
That  we'll  do  well  enough  if  they'll  let  us  alone.' 

Caruthers,  writing  of  events  of  about  1769,  states:  "In  default 
of  the  payment  of  taxes,  the  sheriffs  had  been  going  over  the  coun- 

"  Colonial  Records,  viii,  19. 
"  Ibid.,  VIII,  521-2. 
**  Ibid.,  VIII,  69. 


NORTH  CAROLINA  BALLADS  653 

try,  distraining  the  goods  of  the  citizens,  seizing  furniture,  cattle, 
pewter  vessels,  or  any  thing  else  they  chose  to  lay  their  hands  on, 
thereby  causing  a  great  deal  of  distress."  He  adds  in  a  footnote : 
"The  following  undoubted  specimen  of  Rednap  Howel's  poetry  is 
so  graphic  and  contains  such  a  frank  expression  of  the  prevailing 
sentiments  respecting  the  individuals  named  in  it,  that  we  presume 
it  will  not  be  unacceptable  to  the  reader."^^  (His  text  is  almost 
identical  with  Boyd's.) 

Of  the  same  song,  "Regulator,"  in  the  Raleigh  Register  and 
North-Carolina  Gazette,  June  2,  1826,  writes:  "Having  given  above 
one  of  the  songs  ['From  Hillsborough  Town  .  .  .']  with  which  the 
Regulators  used  to  animate  their  courage  when  they  were  assembled 
for  business  or  war,  I  shall  subjoin  two  others^" — being  all  that 
I  have  been  able  to  rescue  from  these  devouring  jaws  of  time — of 
which  their  brothers,  to  the  number  of  twenty  or  more — the  lovely 
offspring  of  the  same  prolific  muse,  and  their  equals  in  delicacy  of 
sentiment  and  grace  of  diction,  were  the  victims.  It  is  only  neces- 
sary for  me  to  remark,  by  way  of  explanation,  that  Fanning  was 
Recorder  at  Hillsborough,  and  Frohawk  at  Salisbury."  (He  prints 
the  song  as  "Canzone  I,"  in  two  stanzas  labeled  "Strophe"  and 
"Antistrophe.") 

280 

Who  Would  Have  Tho't  Harmon 

To  his  brief  account  of  Rednap  Howell,  Caruthers  adds  this 
footnote :  "The  following  lines  written  by  Rednap  Howel,  and  in 
the  dialogue  form,  are  here  inserted,  merely  for  the  representation 
which  they  give  of  the  character  and  personal  appearance  of  the 
two  men  to  whom  they  refer";  and  he  quotes  the  verses. ^^ 

The  "dialogue"  would  seem  to  be  between  "Frank"  and  "Ned" 
and  to  be  concerned  with  any  one  of  a  number  of  incidents  in 
which  "Harmon"  and  "Hunter"  negotiated  with  county  or  provin- 
cial officials.  "Frank"  is  probably  Francis  Nash,  County  Clerk. 
"Ned"  is  doubtless  Edmund  Fanning.  Of  the  two  men  to  whom 
both  the  verses  and  the  interlocutor  refer,  "Harmon"  is  undoubtedly 
Harmon  Husband.  "Hunter"  may  be  James  Hunter,  an  Orange 
county  citizen  of  property  and  influence.  In  1768  he  went  with 
Rednap  Howell  to  deliver  a  petition  to  Governor  Tryon.  He  pre- 
sented the  bold  petition  to  Judge  Henderson  at  the  September  1770 
term  of  the  Hillsboro  court  and  with  others  broke  up  the  court. 
At  the  battle   of   Alamance  he   was   asked   to   take   command  but 

"  Op.  cit.,  p.  130. 

'"  One  of  the  "two  others"  has  been  previously  described  under  'When 
Fanning  First  to  Orange  Came,'  above. 
"  Op.  cit.,  pp.  129-30. 


6S4  NORTH  CAROLINA  FOLKLORE 

refused,  saying,  "We  are  all   free  men,  and  every  man  must  com- 
mand himself. ""^^ 

Who  would  have  tho't  Harmon,  that  hum  drum  old  fox, 
Who  looks  so  bemeaning  with  his  towsled  locks, 
Would  have  had  resolution  to  stand  to  the  tack ; 
Alas  my  dear  Ned,  our  case  is  quite  black. 
And  who  would  have  tho't  Hunter,  so  seemingly  mild, 
Would  have  been  so  gigantic,  mischievous  and  wild, 
I  tho't  him  a  fool,  and  I  took  him  for  one ; 
Alas  my  dear  Frank,  our  cause  is  undone. 
Like  Turkish  Bashaws  they  bear  absolute  sway ; 
Alas  my  dear  Frank,  we  must  all  run  away. 

This  little  group  of  spirited  pieces  about  the  Regulators  is  cer- 
tainly rare,  possibly  unique,  in  American  folk  song. 

It  is  rare  in  the  earliness  of  its  certain  dating.  References  to 
folk  song  are  very  scarce  in  colonial  writings.  One  of  the  earliest 
and  most  specific  occurs  in  Cotton  Mather's  diary  for  September 
V,  1713: 

I  am  informed,  that  the  Minds  and  Manners  of  many  people  about  the 
Countrey  are  much  corrupted  by  foolish  Songs  and  Ballads,  which  Hawk- 
ers and  Peddlars  carry  into  all  parts  of  the  Countrey.  By  way  of  anti- 
dote, I  would  procure  poetical  Composures  full  of  Piety,  and  such  as 
may  have  a  tendency  to  advance  Truth  and  Goodness,  to  be  published, 
and  scattered  into  all  corners  of  the  Land.  There  may  be  an  extract  of 
some,  from  the  excellent  Watts'  Hymns.'"' 

It  may  have  been  noticed  that  Mather  does  not  distinguish  be- 
tween native  and  imported  pieces.  That  there  were  plenty  of  the 
latter  is  attested  by  hundreds,  of  English,  Scottish,  and  Irish  origin, 
many  of  them  brought  in  as  broadsides,  present  in  standard  Ameri- 
can folk-song  collections  today,  most  of  them  still  current.  But  of 
indigenous  pieces  there  is  scanty  record  and  scantier  survival. 
Moses  Coit  Tyler,  writing  in  1878,  mentions  three  pre-Revolutionary 
historical  pieces,  apparently  unrelated  to  one  another,  as  still  popular 
in  New  England.  A  fourth  "historical  ballad  composed  in  America 
of  which  texts  are  available  is  LoveivclVs  Fight,  recording  a  struggle 
with  Indians  in  Maine,  8  May,  1725."^^  Writing  in  1922,  Louise 
Pound  stated : 

Nothing  indigenous  lives  from  colonial  times,  so  far  as  is  known.  Nor 
does  anything  live  from  the  Revolutionary  War  and  the  days  following, 
except  Yankee  Doodle,  which  is  sung  to  an  Irish  melody,  and  a  few 
patriotic  songs.     These  have  an  established  popularity  quite  apart   from 

^^  Colonial  Records,  vii  and  vui,  passim.  (Some  of  Hunter's  letters 
appear  in  the  Southern  History  Collection  of  the  University  of  North 
Carolina  Library.) 

^'^  Quoted  by  Louise  Pound,  "Oral  Literature,"  Cambridge  History  of 
American  Literature,  ni,  503. 

"  Ibid.,  p.  504. 


NORTH  CAROLINA  BALLADS  655 

the  traditional  and  the  oral.  They  have  entered  into  traditional  currency 
but  are  far  from  dependent  on  it.'" 

So  far  as  we  know,  the  sole  surviving  traditional  ballad  from  colo- 
nial times  is  'Springfield  Mountain.'  "Although  the  event  on 
which  it  is  based  is  of  the  eighteenth  century  (the  death  from  snake- 
bite of  Timothy  Myrick  of  Springfield,  Massachusetts,  in  1761)," 
Phillips  Barry  found  "no  evidence  that  the  ballad  is  of  earlier  date 
than  the  second  quarter  of  the  last  century."-*"  On  the  other  hand, 
the  songs  of  the  North  Carolina  Regulators  date  certainly  between 
1765  and  1 77 1.     So  nmch  for  their  rarity. 

Their  possible  uniqueness  is  indicated  by  the  absence  of  any 
record  anywhere  else,  known  to  me  or  mentioned  in  anything  I  have 
ever  read,  of  a  group  of  four  native  American  songs,  in  all  prob- 
ability of  common  authorship,  certainly  with  similar  marks  of  style, 
having  to  do  with  one  episode  and  knov/n  to  have  been  sung  in  a 
large  community  and  remembered  orally  for  two  or  three  genera- 
tions. 


281 

The  Rebel  Acts  of  Hyde 

Even  after  the  Civil  War  had  begun,  there  was  a  strong  anti- 
secession  and  pro-Union  sentiment  in  Hyde  county.  On  October 
12,  1861,  a  convention  at  Hatteras  adopted  resolutions  reaffirming 
"loyalty  to  the  Government  of  the  United  States"  and  expressing 
"unalterable  attachment  to  that  Constitution  which  is  the  basis  of 
the  Union  founded  by  our  fathers" ;  repudiating  the  acts  of  the 
Confederate  General  Assembly;  disowning  obedience  to  the  Gov- 
ernor; denying  the  existence  of  State  authority;  and  drawing  up 
"a  statement  of  grievances  and  a  formal  declaration  of  independ- 
ence." Some  of  the  "grievances"  specified  correspond  closely  to 
the  actions  of  the  Secessionists  as  they  are  represented  in  the  fol- 
lowing ballad.  (See  Frank  Moore,  Rebellion  Records,  1860-61,  iii, 
177-179.) 

'The  Rebel  Acts  of  Hyde.'  Contributed  by  Julian  P.  Boyd,  Alliance. 
Pamlico  county,  about  1927-28,  as  from  an  anonymous  student  in  the 
school  there,  with  the  note  "Brought  from  the  Civil  War  by  a  Union 
soldier." 

I      It's  now  I  will  relate, 
Though  in  a  broken  way, 
How  the  rich  in  Hyde 
Did  carry  the  poor  away. 

^^  American  Ballads  and  Songs  (New  York,  1922),  p.  xxii. 
'' H.   M.  Belden    (ed.),  Ballads  and  Songs  Collected  by  the  Missouri 
Folklore  Society  (Columbia,  Mo.,  1940).  P-  299. 


656  NORTH     CAROLINA     FOLKLORE 

2  When  the  war  was  first  begun 
By  the  South  Carolina  rebs, 

The  Devil  found  his  way  to  Hyde 
And  got  in  people's  heads, 

3  They  said,  'We'll  now  secede, 

The  stars  shall  no  longer  over  us  wave ; 
We'll  hoist  on  high  a  little  rag 
That  will  our  negroes  save.' 

4  They  made  of  this  a  business, 
Driving  the  country  round, 
To  pester  each  poor  fellow 
Wherever  he  was  found. 

5  'Come,  come,  my  good  man, 
Come,  battle  for  your  right ; 
We'll  pay  the  expenses  of  the  war, 
And  you  must  go  and  fight. 

6  'The  Yankees  now  have  come 
To  take  your  lands  and  life. 
And  will  not  hesitate 

To  take  a  fellow's  wife.' 

7  Some  poor  fools  got  very  mad 
At  these  precious  rebel  lies, 
And  away  to  join  the  army, 
Behold !  how  quick  they  fly. 

8  Nor  never  halted  once 

To  see  what  they  were  doing. 
But  went  a  pace  of  double  quick 
To  his  poor  country's  utter  ruin. 

9  Some  precious  promises 
Those  mighty  Secesh  made. 
To  every  ignorant  being 
Whom  to  ruin  they  were  leading. 

10  Said  they  to  every  one 
Who  to  the  war  was  bound, 
'Your  wife  shall  never  suffer. 
And  your  children  shall  be  found.' 

11  Said  they,  'Our  barns  are  open  now; 
Come  every  volunteer, 

And  from  our  noble  bounties. 
Draw  everyone  a  share. 


NORTH     CAROLINA     BALLADS  6S7 

12  'Well,  now  the  men  are  gone, 
We've  got  them  out  at  last, 

And  if  provisions  should  get  scarce 
Their  children  have  got  to  fast.' 

13  And  sure  enough,  here  comes 

A  suffering  wife,  a  starving  son. 
*Oh  now,  if  I  could  help  you!' 
Cries  Secesh  every  one. 

14  The  wife  cries  out,  'Alas, 
Where  shall  I  go  for  aid? 
My  husband  he's  a  rebel, 
And  I'm  a  beggar  made.' 

15  At  length,  Hatteras,  Roanoke, 

New  Bern,  and  Washington  were  taken. 
Oh !  it's  now  each  widow  and  orphan 
Knows  they  are  surely  all  forsaken. 

16  Well;  let's  see  what  Yankee  conduct  was. 
Instead  of  insults  to  the  rebel  child  and  wife, 
They  kindly  said  to  them, 

'Come  to  our  bounty  and  take  the  means  of  life.' 

17  Every  word  I  here  have  listed 
Is  as  true  as  our  lives. 

For  I've  known  them  to  feed 
Four  hundred  rebels'  wives. 

18  Now  Mister  Secesh  thought, 
'Oh,  this  is  my  time  to  fix  it ; 
I  swear  for  all  the  salt  I  can 
And  run  it  out  to  "Dixie."  ' 

19  And  many  of  them  came. 

As  they  said,  'To  make  amends,' 

To  take  the  oath  of  allegiance. 

For  the  Yankees  were  their  friends. 

20  Then  straightway  home  they  went, 
And  ran  off  in  the  woods. 

And  in  ambush  wait  to  shoot  them, 
In  turn  for  salt  and  goods. 

21  But  thank  my  God,  in  Hyde 
There  still  remain  a  little  few 
That  to  the  heroes  of  Seventy-Six 
And  Stars  and  Stripes  are  true. 


658  NORTH     CAROLINA     FOLKLORE 

282 

As  I  Went  Down  to  Newbern 

The  unknown  composer  of  this  ballad  was  probably  a  soldier 
under  the  command  of  General  Laurence  O'Brien  Branch,  defender 
of  New  Bern,  when  the  city  was  captured,  on  March  14,  1862.  by 
General  A.  E.  Burnside,  after  an  engagement  in  which  the  Con- 
federates lost  about  578  killed,  wounded,  and  captured. 

No  title.  From  Thomas  Smith,  Zionville,  Watauga  county.  May  7, 
1913,  with  this  note:  "Sung  for  me  by  E.  B.  Miller,  Boone,  N.  C,  R.  i. 
May  7th,  1913.  Mr.  Miller  says  this  song,  which  he  heard  sung  by 
soldiers  during  war  times,  was  very  popular  in  Watauga."  Dr.  Brown 
notes :  "Air  by  Lunsford" ;  but  no  air  accompanies  the  manuscript. 

1  As  I  went  down  to  Newbern, 

I  went  down  there  on  the  tide ; 

I  just  got  there  in  time 

To  be  taken  by  Old  Burnside. 

2  Old  Burnside  tuck  me  prisoner ; 
He  used  me  rough,  'tis  true ; 

He  stole  the  knapsack  ofif  my  back, 
And  he  did  my  blanket  too, 

3  And  we'll  lay  five  dollars  down, 
Count  them  one  by  one. 

And  every  time  we  fight  them 
The  Yankees  they  will  run. 

283 

Old  Billy  Dugger 

From  Thomas  Smith,  Zionville,  Watauga  county,  about  1914, 
with  this  explanation:  "This  verse  composed  on  an  incident  of  the 
Civil  War :  William  Dugger  of  the  Home  Guard  shot  Captain  Jack 
McBride's  horse  one  night  by  mistake,  thinking  it  was  a  "Yankee 
or  a  bushwhacker.'  " 

Old  Billy  Dugger  he  looks  mighty  cross ; 
He  shot  at  a  man  and  kill  Jack's  boss. 

284 
The  Brushy  Mountains  Freshet 

"A  fragment  of  a  song  sung  in  the  Brushy  Mountains  in  the 
summers  of  1917  and  1918,  commemorating  the  freshet  of  1916, 
when  several  lives  were  lost  in  that  section  of  the  country  and 
much  property  was  destroyed.  It  probably  refers  to  a  mountain 
cabin  which  was  totally  destroyed  by  a  landslide.  Three  days  later, 
the  father  and  mother  were  found  with  three  of  the  children.     The 


NORTH  CAROLINA  BALLADS  659 

other  two  were  not  found,  and  it  is  supposed  that  they  were  killed." 
— Note  accompanying  the  MS.  See  also  Mrs.  Steely  1 17-18  (1935). 
'The  Cloudburst' — ten  full  stanzas,  with  circumstantial  account  of 
factual  basis. 

No  title.  Contributed  by  Homer  M.  Keever,  of  Union  Grove,  Iredell 
county;  undated.  (Mr.  Keever  graduated  from  Trinity  College  in  1923 
and  received  degrees  from  Duke  University  in  1930  and  1931-) 

1  In  the  month  of  July,  in  the  year  'sixteen, 
Came  the  awfullest  storm  that's  ever  been  seen. 
It  made  its  way  from  the  ocean  w^ide 

And  struck  full  force  on  the  mountain  side. 

2  At  the  head  of  Jack's  Branch  were  children  five, 
A  father  and  a  mother,  and  all  were  alive. 

They  stood  in  the  door  and  watched  the  rain  come  down ; 
They  saw  how  fast  it  covered  the  ground. 

3  The  words  of  the  boy  had  scarcely  been  spoken 
When  the  windows  of  heaven  were  thrown  wide  open. 


285 

Man  Killed  by  Falling  from  a  Horse 

From  Miss  Jewell  Robbins,  Pekin,  Montgomery  county  (later,  Mrs. 
C.  P.  Perdue,  Gastonia)  ;  c.  1924;  with  music.  Note  by  Dr.  Brown: 
"Happened  in  Richmond  county  but  name  of  the  man  not  recalled." 
The  ballad  reminds  us  of  'Springfield  Mountain.' 

1  Come  ye  youths  of  every  age, 
Give  ear  unto  my  song. 

A  mournful  story  I'll  relate 

As  ever  you  did  hear. 

A  young  man  in  the  bloom  of  youth, 

His  age  near  twenty-one, 

November  last,  the  eleventh  day 

Of  eighteen  hundred  and  one. 

2  'Twas  early  one  morning  he  rode  away 
Upon  his  friends  to  call. 

As  he  returned  this  solemn  day 

He  from  his  horse  did  fall. 

But  how  he  fell  was  never  known 

Because  he  was  alone. 

There  was  no  one  there  when  he  fell 

To  hear  his  expiring  groans. 


3     The  people  gathered  from  every  part 
To  bear  the  corpse  away. 


660  NORTH     CAROLINA     FOLKLORE 

The  tears  did  flow  from  every  eye ; 
It  was  a  solemn  day. 
His  mother  wept  from  day  to  day 
For  the  loss  of  her  lovely  son. 
His  father  cried  most  bitterly, 
'Oh,  Lord,  his  work  is  done,' 


286 

The  Florence  C.  McGee 

Contributed  by  the   Reverend  L.   D.   Hayman,   Durham,  June   13,   IQ'Q. 
with  music  and  the  following  history : 

The  Florence  C.  McGee  was  a  four-mast  fore-and-aft-rigged  schooner 
of  about  five  hundred  tons  burden.  She  was  owned  by  a  northern  con- 
cern and  was  employed  in  coastwise  trade  principally,  although  the  ship 
was  a  sea-worthy  deep-water  craft.  In  1894  she  was  loaded  in  Tampa 
Bay  with  marble  rock,  and  in  January  cleared  the  port  on  her  return 
voyage  home.  A  great  storm  arose  after  she  was  well  on  her  voyage, 
overtaking  her  some  hundreds  of  miles  northeast  of  Cape  Henry,  Vir- 
ginia. It  was  seen  by  her  gallant  captain  that  the  McGee  would  not 
be  able  to  weather  the  storm ;  so  he  wore  ship  and  ran  before  the  gale 
in  the  hope  of  making  Cape  Henry  and  finding  a  safe  harbor  in  the  hook 
of  Chesapeake  Bay  just  inside  the  cape.  In  trying  to  accomplish  this 
feat,  the  captain  mistook  Bodie  Island  Light  House  on  the  North 
Carolina  coast  for  the  Cape  Charles  Light  Ship  (see  stanzas  5  and  6), 
thus  grounding  his  craft  on  the  outer  bar,  and  she  was  a  total  wreck 
in  less  than  five  hours  after  she  struck  the  reef. 

There  was  living  at  that  time  on  Roanoke  Island  a  young  man,  the 
son  of  a  sea  captain  named  Spencer  Murphey.  This  young  man's  name 
was  Llewelyn  Murphey.  He  could  not  read  or  write,  having  no  educa- 
tion at  all ;  but  he  had  a  wonderful  ability  for  composing  songs  on 
current  events  and  happenings  within  the  field  of  his  knowledge.  He 
could  compose  a  song  in  a  very  few  minutes  and  sing  it  to  the  delight 
of  his  comrades.  Shortly  after  the  wreck  of  the  McGee,  which  occurred 
opposite  his  home  just  across  the  sound  from  the  ocean,  he  composed  in 
his  mind  more  than  a  dozen  four-line  stanzas  in  ballad  measure  on  this 
wreck ;  he  also  sung  this  song  for  his  friends  in  their  homes  and  in 
gatherings  of  young  men  on  the  road  corners. 

Some  years  after  composing  this  song  and  others  of  like  nature,  he 
was  drowned  in  the  Atlantic  Ocean  with  his  father.  [Here  follow  de- 
tails of  the  drowning,  which  are  omitted.] 

I  have  tried  to  collect  this  entire  song,  but  so  far  I  have  not  been 
able  to  do  so.  So  far  as  I  know,  there  is  nothing  left  to  perpetuate 
the  memory  of  this  unusual  youth,  and  I  think  it  worth  while  to  place 
these  few  lines  along  with  the  collection  of  ballads  which  have  their 
origin  in  North  Carolina.  As  far  as  I  have  been  able  to  do  so,  I  have 
collected  the  following  stanzas  of  the  McGee  as  Murphey  composed 
them.  Although  composed  in  ballad  style  and  sung  for  a  long  time  in 
my  own  community  where  they  were  composed,  doubtless  some  of  the 
particular  words  have  been  substituted  by  others,  as  they  were  never  in 
print  and  just  lingered  in  the  minds  of  those  who  cared  to  preserve 
them.  Before  I  left  my  home,  I  seldom  heard  the  song  sung,  for  since 
it  has  been  more  than  twenty  years  since  the  composer  was  drowned, 
the  ballad  has  seen  its  day  and  was  gone  from  the  memory  of  nearly 
everyone.     Mr.  Frank  Daniels,  a  half-brother  of  Murphey,  still  lives  at 


HATTERAS   WRECK 


NORTH     CAROLINA     BALLADS  66l 

Wanchese,  N.  C.  I  have  heard  him  sing  the  song.  In  trying  to  collect 
the  song,  I  got  in  touch  with  him,  but  it  was  lost  to  his  memory ; 
however,  I  have  collected  enough  of  it  to  show  the  genius  of  the  com- 
poser and  to  preserve  it  as  an  original  ballad  of  the  Old  North  State. 
I  now  proceed  to  give  some  stanzas  of  the  ballad  as  I  recall  them. 
Wherever  a  word  occurs  in  parentheses  it  indicates  some  doubt  as  to  its 
originality. 

1  Come  all  ye  (friends)  and  sailors  too 
And  listen  unto  me, 

While  I  relate  the  sad,  sad  fate 
Of  the  Florence  C.  McGee. 

2  In  eighteen  hundred  and  ninety-four, 
Quite  early  in  the  year, 

And  her  broad  hatches  all  were  barred ; 
Then  homeward  she  did  steer. 

3  She  cleared  the  port  at  Hillsboro  Dock 
Far  (up)  in  Tampa  Bay, 

With  (some)  four  hundred  tons  of  rock 
Stored  safely  down  below. 

4  Her  sails  were  set  on  this  sad  day 
As  she  rode  on  her  way, 

And  many  an  eye  looked  on  her  form 
While  she  moved  down  the  bay. 

('Here  follow  several  stanzas  describing  the  approach  of  the  storm, 
the  gale,  and  the  anxiety  of  the  sailors  as  they  stood  at  their 
posts  of  duty  for  several  days;  I  cannot  recall  them.') 

5  At  ten  p.  m.  the  lead  was  thrown. 
All  on  that  dreary  night ; 

And  she  was  heading  sou'-sou'-west 
To  make  the  Cape  Charles  Light. 

6  She  did  not  make  the  Cape  Charles  Light 
Nor  (find  a  harbor  sure)  ; 

But  leaped  along  in  wild  career 
For  North  Carolina  shores. 

7  When  she  was  in  twenty  feet, 
They  felt  her  strike  the  ground ; 
And  (now)  before  another  beat 
The  noble  ship  went  down. 

8  The  owners  got  the  news 
And  came  to  look  their  last ; 

But  all  remained  for  them  to  view 
W'ere  four  substantial  masts. 


662  NORTH  CAROLINA  FOLKLORE 

287 

The  Titanic 

On  Sunday  night,  April  14-15,  1912,  the  Royal  Mail  Steamer 
Titanic,  making  her  maiden  voyage  from  Southampton  to  New 
York,  with  2224  passengers  and  crew,  struck  at  full  speed  an  ice- 
berg and  went  to  the  bottom  of  the  Atlantic,  with  a  loss  of  1513 
lives. 

As  swiftly  as  the  other  Muses,  the  Ballad  Muse  seized  the  event. 
A.  E.  Perkins,  in  JAFL  xxxv  223,  wrote  that  one  week  after  the 
disaster  he  "saw  on  a  train  a  blind  preacher  selling  a  ballad  he 
had  composed  on  the  disaster."  There  is  one  broadside  in  the  Frank 
C.  Brown  Collection  dated  April  13,  1912  !  In  published  collections 
of  American  folk  song  the  earliest  dating  of  an  orally  current  ballad 
about  the  sinking  of  the  Titanic  is  that  in  White  ANFS  347,  which 
was  reported  from  Alabama  and  Tennessee  in  1915-16.  In  his  head- 
note  to  the  text  White  stated,  "It  apparently  belongs  to  the  class 
of  songs  .  .  .  composed  by  and  for  a  professional  singer  rather  than 
by  and  for  a  group."  Henry,  in  JAFL  xliv  111-12;  Lomax,  in 
OSC  26-27;  and  Gardner  and  Chickering,  in  BSSM  295,  have 
printed  versions  of  ballads  on  the  Titanic.  For  North  Carolina 
pieces  with  music,  see  B  and  F  below. 

A 
'Sinking  of  the  Great  Ship.'  From  Gaither  Miller,  a  student  at  Trinity 
College,  November  15,  1914,  copied  from  a  broadside  attached  to  type- 
script. Broadside  dated  April  13,  1912.  At  bottom  is  printed:  "Com- 
posed and  Sold  by  S.  C.  Martin,  Granite  Falls,  N.  C."  A  note  from 
Dr.  Brown  identifies  Martin  as  "a  white  man,  known  as  'Coon'  Martin." 
Dr.  Brown  also  notes  that  the  refrain  lines  point  to  'Golden  Willow 
Tree'  (Child,  No.  286)  ;  and  it  may  be  added  that  stanzas  4,  6,  and  8 
also  borrow  details  from  the  old  English  ballad. 

1  Long  about  the  fifth  of  March, 
When  man  and  wife  had  to  part, 

They  were  sunk  in  the  Lowland  Lonesome  Low, 

Oh,  they  were  sunk  in  the  Lowland  Lonesome  Low. 

2  Just  as  the  Titanic  sunk  down  in  the  sea. 
They  were  singing  'Nearer  My  God  to  Thee.' 
It  struck  the  iceberg  about  half  past  two, 
And  tore  that  old  Titanic  middle  in  two ; 
Then  it  sunk  in  the  Lowland  Lonesome  Low. 
Then  it  sunk  in  the  Lowland  Lonesome  Low. 

3  It  was  two  thousand  miles  away  from  land, 
And  two  miles  deep  to  the  bottom  of  the  sea. 
They  sunk  in  the  Lowland  Lonesome  Low, 
They  sunk  in  the  Lowland  Lonesome  Low. 

4  They  had  a  little  instrument  purpose  for  the  use. 
Oh,  how  it  drunk  that  salt  water  juice; 


NORTH  CAROLINA  BALLADS  663 

Then  it  sunk  in  the  Lowland  Lonesome  Low, 
Then  it  sunk  in  the  Lowland  Lonesome  Low. 

5  Standing  in  the  door  with  a  bar  in  his  hand, 
Demanding  the  women  to  come  to  land. 

Or  you  will  be  sunk  in  the  Lowland  Lonesome  Low, 
You  will  be  sunk  in  the  Lowland  Lonesome  Low. 

6  Now  will  you  be  good  as  your  word, 
Will  you  take  me  out  on  board? 
Neither  will  I  be  as  good  as  my  word, 
Nor  I'll  take  you  out  on  board, 

But  I'll  sink  you  in  the  Lowland  Lonesome  Low. 
Sink  you  in  the  Lowland  Lonesome  Low. 

7  Wake  up,  little  babies,  get  out  of  bed. 
The  Titanic  is  sinking,  you'll  soon  be  dead ! 

You  will  be  sunk  in  the  Lowland  Lonesome  Low, 
You  will  be  sunk  in  the  Lowland  Lonesome  Low. 

8  If  it  wasn't  for  the  love  I  had  for  women, 
I  would  do  them  like  I  done  the  men ; 

I  would  sink  them  in  the  Lowland  Lonesome  Low, 
I  would  sink  them  in  the  Lowland  Lonesome  Low. 

9  Just  as  the  Titanic  went  down  in  the  sea, 
They  were  singing  'Nearer  My  God  to  Thee,' 
When  they  sunk  in  the  Lowland  Lonesome  Low, 
When  they  sunk  in  the  Lowland  Lonesome  Low. 


'Destruction  of  the  Titanic'  From  W.  O.  ("Bill")  Smith,  Durham, 
May  26,  1920.  Three  printed  broadsides  and  a  typescript ;  with  music. 
Note  by  Dr.  Brown;  "Made  by  W.  O.  Smith  &  Irma  Smith  (da.). 
Last  stanza  from  Oxford,  sung  there,  found  in  Oxford  by  W.  O.  Smith. 
Tune  motif  of  'There  Will  Be  a  Hot  Time.'  Smith  acknowledged  that 
he  got  part  of  the  song  from  Henderson.  Smith  drove  a  horse  cab  in 
Durham  ca.  1912-1915."  The  broadside  bears  no  printed  date  or  printed 
name — only  at  bottom,  in  heavy  type :  'Price  5  cents — Smith.' 

I     Come  all  of  you  dear  people,  listen  and  hear  me  tell 
How  that  great  Titanic,  that  was  in  its  great  swell, 
It  went  down  on  Sunday  night  in  nineteen  hundred  and 
twelve. 

Chorus: 

Wasn't  it  sad  about  the  Titanic,  how  it  got  lost. 
Wasn't  it  sad  about  the  Titanic,  how  it  got  lost, 
Women  and  children  saved  their  lives. 
Husbands  parted  with  their  wives, 
Wasn't  it  sad  about  the  Titanic,  how  it  got  lost? 


664  NORTH  CAROLINA  FOLKLORE 

2  It  left  the  port  of  London,  it  was  bound  for  New  York 

shore. 
An  iceberg  struck  the  vessel,  which  caused  a  leaking  hole. 
The  engineer  said,  'Captain,  no,  we  cannot  reach  the  goal.' 

3  It  was  more  than  a  thousand  people  who  did  lose  their 

lives ; 
There  were  fathers  and  mothers,  husbands  and  their  wives ; 
Yet  some  of  them  were  saved  from  their  watery  graves. 

4  The  officers  were  commanding,  'The  women  must  be  saved.' 
It  wasn't  pleasing  to  male  passengers,  but  yet  it  did  prevail ; 
Some  men  had  to  be  shot  down,  that  women  might  not 

drown. 

5  One  husband  said  unto  his  wife,  'Go  take  the  little  boat. 
To  try  and  save  your  own  self,  for  they  will  be  on  float.' 
'No'  (her  eyes  were  filled  with  tears),  'we've  been  together 

forty  years.' 

6  Upon  her  he  insisted  to  do  just  as  he  said. 

But  still  she  lingered  to  him,  waiting  for  their  watery  grave. 
'I  will  not  leave  you  for  another,  we  will  both  go  down 
together.' 

7  And  yet  some  were  hiding  in  the  little  boat ; 

They   laid   down   in   the   bottom,   thinking   their   presence 

would  not  be  known ; 
And  as  little  as  one  would  think,  from  their  weight  the  boat 

would  sink. 

8  Now  as  the  boat  was  sinking,  it  was  sadness  to  behold. 
There  was  darkness  all  around  them,  and  it  was  so  very 

cold; 
The  boat  was  sinking  in  the  sea,  the  band  played  'Nearer 
My  God  to  Thee.' 

c 
'The  Destruction  of  the  Titanic'  Undated  note  by  Dr.  Brown :  "This 
is  a  copy  of  the  song  as  it  appeared  in  a  broadside  printed  by  The 
Reformer  Publishing  Company,  a  Negro  press.  It  was  printed  for  the 
'Rev.  J.  H.  Brown,'  who  sold  copies  of  the  broadside  at  5  cents  each. 
There  is  little  probability  that  Brown  had  anything  to  do  with  the  com- 
position ;  he  may  have  collected  fragments  of  the  songs  and  arranged 
them  as  they  appear  here.  Cf.  'Hamlet  Wreck.'  No  original  broad- 
side of  this  particular  version  has  been  found  in  the  Collection. 

With  this  version  compare  those  in  White  ANFS  347  and  Lomax  OSC 
26. 

I     It  was  in  the  month  of  April, 
In  1912: 
Will  you  listen  to  the  story 


NORTH  CAROLINA  BALLADS  665 

As  I  begin  to  tell  ? 

How  it  happened  on  Sunday  night, 

When  the  ship  went  out  of  sight. 

It  was  sad  about  the  Titanic  when  it  got  lost. 

Chorus: 

It  was  sad  about  the  Titanic  when  it  got  lost, 
It  was  sad  about  the  Titanic  when  it  got  lost. 
Women  and  children  saved  their  lives ; 
Husbands  parted  from  their  wives. 
It  was  sad  about  the  Titanic  when  it  got  lost. 

It  was  about  two  thousand  people 

Who  have  lost  their  lives. 

There  were  fathers  and  daughters, 

And  some  sons'  wives  ; 

They  are  in  their  watery  graves, 

And  I  hope  their  souls  are  saved. 

It  was  sad  about  the  Titanic  when  it  got  lost. 

They  left  the  shore  of  London ; 

To  New  York  they  tried  to  come. 

An  iceberg  struck  the  vessel, 

And  she  couldn't  make  the  run. 

Many  have  fallen  asleep 

In  waters  two  thousand  fathoms  deep. 

It  was  sad  about  the  Titanic  when  she  got  lost. 

It  was  commanded  by  the  officers 

To  have  the  women  and  children  saved. 

It  was  not  satisfactory  to  some, 

Though  it  did  prevail. 

The  men  saw  that  they  could  not  be  saved ; 

So  they  knelt  and  prayed. 

It  was  sad  about  the  Titanic  when  it  got  lost. 

You  have  never  read  it 

In  the  history  of  your  lives, 

How  they  separated 

The  husbands  from  their  wives. 

But  some  took  their  rathers^ 

And  agreed  to  die  together. 

It  was  sad  about  the  Titanic  when  it  got  lost. 

There  were  the  millionaires  and  captains 
And  mighty  men  of  wealth 
From  all  over  the  country 
Who  were  on  the  ship  that  night. 
Pronounced  rut  hers. 


666  NORTH     CAROLINA     FOLKLORE 

On  there  they  had  to  stay ; 

Money  could  not  pay  their  way. 

It  was  sad  about  the  Titanic  when  it  got  lost. 

7     Have  you  heard  of  such  destruction, 
How  it  happened  on  that  night, 
About  three  o'clock  in  the  morning, 
When  the  ship  went  out  of  sight? 
How  sad  the  band  did  play 
'Nearer  My  God  to  Thee' ! 
It  was  sad  about  the  Titanic  when  she  got  lost. 

D 
'The  Great  Titanic'     Contributed  by  Miss   Fanny  Grogan,  with  a  note 
in  her  hand:  "Written   [i.e.,  written  down?]   By  a  friend  Fanny  Grogan, 
Zionville,    N.    C.      Written    Nov.    30,    1920."      With    some    changes    in 
mechanics  as  'written'  by  Miss  Grogan. 

1  It  was  on  one  Monday  morning  about  one  o'clock 
When  the  great  Titanic  began  to  reel  and  reck. 

All  the  people  began  to  cry  saying  lord  I  have  to  die. 
It  was  sad  when  that  great  ship  went  down. 

Chorus: 

Oh  it  was  sad  when  that  great  ship  went  down. 

Their  were  husbands  and  their  wives, 

Little  children  lost  their  lives. 

It  was  sad  when  that  great  ship  went  down. 

2  When  thay  were  building  the  ship  thay   said   what  thay 

would  do, 
That  thay  said  thay  would  build  a  ship  that  water  would 

not  go  through. 
But  God  with  the  [power?]  in  his  hand  showd  the  wourld 

it  could  not  stand. 
It  was  sad  when  that  great  ship  went  down. 

3  When  the  ship  left  England  a  making  for  the  shore, 

The  rich  had  declared  that  they  would  not  ride  with  the 

Poor; 
So  they  put  the  poor  below  so  they  would  be  the  first  to  go. 
It  was  sad  when  that  great  ship  went  down. 

4  You  know  it  was  ofel  out  on  the  sea. 

The  people  were  singing  nearer  my  god  to  thee. 

Some   were   homeward   bound,    sixteen    hundered   had    to 

dround. 
It  was  sad  when  that  great  ship  went  down. 


NORTH  CAROLINA  BALLADS  667 

5  The  people  out  on  the  water  was  along  ways  from  home, 
And  their  friends  diden  know  that  their  time  had  come. 
Death  came  ridding  by,  sixteen  hundered  had  to  die. 

It  was  sad  when  that  great  ship  went  down. 

6  When  Paul  was  out  on  the  water  with  his  people  all  around 
The  lord  said  not  one  of  them  should  drownd. 

If  you  will  trust  and  obey  He  will  save  you  all  today. 
It  was  sad  when  that  great  ship  went  down. 

E 
'The    Ship    Titanic'      Contributed   by    Miss    Nancy    Lineberger,    Shelby, 
Cleveland  county,  March  1940.     Three  stanzas  and  chorus.     Corresponds 
to  2  and  3  of  D,  above,   with   some  differences  in   spelling — "Titantic" 
and  "Engle-land."' 

3     Now  they  all  got  afraid,  and  they  starter!  io  plee. 

When  the  band  struck  out  with  'Nearer  My  God  to  Thee.' 
The  Captain  tried  to  wire,  but  the  lines  were  all  on  fire. 
It  was  sad  when  that  great  ship  went  down. 


'The  Sinking  of  the  Titanic'  From  Macie  Morgan,  Stanly  county ;  un- 
dated. With  a  number  of  verbal  differences,  this  corresponds  to  D, 
stanzas  i,  2,  3,  5,  and  chorus.  Line  i  of  stanza  3  reads  "When  they 
heard  the  sighing"  for  "When  the  ship  left  England"  in  D. 

G 
'The    Sinking   of  the    Titanic'     From   W.   Amos   Abrams,    Boone ;    un- 
dated.    One  stanza  and  chorus,  closely  similar  to  D  i  and  chorus. 

H 
'God  Moved  on  the  Waters.'     Transcribed  by  Dr.  Brown  from  the  sing- 
ing of  Will  ("Shorty")  Love,  Trinity  College  janitor,  c.  1920.     Recorded 
by  "Shorty"  Dec.  9,  1939.     Music. 

Chorus: 

God  moved  on  de  waters 
On  April  the  fifteenth  day ; 
He  just  moved  on  the  waters, 
And  de  people  had  to  run  and  pray. 

1  De  rich  dey  had  decided 

Dat  dey  would  not  riduh  wid  de  pore. 
Dey  placed  de  pore  on  de  deck  of  de  ship 
And  de  pore  was  de  first  to  go ;  but 

Chorus: 

2  'Twas  on  one  Monday  morning 
Just  about  one  o'clock 

When  de  iceberg  struck  de  Titanic 
And  it  began  to  reel  and  rock ;  but  .  .  . 


668  NORTH  CAROLINA  FOLKLORE 

3  Those  people  were  enjoying  themselves, 
Of  de  trouble  dey  had  no  dream, 
When  de  iceberg  struck  the  boat, 

Prayed  'Nearer  My  God  to  Thee';  [but]  ... 

4  When  the  large  boat  was  in  building. 
They  said  what  dey  could  do ; 

They  said  that  dey  could  build  one  boat 

That  the  water  wouldn't  ever  break  through ;  but 

5  Women  tried  to  save  dey  children. 
Husbands  tried  to  save  dey  wives. 
But  after  all  dey  hard  struggles 

More  than  fifteen  hundred  died ;  for  .  .  . 

6  My  people,  let  me  say  to  you, 

It's  nothing  but  a  thing  of  naught 

To  say  what  you  yourself  will  do 

And  never  give  God  a  thought ;  [for]  .  .  . 

7  You  read  about  that  mighty  ship, 
In  nineteen  hundred  and  twelve, 
That  moved  upon  the  mighty  seas 

And  landed  those  people  in  hell ;  [for]  .  .  . 


The  Wreck  of  the  Huron 

Though  the  editors  have  not  found  any  evidence  for  the  author- 
ship of  'The  Wreck  of  the  Huron,'  they  have  placed  it  among  the 
North  Carolina  ballads  because  it  celebrates  an  event  that  occurred 
on  the  North  Carolina  coast,  and  it  was  known  by  at  least  three 
residents  of  that  region. 

On  the  night  of  November  23-24,  1877,  the  U.  S.  S.  Huron,  under 
orders  to  Cuba  for  a  coastal  surveying  expedition,  was  steaming 
through  a  seventy-mile  gale  off  the  coast  of  North  Carolina.  About 
one  o'clock,  probably  as  a  result  of  faulty  navigation  in  the  stormy 
weather,  she  stranded  two  miles  off  Life-Saving  Station  No.  7,  near 
Oregon  Inlet.  That  station  had  "not  yet  been  ordered  to  active 
work."  Counts  of  the  lives  lost  range  from  98  to  106.  (See  New 
York  Times,  November  25-28,  1877;  also  Anmtal  Report  of  the 
Operations  of  the  United  States  Life-Saving  Service  for  the  Fiscal 
Year  Ending  June  30,  1878  [Washington:  G.  P.  O.,  1878],  pp.  19- 
20.) 

A 
Contributed  by  Miss  Edna  Harris,  without  date  or  address,  but  with  this 
note:  "Mrs.  Pollie  Harris,  my  mother,  sings  it,  and  she  heard  it  from 
her  mother  and  aunt." 

In  another  undated  note,  apparently  referring  to  this  ballad,  L.  W. 
Anderson  of  Nag's  Head  wrote ;  "Here  is  another  source  of  many,  many 


NORTH     CAROLINA     BALLADS  669 

quaint  old  ballads.  Some,  however,  are  not  so  old,  and  this  woman  is 
reputed  to  make  them  up.  She  undoubtedly  knows  and  sings  ballads 
learned  from  her  fore-parents,  as  her  daughter  states  on  this  sheet,  and 
because  of  her  remarkable  memory,  people  attribute  them  to  her  own 
making.  The  vessel,  the  Huron,  mentioned  in  this  ballad,  is  buried  in 
the  sand  off  the  coast  less  than  two  miles  from  here.  People  fish  from 
its  deck  even  now." 

Apropos  of  Mr.  Anderson's  statement  about  the  remains  of  the  wreck. 
Bill  Sharpe,  in  Tar  on  My  Heels  (Winston-Salem,  1946,  p.  156),  states 
that  in  a  calm  sea  the  bell,  tank,  and  boiler  of  the  Huron  are  still  visible, 
and  that  "Cap'n  Jeflf  Hayman  of  Roanoke  Island  .  .  .  believed  to  be 
the  only  person  still  alive  who  saw  the  ghastly  affair  .  .  .  has  the  silver 
sugar  bowl  from  the  Huron  captain's  table." 

1  'Twas  a  dark  stormy  day  when  orders  came  to  sail ; 
Mountain  high  the  billows  ran,  fierce  winds  did  screech  and 

wail. 
Around   the   captain   sailors   brave   the   anchor   quick   did 

weigh 
Of  the  noble  steamer  Huron,  whose  fate  was  sealed  that 

day, 
Although  they  were  warned  by  signals  from  the  shore, 
And  the  turmoil  of  the  sea  and  wind  should  have  warned 

them  all  the  more. 
But  duty  came  first  to  the  sailors  true  and  brave ; 
So  out,  out  to  sea  they  went  to  meet  their  watery  grave. 

Chorus: 

Then  toll,  toll  the  bell  for  the  loss  of  the  Huron's  crew ; 
Mourn  and  weep  for  the  sad,  sad  fate  of  the  noble  boys 
in  blue. 

2  Through    the    black    troubled    waters    the    noble    steamer 

plowed. 
Higher  ran  the  cruel  waves  and  blacker  grew  the  cloud. 
Although  they  trusted  Him  above  who  ruled  the  mighty 

waves. 
The  tempest  was  appalling  to  the  bravest  of  the  braves. 
At  last  came  the  cry  for  each  man  to  his  post 
To  keep  the  sinking  ship  off  North  Carolina's  rocky  coast. 
Oh  God!     It  was  too  late,  for  on  the  rocks  she  tossed, 
'And  amid  them  cruel  breakers  one  hundred  lives  were  lost. 

Chorus: 

Then  toll,  toll  the  bell  for  the  loss  of  the  Huron's  crew ; 
Mourn  and  weep  for  the  sad,  sad  fate  of  the  noble  boys 
in  blue. 


'Ballad  of  the  Huron.'     Contributed  by  Mr.  Jacques  Busbee,  Raleigh,  in 
an  undated  letter  with  this  note :  "This  is  the  version  of  'The  Huron' 


670  NORTH  CAROLINA  FOLKLORE 

which  I  secured  from  Miss  Pocahontas  Twiford  of  Nag's  Head.  I  have 
been  told  that  this  ballad  was  first  printed  in  the  Norfolk  papers  shortly 
after  the  wreck ;  and  that  it  also  appears  in  some  school  readers.  But 
the  title  and  date  of  the  reader  I  have  never  been  able  to  trace." 

1  On  a  dark  and  stormy  night 
When  orders  came  to  sail 
Mountain  high  the  billows  rolled 
And  louder  blew  the  gale. 

Chorus: 

Toll,  toll  the  bell 

For  the  loss  of  the  Huron  crew ; 

We'll  mourn  and  weep  the  sad,  sad  fate 

Of  the  noble  boys  in  blue. 

2  The  Captain  and  the  heroes 
Lined  upon  her  deck 
Awaiting  for  the  fatal  hour 
When  she  would  be  a  wreck. 

3  Our  brave  and  noble  Captain  says, 
'Each  man  reserve  his  post 

To  keep  the  sinking  ship  off 
Carolina's  sandy  coast.' 

4  Our  brave  and  noble  Captain 
And  ofificers  in  command 
Stood  as  statues  of  old 

Till  the  Huron  struck  the  sand. 

5  'Pump,  pump,  my  boys, 
Our  precious  lives  to  save !' 

But  sad  the  fate,  it  was  too  late — 
They  met  a  watery  grave. 

6  Oh  God !  it  was  too  late, 
For  on  the  sands  she  tossed 
And  amid  the  cruel  breakers 
A  hundred  lives  were  lost. 

7  Our  widowed  wives  and  children 
A  Father  to  them  be, 

For  we  will  be  lost  in  the  breakers  tossed 
Upon  a  cruel  sea. 


Contributed  by  L.  W.  Anderson,  Nag's  Head,  in  1932,  who  got  it  from 
Miss  Maxine  Tillett,  a  pupil.  Miss  Tillett  wrote  the  following  note: 
"The  Huron,  a  vessel  of  the  U.  S.  Navy,  was  wrecked  just  south  of 
what  is  now  Kill  Devil  Hill  Coast  Guard  Station.  The  station  at  Kill 
Devil   Hill  at  that  time  had  not   been   built,  the  nearest  station  being 


NORTH     CAROLINA     BALLADS  67I 

at  Nag's  Head.  More  than  one  hundred  lives  were  lost.  A  few  days 
after  the  disaster  Lieutenant  Guthrie,  the  first  Commander  of  the  Dis- 
trict, while  coming  ashore  to  investigate  the  wreck,  was  capsized  when 
coming  through  the  breakers  and  lost  his  life."  Two  stanzas  and  chorus 
corresponding  closely  to  stanzas  i,  chorus,  and  6  of  B. 


The  Song  of  Dailey's  Life-Boat 

This  song  has  already  been  reported  by  Chappell  (FSRA  58) 
from  the  same  region  (in  1924)  but  from  a  different  informant. 
The  differences  between  the  two  texts  are  considerable.  For  ex- 
amples :  Chappell's  stanza  i  reads,  "She  struck  on  the  bar  and  she 
sunk  in  the  deep";  his  chorus  reads  "Run  out  your  lifeboat";  his 
text  lacks  the  equivalent  of  stanza  2;  the  order  of  his  stanzas  2  and 
3  is  the  reverse  of  3  and  4  below;  the  captain  of  the  rescue  ship  is 
named  Joseph  Gaskill ;  his  last  stanza  warns  sailors  to  "Give  Hat- 
teras  a  berth." 

'The  Song  of  Dailey's  Life-Boat'  was  reported  by  L.  W.  Ander- 
son as  obtained  from  Bob  Meekins,  Kitty  Hawk,  with  the  following 
note: 

This  man,  Dailey,  was  a  Coast  Guardsman  near  Kitty  Hawk,  and  I 
think  he  was  captain  of  the  station.  When  the  Clara  May  went  aground 
he  refused,  for  some  reason  or  other,  to  go  to  her.  That,  of  course, 
was  his  duty,  and  as  soon  as  this  ballad  was  composed  the  Government 
promptly  dismissed  him  from  service.  Some  people  say  that  he  did  not 
aid  the  sinking  vessel  because  of  the  unusually  bad  sea  at  the  time. 
There  is  a  legend  connected  with  this  ballad,  however,  that  tells  a 
different  story.  Dailey,  as  the  legend  goes,  was  superstitious,  and  he, 
having  heard  how  the  pirates  of  old  came  up  the  coast  and  pretended 
to  be  in  distress,  merely  to  get  people  on  board  and  rob  and  kill  them, 
thought  this  ship  to  belong  to  a  then  much  dreaded  pirate. 

Mr.  Anderson's  note  on  local  traditions  about  the  wreck  of  the 
Clara  May  and  Dailey's  alleged  refusal  to  rescue  her  crew  was  con- 
firmed in  August  1948  by  a  story  obtained  by  Mr.  David  Samples, 
a  gradaute  student  of  the  University  of  North  Carolina  then  acting 
in  Paul  Green's  The  Lost  Colony,  from  Captain  John  Wescott  of 
Manteo,  N.  C.  According  to  Mr.  Samples,  his  informant  "has 
lived  here  all  his  life,  some  62  years,  been  captain  of  the  Hatteras 
station,  and  recalls  the  records  of  the  event  being  kept  there."  Here 
is  Captain  Johnny  Wescott's  story : 

It  all  happened  on  Diamond  Shoals  off  Hatteras.  The  sea  was  so 
rough  that  Dailey  would  not  venture  out.  An  old  man  on  the  beach 
asked  the  captain  of  the  station  if  he  would  try  to  get  them.  Dailey 
answered  that  it  was  impossible.  Captain  Gaskins  said  that  if  he  could 
get  three  men  he  would  take  his  sailboat  and  rescue  them.  Three  men 
volunteered,  reached  the  vessel,  and  saved  the  crew.  It  was  then  dis- 
covered that  the  captain  of  the  stranded  ship  was  Dailey's  brother.  When 
the  news  reached  the  government  Dailey  was  asked  to  resign.  Wescott 
told  the  tale  with  the  greatest  of  ease  and  recall.  He  said  he  was  not 
sure  of  the  time  of  the  event.     He  said  he  had  never  heard  of  the  song. 


672  NORTH  CAROLINA  FOLKLORE 

Careful  search  of  Life-Saving  Service  records  has  failed  to  find 
official  confirmation  of  the  story  of  the  stranding  and  the  rescue  of 
the  Clara  May.  Furthermore,  official  records  of  Daileys  in  the  Life- 
Saving  Service  would  seem  to  refute  the  imputation  of  cowardice 
contained  in  'The  Song  of  Dailey's  Life-Boat.'  Coast  Guard  files 
in  the  National  Archives  at  Washington  contain  the  service  records 
of  four  Daileys  from  North  Carolina.  Fabius  Findleton  Dailey, 
born  in  North  Carolina  in  1867,  enlisted  in  the  Coast  Guard  service 
as  a  surfman  in  1915,  was  retired  in  1918,  and  died  on  March  18, 
1937,  without  a  smirch  on  his  record.  R.  B.  Dailey,  of  Cape  Hat- 
teras,  was  an  electrician  on  the  U.  S.  cutter  Seminole.  Nasa  W. 
Dailey,  who  enlisted  in  the  Life-Saving  Service  in  1889,  and  served 
at  various  North  Carolina  stations  until  July  31,  1904,  according  to 
official  record,  was:  "Discharged  from  Little  Kinnakeet  Station. 
Avon,  N.  C.  Reason  for  separation  shown  as  'Did  not  reengage.' 
(In  the  absence  of  any  evidence  to  the  contrary,  it  is  assumed  that 
this  discharge  was  under  honorable  conditions.)"  The  only  mem- 
ber of  the  Life-Saving  Service  with  that  name  who  was  captain 
of  a  North  Carolina  coast  station  was  Benjamin  B.  Dailey.  His 
service  record  shows  that  on  April  27,  1882,  L.  C.  Latham,  mem- 
ber of  Congress  from  North  Carolina,  recommended  him  to  the 
superintendent  of  the  Life-Saving  Service  for  a  gold  medal  "for 
gallant  conduct  in  connection  with  the  loss  of  the  Goodman.''  The 
Annual  Report  of  the  Operations  of  the  United  States  Life-Saving 
Service  for  the  Fiscal  Year  Ending  June  30,  1886  (Washington, 
G.  P.  O.,  1886),  pp.  162-3,  records  that  on  December  22,  1885,  "the 
crew  of  the  Hatteras  Station,  (Sixth  District,)  coast  of  North 
Carolina,  under  the  leadership  of  Keeper  Benjamin  B.  Dailey, 
assisted  by  Keeper  Patrick  H.  Etheridge,  performed  one  of  the 
most  heroic  feats  in  the  annals  of  the  Life-Saving  Service,  by  the 
rescue  of  nine  men  composing  the  crew  of  the  barkentine  Ephraim 
Williams,  of  Providence,  Rhode  Island.  .  .  .  The  boat's  crew,  con- 
sisting of  Keeper  Benjamin  B.  Dailey  and  Surfmen  Isaac  L.  Jen- 
nett,  Thomas  Gray,  John  H.  Midgett,  Jabez  B.  Jennett,  and  Charles 
Fulcher,  of  the  Cape  Hatteras  Station,  and  Keeper  Patrick  H. 
Etheridge,  of  the  Creed's  Hill  Station,  were  awarded  medals  of 
the  first  class  for  their  conspicuous  bravery." 

In  the  face  of  apparently  negative  or  contradictory  evidence,  and 
in  the  lack  of  more  definite  local  testimony  confirming  the  circum- 
stances related  in  the  ballad,  it  is  difficult  to  account  for  'The  Song 
of  Dailey's  Life-Boat.'  Was  it  an  off-the-record  story  of  an  actual 
incident,  or  was  it  a  fictitious  story  invented  by  some  jealous  de- 
tractor as  a  libel  on  a  brave  man?  Or  was  it  an  adaptation  of  an 
older  ballad  made  by  someone  who  wished  to  give  verisimilitude  by 
inserting  the  names  of  actual  local  people? 

I     When  the  tempest  was  raging 
And  the  seas  running  high 
The  little  Clara  May 
Came  skudding  down  by. 
Ah,  she  struck  on  the  bar 


NORTH  CAROLINA  BALLADS  673 

And  she  sunk  all  in  the  cold, 
Almost  in  hailing  distance 
Of  the  life  boat. 

Chorus: 

Oh,  come  with  your  life  boat, 
Come  with  your  life  boat! 
She  will  stand  the  raging  storm. 
Come  with  your  life  boat, 
Come  with  your  life  boat! 
Ah,  Dailey  will  come  take  us 
In  his  life  boat. 

'Lay  aloft,  jolly  sailors, 

And  don't  fall  to  sleep,' 

Cries  our  brave  captain, 

'Or  you'll  drop  all  in  the  deep ; 

For  the  night  sinks  apace 

And  the  day  is  coming  on, 

And  we  soon  shall  see  the  coming 

Of  the  life  boat.' 

Now  the  darkness  has  vanished 
And  the  sun  is  shining  too ; 
The  Life-Saving  Station 
Is  plain  to  our  view. 
And  the  men  we  can  see 
As  they  walk  along  the  strand ; 
But  nothing  of  the  coming 
Of  the  life  boat. 

We  are  cold,  wet,  and  hungry, 
We  are  tired  and  sick, 
But  close  to  the  topmast 
We  are  compelled  to  stick  ; 
So  we  will  think  of  our  wives 
And  our  little  ones  at  home, 
And  wave  our  hats  and  jackets 
For  the  life  boats. 

'Hurrah!'  cries  the  sailors, 
'A  sail  is  in  view !' 

[The]  Mary  Lo[u]ise 
Came  boiling  thru  the  slue. 
Oh,  she  crosses  the  bar 
And  she  heaves  to  the  wind ; 
'Hurrah!  I  see  them  lowering 
The  yaul  boat !' 


674  NORTH     CAROLINA     FOLKLORE 

6  Oh,  God  speed  the  yaul  boat, 
God  speed  the  yaul  boat. 

Help  her  to  brave  the  raging  storm ; 
Oh,  God  speed  the  yaul  boat, 
God  speed  the  yaul  boat ! 
Oh,  Captain  Joseph  Gaskins  tuck  us 
In  his  life  boat. 

7  Here's  a  word  to  my  shipmates 
Who  is  passing  this  way : 
Give  Diamond  Shoals  a  berth 
By  night  as  well  as  by  day ; 
For  if  you  are  stranded 

And  cannot  reach  the  shore 
You  need  not  look  for  a  sucker^ 
From  the  life  boat. 

8  For  you'll  not  see  the  life  boat, 
You'll  not  see  the  life  boat. 

Although  she  would  stand  the  raging  storm ; 
You'll  not  see  the  life  boat, 
You'll  not  see  the  life  boat. 
For  Dailey  will  not  venture 
In  his  life  boat. 

9  Oh,  where  is  the  life  boat. 
Where  is  the  life  boat? 

She  can  stand  the  raging  storm. 
Oh,  where  is  the  life  boat. 
Where  is  the  life  boat? 
Oh,  Dailey,  can't  you  venture 
In  your  life  boat? 

290 

The  Hamlet  Wreck 

On  Thursday  morning,  July  27,  191 1,  a  special  train  carrying  912 
Negro  passengers — men,  women,  and  children — left  Durham  on  the 
annual  excursion  of  the  St.  Joseph's  African  Methodist  Episcopal 
Sunday  School.  The  destination  was  Charlotte,  but  those  who 
reached  it  were  carried  there  on  cots.  On  a  long  curve,  in  front 
cf  the  roundhouse  at  Hamlet,  the  special  collided  with  a  freight 
train.  According  to  a  report  of  the  wreck  in  the  Charlotte  Daily 
Obscrz'er,  July  28,  191 1,  8  were  killed,  60  seriously  hurt,  and  28 
slightly  injured.     Later  reports  increased  these  numbers. 

Out  of  the  remembered  disappointment  and  horror  of  the  disaster, 
meditated  and  tentatively  sung  about  in  the  Durham  tobacco  fac- 
tories, Professor  Brown  thought,  a  song  emerged,  its  date  of  com- 

*  So  the  manuscript;  read,  of  course,  "you  need  not  look  for  succor." 


NORTH     CAROLINA     BALLADS  675 

position  unrecorded.  The  Brown  Collection  contains  a  broadside 
of  'The  Hamlet  Wreck*  (with  music),  apparently  ascribing  author- 
ship to  Franklin  Williams  and  William  Firkins.  Of  this  Professor 
Brown  noteil :  "This  is  the  form  of  the  song  as  it  appeared  in  a 
broadside  published  by  The  Reformer  Publishing  Company,  a  Negro 
printery  in  Durham.  The  song  was  almost  surely  not  composed 
by  Williams  and  Firkins,  who  were  operatives  in  the  Liggett  and 
Myers  Tobacco  Company's  factory  in  Durham.  Grew  up  in  the 
tobacco  factory  perhaps."  Professor  N.  I.  White  notes  "two  similar 
versions  [in  the  Frank  C.  Brown  Collection],  one  omitting  stanzas 
4  and  5."  The  Durham  Morning  Herald,  of  Sunday,  March  17, 
1929,  contains  an  article  giving  details  about  the  excursion  and 
quoting  the  ballad  (with  a  few  minor  variations)  attributed  to 
Williams  and  Firkins.  Apropos  of  this,  Professor  White  adds: 
"In  the  late  1920s  I  heard  the  following  stanza: 

The  niggers  was  all  excited, 
Like  hot  ashes  poured  on  worms. 
There  was  one  carload  from  Oxford, 
And  two  carloads  from  Dur'ms." 

1  See  the  women  and  children  going  to  the  train. 
Fare-you-well,  my  husband,  if  I  never  see  you  again. 
The  engineer  turned  his  head 

When  he  saw  so  many  were  dead. 
So  many  have  lost  their  lives. 

CJwrus: 

Isn't  it  sad,  isn't  it  sad? 

Excursion    left    Durham,    going    to    Charlotte,     North 

Carolina. 
Isn't  it  sad,  isn't  it  sad? 
So  many  have  lost  their  lives. 

2  Some  of  us  have  mothers  standing  at  the  train. 
'Farewell-well-well,    my   daughter,    I    may  never   see   you 

again.' 
And  the  train  began  to  fly. 
And  some  didn't  come  hack  alive. 
So  many  have  lost  their  lives. 

3  The  fireman  said  to  the  engineer,  'We  are  something  late ; 
We  don't  want  to  meet  up  with  the  local  freight.' 

The  local  was  on  the  line. 

And  they  could  not  get  there  on  time. 

So  many  have  lost  their  lives. 

4  When  the  news  got  to  Durham,  some  said  it  was  a  lie, 
But  some  was  in  the  hospital  almost  ready  to  die. 
And  their  poor  old  mothers,  you  know. 

They  were  running  from  door  to  door. 
So  many  have  lost  their  lives. 


676  NORTH     CAROLINA     FOLKLORE 

5  Now,  colored  people,  I  will  tell  you  to  your  face, 
The  train  that  left  Durham  was  loaded  with  our  race, 
And  some  did  not  think  of  dying 

When  they  rode  on  down  the  line. 
So  many  have  lost  their  lives. 

6  They  put  the  dead  in  their  coffins  and  sent  them  back  to 

town. 
And  then  they  were  taken  to  the  burying  ground. 
You  could  hear  the  coffin  sound 
When  they  let  those  bodies  down. 
So  many  have  lost  their  lives. 

291 
Edward  Lewis 

This  is  of  interest  as  a  specimen  of  local  "occasional"  song- 
making.  The  manuscript  is  in  Dr.  Brown's  hand,  very  likely  copie:l 
down  from  a  slip-ballad  print,  and  is  accompanied  by  the  following 
notes : 

The  first  engine  on  the  Clinchfield  R.  R.,  #99.  was  assigned  to  Edward 
Lewis.  When  Lewis  died  a  few  years  ago,  i.e.,  ca.  1937,  the  engine 
was  used  to  pull  the  funeral  train,  which  carried  the  body  of  its  former 
engineer  to  its  last  resting-place  beyond  Mt.  Mitchell  in  the  Nolichucky 
Valley. 

A  real  banjo  picker  two  summers  ago,  Don  Hoppas,  put  the  air  to 
the  song.  The  air  is  the  same  as  sung  to  Sourwood  Mountain  by  King 
Kendall  and  his  friends  of  near  Asheville. 

The  engine,  though  still  in  service,  is  used  only  in  the  yards  at  Spruce 
Pine. 

The  occasion  made  a  great  impression  on  the  local  people,  and  one 
man.  Jack  Hartley,  wrote  the  following  lines  on  Lewis  : 

1  Oh,  we  hear  a  different  signal 

All  up  and  down  the  Clinchfield  Line 
Since  the  hand  of  Edward  Lewis 
Pulls  no  more  old  99. 

2  For  he's  gone  into  the  station 
At  the  end  of  life's  long  run. 
Where  there's  joy  and  peace  eternal. 
For  the  labor's  all  well  done. 

3  But  we'll  miss  him,  yes,  we'll  miss  him 
Up  and  down  the  CHnchfield  Line; 
But  we  never  more  can  call  him  back 
To  run  old  faithful  99. 

4  It  was  up  Nolchuckky  Valley, 
Where  the  Linville  River  sweeps 
Round  the  peaks  of  old  Mount  Mitchell ; 
She  vainly  calls  for  him  that  sleeps. 


NORTH  CAROLINA  BALLADS  677 

5  We  will  miss  him,  we  will  miss  him, 

And  we'll  wonder  if  he  sees  the  Clinchfield  Line, 
If  he  hears  the  plaintive  calling 
Of  his  dear  old  engine  99. 

6  For  he's  gone  into  the  station 
Out  beyond  the  twinkling  stars, 
Where  there'll  be  no  more  worrying 
Pulling  trains  of  heavy  cars. 

292 
Manley  Pankey 

In  1947  the  present  editor  [A.P.H.],  through  Mrs.  Mabel  Brittain 
of  Chapel  Hill,  obtained  the  following  information  about  this  song 
from  Mrs.  L.  M.  Russell  of  Troy.  Manley  Pankey  was  the  Negro 
hired  hand  of  a  Montgomery  county  white  farmer  named  Curry. 
He  enjoyed  a  local  reputation  for  high  temper,  and  skill  as  a  singer 
and  guitar  player.  One  day  while  he  was  singing  and  playing  on 
Curry's  porch,  a  neighbor  approached  the  house,  and  Curry  told 
Manley  to  stop.  An  hour  later,  Pankey  shot  Curry  to  death.  He 
was  convicted  of  murder  and  hanged,  as  Professor  Brown  notes. 
Mrs.  Russell  confirms  the  local  belief  that  Pankey  made  up  a  song 
about  his  fate,  such  as  is  here  recorded.  She  states  that  she  set  out 
to  attend  the  hanging  but  fainted  at  the  sight  of  Manley  riding  on 
his  coffin  to  the  place  of  execution. 

From  Miss  Jewel  Robbins,  Pekin,  Montgomery  county  (later  Mrs.  C.  P. 
Perdue,  Gastonia),  1921-24.  Note  by  Dr.  Brown:  "Sentenced  at  Troy 
Court  House,  Montgomery  Co.  Sang  on  day  of  hanging,  standing  in 
court  house  door,  40  years  ago  (i.e.,  about  1895)."    With  music. 

1  Here  I  stand  in  the  jail  house  door, 
Here  I'll  stand  no  more. 
Good-bye  to  my  mother 

And  friends  forevermore. 

2  My  mother  she  did  warn  me. 
She  warned  me  when  I  'as  young, 
'I'll  raise  you  up  for  the  gallows ; 
My  son,  you  will  be  hung.' 

William  S.  Shackleford  (alias  J.  P.  Davis) 
Nos.  293,  294 

In  the  fall  of  1889  John  D.  Horton  was  living  on  his  farm  in 
Williams  township,  Chatham  county.  At  Durham,  a  year  or  two 
previously,  he  had  met  and  employed  as  a  hired  hand  a  man  who 
called  himself  J.  P.  Davis.  A  bachelor,  Horton  sported  around 
the  countryside  with  Davis  and  shared  a  room  with  him  in  the 
Horton  farm  house. 


678  NORTH  CAROLINA  FOLKLORE 

On  the  night  of  November  15,  Horton  left  Walter  Edwards'  (a 
neighbor's)  house  for  home,  playing  his  fiddle.  "That,"  in  the  lan- 
guage of  the  Pittsboro  Chatham  Record  (November  28,  1889), 
"was  the  last  seen  or  heard  of  him." 

Questioned  next  day,  Davis  accounted  for  Horton's  absence  by 
saying  that  Horton  had  gone  on  one  of  his  customary  long  trips  to 
Raleigh.  During  the  following  week  Davis  sold  some  cotton,  on 
Horton's  order,  he  stated,  and  returned  home.  A  day  later  sus- 
picions about  the  continued  absence  of  Horton  were  expressed  in 
Davis'  presence,  and  on  the  following  morning  he  was  missing.     . 

Search  of  the  bedroom  and  the  premises  discovered  signs  of  foul 
play.  On  November  2;^  Horton's  body  was  found  in  a  tobacco  barn 
on  the  place,  buried  under  the  dirt  floor.  A  coroner's  jury  rendered 
a  verdict  that  Horton  "had  come  to  his  death  from  blows  inflicted 
with  an  edged  tool  by  J.  P.  Davis." 

After  a  brief  manhunt,  during  which  the  railway  ticket  agent  at 
Chapel  Hill  remembered  having  sold  to  a  man  answering  the  de- 
scription of  Davis  a  ticket  to  Danville,  Davis  was  found  and  arrested 
at  that  place.  Waiving  extradition,  he  was  brought  to  Raleigh  for 
safekeeping.  He  admitted  having  killed  Horton,  pleading  self- 
defense.  For  a  while  feeling  in  Chatham  county  was  so  high  that 
authorities  feared  a  lynching  if  Davis  should  be  tried  at  Pittsboro 
(Chatham  Record,  January  23  and  30,  1890). 

Nevertheless,  his  trial  was  held  there,  without  disorder,  in  Feb- 
ruary 1890  (Chatham  Record,  February  20,  1890).  Davis  main- 
tained that,  following  a  violent  quarrel  over  a  money  settlement 
betwen  the  two,  Horton  had  tried  to  shoot  him  in  their  bedroom 
with  Davis's  own  shotgun,  which  "snapped,"  and  he  had  killed 
Horton  with  a  bootjack.  Then,  becoming  panicky  from  fear  of  a 
lynching,  he  had  disposed  of  the  body.  In  the  light  of  all  the  evi- 
dence against  him,  especially  the  nature  of  the  lethal  wound,  the 
jury  did  not  believe  him  but  found  him  guilty,  and  he  was  sentenced 
to  be  hanged  on  March  28,  1890.  Some  doubt  about  his  guilt  was 
resolved  by  exhumation  of  Horton's  body,  the  skull  of  which  clearly 
confuted  Davis's  assertion  that  he  had  killed  Horton  with  a  boot- 
jack (ibid.,  March  26,  1890). 

Shortly  before  Davis  was  executed,  investigation  of  his  past  his- 
tory in  South  Carolina  brought  information  that  his  real  name  was 
William  S.  Shackleford;  that  he  had  been  a  member  of  a  once- 
prominent  and  well-to-do  family  in  Horry  and  Marion  counties, 
of  that  state,  and  for  several  years  a  Methodist,  then  a  Free  Will 
Baptist,  preacher;  and  that  rumors  charging  him  with  incest  and 
infanticide  had  forced  him  to  flee  from  South  Carolina.  Admitting 
this  identification,  he  wrote  "for  publication  a  full  history  of  his 
life,"  in  the  form  of  a  pamphlet.^     He  also  prepared  several  other 

*  The  existence  of  this  pamphlet,  indicated  by  the  Chatham  Record, 
March  26,  1890,  is  confirmed  by  W.  B.  Morgan  in  "Old  Diary  of 
Doomed  Killer  Tells  Story  of  Crime  in  Chatham  County,"  Greensboro 
Daily  News,  Sunday,  June  23,  1946,  section  2,  p.  6,  cols.  6-8.  "We  are 
indebted,"  states  the  writer,  "to  Abner  B.  Campbell,  of  Pittsboro,  Route 
2,  for  a  copy  of  Shackleford's  biography,"  and  Mr.  Morgan  gives  a 
summary  account  of  the  facts  about  the  murder. 


NORTH  CAROLINA  BALLADS  679 

written  documents  showing  him  to  be  a  man  of  some  education  and 
with  some  facility  of  expression:  a  letter  of  thanks  to  the  editor 
of  the  Chatham  Record  and  his  "counselors,"  pietistic  in  content 
and  ending  with  a  three-stanza  prayer-poem  (Record,  March  20)  ; 
a  ballad  of  fourteen  stanzas  giving  his  version  of  the  murder  story 
and  insisting  on  the  bootjack  as  the  weapon  used  (ibid.,  March 
13);  a  letter  of  farewell  to  his  family  (ibid.,  March  27);  and  a 
statement  to  the  public,  to  be  read  on  the  gallows  (ibid.,  April  3). 
While  in  jail  awaiting  execution,  he  was  visited  freely  and  fre- 
quently by  curious  citizens.  "He  is,"  wrote  the  editor  of  the  Chat- 
ham Record,  in  his  March  13  issue,  "something  of  an  artist  and 
passes  much  of  his  time  in  drawing  little  fancy  pictures,  which  he 
gives  to  his  visitors.  He  is  also  a  rhymester,  and  has  given  the 
Record  the  following  verses,  composed  by  him  since  his  trial : 

"Though  I  am  doomed  to  be  hanged, 

In  March,  on  the  twenty-eighth  day, 
I  fear  not  the  dreadful  pang, 

Nor  the  new  and  uncertain  way. 

"Could  I  feel  that  I  had  done  wrong. 

In  that  I  slew  my  friend, 
How  different  now  would  be  my  song, 

How  bitter  to  me  would  be  the  end ! 

"Though  sorrow  bears  me  to  the  ground, 

'Tis  not  that  I  feel  a  murderer's  guilt, 
But  that  I  had  to  strike  him  down, 

And  then  the  blood  of  my  friend  was  spilt. 

"I  was  hemmed  in  and  upon  my  bed. 

While  he  stood  between  me  and  the  door. 

And  with  the  gun  presented  at  my  head, 
I  listened  for  the  fearful  roar. 

"But  fortunately  it  came  down  with  a  whack 
And  as  he  turned  to  the  wall  for  a  shell, 

I  stooped  down,  took  up  the  little  old  boot-jack 
And  struck  him  two  blows  and  he  fell. 

"Though  he  had  fallen  I  feared  to  remain, 

So  I  escaped  to  the  yard  below ; 
But  becoming  alarmed  I  entered  again 

To  see  the  result  of  the  blow. 

"My  God,  my  God,  what  a  fearful  sight 

I  beheld  as  I  stood  in  the  door. 
The  spirit  of  my  friend  taking  its  flight. 

While  he  lay  in  his  blood  on  the  floor. 

"I  took  him  to  the  new  barn  closet, 

Where  I  laid  his  body  by  : 
For  well  I  knew  to  expose  it 

Would  be  by  lynchers'  hands  to  die. 

"So  when  I  had  fulfilled  his  last  request, 

And  obeyed  his  latest  command, 
I  laid  him  in  his  grave  to  rest 

And  started  for  the  river  Dan. 


680  NORTH     CAROLINA     FOLKLORE 

"Not  that  I  hoped  he  would  long  remain 

Crouched  in  this  narrow  space, 
But  that  he  might  be  found  again 

And  interred  in  a  more  befitting  place. 

"And  when  I  had  decided  upon  a  land 

Of  temporary   refuge  to  me, 
I   went  to  Edwards,  a  neighbor  man, 

And  said,  if  wanted,  where  I  would  be. 

"How  clearly  now  to  my  mind  the  mistake 

I  made  in  this  unhappy  aflFair ! 
I  might  have  gone  to  the  sheriff  of  Wake 

And  been  taken  into  custody  there. 

"This  God  knows  I  did  not  know, 

But  thought  it  all  for  the  best 
To  some  adjoining  country  to  go 

And  wait  there  for  my  arrest. 

"Is  there  no  truth  to  all  I  say? 

Hear  what  the  Judge  has  said, 
In  March,  on  the  twenty-eighth  day. 

He  shall  hang  by  the  neck  till  dead !"' 

The  execution,  according  to  the  Chatham  Record  (April  3,  1890), 
took  place  in  a  field  three-fourths  of  a  mile  north  of  the  courthouse 
in  Pittsboro,  Shackleford  insisting,  in  his  last  statement:  "It  was 
the  bootjack.     I  certainly  used  the  bootjack." 

At  the  hanging,  the  crowd  disgusted  the  editor  of  the  Cliathain 
Record  and  others  of  civilized  sensibilities  (who  wrote  letters  of 
protest)  by  scrambling  for  pieces  of  the  rope  as  souvenirs.  Pho- 
tographers took  several  pictures  of  the  execution.  One  "shot" 
caught  Shackleford,  while  his  body  was  suspended,  the  moment  the 
body  was  declared  dead.  Another  was  made  after  the  body  had 
been  lowered  to  the  platform  and  then  obligingly  strung  up  again. 
The  April   10  number  of  the  Record  contains  this  advertisement: 

PICTURES   OF  DAVIS 

Those  wishing  Photographs  of  the  Hanging  of  James 
P.  Davis  at  Pittsboro,  can  get  them  of  C.  W.  Rochelle, 
Photo-Artist,  Durham,  N.  C.  Five  Photographs  6^  x  8^2 
inches  for  $2. 

April  3,  1890.    4ts. 

Last  Words  of  William  Shackleford 

Executed  in  Pittsboro,  Chatham  Co. 

March  28,  1890 

From   Southgate  Jones,  Durham,   May  5,   1920,  with  this  account  of  it : 

"Some   time   ago   an  old  darkey   recited  to  me   a   poem   composed  by  a 

^  In  the  March  20,  1890,  issue  of  the  Chatham  Record  there  is  a  twenty- 
seven  stanza  ballad  by  J.  E.  Johnston,  of  Morrisville,  N.  C,  prefaced 
by  this  statement :  "Noticing  the  verses  written  by  Davis,  the  condemned 
murderer,  in  last  week's  Record,  I  decided,  as  there  are  'two  ways  of 
telling  a  story,'  to  tell  his  story  in  a  slightly  different  style,  and  as  a 
result  send  the  enclosed  for  publication." 


NORTH     CAROLINA     BALLADS  68l 

preacher  who  was  condemned  to  die  for  murder  and  it  struck  me  as 
being  interesting  enough  to  record.  The  story  that  he  told  in  connection 
with  this  incident  was  that  the  preacher  was  attacked  by  his  victim  who 
drew  a  pistol  and  was  about  to  fire  when  the  preacher  killed  him  with 
a  boat-jack  [sic\.  The  jury,  evidently,  did  not  believe  his  story  and 
he  was  sentenced  to  hang  and  while  waiting  for  the  sentence  to  be 
executed  he  composed  this  poem.  I  have  had  the  old  darkey  to  write 
it  out  for  me  and  I  am  enclosing  portions  of  it  to  you.  There  may  be 
some  portions  of  it  that  you  cannot  make  out  and  in  that  event,  I  shall 
be  glad  to  help  you.  "S'ou  will  notice  that  the  last  page  contains  a  song 
that  this  preacher  wrote  in  the  same  connection." 

The  excellence  of  the  old  darkey's  memory  is  attested  by  tlie  fact 
that,  thirty  years  after  the  event  celebrated  by  the  ballad  (though  how 
long  after  the  informant  learned  it  is  not  known),  he  reproduced  with 
substantial  accuracy  thirteen  of  the  fourteen  stanzas  in  the  original.  The 
following  is  a  copy  of  his  version. 

1  Though  I  am  doom  to  be  hang 
In  March  28  day, 

I  dread  not  the  fearful  i^ang 
Nor  the  new  and  uncertain  way. 

2  Could  I  feel  that  I  have  done  wrong 
In  that  I  slain  my  friend 

How  different  now  would  be  my  song 
How  bitter  would  be  the  end. 

3  Though  sorrow  bowers  me  down 
Tis  not  that  I  feel  a  murder  guilt, 

But  I  had  to  strike  him  down  and  thus 
The  blood  of  my  friend  was  spilt. 

4  I  was  hemmed  in  and  upon  my  bed 
While  he  stood  before  me  door 
With  a  gun  presented  at  my  head, 
I  listen  for  the  fearful  roar. 

5  But  fortunately  I  came  down  with  a  whack 
And  as  he  turned  to  the  man  for  a  shell 

I  stopp  down  took  up  the  old  boat  jack 
Struck  him — twas  blows  and  he  fell. 

6  Though  he  had  fallen  I  feared  to  remain 
So  I  escape  to  the  yard  below — 

But  becoming  alarm  I  entered  again 
To  see  the  result  of  the  Blow. 

7  My  God  what  a  fearful  sight 

I  beheld  as  I  stood  within  the  door. 
The  spirit  of  my  friend  taking  its  flite 
While  he  lay  in  his  blood  on  the  floor. 


682  NORTH     CAROLINA     FOLKLORE 

8  I  took  him  to  the  new  Barn  Clorset 
Where  I  lade  his  body  by 

For  well  I  knew  then  to  expose  it 
Would  be  by  linchers  hands  to  die. 

9  Twas  not  that  I  hope  he  would  long  remain 
Crush  in  that  narrow  space. 

But  that  he  mite  be  found  again 
And  entered  in  a  more  befited  place. ^ 

10  And  when  I  had  desided  uppon 

A  land  of  tempenalay  refuge  to  me 
I  went  to  Edwards  a  naboro  man 
And  said  if  wanted  where  I  would  be. 

11  How  clear  to  my  mine  the  mistake 
I  have  made  in  the  unhappie  afifair. 

I  mite  have  gone  to  the  Sherifif  of  Wake 
And  been  takend  in  Custerday  thair. 

12  This  God  knows  that  I  did  not  know 
But  thought  it  all  for  the  best 

To  some  adjoinin  countray  to  go 
And  wate  for  my  arest. 

13  Is  thair  no  trouth  in  all  I  have  said. 
Hear  what  the  Judge  have  said. 

In  March  28  day  he  shall  hang 
By  the  neck  until  dead. 


294 

William  Shackleford's  Farewell  Song 
As  Sung  by  Shackleford 

From  Southgate  Jones,  Durham,  N.  C,  May  5,  1920,  with  a  letter, 
quoted  in  the  headnote  to  'Last  Words  of  William  Shackleford,'  above  : 
"the  last  page  [of  the  old  darkey's  MS]  contains  a  song  that  this 
preacher  wrote  in  the  same  connection."  This  is  not  the  three-stanza 
prayer-poem  published  in  the  Chatham  Record,  March  20,  1890,  and 
attributed  by  the  editor  to  Shackleford.  It  is  a  typical  spiritual,  with 
phraseology  common  to  the  type  ;  e.g.,  "The  warfare  .  .  .  ended"  occurs 
in  Nos.  Lxiv,  66B,  and  lxvi  of  Jackson  WNS  190-1.  It  is  here  printed 
as  transcribed. 

I     My  Warfair  will  soon  be  ended 
My  trouble  is  almost  don 
My  warfair  is  almost  ended 
And  then  I  am  going  home. 

*  The  stanza  corresponding  to  the  ninth  in  the  original  is  wanting. 


NORTH     CAROLINA     BALLADS  683 

2  God  bless  the  Holy  people 
The  Presbetiran  twoo, 
Those  shoutain  Meterdos 
And  the  prayin  Babtis  twoo.^ 

3  My  Warfair  will  soon  be  ended 
My  trouble  almost  don 

My  warfair  will  soon  be  ended 
And  then  I  am  goin  home. 

295 
Death  of  Birchie  Potter 

According  to  the  Watauga  Democrat,  Boone,  N.  C,  April  29, 
1937:  "Glenn  Brown,  charged  with  the  slaying  of  Birchie  Potter, 
pled  guilty  to  second  degree  murder  and  was  sentenced  to  ten  years 
in  the  penitentiary.  A  brother,  Robert  Brown,  charged  with  assault 
with  deadly  weapon,  received  a  two-year  suspended  sentence." 

Mr.  N.  J.  Presnell  of  Boone,  to  whom  the  ballad  is  ascribed,  in- 
formed Mrs.  Laura  Brown  Timmons,  also  of  Boone,  that  the  "Death 
of  Birchie  Potter"  was  really  the  work  of  Jim  Brown,  one  of  Mr. 
Presnell's  neighbors.  In  a  letter  to  A.  P.  Hudson  dated  June  2, 
1948,  Mrs.  Timmons  made  the  following  report  regarding  Jim 
Brown's  authorship  of  the  ballad : 

I  went  to  the  Democrat  office  and  found  the  broadside  copy  of  "The 
Death  of  Birchie  Potter,"  then  went  to  N.  J.  Presnell's  home.  He  is 
98  years  old,  and  has  a  copy  of  the  poem  in  his  Bible,  but  told  me  Jim 
Brown,  one  of  his  neighbors,  wrote  it.  Then  I  found  Jim  Brown,  who 
is  a  carpenter  about  45  years  old,  native  of  Watauga  county,  very  intel- 
ligent, and  at  times  gets  religion  and  preaches.  He  has  written  other 
verses,  none  of  which  have  been  sung.  When  asked  why  Mr.  Presnell's 
name  was  used,  Mr.  Brown  says  both  boys  [Glenn  Brown  and  Robert 
Brown]  were  cousins  of  his,  and  he  thought  perhaps  they  might  be 
offended  should  he  have  the  poem  published  using  his  own  name.  So 
he  gave  it  to  Mr.  Presnell,  who  in  turn  took  it  to  Mr.  Rivers  without 
comment.  Naturally  Mr.  Rivers  assumed  that  Mr.  Presnell  was  the 
author.  .  .  '.  Numbers  of  people  have  copies  of  this  and  other  poems  by 
Jim  Brown. 

Received  from  Miss  Edith  Walker,  Boone,  undated,  with  this  note  on 
the  typescript :  'This  broadside  appeared  in  the  IVautagua  Democrat 
for  the  week  of  April  23-30,  1937.  Evidently  inspired  by  a  trial  just 
held  in  the  town  of  Boone." 

1  In  the  state  of  North  Carolina, 
In  a  place  called  Pottertown, 
Two  cousins  took  to  drinking; 
One  shot  the  other  down. 

2  Birchie  Potter  was  the  victim, 
He  was  tall  and  brave; 

^  Compare  this  stanza  with  the  last  four  lines  of  'Christ  Was  a  Weary 
Traveler.' 


684  NORTH  CAROLINA  FOLKLORE 

But  Glen  Brown  with  his  derringer 
Sent  Birchie  to  his  grave. 

3  Glen,  his  age  was  twenty, 
And  Birchie's  was  twenty-one ; 
Two  freer-hearted  boys 
Don't  walk  beneath  the  sun. 

4  Birchie  is  in  the  graveyard, 

No  more  will  we  see  his  smile, 
While  Glen  is  in  the  jailhouse 
Waiting  for  his  trial. 

5  We  hope  Glen  will  get  justice 
Right  from  the  Maker's  hand, 
And  repent  and  be  converted 
And  be  a  better  man. 

6  We  ask  the  prayers  for  Birchie, 
That  his  soul  might  be  saved 
When  on  that  judgment  morning 
He  will  rise  from  the  grave. 

7  So,  young  men,  please  take  warning, 

And  shun  this  awful  time  [sin?]. 
If  you  will  just  stop  your  drinking 
You'll  all  be  better  men. 

— N.  J.  Presnell 

296 
Emma  Hartsell 

'Emma  Hartsell,'  a  ballad  recovered  in  five  variant  copies,  indi- 
cating considerable  oral  circulation  at  one  time,  is  the  story  of  a 
rape,  a  murder,  and  a  lynching.  These  outrages  occurred  at  a  time 
when,  on  account  of  various  local  efforts  to  bring  Negroes  into 
politics  in  North  Carolina,  racial  troubles  were  rife,  especially  in 
Wilmington,  and  flared  up  in  a  number  of  deeds  of  violence.  The 
Raleigh  News  and  Observer,  of  May  31,  1898,  p.  7,  crediting  the 
Charlotte  Observer,  reports  the  facts. 

Miss  Emma  Hartsell,  a  young  lady  of  Cabarrus  county,  was  brutally 
assaulted  by  negroes  yesterday,  and  afterward  murdered.  Last  night 
Concord  resounded  with  uproar,  and  two  negroes  were  hanged  to  the 
same  tree. 

The  victim  of  the  outrage  was  a  daughter  of  Mr.  Sam  Hartsell.  who 
lives  four  miles  from  Concord.  Yesterday  afternoon  some  time  between 
2  and  5  o'clock,  she  was  outraged  and  murdered,  her  throat  being  cut 
from  ear  to  ear. 

The  first  news  of  the  tragedy  was  heard  by  Mr.  Frank  Pharr  from 
the  lips  of  a  young  negro,  who  was  going  to  town  to  tell  about  it.  Mr. 
Pharr  suspected  this  negro  and  held  him  until  officers  arrived. 


NORTH  CAROLINA  BALLADS  685 

In  the  meantime,  the  news  had  circulated  rapidly  and  crowds  of  both 
town  and  country  began  gathering.  The  negro  held  by  Mr.  Pharr  was 
named  Joe  Kiser,  aged  24  years,  of  Cabarrus  county.  In  a  short  time 
another  negro  named  Tom  Johnson,  aged  20  years,  of  Lincoln  county, 
had  been  arrested. 

The  remainder  of  the  story  follows  the  familiar  pattern  of  South- 
ern lynchings.  The  sheriff  and  his  deputies  arrested  the  Negroes 
and  took  them  through  a  threatening  crowd  to  the  jail.  That  night 
a  mob  stormed  the  jail,  overpowering  the  sheriff's  forces,  broke  the 
lock  of  the  cell  door,  and  dragged  the  victims  out.  "They  pro- 
tested their  innocence  all  along  the  way"  to  the  place  of  the  hang- 
ing. "The  Rev.  W.  C.  Alexander,  pastor  of  the  Presbyterian 
church,  walked  by  their  side,  talking  to  them  and  trying  to  minister 
to  them  spiritually,"  and  pleaded  in  vain  for  a  moment  of  silence, 
"so  he  could  pray  for  them."  Asked  if  they  had  a  parting  word  to 
speak,  "They  said  they  were  not  guilty,  and  that  was  all."  The  two 
were  hanged  from  the  same  tree,  and  their  bodies  were  riddled  with 
shots. 

Davis  FSV  277  lists  a  song  without  title  having  the  first  line  in 
common  with  "Emma  Hartsell." 

A 
'Death  of  Emma  Hartsell.'     From  Loy  V.  Harris,  Mount  Gilead,  Mont- 
gomery county,  with  music;  undated. 

1  In  eighteen  hundred  and  ninety-eight 
Sweet  Emma  met  with  an  awful  fate. 
'Twas  on  the  holy  Sabbath  day 

When  her  sweet  life  was  snatched  away. 

2  It  set  my  brain  all  in  a  whirl 
To  think  of  that  poor  little  girl 

Who  rose  that  morning  fair  and  bright, 
And  before  five  was  a  mangled  sight. 

3  It  caused  many  a  heart  to  bleed 
To  think  and  hear  of  such  deed. 
Her  friends,  they  shed  many  a  tear. 
Her  throat  was  cut  from  ear  to  ear. 

4  Just  as  the  wind  did  cease  to  blow 

They  caught  the  men,  'twas  Tom  and  Joe. 
The  sheriff  drove  in  such  a  dash 
The  howling  mob  could  scarcely  pass. 

5  They  got  to  town  by  half  past  seven; 
Their  necks  were  broken  before  eleven. 
The  people  there  were  a  sight  to  see. 
They  hung  them  to  a  dogwood  tree. 

6  Fathers  and  mothers,  a  warning  take : 
Never  leave  your  children  for  God's  sake. 


686  NORTH     CAROLINA     FOLKLORE 

But  take  them  with  you  wherever  you  go, 
And  always  think  of  Tom  and  Joe. 

7  Kind  friends,  we  all  must  bear  in  mind 
They  caught  the  men  who  did  the  crime. 
There's  not  a  doubt  around  the  lurk ; 

Tom  said  he  held  her  while  Joe  did  the  work. 

8  Sweet  Emma  has  gone  to  a  world  of  love 
Where  Tom  and  Joe  dare  not  to  go. 
We  think  they've  gone  to  hell  below 
For  treating  poor  little  Emma  so. 

9  Dear  friends,  we  all  remember  this, 
That  Emma  will  be  sadly  missed. 
And  one  thing  more  I  do  know — 
This  world  is  rid  of  Tom  and  Joe.  * 

10  As  they  stood  on  death's  cold  brink, 
Joe  Kizzer  begged  the  man  for  drink. 
'No  drink,  no  drink.'  the  man  replied ; 
'To  Hell,  to  Hell  your  soul  must  fly.' 

1 1  And  one  thing  more  my  song  does  lack  : 
I  forgot  to  say  the  men  were  black ; 

Her  friends  and  neighbors  will  say  the  same. 
And  Emma  Hartsell  was  her  name. 


From  Wilma  Foreman,  Stanly  county ;  undated.  Eleven  stanzas,  fol- 
lowing A  closely,  with  a  few  interesting  verbal  differences  :  "marvelous 
sight"  in  stanza  2  for  "mangled  sight"  ;  "for  God-sakes"  in  stanza  6  for 
"for  God's  sake" ;  "around  us  break"  in  stanza  7  for  "around  us  lurk" ; 
"the  sheriff"  in  stanza  10  for  "the  man." 

C 

From  Elsie  Lambert,  Stanly  county  (?);  undated.  Eleven  stanzas,  fol- 
lowing A  closely,  with  these  main  verbal  differences  :  "marble  sight"  in 
stanza  2;  "half  pass  seven"  in  stanza  5;  "for  God  sake"  in  stanza  6; 
"break"  for  "lurk'  'in  stanza  7 ;  "the  sheriff"  in  stanza  10. 

D 

From  Effie  Tucker ;  without  address  or  date.  Eleven  stanzas,  differing 
only  in  a  few  verbal  details  from  A :  "marble  sight"  in  stanza  2 ;  "a 
many  a  heart,"  "a  many  a  tear"  in  stanza  3 ;  "break"  for  "lurk"  in 
stanza  7;  "death's  cold  bank";  "my  song  doith  like"  in  stanza  11. 


From  Macie  Morgan.  Stanly  county;  undated.     Six  stanzas  correspond- 
ing to  A,  1-6.    The  fourth  stanza  reads : 


NORTH  CAROLINA  BALLADS  687 

Just  as  the  wind  did  close  to  bellow, 
They  caught  the  men  was  hauling  marble 

could  hardly  pass. 

The  sixth  lacks  a  line  corresponding  to  1.  2  in  A  6. 

297 

Gladys  Kincaid 

This  ballad  has  two  motives — a  rape  and  a  lynching — in  common 
with  'Emma  Hartsell.'  Henry,  in  FSSA  57,  printed  an  entirely 
different  ballad  on  the  same  occurrence  (names  of  victim  and  mur- 
derer being  the  same),  obtained  from  Avery  county,  N.  C,  in  1932. 
His  ballad  ends : 

The  final  place  they  found  this  shine 
Was  down  at  Linville  Falls. 

From  Miss  Effie  Tucker ;  without  date  and  address. 

1  Come  all  of  you  good  people 
And  listen  if  you  will 

Of  the  fate  of  Gladys  Kincaid, 
Who  worked  in  the  hosiery  mill. 

2  Returning  from  her  labor, 
Spent  with  the  toil  of  day, 
All  unaware  of  danger 
That  stalked  along  her  way. 

3  In  ambush  lay  the  negro ; 
His  lust  began  to  swell. 
He  did  this  awful  deed. 
Too  horrible  to  tell. 

4  He  was  declared  an  outlaw. 
Him  men  began  to  seek ; 
But  evaded  his  pursuers 
For  something  over  a  week. 

5  He  finally  was  discovered 
In  a  lonely  hidden  spot, 

And  when  he  tried  to  flee  away 
He  was  brought  down  with  a  shot. 

6  They  brought  him  to  the  courthouse 
And  placed  where  all  could  see, 
The  body  of  Broadus  Miller. 

For  an  arch  friend   [sic]  was  he. 


688  NORTH     CAROLINA     FOLKLORE 

7     Go  tell  it  to  the  country, 
To  both  the  black  and  white, 
That  old  Burke  County 
Shall  e'er  defend  the  right. 

298 
The  Lawson  Murder 

The  New  York  Times,  of  December  26  and  27,  1929,  gives  the 
facts  relevant  to  this  ballad. 

Walnut  Cove,  N.  C,  Dec.  25  (AP) — Becoming  suddenly  insane,  a 
Stokes  county  farmer  today  slew  his  wife  and  six  children,  and,  after 
having  laid  them  out  for  burial,  went  into  a  patch  of  woods  near  his 
home  and  killed  himself.  The  body  of  C.  D.  Lawson,  the  43-year-old 
father  and  husband,  was  found  about  half  a  mile  from  the  home  with  a 
shotgun  wound  in  his  chest.  .  .  . 

Greensboro,  N.  C,  Dec.  26  (AP) — The  theory  that  a  blow  on  the 
head  a  year  ago  caused  Charles  B.  [sic]  Lawson,  Stokes  county  farmer, 
to  become  suddenly  insane  yesterday  and  kill  his  wife  and  six  children 
was  discounted  today.  .  .  .  Physicians  who  removed  the  brain  of  the 
man  .  .  .  found  no  trace  of  a  blow  on  the  brain.  .  .  .  The  examination 
.  .  .  revealed  a  low-grade  degenerative  process  in  the  middle  of  the  brain. 

Davis  FSV  278  lists  the  ballad  as  known  in  Virginia. 


'Murder  of  the  Lawson  Family.'     From  J.  C.  Folger,  May  15,  1937,  as 
"collected  from  a  friend" ;  no  address. 

1  It  was  on  last  Christmas  Evening; 
A  snow  was  on  the  ground. 

His  home  in  North  Carolina 
Where  the  murderer  was  found. 
His  name  was  Charlie  Lawson, 
And  he  had  a  loving  wife. 
But  we'll  never  know  what  caused  him 
To  take  his  family's  life. 

2  They  say  he  killed  his  wife  at  first. 
And  then  the  little  ones  did  cry, 
'Please,  Papa,  won't  you  spare  our  life? 
For  it  is  so  hard  to  die !' 

But  the  raging  man  could  not  be  stopped ; 
He  would  not  heed  their  call, 
And  he  kept  on  firing  fatal  shots 
Until  he  killed  them  all. 

3  And  when  the  sad,  sad  news  was  heard 
It  was  a  great  surprise. 

He  killed  six  children  and  his  wife, 
And  then  he  closed  their  eyes. 


NORTH  CAROLINA  BALLAD: 

'And  now  farewell,  kind  friends  and  home ; 
I'll  see  you  all  no  more. 
Into  my  breast  I'll  fire  one  fatal  shot ; 
Then  my  troubles  will  be  o'er.' 

They  did  not  carry  him  to  jail ; 

No  lawyers  did  he  pay. 

He'll  have  his  trial  in  another  world 

On  the  final  judgment  day. 

They  were  all  buried  in  a  crowded  grave 

While  angels  watched  above. 

'Come  home,  come  home,  my  little  ones. 

To  the  land  of  peace  and  love.' 


'The  Lawson  Murder.'  From  Miss  Edith  Walker,  Boone,  in  a  manu- 
script book  of  songs  loaned  to  Dr.  Brown ;  undated.  With  slight  verbal 
variations,  the  same  as  the  preceding  text. 


'Charlie  Lawson.'  From  the  John  Burch  Blaylock  Collection.  Seven 
four-hne  stanzas,  substantially  the  same  as  A  except  for  omission  of  the 
last  four  lines  of  stanza  3. 


299 

Lillian  Brown 

From  Mamie  Mansfield,  Durham,  c.  1922-23.  Recorded  as  sung  by  F. 
Coleman,  1922.  Contributor's  note:  "Lillian  Brown  committed  suicide  by 
drinking  a  bottle  of  carbolic  acid  on  Short  St.  in  West  Durham,  N.  C, 
ni  1914.  To  get  the  poison,  she  claimed  she  wanted  it  for  house  clean- 
ing.   She  took  the  poison  about  five  o'clock  and  died  at  seven." 

1  While  the  sun  in  his  sinking  beauty 
Was  shining  brightly  in  the  West 

A  fair  fortune  maiden  was  thinking 
How  soon  she  would  meet  her  death. 

2  Lillian  Brown  from  Stanent  [Staunton?].  Virginia. 
Was  boarding  near  the  West  Durham  Mill. 
While  tired  of  life  and  all  her  troubles 

Drank  poison  from  which  a  bottle  filled. 


God  only  knows  how  this  girl  sufifered ; 
.She  paid  an  awful  debt  to  be  free. 
After  drinking  from  the  bottle  its  contents, 
Sho  said,  'Dear  Lord,  have  mercy  on  me.' 


690  NORTH  CAROLINA  FOLKLORE 

300 

Poor  Naomi  (Omie  Wise) 

Judged  by  the  breadth  of  its  diffusion,  'Poor  Naomi'  ("Omie 
Wise')  is  North  CaroHna's  principal  single  contribution  to  Ameri- 
can folk  song.  Belden  BSM  322-4  cites  it  in  collections  from 
Kentucky.  Mississippi,  North  Carolina,  the  Ozark  country  (Arkan- 
sas and  Missouri),  and  Tennessee;  Davis  FSV  272-3  lists  seven  Vir- 
ginia texts.  Morris  FSF  85-9  prints  two  from  Florida.  Its  theme 
is  similar  to  that  of  'The  Bloody  Miller'  (or  'The  Oxford  Girl'), 
though  its  handling  of  the  story  lacks  some  features  found  in  the 
other  ballad.  It  appears  to  be  a  North  Carolina  product,  based 
upon  an  actual  occurrence.  For  North  Carolina  oral  versions,  see 
Mrs.  Steely  107  (1935). 

In  the  Greensboro  Patriot  of  April  8,  15,  22,  and  29,  1874, 
appeared  a  romantic  and  moralistic  but  highly  circumstantial  serial 
story,  'Naomi  Wise.  By  Charlie  Vernon,'  ending  with  the  text  of 
a  ballad  entitled  'Poor  Naomi.'  'Charlie  Vernon'  was  the  pen-name 
of  Braxton  Craven,  president  of  Trinity  College  (then  located  in 
Randolph  county).  The  same  story  was  included  as  an  appendix 
to  Jerome  Dowd's  Life  of  Braxton  Craven,  D.D.,  LL.D.  (Raleigh, 
1896).  It  has  been  reprinted  several  times  as  a  pamphlet,  and  in 
one  form  or  another  this  is  the  source  of  many  North  Carolina 
newspaper  articles. 

Craven's  story  dates  events  "about  forty  years  ago" — i.e.,  about 
1834.  This  dating  may,  however,  belong  to  an  earlier  writing  of 
the  story.  The  author,  who  was  born  in  1822  and  had  spent  most 
of  his  life  near  the  scene,  would  have  been  twelve  years  old  in 
1834 — old  enough  to  receive  clear  and  vivid  impressions  of  events 
if  they  had  occurred  in  that  year.  Yet  in  the  story  he  nowhere 
represents  himself  as  a  witness,  but  indicates  his  reliance  upon 
local  traditions  and  the  testimony  of  old  residents.  Evidence  for  a 
considerably  earlier  date  is  afforded  in  a  supplement  to  The  Story 
of  Naomi  liaise  (Randleman,  N.  C,  1944),  a  reprint  of  Craven's 
story  made  under  the  auspices  of  the  Rotary  Club  of  Randleman. 
This  (pp.  30-31)  is  in  the  form  of  extracts  from  "The  Minute 
Book — Pleas  and  Quarter  Sessions"  of  the  Randolph  county  court: 

In  the  August  term  of  court,  1808,  Benjamin  Elliott  came  before  the 
subscribing  justices  and  made  oath  that  he  was  the  officer  called  by  the 
Lt.  Col.  Commander  of  said  county  to  guard  the  gaol  of  said  county  for 
the  safe  keeping  of  Jonathan  Lewis,  a  state  prisoner,  confined  therein 
on  the  charge  of  murder  and  that  he  attended  on  that  business  thirty 
days  and  that  the  under  named  persons  attended  as  soldiers  as  follows : 

[Names  of  eleven  men  with  terms  of  service.] 
Sworn  and  subscribed  to  before  me  November  11,  1808. 

B.  Elliott,  Captain 

1808 — The  Grand  Jury  reported  that  one  prisoner  was  confined  in  the 
jail  charged  with  murder.  Jonathan  Lewis  made  his  escape  supposedly 
with  the  aid  of  sympathetic  friends  and  a  shackley  frame  jail  from  which 
his  escape  could  easily  be  made.  .  .  . 

(Copied.)  "Ordered  by  the  Court  that  the  County  Trustees  pay  the 
cost  and  charges  of  attorneys.  The  prosecution  of  Jonathan  Lewis  for 
felony   when  trial   is  removed  to  the   County  of   Guilford  to  the  said 


NORTH     CAROLINA     BALLADS  69I 

Jonathan  Lewis  there  requested  and  said  discliargod  from  jail  under  the 
ensolvent  Debtors  Act.  .  .  ."  This  court  procedure  was  after  Lewis  had 
been  brought  from  the  West  for  trial  charged  with  drowning  Naomi 
Wise  in  1808.  .  .  . 

The  following  is  a  summary  of  Craven's  story : 

About  forty  years  ago  there  lived  where  New  Salem  now  is,  in  the 
County  of  Randolph,  North  Carolina,  a  very  open  and  warm-hearted 
man  by  the  name  of  William  Adams. 

At  Adams'  lived  Naomi  Wise,  an  orphan,  cook  and  occasional  field 
hand. 

Jonathan  Lewis,  member  of  a  family  of  physically  powerful  and  pug- 
nacious men,  living  near  Centre  Meeting  House  on  Polecat  Creek  in 
Guilford  County,  was  a  clerk  for  Benjamin  Elliott  at  Asheboro. 

Jonathan  Lewis  saw  Naomi  Wise  and  loved  her.  .  .  .  Henceforth  he 
was  a  frequent  visitor  at  Adams'. 

"But  an  evil  genius  crossed  the  path  of  Lewis  in  the  shape  of  his 
mother.  .  .  .  She  deemed  it  in  the  range  of  possibility  that  Jonathan 
might  obtain  the  hand  of  Hattie  Elliott,  the  sister  of  Benjamin  Elliott, 
his  employer.  .  .  .  Jonathan  Lewis  was  no  more  the  proud  manly 
gentleman;  he  was  henceforth  a  hard-hearted,  merciless  wretch.  He  was 
a  hyena.  .  .  .  He  not  only  resolved  to  forsake  a  lovely  damsel,  but 
first  to  ruin  her  fair  name.     His  resolve  was  accomplished.  .  .  . 

"Miss  Elliott  baffled  him  on  every  tack,  and  though  she  encouraged 
him,  gave  him  but  little  hope  of  succeeding  immediately.  In  the  mean- 
time, Naomi  urged  the  fulfillment  of  his  promise  .  .  .  threatened  him 
with  the  law.  Jonathan  promised  marriage  but  commanded  Naomi  to 
be  silent  about  it.  But  before  he  could  bring  matters  to  an  issue  with 
Miss  Elliott,  rumor  whispered  abroad  the  engagement  and  disgrace  of 
Naomi  Wise.     Lewis  denied  the  rumor  to  Miss  Elliott. 

"Lewis  at  length  came  to  see  Miss  Wise  and  told  her  that  he  wished 
not  to  deny  the  marriage  any  longer  .  .  .  that  he  had  made  all  necessary 
arrangements  and  that  he  would  come  and  take  her  to  the  house  of  a 
magistrate  on  a  certain  day.  She  urged  the  propriety  of  the  marriage 
taking  place  at  the  house  of  Mr.  Adams,  but  he  refused. 

"She  told  nothing  of  what  was  about  to  take  place  to  Mr.  Adams ;  but 
at  the  appointed  time,  taking  the  water  pail  in  her  hand,  she  went  to  the 
spring,  the  place  at  which  she  had  agreed  to  meet  Lewis.  He  soon 
appeared  and  took  her  behind  him.  It  is  said  that  the  stump  of?  which 
Naomi  mounted  remains  to  this  day." 

Naomi  soon  perceived  that  they  were  not  approaching  the  magistrate's 
place  but  were  going  toward  Deep  River.  Lewis  engaged  her  in  a  con- 
versation on  her  preference  between  slow  and  sudden  death.  Riding  to 
an  island  in  mid-channel,  Lewis  said,  "I  intend  to  drown  you  in  this 
river."  Refusing  her  pleas  for  life,  "he  tied  her  dress  above  her  head,  and 
then  held  her  under  beneath  his  foot  until  he  was  alarmed  by  a  glare  of 
torches."  Lewis  mounted  his  horse  and  dashed  out  of  the  river.  The 
bearers  of  the  torches,  a  Mrs.  Davis  and  her  sons,  were  too  late.  They 
only  heard  the  horseman  ride  away,  did  not  discover  Naomi.  Next 
morning,  when  search  was  instituted,  Mrs.  Davis's  story  led  to  the  dis- 
covery of  the  body.  An  inquest  was  held.  Someone  suggested  that 
Lewis  be  brought  to  view  the  corpse.  Lewis  in  the  meantime  had  ridden 
home  to  his  mother's.  She  asked  him  why  he  was  home  in  the  middle 
of  the  week,  why  wet,  and  why  so  pale.  He  replied  that  he  had  started 
home  on  business  and  that  while  fording  the  river  his  horse  had  fallen. 
Having  procured  a  change  of  clothes,  he  rode  to  Col.  Craven's  in  Ashe- 
boro and  aroused  suspicion  there.  From  Craven's  he  went  to  a  sale  at 
a   Mr.  Hancock's  and  again  excited  suspicion  by  his  conduct.     But  he 


692  NORTH     CAROLINA     FOLKLORE 

brazened  out  the  occasion  and  engaged  in  a  flirtation  with  a  girl  named 
Martha  Huzza.  It  was  at  Huzza's  house  with  Martha  on  his  lap  that 
Lewis  was  arrested.  Confronted  by  the  corpse,  he  smoothed  Omie's  hair, 
apparently  unmoved.  But  circumstantial  evidence  was  so  strong  that  the 
authority  of  the  officer  was  scarcely  sufficient  to  save  him  from  lynching 
on  the  spot.     He  was  committed  to  jail. 

"A  vast  company  on  the  next  day  accompanied  the  remains  of  Naomi 
to  the  grave." 

Lewis  "broke  jail  and  fled  to  parts  unknown.  Time  rolled  on.  .  .  . 
Naomi  was  beginning  to  fade  from  the  memory,  and  Lewis  was  scarcely 
thought  of.  The  whole  tragedy  would,  perhaps,  have  been  nearly  in  the 
sea  of  oblivion,  but  for  the  song  of  Omi  Wise,  which  was  sung  in  every 
neighborhood. 

"At  length,  rumor,  the  persecutor  and  avenger,  gave  tidings  that 
Jonathan  Lewis  was  living  at  the  Falls  of  the  Ohio.  .  .  .  Col.  Craven, 
Col.  Lane,  and  George  Swearengain,  properly  commissioned,  started  in 
quest  of  the  criminal."  Arrived  at  the  Falls  of  Ohio,  whither  many  of 
Lewis's  family  had  moved,  the  party,  knowing  they  would  be  recognized, 
hired  two  hunters  to  capture  Lewis  and  deliver  him  to  them.  These  men 
accomplished  their  purpose  on  a  deer  hunt  to  which  the  Lewises  invited 
them.  Lewis  was  brought  to  Randolph  county.  He  was  finally  tried 
in  Guilford  county  and  acquitted.  "Most  of  the  material  witnesses  had 
died  or  moved  away  and  much  of  the  minutiae  was  forgotten."  After 
his  release,  Lewis  moved  to  Kentucky  and  died  a  few  years  afterwards. 
He  is  said  to  have  confessed  the  murder  on  his  death  bed. 

A 
'Poor  Naomi.'    The  Reverend  Braxton  Craven,  in  the  Greensboro  Patriot, 
April  29,  1874 :  "The  following  is  the  song  so  well  known  in  Randolph 
county  as  'Poor  Naomi.' " 

1  Come  all  good  people,  I'd  have  you  draw  near, 
A  sorrowful  story  you  quickly  shall  hear ; 

A  story  I'll  tell  you  about  N'omi  Wise, 
How  she  was  deluded  by  Lewis's  lies. 

2  He  promised  to  marry  and  use  me  quite  well ; 
But  conduct  contrary  I  sadly  must  tell, 

He  promised  to  meet  me  at  Adams's  spring; 
He  promised  me  marriage  and  many  fine  things. 

3  Still  nothing  he  gave,  but  yet  flattered  the  case. 
He  says  we'll  be  married  and  have  no  disgrace, 
Come  get  up  behind  me,  we'll  go  up  to  town. 
And  there  we'll  be  married,  in  union  be  bound. 

4  I  got  up  behind  him  and  straightway  did  go 

To  the  bank  of  Deep  river  where  the  water  did  flow ; 

He  says  now  Naomi,  I'll  tell  you  my  mind, 

I  intend  here  to  drown  you  and  leave  you  behind. 

5  O  pity  your  infant  and  spare  me  my  life ; 
Let  me  go  rejected  and  be  not  your  wife ; 
No  pity,  no  pity,  this  monster  did  cry ; 

In  Deep  river's  bottom  your  body  shall  lie. 


NORTH  CAROLINA  BALLADS  693 

6  The  wretch  then  did  choke  her,  as  we  understand, 
And  threw  her  in  the  river  below  the  milldam ; 
Be  it  murder  or  treason,  O !  what  a  great  crime. 
To  drown  poor  Naomi  and  leave  her  behind. 

7  Naomi  was  missing  they  all  did  well  know. 
And  hunting  for  her  to  the  river  did  go ; 

And  there  found  her  floating  on  the  water  so  deep, 
Which  caused  all  the  people  to  sigh  and  to  weep. 

8  The  neighbors  were  sent  for  to  see  the  great  sight, 
While  she  lay  floating  all  that  long  night ; 

So  early  next  morning  the  inquest  was  held ; 
The  jury  correctly  the  murder  did  tell.^ 


'Naomi  Wise — Spirit.'  From  the  "Folk  Beliefs  and  Practices  in  Cen- 
tral and  Eastern  North  Carolina"  collected  in  1926-28  by  Paul  and  Eliza- 
beth Green,  of  Chapel  Hill ;  added  to  the  Frank  C.  Brown  Collection 
in  December,  1944. 

"The  spirit  of  Naomi  Wise  [writes  J.  W.  Cannon,  in  the  Greensboro 
Daily  News,  November  15,  1925]  is  the  tragic  muse  of  Randolph  county. 
This  woman  who  lived  over  100  years  ago  in  what  was  then  almost  a 
wilderness,  who  was  drowned  in  Deep  River  at  what  is  now  Naomi  Ford, 
has  become  the  subject  for  many  sketches  and  several  ballads,  some  of 
them  having  been  printed.  There  is  not  a  person  in  miles  of  Randleman 
and  New  Salem  that  does  not  know  at  least  one  story  about  her  death, 
all  of  them  having  a  few  essential  details  corresponding.  Most  of  the 
people  list  her  among  the  saints  and  let  her  stand  for  all  that  was  pure 
and  holy  in  womanhood  sacrificed  to  the  beast  in  man. 

"At  New  Salem,  just  off  the  old  Greensboro-Asheboro  Road,  there  is 
a  spring  now  covered  with  a  cupola.  This  spring  has  come  in  a  way  to 
represent  Naomi  Wise  and  the  events  that  led  to  her  death.  The  com- 
munity built  the  cover  and  laid  concrete  blocks  around  the  bubbling  water 
and  it  has  become  known  as  the  Naomi  Wise  Spring.  No  one  drinks  the 
water  and  it  is  said  to  be  hallowed  ground." 

After  repeating  the  story  of  Lewis'  death-bed  confession,  from  which 
"and   from  other   information   some   unknown  author   has   composed  the 

^  Note  [by  Craven]  :  It  is  said  that  in  the  dusk  of  evening,  the  fol- 
lowing little  song  may  be  heard  about  the  river  in  accents  as  sweet  as 
angels  sing : 

Beneath  the  crystal  waters, 
A  maiden  once  did  lie 
The  fairest  of  earth's  daughters, 
A  gem  to  deck  the  sky. 

In  caves  of  pearled  enamels. 
We  weave  an  amber  shroud 
For  all  the  foolish  damsels. 
That  dare  to  stray  abroad. 

We  live  in  rolling  billows. 
We  float  upon  the  mist. 
We  sing  on  foamy  pillows, 
"Poor  N'omi  of  the  past." 


694  NORTH  CAROLINA  FOLKLORE 

.  .  .  ballad  which  has  been  sung  in  that  community  for  many  years," 
Mr.  Cannon  quotes  the  ballad.  This  is  close  to  the  A  version  in  num- 
ber, order,  and  content  of  stanzas,  differing  only  in  conversion  of  the 
second  and  fourth  stanzas  from  first  to  third  person  and  in  a  number  of 
minor  syntactical  changes  and  verbal  variants ;  it  is  probably  from  one 
of  the  pamphlets  reprinting  or  following  closely  Braxton  Craven's  Greens- 
boro Patriot  romance.     Mr.  Cannon  continues : 

"Other  versions  besides  these  are  in  existence  in  snatches  of  song  which 
may  be  heard  from  time  to  time  from  the  people  of  the  community  sur- 
rounding the  scene  of  the  tragedy.  Every  little  bit  of  material  thing 
that  had  anything  to  do  with  the  tragedy  is  cherished.  There  is  a  spot 
marked  on  a  stone  just  below  that  old  mill  dam  and  also  near  the  Naomi 
Ford  that  is  said  to  be  where  the  footprint  of  the  young  woman  was 
found  next  morning.  There  was  an  old  stump  which  stood  at  the  spring 
that  up  until  a  few  years  ago  was  said  to  be  the  thing  on  which  Naomi 
stood  to  mount  the  horse  behind  her  lover. 

"More  than  once  negroes  have  reported  that  they  have  seen  the  lovely 
figure  of  what  they  thought  to  be  Naomi  Wise,  hovering  over  the  old 
mill  dam  and  near  the  place  she  was  drowned." 


'Naomi  Wise.'  From  Miss  Clara  Hearne,  Pittsboro,  Chatham  county, 
1923 ;  with  music.  With  a  few  syntactical  changes  and  verbal  variants, 
this  follows  A  and  B,  omitting  the  first  two  lines  of  stanza  i,  the  last 
two  of  stanza  6,  and  all  of  stanza  8. 

D 

'Poor  Annie.'  From  Mrs.  Sutton,  Lenoir ;  undated ;  with  the  following 
note: 

"The  traditional  attitude  of  men  toward  women  is  accepted  with 
philosophical  indifference  up  here.  Chivalry  is  the  exception  in  the  songs, 
never  the  rule.  There's  room  for  some  sociological  conclusions  about 
that  fact.  The  shocking  unmorality  of  Plum  Tree  and  Toe  River  might 
be  explained  in  that  underlying  idea  that  man's  infidelity  is  a  natural 
sort  of  thing.  Believe  I'll  talk  it  over  with  Dr.  Branson  [professor  of 
rural  social  economics  at  the  University  of  North  Carolina].  .  .  .  The 
next  song  illustrates  this  idea  perfectly.  It's  obviously  home-made  and 
a  study  of  court  records  reveals  its  historical  background.  A  sordidly 
disagreeable  story.  In  1855  [sic]  George  [sic]  Lewis  drowned  his  sweet- 
heart in  Deep  River.  He  was  hanged  [sic].  I've  heard  this  ballad  in  a 
number  of  places.  Mrs.  Vance  at  Plum  Tree  gave  me  this  copy."  Mrs. 
Sutton's  text  omits  the  first  stanza  and  shows  a  number  of  interesting 
variations. 

1  When  he  first  came  to  see  her,  he  behaved  himself  well ; 
He  said  they'd  be  married  and  all  would  be  well. 

He  told  her  to  meet  him  at  Adams'  Springs ; 
Some  money  he'd  give  her  and  other  fine  things. 

2  But  nothing  did  he  give  her  but  flatteries ; 

He  said  they'd  be  married  and  there'd  be  no  disgrace. 

He  took  her  up  behind  him  and  ofif  they  did  go 

To  the  banks  of  Deep  River  where  the  waters  do  flow. 

3  'Come  now,  my  dear  Annie,  I'll  tell  you  my  mind. 
I  intend  for  to  drown  you  and  leave  you  behind.' 


NORTH     CAROLINA     BALLADS  69$ 

'Oh,  pity  your  infant  and  spare  me  my  life ! 
Let  me  be  rejected  and  not  be  your  wife.' 

4  'No  pity,  no  pity,'  this  hero  did  cry. 

'In  the  bottom  of  Deep  River  your  body  shall  lie.' 
'No  mercy,  no  mercy,'  poor  Annie  did  cry, 
And  loud  lamentations  just  before  she  did  die. 

5  \\'hen  he  turned  himself  around  he  was  struck  quite  dumb. 
He  saw  Annie  struggling  just  below  the  mill  dam. 

She  threw  up  her  hands  and  these  words  did  she  say, 
'Lord,  forgive  my  transgressions,  I'm  drownded  today.' 

6  Now  Annie  was  missing,  as  we  all  do  know, 
And  hunting  for  poor  Annie  the  people  did  go. 
'Twas  thus  that  they  found  her  a-floating  on  the  deep, 
And  all  them  that  saw  her  they  did  sigh  and  weep. 

7  The  jury  was  gathered  to  behold  that  sad  sight. 
And  Annie  lay  on  the  bank  all  that  long  weary  night. 
Then  up  stepped  Annie's  mother  and  these  words  did  she 

say, 
'George  Lewis  drownded  Annie  and  he  has  run  away.' 

E 

'Naomi  Wise.'  From  Colonel  W.  A.  Blair,  in  an  article  published  by 
him  in  the  Winston-Salem  Union-Republican,  May  6,  191 5.  Colonel 
Blair's  "Story  of  the  Crime"  is  a  condensation  of  Craven's  romance. 
His  version  of  'The  Ballad,'  however,  shows  some  interesting  changes 
and  additions.  The  latter  consist  of  two  full  stanzas.  The  following 
stanzas  (numbers  referring  to  the  Blair  text)  will  exhibit  important 
differences  from  the  A  text.  (Except  as  quoted,  the  text  corresponds 
closely  to  A.) 

2     He  was  so  good-looking,  so  handsome  and  brave, 
And  to  many  women  his  promise  he  gave. 
His  horse  was  the  finest,  his  clothes  they  were  new. 
His  bearing  was  knightly,  his  words  were  not  true. 

4     Still  nothing  he  gave  but  flattered  the  case. 

And  brought  his  fine  horse  he  had  won  in  the  race. 
'Come  get  up  behind  me,  we'll  go  ofT  to  town. 
And  there  we'll  be  married,  in  union  be  bound.' 

6     'Have  mercy,  have  mercy.  Poor  'Omi,'  I  cried. 
'No  mercy,  no  mercy,'  the  monster  replied. 
'In  Deep  river's  bottom  your  body  shall  lie ; 
I'll  wed  with  another,  I'll  bid  you  goodbye.' 

8  The  river  was  muddy,  the  water  was  deep, 
And  on  its  old  bottom  poor  'Omi  did  sleep. 
Young  Lewis  rode  on  by  night  and  by  day. 
Her  spirit  did  follow  and  haunt  him,  they  say. 


696  NORTH  CAROLINA  FOLKLORE  - 

Stanza   10  follows  the  A  version,   with  some  minor  verbal   changes,  but 
repeats  the  last  line. 

F 
'Naomi  Wise.'  From  Miss  Edna  Whitley ;  without  address  or  date. 
Though  this  owes  something  to  the  ballad  represented  by  the  preceding 
texts,  it  seems  to  be  a  rijacimento,  with  the  addition  of  details  of  the 
sequel  known  from  tradition.  The  unknown  composer  viewed  events 
through  a  medium  of  tradition  and  stale  romance,  and  moralized  upon 
them. 

1  Now  come  all  you  young  people 
And  listen  while  I  tell 

About  a  maid  they  called  Naomia  Wise. 
Her  face  was  fair  and  beauteous ; 
She  was  loved  by  everyone. 
In  Randolph  county  now  her  body  lies. 

2  Naoinia  had  a  lover, 
Young  Lewis  was  his  name ; 

Each  evening  he  would  hover  by  her  side. 
She  learned  to  love  and  trust  hiin 
And  she  believed  his  word. 
He  told  her  she  was  soon  to  be  his  bride. 

3  One  summer  night  he  met  her 
And  took  her  for  a  ride. 

She  thought  that  she  was  going  to  be  wed. 

They  came  to  old  deep  river, 

And  so  the  story  goes, 

'You've  met  your  fatal  doom,'  the  villion  said. 

4  She  begged  him  just  to  spear. 
The  villion  only  laughed. 
They  say  he  was  heartless  cold. 
And  in  the  stream  he  threw  her, 
Below  the  old  mill  dam. 

And  sweet  Naomia's  smile  was  seen  no  more. 

5  Next  day  they  found  her  body 
Go  floating  down  the  stream, 

And  all  the  people  around  for  miles  did  cry. 

Young  Lewis  left  the  country. 

They  brought  him  back  again 

But  could  not  prove  that  he  caused  her  to  die. 

6  They  say  that  on  his  death  bed 
Young  Lewis  did  confess. 

He  said  that  he  had  killed  Naomia  Wise. 

And  now  they  know  her  spirit 

Still  lingers  round  the  place 

To  save  young  ones  from  some  villion's  lies. 


NORTH     CAROLINA     BALLADS  697 


'Naomi  Wise.'  From  Miss  Autie  Bell  Lambert,  Stanly  county;  undated. 
This  is  an  even  more  garbled  variant  of  the  already-garbled  F  version. 
"V'illion"  has  become  "Sir  Dillon"  ;  "his  spirit,"  not  "her  spirit,"  lingers 
round  the  place,  and  the  purpose  of  the  lingering  is  confused.  But, 
along  with  F,  it  shows  oral  tradition  at  work. 

1  Now  conie  all  young  people 
And  listen  while  I  tell 

About  a  maid  they  called  Naomi  Wise. 
They  said  her  face  is  fair  and  handsome ; 
She  was  loved  by  everyone. 
In  Randolph  County  now  her  body  lies. 

2  They  say  she  had  a  lover ; 
Young  Lewis  was  his  name. 

Each  evening  he  would  have  her  by  his  side. 

She  learned  to  love  and  trust  him, 

And  she  believed  his  word. 

He  told  her  she  was  soon  to  be  his  bride. 

3  One  summer  night  he  met  her 
And  took  her  for  a  ride. 

She  thought  that  she  was  going  to  be  wed. 

They  came  to  old  deep  river 

And  so  the  story  goes. 

'You  have  met  your  doom' — these  words  Sir  Dillon  cried. 

4  She  begged  him  just  to  spare  her, 
But  Dillon  only  laughed. 

They  say  that  he  was  heartless  to  the  crude. 

And  in  the  stream  he  threw  her, 

Below  the  old  mill  dam. 

And  then  Naomi's  smiles  were  never  more  seen. 

5  Next  day  they  found  her  body 
A-floating  down  the  stream. 
And  all  the  folks  around  did  cry-. 
Young  Lewis  left  the  country. 
They  brought  him  back  again. 

But  could  not  prove  that  he  caused  her  to  die. 

6  They  say  that  on  his  death  bed 
Young  Lewis  did  confess ; 

He  said  that  he  had  killed  Naomi  Wise. 

And  now  they  know  his  spirit 

Still  lingers  round  that  place 

To  some  young  ones  from  Sir  Dillon  lies. 


698  NORTH     CAROLINA     FOLKLORE 

7     Young  people,  oh,  take  warning 
And  listen  while  I  say : 
You  must  take  care  before  it  is  too  late. 
And  listen  to  the  story 
Some  Dillon  tongue  will  tell 
Or  you  are  sure  to  meet  Naomi's  fate. 

H 
'Naomi  Wise.'     From  the  John  Burch  Blaylock  Collection. 

1  Come  all  ye  good  people,  I  pray  you  draw  near, 
A  sorrowful  story  you  soon  shall  hear. 

The  story  I'll  tell  you  is  about  Naomi  Wise, 
How  she  was  deluded  by  Lewis's  lies. 

2  When  he  first  came  to  see  her  fine  tales  he  did  tell ; 
He  promised  to  marry  her  and  use  her  quite  well. 
But  now  he  has  brought  her  to  shame  and  disgrace, 
Come,  friends  and  dear  neighbors,  and  pity  her  case. 

3  Come  all  you  young  ladies,  as  you  go  passing  by. 
Don't  you  be  ruined  by  Lewis's  lies. 

He  promised  to  meet  her  at  Adams'  springs, 
Some  money  to  bring  her,  and  other  fine  things. 

4  But  none  of  tliese  he  brought  her,  he  flattered  the  case ; 
He  says,  'We'll  be  married,  it  shall  be  no  disgrace. 
Come,  get  up  behind  me,  and  we'll  go  to  the  town ; 
And  there  we'll  be  married,  and  in  union  bound.' 

5  She  got  up  behind  him  and  away  they  did  go 

To  the  banks  of  Deep  River,  where  the  water  did  flow. 
'Get  down,  my  dear  Naomi,  I'll  tell  you  my  mind  ; 
I  intend  here  to  drown  you,  and  leave  you  behind.' 

6  'Oh,  think  of  your  infant,  and  spare  me  my  life; 
Let  me  live,  full  of  shame,  if  I  can't  be  your  wife.' 
'No  mercy,  no  mercy,'  this  rebel  replies, 

'In  Deep  River  bottom  your  body  shall  lie.' 

7  This  rebel  he  choked  her,  as  we  understand. 
And  threw  her  in  water  below  the  mill  dam. 
They  found  her  floating  where  the  water  was  deep. 
Which  caused  her  neighbors  and  friends  all  round  her  to 

weep. 

8  They  took  her  from  the  water ;  it  was  a  sad  sight ; 
On  the  banks  of  Deep  River  she  lay  all  that  night. 
Next  morning  quite  early  a  jury  was  held. 

And  her  good,  honest  neighbors  the  truth  they  all  tell. 


NORTH  CAROLINA  BALLADS  699 

301 

Frankie  Silver 

Around  Christmas-time  of  1831,  Frances  Stewart  Silver,  called 
Frankie,  was  living  with  her  husband,  Charles  Silver,  at  the  mouth 
of  the  South  Toe  River,  in  what  was  then  Burke  county.  On  the 
evening  of  December  22,  having  chopped  a  big  pile  of  hickory  wood 
for  the  holidays,  Charlie  lay  down  with  his  baby  on  a  sheepskin 
near  the  fire.  While  he  dozed,  Frankie  struck  him  a  glancing  but 
almost-decapitating  blow  with  an  axe,  then,  while  he  thrashed  about 
the  room,  snatched  up  the  child  and  threw  herself  into  bed  and 
pulled  the  covers  over  her.  When  he  grew  quiet,  she  arose  and 
finished  the  job.  She  dismembered  the  body,  burned  portions  of  it, 
and  hid  the  rest  under  the  puncheon  floor  of  the  cabin  and  in  a 
hollow  sourwood  tree  outside.  Then  she  "redd  up"  the  room,  scour- 
ing away  some  of  the  bloodstains,  shaving  away  the  deeper  ones  on 
wall  and  mantel  with  the  axe,  and  went  with  her  children  to  her 
mother-in-law's. 

After  a  few  days  the  neighbors  began  to  inquire  about  Charlie. 
Frankie  explained  that  he  had  left  home  to  buy  his  Christmas 
whiskey  and  suggested  that  he  had  fallen  into  the  river,  drowned, 
and  been  frozen  over.  The  more  suspicious  began  a  search,  assisted, 
according  to  one  tradition,  by  a  Negro  from  Tennessee  with  a 
magic  glass  ball.  Warm  weather  and  a  little  dog  were  more  effi- 
cacious than  the  glass  ball.  The  puncheon  floor  and  the  other 
hiding  places  yielded  their  gruesome  secret. 

Frankie  was  tried  at  the  March  1832  term  of  the  Morganton 
Superior  Court,  Judge  John  R.  Donnell  presiding.  Records  of  the 
testimony  revealing  motives  for  the  crime  are  scanty  and  incon- 
clusive. Jealousy  was  apparently  the  one  that  impressed  the  jury.' 
On  the  other  hand,  the  clerk  of  the  court  that  tried  the  case  has 
been  reported  to  have  said,  when  an  old  man,  that  Frankie  "would 
not  have  been  convicted  if  the  truth  had  been  disclosed  on  the 
trial.  .  .  .  Silver  mistreated  his  wife  and  she  killed  him  in  pro- 
tection of  herself."  Whatever  the  truth  may  have  been,  she  was 
convicted  of  murder  and  sentenced  to  be  hanged.  While  her  appeal 
to  the  Supreme  Court  was  pending,  she  escaped  from  jail  and  made 
her  getaway  concealed  in  a  load  of  hay,  but  was  speedily  recap- 
tured. She  was  hanged  on  Damon's  Hill  in  Morganton  on  July  12, 
1833 — the    "only    white    woman    and    with    the    exception    of    one 

'  Charles  I.  Penick,  Raleigh,  N.  C,  a  student  in  the  University  of 
North  Carolina,  stated  that  while  on  a  fishing  trip  on  Lake  James  (near 
Morganton)  with  Donnell  Van  Noppen,  of  Morganton,  in  the  summer  of 
1947,  Mr.  Van  Noppen  pointed  out  a  spot  on  the  way  to  the  lake  as 
"the  place  where  Frankie  and  Johnny  lived  and  where  the  murder  took 
place."  Mr.  Van  Noppen  added,  from  local  tradition,  that  "Johnny" 
Silver  was  a  trapper  and  customarily  spent  the  winters  in  the  mountains 
of  Tennessee.  During  the  winter  of  the  murder,  Frankie  discovered 
that  "Johnny"  had  been  "shacked  up"  with  another  woman.  Upon  his 
unexpected  return  "Frankie  gave  him  the  axe"  while  he  was  sleeping 
before  the  fire,  then  hid  the  bodv  in  an  old  hollow  stump.  It  was 
discovered  by  dogs  in  the  spring  thaw. 


700  NORTH  CAROLINA  FOLKLORE 

negress,  the  only  woman  ever  capitally  punished  in  North  Carolina 
after  it  assumed  the  status  of  statehood." 

According  to  persistent  and,  it  would  seem,  undisputed  tradition, 
before  the  hangman  adjusted  the  slipnoose  Frankie  read  or  recited 
from  the  gallows  a  confession  in  verse  of  her  own  composition. 

There  are  several  accounts^  of  the  Frankie  Silver  murder,  with 
versions  of  her  "song,"  most  of  them  resting  on  uncritical  accept- 
ance of  tradition.  James  A.  Turpin,  in  The  Serpent  Slips  into  a 
Modern  Eden  (Raleigh,  1925),  quotes  as  his  main  source  of  in- 
formation an  article  in  "the  Waynesville  Courier  some  years  ago, 
and  taken  by  it  from  an  old  clipping  of  some  local  paper  handed  the 
Courier  editor."  This  in  turn  quotes  (pp.  50-59)  Alfred  Silver, 
"half-brother  of  the  murdered  man  .  .  .  living  today  .  .  .  eighty- 
seven  years  old."  According  to  Alfred  Silver,  "It  was  hoped  that 
she  [Frankie]  would  make  a  public  confession  on  the  scafifold  and 
she  seemed  prepared  to  do  so,  but  her  father  yelled  out  from  the 
crowd,  'Die  with  your  secret,  Frances.'  "  Yet  (on  what  authority 
he  does  not  state)  Turpin  adds  (p.  59)  :  "The  following  verses 
were  printed  on  a  strip  of  paper  and  sold  to  people  who  assembled 
at  Morganton  to  see  Frances  Silver  executed.  It  is  claimed  that 
she  composed  them  and  gave  them  out  as  her  confession."  Muriel 
Earley  Sheppard's  account  of  the  facts,  in  Cabins  in  the  Laurel 
(Chapel  Hill,  1935),  is  based  on  the  story  of  "Aunt  Cindy  Norman, 
sister  of  the  murdered  man,"  given  in  her  ninetieth  year,  to  W.  W. 
Bailey,  of  Spruce  Pine.  Robert  Menzies  and  Edmond  Smith,  Jr.,  in 
"The  Scarlet  Enigma  of  Toe  River,"  True  Detective  Mysteries, 
July  1935,  repeat  the  father's  alleged  adjuration  of  silence  (p.  73) 
but  add  that  Frankie  replied,  "I  have  ...  a  lot  to  say"  and  "In  a 
voice  clear  and  unwavering  .  .  .  began  to  sing."  Only  S.  J.  Ervin, 
Jr.,  an  attorney  of  Lexington,  in  "Frankie  Silver"  (the  Morganton 
News-Herald,  April  3,  1934),  suggests  "an  untrustworthy  tradi- 
tion" with  respect  to  the  gallows  recitation.  The  more  improbable 
ascription  of  authorship  he  accepts  with  the  remark  "Frankie  Silver, 
it  seems,  was  possessed  of  a  higher  degree  of  education  than  was 
common  at  that  day." 

Printed  sources  and  the  testimony  of  communicants  of  texts  in- 
dicate traditional  preservation  of  the  song,  and  one  of  the  texts, 
under  the  title  'Susie  Silvers,'  seems  to  refer  to  a  musical  recording, 
but  there  is  no  transcription  of  the  music  in  the  Brown  Collection. 
Mellinger  E.  Henry  (SSSA  48-50)  prints  a  version  with  a  foot- 
note from  his  informant  stating:  "The  above  occurred  about  1908. 
It  is  a  true  story.  Mrs.  Silvers  lived  at  Morganton.  .  .  .  She 
composed  the  above  while  in  prison  and  sang  it  just  before  she 
was  hanged  at  Morganton."  Randolph  OFS  11  124  prints  four 
stanzas;  Davis  FSV  276  lists  one  text  of  fourteen  stanzas  from 
Virginia. 

Phillips  Barry,  BFSSNE  x  24,  has  suggested  that  the  killing  of 
Charles  Silver  by  his  wife  Frankie  is  the  basis  of  'Franky  and 
Albert.' 

''To  those  cited  below,  add  H.  J.  Miller's  "The  Sad  1832  Story  of 
Frankie  Silvers,"  in  Tri-County  News,  Spruce  Pine,  N.  C,  December 
23,  1948,  which  appeared  after  this  headnote  was  written.  It  does  not 
add  new  facts- 


NORTH     CAROLINA     BALLADS  701 

A 

'Francis  Silvers.'  Contributed  by  M.  I.  Pickens,  a  student  in  Trinity 
College,  September  22,  1922,  with  this  note:  "The  first  woman  to  be 
executed  in  North  Carolina  was  Frances  Silvers.  She  was  executed  in 
Morganton,  July  12,  1833,  for  the  murder  of  her  husband,  whose  body 
she  burned  after  killing  him  with  an  ax.  The  following  verses  were 
handed  down  as  having  been  delivered  from  the  scaffold  just  before  her 
execution."  Dr.  Brown  noted :  "For  a  good  account  of  this  murder  see 
Mrs.  Sheppard's  Cabins  in  the  Laurel." 

Comparison  of  this  text  with  the  others  referred  to  above  suggests 
that  oral  tradition  had  a  share  in  the  preservation  of  the  piece.  Though 
close  to  Ervin's  and  Henry's  in  the  number,  order,  and  content  of  stanzas, 
it  differs  from  them  in  a  dozen  or  more  particulars  of  wording  and 
phrasal  order ;  with  Henry's  it  shares  the  mistake  in  the  name  of  the 
judge  (correctly  "Donnell"  in  Ervin's).  From  these  three  texts  the 
others  differ  in  important  respects.  Mrs.  Sheppard's  lacks  the  first  two 
stanzas  common  to  the  other  three  and  shows  striking  differences  in  the 
ordering  of  the  stanzas.  The  Turpin  text  has  eight  stanzas.  The  first 
six  correspond  with  verbal  differences  to  the  first  six  of  Pickens,  Ervin, 
and  Henry.    The  last  two,  however,  are  additions : 

In  that  last  calm  sleep  I  see  him  now, 
The  beautiful  peace  on  his  handsome  brow ; 
Our  winsome  babe  on  his  heaving  breast 
The  crimson  blade  and  the  dreamless  rest. 

Now,  that  I  can  no  longer  live 
Oh,  pitying  Lord,  my  crime  forgive. 
When  I  hear  the  call  of  judgment  roll 
May  I  appear  with  a  bloodwashed  soul ! 

Scarcely  more  than  the  others,  this  version  suggests  that  it  was  the 
misfortune  of  the  Frankie  Silver  "song"  not  to  have  enjoyed  more  of 
the  rough  but  chastening  nurture  of  oral  transmission. 

1  This  dreadful,  dark  and  dismal  day 
Has  swept  all  my  glories  away. 

My  sun  goes  down,  my  days  are  past. 
And  I  must  leave  this  world  at  last. 

2  Oh,  Lord,  what  will  become  of  me? 
I  am  condemned,  you  all  now  see. 
To  heaven  or  hell  my  soul  must  fly, 
All  in  a  moment  when  I  die. 

3  Judge  Daniels  has  my  sentence  passed, 
These  prison  walls  I  leave  at  last. 
Nothing  to  cheer  my  drooping  head 
Until  I  am  numbered  with  the  dead. 

4  But  oh !  that  Dreadful  Judge  I  fear. 
Shall  I  that  awful  sentence  hear? 
'Depart  you  cursed  down  to  hell 
And  forever  there  to  dwell.' 


702  NORTH     CAROLINA     FOLKLORE 

5  I  know  that  frightful  ghosts  I'll  see 
Gnawing  their  flesh  in  misery, 
And  then  and  there  attended  be 
For  murder  in  the  first  degree. 

6  There  shall  I  meet  the  mournful  face 
Whose  blood  I  spilled  upon  this  place. 
With  flaming  eyes  to  me  he'll  say, 
*Why  did  you  take  my  life  away?' 

7  His  feeble  hands  fell  gentle  down, 

His  chattering  tongue  soon  lost  its  sound. 
To  see  his  soul  and  body  part 
It  strikes  terror  to  my  heart. 

8  I  took  his  blooming  days  away. 
Left  him  no  time  to  God  to  pray,  • 
And  if  sins  fall  upon  his  head 
Must  I  bear  them  in  his  stead  ? 

9  The  jealous  thought  that  first  gave  strife 
To  make  me  take  my  husband's  life. 
For  months  and  days  I  spent  my  time 
Thinking  how  to  commit  this  crime. 

10  And  on  a  dark  and  doleful  night 
I  put  this  body  out  of  sight ; 
With  flames  I  tried  to  consume 
But  time  would  not  admit  it  done. 

11  You  all  see  me  and  on  me  gaze. 

Be  careful  how  you  spend  your  days. 
And  never  commit  this  awful  crime. 
But  try  to  serve  your  God  in  time. 

12  My  mind  on  solemn  subjects  roll. 
My  little  child,  God  bless  its  soul. 
All  you  that  are  of  Adam's  race. 
Let  not  my  faults  this  child  disgrace. 

13  Farewell,  good  people.    You  all  now  see 
What  my  bad  conduct's  brought  on  me. 
To  die  of  shame  and  of  disgrace 
Before  this  world  of  human  race. 

14  Awful  indeed  to  think  on  death, 

In  perfect  health  to  lose  my  breath. 
Farewell,  my  friend,  I  bid  adieu. 
Vengeance  on  me  must  now  pursue. 


NORTH  CAROLINA  BALLADS  7O3 

15     Great  God,  how  shall  I  be  forgiven? 
Not  fit  for  earth,  not  fit  for  heaven ; 
But  little  time  to  pray  to  God, 
For  now  1  try  that  awful  road. 


'Francis  Silver's  Confession.'  From  the  Lenoir  Topic,  March  24.  1886; 
clipped  from  "Morganton  Paper"  and  reprinted  with  the  following  head- 
note  :  "We  publish,  by  request,  the  following  confession  of  Frances  Sil- 
vers, who  was  hanged  in  this  place  on  the  12th  of  July,  1833.  for  the 
murder  of  her  husband.  Some  of  our  readers  will  remember  the  facts 
in  the  case."  Note  by  N.  I.  White:  "As  in  Pickens'  version,  with  re- 
markably slight  verbal  variations,  but  lacks  last  two  stanzas." 

C 

'Susie  Silvers.'  Contributor  anonymous ;  no  indication  of  date  or  ad- 
dress. Note  by  N.  I.  White :  "Same  as  Pickens'  version,  with  remarkably 
slight  variation,  but  lacks  last  three  stanzas." 

Tom  Dula  and  Laura  Foster 
Nos.  302-304 

Three  native  North  Carolina  ballads  arose  out  of  the  murder  of 
Laura  Foster  by  Thomas  C.  Dula,  in  Wilkes  county,  in  1866.  One 
of  these,  twenty-one  stanzas  in  length,  is  marked  by  the  monotonous 
movement  and  the  mannerisms  characteristic  of  pedestrian  murder 
ballads.  The  other  two  achieve  a  certain  poignancy  sometimes 
found  in  the  best  folk  songs. 

The  case  of  State  v.  Dula  was  tried  at  the  January  1867  term  of 
the  North  Carolina  Supreme  Court.  It  is  reported  in  North  Caro- 
lina Reports,  61 :  176-9. 

The  prisoner  [Thomas  Dula]  was  indicted  as  principal,  and  one  Ann 
Melton  as  accessory  before  the  fact,  in  the  murder  of  one  Laura  Foster, 
in  Wilkes  county  in  May,  1866.  The  bill  was  found  at  Fall  Term, 
1866,  of  Wilkes  Superior  Court,  and  upon  affidavit,  removed  to  Iredell. 
The  prisoner  and  Ann  Melton  were  arraigned  together,  but,  upon  motion 
of  the  counsel  [Zebulon  B.  Vance]  for  the  former,  there  was  a  severance, 
and  he  put  upon  his  trial  alone.  The  case,  as  made  out  by  his  Honor, 
contained  a  statement  of  all  the  evidence,  and  was  quite  voluminous. 
There  were  several  exceptions  by  the  prisoner  on  account  of  the  admis- 
sion qf  improper  testimony.  .  .  .  His  Honor  overruled  the  exceptions, 
and  the  testimony  was  admitted.  Verdict  of  guilty;  rule  for  a  new  trial ; 
rule  discharged;  motion  in  arrest  of  judgment;  motion  overruled;  judg- 
ment of  death  and  appeal. 

It  was  the  judgment  of  the  Supreme  Court  that  the  trial  judge 
"fell  into  error,"  and  a  venire  de  novo  was  awarded. 

From  the  verdict  of  this  trial,  held  in  Iredell  county  upon  the 
third  Monday  of  January  1868,  Dula  appealed  a  second  time  to  the 
Supreme  Court  {ibid.,  pp.  338-41). 

The  State  relied  upon  circumstantial  testimony,  and  upon  the  acts  and 
declarations  of  Ann  Melton  in  furtherance  of  an  alleged  agreement  be- 


704  NORTH     CAROLINA     FOLKLORE 

tween  her  and  the  prisoner  to  commit  the  homicide.  To  establish  the 
agreement  evidence  was  given  to  the  court  that  the  deceased  was  at  home, 
at  her  father's,  on  Thursday  night,  24  January,  but  on  the  next  morning 
was  gone,  as  was  also  a  mare  that  had  been  tied  in  the  yard.  Early 
on  Friday  she  was  seen  upon  the  mare,  about  a  mile  from  home,  going 
in  the  direction  of  "The  Bates  Place. "^  She  was  not  seen  alive  after  that, 
but  subsequently  her  body  was  found  rudely  buried  in  a  laurel  thicket 
near  the  place,  and  there  was  a  wound  upon  her  left  side  piercing  the 
cavity  of  the  body.^  There  was  evidence  that  the  prisoner  was  in  the 
habit  of  criminal  intercourse  with  both  the  deceased  and  Ann  Melton; 
that  some  short  while  before  he  had  contracted  a  disease  from  the  de- 
ceased and  had  communicated  it  to  Ann  Melton ,  that  he  had  threatened 
to  "put  through"  whoever  had  given  it  to  him;  that  he  had  been  with 
the  deceased  at  her  home  on  the  Sunday  and  Monday  before  she  dis- 
appeared, ancf  there  had  private  conversation  with  her ;  that  on  Thursday 
and  Friday  he  had  private  interviews  with  Ann  Melton  at  her  home,  and 
on  a  ridge  near  her  home;  that  he  had  sent  for  liquor  in  a  canteen  when 
at  her  house  on  Thursday,  which  was  brought  there  in  his  absence : 
whereupon,  Ann  Melton  had  sent  for  him  by  a  little  girl,  in  a  secret 
and  singular  manner,  to  c6me  and  get  it,  but*  her  messenger  did  not  find 
him ;  that  afterwards  he  had  come  to  her  mother's  house,  saying,  he  had 
met  her  upon  a  ridge  near  by,  and  that  she  had  told  him  where  to  get 
the  canteen  and  some  alum;  that  he  had  borrowed  a  mattock  during  the 
day  from  her  mother  and  was  seen  with  it  near  "the  Bates  Place" ;  that 
on  Friday  morning  he  was  seen  traveling  in  the  direction  of  "the  Bates 
Place,"  by  a  road  which  ran  parallel  with  that  by  which  Laura  Foster 
was  seen  going;  that  Ann  Melton,  after  leaving  her  mother's,  did  not 
return  to  her  own  house  until  Friday  morning,  when  her  shoes  and 
dress  were  wet,  and  she  retired  to  her  bed  remaining  there  most  of  the 
day;  after  she  had  gone  to  bed  the  prisoner  came  there,  leaned  over  her, 
and  had  a  whispered  conversation  with  her. 

The  hypothesis  of  the  State  was  that  the  grave  was  dug  on  Thursday 
or  Thursday  night,  and  the  deceased  killed  on  Friday  or  Friday  night ; 
and  that  the  motive  was  the  communication  of  the  disease. 

After  disposing  of  some  technical  points  with  reference  to  the 
testimony  of  Ann  Melton,  the  report  concludes:  "Verdict,  'Guilty.' 
Rule  for  new  trial  discharged.  Judgment  and  appeal.  .  .  .  There  is 
no  error." 

^  "The  Bates  Place" :  A  New  York  Herald  telegraphic  dispatch,  dated 
Statesville,  May  i,  1868,  described  the  place  thus:  "The  community  in 
the  vicinity  of  this  tragedy  is  divided  into  two  entirely  separate  and 
distinct  classes.  The  one  occupying  the  fertile  lands  adjacent  to  the 
Yadkin  River  and  its  tributaries,  is  educated  and  intelligent,  and  the 
other,  living  on  the  spurs  and  ridges  of  the  mountains,  is  ignorant,  poor 
and  depraved.  A  state  of  immorality  unexampled  in  the  history  of  any 
country  exists  among  these  people,  and  such  a  general  system  of  free- 
loveism  prevails,  that  it  is  'a  wise  child  that  knows  its  father.'  This 
is  the  Bates  Place,  where  the  body  was  discovered  by  blood  marks,  and 
where  some  ten  or  twelve  families  are  living  in  the  manner  described." 

*  The  New  York  Herald  correspondent  mistakenly  dates  the  murder 
May  28,  1866,  but  correctly  locates  it  on  "the  Bates  Place."  He  then 
goes  on  to  say :  "The  body  was  then  removed  about  half  a  mile  from 
the  scene  of  the  murder,  and  was  placed  in  a  grave  already  prepared 
for  it.  Late  in  August  of  the  same  year  the  body  was  found  in  a  state 
of  such  decomposition  that  it  was  difficult  to  identify  it.— There  was  a 
deep  gash  in  the  left  breast  just  above  the  heart.  ...  It  was  believed 
that  the  murdered  woman  was  enceinte." 


NORTH     CAROLINA     BALLADS  705 

The  Salisbury  IVatchman  and  Old  North  State,  for  May  8,  1868. 
reprinted  the  following  story  of  the  execution  of  Tom  Dula  from 
the  Statesville  American. 

Thomas  C.  Dula  suffered  the  extreme  penalty  of  the  law  by  hanging, 
near  this  place,  at  17  minutes  past  2  o'clock  P.M.,  on  May  ist,  haying 
been  a  second  time  convicted  of  the  murder  of  Laura  Foster,  of  Wilkes 
county,  more  than  a  year  ago.  Under  the  gallows,  he  made  a  long 
address  to  several  thousand  persons  who  were  present  to  witness  his 
execution,  in  a  general  way,  and  avowed  his  preparation  to  appear  in 
another  world.  On  the  night  previous  to  the  execution,  he  made  con- 
fession of  his  guilt,  which  we  copy  from  his  own  hand : 

"Statement  of  Thomas  C.  Dula :  I  declare  that  I  am  the 
only  person  that  had  a  hand  in  the  murder  of  Laura  Foster. 
April  30th,  1868." 

The  Statesville  American,  having  expressed  its  satisfaction  over 
Dula's  confession,  continues: 

Ann  Melton,  charged  as  an  accomplice  to  this  murder,  is  still  in 
prison  at  Wilkesboro,  and  will  have  her  trial  at  the  next  term  of  Wilkes 
Superior  Court,  to  which  her  trial  was  again  remanded.  This  tragedy 
has  been  involved  in  great  mystery,  and  there  is  a  popular  and  strong 
belief  that,  notwithstanding  Dula's  confession,  he  did  have  one  or  two 
accomplices.  The  N.  Y.  Herald  had  a  Reporter  present  who  will, 
doubtless,  supply  the  public  with  a  description  of  all  that  transpired  on 
the  occasion  in  the  columns  of  that  journal. 

As  predicted,  the  May  2,  1868,  issue  of  the  Herald  contained  a 
three-column  account  of  the  execution  (reprinted  in  the  Salisbury 
IVatchman  and  Old  North  State  for  May  15). 

Thomas  Dula,  the  condemned  man,  is  about  twenty-five  years  old,  five 
feet  eleven  inches  high,  dark  eyes,  dark  curly  hair,  and  though  not 
handsome,  might  be  called  good-looking.  He  fought  gallantly  in  the 
Confederate  service,  where  he  established  a  reputation  for  bravery,  but 
since  the  war  closed,  has  become  reckless,  demoralized  and  a  desperado, 
of  whom  the  people  in  his  community  had  a  terror.  There  is  everything 
in  his  expression  to  indicate  the  hardened  assassin — a  fierce  glare  of  the 
eyes,  a  great  deal  of  malignity,  and  a  callousness  that  is  revolting. 

This  story  confirms  the  account  of  Dula's  written  confession, 
describes  his  last  hours,  and  indicates  the  tenor  of  his  last  speech 
to  the  crowd.  It  does  not,  however,  say  anything  about  Dula  as  a 
singer  and  banjo  player,  or  make  mention  of  a  ballad  or  song 
relating  to  his  fate. 

From  the  Statesville  American,  through  a  reprint  by  the  Watch- 
man and  Old  North  State  of  November  6,  1868,  we  learn  of  Ann 
Melton's  fate. 

The  trial  of  Ann  Melton,  charged  as  an  accomplice  to  the  murder  of 
Laura  Foster,  took  place  at  Wilkesboro,  at  the  late  term  of  the  Superior 
Court,  and  she  was  acquitted.  The  unfortunate  woman  has  suffered 
about  two  years  imprisonment,  and,  if  guilty,  she  has  been  severely  pun- 
ished, and  the  gallows  would  have  added  little  to  her  punishment.  Thus 
ends  this  awful  tragedy. 

Still  current  local  traditions  about  the  murder  of  Laura  Foster 
are  exemplified  by  the  following  letter  written  April  24,  1948,  by 


706  NORTH  CAROLINA  FOLKLORE 

Mrs.  Orene  West  Burrell,  of  Lenoir,  N.  C,  to  her  brother,  John 
Foster  West,  a  student  at  the  University  of  North  Carolina,  and 
here  quoted  by  permission: 

I'll  tell  you  all  Verlee  and  I  can  remember  about  Tom  Dula.  .  .  . 
Laura  Foster  was  a  cousin  of  Grandpa  Harve  Foster.  She  and  Dula 
were  engaged.  Tom  got  to  running  around  after  this  other  woman,  we 
can't  remember  her  name.  She  and  Tom  planned  to  lure  Laura  off  and 
kill  her.  Laura  and  Tom  were  horseback  riding  in  the  woods  somewhere 
near  Happy  Valley,  and  the  other  woman  stepped  out  and  stabbed  her 
in  the  side.  They  stuffed  handkerchiefs  in  her  side  to  stop  the  blood. 
People  hunted  for  her  for  some  time,  and  one  day  a  man  found  her 
because  the  horse  he  was  riding  smelled  her  and  was  snorting,  etc. 
She  was  in  a  shallow  grave,  her  head  between  her  knees.  The  other 
woman,  on  trial,  packed  it  on  Tom  and  he  never  did  tell  she  did  it. 
She  would  say  on  trial,  "A  rope  will  never  go  around  this  pearly  white 
neck."  Tom  was  hanged,  and  later,  on  her  death-bed,  she  confessed. 
The  legend  or  story  goes,  and  Lve  heard  Grandma  tell  it  a  hundred 
times,  that  you  could  hear  meat  frying  and  see  black  cats  running  up 
and  down  the  walls  of  the  room  she  was  in  when  she  was  dying. 

Of  the  three  distinct  ballads  about  Tom  Dula  and  Laura  Foster 
in  the  Frank  C.  Brown  Collection,  two  have  several  variant  texts 
for  each,  one  has  only  a  single  text.  Texts  of  all  three  were  con- 
tributed by  Mrs.  Sutton,  w^ith  two  long  notes  written  at  different 
times.  Texts  of  two  of  the  other  distinct  ballads  came  from  other 
informants. 

Mrs.  Sutton's  notes  on  the  songs,  both  designed  for  newspaper 
publication,  amount  to  essays  and  are  too  long  to  be  included  here 
in  full.  The  first  must  be  summarized  briefly;  the  second  will  be 
given  in  substantially  complete  form. 

Quoting  the  opening  stanza  of  'Hang  down  your  head,  Tom  Dula,' 
Mrs.  Sutton  identifies  it  as  "a  typical  outlaw  ballad"  and  continues 
with  a  little  essay  on  the  subject  of  outlaw  ballads.  Her  account 
of  the  murder  of  Laura  Foster  and  of  the  trial  of  Tom  Dula, 
though  inaccurate  in  certain  details  as  compared  with  the  court 
report  previously  quoted,  has  some  additional  features.  Laura  Fos- 
ter "is  said  to  have  been  very  beautiful — with  chestnut  curls  and 
merry  blue  eyes  ...  as  most  ballad  heroines  have  been,  'wild  as  a 
buck.  "  Vance,  who  defended  Dula,  "thought  he  was  shielding  a 
woman,  who  really  committed  the  murder,  but  Dula  never  talked." 
He  was  "assisted  in  the  defense  by  Judge  Armfield  and  R.  P. 
Allison.  They  are  said  to  have  packed  the  jury  with  Confederate 
veterans  and  to  have  kept  Dula's  war  record,  a  sensational  one, 
constantly  before  the  jury."  "Ann  Melton  ...  a  very  old  man 
who  still  lives  in  Wilkesboro  and  who  attended  the  trial,  assured 
me,  a  few  weeks  ago,  was  'the  purtiest  womern  I  ever  looked  in 
the  face  of.  She'd  a-been  hung  too,  but  her  neck  was  jist  too  purty 
to  stretch  hemp.  She  was  guilty.  I  knowed  hit.  Ever'body 
knowed  hit,  and  Tom  Dula  could  a-proved  hit,  but  he  loved  her,  I 
reckin.  Anyhow  he  shore  died  fur  her.'  On  the  separate  trial  of 
Ann,  the  same  old  man  is  reported  to  have  commented:  'Ef  they'd 
a-been  ary  womern  on  the  jury,  she'd  a  got  first  degree.  Men 
couldn't  look  at  that  womern  and  keep  their  heads.'  "    "The  story," 


NORTH  CAROLINA  BALLADS  707 

concludes  Mrs.  Sutton,  "is  just  the  kind  to  be  written  in  a  ballad  and 
sung  for  generations.  It  has  all  the  ballad  essentials :  a  mystery 
death,  an  eternal  triangle,  and  a  lover  with  courage  enough  to  die 
for  his  lady  .  .  .  and  in  bad  verse  with  a  wild  minor  tune,  it  is 
sung  in  cabins  today." 


302 
The  Murder  of  Laura  Foster 

One  of  the  three  ballads  which  Mrs.  Sutton  describes  and  quotes 
was,  she  says,  "written  by  a  man  named  Land,  who  lived  near  the 
Fosters."  This  concerns  itself  only  with  the  murder;  it  does  not 
identify  the  murderer.  There  afe  four  variant  copies  of  it  in  our 
collection. 

The  following  information  about  Thomas  Land  was  procured 
for  the  present  editors  in  the  spring  of  1947  by  Miss  Edith  Walker, 
formerly  of  Boone,  from  Mrs.  Laura  Timmons,  of  Boone,  "who 
was  reared  near  Hudson  and  in  Hudson  [Caldwell  county].  She 
once  taught  school  and  is  a  lover  of  the  ballads." 

I  remember  [writes  Mrs.  Timmons]  that  Dr.  Wright  [of  Appalachian 
State  Teachers  College]  was  from  Wilkes  and  that  his  father  married  a 
Land.  My  dad  and  oldest  sister  knew  the  Lands  well,  as  they  lived  on 
Stony  Fork  in  Wilkes  Co.  So  I  called  Dr.  Wright  about  an  hour  ago. 
He  has  a  book  of  verses  written  by  his  uncle  Thomas  Land,  evidently 
the  one  you  are  interested  in.  We  didn't  find  the  Laura  Foster  ballad 
in  this  book,  but  may  later. 

This  Thomas  Land  came  to  Wilkes  Co.  from  Tennessee.  Was  a 
captain  in  the  Confederate  Army,  was  wounded  at  Gettysburg — fit  under 
Jackson.  Served  on  the  Board  of  Education  in  Wilkes  Co.  Think  I've 
heard  my  father  (a  minister)  speak  often  of  him.  When  I  was  a  child 
I  went  with  my  father  to  his  brother's  home.  His  name  was  Col.  Dave 
Land.    I  don't  remember  but  I've  probably  been  to  Tom's  home,  too.  .  .  . 

In  a  letter  of  later  date  (spring  of  1947),  Mrs.  Timmons  added: 

Mr.  R.  F.  Greene  [of  Boone  or  the  vicinity]  .  .  .  knows  all  about 
[the  Foster  murder]  and  says  some  of  the  older  people  in  that  settle- 
ment are  still  living. 

A  Nelson  [Melton— Ann  Melton?]  woman  helped  with  the  murder. 
Some  say  she  said  the  body  was  too  heavy  to  carry,  so  they  cut  her  in 
two ;  each  carried  half  in  a  sack  and  buried  her.  The  Nelson  woman  was 
sent  to  prison,  and  went  blind  when  she  was  old.  Tom  Duly  was  hanged 
in  Wilkesboro. 

I  think  I've  been  close  to  the  scene  of  the  crime.  Lawsee,  we  talked 
so  much  about  it  and  the  folks  in  that  section  whom  Mr.  Greene  and  I 
both  know.  Seems  as  though  I  may  dream  that  very  murder  tonight  ! 
I'm  nearly  scairt. 

They  say  Tom  Dula  (I'm  sure  he  was  some  kin  to  me)  wiped  his 
mouth  with  a  handkerchief,  then  turning  said,  "Now,  Laura,  I'll  wipe 
your  mouth,"  and  as  he  said  so  he  stuffed  it  into  her  mouth  and  stabbed 
her  with  the  knife.  Doesn't  that  sound  like  the  ancient  tales?  The  sack 
reminds  of  Rigoletto's  daughter  (don't  know  how  to  spell  it). 


708  NORTH  CAROLINA  FOLKLORE 


No  title,  but  other  copies  are  entitled  'The  Murder  of  Laura  Foster.' 
From  Mrs.  Sutton,  who  in  a  note  on  'The  Two  Sisters'  wrote :  "Last 
week  an  old  man,  seventy-seven,  came  to  my  office  and  told  me  he  had 
read  my  story  about  Tom  Dula's  songs.  'I  went  to  Statesville  to  see 
him  hung,'  he  said,  'and  I  can  get  all  of  Mr.  Land's  song  for  you.  I'll 
get  my  grand-daughter  to  write  you  out  the  ballit  as  soon  as  she  comes 
to  see  me.' " 

Whether  the  following  text  is  the  result  of  the  old  man's  prom- 
ise, or  whether  it  is  from  some  other  source,  Mrs.  Sutton  does  not 
explain.  Accompanying  this  copy,  however,  was  a  long  note  (the 
first  of  two  written  on  the  Dula  songs),  from  which  the  following 
has  been  extracted: 

"I  can  remember  one  of  the  horror  tales  of  my  childhood  was  how 
the  devil  came  after  Ann  Melton  when  she  died.  An  old  lady  told  me 
that  she  saw  her,  and  that  blue  flames  crackled  round  her  bed  and  that 
she  screamed  in  agony  to  her  friends,  'Take  him  away,  the  big  black 
man  in  the  corner,  the  one  with  the  pitchfork !' 

"If  tradition  is  to  be  believed,  the  devil  was  entitled  to  all  the  actors 
in  this  grim  'eternal  triangle,'  Laura  Foster  and  Ann  Melton  were  both 
in  love  with  Tom  Dula.  He  is  represented  as  having  been  a  handsome, 
fascinating  ne'er-do-well  whose  relations  with  women  were  bad.  He 
promised  to  marry  Laura  at  'sun-up'  one  morning.  She  slipped  away 
from  her  home  to  meet  him  but  was  murdered.  Six  weeks  later  her 
mutilated  body  was  found  by  Col.  Jim  Horton.  She  was  in  a  shallow 
grave  so  small  that  her  limbs  had  been  broken  to  crowd  her  body  in. 
My  grandfather  says  she  was  very  beautiful  but  most  vicious. 

"Tradition  has  built  up  around  her  the  sort  of  legend  that  always 
grows  up  around  a  beautiful  erring  woman.  In  each  of  the  three  songs 
she  is  represented  as  being  the  victim  of  jealous  rage.  Ann  Melton 
admitted  once  that  she  had  stabbed  Laura,  and  gave  as  her  excuse  that 
Laura  had  given  to  Tom  Dula  an  evil  disease  which  he,  in  turn,  gave 
to  Ann. 

"Whatever  the  facts  are,  this  is  the  most  popular  folk  song  in  the 
Brushies.  It  is  sung  to  banjo  accompaniments,  to  fiddle  'obbligatos'  and 
in  the  usual  'song-ballet'  style. ^  The  glen  where  the  body  was  found 
and  a  ghostly  ball  of  blue  white  fire  rises  from  there  on  spring  nights 
[sic].    The  ghost  of  Laura  hunting  for  her  false  lover. 

"In  its  stark  horror  the  story  might  be  a  Greek  tragedy.  Ann's 
revenge  upon  Laura  is  Medean  in  its  concept  and  execution.  Tom  Dula 
never  implicated  Ann.  He  went  to  his  execution  as  he  had  lived,  wicked, 
picturesque,  daring  and  cloaking  his  deeds  in  an  impenetrable  veil  of 
silence.  One  old  lady  told  me,  'He  never  told  on  Ann  'cause  he  knowed 
that  Ann  killed  Laura  jes'  'cayse  he  told  her  a  lie  on  Laura.'  " 

I     A  tragedy  I  now  relate. 

'Tis  of  poor  Laura  Foster's  fate — 
How  by  a  fickle  lover  she 
Was  hurried  to  eternity. 

*  Mrs.  Sutton's  remark  about  the  popularity  of  the  "song"  and  its 
musical  accompaniments  would  seem  to  refer,  not  to  the  Thomas  Land 
ballad,  which  she  was  preparing  to  quote,  but  rather  to  the  other  two 
songs,  which  she  knew  about  at  the  time  but  had  not  traced  out. 


NORTH  CAROLINA  BALLADS  709 

2  On  Thursday  morn  at  early  dawn, 
To  meet  her  doom  she  hurried  on, 
When  soon  she  thought  a  bride  to  be, 
Which  filled  her  heart  with  ecstasy. 

3  Her  youthful  heart  no  sorrow  knew ; 
She  fancied  all  mankind  was  true, 
And  thus  she  gaily  passed  along 
Humming  at  times  a  favorite  song. 

4  As  eve  declined  toward  the  West, 
She  met  her  groom  and  his  vile  guest. 
In  forest  wild  the  three  retreat ; 

She  looked  for  person  there  to  meet. 

5  Soon  night  came  on,  with  darkness  drear. 
But  while  poor  Laura  felt  no  fear, 

She  tho't  her  lover  kind  and  true, 
Believed  that  he'd  protect  her  too. 

6  Confidingly  upon  his  breast 

She  leaned  her  head  to  take  some  rest. 
But  soon  poor  Laura  felt  a  smart, 
A  deadly  dagger  pierced  her  heart. 

7  No  shrieks  were  heard  by  neighbors  'round. 
Who  were  in  bed  and  sleeping  sound. 
None  heard  those  shrieks  so  loud  and  shrill 
Save  those  who  did  poor  Laura  kill. 

8  This  murder  done,  they  her  conceal 
And  vowed  they'd  never  it  reveal. 
To  dig  the  grave  they  now  proceed. 
But  in  the  dark  they  made  no  speed. 

9  The  dawn  appeared,  the  grave  not  done. 
Back  to  their  hiding  place  they  run. 
And  they  with  silence  wait  the  night. 
To  put  poor  Laura  out  of  sight. 

10  The  grave  was  short  and  narrow  too, 
But  in  it  they  poor  Laura  threw. 
They  covered  her  with  leaves  and  clay, 
Then  hastened  home  ere  break  of  day. 

1 1  Since  Laura  left  at  break  of  day, 

Two  nights  and  days  have  passed  away. 
The  parents  now  in  sorrow  wild 
Set  out  to  search  for  their  lost  child. 


710  NORTH     CAROLINA     FOLKLORE 

12  In  copse  and  glens,  in  woods  and  plains 
They  search  for  her  but  search  in  vain ; 
With  aching  heart  and  plaintive  mourns 
They  call  for  her  in  mournful  tones. 

13  With  sad  forebodings  of  her  fate 
To  friends  her  absence  they  relate. 
With  many  friends  all  anxious  too 
Again  their  search  they  do  renew. 

14  They  search  for  her  in  swamps  and  bogs, 
In  creeks  and  caves  and  hollow  logs, 

In  copse  and  glens  and  brambles  too, 
But  still  no  trace  of  her  they  view. 

15  At  length  upon  a  ridge  they  found 
Some  blood  all  mingled  with  the  ground. 
The  sight  to  all  seems  very  clear 

That  Laura  had  been  murdered  there. 

16  Long  for  her  grave  they  search  in  vain. 
At  length  they  meet  to  search  again. 
Where  stately  pines  and  ivys  wave 

'Twas  there  they  found  poor  Laura's  grave. 

17  This  grave  was  found,  as  we  have  seen, 
'Mid  stately  pines  and  ivys  green. 

The  coroner  and  jury  too 
Assembled,  this  sad  sight  to  view. 

18  They  took  away  the  leaves  and  clay 
Which  on  her  lifeless  body  lay, 
Then  from  the  grave  the  body  take 
And  close  examination  make. 

19  Then  soon  their  bloody  wounds  they  spied, 
'Twas  where  a  dagger  pierced  her  side. 
The  inquest  held,  this  lifeless  maid 

Was  there  into  her  coffin  laid. 

20  The  jury  made  the  verdict  plain  : 
'Twas  that  poor  Laura  had  been  slain ; 
Some  ruthless  friend  had  struck  the  blow 
That  laid  poor  Laura  Foster  low. 

21  Then  in  the  church  yard  her  they  lay, 
No  more  to  rise  'til  Judgement  day; 
Then  robed  in  white  we  trust  she'll  rise 
To  meet  her  Savior  in  the  skies. 

— Thomas  Land 


NORTH  CAROLINA  BALLADS  7^1 


'The  Murder  of  Laura  Foster.'  With  music  as  sung  by  Mrs.  A.  I. 
Green;  without  date  or  address.  Twenty-one  stanzas,  with  only  slight 
verbal  variations  from  Mrs.  Sutton's  copy  of  the  Land  ballad. 


'The  Murder  of  Laura  Foster.'  From  Laura  Pennell  and  Ella  Harden, 
Ferguson,  Wilkes  county ;  undated.  Twenty-one  stanzas,  with  only 
slight  verbal  variations  from  Mrs.  Sutton's  copy  of  the  Land  ballad. 


'Tragedy  of  the  Death  of  Laura  Foster.'  Anonymous;  no  address,  no 
date.  Twenty-one  stanzas,  with  only  slight  verbal  variations  from  Mrs. 
Sutton's  copy.  Stanza  4,  line  3  (which  in  Mrs.  Sutton's  copy  reads, 
"She  met  her  groom  and  his  vile  guest"),  reads  "The  murderer  and  his 
vile  guest,"  and  to  it  is  attached  a  footnote :  " — a  female  accomplice — 
were  both  arrested,  and  after  remaining  in  prison  for  a  great  while,  the 
murderer  was  convicted  and  hung,  and  his  female  accomplice  set  at 
liberty." 


303 
Tom  Dula 

Of  the  second  of  the  ballads  about  Tom  Dula  and  Laura  Foster, 
there  are  three  variants  with  considerable  dififerences  among  them. 

Henry,  in  FSSH  325-6,  published  two  versions  of  'Tom  Dooley.' 
The  first  of  these  has  two  stanzas  corresponding  to  our  texts  and 
two  stanzas  corresponding  to  two  stanzas  in  our  song  entitled  'Tom 
Dula's  Lament'  (see  below)  ;  its  other  five  stanzas  are  additions. 
Henry's  second  version  has  one  stanza  corresponding  to  the  first 
stanza  of  our  'Tom  Dula'  and  three  other  stanzas  (two  in  common 
with  the  first  version).  Davis  FSV  265  lists  'Tom  Dooley'  and 
prints  the  first  line. 


Quoting  the  first  stanza  of  the  following  text  and  identifying  it  as  an 
"outlaw  ballad,"  Mrs.  Sutton  in  the  second  of  two  long  notes,  wrote: 
"It  was  very  popular  in  the  hills  of  Wilkes,  Alexander,  and  Caldwell 
counties  in  1867.  Many  mountain  ballad  singers  still  sing  it."  After 
briefly  noting  the  fact  on  which  the  ballad  was  based,  she  continued : 
"Last  week  I  went  out  in  Yadkin  Valley  section  of  Caldwell  to  see  if 
I  could  get  all  the  words  to  the  song.  .  .  .  The  ballad  of  Laura  Foster 
and  Tom  Dula  I  collected  from  'Red-Headed  Calvie  Triplett,'  who  lived 
in  Lenoir  a  few  years  ago.  I  collected  another  version  from  Mrs.  R.  T. 
Lenoir,  who  got  it  from  a  servant  on  her  plantation,  Fort  Defiance,  in 
Caldwell  county.  Other  versions  thr*  I  have  came  from  Wilkes  and 
Watauga.  One  of  them,  the  opening  verse  of  which  appears  in  this 
article,  was  written  by  a  man  named  Land  who  lived  near  the  Fosters; 
another  was  composed  and  sung  in  prison  and  on  the  gallows  by  Dula. 
It  has  more  merit  than  either  of  the  others." 

Mrs.  Sutton's  statement,  "One  of  them,  the  opening  verse  of  which 
appears  in  this  article,  was  written  by  .  .  .  Land,"  is  clearly  a  slip,  for 
"the  opening  verse"  which  she  quotes  is  identical  with  the  first  stanza 
of  the  following  text  and  does  not  correspond  with  any  stanza  in  the 


712  NORTH     CAROLINA     FOLKLORE 

Land  ballad.  It  would  seem  probable,  then,  that  the  text  is  from  "Red- 
Headed  Calvie  Triplett."  Mrs.  Sutton  describes  'Tom  Dula'  as  "a 
banjo  tune"  and  says  that  it  "was  composed  by  an  old  Negro  named 
Charlie  Davenport,  and  sung  to  the  tune  of  'Run,  Nigger,  Run,  the 
Patter  Roller's  After  You.'  "  Of  the  full  text  which  she  supplies,  Mrs. 
Sutton  wrote :  "This  is  the  most  familiar  version  of  the  Tom  Dula 
ballad." 

1  Hang  down  your  head,  Tom  Dula, 
Hang  down  your  head  and  cry ; 
You  killed  poor  Laura  Foster 
And  now  you're  bound  to  die. 

2  You  met  her  on  the  hill-top, 
And  God  Almighty  knows, 
You  met  her  on  the  hill-top 
And  there  you  hid  your  clothes. 

3  You  met  her  on  the  hill-top, 
You  said  she'd  be  your  wife. 
You  met  her  on  the  hill-top 
And  there  you  took  her  life. 


'Tom  Dooley.'  With  music.  From  Thomas  Smith,  Zionville,  Watauga 
county.  Note  by  Dr.  Brown :  "Sung  by  Mrs.  R.  A.  Robinson,  Silver- 
stone,  N.  C,  6/22/21."  Mr.  Smith  says  that  the  "verses  are  from  a 
song  which  has  been  sung  and  played  for  many  years  (probably  for 
over  forty)  in  Watauga.  .  .  .  There  is  hardly  a  fiddler  or  banjo  picker 
in  our  county  who  cannot  play  'Tom  Dooley.'  " 

1  Oh  hang  your  head,  Tom  Dooley, 
Oh  hang  your  head  [and?]  cry. 
You  killed  poor  Laura  Foster 
And  now  you  are  bound  to  die. 

2  You  met  her  on  the  hillside 
And  there  you  may  suppose 
You  met  her  on  the  hillside 
And  there  you  hid  her  clothes. 

3  You  met  her  on  the  hillside 
Supposed  to  be  your  wife, 
You  met  her  on  the  hillside 
And  there  you  took  her  life. 

c 

'Tom  Dooly.'  From  Mrs.  Gertrude  Allen  Vaught,  Oakboro,  Stanly 
county,  without  date. 

I     Hang  your  head,  Tom  Dooly, 
Hang  your  head  and  cry. 
You  have  killed  poor  Laura  Foster 
And  you  know  you  are  bound  to  die. 


NORTH  CAROLINA  BALLADS  713 

2     He  dug  the  grave  six  feet  long, 
And  only  three  feet  deep. 
He  racked  the  dirt  upon  her, 
And  packed  it  with  his  feet. 

304 
Tom  Dula's  Lament 

A 
From  Mrs.  Maude  Minish  Sutton,  Lenoir.  This  is  the  third  of  the 
trilogy  of  ballads  already  discussed.  Calling  it  "Dula's  own  song," 
she  accounts  for  its  origin  and  discusses  it  as  follows :  "Dula  was  again 
convicted  and  sentenced  to  die  on  May  i,  1868.  His  friends  brought 
his  banjo  to  him  in  States ville  and  he  composed  and  sang  the  ballad 
about  his  banjo  and  the  murder.  It  is  in  the  same  spirit  as  that  in 
which  MacPherson,  Burns's  hero,  'Sae  wantonly,  sae  dauntonly'  sang  'be- 
neath the  gallows  tree.'  " 

Mrs.  Sutton's  attribution  of  the  song  to  Dula's  authorship  is  not  sup- 
ported by  the  long,  circumstantial  account  of  the  execution  written  by 
the  New  York  Herald  reporter  and  published  in  the  Herald  next  day. 

1  I  pick  my  banjo  now, 
I  pick  it  on  my  knee. 
This  time  tomorrow  night 
It'll  be  no  more  use  to  me. 

2  The  banjo's  been  my  friend 
In  days  both  dark  and  ill. 
A-layin'  here  in  jail 

It's  helped  me  time  to  kill. 

3  Poor  Laura  loved  its  tunes 
When  sitting  'neath  a  tree; 

I'd  play  and  sing  to  her. 
My  head  upon  her  knee. 

4  Poor  Laura  loved  me  well. 
She  was  both  fond  and  true ; 
How  deep  her  love  for  me 

I  never  really  knew. 

5  Her  black  curl  on  my  heart, 
I'll  meet  my  fatal  doom, 

As  swift  as  she  met  hers 
That  dreadful  evening's  gloom. 

6  I've  lived  my  life  of  sin, 
I've  had  a  bit  of  fun. 
Come,  Ann,  kiss  me  goodby, 
My  race  is  nearly  run. 


714  NORTH  CAROLINA  FOLKLORE 


No  title.  Obtained  by  Miss  Edith  Walker,  Boone,  from  Mrs.  Laura 
Timmons,  of  Boone,  who  got  it  from  Mr.  R.  F.  Greene,  of  Boone  or 
the  vicinity,  in  the  spring  of  1947.  (See  headnote  to  'The  Murder  of 
Laura  Foster.') 

One  more  night  and  one  more  day, 
And  where  do  you  reckon  I'll  be? 
Down  in  the  valley,  the  valley  so  low. 
Hanging  on  a  white-oak  tree. 

Ellen  Smith  and  Peter  De  Graff 
Nos.  305,  306 

In  the  Frank  C.  Brown  Collection  there  are  two  fairly  distinct 
ballads  about  Ellen  Smith  and  Peter  De  Graff. 

Peter  De  Graf¥  was  convicted  of  the  murder  of  Ellen  Smith  in 
the  August  1893  term  of  Forsyth  Superior  Court,  Judge  Winston 
presiding.  When  he  appealed  to  the  North  Carolina  Supreme 
Court,  on  several  technicalities,  the  verdict  of  the  lower  court  was 
affirmed.  The  opinion  of  Chief  Justice  Shepherd  (North  Carolina 
Reports,  113:688  ff.)  alludes  to  the  flight  of  the  prisoner  to  Roanoke 
and  New  Mexico  and  his  subsequent  return  to  North  Carolina, 
and  to  a  letter  found  in  the  bosom  of  the  dead  woman,  alleged  to 
be  in  the  handwriting  of  the  prisoner. 

Of  the  longer  and  more  circumstantial  ballad  written  about  the 
murder,  there  is  a  full  version  (with  music)  in  AMS  32-3.  See 
also  Combs,  FSMEU  219-22  (from  Kentucky);  Henry,  FSSH 
315  (a  fragment,  from  Avery  county,  North  Carolina)  ;  Gordon, 
"Old  Songs  That  Men  Have  Sung,"  Adventure,  November  10, 
1924,  p.  191;  and  Hudson,  FSM  193^4  (Mississippi).  Davis  FSV 
274  lists  six  texts  of  'Poor  Ellen  Smith,'  which  seems  to  be  the 
same  song  as  the  one  immediately  following. 

305 

A 

'Ellen  Smith  (Tune:  "How  Firm  a  Foundation").'  From  L  G.  Greer, 
Boone,  who  got  it  from  Miss  Lura  Wagoner,  Vox,  Alleghany  county, 
and  copied  it  in  a  manuscript  book  of  songs  loaned  to  Dr.  Brown  in 
August  1936.  MS  dated  October  30,  191 1,  and  initialed  by  F.  C.  B.. 
showing  that  Greer  sang  it. 

1  Come  all  you  kind  people  my  story  to  hear, 
What  happened  to  me  in  June  of  last  year. 
Of  poor  Ellen  Smith  and  how  she  was  found, 
Shot  through  the  heart  lying  cold  on  the  ground. 

2  'Tis  true  I'm  in  jail  a  prisoner  now, 
But  God  is  here  and  hears  every  vow. 
Before  Him  I  promise  the  truth  to  relate, 
And  tell  all  I  know  of  poor  Ellen's  sad  fate. 


NORTH  CAROLINA  BALLADS  71$ 

3  The  world  of  my  story  has  long  known  a  part, 
And  knows  I  was  Ellen's  own  loving  sweetheart ; 
And  while  I  would  never  have  made  her  my  wife, 
I  love[d]  her  too  dearly  to  take  her  sweet  life. 

4  I  saw  her  on  Monday  before  that  sad  day ; 
They  found  her  poor  body  and  buried  it  away. 
My  heart  was  quite  broken ;  I  bitterly  cried 
When  friends  gently  told  me  how  Ellen  had  died. 

5  That  she  had  been  killed  never  entered  my  mind 

Till  the  ball  through  her  heart  they  happened  to  find. 

Oh,  who  was  so  cruel,  so  heartless  and  base 

As  to  murder  sweet  Ellen  in  that  lonesome  place? 

6  I  saw  her  that  morning,  so  still  and  so  cold, 
And  heard  the  wild  story  the  witness  told. 

I  choked  back  tears  when  the  people  all  said 
That  Peter  Degraff  had  shot  Ellen  dead. 

7  Half  crazy  with  sorrow,  I  wandered  away. 
And  lonely  I  wandered  for  many  a  day. 

My  love  in  her  grave  and  her  hands  on  her  breast. 
While  bloodhounds  and  sheriffs  would  give  me  no  rest. 

8  They  said  I  was  guilty  and  ought  to  be  hung ; 
The  tale  of  my  crime  was  on  everybody's  tongue. 
They  got  their  Winchesters  and  hunted  me  down. 
But  I  was  far  away  in  Mt.  Airy  town. 

9  I  stayed  off  one  year  and  prayed  all  the  time 

That  the  man  might  come  back  that  committed  the  crime, 
So  I  could  come  back  and  my  character  reveal ; 
But  the  flowers  had  faded  on  poor  Ellen's  grave. 

10  I  came  back  to  Winston  my  trial  to  stand. 
To  live  or  to  die,  as  the  law  may  demand. 
McArthur  may  hang  me,  my  fate  I  don't  know ; 
But  I'm  clear  of  the  charge  that  is  laid  at  my  door. 

1 1  Ellen  sleeps  calmly  in  the  lonely  graveyard, 

While  I  look  through  the  bar,  and  God  knows  it's  hard. 
I  know  they  will  hang  me  at  last  if  they  can. 
But  God  knows  I  die  an  innocent  man. 

12  My  soul  will  be  free  when  I  stand  at  the  bar, 
Where  God  tries  his  cases,  and  there  like  a  star 
That  shines  through  the  night  shall  my  innocence  be. 
O  love,  I  appeal  to  the  justice  of  time. 


7l6  NORTH     CAROLINA     FOLKLORE 


'Peter  Degraff  (to  the  tune  of  "How  Firm  a  Foundation").'  Contributed 
by  A.  L.  Elliott;  without  date  or  address.  Like  A,  stanza  for  stanza, 
line  for  line,  but  with  a  few  verbal  differences:  "wondered"  (stanza  7) 
for  "wandered" ;  "Ere  the  flowers  had  faded"  (9)  for  "But  the  flowers 
had  faded";  "O  Lord,  I  appeal  to  the  justice  of  Thine"  (12)  for  "O 
love,  I  appeal  to  the  justice  of  time." 

C 
'Ellen  Smith.'  From  W.  Amos  Abrams,  Boone,  as  collected  from  Mary 
Bost,  Statesville ;  undated.  Eight  stanzas :  stanza  5  being  six  double 
lines ;  stanza  8,  two  lines ;  the  others,  four  double  lines.  Every  line, 
with  some  slight  verbal  variations,  occurs  in  A,  but  the  order  varies 
widely.  C  i  corresponds  to  A  i  ;  C  2,  to  A  4 ;  C  3,  to  A  8 ;  C  4  is  two 
lines  each  as  in  A  7  and  8;  C  5  is  last  two  lines  of  A  8  plus  A  9;  C  6  is 
A  10;  C  7  is  two  lines  each  of  A  3  and  12;  C  8  is  two  lines  of  A  12. 
(Collation  by  N.  L  W.) 

D 
'Ellen  Smith.'     From  the  John  Burch  Blaylock  Collection.     A  fragment 
(five  stanzas  and  one  line  of  a  sixth)   corresponding  to  A  i,  2,  parts  of 
4-5.  7,  9.  II   (one  line). 

306 
Poor  Little  Ellen  ;  or,  Ellen  Smith 

This  piece,  with  the  title  'Poor  Little  Ellen;  or,  Ellen  Smith,' 
has  the  same  general  background  as  the  preceding.  It  has  few 
lines  in  common  with  it,  however,  and  introduces  new  particulars. 
The  third  stanza  is  reminiscent  of  the  traditional  ballad  way  of 
saying  ncz^cr  (as  in  'Jamie  Douglas,'  Child,  No.  204 — "Whan  cockle 
shells  turn  silver  bells, /And  mussels  they  bud  on  a  tree").  The 
whole  seems  more  traditional  than  the  preceding  ballad,  but  it  has 
not  gone  so  far  in  that  direction  as  the  Ellen  Smith  ballad  printed 
by  Combs  in  FSMEU  219-22. 

'Poor  Little  Ellen ;  or,  Ellen  Smith.'  Collected  by  Miss  Isabel  Rawn, 
of  Hampton,  now  Ruth,  Rutherford  county,  in  1915,  from  an  unnamed 
informant. 


Early  one  Monday  morning 
So  lonely  and  cold, 
To  hear  that  sad  story 
The  w^itness  has  told. 

Oh,  little  Ellen  Smith,  she  sleeps  lonely 
With  her  hands  upon  her  breast, 
And  the  high  sheriff  and  bloodhounds 
Will  give  me  no  rest. 

I  haven't  been  back  home, 
And  I  never  intend  to  be. 
Till  a  sweet  apple  grows 
On  a  sour  apple  tree. 


NORTH     CAROLINA     BALLADS  717 

4  I  didn't  intend  to  marry  her 
Or  to  make  her  my  wife, 
But  loved  hear  so  dearly 
To  take  her  sweet  life. 

5  Little  Ellen  Smith 

She  was  true  as  a  dove. 
Oh  where  did  she  wander, 
And  who  did  she  love? 

6  The  roads  they  were  muddy. 
And  the  rain  was  pouring  down, 
When  a  ball  from  my  pistol 
Brought  Ellen  to  the  ground. 

7  They  carried  me  to  Winston     " 
My  trial  there  to  stand, 

But  God  knows  my  heart 
And  he  knows  every  vow. 

8  It's  true  that  I  am  prisoner 
And  in  the  old  jail  house, 
But  the  blood  from  her  breast 
Will  give  me  no  rest. 

307 

Nellie  Cropsev 

Nellie  (Ella  Maude)  Cropsey  was  the  daughter  of  a  truck  farmer 
who,  in  1901,  was  living  with  his  family  at  Elizabeth  City  in  a 
house  beside  the  Pasquotank  River.  Nineteen  years  of  age  and 
pretty,  she  had  many  admirers.  Favored  among  these  was  James 
Wilcox,  a  shipyard  worker,  son  of  a  former  sheriff  of  the  county. 
Early  in  November  a  lovers'  quarrel  between  the  two  occurred,  and 
for  two  weeks  Wilcox  stayed  away  from  the  Cropsey  home.  On 
the  evening  of  the  twentieth  he  called  again  and  conversed  with 
the  family.  As,  shortly  after  eleven  o'clock,  he  was  taking  his 
leave,  he  said,  'Nell,  I  want  to  see  you  in  the  hall  for  a  minute.' 
She  complied.  Her  family  never  again  saw  her  alive.  Missed 
before  morning,  she  was  sought  in  vain.  Wilcox,  not  being  able 
to  giye  a  satisfactory  account  of  her  whereabouts,  was  arrested 
next  day.  Nellie's  disappearance  aroused  the  interest  of  the  whole 
Atlantic  seaboard,  and  search  for  her  was  systematic  and  wide- 
spread. Not  until  December  2-j  was  her  body  found,  in  the  Pas- 
quotank River,  about  150  yards  in  front  of  her  home.  (Raleigh 
News  and  Obseri'er,  Nov.  22 — Dec.  31,  1901.) 

A  coroner's  jury  turned  in  a  verdict  of  death  by  violence  and 
recommended  that  Wilcox's  probable  guilt  be  investigated.  Public 
feeling  against  him,  aggravated  by  his  cold  and  impassive  attitude 
throughout  the  investigation,  ran  so  high  that  the  local  naval  re- 


7l8  NORTH     CAROLINA     FOLKLORE 

serve  was  called  out  to  guard  him.  At  the  March  1902  term  of 
Pasquotank  court  he  was  convicted  of  murder  in  the  first  degree 
and  sentenced  to  be  hanged.  From  this  judgment  he  appealed  to 
the  Supreme  Court  on  the  ground  that  in  the  course  of  the  trial 
demonstrations  within  the  courtroom  and  disorders  outside  occurred 
to  influence  the  jury  and  prejudice  his  rights  (North  Carolina  Re- 
ports, 131:490-92).  Granted  a  new  trial  with  change  of  venue,  he 
was  tried  at  the  March  1903  term  of  Perquimans  Superior  Court, 
found  guilty  of  murder  in  the  second  degree,  and  sentenced  to 
thirty  years  in  the  state  penitentiary.  Losing  a  second  appeal 
(ibid.,  132:791  ff.),  he  began  serving  his  sentence.  On  December 
20,  1918,  he  was  pardoned  by  Governor  T.  W.  Bickett  (letter  from 
the  office  of  the  Governor  of  North  Carolina).  On  December  4, 
1934,  Wilcox  committed  suicide  (letter  from  W.  G.  Gaither,  Eliza- 
beth City,  N.  C,  to  his  daughter,  Bettie  Gaither — letter  given  by 
Miss  Gaither  to  A.  P.  Hudson). 

The  horror,  indignation,  and  sympathy  aroused  by  the  murder 
of  Nellie  Cropsey  left  a  partial  record  in  folk  song.  Mrs.  Steely 
108-9  includes  two  fragmentary  variants  of  the  'Nellie  Cropsey' 
ballad  adapted  from  The  Lexington  Murder.'  In  FSRA  L.  W. 
Chappell  prints  four  songs  about  Nellie  Cropsey,  two  of  which  have 
their  counterparts  in  our  collection.  One  of  the  two  counterparts 
(pp.  1 12-13),  as  Chappell  points  out,  is  an  "adaptation,  by  asso- 
ciation at  least,  of  The  Cruel  Miller,"  and  corresponds  rather  closely 
to  North  Carolina  K,  lacking  only  the  allusion  to  the  penitentiary 
sentence.  The  other  (No.  61,  pp.  108-9),  dated  1912,  has  the  first 
two  stanzas  substantially  in  common  with  the  following  North  Caro- 
lina texts. 


'Nellie  Cropsey.'     From  L.  W.  Anderson,  Nag's  Head,  without  date,  as 
collected  from  Alva  Wise. 

1  On  the  twentieth  of  November, 
A  day  we  all  remember  well, 

When  a  handsome  girl  was  murdered, 
Of  her  story  I  will  tell. 

2  Girls,  I  pray  you  all  take  warning : 
Be  careful  how  you  trust  a  man. 
For  they  will  pretend  they  love  you 
And  will  kill  you  if  they  can. 

3  She  had  scarcely  passed  sixteen  summers, 
Eyes  so  blue  and  shining  curls ; 
Handsome  was  her  lovely  figure 

With  her  lovely  golden  curls. 

4  Last  night  her  lover  called  to  see  her, 
But  they  scarcely  spoke  a  word. 

For  they'd  had  a  lovers'  quarrel. 
So  the  neighbors  all  had  heard. 


NORTH     CAROLINA     BALLADS  719 

5  He  stayed  until  half  past  eleven, 
And  he  arose  to  go,  saying, 
'Nellie,  may  I  see  you  at  the  door 
Just  to  speak  a  word  or  so?' 

6  They  stept  out  on  the  veranda 
Just  to  have  a  little  talk, 

For  she  really  thought  she  loved  him 
Till  she  found  it  was  too  late. 

7  Weeks  went  hy.    They  searched  for  Nellie. 
But  the  search  was  all  in  vain ; 

But  they  thought  perhaps  she  was  living 
And  would  soon  come  home  again. 

8  But  when  they  hrought  the  hal)y  [sic]  homeward, 
Oh,  how  sad  it  was  to  see,  mother,  father. 
Sister,  brother,  all  beside  her  on  their  knees. 
And  behind  them  stood  her  lover, 

9  With  his  cold  and  hateful  smiles 
Making  fun  of  her  dear  parents 
Weeping  over  their  darling  child. 
'Tell  me.  Jimmie,  ah !  pray  tell  me, 

10  'Tell  me  now,  I  do  implore.'     Saying 
Jimmie,  ah!  so  coldly,  'I  left  her 
Crying  at  the  door.' — 'Tell  me,  Jim, 
For  God's  sake  tell  me.' 

11  Says  Jim,  'I've  told  you  all  that  I  know.' 
We  feel  sure  that  Nell's  an  angel 
Shining  brightly  as  the  stars. 

As  for  Jim,  her  jealous  lover 
Stands  behind  the  prison  bars. 


'Song    of    Nellie    Cropsy    and    Jim    Wilcox.'      From    N.    L.    Stack,    a 
sophomore  at  Trinity  College,  January  1923. 

1  It  was  on  the  twentieth  of  November, 
The  day  we  all  remember  well, 

'Twas  then  a  handsome  girl  was  murdered. 
Of  this  story  I  must  tell. 

2  To  girls,  I  pray  you  all  take  warning: 
Be  careful  how  you  trust  a  man. 

For  they  all  pretend  to  love  you 
And  will  kill  you  if  they  can. 


720  NORTH  CAROLINA  FOLKLORE 

3  She  had  passed  but  sixteen  summers ; 
Eyes  of  blue  and  sunny  curls ; 
Perfect  was  her  handsome  features 
With  sad  lips  smiling  over  pearls. 

4  One  night  her  lover  came  to  see  her, 
But  they  scarcely  spoke  a  word, 
For  they  had  a  lovers'  quarrel, 

So  the  neighbors  all  had  heard. 

5  He  stayed  there  until  half  past  eleven, 
And  when  he  arose  to  go  he  asked  her, 
'May  I  see  you  just  to  speak  a  word  or  two?' 


6  They  stepped  out  on  the  upper  veranda, 
Little  dreaming  of  her  fate, 

For  she  truly  thought  that  he  truly  loved  her. 
Until  she  found  it  was  too  late. 

7  When  everything  at  home  was  silent, 
And  all  around  was  fast  asleep, 

Jim  took  her  to  the  lonely  place 

And  there  he  plunged  her  into  the  deep. 

8  Little  was  her  sisters  thinking 
As  they  lay  upon  their  bed 

Of  their  handsome  sister  Nellie. 
Little  did  they  think  she  was  dead, 

9  When  the  news  came  home  to  mother 
That  her  darling  girl  was  gone. 

She  sent  for  her  false  lover. 

He  with  stammering  lips  did  come. 

10  'Tell,  oh  tell  me,  Jim,  for  God's  sake, 
Tell,  oh  tell  me,  I  implore !' 

T  don't  know,'  said  Jimmie  coldly ; 
'I  left  her  crying  at  the  door.' 

1 1  He  did  look  so  pale  and  nervous 
As  the  mother  held  his  hand. 

Tell,  oh  tell  me,  Jim,  for  God's  sake.' 
Say,  'I  have  told  you  all  I  can.' 

12  Days  went  by ;  they  searched  for  Nellie. 
But  the  search  was  all  in  vain. 

For  they  thought  perhaps  she  is  living 
And  will  soon  be  home  again. 


NORTH  CAROLINA  BALLADS  721 

13  When  they  brought  her  body  homeward 
Oh,  how  sad  it  did  seem. 

Mother,  father,  brother,  and  sister. 
All  bowed  down  on  their  bended  knees. 

14  Just  behind  them  stood  her  lover, 
Did  not  even  drop  a  tear, 

For  he  knew  that  he  had  robbed  her 
Of  her  life,  that  was  once  so  dear. 

15  All  because  she  loved  another; 
And  was  faithful  to  her  trust ; 

And  he  swore  that  he  would  kill  her 
If  from  her  he  had  to  part. 

16  We  are  sure  that  Nell  is  an  angel. 
Shining  brightly  as  a  star. 

As  for  Jim,  that  jealous  lover, 

He  is  placed  behind  the  prison  bars. 

308 
LiLLiE  Shaw 

Henry,  in  SSSA  55,  printed  a  ballad  entitled  'Lillie  ShuU,'  ob- 
tained from  Elk  Park,  Avery  county,  in  1933,  which  has  the  same 
substantial  content  as  the  following  but  orders  the  stanzas  some- 
what differently  and  shows  a  number  of  verbal  differences. 

From  Mrs.  Minnie  Church,  of  Heaton,  Avery  county,  who  between 
1930  and  1939  contributed  this  and  many  other  items  to  the  Frank  C. 
Brown  Collection. 


The  great  crowd  now  has  gathered 

Around  this  jail  today, 

To  see  my  execution 

And  to  hear  what  I've  to  say. 

Now  I  must  hang  this  morning 
For  the  murder  of  Lillie  Shaw, 
Who  I  so  cruelly  murdered 
And  her  body  shamefiely  burned. 

Then  I  knelt  down  to  Jesus, 

In  penetrated  grief, 

And  begged  that  he  might  save  me 

As  he  did  the  dying  thief. 

Then  my  soul  could  hear  a  whisper 
Said  in  most  gentle  tone, 
'My  grave  is  one  sufficient 
To  hold  this  violent  one.' 


722  NORTH  CAROLINA  FOLKLORE 

5  The  cries  of  poar  Lillie 
Again  I  could  almost  hear, 

As  she  begged  me  not  to  kill  her, 
Her  life  alone  to  spare. 

6  The  fire  where  I  burned  her 
Again  was  in  my  sight, 
The  only  fire  consuming 

In  the  fire  that  form  so  bright. 

7  Now  I  must  hang  this  morning, 
The  time  is  drawing  near, 

But  I  have  a  hope  in  heaven 
And  death  I  do  not  fear. 

8  And  there's  my  Dear  old  Parents, 
Who  now  for  me  will  maurn, 
Likewise  my  wife  and  baby 
Who  will  be  left  alone. 

9  God  care  for  my  baby. 
Who  will  be  left  alone ; 

I  pray  the  lord  will  keep  him 
From  all  danger,  harm,  and  sin. 

10     The  hour  has  now  arrived, 
I  can  no  longer  stay. 
I  hope  that  I  will  meet  you 
In  Heaven  some  sweet  day. 


309 

The  Prohibition  Boys 

The  first  referendum  on  the  prohibition  question,  submitted  to 
the  voters  of  North  Carolina  in  1881,  was  defeated.  By  1903, 
however,  more  than  half  of  the  state  was  "dry  territory"  through 
local  laws.  In  1905  the  Ward  bill  was  passed,  prohibiting  the  manu- 
facture or  sale  of  intoxicating  liquors  in  towns  of  less  than  1,000 
population.  Prohibition  became  statewide  in  1908.  See  J.  G.  de 
Roulhac  Hamilton,  History  of  North  Carolina  (Chicago  and  New 
York,  1919),  III,  207-8. 

'The  Prohibition  Boys.'  From  Julian  P.  Boyd,  Alliance,  Pamlico  county, 
as  collected  from  Clifton  McCotter,  a  pupil  in  the  Alliance  school ;  un- 
dated, but  c.  1927-28.  The  typescript  contains  a  note  in  an  unidentified 
handwriting  (possibly  Mr.  Boyd's)  :  "Written  by  Marshal  Laughing- 
house,  Vanceboro,  N.  C,  about  1880.  I  can  obtain  the  air  .  .  .  if 
desired." 

I     Here  is  a  lesson  for  you  prohibitioners ; 
Some  wisdom  it  will  teach : 


NORTH     CAROLINA     BALLADS  723 

That  the  prohibition  boys  ought 
To  practice  what  they  preach. 

Clwrus: 

Singing  tu  le  ki  le  In, 
And  sing  tu  le  Ki  le  leigh. 

2  They  say  that  liquor  is  an  evil, 
It  causes  grief  and  pain  ; 

And  the  prohibition  boys  around 
Are  getting  drunk  again. 

3  'Twas  on  the  day  of  election, 
The  barroom  doors  were  closed, 
And  the  prohibition  boys  trying 
To  mash  each  other's  nose. 

4  The  prohibition  boys 

They  give  each  other  the  wink 

When  they  want  to  slip  behind  the  door 

And  take  another  drink. 

5  They  preach  the  prohibition, 
They  preach  it  o'er  and  o'er, 
And  they  eat  so  many  chickens 
They  left  but  few  to  crow. 

6  Come  all  you  sons  of  prohibition, 
I'll  tell  you  a  sad  tale 
Concerning  a  prohibitioner 
Who  went  to  drive  the  mail. 

7  When  he  left  his  loving  wife. 
He  was  joyful  as  could  be, 

For  he  knew  when  he  got  to  Greenville 
He  would  get  on  another  spree. 

8  When  he  started  away, 
Not  many  miles  from  town, 
The  horse  he  ran  away  with  him 
And  threw  him  on  the  ground. 

9  The  old  colored  man  came  up. 
Behold,  what  did  he  see ! 
There  lay  the  prohibitioner 

As  drunk  as  he  could  be. 

[O     The  old  colored  man 
Was  willing  for  to  yield 
When  he  saw  him  laying  flat  of  his  back 
With  both  feet  through  the  wheel. 


7^4  NORTH  CAROLINA  FOLKLORE 

1 1  When  he  got  back  home 
He  told  his  loving  wife 

The  horse  ran  away  with  him, 
And  nearly  lost  his  life. 

12  'Darling,  I'm  in  trouble; 
I  haven't  an  easy  mind — 
I've  lost  the  mail 

And  forty  dollars  fine. 

13  'Darling,  you're  in  trouble; 
You  cause  me  grief  and  pain — 
To  think  you're  ofT 

Getting  drunk  again.' 

14  'Darling,  I  know 

I've  gone  against  your  will, 
But  remember  that  I  voted  for 
The  prohibition  bill!' 


310 
Prohibition  Whiskey 

'Prohibition  Whiskey.'  From  Julian  P.  Boyd,  Alliance,  Pamlico  county, 
as  collected  from  Carlos  Holton,  a  pupil  in  the  Alliance  school ;  undated, 
but  c.  1927-28.     See  note  to  'The  Prohibition  Boys.' 

1  It's  been  ten  years  ago  or  more. 
If  I've  been  rightly  told, 

There  was  stealing  done  in  Arapohoe^ 
Of  whiskey  new  and  old. 

2  It  seems  that  one  young  prohi 
Was  the  lucky  one  that  night. 
He  stole  six  quarts  of  anti's  gin 
And  hid  it  out  of  sight. 


Come  all  my  dear  young  comrades 
And  help  me  to  cohmart  [sic — con* 
I'll  sell  you  some  good  whiskey 
For  eighty  cents  a  quart. 

'Tis  the  best  that  I  can  get. 
The  best  I  ever  saw ; 
I  sell  at  the  stockhouse 
Regardless  of  the  law. 


consort?] 


^  "Arapohoe."  Mr.  Charles  O'H.  Grimes,  of  Shreveport,  Louisiana, 
formerly  of  Greenville,  N.  C,  in  a  letter  of  Jan.  8,  1947,  identified 
Arapohoe  as  a  place  near  Greenville,  probably  in  Beaufort  county.  [Or 
it  may  be  simply  Arapohoe  in  Pamlico  County.    P.  F.  B.] 


NORTH  CAROLINA  BALLADS  7^5 

5  One  prohi  purchased  him  a  quart 
And  paid  the  money  down ; 

He  stuck  it  in  his  pocket 
And  toddled  out  of  town. 

6  He  went  off  and  drank  it, 
And  it  made  him  so  funny 
He  wanted  another  quart, 
But  didn't  have  the  money. 

7  So  he  comes  to  see  his  partner 
And  calls  him  good  ol'  John, 
'Say,  let  me  have  another  quart 
And  I'll  pay  you  later  on.' 

8  But  when  this  good  young  prohi 
Came  to  think  of  what  he'd  done 
He  felt  a  little  scared  like 

And  thought  he'd  better  run. 

9  So  he  left  those  good  young  prohis 
The  whiskey  to  enjoy, 

For  he  saw  he  was  no  nearer  heaven 
Than  when  he  was  a  boy.^ 

10  Come  all  you  good  old  antis 
And  take  a  word  of  warning : 
H  you  have  a  little  gin  around 
To  take  a  nip  at  morning. 

1 1  Don't  keep  it  around  the  stockhouse 
Under  no  conditions, 

Or  it  will  all  be  gobbled  up 

By  those  nice  young  prohibitions. 

311 

Shu  Lady 

Dr.  Brown  wrote  the  following  note  on  the  song : 
"Words   and   air   from   Reverend   Andrew   Jackson   Burrus,   who 
played  his   own   accompaniment  on  his  banjo.     He   was   born   and 
reared  in  the  territory  concerned  in  this  story,  Rockford,  I  think. 
Mr.  Burrus  was  born  evidently  in  the  1850's. 

"This  song  records  the  incidents  and  results  of  the  tearing-up 
of  the  fish-trap  of  Pleasant  Chandler  and  Jeremiah  Phillips  (his 
son-in-law),  which  was  located  at  the  intersection  of  the  Yadkin 
and  Fisher's  River — a  trap  which  extended  up  Fisher's  River. 
Chandler  and  Phillips  owned  the  land  on  either  side  of  Fisher's 
River,  Phillips  on  the  west  side  and  Chandler  on  the  east. 

*  "no  nearer  heaven  .  .  ." :  an  echo  of  Thomas  Hood's  poem  /  Remem- 
ber, 11.  31-32. 


726  NORTH     CAROLINA     FOLKLORE 

"Chandler  and  Phillips  sold  fish  to  persons  in  all  the  small  towns 
along  the  River — Booneville,  Rockford,  Siloam,  etc. — and  to  those 
living  in  the  country :  in  consequence  those  living  in  the  two  settle- 
ments near  the  head  of  Fisher's  River  decided  to  tear  up  the  fish- 
dam  so  the  fish  could  come  up  to  them. 

"Two  different  crowds  went  at  the  same  time  to  tear  up  the  dam, 
all  of  the  settlers  having  gone  but  one  who  was  not  able  to  go  but 
who  furnished  the  whiskey  for  the  crowd. 

"They  tore  up  the  dam,  but  were  prosecuted  and  lost  the  case. 
Some  had  to  sell  their  possessions,  cows,  to  pay  their  fines.  Mr. 
Joe  Dobson,  of  Rockford,  was  state  solicitor ;  Judge  Cloud,  orig- 
inally of  Rockford  but  at  the  time  perhaps  living  in  Winston-Salem, 
was  the  judge. 

"The  song  is  the  work  of  a  woman  by  the  name  of  Lawless,  who 
was  not  able  to  read  or  write,  who  was  a  sort  of  Amazon  or  virago, 
who  felt  that  she  was  the  censor  of  the  conduct  of  all  persons  in 
her  community,  and  who  before  the  time  of  the  episode  recorded 
in  the  song  had  had  a  grudge  against  a  man  named  Bill  Doss,  who 
(as  owner)  opened  a  little  store  up  at  Copeland,  situated  to  the 
northeast  of  the  Fisher's  River  settlements.  This  store  is  still  in 
existence.  She  had  doubtless  made  a  song  against  Doss  before  she 
began  the  attack  on  Chandler,  Phillips,  et  al.,  but  there  is  no  trace 
of  this  song  except  the  suggestion  in  the  chorus  of  Shu  Lady.  Her 
quarrel  with  Doss  seems  to  have  been  the  result  of  an  overcharge, 
as  she  thought  (Doss  seems  to  have  charged  too  much),  on  a  spool 
of  thread. 

"The  Masons  appear  prominently  in  the  song,  as  Chandler,  the 
plaintiff,  and  many  of  the  jurors  were  Masons;  Pilson  was  not  a 
Mason,  and  lived  in  one  of  the  settlements." 

The  locale  of  this  song  is  the  same  as  that  of  one  of  the  earliest 
collections  of  folktales  in  America,  H.  E.  Taliaferro's  Fisher's 
River  (North  Carolina)  Scenes  and  Characters,  by  "Skitt,  who  was 
raised  thar,"  published  in  New  York  by  Harper  and  Brothers  in 
1859.  (See  R.  S.  Boggs,  "North  Carolina  Folktales  Current  in  the 
1820's,"  JAFL  XLVii  269-88.) 

'Shu  Lady.'  From  the  Reverend  Andrew  Jackson  Burrus,  whose  early 
addresses  were  Cliffside,  Weaverville,  and  Rockford,  in  western  North 
Carolina,  and  who  contributed  to  the  Frank  C.  Brown  Collection  in  the 
years  1920-22.  A  phonograph  recording  of  the  song  was  made  in 
1921-22. 

I     Three  cents  is  the  money, 
Five  cents  is  the  bill. 
All  I  want's  a  quarter 
To  buy  out  Doss's  hill. 

Chorus: 

Shu  lady,  shu  gall,^ 
Shu  111  lady  low. 
I'm  goin'  to  change  the  program 
And  sing  on  Doss  no  more. 
*  "gall"  may  be  a  scribal  error  for  "gal." 


NORTH  CAROLINA  BALLADS  727 

2  Squire  Brown  says,  'Boys, 
Come  go  along  with  me ; 
We'll  tear  out  all  the  mud-sills. 
And  let  the  fish  go  free.' 

3  They  all  went  down  to  the  river. 
Pleas  came  with  his  gun. 

Ming  Jenkins  being  the  captain, 
He  bid  his  men  to  run. 

4  Yonder  comes  old  Abe  Phillips  f 
He's  as  black  as  Hamlin's  Sam. 

He  cuts  him  down  some  grape  vines 
To  survey  old  Chandler's  dam. 

5  Henry  Anderson  says,  'Boys, 
Into  the  water  I  can't  go, 
But  I  will  treat  to  a  gallon, 
And  I  can't  do  any  more.' 

6  Yonder  comes  old  Miss  Chandler. 
How  do  you  reckon  I  know? 

I  know  her  by  her  horny-heads. 
She's  bound  for  Hamlin's  store. 

7  Joe  Dobson  says,  'J"dge  Cloud, 
Do  sympathize  with  me, 

For  Chandler  he's  a  Mason, 
And  so  is  brother  Lee.'^ 

8  Turner  Pilson  hung  the  jury 
For  one  long  night  and  day, 
To  listen  at  Dobson's  lies 

And  hear  what  Cloud  would  say. 

9  Squire  Brown  was  the  magistrate  ;■* 
He  marched  along  before. 

But  they  made  him  shake  his  pocketbook 
And  sell  his  cow  for  more. 

[O     Ming  Jenkins  was  the  captain  ; 
He  marched  along  before. 
But  they  made  him  shake  his  pocketbook 
And  sell  his  cow  for  more. 

[I     If  we  had  it  to  do  over  again. 
We'd  act  a  little  more  wise ; 

*  "Son  of  Chandler's  brother-in-law." — MS  note. 

*  "Lee  Dobson,  brother  of  Joe  Dobson,  solicitor." — MS  note. 

*  "In  the  section  in  Fisher's  River." — MS  note. 


728  NORTH  CAROLINA  FOLKLORE 

We'd  object  to  a  Freemason  jury 
And  John  EUis^  to  swear  the  Hes. 

312 
'Tis  Now,  Young  Man,  Give  Me  Attention 

If  Mr.  Anderson's  notation  at  the  end  is  right  this  is  a  ballad 
of  local  manufacture.     I  have  not  found  it  elsewhere. 

No  title.    Communicated  by  Mr.  Arnold  Monteague  of  Collington,  Dkre 
county.     No  date  given. 

1  'Tis  now,  young  man,  give  me  attention 
While  I  try  to  write  a  song. 

While  I  tell  you  how  I  suffered 
As  my  day  has  passed  along. 

2  First  of  all  I  tried  in  courting 
And  succeeded  very  well. 

Then  I  thought  that  I  would  get  married, 
See  if  that  wont^  better  still. 

3  Seven  long  years  I  tried  in  wedlock, 
Trouble  more  than  life  could  stand 
When  I  found  my  wife  was  keeping 
Company  with  another  man. 

4  For  divorce,  I  could  not  get  it. 
For  I  could  not  get  the  proof. 
For  the  one  that  might  before  me 
Would  not  go  and  tell  the  truth. 

5  Yet  there  is  a  way  to  fix  it ; 

I  can  leave  this  lonely  shore, 
I  can  plow  the  deep  blue  ocean 
And  return  here  never  more. 

6  Yet  there  is  a  little  maiden 
That  I  dearly  hate  to  leave, 

For  my  heart  will  burst  with  sorrow ; 
Yet  there  is  no  one  else  to  grieve. 

7  Darling,  make  yourself  contented,^ 
Study  not  on  me  away. 

Study  not  my  condition 
But  look  on  to  a  better  day. 

^  "Distiller  who  sold  brandy  and  testified  against  them." — MS  note. 


^  The  manuscript  here  is  not  clear ;  this  may  be  "went,"  or  it  may  be 
an  abbreviated  form  of  "wasn't." 

^  The  manuscript  has  "contended"  and  in  1.  3  "condushion." 


NORTH  CAROLINA  BALLADS  "29 

Take  this  ring  to  my  baby, 
Tell  her  that  her  paw  is  dead, 
That  the  meanness  of  her  mother 
Brought  him  to  a  watery  bed. 

"Napoleon  Stetson  wrote  this." 
L.  W.  Anderson 


313 

Blockader's  Trail 

By  Henry  D.  Holsclaw 

In  a  letter  to  A.  P.  Hudson,  dated  March  23,  1948,  Miss  Edith 

Walker  says  that  the  following  is  the  account  which  Mrs.  Laura  B. 

Timmons  of  Boone,  North  Carolina,  gave  her — "I  copying  as  she 

talked." 

Mr.  Holtzclaw  [sic]  was  born  in  Caldwell,  April  16,  1878.  Spent  his 
life  there  except  for  two  years  he  served  (innocently,  for  blockading— 
incident  in  the  broadside)  in  Henderson  county.  "Blockader's  Trail" 
published  in  Welsh  (Welch?),  Virginia,  in  1921.  Mr.  Holsclaw  had 
probably  gone  there  after  getting  released  and  had  started  working  there. 
Farmed  some.  Worked  some  in  a  factory.  Is  now  working  in  a  cotton 
mill.  He  was  batching  and  farming,  etc.,  when  sheriff  came  after  him 
(in  song).  The  still  was  not  his — but  he  wouldn't  tell  whose.  One 
woman  (woman  in  ballad)  knew — but  she  was  not  allowed  to  testify  in 
trial.  Taylor  boys  had  been  originally  mentioned  in  warrant  refixed  for 
him — these  boys  later  killed  a  man.  Robert  Dula  (boy  then)  was 
brother  of  Dr.  Alfred  Dula  in  Lenoir,  an  eye  specialist.  Mr.  H.  is  now 
a  very  religious  man,  as  his  later  poems  show.  The  person  who  talked 
with  him,  and  all  in  the  party,  were  impressed  with  him,  with  his  neat 
and  clean  home,  and  especially  his  sparkling  eyes.  They  said  he  was 
quite  pleased  when  he  discovered  what  they  wanted — he  went  to  a  trunk 
and  gave  them  his  original  copy  so  that  they  could  copy  it — as  my 
friends'  niece  did,  for  she  is  a  typist.  Mr.  H.  trusted  them  with  his 
ballad,  without  a  single  question.  Although  he  is  married,  they  did  not 
meet  his  wife— they  thought  maybe,  since  the  couple  are  now  very 
religious,  that  she  was  embarrassed  when  he  began  telling  about  having 
to  serve  time.  He  was  born  in  Little  River  township  in  Brushy  Moun- 
tains, at  foot  of  Cox's  Knob,  on  headwaters  of  Dutch  Creek,  at  Draco 
(Mrs.  Timmons  said  be  sure  to  put  that  in!).  (Remember:  'Blockader's 
Trail'  was  published  in  Virginia  before  in  "Lenoir,  so  our  copy  stated.) 
His  first  ballad  was  Tlorence  Sutphin'  (1916),  published  in  Lenoir.  .  .  . 
She  (Florence)  lived  in  Little  River  township,  near  foot  of  Hibriter 
Mountain. 

John  Welch  (or  Walsh)  has  been  an  officer  ever  since  Mrs.  Timmons 
can  remember.  (She  first  telephoned  him;  he  was  gone;  finally  reached 
him,  and  he  gave  her  a  lead  about  how  to  find  Mr.  Holsclaw ;  Mr. 
Welch  was  very  helpful  and  interested,  she  said.  Born  in  Elks,  January, 
1876 — just  a  little  below  where  Mrs.  Timmons  was  born— as  he  told 
her!  He  remembered  her  and  her  family  and  her  father — a  minister.) 
Family  moved  to  Laytown  (name  was  given  because  most  people  who 
lived  there  were  lazy!),  when  he  was  about  I7-  Then  to  Lenoir;  he 
hauled  lumber.  In  Spanish-American  War,  he  served  in  the  North 
Carolina  regiment,  Company  C.     In   1899  became  policeman  in  Lenoir. 


y^O  NORTH  CAROLINA  FOLKLORE 

Was  chief  1919-1930:  until  he  entered  World  War  I.  Then  became 
deputy  sheriff  under  Jerome  ('Rome)  Triplett.  Jerome  Triplett  was 
sheriff  almost  all  the  time  until  he  died  about  4  or  5  years  ago.  During 
World  War  II  he  was  city  detective  until  about  two  years  ago — stopped 
because  of  a  heart  attack — sworn  in  again  as  deputy  in  spite  of  illness ! 
(Still  has  this  last  office.)  His  only  daughter  married  Mrs.  Timmons' 
first  cousin,  Spence  Dula,  a  present  officer.  When  Mr.  Welch  heard 
what  they  wanted,  he  said  he,  too,  had  a  copy  of  'Blockader's  Trail.  .  .  .' 
Mr.  Holsclaw  hasn't  written  anything  in  two  or  three  years.  Lenoir 
Ncu'stopic  printed  "Florence  Sutphin"  fall  of  191 6.  She  was  killed  first 
day  of  October,  1916.  Flood  in  same  year.  At  time  of  "Bloclcader's 
Trail,"  he  was  living  on  top  of  Brushy  Mountain,  by  himself.  Triplett 
and  Welch  knocked  at  door  around  noon.  Passed  Rufe.  Arrested  liim. 
Said  he  had  operated  still. 

'Blockader's  Trail.'  From  Miss  Edith  Walker,  of  Boone ;  with  undated 
note  by  Dr.  Brown :  "From  Miss  Edith  Walker's  ms.  book  of  songs, 
Boone  (N.  C),  Watauga  and  Caldwell  counties.  Printed  in  broadside 
form  at  Lenoir  for  Holsclaw." 

1  In  the  year  of  our  Lord  nineteen  and  twenty-one, 
Jerome  Triplet  and  his  deputy  came  to  my  home. 
The  first  thing  they  did  was  to  holler  'Hello.' 

I  said,  'Come  in,'  of  course  you  might  know. 

2  A  friend  of  mine,  John  Teeters,  was  there. 

And  without  further  notice  they  arrested  the  pair. 
They  handcuffed  us  together  securely  and  fast, 
Saying,  'Oh,  Law,  boys,  we've  got  you  at  last. 

3  'You  boys  were  well  hid,  but  we  found  the  place; 
You  are  darned  good  runners,  but  we  win  the  race.' 
Then  Triplet  searched  the  house  in  hopes  he'd  find 
Some  whiskey  to  drink  that  he'd  know  was  mine. 

4  'Twas  the  month  of  July ;  the  weather  was  hot. 

Walsh  tried  to  read  the  old  warrant  but  said  he  could  not. 
I  read  the  warrant  over  with  all  of  my  care 
And  therefore  knew  it  was  wrong  somewhere. 

5  When  Triplet  arrested  Charlie  W'alker,  I  gave  him  great 

praise, 
And  he  surely  has  been  encouraged  in  various  ways, 
For  the  search  warrant  that  they  served  on  me 
Was  the  thinnest  piece  of  business  that  I  ever  did  see. 

6  It  was  originally  swore  out  for  two  Taylor  men. 

And  my  name  was  stuck  on  it  and  'twas  served  once  again. 
So  Triplet  searched  the  house  and  all  of  my  goods 
And  at  last  had  to  send  the  deputy  to  the  woods. 

7  He  went  through  the  cornfield,  thugity-thug. 
And  when  he  came  back  he  had  a  full  gallon  jug. 


NORTH  CAROLINA  BALLADS  731 

When  he  told  him  to  get  that  Hquor  he  gave  him  a  nod. 
He  said  that  he  found  it  a-sittin'  by  a  log. 

8  It  was  full  of  corn  liquor,  and  it  sure  was  fine. 
Said  he  saw  a  girl  hide  it  and  he  knew  it  was  mine. 
For  she  run  out  of  my  house,  that  jug  in  her  hand. 
But  I  say  it's  either  a  lie,  or  a  mistake,  or  the  man. 

9  For  I  had  no  liquor,  and  I  guess  I  know. 

If  you  don't  believe  me,  the  girl  will  tell  you  so. 

But  they  took  their  liquor  and  both  of  us  boys 

And  went  to  the  mountains  for  the  rest  of  their  toys. 

10  On  the  way  to  the  mountains  to  get  the  rest  of  their  junk 
They  hid  their  jug  o'  liquor  in  an  ol'  holler  stump. 
When  we  got  to  the  place  where  the  still  was  at. 

There  stood  Robert  Dula  as  watchful  as  a  cat. 

1 1  He  was  standing  on  a  log  on  the  side  of  the  hill. 
His  Colts  on  his  hip  and  his  eye  on  the  still. 

He  was  pleased  with  his  job,  so  proud  of  his  gun 

He  wouldn't  punch  the  fire,  nor  the  liquor  wouldn't  run. 

12  He  had  rather  been  there  as  in  his  spectacle  shop. 
And  before  he  got  away  he  was  splattered  with  slop. 
They  said:  'I'll  swear,  what  a  good  place  for  a  still! 
We  hate  to  tear  it  up,  but  I  reckon  we  will. 

13  'Pour  out  the  singlings^  and  beer,  but  save  the  meal. 
Lord,  I  wish  I  had  a  dram — how  bad  I  feel ! 

Hurry  up,  John,  we've  got  to  get  away  from  here  now ; 
Just  knock  out  the  heads.  I  ain't  particular  nohow. 

14  'Knock  ofif  the  cap  and  pull  out  the  worm. 
It's  ol'  sugar  beer  as  shore  as  be  durnd. 

Pour  out  the  backings ;-  catch  a  jugful  to  drink. 
It's  a  pity  to  cut  the  kegs  up.    What  do  you  think? 

15  'Believe  we'll  leave  'em  here.  We've  got  to  do  a  bout. 
You  reckon  the  old  man  John  can  ever  carry  'em  out  ? 
Boys,  ain't  it  a  good  place  in  the  ol'  hollers  ? 

Those  two  little  kegs  are  worth  five  dollars. 

^  "singlings" :  "The  distillations  from  sour  mash.  The  sinelings  are 
distilled  in  turn,  or  'doubled,'  for  pure  whiskey.  If  the  'proof  of 
doublings  is  kept  up  to  no,  they  are  said  to  be  'doubled  and  twisted.'  " — 
Professor  Gratis  D.  Williams,  Boone,  N.  C,  who  adds,  "This  information 
is  from  my  own  knowledge  of  moonshine  lore"  (letter  to  A.  P.  Hudson, 
March  12,  1948). 

"  "backings" :  "Distillation  from  the  double  run,  very  low  or  completely 
lacking  in  alcoholic  content;  used  to  temper  high  proof  whiskey.  If  one 
wanted  100  proof  whiskey,  he  would  pour  backings  into  doublings  until 
the  proof  stick  registered  100"    (ibid.). 


732  NORTH     CAROLINA     FOLKLORE 

i6     'So  we'll  take  'em  along,  but  it's  a  h — 11  of  a  tote. 
This  here  carrying  sure  gets  my  goat.' 
They  took  the  still  and  the  worm,  the  cap  and  two  kegs, 
Two  hats,  and  a  coat,  and  left  some  old  rags. 

17  They  bunched  it  all  together  and  was  ready  to  go. 
Said,  'What  can  you  boys  take?    Anything  or  no?' 
'Why,  h — 11  no,  nothing  at  all. 

We're  handcuffed  together;  I'm  afraid  we'd  fall.' 

18  Some  carried  copper  and  some  carried  wood. 

John  and  me  cuffed  together  done  the  best  we  could. 
We  all  went  the  path  and  made  it  a  little  slicker. 
And  when  we  got  to  it  I  offered  to  take  the  licker. 

19  But  the  darned  old  cranks  said,  'Guess  we  can  take  it , 
You  might  fall  down  and  accidently  break  it.' 

Dula  carried  the  lantern  and  worm  and  Triplet  the  kegs. 
Walsh  carried  the  still  and  liquor  and  wabbled  his  legs. 

20  Me  and  John  were  cuffed  together  and  carried  not  a  thing 
Except  two  little  locks  and  a  small  little  chain. 

When  we  passed  my  home  we  went  out  the  ridge. 
And  I  hollered  to  my  uncle  to  meet  us  at  the  bridge. 

21  I  warned  him  to  go  to  our  people  and  tell  'em  the  news, 
The  fate  of  us  boys  and  a  gallon  jug  of  booze. 

He  met  us  at  the  bridge,  and  he  had  a  wooden  leg. 
And  for  a  drink  of  liquor  you  ought  to  heard  him  beg. 

22  Triplet  thumped  on  the  kegs  and  shook  his  knot  a  speck. 
I  said,  'Walsh  has  got  a  jug  full  up  to  the  neck.' 

Said  the  deputy  to  the  sheriff,  'Must  I  give  him  some  now?' 
Triplet  answered,  'Yes;  guess  'twas  part  of  hisn  anyhow,' 

2},     But  if  it  was  hisn  he  got  it  back  then, 

For  he  drunk  all  he  could  and  then  drunk  again. 
I  said,  'Don't  get  drunk  but  hunt  a  man  for  our  bail, 
And  come  to  Lenoir  and  get  us  out  of  jail.' 

24  He  said,  'Don't  be  afraid;  I'll  sure  come  to  town.' 
And  when  he  quit  drinking  he  passed  it  around. 
We  all  took  a  drink  and  they  shouldered  the  load. 
And  orders  were  given  to  start  down  the  road. 

25  Just  before  all  of  us  had  finally  left  the  place, 

Uncle  Cas  said,  'Wait  a  minute,  fellers ;  gimme  another 

taste.' 
Then  he  went  back  home  to  get  a  horse  and  saddle. 
Dula  was  then  stepping  as  far  as  he  could  straddle. 


NORTH  CAROLINA  BALLADS  7^^ 

26  The  next  man  we  met  was  Mr.  Rufus  Walker, 
And  he  drank  from  their  jug  just  hke  it  was  water. 
And  we  stopped  at  a  spring  to  cjuench  our  thirst ; 

So  we  all  took  some  whiskey — we  wanted  it  the  worst. 

27  Then  we  sit  right  down  to  take  a  little  rest, 

And  Bob  Teeters  come  along  just  walking  his  best. 

The  sheriff  seemed  to  think  'twas  licjuor  for  which  he  had 

come, 
And  quickly  jumped  up  and  offered  him  some. 

28  But  he  flatly  refused,  and,  sir,  don't  you  think 

That  he  really  got  insulted  because  he  wouldn't  drink  ? 
Mr.  Teeters  asked  the  sheriff  what  his  boy  had  done. 
He  said:  'We  found  a  still,  and  these  boys  run. 

29  'We  followed  to  the  house ;  they  went  in  at  the  door. 
Found  this  jug  of  liquor  and  know  they've  got  more. 
From  Henry's  house  to  the  still  'twas  plain  as  a  road. 
They  say  he's  got  liquor  by  the  wagon  load.' 

30  Bob  said  John  couldn't  have  been  there,  he  had  reason  to 

know. 
Because  he  had  just  left  home  a  little  while  ago. 
Triplet  said,  '1  was  within  twenty  steps  of  him;  I  know 

he  was  there 
At  the  still  in  the  woods,'  and  so  he  did  swear. 

31  So  that  ended  the  argument  just  for  the  time, 

And  when  we  left  the  spring  we  were  all  feeling  fine. 

Triplet  said,  'Dula's  big  and  stout,  and  able  to  tote. 

And  he's  ruined  my  worm  and  took  the  blockader's  coat.' 

32  So  we  all  went  on  to  his  au-to-mo-bile. 

And  the  further  we'd  go  the  better  we'd  feel. 
When  we  got  to  the  car  and  began  to  crawl  in. 
They  put  the  kegs  on  the   fender  to  show  where  they'd 
been. 

33  One  grabbed  the  crank  and  gave  it  a  twist. 
And  his  eyes  looked  nearly  as  big  as  my  fist. 
Triplet  took  the  wheel  and  blowed  his  little  horn. 
For  we  had  all  began  to  feel  the  effects  of  the  corn. 

34  He  pushed  in  his  clutch  and  started  down  the  hill. 
I  said,  'Hord  to  the  lic|Uor  and  don't  let  it  spill.' 

All  his  passengers  and  junk  made  a  pretty  good  load. 
And  everybody  looked  as  we  went  up  the  road. 


734  NORTH     CAROLINA     FOLKLORE 

35  When  he'd  come  to  a  hill  he'd  give  it  more  juice. 

I  expect  he  would  have  give  it  a  dram  if  it  had  been  any 

use. 
But  his  little  old  Ford  no  liquor  could  need, 
For  it  run  around  the  curves  at  a  dangerous  speed. 

36  They  were  generous  with  their  whiskey  and  also  their  gas, 
And  gave  us  a  dram  every  time  we  would  ask. 

When  we  got  within  just  about  a  mile  of  town, 
John  said,  'It's  time  you'd  pass  the  jug  around.' 

37  I  said,  'Yes,  we  ain't  feeling  good  enough  yet. 
And  this  may  be  the  last  little  drink  we'll  get.' 
Triplet  said,  'Yes,  you're  about  right,  I  say. 
We'll  have  to  put  you  boys  in  jail  right  away. 

38  'And  you'll  have  a  trial  tomorrow  about  ten  o'clock.' 
I  never  said  so,  but  I  knew  we  would  not. 

They  took  us  right  up  where  the  jailhouse  stood 
And  got  us  inside  just  as  quick  as  they  could. 

39  We  went  upstairs  till  we  got  on  the  loft. 

They  got  out  their  keys  and  took  the  handcuffs  off, 
Trying  to  hide  their  contempt  with  a  face  full  of  grin. 


40  And  they  slammed  the  door  and  locked  the  bar. 
Saying,  'All  right,  boys ;  we'll  see  you  tomor'.' 

So  they  turned  about  face  and  scuttled  down  stairs 
With  their  handcuffs  and  pistols  and  other  hardwares. 

41  What  they  done  with  the  still  and  cap  and  worm 
Was  a  secret  of  theirs  that  I  never  did  learn ; 
But  I  expect  they  sold  'em  or  gave  'em  away, 

Like  they  did  the  kegs  and  the  liquor  the  very  next  day. 

42  Triplet  is  a  dandy  when  he  thinks  he's  got  a  slacker ; 
He'd  give  away  his  liquor  or  his  last  chew  tobacker, 
Fve  often  heard  it  said  he  give  a  boozy  Democrat 
The  precious  little  gift  of  that  still  house  hat. 

43  Well,  supper  time  come,  we  was  still  in  the  loft. 
Mr.  Helan  brought  our  beans  in  a  little  tin  trough. 
He  called  it  supper,  but  it  looked  mighty  black. 

The  cage  was  locked,  so  he  poked  it  through  the  crack. 


NORTH     CAROLINA     HALLADS  735 

44  The  trough  was  about  three  by  eight  inches  big, 
And  it  put  nie  in  the  mind  of  feecHng  a  pig. 
The  beans  wasn't  good,  neither  was  the  bread ; 
But  we  ate  what  we  could  and  then  went  to  bed. 

45  The  mattress  was  dirty  as  anybody's  feet, 

And  the  sheet  was  a  blanket,  a  blanket  was  the  sheet. 

When  we  got  up  it  was  Saturday  morn, 

And  we  didn't  have  a  drop  of  that  good  old  corn. 

46  [No]  liquor  to  drink  to  cheer  us  up  some; 

And  I  began  to  think  that  breakfast  wouldn't  come. 
But  at  last  it  was  ready,  and  Mr.  Helan  brought  it  up 
In  a  little  tin  trough  and  a  tin  cofifee  cup  : 

47  Three  little  biscuits,  a  piece  of  meat  you  could  swaller. 
Could  wrap  up  that  bread  with  a  greenback  dollar, 

A  few  bites  of  grits  and  gravy  the  latest  in  town. 
The  grits  cooked  plain  and  the  gravy  burnt  brown. 


314 

Blockader  Mamma 

No  title.  Given  in  June  1948  to  A.  P.  Hudson  by  the  Reverend  Bertram 
Cooper  of  Chapel  Hill,  as  "from  the  wilds  of  Moore  County"  (N.  C). 
The  Reverend  Mr.  Cooper  sings  it. 

I     A  little  girl  sat  in  a  log  cabin  door ; 
The  babies  were  crying  outright. 
The  mother  said,  'Susie,  don't  wander  afar; 
I'll  have  to  be  gone  half  the  night.' 


2 


'Oh,  mammy,  don't  make  any  liquor  tonight. 
Sheriff  Slack  may  be  watching  the  still ; 
I  seen  him  today  pass  by  on  the  road 
And  drive  in  the  woods  by  the  mill.' 

'Hush,  young  un,  hush,'  the  poor  woman  moaned, 
'Your  paw  ain't  never  worked  none ; 
We  ain't  got  nothing  to  eat  in  the  house, 
And  the  baby's  got  croup  in  his  lung.' 

'Oh,  mammy,  don't  make  any  liquor  tonight, 

Sherifif  Slack  may  be  watching  the  still; 

I've  looked  and  I've  listened  and  my  heart's  nearly  st()i)ped 

Every  night  when  you  start  toward  the  mill.' 


736  NORTH     CAROLINA     FOLKLORE 

5  She  went  to  the  wood  between  midnight  and  dawn. 
The  woman  didn't  hearken  to  Susie's  advice ; 

She  put  on  her  man's  shoes  and  pants 
And  was  shot  through  the  heart  by  the  spies. 

6  As  they  tenderly  took  the  body  back  home, 
A  poor  woman  in  men's  overhauls, 

They  stopped  at  the  door  and  the  tears  flooded  down 
As  they  heard  the  poor  orphan  child  bawl : 

7  'Oh,  why  did  you  make  any  liquor  tonight? 
I  begged  till  my  heart's  nearly  wild. 

Paw  brought  meat  and  flour  within  half  an  hour 
And  now  I'm  a  poor  orphan  child.' 


INDEX 


Editor's  titles  arc  slioivn  in  italics.  Nuwbcrs  follou'iug  semicolon  re- 
fer to  pages.  A  few  titles  of  ballads  mentioned  in  hcadnotes  are  indi- 
cated by  parenthesized  numbers.  An  asterisk  before  a  title  denotes  that 
the  music  for  that  ballad  or  song  (or  some  form  of  it)  zcill  be  found  in 
volume  IV. 


Aggie  and  Alfred  251 F;  594 
Alas!  My  Darling  167A;  429 
Annie  Lee  143,  143A  ;  376 
*Annie,  My  Darling  250R  ;  586 
Ardent  Lover,  An  71 C;  256 
*Arrow  Goodman  42B  ;  182 
♦Asheville  Junction  270H ;  626 
*As  He  Rode  up  to  the  Old  Man's 

Gate  3D  ;  30 
As   I   Stepped   Out   Last   Sunday 
Morning  83,  83A  ;  283 
*As  I  Walked  Out  One   Morning 

131 J  367 
As    I    Went    Dozen    to    Newbcrn 

282;  658 
Aunt   J etnima's    Plaster    271, 

271AB;  628  f. 
Auxville  Love,  The  (81  ;  271) 
♦Awake,  Arise  71A;  255 
Away  to  Cuba  237;  548 
Awful  Warning,  An  72A  ;  258 

Babes  in  the  Wood,  The  147;  388 

Baby  Lon  8;  44 

Babylon;  or,  The  Bonnie  Banks  o 

For  die  8  ;  44 
Ballad  34C ;   158 
Ballad  of  the  Huron  288B  ;  669 
Barba  Allen  27U ;  124 
♦Barbara    Allen    27A-KN-RTV-Y 

BB  CC  DD;  in  ff.,  121  flf. 
Barbara  Ellen  27Z  DD  ;  128,  131 
Barbaree  Allen  27EE;   131 
♦Barbary  Allen  27MS  ;  121,  124 
Barbra  Allen  27L  AA ;  120,  129 
Barney  McCoy  113,  113AC;  346  f. 
Battle   of   Shiloh    Hill,   The   229; 

535 
Battle  Ship  of  Maine  239;  551 
Battleship  'Maine,'   The    (I)    235, 

235A;  546 


*  Battleship  'Maine,'  The   (II)   236, 

236A  ;  547 
♦Beaulampkins  29A  ;   140 
Beautiful  Susan  69;  251 
Berkshire     Tragedy,     The      (65 ; 

240) 
Bill  195E;  470 
*Bill    Miller's    Trip    to    the    West 
268;  622 
Billikins  and  his  Dinah  204B ;  484 
*Billy     Grimes    the     Drover     193. 
193A-H  ;   466 
Black  Birds  81L;  278 
♦Black-Eyed  Davy  37D  ;   164 
♦Black  Jack  David  37ABE ;  161  f., 
165 
Black  Mustache,  The  202BC ;  480 
♦Blind  Child,  The  149BK;  392  f. 
♦Blind    Child's    Prayer,    The    149 

DHIJ;   392   f. 
Blind    Girl,    The    149,    149CEGL; 

392    f. 
Blind  Girl's  Death  149FM  ;  393 
♦Blind   Girl's    Prayer    149A ;   392 
Blockader  Mama  314;  735 
Blockader's   Trail  313 ;   729 
♦Bloody  Miller;  or,  The  Murdering 

Miller,  The  65BH;  242,  245 
♦Bloody  Wars  239D ;   552 
Blue-Eyed  Ella  250FH  ;  583 
Blue  Eyes  156C;  416 
♦Bo  Lamkin  29B ;  142 
♦Bold  Robing  33;  153 
♦Bold  Soldier,  The  86D ;  289 

Bonapart's  Retreat  146D ;  387 
♦Bone  Part  146B  ;  386 
♦Bonnie  Blade,  The  183B;  454 
Bonny  Barbara  Allan  27  ;  1 1 1 
Bonny  Earl  of  Murray,   The  36 ; 
160 


738 


*Bostoii    Burglar,     The     242,     242 
AGDEF;  554  ff. 
Boston  Town  81CDH;  274,  276 
Boy  Leaving  Home  134;  369 
Boys,  Keep  Azvay  from  the  Girls 

206;  485 
Boys    Wont    Do    to    Trust,    The 
207;   486 
*  Brady  248;   571 
Bramble  Brier,  The  62;  229 
Brave  Irish  Lady,  A  90 ;  299 
Brisk     Young     Plow     Boy,     The 
99D;   316 
*Broken  Engagement,  The   155BC, 
156AD,   157B;   411   f.,  415,  417, 
419 
♦Broken  Heart,  The  157A;  417 
Broken  Heart,  The   158;   421 
Broken-Hearted   167C ;   431 
Broken   Ties  156,   156B;  415 
*Brown  Girl,  The  19J  ;  76 
Brushy    Mountains    Freshet,    The 

284;  658 
Bryan  O'Lynn  189;  459 
*Bugle    Boy^   The   49,    242 B ;    198, 

556 
*Bur(jlar  Man,  The  192;   465 
Butcher  Boy,  The  81,  81BF;  271, 

273,  275 
Bye   and    Bye    Von    Will    Forget 
Me   161  ;  424 

*Cabin  Boy,  47D ;  194 
♦Cambric   Shirt,   The    lAC;    13,   14 
Captain,    Captain,    Tell    me    True 
104B;  324 
♦Captain,  I'm  Drivin'  270G ;   626 
Captain  Kidd  116;  350 
Captain,     Oh     Captain,     Tell     me 

True  104D ;  325 
Captain    Weddcrburn's    Courtship 
12;  48 
♦Caroline  of  Eddingburg  124B;  360 
Caroline  of  Edinburgh  Town  124, 

1 24 A;  358  f. 
Casey  Jones  216,  216AB  ;  510  f. 
Charles  Gettau  249E ;  575 
Charles  Guitar  249H  ;  576 
*Charles     Guitcau    249,    249CDG ; 

572,  574  ff. 
♦Charlie  and  Bessie  71 B;  256 
Charlie  and  Mary  112B;  345 
Charlie  Lawson  298C ;  689 


Charming  Beauty  Bright  88;   293 
*Charming     Nancy     loi,     lOiBC; 
319  f. 
Cherry  Tree  Carol,  The  15;  61 
Cheyenne  269;  622 
Child  IVaters  17;  65 
Chowan  River  74 ;  261 
*Claud     Allen      246,      246ABCD; 

567  ff. 
♦Colony  Times  188B  ;  459 
Come  All  of  You  Who's   Been  in 
Love  and  Sympathize  with  Me 
65C;  243 
♦Come  All  Ye  Girls  from  Adam's 
Race  167E;  431 
Come    All    Ye    Jolly    Sportsmen 

190D  ;  462 
Come  All  Young  People  73 ;  259 
♦Come  and  I  Will  Sing  You  50B ; 
202 
Common  Bill  195  ;  469 
Courting  Too  Slow  (130;  366) 
Cowboy,  The  263BEGJ ;  616  f. 
Crafty  Farmer,  The  46;  188 
Cruel  Brother,  The  5 ;  35 
Cruel  Ship's  Carpenter,  The  (130; 

234) 
'Cumberland,'   The  225 ;   530 
Cumblom  225 ;  532 

Dame  Alice  was  Sitting  on  Wid- 
ow's Walk  28N ;  139 
♦Dandoo  44BC;  186  f. 
♦Danyou  44 A  ;   186 
Darby  and  Joan  180A ;  446 
Dark-Eyed  Sailor,  A  95A ;  310 
Dark-Eyed  Sailor,    The  95,   95B: 

310,  311 
Dark  Night,  The  59;  218 
Darling,     Do    You     Know     Who 
Loves  You?  153M  ;  407 
♦Dear  Son  7B ;  43 
Death  of  Birchie  Potter  295  ;  683 
♦Death   of   Emma    Hartsell    297A- 
E  ;  685  f . 
Death    of    Young    Monroe,    The 
213C;  504 
*Derby  Ram,  The  176;  439 
♦Destruction  of  the  Titanic  287BC ; 

663  f. 
Dilly  Song,  The  50;  199 
Di'i'es  and  Lazarus  I  54;  210 
Dives  and  Lazarus  H  55;  211 


739 


Dixie  and  Johnson  8oA ;  270 
Doy  and  Gun   197;  474 
*Do>t't   I'oryct   Mc,   Little  Darliiui 

163;  426 
♦Down  in  a   Lone  Valley  250LP ; 
585.  586 
Down  in  the  Willow  Garden  67 B  ; 

249 
Down   on   the    Bank   of   the   Ohio 

66D;  248 
Drcdry  Weather  168;  431 
♦Driver  Boy.  The  79A :  267 
Drou'sy  Sleeper,  The  71  ;  255 
Dnimmcr  Box  of  Shiloh,  The  230, 

230 ABC  ;  536  ff. 
Driuntncr  Boy  of  Waterloo,   The 

123;  357 
Dumb  Girl  183A  ;  453 
Dumb  Wife,  The  183;  452 
♦Dying     Cowboy,     The     263ACD- 
HIL;  615  ff. 
Dying     Cowboy's      Prayer,      The 
262A  :  613 
*Dyi>i(j  Fifer,  The  227 ;  533 
♦Dying  Lovers,  The  72B  ;  259 
Dying  Soldier  to  His  Mother,  The 
228;    534 

Earl  Brand  3  ;  27 
♦Earl  of  Moray,  The  36;   161 
*Early,    Early    in    the    Sprincj    87, 

87A  ;  290 
♦Early  in  the   Spring  87B;  291 

Echod  Mi  Yodea  (50;  199) 

Edivard  7,  7A  ;  41  f. 

Edward  92E ;  304 

Edivard  Hickman  257 ;  606 
*Edzi'ard  Leuns  291  ;  676 
♦Egyptian  Davy  O,  The  37C;    164 

Elfin  Knight,  The  i  ;   12 
♦Ellen  Smith  305ACD ;  714,  716 

Ellen  Smith  and  Peter  De   Graff 
305,  306;  714 

Emma     Hartsell     296,     296A-E; 
684  ff. 

Fair  Eleanor  19N ;  79 

Fair  Ellen  17;  65 

Fair  Ellender  3A ;  27 

Fair  Ellender  and  the  Brown  Girl 
19B :  71 

Pair  Pamiic  Moore  yy ;  264 


Pair    Margaret    and    Sweet    Wil- 
liam 20 ;   79 
Fair   Sally  90B ;  301 
Fair  Young  Ellen  250V  ;  589 
Paithful    Sailor    Boy,    'The     1 1 1  ; 

342 
Palsc-Hcarted  Lover.  A   141  ;  375 
False  Young  .Man,  The  (83;  283) 
Fare  Thee  Well  154C;  409 
Farewell,  Charming  Nancy  lOiA; 

319 
Farmer  John  Robbed  the  Robbers 

46B;  190 
Farmer's  Boy,  The  81 K;  276 
*Parmer's    Curst    Wife,    The    45: 
188 
Parmer's  Daughter,  The  175;  438 
♦Farmer's  Wife,  The  45;   188 
*I-atal  Wedding,   The  272 ;  629 
*  Pat  her.    Pother,    I    Am    Married 
199;  477 
Pather  Grumble  180 ;  445 
Finished  Letter,   The    (273;  634) 
♦First  Girl  I  Courted.  The  88AC ; 
293  f. 
Floella's  Death  250N ;  585 
Plorella      (The     Jealous     Lover) 
250;  578 
*'l-lorence    C.    McGee,'    The    286; 

660 
♦Florilla  251 D;  583 
*Ployd    Collins    212,    2I2.\C ;    408, 
500 
Floyd  Collins'  Death  212B;  500 
*Pond     Affection     153,     IS3ACE; 

398  f.,  400  f. 
♦Fond  Devotion  153H;  404 
♦Fond  of  Affection  153F;  402 
♦Forsaken  Lovers,  The  81 N;  279 

Fox  Chase,  The  190C;  462 
♦Fox  Hunt.  The  190E;  463 
♦Francis  Silvers  301  A;  701 
♦Francis  Silver's  Confession  301 B; 
703 
Prank  Dupree  247 ;   570 
Frankie  251  EI;  594,  596 
Prankie    and    Albert    251,    251 B; 
589.  592 
♦Frankie  and  Johnnie  251D;  593 
Frankie     Baker    251ACGH;    590, 
593.  595 


740  IN 

Frankie  Silver  301  ;  699 

Front     Hillsborough     Towtt     the 

First  of  May  27S;  649 
Future  Days  153I;  405 

♦Gallant  Sailor,  The  236 B ;  548 
♦Gallows  Tree,  The  30C;  144 
Gay  Young  Sailor  92A ;  304 
Gentleman  of  Exeter,  A  (58;  216) 
G cor  die  38 ;   168 
George   Coleman  28H  ;   137 
George  Collin  281 IJ;  137  f- 
♦George     Collins     28BDEFGLM ; 

134  ff-  138 
*Get    up    and    Bar    the    Door    43, 
43B  ;  183  ff. 
Ghost's  Bride,  The  58;  216 
Giles  Collins  28A ;  133 
♦Girl  I  Left  Behind,  The  145AEF ; 
378,  383 
Girl  I  Left  behind  Me,  The  145; 

378 
Girl  Volunteer,  The  100;  317 
♦Give   My  Love   to    Nell,   O   Jack 
274B;  636 
Gladys  Kincaid  297 ;  687 
Glove,  The  89;  296 
♦God  Moved  on  the  Waters  287H ; 

667 
♦Golden  Glove,  The  197A ;  475 
♦Golden    Willow    Tree,    The   47B; 
193 
Good  Old  Man,  The  191,  191AB; 
463  f. 
♦Good  Woman,  The  80B ;  271 
Gosport  Tragedy,  The  64,  64AB ; 

234  f?. 
*Grandma's    Advice    194,    194CE ; 

467  f. 
*Great  Granddad  266 ;  621 
♦Great  Sheep,  The  176A;  439 
♦Great  Titanic,  The  287 D ;  666 

Green  Beds  108;  334 

Greenbrier  Shore,  The  (85;  286) 
♦Gypsy  Davy,  The  37F ;  167 

Gypsy  Laddie,  The  37;  161 

*Hamlet  Wreck,  The  290;  674 
Handsome  Harry  68 ;  250 
Hangman,  Hangman  30  F;  146 

♦Hangman  Song  30G  ;   147 
Hangman's  Tree,  The  30I ;  147 


Happy  Stranger,  The   138;   372 
Hard  of  Hearing  187;  458 
Hateful  Mary  Ann  144;  377 
♦He  Done  Her  Wrong  251J  ;  596 

Hi  O,  Charleston  Row  208G ;  492 
*High  Barbary  118;  352 
Highway  Man,  The  30M  ;  148 
Holly  Txvig,  The  184;  454 
*Homesick    Boy,    The    170,    170A; 

433 
♦House  Carpenter,  The  40ABCEF 

H-M;   171   fif. 
♦House     Carpenter's     Wife,     The 

40D;   174 
♦How    Old    Are    You,    my    Pretty 
Little  Miss?  37G ;   167 
Hunt,    or.    The    Cruel    Brothers, 
The  62A  ;  229 

I    Am    a    Rambling    Rowdv    B&y 

(81;  271) 
I  Asked  my  Love  to  Take  a  Walk 

66H;  248 
♦I  Been  a  Miner  270B ;  625 
I    Dreamed    Last    Night    of    My 

True  Love  84;  285 
♦I   Gave  my  Love  a   Cherry   12B ; 

49 
I  Have  Forty  Ships  40G ;  175 
/    Left    Ireland    and    Mother    be- 
cause We  Were  Poor  134;  369 
I    Once    Did    Love    Your    Fond 

Aflfection   153D;  401 
/  Saw  Three  Ships  Come  Sailing 

In  53;  210 
♦I  Swapped  My  Horse  and  Got  Me 

a  Mare  196B ;  472 
/    Tuck    Me    Some    Corn    to    the 

County  Seat  178;  444 
I  Walk  Out  Last  Sunday  Morn- 
ing 83 B ;  284 
/  ««ai  Sitting  on  a  Stile  133;  369 
I    Will    Sing    You    One    O    (50; 

199) 
♦I    Wish    I    Were    a    Little    Bird 

170B;  434 
/  Wish  my  Love  zvas  in  a  Ditch 

126;  361 
I  Wish  that  I  was  Marble  155E; 

413 
//  /   Had  a  Scolding   Wife  200; 

478 


741 


If  It's  in  Your  Heart  153D;  40i 
I'm   Going   to   Get   Married  Next 

Sunday  173:  436 
hi  a  Cottage  by  the  Sea  114;  347 
In  Boston  Town  81EG;  275 
In   Eighteen   Hundred  and  Sixty- 
One  222;  528 
In  Good  Old  Colony  Times  188D  ; 

459 

*In  Jefferson  City  81  A;  272 
In  Johnson  City  81IJ;  276 
In    the   Good   Old   Colony    Times 
188A;  458 

*Indian  Mohee  iioF;  341 
Island  Mohee  iioK;  341 
Irish  Girl,  The  131 :  367 
Isle  of  St.  Helena,  The  146;  385 
It  Rained  a  Mist  34B  ;   157 

*It  is  Sinful  to  Flirt  275B  ;  638 

♦It's   Bloody   War  239C ;   552 

*It  Was  Early  87C;  292 

*Jack  and  Joe  274,  274AD-N  ;  635, 
637  f. 

Jack  Haggerty  260;  610 

Jack,  Joe,  and  Nell  274C ;  637 

Jack  Munro  99;  314 

Jackaro  (99;  314) 

Jackie  Frazier   (99;  314) 
♦Jacky,  the  Sailor  Boy  99A  ;  314 

Jam   at    Gerry's   Rock,    The   213; 
501,  503 

Jam  at  Gerry's  Rock ;  or.  Young 
Monroe  213B  ;  503 

James  A.  Garfield  249I ;  576 
*Jawes  Bird  221  ;  525 

James     Harris     (The     Daemon 

Lover)   40;  171 
♦Jealous   Lover,   The  2S0ABCEGI 

JOS;  579  ff. 
*Jesse  James  243,  244A-HJ  ;  557  ff. 

Jewish  Lady,  The  34D  ;   159 
♦Jimmy  and  Nancy  61  ;  223 
*Joe  Bozvers  258  ;  607 
*John  Hardy  244,   244BC ;    563   ff. 

John  Harmen  28K  ;  138 

John  Harty  244A  ;  563 
*John  Henry  270,  270AEF  ;  623  f., 

626 
*John  Reilley  93 ;  305 
♦Johnie  Henry  270C ;  625 

Johnny  Doyle  129;  365 


Johnny  Dye  129;  365 
*Johnnx    German    94,    94AB;    306, 

308" 
Johnny    Low,   Johnny    Low   30K ; 

147 
Johnny  Sams   181 D;  450 
*Johniw  Sands  181,  181BC;  448  f. 
Johnny  Vands  181A;  449 
Jolly  Group  of  Coivboys,  A  265 ; 

619 
Just     Remember     Pearl     Harbor 

241  ;  553 

Katharine  Jaffray  39;  169 

Katherine  Jeffrys  39;  169 

Katie's  Secret  174;  437 

Kennie  Wagoner's  Surrender  245; 
566 

Kenny    Wagner's   Surrender   245 ; 
566 
♦Kind  Wife  42A;  181 

Kingdom  Coming  232 ;  541 
*Kitty  Clyde  198,  198AB;  476 

Knight  and  the  Shepherd's  Daugh- 
ter, The  31 ;   149 

Knoxville  Girl,  The  65G ;  244 

Lady  Alice  28;  131 

Lady    and    the    Children    Three, 
The  25B;  97 

Lady  Gay  25E ;  99 

Lady    Isabel   and    the    Elf-Knight 
2;   15 

Lady  Margaret  20B ;  81 

Lady  Mar  get  20  A ;  79 

Lam  kin  29;   140 

Lancaster  Maid,  The  70 ;  253 
♦Lass  of  Mohay.  The  iioD;  341 

Lass  of  Roch  Royal,  The  22 ;  88 

Lassie  Mohee,  The  iioB;  341 

Last  Fierce  Charge,  The  231  ;  539 
♦Last  Saturday  Night,  Two  Weeks 
Ago  65L;  246 

Last  Words  of  William  Shackle- 
ford  293 ;  680 

Lawson  Murder.   The  298,   298B ; 
688  f. 

'Let's  Go  A-Hunting'  Says  Rich- 
ard to  Robert  57  ;  215 
*Lexington   Murder,    The  65,   65A 
DEFI :  240  ff. 

Lillian  Brown  299;  689 


742 


*Lillie  Shaw  308;  721 
*Lily  O  5B;  37 
Lily  of  the  ll'esf.  The  267  ;  622 
Lincoln  Gun  Boat,  The  232B  ;  542 
*Lion's  Den,  The  89B  ;  297 
*Little   Black   Mustache,   The  202, 
202 AD F;  479  f. 
Little  Darling  Pal  of  Mine  153K: 

406 
Little  Marion  Parker  256 ;   604 
Little  Mary  Faggen  253B;  600 
*Liftle    Marx    Phagaii    253,    253A 

CDE ;  598  ff. 
♦Little  Mathey  Grones  26B  ;   104 
Little  Mathigrew  26C ;   107 
Little  Mawhee,  The  iioj;  341 
Little  Mohca  no;  340 
Little  Mohea,  The  iioG;  341 
♦Little      Mohee,     The      iioACIL; 

340  f. 
♦Little  Molly  82E ;  283 
Little    Musgrave    and   Lady    Bar- 
nard 26;   lOI 
Little  Ploiving   Boy   103,    103AB ; 

322  f. 
Little  Rosebud  Casket  273X ;  632 
*  Little  Rosezvood  Casket  273 ;   273 

CE-JPRSVW;  631   f. 
*Liitle     White     Rose,     The     276, 

276A ;  640 
Locks  and  Bolts  84;  284 
Lone,    Green    Valley,    The    250T 

587 
Lone,    Lone    Valley,    The    250K 

58s 
Lone    Prairie,    The    262,     262B 

613  f. 
Lone  Widow,  The  25H  ;  100 
♦Lonesome  Low,  The  47C;   193 
Lonesome  Scenes  of  Winter,  The 

(91 ;  302) 
Lord  Bateman  14CD  ;  53,  55 
♦Lord  Batesman  14F ;  59 

Lord  Beham   14A  ;   51 
♦Lord  Bonnie  18;  67 
♦Lord   Daniel   26C;    107 
♦Lord  Daniel's  Wife  26A ;  102 
♦Lord  Daniels  26E ;  no 
Lord  Donald  26D ;   109 
*Lord  Lovel  21,  21CDEFG;  84,  86 
♦Lord  Lovel  and  Lady  Nancy  21 B; 
86  flf. 


Lord  Lovinder  21A;  85 
*Lord  Randal  6,  6BD  ;  39,  41 
♦Lord  Thomas  19DHIL  ;  71,  75  flF. 
*Lord  Thomas  and  Fair  Annet  19, 

19A;  69 
♦Lord   Thomas    and    Fair    Eleanor 

19FGM  ;  74,  77 
♦Lord   Thomas   and   Fair   EUender 
19E;   72 
Lord    Thomas   and    Fair    Ellenter 
19C;  71 
♦Lord    Thomas    and    Fair    Ellinor 
19K;  76 
Loreiia  Bold  Crexv,  The  119;  353 
Lost  on  the  'Lady  Elgin'  214 ;  506 
Love  Has  Brought  Me  to  Despair 

(81;   271) 
Love  Valley,  The  250M  ;  585 
*Lovely  Susan  96;  3n 
Lovers'  Farewell   155D;  413 
Lover's    Lament,     The    82,    82C ; 

279,  281 
Lovers  Parted  215b;  509 
Lowland  Lonesome  Low  47E;  195 
Lucy  Bound  41  ;   180 

Maggie  Walker  145D  ;  382 

*Maid    Freed    from    the    Gallows, 

The  30,  30ABEJ  ;   143  flf. 
♦Maid   I    Left  Behind,  The   145B; 

379 
Mama,   Mama,  Have  You  Heard? 

196F;  474 
Mama    Sent    Me    to    the    Spring 
142;   375 
*Man    Killed    by    Falling    from    a 
Horse  285 ;  659 
Manila  Bay  238;  549 
Manley  Pankey  292 ;  677 
Marching  to  Cuba  237 ;  548 
Marian  Parker  254 ;  603 
*Mary  of  the  Wild  Moor  78;  265 
Mary     Phagan     and     Leo     Frank 
253F;  602 
♦Massa's  Gone  Away  232A  ;  541 
Mermaid,  The  48;   195 
'Merrimac'  The  226 ;  533 
Met,    Loved,    and    Parted    155F; 

413 
Miller,  The  177BD;  441   f. 
*Miller  and  His   Three  Sons,  The 
177,   177AIJ;   440   f..  444 


743 


Miller's    Will.    The    177CH;    442, 

443 
Miss  Dinah  204C ;  484 
Mollie  and  ll'illic  98;  31 3 
*Mollie   Vaunders   76 B  ;   264 
Molly  Bawu  76;  263 
Monday    Morning    I    Got    Me    a 

Wife  184B;  455 
Moravian  Song  2SG ;  100 
♦Murder  of  James  A.  Garfield.  The 

249ABL;  572  f..  577 
*Murder  of  Laura  Poster,  The  302, 

302ABC;  707  fT. 
Murder    of    Marian    Parker,    The 

255;  604 
Murder    of    the    Lawson    Family 

298A;  688 
My  Bounic  Black  Bess   122;   356 
My  Father  Oh  No  30D  ;  146 
*My  Father's  a  Hedger  and  Ditcher 

185;  456 
*My    Grandma    Lives    on    Yonder 

Little  Green  194A  ;  468 
My  Grandma's  Advice  194D;  468 
My   Grandmother   Lived  on   Yon- 
der Little  Green  194B ;  468 
.1/v    Little    Dear,    So    Pare    You 

Well  167  ;  429 
My     Little     Love,     So     Farewell 

167D;  431 
♦My  Soldier  Boy  112A;  344 
My    Sii'eetheart's    Dying    Words 

169;  432 

Nancy  of  Yarmouth  61  ;  223 

Naomi  Wise  300CEFGH  ;  694  flf. 

Naomi  Wise — Spirit  300B  ;   693 
♦Napoleon  146A  ;  385 

Napoleon  Bonaparte  146C ;  386 

Nellie  Cropsey  307,  307 A ;  717  f. 

New  Ballad  90A  ;  299 
*Neii.'  River  Shore  85  ;  286 

'No    Home,    No    Home.'    said    a 

Little  Girl   148KM  ;  392 
♦.Vo  Sign  of  a  Marriage  203,  203A  ; 
481 

Nobody    Coming    to    Marry    Me 
185;   456 

Nora  Darling   113B;  347 

♦O  Drowsy   Sleeper  71E;  257 
O     Parents.     Parents.     All    Take 
Warning  72C ;  259 


Ocean  Bitrial,  The  261  ;  611 
Oflf   the    Shores    of    Havana.    Far 
Away  235 B;  547 
♦Oh  Lily  O  5A;  36 
♦Oh,    Captain.    Captain,    Tell    me 
True  104CJK;  325,  326,  327 
Oh,  Father,  Father,  Go  Build  me 
a  Boat  104F;  326 
♦Oh,  Father,  Go  Build  me  a  Boat 
104A;  324 
Oh,  Molly,  Dear  208F;  492 
Oh,  the  Lamp  Burns  Dimly  Down 
Below  48A ;  196 
♦Oh,    You    Drowsy    Sleeper    71 D; 
257 
01'     Gen'ral     Bragg's     a-Moimn 

Down  de  Yankees  233  ;  543 
Old  Billy  Dugger  283;  658 
Old  Christmas  Ballad  52A  ;  208 
*Old  Dyer,  The  179;  444 
Old  Johnston   Thought  It  Rather 

Hard  224;  530 
Old  Love  Song  153J;  406 
♦Old  Love  Song,  An  22B  ;  90 
♦Old   Man  from  the  North   Coun- 
tree  4B ;  33 
Old  Miller,  The  177F;  442 
Old  Miller  Rake,  The  177G;  443 
Old  Ninety  Seven  217D  ;  518 
Old  Summa  180D  ;  448 
Old  Summerfield  180B;  447 
♦Old  Woman  187;  457 
*Old     Woman's     Blind    Husband, 
The  182,   182AB  ;  450  f. 
Ole  Massa  Run,  Ha,  Ha;  or.  The 

Kingdom  Coming  232C ;  543 
♦On  Christmas  Day  53 ;  210 
On    Springfield    Mountain    208A ; 

490 
*0n    the    Banks    of   the    Ohio    66, 

66ABCEFG;  247  f. 
♦On    the    Field   of    Battle,    Mother 

228;  534 
*0n  the  Plains  of  Matuissas  223 ; 
529 
Once    I    had    a    Sweetheart    140; 

374 
Once   I   Loved  with   Fond   Affec- 
tion  153B;  399 
One  Porsaken,  The  162;  425 
One    Morning  in    May   iioE;   341 
*Ore  Knob,  The  211;  496 


744  I  N  i 

Or /'hail,  The  152;  397 

Orphan  Child.  The  148L ;  392 
*Orphan  Girl,   The  148,   148A-JN; 
388  ff. 

Orphan  Girl,  The  152A;  397 
♦Orphans,  The   150AB;  394  f. 

Orphant  Girl,  The  152B;  398 
*Oiir  Goodman  42,  42C ;    181,    183 

Over  the  Hills  to  the  Poor-House 
171 ;  434 

Package   of    Old    Letters,    A    273 
ADO;  631  f. 

Papa's  Going  to  Buy  Me  a  Mock- 
ing Bird  (196;  473) 

Parted  Lover,  The  215a;  508 
^Parting   Words  160;   423 
*Paul  Jones  220,  220AB  ;  523  f. 
*Pearl   Bryant  250U ;   588 

Peter  Degraflf  305 B ;  716 
*Polly  64C;  238 
*Polly   Bonn  76A  ;  263 

Polly  Oliver  97 ;  312 

Poor  Annie  300D ;  694 
*Poor  Jack  109,  109A ;  339 
*Poor  Jack  Is  Gone  a-Sailing  99B ; 

315 
Poor  Little  Ellen;  or,  Ellen  Smith 
306;  716 
♦Poor  Little  Sailor  Boy  151  A;  396 
*Poor   Naomi    (Omie    Wise)    300, 

300A  ;  690  ff. 
♦Poor  Nell  65 M  ;  246 
*Poor  Parker   117;   35i 
Poor  Willie  Dead  and  Gone  275E  ; 
638 
♦Prentice  Boy,  The  104L;  327 
♦'Prentice  Boy.  The  62B ;  230 

Pretty  Betsey  75;  262 
♦Pretty  Betsey  70;  254 
♦Pretty  Cold  Rain  2D  ;  20 
♦Pretty  Fair  Maid  92K ;  304 
Pretty    Fair    Maid    doiai    in    the 

Garden,  A  92;  304 
Pretty   Fair   Maid   in   the   Garden 
92H;   304 
♦Pretty  Maid  92I  ;  304 

Pretty  Mohea.  The  iioH;  341 
♦Pretty   Polly  2A.  64DE.  82B,  97, 
203B;  15.  239.  280,  312.  481 
Pretty   Susie    132;   368 
Prettx  Susie,   The   Pride   of  Kil- 


dare  132;  368 
Prince   of  Morocco;    or,  Johnnie, 

The  63;  232 
Prohibition  Boys,  The  309;  722 
Prohibition  Whiskey  310;  724 

Queen    Eleanor's    Confession    35; 
160 

Rambling  Beauty.  The   (91  ;  302) 
*Rambliny  Boy,  The  121  ;  355 
♦Rattle  Snake  208C ;  491 
Raven  Dark  Hair  153G;  403 
Rebel    Acts    of   Hyde,    The   281; 

655 
Red  River  Shore,  The   (85;  286) 
Regulator  Songs  277-280;  645  ff. 
Rejected  Lover,  The  (91  ;  302) 
Restless  Grave,  The  24;  94 
♦Returning  Soldier,   The  92B ;   304 
♦Rich  Esquire,  The  197B;  475 
♦Rich   Man  and  Lazarus,  The  54; 
210 
Rich     Nobleman's     Daughter,     A 

102 ;   320 
Richest  Girl  in  Our  Town   (Lucy 
Bound)  41  ;  180 
♦Riddle  Song.  The  12A;  49 
*Ripest  Apple,  The  165 ;  428 
Robert     Lerow     and     His     Dila 

204 D ;  484 
Robin  Hood  and  Guy  of  Gisborne 

32;   151 
Robin  Hood  and  Guy  of  Gusborne 

32;    151 
Robin     Hood    Rescuing     Three 
Squires  33;   152 
*Romish  Lady.  The  56;  212 
*Rose  Connolly  67,  67A  ;  248  f. 
♦Rose  de  Marian  Time  iB;  14 

Rose-Bud  Casket,  The  273M  ;  632 
♦Rosewood    Casket,    The    273BKL 
NQT;  631  ff. 
I^oy's    Wife    of    Aldivalloch    125; 
360 
♦Rugged  Soldier,  The  92C ;  304 

Sadie  252;  597 

Said  an  Old  True  Love  40N  ;  179 
Sailor.  The  lOiD;  320 
Sailor  Boy,  The  104;  323 
♦Sailor  Boy.  The  iiiABCD;  342  f. 


745 


Sailor's  Bride,  The  112;  344 
Sailors'  Song  109B;  340 
Sailor's   Sweetheart.   A  92G ;   304 
♦Sarpint  208E ;  4QI 
♦Saucy  Anna  Lee  143B;  377 
Saucy     Sailor     Roy,     The     (109; 

339) 
Savs    Urohock    to    l'innii)i(i    279; 
652 
*Scarl>oro      Sand      (Robin      Hood 

Side)    105;  329 
*Scoldiit(j  Wife.   The  201.  201AB; 
478  f. 
Separation  153L;  407 
♦Serpent,  Tlie  208BD  ;  490  f. 
*Sen'aHt  Man  91  ;  302 
♦Seven   Brothers  3C ;  29 
Seven   Long   Years   He   has   Kept 
Me  Waiting  92J  ;   304 
♦Seven  Sisters,  The  2B  ;  17 
♦Seven  Year  Song  88 B ;  294 
♦Seventh     King's     Daughter,     The 

2CG;    18,  25 
She    Was    Happy    Till    She    Met 

YoH   164 ;  427 
She's     Like     the     Swallow     (81  ; 

271) 
Shearfield    Apprentice    Boy,    The 
120C;  355 
*Sheffleld     Apprentice,     The     120, 

120AB;  353  f. 
*Ship    that    Never    Returned,    The 

215,  215A-K  ;  507 
♦Ship  Titanic,  The  287E;  667 
*Shu  Lady  311  ;  725 
Shule  Aroon  127;  362 
Silk-Merchant's     Dati(fhter,     The 
107.   107AB;  331   ff. 
♦Silly  Bill  195ABD  ;  469  f  • 
♦Silly  Billy  195C;  470 
Silver  Dagger.  The  72 ;  258 
♦Sinful  Flirting  27SA  ;  638  f. 
Sinful  to  Flirt  275G ;  638 
Sing  with  Feeling  167B  ;  430 
♦Singing   the    Ten   Commandments 

50A  ;  200 
♦Single  Sailor,  The  92A  ;  304 
Single  Soldier,  The  92F ;  304 
Sinking  of  the  Great  Ship  287A  ; 

662 
Sinking     of     the     Titanic,     The 
287FG;  667 


Sir  Hugh:  or,  The  Je^c's  Daugh- 
ter 34:  155 
Sir  Patrick  Spence  16;  64 
*Sir  Patrick  Spens   16;  63 
Sir    William    and    Fair    Ellender 
3E;  31 
♦Sister,  Sister,  Have  You  Heard? 

196E;  474 
♦Six   Fair   Maids,  The  2F ;  24 
*Skew  Hall  136,  136A  ;  371 
Soldier's    Poor    Little    Boy.    The 
151.  151 B;  396,  397 
*Soldier's  Wooing.  The  86;  287 
Song  15B  ;  62 
Song    about    a    Man-of-War.    A 

115;  348 
Song  Ballad.     Kate   Seacret   174; 

437 
Song    Ballad    of    George    Collins 

28C;   134 
Song  Ballet  243I  ;  562 
Song   of  Daile\'s   Life-Boat,    The 

289:    671 
Song   of    Nellie    Cropsy    and    Jim 

Wilcox  307B  ;   719 
Springfield  Mountain  208  ;  489 
Squire's   Sons,  The  89A  ;  296 
Stewbald  136B  ;  371 
Stinging  Bee  82D  ;  282 
♦Storms    Are   on   the   Ocean,   The 

22A  ;  88 
*Sfrange    Things    Wuz  Happening 

240;  553 
Suffolk  Miracle.  The  41  ;  180 
♦Susan  Price  14E ;  57 
Susie  Silvers  301 C;  703 
Susie's     Search     for     her     Lover 
104I  ;  326 
♦Swannanoa  Tunnel  270I  ;  627 
*Swapping   Songs   196,    196A ;    471 
*S2^'eet  Jane  259,  259AB  ;  608  ff. 
Szveef  Lily  139:  373 
♦Sweet  Sally  90C;  301 
Sweet  the  Hour  when  First  I  Met 

You  155G;  414 
Siveet  Trinity.  The    ( The  Golden 

I'anity)  47;  191 
Sweet     William    2E,     20G,    81 M, 
204E ;  22,  83,  278,  484 
♦Sweet    William    and    Fair    Ellen 
3B;  28 


746 


*Swcct    IVilliavi    and   Nancy    130; 
366 
Sweet  William's  Ghost  23;  92 
*Sweet     Willie     3FG,     20C,     31, 
104EH ;    31,    82,    149,    325,    326 
Sweet  Willy  22,;  93 
Siveetheart,  Farewell  166 ;  428 
Sweetheart  in  the  Army.  A    (92; 
304) 

Take  This  Hammer  270D  ;  626 

Tennessee  Girl,  The   145G;  384 

*Texas  Ranger,   The  234,  234BC ; 

544   ff- 
Texas  Rangers  234AD  ;  544,  546 
*That  Bloody  War  239,  239A ;  550 
That  Little  Black  Mustache  202E ; 

480 
There    is    a    Town    Where    I   did 

Dwell  104G;  326 
There's  a  Rosewood  Casket  274U  ; 

632 
They    Sa\    It    is   Sinful    to    Flirt 

27s  \  638 
They  Were  Standing  by  the  Win- 
dow 157.  157CD;  417,  419  ff. 
Thimble     Buried    His     Wife    at 

Night  205 ;  484 
This  Night  We  Part  Forever  159; 

422 
Thomas  Rymer  10 ;  46 
Three  Black  Crows   (9;  46) 
Three  Butchers.  The  80;  269 
Three  Drowned  Sisters,  The  210; 

495 
Three  Jolly  Welshmen  190,  190A; 
460 
*Threc   Leaves   of  Shamrock    135; 

370 
♦Three    Little    Babes.    The    25AC 

DE;95.  98f. 
*Three   Pore  Little  Children,  The 
25F;  99 
Three  Ravens,  The  9;  46 
*Three    Rogues.    The    188.    188C; 

458  f. 
*Tiranti,   My  Son  6A ;  39 
'Tis  Nozi',   Yotmg  Man,  Give  Me 

Attention  312;   728 
'Titanic'   The  287;  662 
♦Tom  Dooley  303BC ;  712 
Tom  Dula  303.  303 A  ;  711 


Tom  Dula  and  Laura  Foster  302- 

304;  703  ff. 
Tom    Dula's    Lament    304,    304A ; 

713 
Tragedy   of   the    Death   of   Laura 

Foster   302D  ;    711 
Train  that   Never   Returned,  The 

215c;  509 
Trappan'd  Maiden.  The  (70;  253) 
Trooper  and  Maid  49;   198 
♦True  Love  30H ;  147 
True  Thomas  10;  47 
Turkish  Factor,  The  60;  220 
Turkish  Lady,  The  14B;  53 
♦Turkish  Revoloo,  The  47A  ;  191 
Twelve  Apostles,  The    (50;   199) 
*Twelve   Blessings    of   Mary,   The 

51  ;  206 
*Twelve   Davs   of   Christmas.    The 
52.  S2BC;  208  f. 
Tu'o  Brothers,  The  13;  49 
Two  Little  Boys  Going  to  School 

13;  49 
Tzi'o    Little    Children    150,    150C; 
394  f. 
♦Two  Little  Orphans  150D;  395 
*Two  Sisters.  The  4.  4AC ;  32,  34 
♦Two  Soldiers,  The  231AB;  539  ff. 

Unfortunate  Rake,   The  263 ;  614 
U)iquiet  Grai'C,  The  24 ;  94 

♦Villikins  and  his  Dinah  204A  ;  483 

♦War  is  A-Raging,  The  looB;  318 
♦War  is  Now  Raging  and  Johnny 

He  Must  Fight  looC;  318 
♦War  Song  99C ;  316 
Way  Down  in  Lone  Green  Valley 
250W;    589 
*We    Have    Met    and    We    Have 
Parted  I55.  ISSA;  410 
We     Hunted    and    We    Hollered 

190B  ;  461 
Wee.  Wee  Man.  The  11;  47 
Wexford  Girl,  The  65K  ;  246 
♦What  Luck,  Young  Johnny  108B; 
336 
When    Fanning    First    to    Orange 

Came  277 ;  648 
When  I  Was  a  Little  Boy  196D ; 
473 


747 


♦When    I    was   a    Bachelor    184 A ; 

455 
When    the    Work    is    Done    This 

Fall  264;  618 
When    You    and    I    Zi'cre    ]'ouiiij, 

Maggie   137;   371 
♦Whistle.  Daughter  186ABC;  457  f. 
Whistle,   Daughter.    Whistle    186; 

457 
White  Rose.  The  276BC;  640 
Who  Would  Ha7'e  Tho't  Harmon 

280;  653 
*Wife   of    Usher's    Well,    The   25, 

25E;  95,  99 
♦Wife  Wrapped  in  a  Wether  Skin. 

The  44D;  187 
Wife    Wrapt    in    II' ether's    Skin, 

The  44;  185 
Will  of  the  Old  Milliar,  The  177E  ; 

442 
Wilkins  and  His  Dinah  204 ;   482 
*William  Riley  128;  363 
William     Shacklejord's     Tareicell 

Song  294;  682 
William   S.  Shacklcjord    (alias  J. 

P.  Davis)  293,  294 ;  677 
*William  Taylor  106;  330 
Willie  275CD;  638 
Willie  Ransome  6C ;  40 
With  Feeling  82A ;  279 


Wittani  Miller.  The  (65;  240) 
Wounded  Cowboy.  The  263F;  617 
Wreck  of  No.  97  217C;  517 
Wreck   of  the  'Huron,'   The   288, 

288 AC  ;  668,  670 
Wreck  of  the  Old  97  217F;  520 
*  Wreck   of  the  Old  Ninety-Seven, 

The  217,  217ABE;   512,  516  f., 

519 
Wreck    of    the    Royal   Palm    218; 

521 
Wreck   of  the  'Shenandoah'  219; 

522 

Yankee  Soldier,  The  86C;  289 
♦Yorkshire  Bite,  A  46A ;   189 
*You   are   False,   but   Til  Forgive 
You   154,   154A;  408 
You're   the  Man    That   Stole   My 

Wife  172;  436 
You  were  False  154B;  409 
Young  Beichan  14;  50 
*Young  Charlotte  209,  209ABCD  ; 
492  f. 
Young    Edwin    in    the    Loivlands 

Loxv  79;  266 
Young  Emily  79B  ;  268 
Young  Hunting  18;  67 
♦Young  Johnny  108ACDE;  334  IT. 


Illllllllill 
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