No. 10: The Twa Sisters
[Below are the Contents and after the illustration, Child's Narrative begins. Originally Child had Ballad Texts A-U, the other texts V-Z were added in later editions in "Additions and Corrections." No record of Child J, "The Miller Melody" a 1656 broadside from Rimbault exists. The text is nearly identical to "The Miller and the King's Daughter" and should be included under A (see my headnotes under British and Other Versions). U and Z are texts from the US. I've supplied footnotes and changes to Child U and Y. I have a copy of Parson's letters to Percy the source of version Y. There are two versions of Y, the second was used by Child and is marked by Parsons as "imperfect." I have made the changes of Y from the first MS version. Phillips Barry (see The Two Sisters: Prolegomena to a Critical Study, 1931) in BFSSNE, 9, p. 5, has labeled additional Child versions (past version Z) such as Child CC (ESPB, p. 448-449, MS of Thomas Wilkie, 1813) Child DD (Child MSS., XVIII, 20, from Co. Meath, Ireland) and Child EE (Cunningham, Songs of Scotland, II, 109, one stanza, ESPB., I, 119). All the English derived texts will appear as a separate page with original sources and my headnotes under the attached page: 4. British and Other Versions.
What Phillips Barry called the "resuscitation-ritual," where the murdered girl's hair and body parts are used to make a fiddle or harp, is found in Child A-L and in a half-dozen versions from the US.
Botkin points out that a common refrain "Bow-ee down" (Bow ye down) and "Bow and balance to me," are indicative of dance steps and are used in dance calls found in the US and variants of the ballad are used as play-party songs (American Play-Party Songs 1937). One of the stock movements in New England contra dancing known as "the balance," a kind of sideways kick (Tolman and Page 1976:34, 90). "Roll to the right and balance there," or, "Balance and swing," are typical square dance calls.
Child thought that the Scottish place name of the mill dam sometimes ascribed to the drowned girl, Binnorie (Binorie), was a corruption of one of the refrains (Binorie O Binorie/bonnie milldams o binorie). According to Bronson; The Ballad as Song, p. 45: "Child's suggestion that the explanation of the obscure name, "Binnorie," may possibly lie in the phrase, "On the banks of the Banna, ohone and aree," is supported neither by the rhythm nor by the Irish tunes, which appear fairly distinct from the Binnorie group." According to Chapbook: Volumes 2-3 (Federation of Scottish Folk-Song Clubs, Aberdeen Folk-Song Club) "The location of the mill dams o' Binorie has puzzled many collectors. One possible explanation is that Binorie is a corruption of "by Norham" as one of the earliest versions gives the village of Norham on the Tweed as the scene of the murder." The name variant Minnorie (Minorie) is rarely found and was first taken down from Bell Robertson in the early 1900s.
In the US there are distinct variants based on the refrain:
1) The standard refrain has "Bow down" or "Bow and balance to me" and usually ends, "If my love be true to me."
2) The 'Wind and rain" or "dreadful wind and rain" refrain as done by Levi Sims (1931), Kilby Snow (c. 1913) and Dan Tate (recorded 1941) and others. This version has been redone with modified lyrics by Jody Stecher, Jerry Garcia and others. Some of lyrics consist of one repeated line.
3) "Rolling by rolling" and "Down by the waters rolling," are found in the Florida and other versions.
It's been pointed out (Barry 1937, Sims version) that the refrain, "With a heigh-ho, the wind and the rain," in the song ca 1550 from the epilogue of Shakespeare's Twelfth Night, "When that I Was a Little Tiny Boy" closely resembles the refrain "Oh, the wind and the rain" found in Sim's, Kilby Snow's, and Dan Tate's versions usually titled, "The Wind and Rain." Shakespeare's refrain seems to be from tradition. Kilby Snow singing Shakespeare, fact is stranger than fiction!
R. Matteson 2011, 2014]
CONTENTS:
1. Child's Narrative
2. Footnotes (added at the end of Child's Narration)
3. Brief (Kittredge)
4. Child's Ballad Texts A-Z; (U and Z are American texts; Changes for A b-d and B b-d are found in End-Notes)
5. Endnotes
6. Additions and Corrections
ATTACHED PAGES (see left hand column):
1. Recordings & Info: The Twa Sisters
A. "The Twa Sisters" Going Which Way?- Parker 1951
B. The Twa Sisters: A Santal Folktale Variant
C. English, Scottish & American Versions of the 'Twa Sisters'
D. Roud Number 8: Twa Sisters
E. Two Gaelic Variants of "The Two Sisters"
2. Sheet Music: The Twa Sisters (Bronson's texts and some music examples)
3. US & Canadian Versions
4. British and Other Versions (Including Child versions A-Z with additional notes)]
5. Binnorie- Joseph Jacob; English Fairy Tales 1890
The Twa Sisters: Child's Narrative
A. a. 'The Miller and the King's Daughter,' broadside of 1656, Notes and Queries, 1st S., v, 591.
b. 'Wit Restor'd, 1658,' p. 51, in the reprint of 1817, p. 153.
c. 'The Miller and the King's Daughters,' Wit and Drollery, ed. 1682, p. 87.
d. 'The Miller and the King's Daughter,' Jamieson's Popular Ballads, I, 315.
B. a. 'The Twa Sisters,' Jamieson-Brown Manuscript, fol. 39, 1783.
b. 'The Cruel Sister,' Wm. Tytler's Brown Manuscript, No 15, 1783.
c. 'The Cruel Sister,' Abbotsford Manuscript, "Scottish Songs," fol. 21, c. 1803.
d. 'The Twa Sisters,' Jamieson's Popular Ballads, I, 48, 1806.
C. 'The Cruel Sister,' Scott's Minstrelsy, II, 143 (1802).
D. 'The Bonnie Milldams of Binnorie,' Kinloch Manuscripts, II, 49.
E. 'The Twa Sisters,' Sharpe's Ballad Book, No x, p. 30.
F. 'The Bonny Bows o London,' Motherwell's Manuscript, p. 383.
G. Motherwell's Manuscript, p. 104.
H. Motherwell's Manuscript, p. 147.
I. 'Bonnie Milldams o Binnorie,' Kinloch Manuscripts, v, 425.
J. 'The Miller's Melody,' Notes and Queries, 4th S., v, 23.
K. 'Binnorie,' Kinloch's papers.
L. a. 'The Miller's Melody,' Notes and Queries, 1st S., v, 316.
b.'The Drowned Lady,' The Scouring of the White Horse, p. 161.
M. 'Binorie, O an Binorie,' Murison Manuscript, p. 79.
N. 'Binnorie,' [Pinkerton's] Scottish Tragic Ballads, p. 72.
O. 'The Bonny Bows o London.'
a. Buchan's Ballads of the North of Scotland, II, 128.
b. Christie's Traditional Ballad Airs, i, 42.
P. a. 'The Twa Sisters,' Motherwell's Manuscript, p. 245.
b. 'The Swan swims bonnie O,' Motherwell's Minstrelsy, Appendix, p. xx.
Q. 'The Twa Sisters,' communicated by J. F. Campbell, Esq.
R. a. 'The Three Sisters,' Notes and Q., 1st S., vi, 102.
b. 'Bodown,' communicated by J. F. Campbell, Esq.
c. 'The Barkshire Tragedy,' The Scouring of the White Horse, p. 158.
S. Kinloch Manuscripts, vi, 89.
T. 'Sister, dear Sister,' Allingham's Ballad Book, p. xxxiii.
U. From Long Island, N. Y., communicated by Mr. W. W. Newell.
[V. Campbell Manuscript, II, 88.
W. Communicated by Mr. Thomas Lugton, of Kelso, as sung by an old cotter-woman fifty years ago; learned by her from her grandfather.
X. Dr. Joseph Robertson's Note-Book, January 1, 1830, p. 7.
Y. Communicated to Percy, April 7. 1770, and April 19, 1775, by the Rev. P. Parsons, of Wye, near Ashford, Kent: "taken down from the mouth of the spinning-wheel, if I may be allowed the expression."
Z. 496 a. This copy of 'The Twa Sisters,' Z, a variety of R, was derived from ladies in New York, and by them from a cousin.]
This is one of the very few old ballads which are not extinct as tradition in the British Isles. Even drawing-room versions are spoken of as current, "generally traced to some old nurse, who sang them to the young ladies."[1] It has been found in England, Scotland, Wales, and Ireland, and was very early in print. Dr. Rimbault possessed and published a broadside of the date 1656[2] (A a), and the same copy is included in the miscellany called Wit Restor'd, 1658. Both of these name "Mr. Smith" as the author; that is, Dr. James Smith, a well-known writer of humorous verses, to whom the larger part of the pieces in Wit Restor'd has been attributed. If the ballad were ever in Smith's hands, he might possibly have inserted the three burlesque stanzas, 11-13; but similar verses are found in another copy (L a), and might easily be extemporized by any singer of sufficiently bad taste. Wit and Drollery, the edition of 1682, has an almost identical copy of the ballad, and this is repeated in Dryden's Miscellany, edition of 1716, Part III, p. 316. In 1781 Pinkerton inserted in his Tragic Ballads one with the title 'Binnorie,' purporting to be from Scottish tradition. Of twenty-eight couplets, barely seven are genuine. Scott printed in 1802 a copy (C) compounded from one "in Mrs. Brown's Manuscript" (B b) and a fragment of fourteen stanzas which had been transcribed from recitation by Miss Charlotte Brooke, adopting a burden found in neither,[3] Jamieson followed, four years after, with a tolerably faithful, though not, as he says, verbatim, publication of his copy of Mrs. Brown's ballad, somewhat marred, too, by acknowledged interpolations. This text of Mrs. Brown's is now correctly given, with the whole or fragments of eleven others, hitherto unpublished.
The ballad is as popular with the Scandinavians as with their Saxon cousins. Grundtvig, 'Den talende Strengeleg,' No 95, gives nine Danish versions and one stanza of a tenth; seven, A-B, in II, 507 ff, the remainder, H-K, in III, 875 ff. One more, L, is added by Kristensen, No 96, I, 253. Of these, only E had been previously printed. All are from tradition of this century.
There are two Icelandic versions, A from the 17th, B from the 19th, century, printed in Íslenzk Fornkvæði, No 13, 'Hörpu kvæði.'
Of twelve Norwegian versions, A, by Moe, "is printed in Norske Universitets og Skole-Annaler for 1850, p. 287," and in Moe's Samlede Skrifter, II, 118, 'Dae bur ein Mann hæer utmæ Aa;' B, by Lindeman, Annaler, as before, "p. 496," and in his Norske Fjeldmelodier, vol. I, Tekst-Bilag, p. 4, No 14, 'Dei tvæe Systa; ' C, by Landstad, 'Dei tvo systar,' No 53, p. 480; D-L are described by Professor Bugge in Grundtvig, III, 877 f; M "is printed in Illustreret Nyhedsblads Nytaarsgave for 1860, p. 77, Christiania."
Four Färöe versions are known: A, 'Horpurima,' "in Svabo's Manuscript, No 16, I, 291," incorrectly printed by Afzelius, I, 86, and accurately, from a copy furnished by Grundtvig, in Bergström's edition of Afzelius, II, 69; B, a compound of two versions taken down by Pastor Lyngbye and by Pastor Schroter, in Nyeste Skilderie af Kjøbenhavn, 1821, col. 997 ff; C, a transcript from recitation by Hammershaimb (Grundtvig); D, "in Fugloyjarbók, No 31."
Swedish versions are: A, 'Den underbara Harpan,' Afzelius, No 17, I, 81, new ed., No 16, i, I, 72: B, 'De tva Systrarne,' Afzelius, No 69, in, 16, new ed., No 16, 2, i, 74: C, D, E, imprinted copies in Cavallius and Stephens's collection: F, 'De tva Systrarne,' Arwidsson, No 99, II, 139: G, 'Systermordet,' E. Wigström, Skanska Visor, p. 4, and the same, Folkdiktning, etc., No 7, p. 19: H, Rancken, Några Prof af Folksång, No 3, p. 10. Afzelius, moreover, gives variations from four other copies which he had collected, in, 20 if, new ed., II, 74 ff; and Rancken from three others. Both of the editors of the new Afzelius have recently obtained excellent copies from singers. The ballad has also been found in Finnish, Bergström's Afzelius, II, 79.
There is a remarkable agreement between the Norse and English ballads till we approach the conclusion of the story, with a natural diversity as to some of the minuter details.
The sisters are king's daughters in English A, B, C, H, O(?), P, Q, R a, and in Swedish B and two others of Afzelius's versions. They are an earl's daughters in Swedish F, and sink to farmer's daughters in English R b, c,[4] Swedish A, G, Norwegian C.
It is a thing made much of in most of the Norse ballads that the younger sister is fair and the older dark; the younger is bright as the sun, as white as ermine or as milk, the elder black as soot, black as the earth, Icelandic A, Swedish A, B, G, Danish A, D, etc.; and this difference is often made the ground for very unhandsome taunts, which qualify our compassion for the younger; such as Wash all day, and you will be no whiter than God made you, Wash as white as you please, you will never get a lover, Färöe A, B, Norwegian A, C etc. This contrast may possibly be implied in "the youngest was the fairest flower," English F, G, Q ["sweetest," D], but is expressed only in M, "Ye was fair and I was din" (dun), and in P a, "The old was black and the young ane fair."
The scene of action is a seashore in Icelandic and Färöe A, B, Norwegian A, Swedish A, B, G, H, and in all the Danish complete copies: a seashore, or a place where ships come in, in English A, B a, D-I, Q, R a, T, but in all save the last of these (the last is only one stanza) we have the absurdity of a body drowned in navigable water being discovered floating down a mill-stream. [5] B c has "the deep mill-dam;" C "the river-strand," perhaps one of Scott's changes; M, "the dams;" L, O, P, R b c, a river, Tweed mill-clam, or the water of Tweed. Norwegian B has a river.
The pretense for the older sister's taking the younger down to the water is in English A-E, G, H, I, O, Q, to see their father's ships come in; in Icelandic B to wash their silks;[6] J in most of the Norse ballads to wash themselves, so that, as the elder says, "we may be alike white," Danish C-H, Norwegian A, C, Swedish F, G, Färöe A, B. Malice prepense is attributed to the elder in Swedish B, F, Norwegian C, Danish B, F, G: but in Färöe A, B, Norwegian A, B, and perhaps some other cases, a previous evil intent is not certain, and the provocations of the younger sister may excuse the elder so far.
The younger is pushed from a stone upon which she sits, stands, or steps, in English B, C, B-H, M, O, Q, Icelandic A, B, Färöe A, B, Norwegian A, B, C, Danish A-E, H, L, Swedish G, H, and Rancken's other copies.
The drowning scene is the same in all the ballads, except as to one point. The younger sister, to save her life, offers or consents to renounce her lover in the larger number, as English B-E, G, H, I, M, P, Q, Danish A-D, F, G, I, Swedish A-D, G, H; and in Icelandic B and "all the Färöe" ballads she finally yields, after first saying that her lover must dispose of himself. But Swedish F, with more spirit, makes the girl, after promising everything else, reply:
'Help then who can, help God above!
But ne'er shalt thou get my dear true-love.'
In this refusal concur Icelandic A, Danish E, H, L, and all the Norwegian versions except L.
Swedish A, G, and Rancken's versions (or two of them) make the younger sister, when she sees that she must drown, send greetings to her father, mother, true-love [also brother, sister, Rancken] , and add in each case that she is drinking, or dancing, her bridal in the flood, that her bridal-bed is made on the white-sand, etc.
The body of the drowned girl is discovered, in nearly all the English ballads, by some member of the miller's household, and is taken out of the water by the miller. In L b, which, however, is imperfect at the beginning, a harper finds the body. In the Icelandic ballads it is found on the seashore by the lover; in all the Norwegian but M by two fishermen, as also in Swedish D [fishermen in Swedish B]; in all the Färöe versions and Norwegian M by two "pilgrims;"[7] in Danish A-F, L, and Swedish C by two musicians, Danish H, Swedish A, G, one. Danish G, which is corrupted at the close, has three musicians, but these simply witness and report the drowning.
According to all complete and uncorrupted forms of the ballad, either some part of the body of the drowned girl is taken to furnish a musical instrument, a harp or a viol,[8] or the instrument is wholly made from the body. This is done in the Norse ballads by those who first find the body, save in Swedish B, where fishermen draw the body ashore, and a passing "speleman" makes the instrument. In English it is done by the miller, A; by a harper, B, C, G, L b (the Icing's harper in B); by a fiddler, D, E, I, L a(?), O, P (the king's fiddler, O(?), P); by both a fiddler and the king's harper, H; in F by the father's herds man, who happens to be a fiddler.
Perhaps the original conception was the simple and beautiful one which we find in English B and both the Icelandic ballads, that the king's harper, or the girl's lover, takes three locks of her yellow hair to string his harp with. So we find three tets of hair in D, E, I, and three links in F, P, used, or directed to be used, to string the fiddle or the fiddle-bow, and the same, apparently, with Danish A. Infelicitous additions were, perhaps, successively made; as a harp-frame from the breast bone in English C, and fiddle-pins formed of the finger-joints, English F, O, Danish B, C, E, F, L. Then we have all three: the frame of the instrument formed from the breast (or trunk), the screws from the finger-joints, the strings from the hair, Swedish A, B, G, Norwegian A, C, M. And so one thing and another is added, or substituted, as fiddle-bows of the arms or legs, Swedish C, D, Danish H, English L a; a harp-frame from the arms, Norwegian B, Färöe A; a fiddle-frame from the skull, Swedish C, or from the back-bone, English L b; a plectrum from the arm, Färöe B; strings from the veins, English A; a bridge from the nose, English A, L a; "hørpønota" from the teeth, Norwegian B; till we end with the buffoonery of English A and L a.
Swedish H has nothing about the finding of the body. Music is wanted for the bridal, and a man from another village, who undertakes to furnish it, looks three days for a proper tree to make a harp of. The singer of this version supplied the information, lost from the ballad, that the drowned sister had floated ashore and grown up into a linden, and that this was the very tree which was chosen for the harp. (See, further on, a Lithuanian, a Slovak, and an Esthonian ballad.)
All the Norse ballads make the harp or fiddle to be taken to a wedding, which chances to be that of the elder sister with the drowned girl's betrothed.[9] Unfortunately, many of the English versions are so injured towards the close that the full story cannot be made out. There is no wedding-feast preserved in any of them. The instrument, in A, B, C, H, is taken into the king's presence. The viol in A and the harp in H are expressly said to speak. The harp is laid upon a stone in C, J, and plays "its lone;" the fiddle plays of itself in L b.[10] B makes the harper play, and D, F, K, O, which say the fiddle played, probably mean that there was a fiddler, and so perhaps with all the Norse versions; but this is not very material, since in either case the instrument speaks "with most miraculous organ."
There are three strings made from the girl's hair in Icelandic A, B, English B [veins, English A], and the three tets or links in English D, E, F, I, P were no doubt taken to make three strings originally. Corresponding to this are three enunciations of the instrument in English A, B, C, Icelandic A, Färöe A,[11] B, Swedish A, B, C, E, G, H, Danish A, D, F, I. These are reduced to two in Icelandic B, Danish B, C, H, L, Swedish D, and even to one in English D, F, I, K, O, but some of these have suffered injury towards the conclusion. The number is increased to four in Norwegian B, to five in Norwegian A, D, and even to six in Norwegian C, K, M. The increase is, of course, a later exaggeration, and very detrimental to the effect. In those English copies in which the instrument speaks but once,[12] D, F, K, O, and we may add P, it expresses a desire for vengeance: Hang my sister, D, F, K; Ye'll drown my sister, as she 's dune me, O; Tell him to burn my sister, P. This is found in no Norse ballad, neither is it found in the earliest English versions. These, and the better forms of the Norse, reveal the awful secret, directly or indirectly, and, in the latter case, sometimes note the effect on the bride. Thus, in Icelandic B, the first string sounds, The bride is our sister; the second, The bride is our murderer. In Danish B the first fiddle plays, The bride is my sister; the second, The bridegroom is my true-love; in C, H, the first strain is, The bride has drowned her sister, the second, Thy sister is driven [blown] to land. Färöe A, B, have: (1) The bride was my sister; (2) The bride was my murderer; (3) The bridegroom was my true-love. The bride then says that the harp disturbs her much, and that she lists to hear it no more. Most impressive of all, with its terse, short lines, is Icelandic A:
The first string made response:
'The bride was my sister once.'
The bride on the bench, she spake:
'The harp much trouble doth make.'
The second string answered the other:
'She is parting me and my lover.'
Answered the bride, red as gore:
'The harp is vexing us sore.'
The canny third string replied:
'I owe my death to the bride.'
He made all the harp-strings clang;
The bride's heart burst with the pang.
This is the wicked sister's end in both of the Icelandic ballads and in Färöe A, B. In Swedish A, G, at the first stroke on the harp she laughs; at the second she grows pale [has to be undressed]; upon the third she lay dead in her bed [falls dead on the floor]. She is burned in Danish A, B, C, F, G, Swedish B, Norwegian A, B, C, I, M. In Norwegian K, L, the younger sister (who is restored to life) begs that the elder may not be burned, but sent out of the country (cf. English B b c); nevertheless, she is buried alive in L, which is her fate also in E, and in other unprinted versions. A prose comment, upon Danish I has her stabbed by the bridegroom.
Norwegian B 21 makes the bride, in her confusion at the revelations of the harp, ask the bridegroom to drive the fiddler out of the house. So far from complying, the bride groom orders him mead and wine, and the bride to the pile. In Norwegian C the bride treads on the harper's foot, then orders the playing to stop; but the bridegroom springs from the table, and cries, Let the harp have its song out, pays no regard to the lady's alleging that she has so bad a head that she cannot bear it, and finally sends her to the pile. So, nearly, Norwegian A. In Danish A, C, D, H, L, vainly in the first two, the bride tries to hush the fiddler with a bribe. He endeavors to take back what he has said in D, L, declaring him self a drunken fool (the passage is borrowed from another ballad): still in L, though successful for the nonce, she comes to the stake and wheel some months after. In H the fiddler dashes the instrument against a stone, seemingly to earn his bribe, but this trait belongs to versions which take the turn of the Norwegian. In C 15 the bride springs from the table, and says, Give the fiddlers a trifle, and let them go. This explains the last stanza of English A (cf., Norwegian B 21):
Now pay the miller for his payne,
And let him bee gone in the divel's name.
Swedish F has an entirely perverted and feeble conclusion. "A good man" takes the younger sister from the water, carries her to his house, revives her, and nurses her till the morrow, and then restores her to her father, who asks why she is so pale, and why she had not come back with her sister. She explains that she had been pushed into the water, "and we may thank this good man that I came home at all." The father tells the elder that she is a disgrace to her country, and condemns her to the "blue tower." But her sister intercedes, and a cheerful and handsome wedding follows.
Swedish C and nearly all the Norwegian ballads[13] restore the drowned girl to life, but not by those processes of the Humane Society which are successfully adopted by the "arlig man" in Swedish F. The harp is dashed against a stone, or upon the floor, and the girl stands forth "as good as ever." As Landstad conceives the matter (484, note 7), the elder sister is a witch, and is in the end burned as such. The white body of the younger is made to take on the appearance of a crooked log, which the fishermen (who, by the way, are angels in C, B) innocently shape into a harp, and the music, vibrating from her hair "through all her limbs, marrow and bone," acts as a disenchantment. However this may be, the restoration of the younger sister, like all good endings foisted on tragedies, emasculates the story.
English F 9 has the peculiarity, not noticed elsewhere, that the drowning girl catches at a broom-root, and the elder sister forces her to let go her hold.[14] In Swedish G she is simply said to swim to an alder-root. In English G8 the elder drives the younger from the land with a switch, in I8 pushes her off with a silver wand.
English O introduces the ghost of the drowned sister as instructing her father's fiddler to make a string of her hair and a peg of her little finger bone, which done, the first spring the fiddle plays, it says,
'Ye'll drown my sister as she 's dune me.'
P, which is disordered at the end, seems to have agreed with O. In Q the ghost sends, by the medium of the miller and his daughter, respects to father, mother, and true-love, adding a lock of yellow hair for the last. The ghost is found in N, Pinkerton's copy, as well, but there appears to the lover at dead of night, two days after the drowning. It informs him of the murder, and he makes search for the body. This is a wide departure from the original story, and plainly a modern per version. Another variation, entirely wanting in ancient authority, appears in R, S. The girl is not dead when she has floated down to the mill-dam, and, being drawn out of the water by the miller, offers him a handsome reward to take her back to her father [S, to throw her in again!]. The miller takes the reward, and pushes the girl in again, for which he is hanged.[15]
Q has a burden partly Gaelic,
.... ohone and aree (alack and O Lord),
On the banks of tlhe Banna (White Kiver),
ohone and aree,
which may raise a question whether the Scotch burden Binnorie (pronounced Bínnorie, as well as Binnórie) is corrupted from it, or the corruption is on the other side. Mr. Campbell notices as quaint the reply in stanza 9:
I did not put you in with the design
Just for to pull you out again.'
We have had a similar reply, made under like circumstances, in Polish versions of No 4: see p. 40, note.
All the Norse versions of this ballad are in two-line stanzas, and all the English, except L b and in part L a.
Some of the traits of the English and Norse story are presented by an Esthonian ballad, 'The Harp,' Neus, Ehstnische Volkslieder, No 13, p. 56. Another version is given in Rosenplänter's Beitrage zur genauern Kenntniss der ehstnischen Sprache, Heft 4, 142, and a third, says Neus, in Ch. H.J. Schlegel's Reisen in mehrere russische Gouvernements, V, 140. A young woman, who tells her own story, is murdered by her sisters-in-law and buried in a moor. She comes up as a birch, from which, with the jaw-bone of a salmon, the teeth of a pike, and her own hair (the account is some what confused) a harp is made. The harp is taken to the hall by the murdered girl's brother, and responds to his playing with tones of sorrow like those of the bride who leaves father and mother for the house of a husband.[16]
A Slovak ballad often translated (Talvj, Historical View, etc., p. 392; Wenzig's Slawische Volkslieder, p. 110, Westslawischer Marchenschatz, 273, and Bibliothek Slavischer Poesien, p. 134; Lewestam, Polnische Volksagen und Marchen, p. 151) comes nearer in some respects. A daughter is cursed by her mother for not succeeding in drawing water in frosty weather. Her bucket turns to stone, but she to a maple. Two fiddlers come by, and, seeing a remarkably fine tree, propose to make of it fiddles and fiddle-sticks. When they cut into the tree, blood spurts out. The tree bids them go on, and when they have done, play before the mother's door, and sing, Here is your daughter, that you cursed to stone. At the first notes the mother runs to the window, and begs them to desist, for she has suffered much since she lost her daughter.
The soul of a dead girl speaks through a tree, again, in a Lithuanian ballad, Nesselmann, Littauische Volkslieder, No 378, p. 320. The girl is drowned while attempting to cross a stream, carried down to the sea, and finally thrown ashore, where she grows up a linden. Her brother makes a pipe from a branch, and the pipe gives out sweet, sad tones. The mother says, That tone conies not from the linden; it is thy sister's soul, that hovers over the water. A like idea is met with in another Lithuanian ballad, Rhesa, Dainos, ed. Kurschat, No 85, p. 231. A sister plucks a bud from a rose-bush growing over the grave of her brother, who had died from disappointed love. How fragrant! she exclaims. But her mother answers, with tears, It is not the rose bud, but the soul of the youth that died of grief.
Though the range of the ballad proper is somewhat limited, popular tales equivalent as to the characteristic circumstances are very widely diffused.
A Polish popular tale, which is, indeed, half song, Wojcicki, Klechdy, ed. 1851, II, 15 (Lewestam, p. 105), Kolberg, Piesni ludu Polskiego, p. 292, No 40 a, b, c, approaches very close to the English-Norse ballad. There were three sisters, all pretty, but the youngest far surpassing the others. A young man from the far-off Ukraine fell in with them while they were making garlands. The youngest pleased him best, and he chose her for his wife. This excited the jealousy of the eldest, and a few days after, when they were gathering berries in a wood, she killed the youngest, notwithstanding the resistance of the second sister, buried her, and gave out that she had been torn to pieces by wolves. When the youth came to ask after his love, the murderess told him this tale, and so won him by her devoted consolations that he offered her his hand. A willow grew out of the grave of the youngest, and a herdsman made a pipe from one of its boughs. Blow as he would, he could get no sound from the pipe but this:
'Blow on, herdsman, blow! God shall bless thee so.
The eldest was my slayer, the second tried to stay her.'
The herdsman took the pipe to the house of the murdered girl. The mother, the father, and the second sister successively tried it, and the pipe always sang a like song, Blow, mother, blow, etc. The father then put the pipe into the eldest sister's hands. She had hardly touched it, when blood spattered her cheeks, and the pipe sang:
'Blow on, sister, blow: God shall wreak me now.
Thou, sister, 't was didst slay me, the younger tried to stay thee,'
etc.
The murderess was torn by wild horses.
Professor Bugge reports a Norwegian tale, Grundtvig, in, 878, which resembles the ballad at the beginning. There were in a family two daughters and a son. One sister was wasteful, the other saving. The second complained of the first to her parents, and was killed and buried by the other. Foliage covered the grave, so that it could not be seen, but on the trees under which the body lay, there grew "strings." These the brother cut off and adapted to his fiddle, and when he played, the fiddle said, My sister is killed. The father, having heard the fiddle's revelation, brought his daughter to confess her act.
There is a series of tales which represent a king, or other personage, as being afflicted with a severe malady, and as promising that whichever of his children, commonly three sons, should bring him something necessary for his cure or comfort should be his heir: (1) 'La Flor del Lililá,' Fernan Caballero, Lagrimas, cap. 4; (2) 'La caña del riu de arenas,' Milá, Observaciones sobre la poesia popular, p. 178, No 3; (3) 'Es kommt doch einmal an den Tag,' Müllenhof, Sagen, u.s.w., p. 495, No 49; (4) 'Vom singenden Dudelsack,' Gonzenbach, Sicilianische Marchen, I, 329, No 51. Or the inheritance is promised to whichever of the children finds something lost, or rich and rare, a griffin's feather, a golden branch, a flower: (5) 'Die Greifenfeder,' Schneller, Märchen und Sagen aus Walschtirol, p. 143, No 51; (6) 'La Flauuto,' Bladé, Contes et proverbes populaires recueillis en Armagnac, p. 3, No 1; (7) Wackernagel, in Haupt's Zeitschrift, in, 35, No 3, = 'Das Todtebeindli,' Colshorn, C. u. Th., Märchen u. Sagen, p. 193, No 71, = Sutermeister, Kinder-u.-Hausmärchen aus der Schweiz, p. 119, No 39. Or a king promises his daughter to the man who shall capture a dangerous wild beast, and the exploit is undertaken by three brothers [or two]: (8) 'Der singende Knochen,' Grimms, K. u. H. märchen, I, 149, No 28 (1857); (9) 'Die drei Brüder,' Curtze, Volksüberlieferungen aus dem Furstenthum Waldeck, p. 53, No 11; (10) 'Der Rohrstengel,' Haltrich, Deutsche Volksmärchen aus dem Sachsenlande, u.s.w., p. 225, No 42. With these we may group, though divergent in some respects, (11) 'Der goldene Apfel,' Toeppen, Aberglauben aus Masuren, p. 139.[17] In all these tales the youngest child is successful, and is killed, out of envy, by the eldest or by the two elder. [There are only two children in (6), (7), (8); in (4) the second is innocent, as in the Polish tale.] Reeds grow over the spot where the body is buried (1), (2), (10), (11), or an elder bush (3), out of which a herdsman makes a pipe or flute; or a white bone is found by a herdsman, and he makes a pipe or horn of it (5-9); or a bag-pipe is made of the bones and skin of the murdered youth (4). The instrument, whenever it is played, attests the murder.
Among the tales of the South African Bechuana, there is one of a younger brother, who has been killed by an older, immediately appearing as a bird, and announcing what has occurred. The bird is twice killed, and the last time burnt and its ashes scattered to the winds, but still reappears, and proclaims that his body lies by a spring in the desert. Grimms, K. u. H. m. Ill, 361. Liebrecht has noted that the fundamental idea is found in a Chinese drama, ' The Talking Dish,' said to be based on a popular tale. An innkeeper and his wife kill one of their guests for his money, and burn the body. The innkeeper collects the ashes and pounds the bones, and makes a sort of mortar and a dish. This dish speaks very distinctly, and denounces the murderers. Journal Asiatique, 1851, 4th Series, vol. 18, p. 523.
Danish A, B are translated by Prior, I, 381, 384. English B, with use of C, is translated by Grundtvig, Engelske og skotske Folkeviser, p. 104, No 15; C, by Afzelius, m, 22. C, by Talvj, Versuch, u.s.w., p. 532; by Schubart, p. 133; by Gerhard, p. 143; by Doenniges, p. 81; Arndt, p. 238. C, with use of Aytoun's compounded version, by R. Warrens, Schottische V. L. der Vorzeit, p. 65; Ailingham's version by Knortz, Lieder u. Romanzen Alt-Englands, p. 180.
__________________
Footnotes:
1. Campbell's Popular Tales of the West Highlands, iv, 126, 1862.
2. Jamieson, in his Popular Ballads, II, 315, prints the ballad, with five inconsiderable variations from the broadside, as from Musarum Deliciae, 2d edition, 1656. The careful reprint of this book, and of the same edition, in "Facetiae," etc., 1817, does not contain this piece, and the first edition, of 1655, differed in no respect as to contents, according to the editor of "Facetiae." Still it is hardly credible that Jamieson has blundered, and we may suppose that copies, ostensibly of the same edition, varied as to contents, a thing common enough with old books.
3. Cunningham has re-written Scott's version, Songs of Scotland, I, 109, 'The Two Fair Sisters.' He says, "I was once deeply touched with the singing of this romantic and mournful song. ... I have ventured to print it in the manner I heard it sung." There is, to be sure, no reason why he should not have heard his own song sung, once, and still less why he should not have been deeply touched with his own pathos. Cunningham adds one genuine stanza, resembling the first of G, J, P:
Two fair sisters lived in a bower,
Hey ho my nonnie O
There came a knight to be their wooer.
While the swan swims bonnie
4. English M is confused on this point. The sisters live in a hall. The burden in st. 1 makes them love a miller-lad; but in 14, 15, calls the drowned girl "the bonnie miller's-lass o Binorie."
5. The sisters, D, I, walk by, up, a linn; G, go to a sand [strand]; Q, go to the stream; R a, walk on the bryn.
6. Swedish H begins, "Dear sister, come follow me to the clapping-stone:" "Nay, I have no foul clothes." So F 6, 7, G 4, 5, Färöe A 6, nearly; and then follows the suggestion that they should wash themselves. Another of Rancken's copies begins, "Two sisters went to the bucking-stone, to buck their clothes snow-white," H; and so Rancken's S nearly.
7. There are, besides the two fishermen, in Norwegian A, two "twaddere," i. e., landloupers, possibly (Bugge) a corruption of the word rendered pilgrims, Färöe vallarar, Swedish vallare. The vallarar in these ballads are perhaps more respectable than those whose acquaintance we shall make through the Norse versions of 'Babylon,' and may be allowed to be harmless vagrants, but scarcely better, seeing that they are ranked with "staff-carls" in Norges Gamle Love, cited by Cleasby and Vigfusson at 'vallari.'
8. A harp in the Icelandic and Norwegian ballads, Färöe A, B, C, Swedish A, B, D, G, H; a harp in English B, C, G, J. A harp is not named in any of the Danish versions, but a fiddle is mentioned in C, E, H, is plainly meant in A, and may always be intended; or perhaps two fiddles in all but H (which has only one fiddler), and the corrupted G. D begins with two fiddlers, but concludes with only one. We have a fiddle in Swedish C, and in English A, D, E, F, I, J, K, L, O, P; both harp and fiddle in H.
9. Some of the unprinted Norwegian ballads are not completely described, but a departure from the rule of the major part would probably have been alluded to.
10. The stanza, 9, in which this is said is no doubt as to its form entirely modern, but not so the idea. I has "the first string that he playd, it said," etc.
11. The fourth string is said to speak in Färöe A 30, but no utterance is recorded, and this is likely to be a mistake. In many of the versions, and in this, after the strings have spoken individually, they unite in a powerful but inarticulate concord.
12. I has lost the terminal stanzas.
13. Not M, and apparently not D, which ends:
When he kissed the harp upon the mouth, his heart broke.
14. So the traitor John pushes away Catherine's hands in 'Lady Isabel and the Elf Knight,' Polish Q 25 (see p. 40). In the French versions A, C, E of the same, the knight catches at a branch to save himself, and the lady cuts it off with his sword.
15. The miller begins to lose character in H:
14. He dragged her out unto the shore,
And stripped her of all she wore.
16. Neus also refers to an Esthonian saga of Rogutaja's wife, and to 'Die Pfeiferin,' a tale, in Das Inland, 1846, No 48, Beilage, col. 1246 ff, 1851, No 14, col. 230 ff; and to a Slovenian ballad in Tielemann, Livona, ein historisch-poetisches Taschenbuch, 1812, p. 187.
17. All these are cited in K6 bier's note, Gonzenbach, II, 235.
Brief Description by George Lyman Kittredge
This is one of the very few old ballads which are not extinct as tradition in the British Isles. Even drawing-room versions are spoken of as current, "generally traced to some old nurse, who sang them to the young ladies." It has been found in England, (Scotland, Wales, and Ireland, and was very early in print. The ballad is as popular with the Scandinavians as with their Saxon cousins: we have Danish, Icelandic, Norwegian, Faroe, and Swedish versions. There is a remarkable agreement between the Norse and English hallads till we approach the conclusion of the story, with a natural diversity as to some of the minuter detads. According to all complete and uncorrupted forms of the ballad, either some part of the body of the drowned girl is taken to furnish a musical instrument, a harp or a viol, or the instrument is wholly made from the body. Perhaps the original conception was the simple and beautiful one which we find in English B and also in the Icelandic ballads, that the king's harper, or the girl's lover, takes three locks of her yellow hair to string his harp with. Infelicitous additions were, perhaps, successively made; as a harp-frame from the breast-bone, and fiddle-pins formed of the finger joints, and so one thing and another added or substituted, till we end with the buffoonery of English A. All the Norse ballads (see Grundtvig, No. 95) make the harp or fiddle to be taken to a wedding, which chances to be that of the elder sister with the drowned girl's betrothed. Unfortunately, many of the English versions are so injured towards the close that the full story cannot be made out. There is no wedding feast preserved in any of them.
Though the range of the ballad proper is somewhat limited, popular tales equivalent as to the characteristic circumstances are very widely diffused.
CHILD'S BALLAD TEXTS
'The Miller and the King's Daughter'- Version A a; Child 10 The Twa Sisters
a. Broadside "printed for Francis Grove, 1656," reprinted in Notes and Queries, 1st S., v, 591.
b. Wit Restor'd, 1658, "p. 51," p. 153 of the reprint of 1817.
c. Wit and Drollery, ed. 1682, p. 87, = Dryden's Miscellany, Part 3, p. 316, ed. 1716.
d. Jamieson's Popular Ballads, I, 315.
1 There were two sisters, they went playing,
With a hie downe downe a downe-a
To see their father's ships come sayling in.
With a hy downe downe a downe-a
2 And when they came unto the sea-brym,
With a hie downe downe a downe-a
The elder did push the younger in.
With a hy downe downe a downe-a
3 'O sister, O sister, take me by the gowne,
With a hie downe downe a downe-a
And drawe me up upon the dry ground.'
With a hy downe downe a downe-a
4 'O sister, O sister, that may not bee,
With a hie downe downe a downe-a
Till salt and oatmeale grow both of a tree.'
With a hy downe downe a downe-a
5 Somtymes she sanke, somtymes she swam,
With a hie downe downe a downe-a
Until she came unto the mill-dam.
With a hy downe downe a downe-a
6 The miller runne hastily downe the cliffe,
With a hie downe downe a downe-a
And up he betook her withouten her life.
With a hy downe downe a downe-a
7 What did he doe with her brest-bone?
With a hie downe downe a downe-a
He made him a violl to play thereupon.
With a hy downe downe a downe-a
8 What did he doe with her fingers so small?
With a hie downe downe a downe-a
He made him peggs to his violl withall.
With a hy downe downe a downe-a
9 What did he doe with her nose-ridge?
With a hie downe downe a downe-a
Unto his violl he made him a bridge.
With a hy downe downe a downe-a
10 What did he doe with her veynes so blew?
With a hie downe downe a downe-a
He made him strings to his violl thereto.
With a hy downe downe a downe-a
11 What did he doe with her eyes so bright?
With a hie downe downe a downe-a
Upon his violl he played at first sight.
With a hy downe downe a downe-a
12 What did he doe with her tongue so rough?
With a hie downe downe a downe-a
Unto the violl it spake enough.
With a hy downe downe a downe-a
13 What did he doe with her two shinnes?
With a hie downe downe a downe-a
Unto the violl they danc'd Moll Syms.
With a hy downe downe a downe-a
14 Then bespake the treble string,
With a hie downe downe a downe-a
'O yonder is my father the king.'
With a hy downe downe a downe-a
15 Then bespake the second string,
With a hie downe downe a downe-a
'O yonder sitts my mother the queen.'
With a hy downe downe a downe-a
16 And then bespake the strings all three,
With a hie downe downe a downe-a
'O yonder is my sister that drowned mee.'
With a hy downe downe a downe-a
17 'Now pay the miller for his payne,
With a hie downe downe a downe-a
And let him bee gone in the divel's name.'
With a hy downe downe a downe-a
-----------------------
'The Twa Sisters'- Version B a: Child 10 The Twa Sisters
a. Jamieson-Brown Manuscript, fol. 39.
b. Wm. Tytler's Brown Manuscript, No 15.
c. Abbotsford Manuscript, "Scottish Songs," fol. 21.
d. Jamieson's Popular Ballads, I, 48.
1 There was twa sisters in a bowr,
Edinburgh, Edinburgh
There was twa sisters in a bowr,
Stirling for ay
There was twa sisters in a bowr,
There came a knight to be their wooer.
Bonny Saint Johnston stands upon Tay
2 He courted the eldest wi glove an ring,
Edinburgh, Edinburgh
He courted the eldest wi glove an ring,
Stirling for ay
He courted the eldest wi glove an ring,
But he lovd the youngest above a' thing.
Bonny Saint Johnston stands upon Tay
3 He courted the eldest wi brotch an knife,
Edinburgh, Edinburgh
He courted the eldest wi brotch an knife,
Stirling for ay
He courted the eldest wi brotch an knife,
But lovd the youngest as his life.
Bonny Saint Johnston stands upon Tay
4 The eldest she was vexed sair,
Edinburgh, Edinburgh
The eldest she was vexed sair,
Stirling for ay
The eldest she was vexed sair,
An much envi'd her sister fair.
Bonny Saint Johnston stands upon Tay
5 Into her bowr she could not rest,
Edinburgh, Edinburgh
Into her bowr she could not rest,
Stirling for ay
Into her bowr she could not rest,
Wi grief an spite she almos brast.
Bonny Saint Johnston stands upon Tay
6 Upon a morning fair an clear,
Edinburgh, Edinburgh
Upon a morning fair an clear,
Stirling for ay
Upon a morning fair an clear,
She cried upon her sister dear:
Bonny Saint Johnston stands upon Tay
7 'O sister, come to yon sea stran,
Edinburgh, Edinburgh
'O sister, come to yon sea stran,
Stirling for ay
'O sister, come to yon sea stran,
An see our father's ships come to lan.'
Bonny Saint Johnston stands upon Tay
8 She's taen her by the milk-white han,
Edinburgh, Edinburgh
She's taen her by the milk-white han,
Stirling for ay
She's taen her by the milk-white han,
An led her down to yon sea stran.
Bonny Saint Johnston stands upon Tay
9 The younges[t] stood upon a stane,
Edinburgh, Edinburgh
The younges[t] stood upon a stane,
Stirling for ay
The younges[t] stood upon a stane,
The eldest came an threw her in.
Bonny Saint Johnston stands upon Tay
10 She tooke her by the middle sma,
Edinburgh, Edinburgh
She tooke her by the middle sma,
Stirling for ay
She tooke her by the middle sma,
An dashd her bonny back to the jaw.
Bonny Saint Johnston stands upon Tay
11 'O sister, sister, tak my han,
Edinburgh, Edinburgh
'O sister, sister, tak my han,
Stirling for ay
'O sister, sister, tak my han,
An Ise mack you heir to a' my lan.
Bonny Saint Johnston stands upon Tay
12 'O sister, sister, tak my middle,
Edinburgh, Edinburgh
'O sister, sister, tak my middle,
Stirling for ay
'O sister, sister, tak my middle,
An yes get my goud and my gouden girdle.
Bonny Saint Johnston stands upon Tay
13 'O sister, sister, save my life,
Edinburgh, Edinburgh
'O sister, sister, save my life,
Stirling for ay
'O sister, sister, save my life,
An I swear Ise never be nae man's wife.'
Bonny Saint Johnston stands upon Tay
14 'Foul fa the han that I should tacke,
Edinburgh, Edinburgh
'Foul fa the han that I should tacke,
Stirling for ay
'Foul fa the han that I should tacke,
It twin'd me an my wardles make.
Bonny Saint Johnston stands upon Tay
15 'Your cherry cheeks an yallow hair
Edinburgh, Edinburgh
'Your cherry cheeks an yallow hair
Stirling for ay
'Your cherry cheeks an yallow hair
Gars me gae maiden for evermair.'
Bonny Saint Johnston stands upon Tay
16 Sometimes she sank, an sometimes she swam,
Edinburgh, Edinburgh
Sometimes she sank, an sometimes she swam,
Stirling for ay
Sometimes she sank, an sometimes she swam,
Till she came down yon bonny mill-dam.
Bonny Saint Johnston stands upon Tay
17 O out it came the miller's son,
Edinburgh, Edinburgh
O out it came the miller's son,
Stirling for ay
O out it came the miller's son,
An saw the fair maid swimmin in.
Bonny Saint Johnston stands upon Tay
18 'O father, father, draw your dam,
Edinburgh, Edinburgh
'O father, father, draw your dam,
Stirling for ay
'O father, father, draw your dam,
Here's either a mermaid or a swan.'
Bonny Saint Johnston stands upon Tay
19 The miller quickly drew the dam,
Edinburgh, Edinburgh
The miller quickly drew the dam,
Stirling for ay
The miller quickly drew the dam,
An there he found a drownd woman.
Bonny Saint Johnston stands upon Tay
20 You coudna see her yallow hair
Edinburgh, Edinburgh
You coudna see her yallow hair
Stirling for ay
You coudna see her yallow hair
For gold and pearle that were so rare.
Bonny Saint Johnston stands upon Tay
21 You coudna see her middle sma
Edinburgh, Edinburgh
You coudna see her middle sma
Stirling for ay
You coudna see her middle sma
For gouden girdle that was sae braw.
Bonny Saint Johnston stands upon Tay
22 You coudna see her fingers white,
Edinburgh, Edinburgh
You coudna see her fingers white,
Stirling for ay
You coudna see her fingers white,
For gouden rings that was sae gryte.
Bonny Saint Johnston stands upon Tay
23 An by there came a harper fine,
Edinburgh, Edinburgh
An by there came a harper fine,
Stirling for ay
An by there came a harper fine,
That harped to the king at dine.
Bonny Saint Johnston stands upon Tay
24 When he did look that lady upon,
Edinburgh, Edinburgh
When he did look that lady upon,
Stirling for ay
When he did look that lady upon,
He sighd and made a heavy moan.
Bonny Saint Johnston stands upon Tay
25 He's taen three locks o her yallow hair,
Edinburgh, Edinburgh
He's taen three locks o her yallow hair,
Stirling for ay
He's taen three locks o her yallow hair,
An wi them strung his harp sae fair.
Bonny Saint Johnston stands upon Tay
26 The first tune he did play and sing,
Edinburgh, Edinburgh
The first tune he did play and sing,
Stirling for ay
The first tune he did play and sing,
Was, 'Farewell to my father the king.'
Bonny Saint Johnston stands upon Tay
27 The nextin tune that he playd syne,
Edinburgh, Edinburgh
The nextin tune that he playd syne,
Stirling for ay
The nextin tune that he playd syne,
Was, 'Farewell to my mother the queen.'
Bonny Saint Johnston stands upon Tay
28 The lasten tune that he playd then,
Edinburgh, Edinburgh
The lasten tune that he playd then,
Stirling for ay
The lasten tune that he playd then,
Was, 'Wae to my sister, fair Ellen.'
Bonny Saint Johnston stands upon Tay
------------------
'The Cruel Sister'- Version C; Child 10 The Twa Sisters
Scott's Minstrelsy, 1802, II, 143. Compounded from Bb and a fragment of fourteen stanzas transcribed from the recitation of an old woman by Miss Charlotte Brooke.
1 There were two sisters sat in a bour;
Binnorie, O Binnorie
There came a knight to be their wooer.
By the bonny mill-dams of Binnorie
2 He courted the eldest with glove and ring,
Binnorie, O Binnorie
But he loed the youngest aboon a' thing.
By the bonny mill-dams of Binnorie
3 He courted the eldest with broach and knife,
Binnorie, O Binnorie
But he loed the youngest aboon his life.
By the bonny mill-dams of Binnorie
4 The eldest she was vexed sair,
Binnorie, O Binnorie
And sore envied her sister fair.
By the bonny mill-dams of Binnorie
5 The eldest said to the youngest ane,
Binnorie, O Binnorie
'Will ye go and see our father's ships come in?'
By the bonny mill-dams of Binnorie
6 She's taen her by the lilly hand,
Binnorie, O Binnorie
And led her down to the river strand.
By the bonny mill-dams of Binnorie
7 The youngest stude upon a stane,
Binnorie, O Binnorie
The eldest came and pushed her in.
By the bonny mill-dams of Binnorie
8 She took her by the middle sma,
Binnorie, O Binnorie
And dashed her bonnie back to the jaw.
By the bonny mill-dams of Binnorie
9 'O sister, sister, reach your hand,
Binnorie, O Binnorie
And ye shall be heir of half my land.'
By the bonny mill-dams of Binnorie
10 'O sister, I'll not reach my hand,
Binnorie, O Binnorie
And I'll be heir of all your land.
By the bonny mill-dams of Binnorie
11 'Shame fa the hand that I should take,
Binnorie, O Binnorie
It's twin'd me and my world's make.'
By the bonny mill-dams of Binnorie
12 'O sister, reach me but your glove,
Binnorie, O Binnorie
And sweet William shall be your love.'
By the bonny mill-dams of Binnorie
13 'Sink on, nor hope for hand or glove,
Binnorie, O Binnorie
And sweet William shall better be my love.
By the bonny mill-dams of Binnorie
14 'Your cherry cheeks and your yellow hair
Binnorie, O Binnorie
Garrd me gang maiden evermair.'
By the bonny mill-dams of Binnorie
15 Sometimes she sunk, and sometimes she swam,
Binnorie, O Binnorie
Until she came to the miller's dam.
By the bonny mill-dams of Binnorie
16 'O father, father, draw your dam,
Binnorie, O Binnorie
There's either a mermaid or a milk-white swan.'
By the bonny mill-dams of Binnorie
17 The miller hasted and drew his dam,
Binnorie, O Binnorie
And there he found a drowned woman.
By the bonny mill-dams of Binnorie
18 You could not see her yellow hair,
Binnorie, O Binnorie
For gowd and pearls that were sae rare.
By the bonny mill-dams of Binnorie
19 You could na see her middle sma,
Binnorie, O Binnorie
Her gowden girdle was sae bra.
By the bonny mill-dams of Binnorie
20 A famous harper passing by,
Binnorie, O Binnorie
The sweet pale face he chanced to spy.
By the bonny mill-dams of Binnorie
21 And when he looked that ladye on,
Binnorie, O Binnorie
He sighed and made a heavy moan.
By the bonny mill-dams of Binnorie
22 He made a harp of her breast-bone,
Binnorie, O Binnorie
Whose sounds would melt a heart of stone.
By the bonny mill-dams of Binnorie
23 The strings he framed of her yellow hair,
Binnorie, O Binnorie
Whose notes made sad the listening ear.
By the bonny mill-dams of Binnorie
24 He brought it to her father's hall,
Binnorie, O Binnorie
And there was the court assembled all.
By the bonny mill-dams of Binnorie
25 He laid this harp upon a stone,
Binnorie, O Binnorie
And straight it began to play alone.
By the bonny mill-dams of Binnorie
26 'O yonder sits my father, the king,
Binnorie, O Binnorie
And yonder sits my mother, the queen.
By the bonny mill-dams of Binnorie
27 'And yonder stands my brother Hugh,
Binnorie, O Binnorie
And by him my William, sweet and true.'
By the bonny mill-dams of Binnorie
28 But the last tune that the harp playd then,
Binnorie, O Binnorie
Was 'Woe to my sister, false Helen!'
By the bonny mill-dams of Binnorie
--------------------
'The Bonnie Milldams of Binnorie'- Version D; Child 10- The Twa Sisters
Kinloch's Manuscripts, II, 49. From the recitation of Mrs. Johnston, a North-country lady.
1 There lived three sisters in a bouer,
Edinbruch, Edinbruch
There lived three sisters in a bouer,
Stirling for aye
There lived three sisters in a bouer,
The youngest was the sweetest flowr.
Bonnie St Johnston stands upon Tay
2 There cam a knicht to see them a',
Edinbruch, Edinbruch
There cam a knicht to see them a',
Stirling for aye
There cam a knicht to see them a',
And on the youngest his love did fa.
Bonnie St Johnston stands upon Tay
3 He brought the eldest ring and glove,
Edinbruch, Edinbruch
He brought the eldest ring and glove,
Stirling for aye
He brought the eldest ring and glove,
But the youngest was his ain true-love.
Bonnie St Johnston stands upon Tay
4 He brought the second sheath and knife,
Edinbruch, Edinbruch
He brought the second sheath and knife,
Stirling for aye
He brought the second sheath and knife,
But the youngest was to be his wife.
Bonnie St Johnston stands upon Tay
5 The eldest sister said to the youngest ane,
Edinbruch, Edinbruch
The eldest sister said to the youngest ane,
Stirling for aye
The eldest sister said to the youngest ane,
'Will ye go and see our father's ships come in?'
Bonnie St Johnston stands upon Tay
6 And as they walked by the linn,
Edinbruch, Edinbruch
And as they walked by the linn,
Stirling for aye
And as they walked by the linn,
The eldest dang the youngest in.
Bonnie St Johnston stands upon Tay
7 'O sister, sister, tak my hand,
Edinbruch, Edinbruch
'O sister, sister, tak my hand,
Stirling for aye
'O sister, sister, tak my hand,
And ye'll be heir to a' my land.'
Bonnie St Johnston stands upon Tay
8 'Foul fa the hand that I wad take,
Edinbruch, Edinbruch
'Foul fa the hand that I wad take,
Stirling for aye
'Foul fa the hand that I wad take,
To twin me o my warld's make.'
Bonnie St Johnston stands upon Tay
9 'O sister, sister, tak my glove,
Edinbruch, Edinbruch
'O sister, sister, tak my glove,
Stirling for aye
'O sister, sister, tak my glove,
And yese get Willie, my true-love.'
Bonnie St Johnston stands upon Tay
10 'Sister, sister, I'll na tak your glove,
Edinbruch, Edinbruch
'Sister, sister, I'll na tak your glove,
Stirling for aye
'Sister, sister, I'll na tak your glove,
For I'll get Willie, your true-love.'
Bonnie St Johnston stands upon Tay
11 Aye she swittert, and aye she swam,
Edinbruch, Edinbruch
Aye she swittert, and aye she swam,
Stirling for aye
Aye she swittert, and aye she swam,
Till she cam to yon bonnie mill-dam.
Bonnie St Johnston stands upon Tay
12 The miller's dochter cam out wi speed,
Edinbruch, Edinbruch
The miller's dochter cam out wi speed,
Stirling for aye
The miller's dochter cam out wi speed,
It was for water, to bake her bread.
Bonnie St Johnston stands upon Tay
13 'O father, father, gae slack your dam;
Edinbruch, Edinbruch
'O father, father, gae slack your dam;
Stirling for aye
'O father, father, gae slack your dam;
There's in't a lady or a milk-white swan.'
Bonnie St Johnston stands upon Tay
* * * * *
14 They could na see her coal-black eyes
Edinbruch, Edinbruch
They could na see her coal-black eyes
Stirling for aye
They could na see her coal-black eyes
For her yellow locks hang oure her brees.
Bonnie St Johnston stands upon Tay
* * * * *
15 They could na see her weel-made middle
Edinbruch, Edinbruch
They could na see her weel-made middle
Stirling for aye
They could na see her weel-made middle
For her braid gowden girdle.
Bonnie St Johnston stands upon Tay
* * * * *
16 And by there cam an auld blind fiddler,
Edinbruch, Edinbruch
And by there cam an auld blind fiddler,
Stirling for aye
And by there cam an auld blind fiddler,
And took three tets o her bonnie yellow hair.
Bonnie St Johnston stands upon Tay
* * * * *
17 The first spring that the bonnie fiddle playd,
Edinbruch, Edinbruch
The first spring that the bonnie fiddle playd,
Stirling for aye
The first spring that the bonnie fiddle playd,
'Hang my cruel sister, Alison,' it said.
Bonnie St Johnston stands upon Tay
---------------------------------
'The Twa Sisters'- Version E; Child 10- The Twa Sisters
Sharpe's Ballad Book, No 10, p. 30.
1 There livd twa sisters in a bower,
Hey Edinbruch, how Edinbruch!
There lived twa sisters in a bower,
Stirling for aye!
The youngest o them O she was a flower!
Bonny Sanct Johnstoune that stands upon Tay!
2 There cam a squire frae the west,
Hey Edinbruch, how Edinbruch!
There cam a squire frae the west,
Stirling for aye!
He loed them baith, but the youngest best.
Bonny Sanct Johnstoune that stands upon Tay!
3 He gied the eldest a gay gold ring,
Hey Edinbruch, how Edinbruch!
He gied the eldest a gay gold ring,
Stirling for aye!
But he loed the youngest aboon a' thing.
Bonny Sanct Johnstoune that stands upon Tay!
4 'O sister, sister, will ye go to the sea?
Hey Edinbruch, how Edinbruch!
'O sister, sister, will ye go to the sea?
Stirling for aye!
Our father's ships sail bonnilie.'
Bonny Sanct Johnstoune that stands upon Tay!
5 The youngest sat down upon a stane;
Hey Edinbruch, how Edinbruch!
The youngest sat down upon a stane;
Stirling for aye!
The eldest shot the youngest in.
Bonny Sanct Johnstoune that stands upon Tay!
6 'O sister, sister, lend me your hand,
Hey Edinbruch, how Edinbruch!
'O sister, sister, lend me your hand,
Stirling for aye!
And you shall hae my gouden fan.
Bonny Sanct Johnstoune that stands upon Tay!
7 'O sister, sister, save my life,
Hey Edinbruch, how Edinbruch!
'O sister, sister, save my life,
Stirling for aye!
And ye shall be the squire's wife.'
Bonny Sanct Johnstoune that stands upon Tay!
8 First she sank, and then she swam,
Hey Edinbruch, how Edinbruch!
First she sank, and then she swam,
Stirling for aye!
Untill she cam to Tweed mill-dam.
Bonny Sanct Johnstoune that stands upon Tay!
9 The millar's daughter was baking bread,
Hey Edinbruch, how Edinbruch!
The millar's daughter was baking bread,
Stirling for aye!
She went for water, as she had need.
Bonny Sanct Johnstoune that stands upon Tay!
10 'O father, father, in our mill-dam
Hey Edinbruch, how Edinbruch!
'O father, father, in our mill-dam
Stirling for aye!
There's either a lady, or a milk-white swan.'
Bonny Sanct Johnstoune that stands upon Tay!
11 They could nae see her fingers small,
Hey Edinbruch, how Edinbruch!
They could nae see her fingers small,
Stirling for aye!
Wi diamond rings they were coverd all.
Bonny Sanct Johnstoune that stands upon Tay!
12 They could nae see her yellow hair,
Hey Edinbruch, how Edinbruch!
They could nae see her yellow hair,
Stirling for aye!
Sae mony knots and platts were there.
Bonny Sanct Johnstoune that stands upon Tay!
13 They could nae see her lilly feet,
Hey Edinbruch, how Edinbruch!
They could nae see her lilly feet,
Stirling for aye!
Her gowden fringes war sae deep.
Bonny Sanct Johnstoune that stands upon Tay!
14 Bye there cam a fiddler fair,
Hey Edinbruch, how Edinbruch!
Bye there cam a fiddler fair,
Stirling for aye!
And he's taen three taits o her yellow hair.
Bonny Sanct Johnstoune that stands upon Tay!
----------------------------------
'The Bonny Bows o London'- Version F; Child 10- The Twa Sisters
Motherwell's Manuscript, p. 383. From the recitation of Agnes Lyle, Kilbarchan, 27th July, 1825.
1 There was two ladies livd in a bower,
Hey with a gay and a grinding O
The youngest o them was the fairest flower
About a' the bonny bows o London.
2 There was two ladies livd in a bower,
Hey with a gay and a grinding O
An wooer unto the youngest did go.
About a' the bonny bows o London.
3 The oldest one to the youngest did say,
Hey with a gay and a grinding O
'Will ye take a walk with me today,
And we'll view the bonny bows o London.
4 'Thou'll set thy foot whare I set mine,
Hey with a gay and a grinding O
Thou'll set thy foot upon this stane.'
And we'll view the bonny bows o London.
5 'I'll set my foot where thou sets thine:'
Hey with a gay and a grinding O
The old sister dang the youngest in,
At the bonny bows o London.
6 'O sister dear, come tak my hand,
Hey with a gay and a grinding O
Take my life safe to dry land,'
At the bonny bows o London.
7 'It's neer by my hand thy hand sall come in,
Hey with a gay and a grinding O
It's neer by my hand thy hand sall come in,
At the bonny bows o London.
8 'It's thy cherry cheeks and thy white briest bane
Hey with a gay and a grinding O
Gars me set a maid owre lang at hame.'
At the bonny bows o London.
9 She clasped her hand[s] about a brume rute,
Hey with a gay and a grinding O
But her cruel sister she lowsed them out.
At the bonny bows o London.
10 Sometimes she sank, and sometimes she swam,
Hey with a gay and a grinding O
Till she cam to the miller's dam.
At the bonny bows o London.
11 The miller's bairns has muckle need,
Hey with a gay and a grinding O
They were bearing in water to bake some breid.
At the bonny bows o London.
12 Says, 'Father, dear father, in our mill-dam,
Hey with a gay and a grinding O
It's either a fair maid or a milk-white swan.'
At the bonny bows o London.
13 The miller he's spared nae his hose nor his shoon
Hey with a gay and a grinding O
Till he brocht this lady till dry land.
At the bonny bows o London.
14 I wad he saw na a bit o her feet,
Hey with a gay and a grinding O
Her silver slippers were made so neat.
At the bonny bows o London.
15 I wad he saw na a bit o her skin,
Hey with a gay and a grinding O
For ribbons there was mony a ane.
At the bonny bows o London.
16 He laid her on a brume buss to dry,
Hey with a gay and a grinding O
To see wha was the first wad pass her by.
At the bonny bows o London.
17 Her ain father's herd was the first man
Hey with a gay and a grinding O
That by this lady gay did gang.
At the bonny bows o London.
18 He's taen three links of her yellow hair,
Hey with a gay and a grinding O
And made it a string to his fiddle there.
At the bonny bows o London.
19 He's cut her fingers long and small
Hey with a gay and a grinding O
To be fiddle-pins that neer might fail.
At the bonny bows o London.
20 The very first spring that the fiddle did play,
Hey with a gay and a grinding O
'Hang my auld sister,' I wad it did say.
At the bonny bows o London.
21 'For she drowned me in yonder sea,
Hey with a gay and a grinding O
God neer let her rest till she shall die,'
At the bonny bows o London.
----------------------------
'There were three sisters lived in a bouir'- Version G; Child 10- The Twa Sisters
Motherwell's Manuscript, p. 104. From Mrs. King, Kilbarchan.
1 There were three sisters lived in a bouir,
Hech, hey, my Nannie O
And the youngest was the fairest flouir.
And the swan swims bonnie O
2 'O sister, sister, gang down to yon sand,
Hech, hey, my Nannie O
And see your father's ships coming to dry land.'
And the swan swims bonnie O
3 O they have gane down to yonder sand,
Hech, hey, my Nannie O
To see their father's ships coming to dry land.
And the swan swims bonnie O
4 'Gae set your fit on yonder stane,
Hech, hey, my Nannie O
Till I tye up your silken goun.'
And the swan swims bonnie O
5 She set her fit on yonder stane,
Hech, hey, my Nannie O
And the auldest drave the youngest in.
And the swan swims bonnie O
6 'O sister, sister, tak me by the hand,
Hech, hey, my Nannie O
And ye'll get a' my father's land.
And the swan swims bonnie O
7 'O sister, sister, tak me by the gluve,
Hech, hey, my Nannie O
An ye'll get Willy, my true luve.'
And the swan swims bonnie O
8 She had a switch into her hand,
Hech, hey, my Nannie O
And ay she drave her frae the land.
And the swan swims bonnie O
9 O whiles she sunk, and whiles she swam,
Hech, hey, my Nannie O
Until she swam to the miller's dam.
And the swan swims bonnie O
10 The miller's daughter gade doun to Tweed,
Hech, hey, my Nannie O
To carry water to bake her bread.
And the swan swims bonnie O
11 'O father, O father, what's yon in the dam?
Hech, hey, my Nannie O
It's either a maid or a milk-white swan.'
And the swan swims bonnie O
12 They have tane her out till yonder thorn,
Hech, hey, my Nannie O
And she has lain till Monday morn.
And the swan swims bonnie O
13 She hadna, hadna twa days lain,
Hech, hey, my Nannie O
Till by there came a harper fine.
And the swan swims bonnie O
14 He made a harp o her breast-bane,
Hech, hey, my Nannie O
That he might play forever thereon.
And the swan swims bonnie O
------------------------------
['At the bonnie bows o London town']- Version H; Child 10- The Twa Sisters
Motherwell's Manuscript, p. 147. From I. Goldie, March, 1825.
1 There were three sisters lived in a hall,
Hey with the gay and the grandeur O
And there came a lord to court them all.
At the bonnie bows o London town.
2 He courted the eldest with a penknife,
Hey with the gay and the grandeur O
And he vowed that he would take her life.
At the bonnie bows o London town.
3 He courted the youngest with a glove,
Hey with the gay and the grandeur O
And he said that he'd be her true love.
At the bonnie bows o London town.
4 'O sister, O sister, will you go and take a walk,
Hey with the gay and the grandeur O
And see our father's ships how they float?
At the bonnie bows o London town.
5 'O lean your foot upon the stone,
Hey with the gay and the grandeur O
And wash your hand in that sea-foam.'
At the bonnie bows o London town.
6 She leaned her foot upon the stone,
Hey with the gay and the grandeur O
But her eldest sister has tumbled her down.
At the bonnie bows o London town.
7 'O sister, sister, give me your hand,
Hey with the gay and the grandeur O
And I'll make you lady of all my land.'
At the bonnie bows o London town.
8 'O I'll not lend to you my hand,
Hey with the gay and the grandeur O
But I'll be lady of your land.'
At the bonnie bows o London town.
9 'O sister, sister, give me your glove,
Hey with the gay and the grandeur O
And I'll make you lady of my true love.'
At the bonnie bows o London town.
10 'It's I'll not lend to you my glove,
Hey with the gay and the grandeur O
But I'll be lady of your true love.'
At the bonnie bows o London town.
11 Sometimes she sank, and sometimes she swam,
Hey with the gay and the grandeur O
Until she came to a miller's dam.
At the bonnie bows o London town.
12 The miller's daughter was coming out wi speed,
Hey with the gay and the grandeur O
For water for to bake some bread.
At the bonnie bows o London town.
13 'O father, father, stop the dam,
Hey with the gay and the grandeur O
For it's either a lady or a milk-white swan.'
At the bonnie bows o London town.
14 He dragged her out unto the shore,
Hey with the gay and the grandeur O
And stripped her of all she wore.
At the bonnie bows o London town.
15 By cam a fiddler, and he was fair,
Hey with the gay and the grandeur O
And he buskit his bow in her bonnie yellow hair.
At the bonnie bows o London town.
16 By cam her father's harper, and he was fine,
Hey with the gay and the grandeur O
he made a harp o her bonny breast-bone.
At the bonnie bows o London town.
17 When they came to her father's court,
Hey with the gay and the grandeur O
The harp [and fiddle these words] spoke:
At the bonnie bows o London town.
18 'O God bless my father the king,
Hey with the gay and the grandeur O
And I wish the same to my mother the queen.
At the bonnie bows o London town.
19 'My sister Jane she tumbled me in,
Hey with the gay and the grandeur O
. . . .
At the bonnie bows o London town.
* * * *
----------------------
'Bonnie Milldams o Binnorie'- Version I; Child 10- The Twa Sisters
Kinloch Manuscripts, B, 425. From the recitation of M. Kinnear, 23d August, 1826.
1 There war twa sisters lived in a bouer,
Binnorie and Binnorie
There cam a squire to court them baith.
At the bonnie mill-streams o Binnorie
2 He courted the eldest with Jewels and rings,
Binnorie and Binnorie
But he lovd the youngest the best of all things.
At the bonnie mill-streams o Binnorie
3 He courted the eldest with a penknife,
Binnorie and Binnorie
He lovd the youngest as dear as his life.
At the bonnie mill-streams o Binnorie
4 It fell ance upon a day
Binnorie and Binnorie
That these twa sisters hae gane astray.
At the bonnie mill-streams o Binnorie
5 It was for to meet their father's ships that had come in.
Binnorie and Binnorie
. . . . .
At the bonnie mill-streams o Binnorie
6 As they walked up the linn,
Binnorie and Binnorie
The eldest dang the youngest in.
At the bonnie mill-streams o Binnorie
7 'O sister, sister, tak my hand,
Binnorie and Binnorie
And ye'll hae Lud John and aw his land.'
At the bonnie mill-streams o Binnorie
8 With a silver wand she pushd her in,
Binnorie and Binnorie
. . . . .
At the bonnie mill-streams o Binnorie
9 'O sister, sister, tak my glove,
Binnorie and Binnorie
And ye sall hae my ain true love.'
At the bonnie mill-streams o Binnorie
10 The miller's dochter cam out wi speed.
Binnorie and Binnorie
It was for a water to bake her bread.
At the bonnie mill-streams o Binnorie
11 'O father, father, gae slack your dam;
Binnorie and Binnorie
There's either a white fish or a swan.'
At the bonnie mill-streams o Binnorie
* * * * *
12 Bye cam a blind fiddler that way,
Binnorie and Binnorie
And he took three tets o her bonnie yellow hair.
At the bonnie mill-streams o Binnorie
13 And the first spring that he playd,
Binnorie and Binnorie
It said, 'It was my sister threw me in.'
At the bonnie mill-streams o Binnorie
-----------------------
'The Miller's Melody'- Version J; Child 10- The Twa Sisters
Notes and Queries, 4th S., V, 23, from the north of Ireland.
1 There were two ladies playing ball,
Hey, ho, my Nannie O
A great lord came to court them all.
The swan she does swim bonnie O
2 He gave to the first a golden ring,
Hey, ho, my Nannie O
He gave to the second a far better thing.
The swan she does swim bonnie O
* * * * *
3 He made a harp of her breast-bone
Hey, ho, my Nannie O
. . . . . .
The swan she does swim bonnie O
4 He set it down upon a stone,
Hey, ho, my Nannie O
And it began to play its lone.
The swan she does swim bonnie O
--------------------------
'Binnorie'- Version K; Child 10- The Twa Sisters
Mr. G.R. Kinloch's papers, Kinloch Manuscripts, II, 59. From Mrs. Lindores.
1 'O sister, sister, gie me your hand,
Binnorie and Binnorie
And I'll give the half of my fallow-land,
By the bonnie mill-dams of Binnorie.'
* * * * *
2 The first time the bonnie fiddle played,
Binnorie and Binnorie
'Hang my sister, Alison,' it said,
'At the bonnie mill-dams of Binnorie.'
-----------------------------
'The Miller's Melody'- Version L a; Child 10- The Twa Sisters
a. From oral tradition, Notes and Queries, 1st S., V, 316.
b. The Scouring of the White Horse, p. 161. From North Wales.
1 O was it eke a pheasant cock,
Or eke a pheasant hen,
Or was it the bodye of a fair ladye,
Come swimming down the stream?
2 O it was not a pheasant cock,
Nor eke a pheasant hen,
But it was the bodye of a fair ladye
Came swimming down the stream.
* * * * *
3 And what did he do with her fair bodye?
Fal the lal the lal laral lody
He made it a case for his melodye.
Fal the lal the lal laral lody
4 And what did he do with her legs so strong?
Fal the lal the lal laral lody
He made them a stand for his violon.
Fal the lal the lal laral lody
5 And what did he do with her hair so fine?
Fal the lal the lal laral lody
He made of it strings for his violine.
Fal the lal the lal laral lody
6 And what did he do with her arms so long?
Fal the lal the lal laral lody
He made them bows for his violon.
Fal the lal the lal laral lody
7 And what did he do with her nose so thin?
Fal the lal the lal laral lody
He made it a bridge for his violin.
Fal the lal the lal laral lody
8 And what did he do with her eyes so bright?
Fal the lal the lal laral lody
He made them spectacles to put to his sight.
Fal the lal the lal laral lody
9 And what did he do with her petty toes?
Fal the lal the lal laral lody
He made them a nosegay to put to his nose.
Fal the lal the lal laral lody
------------------
'Binorie, O an Binorie'- Version M; Child 10- The Twa Sisters
Taken down from recitation at Old Deir, 1876, by Mrs. A.F. Murison. Manuscript, p. 79.
1 There lived twa sisters in yonder ha,
Bin'orie O an Bin'orie
They hadna but ae lad atween them twa,
He's the bonnie miller lad o Bin'orie.
2 It fell oot upon a day,
Bin'orie O an Bin'orie
The auldest ane to the youngest did say,
At the bonnie mill-dams o Bin'orie.
3 'O sister, O sister, will ye go to the dams,
Bin'orie O an Bin'orie
To hear the blackbird thrashin oer his songs?
At the bonnie mill-dams o Bin'orie.
4 'O sister, O sister, will ye go to the dams,
Bin'orie O an Bin'orie
To see oor father's fish-boats come safe to dry lan?
An the bonnie miller lad o Binorie.'
5 They hadna been an oor at the dams,
Bin'orie O an Bin'orie
Till they heard the blackbird thrashin oer his tune,
At the bonnie mill-dams o Bin'orie,
6 They hadna been an oor at the dams
Bin'orie O an Bin'orie
Till they saw their father's fish-boats come safe to dry lan,
Bat they sawna the bonnie miller laddie.
7 They stood baith up upon a stane,
Bin'orie O an Bin'orie
An the eldest ane dang the youngest in,
I the bonnie mill-dams o Bin'orie,
8 She swam up, an she swam doon,
Bin'orie O an Bin'orie
An she swam back to her sister again,
I the bonnie mill-dams o Bin'orie,
9 'O sister, O sister, len me your han,
Bin'orie O an Bin'orie
An yes be heir to my true love,
He's the bonnie miller lad o Binorie.'
10 'It was not for that love at I dang you in,
Bin'orie O an Bin'orie
But ye was fair and I was din,
And yes droon i the dams o Binorie.'
11 The miller's daughter she cam oot,
Bin'orie O an Bin'orie
For water to wash her father's hans,
Frae the bonnie mill-dams o Bin'orie,
12 'O father, O father, ye will fish your dams,
Bin'orie O an Bin'orie
An ye'll get a white fish or a swan,
I the bonnie mill-dams o Bin'orie,
13 They fished up and they fished doon,
Bin'orie O an Bin'orie
But they got nothing but a droonet woman,
I the bonnie mill-dams o Bin'orie,
14 Some o them kent by her skin sae fair,
Bin'orie O an Bin'orie
But weel kent he by her bonnie yallow hair
She's the bonnie miller's lass o Binorie.
15 Some o them kent by her goons o silk,
Bin'orie O an Bin'orie
But weel kent he by her middle sae jimp,
She's the bonnie miller's lass o Binorie.
16 Mony ane was at her oot-takin,
Bin'orie O an Bin'orie
But mony ane mair at her green grave makin,
At the bonny mill-dams o Binorie.
------------------------
'Binnorie'- Version N; Child 10- The Twa Sisters
[Pinkerton's] Scottish Tragic Ballads, p. 72.
1 There were twa sisters livd in a bouir,
Binnorie, O Binnorie
Their father was a baron of pouir.
By the bonnie mildams of Binnorie
2 The youngest was meek, and fair as the may
Binnorie, O Binnorie
Whan she springs in the east wi the gowden day.
By the bonnie mildams of Binnorie
3 The eldest austerne as the winter cauld,
Binnorie, O Binnorie
Ferce was her saul, and her seiming was bauld.
By the bonnie mildams of Binnorie
4 A gallant squire can sweet Isabel to wooe;
Binnorie, O Binnorie
Her sister had naething to luve I trow.
By the bonnie mildams of Binnorie
5 But filld was she wi dolour and ire,
Binnorie, O Binnorie
To see that to her the comlie squire
By the bonnie mildams of Binnorie
6 Preferd the debonair Isabel:
Binnorie, O Binnorie
Their hevin of luve of spyte was her hell.
By the bonnie mildams of Binnorie
7 Till ae ein she to her sister can say,
Binnorie, O Binnorie
'Sweit sister, cum let us wauk and play.'
By the bonnie mildams of Binnorie
8 They wauked up, and they wauked down,
Binnorie, O Binnorie
Sweit sang the birdis in the vallie loun.
By the bonnie mildams of Binnorie
9 Whan they cam to the roaring lin,
Binnorie, O Binnorie
She drave unweiting Isabel in.
By the bonnie mildams of Binnorie
10 'O sister, sister, tak my hand,
Binnorie, O Binnorie
And ye sall hae my silver fan.
By the bonnie mildams of Binnorie
11 'O sister, sister, tak my middle,
Binnorie, O Binnorie
And ye sall hae my gowden girdle.'
By the bonnie mildams of Binnorie
12 Sumtimes she sank, sumtimes she swam,
Binnorie, O Binnorie
Till she cam to the miller's dam.
By the bonnie mildams of Binnorie
13 The miller's dochtor was out that ein,
Binnorie, O Binnorie
And saw her rowing down the streim.
By the bonnie mildams of Binnorie
14 'O father deir, in your mil-dam
Binnorie, O Binnorie
There is either a lady or a milk-white swan!'
By the bonnie mildams of Binnorie
15 Twa days were gane, whan to her deir
Binnorie, O Binnorie
Her wraith at deid of nicht cold appeir.
By the bonnie mildams of Binnorie
16 'My luve, my deir, how can ye sleip,
Binnorie, O Binnorie
Whan your Isabel lyes in the deip!
By the bonnie mildams of Binnorie
17 'My deir, how can ye sleip bot pain
Binnorie, O Binnorie
Whan she by her cruel sister is slain!'
By the bonnie mildams of Binnorie
18 Up raise he sune, in frichtfu mude:
Binnorie, O Binnorie
'Busk ye, my meiny, and seik the flude.'
By the bonnie mildams of Binnorie
19 They socht her up and they socht her doun,
Binnorie, O Binnorie
And spyd at last her glisterin gown.
By the bonnie mildams of Binnorie
20 They raisd her wi richt meidle care;
Binnorie, O Binnorie
Pale was her cheik and grein was her hair.
By the bonnie mildams of Binnorie
----------------------
'The Bonny Bows o London'- Version O a; Child 10- The Twa Sisters
a. Buchan's Ballads of the North of Scotland, II, 128.
b. Traditional Ballad Airs, edited by W. Christie, I, 42.
1 There were twa sisters in a bower,
Hey wi the gay and the grinding
And ae king's son has courted them baith.
At the bonny bonny bows o London
2 He courted the youngest wi broach and ring,
Hey wi the gay and the grinding
He courted the eldest wi some other thing.
At the bonny bonny bows o London
3 It fell ance upon a day
Hey wi the gay and the grinding
The eldest to the youngest did say,
At the bonny bonny bows o London
4 'Will ye gae to yon Tweed mill-dam,
Hey wi the gay and the grinding
And see our father's ships come to land?'
At the bonny bonny bows o London
5 They baith stood up upon a stane,
Hey wi the gay and the grinding
The eldest dang the youngest in.
At the bonny bonny bows o London
6 She swimmed up, sae did she down,
Hey wi the gay and the grinding
Till she came to the Tweed mill-dam.
At the bonny bonny bows o London
7 The miller's servant he came out,
Hey wi the gay and the grinding
And saw the lady floating about.
At the bonny bonny bows o London
8 'O master, master, set your mill,
Hey wi the gay and the grinding
There is a fish, or a milk-white swan.'
At the bonny bonny bows o London
9 They could not ken her yellow hair,
Hey wi the gay and the grinding
[For] the scales o gowd that were laid there.
At the bonny bonny bows o London
10 They could not ken her fingers sae white,
Hey wi the gay and the grinding
The rings o gowd they were sae bright.
At the bonny bonny bows o London
11 They could not ken her middle sae jimp,
Hey wi the gay and the grinding
The stays o gowd were so well laced.
At the bonny bonny bows o London
12 They could not ken her foot sae fair,
Hey wi the gay and the grinding
The shoes o gowd they were so rare.
At the bonny bonny bows o London
13 Her father's fiddler he came by,
Hey wi the gay and the grinding
Upstarted her ghaist before his eye.
At the bonny bonny bows o London
14 'Ye'll take a lock o my yellow hair,
Hey wi the gay and the grinding
Ye'll make a string to your fiddle there.
At the bonny bonny bows o London
15 'Ye'll take a lith o my little finger bane,
Hey wi the gay and the grinding
And ye'll make a pin to your fiddle then.'
At the bonny bonny bows o London
16 He's taen a lock o her yellow hair,
Hey wi the gay and the grinding
And made a string to his fiddle there.
At the bonny bonny bows o London
17 He's taen a lith o her little finger bane,
Hey wi the gay and the grinding
And he's made a pin to his fiddle then.
At the bonny bonny bows o London
18 The firstand spring the fiddle did play,
Hey wi the gay and the grinding
Said, 'Ye'll drown my sister, as she's dune me.'
At the bonny bonny bows o London
---------------------
'The Twa Sisters'- Version P a; Child 10- The Twa Sisters
a. Motherwell's Manuscript, p. 245.
b. Motherwel;'s Minstrelsy, Appendix, p. xx, xx.
1 There were twa ladies in a bower,
Hey my bonnie Nannie O
The old was black and the young ane fair.
And the swan swims bonnie O
2 Once it happened on a day
Hey my bonnie Nannie O
The auld ane to the young did say,
And the swan swims bonnie O
3 The auld ane to the young did say,
Hey my bonnie Nannie O
'Will you gae to the green and play?'
And the swan swims bonnie O
4 'O sister, sister, I daurna gang,
Hey my bonnie Nannie O
For fear I file my silver shoon.'
And the swan swims bonnie O
5 It was not to the green they gaed,
Hey my bonnie Nannie O
But it was to the water of Tweed.
And the swan swims bonnie O
6 She bowed her back and she's taen her on,
Hey my bonnie Nannie O
And she's tumbled her in Tweed mill-dam.
And the swan swims bonnie O
7 'O sister, O sister, O tak my hand,
Hey my bonnie Nannie O
And I'll mak you heir of a' my land.'
And the swan swims bonnie O
8 'O sister, O sister, I'll no take your hand,
Hey my bonnie Nannie O
And I'll be heir of a' your land.'
And the swan swims bonnie O
9 'O sister, O sister, O tak my thumb,
Hey my bonnie Nannie O
And I'll give you my true-love John.'
And the swan swims bonnie O
10 'O sister, O sister, I'll no tak your thumb,
Hey my bonnie Nannie O
And I will get your true-love John.'
And the swan swims bonnie O
11 Aye she swattered and aye she swam,
Hey my bonnie Nannie O
Until she came to the mouth of the dam.
And the swan swims bonnie O
12 The miller's daughter went out to Tweed,
Hey my bonnie Nannie O
To get some water to bake her bread.
And the swan swims bonnie O
13 In again she quickly ran:
Hey my bonnie Nannie O
'Here's a lady or a swan in our mill-dam.'
And the swan swims bonnie O
14 Out went the miller and his man
Hey my bonnie Nannie O
And took the lady out of the dam.
And the swan swims bonnie O
15 They laid her on the brae to dry;
Hey my bonnie Nannie O
Her father's fiddler then rode by.
And the swan swims bonnie O
16 When he this lady did come near,
Hey my bonnie Nannie O
Her ghost to him then did appear.
And the swan swims bonnie O
17 'When you go to my father the king,
Hey my bonnie Nannie O
You'll tell him to burn my sister Jean.
And the swan swims bonnie O
18 'When you go to my father's gate,
Hey my bonnie Nannie O
You'll play a spring for fair Ellen's sake.
And the swan swims bonnie O
19 'You'll tak three links of my yellow hair,
Hey my bonnie Nannie O
And play a spring for evermair.'
And the swan swims bonnie O
-----------------
'The Twa Sisters'- Version Q; Child 10- The Twa Sisters
Copied Oct. 26, 1861, by J.F. Campbell, Esq., from a collection made by Lady Caroline Murray; traced by her to an old nurse, and beyond the beginning of this century.
1 There dwelt twa sisters in a bower,
Oh and ohone, and ohone and aree!
And the youngest she was the fairest flower.
On the banks of the Banna, ohone and aree!
2 There cam a knight to court the twa,
Oh and ohone, and ohone and aree!
But on the youngest his love did fa.
On the banks of the Banna, ohone and aree!
3 He courted the eldest with ring and wi glove,
Oh and ohone, and ohone and aree!
But he gave the youngest all his love.
On the banks of the Banna, ohone and aree!
4 He courted the eldest with brooch and wi knife,
Oh and ohone, and ohone and aree!
But he loved the youngest as his life.
On the banks of the Banna, ohone and aree!
5 'O sister, O sister, will ye come to the stream,
Oh and ohone, and ohone and aree!
To see our father's ships come in?'
On the banks of the Banna, ohone and aree!
6 The youngest stood upon a stane,
Oh and ohone, and ohone and aree!
Her sister came and pusht her in.
On the banks of the Banna, ohone and aree!
7 'O sister, O sister, come reach me your hand,
Oh and ohone, and ohone and aree!
And ye shall hae all our father's land.
On the banks of the Banna, ohone and aree!
8 'O sister, O sister, come reach me your glove,
Oh and ohone, and ohone and aree!
And you shall hae William to be your true love.'
On the banks of the Banna, ohone and aree!
9 'I did not put you in with the design
Oh and ohone, and ohone and aree!
Just for to pull you out again.'
On the banks of the Banna, ohone and aree!
10 Some time she sank, some time she swam,
Oh and ohone, and ohone and aree!
Until she came to a miller's dam.
On the banks of the Banna, ohone and aree!
11 The miller's daughter dwelt on the Tweed,
Oh and ohone, and ohone and aree!
She went for water to bake her bread.
On the banks of the Banna, ohone and aree!
12 'O faither, faither, come drag me your dam,
Oh and ohone, and ohone and aree!
For there's aither a lady in't, or a milk-white swan.'
On the banks of the Banna, ohone and aree!
13 The miller went, and he dragd his dam,
Oh and ohone, and ohone and aree!
And he brought her fair body to lan.
On the banks of the Banna, ohone and aree!
14 They couldna see her waist sae sma
Oh and ohone, and ohone and aree!
For the goud and silk about it a'.
On the banks of the Banna, ohone and aree!
15 They couldna see her yallow hair
Oh and ohone, and ohone and aree!
For the pearls and jewels that were there.
On the banks of the Banna, ohone and aree!
16 Then up and spak her ghaist sae green,
Oh and ohone, and ohone and aree!
'Do ye no ken the king's dochter Jean?
On the banks of the Banna, ohone and aree!
17 'Tak my respects to my father the king,
Oh and ohone, and ohone and aree!
And likewise to my mother the queen.
On the banks of the Banna, ohone and aree!
18 'Tak my respects to my true love William,
Oh and ohone, and ohone and aree!
Tell him I deid for the love of him.
On the banks of the Banna, ohone and aree!
19 'Carry him a lock of my yallow hair,
Oh and ohone, and ohone and aree!
To bind his heart for evermair.'
On the banks of the Banna, ohone and aree!
----------------------------
'The Three Sisters'- Version R a.; Child 10; The Twa Sisters
a. Notes and Queries, 1st S., VI, 102, from Lancashire.
b. Written down for J.F. Campbell, Esq., Nov. 7, 1861, at Wishaw House, Lancashire, by Lady Louisa Primrose.
c. 'The Scouring of the White Horse,' p. 158, from Berkshire, as heard by Mr Hughes from his father.
1 There was a king of the north countree,
Bow down, bow down, bow down
There was a king of the north countree,
And he had daughters one, two, three.
I'll be true to my love, and my love'll be true to me
2 To the eldest he gave a beaver hat,
Bow down, bow down, bow down
To the eldest he gave a beaver hat,
And the youngest she thought much of that.
I'll be true to my love, and my love'll be true to me
3 To the youngest he gave a gay gold chain,
Bow down, bow down, bow down
To the youngest he gave a gay gold chain,
And the eldest she thought much of the same.
I'll be true to my love, and my love'll be true to me
4 These sisters were walking on the bryn,
Bow down, bow down, bow down
These sisters were walking on the bryn,
And the elder pushed the younger in.
I'll be true to my love, and my love'll be true to me
5 'Oh sister, oh sister, oh lend me your hand,
Bow down, bow down, bow down
'Oh sister, oh sister, oh lend me your hand,
And I will give you both houses and land.'
I'll be true to my love, and my love'll be true to me
6 'I'll neither give you my hand nor glove,
Bow down, bow down, bow down
'I'll neither give you my hand nor glove,
Unless you give me your true love.'
I'll be true to my love, and my love'll be true to me
7 Away she sank, away she swam,
Bow down, bow down, bow down
Away she sank, away she swam,
Until she came to a miller's dam.
I'll be true to my love, and my love'll be true to me
8 The miller and daughter stood at the door,
Bow down, bow down, bow down
The miller and daughter stood at the door,
And watched her floating down the shore.
I'll be true to my love, and my love'll be true to me
9 'Oh father, oh father, I see a white swan,
Bow down, bow down, bow down
'Oh father, oh father, I see a white swan,
Or else it is a fair woman.'
I'll be true to my love, and my love'll be true to me
10 The miller he took up his long crook,
Bow down, bow down, bow down
The miller he took up his long crook,
And the maiden up from the stream he took.
I'll be true to my love, and my love'll be true to me
11 'I'll give to thee this gay gold chain,
Bow down, bow down, bow down
'I'll give to thee this gay gold chain,
If you'll take me back to my father again.'
I'll be true to my love, and my love'll be true to me
12 The miller he took the gay gold chain,
Bow down, bow down, bow down
The miller he took the gay gold chain,
And he pushed her into the water again.
I'll be true to my love, and my love'll be true to me
13 The miller was hanged on his high gate
Bow down, bow down, bow down
The miller was hanged on his high gate
For drowning our poor sister Kate.
I'll be true to my love, and my love'll be true to me
14 The cat's behind the buttery shelf,
Bow down, bow down, bow down
The cat's behind the buttery shelf,
If you want any more, you may sing it yourself.
I'll be true to my love, and my love'll be true to me
---------------------------
['I'll prove true to my true love']- Version S; Child 10- The Twa Sisters
Kinloch Manuscripts, VI, 89, in Kinloch's hand.
1 * * * *
'O father, father, swims a swan,'
This story I'll vent to thee
'O father, father, swims a swan,
Unless it be some dead woman.'
I'll prove true to my true love,
If my love prove true to me
2 The miller he held out his long fish hook,
And hooked this fair maid from the brook.
I'll prove true to my true love,
If my love prove true to me
3 She offered the miller a gold ring stane
To throw her into the river again.
I'll prove true to my true love,
If my love prove true to me
4 Down she sunk, and away she swam,
Until she came to her father's brook.
I'll prove true to my true love,
If my love prove true to me
5 The miller was hung at his mill-gate,
For drowning of my sister Kate.
I'll prove true to my true love,
If my love prove true to me
------------------------
'Sister, dear Sister'- Version T; Child 10- The Twa Sisters
Allingham's Ballad Book, p. xxxiii. From Ireland.
1 Sister, dear sister, where shall we go play?'
Cold blows the wind, and the wind blows low
'We shall go to the salt sea's brim.'
And the wind blows cheerily around us, high ho
-----------------------------
['Bow down']- Version U; Child 10- The Twa Sisters
Communicated by Mr. W.W. Newell, as repeated by an ignorant woman in her dotage, who learned it at Huntington, Long Island, N.Y.
1 There was a man lived in the mist,[1]
Bow down, bow down
He loved his youngest daughter best.
The bow is bent to me,
So you be true to your own true love,
And I'll be true to thee.
2 These two sisters went out to swim;
Bow down, bow down
The oldest pushed the youngest in.
The bow is bent to me,
So you be true to your own true love,
And I'll be true to thee.
3 First she sank and then she swam,
Bow down, bow down
First she sank and then she swam.
The bow is bent to me,
So you be true to your own true love,
And I'll be true to thee.
4 The miller, with his rake and hook,
Bow down, bow down
He caught her by the petticoat.
The bow is bent to me,
So you be true to your own true love,
And I'll be true to thee.
* * * * *
Footnote:
1. "west," not "mist"- as pointed out by Barry BFSSNE no. 11, p.17, 1936.
--------------------
['Benorie, O Benorie']- Version V; Child 10- The Twa Sisters
Campbell Manuscript, II, 88.
1 There dwelt twa sisters in a bower,
Benorie, O Benorie
The youngest o them was the fairest flower.
In the merry milldams o Benorie
2 There cam a wooer them to woo,
Benorie, O Benorie
. . . . .
. . . . .
3 He's gien the eldest o them a broach and a real,
Benorie, O Benorie
Because that she loved her sister weel.
At the merry milldams o Benorie
4 He's gien the eldest a gay penknife,
Benorie, O Benorie
He loved the youngest as dear as his life.
At the merry milldams o Benorie
5 'O sister, O sister, will ye go oer yon glen,
Benorie, O Benorie
And see my father's ships coming in?'
At the merry milldams o Benorie
6 'O sister dear, I darena gang,
Benorie, O Benorie
Because I'm feard ye throw me in.'
The merry milldams o Benorie
7 'O set your foot on yon sea stane,
Benorie, O Benorie
And was yeer hands in the sea foam.'
At the merry milldams o Benorie
8 She set her foot on yon sea stane,
Benorie, O Benorie
To wash her hands in the sea foam.
At the merry milldams o Benorie
9 . . . . .
Benorie, O Benorie
But the eldest has thrown the youngest in.
The merry milldams o Benorie
10 'O sister, O sister, lend me your hand,
Benorie, O Benorie
And ye'se get William and a' his land.'
At the merry milldams o Benorie
11 The miller's daughter cam out clad in red,
Benorie, O Benorie
Seeking water to bake her bread.
At the merry milldams o Benorie
12 'O father, O father, gae fish yeer mill-dam,
Benorie, O Benorie
There's either a lady or a milk-[white] swan.'
In the merry milldams o Benorie
13 The miller cam out wi his lang cleek,
Benorie, O Benorie
And he cleekit the lady out by the feet.
From the merry milldam o Benorie
14 Ye wadna kend her pretty feet,
Benorie, O Benorie
The American leather was sae neat.
In the merry milldams o Benorie
15 Ye wadna kend her pretty legs,
Benorie, O Benorie
The silken stockings were so neat tied.
In the merry milldams o Benorie
16 Ye wadna kend her pretty waist,
Benorie, O Benorie
The silken stays were sae neatly laced.
In the merry milldams o Benorie
17 Ye wadna kend her pretty face,
Benorie, O Benorie
It was sae prettily preend oer wi lace.
In the merry milldams o Benorie
18 Ye wadna kend her yellow hair,
Benorie, O Benorie
It was sae besmeared wi dust and glar.
In the merry milldams o Benorie
19 By cam her father's fiddler fine,
Benorie, O Benorie
And that lady's spirit spake to him.
From the merry milldams o Benorie
20 She bad him take three taits o her hair,
Benorie, O Benorie
And make them three strings to his fiddle sae rare.
At the merry milldams o Benorie
21 'Take two of my fingers, sae lang and sae white,
Benorie, O Benorie
And make them pins to your fiddle sae neat.'
At the merry milldams o Benorie
22 The ae first spring that the fiddle played
Benorie, O Benorie
Was, Cursed be Sir John, my ain true-love.
At the merry milldams o Benorie
23 The next spring that the fiddle playd
Benorie, O Benorie
Was, Burn burd Hellen, she threw me in.
The the merry milldams o Benorie
---------------------
['By the bonnie mill-dams o Norham']- Version W; Child 10- The Twa Sisters
Communicated by Mr. Thomas Lugton, of Kelso, as sung by an old cotter-woman fifty years ago; learned by her from her grandfather.
1 Ther were three ladies playing at the ba,
Norham, down by Norham
And there cam a knight to view them a'.
By the bonnie mill-dams o Norham
2 He courted the aldest wi diamonds and rings,
Norham, down by Norham
But he loved the youngest abune a' things.
By the bonnie mill-dams o Norham
* * * * *
3 'Oh sister, oh sister, lend me your hand,
Norham, down by Norham
And pull my poor body unto dry land.
By the bonnie mill-dams o Norham
4 'Oh sister, oh sister, lend me your glove,
Norham, down by Norham
And you shall have my own true love!'
By the bonnie mill-dams o Norham
5 Oot cam the miller's daughter upon Tweed,
Norham, down by Norham
To carry in water to bake her bread.
By the bonnie mill-dams o Norham
6 'Oh father, oh father, there's a fish in your dam;
Norham, down by Norham
It either is a lady or a milk-white swan.'
By the bonnie mill-dams o Norham
7 Oot cam the miller's man upon Tweed,
Norham, down by Norham
And there he spied a lady lying dead.
By the bonnie mill-dams o Norham
8 He could not catch her by the waist,
Norham, down by Norham
For her silken stays they were tight laced.
By the bonnie mill-dams o Norham
9 But he did catch her by the hand,
Norham, down by Norham
And pulled her poor body unto dry land.
By the bonnie mill-dams o Norham
10 He took three taets o her bonnie yellow hair,
Norham, down by Norham
To make harp strings they were so rare.
By the bonnie mill-dams o Norham
11 The very first tune that the bonnie harp played
Norham, down by Norham
Was The aldest has cuisten the youngest away.
By the bonnie mill-dams o Norham
----------------------
['Binnorie, oh Binnorie']- Version X; Child 10- The Twa Sisters
Dr. Joseph Robertson's Note-Book, January 1, 1830, p. 7.
1 I see a lady in the dam,
Binnorie, oh Binnorie
She shenes as sweet as ony swan.
I the bonny milldams o Binnorie
-----------------
'There was a king lived in the North Country'- Version Y; Child 10- The Twa Sisters
Communicated to Percy, April 7. 1770, and April 19, 1775, by the Rev. P. Parsons, of Wye, near Ashford, Kent: "taken down from the mouth of the spinning-wheel, if I may be allowed the expression." [There are two versions that Parsons gave Percy, the second from 1775 marked-- "imperfect" by Parsons? was used by Child. The second stanza given by Parsons in 1770 is missing from Child's text. An additional stanza was added at the end in 1775 which is not in Parson's original 1770 text. This stanza does not fit because the stanza before it is missing. "River's" brim (1770) has been changed to "sea-side" brim (1775).]
* * * * *
1 There was a king lived in the North Country,
Hey down down dery[1] down
There was a king lived in the North Country,
And the bough it was bent to me
There was a king lived in the North Country,
And he had daughters one, two, three.
I'll prove true to my love,
If my love will prove true to me.
* * * * *
[2 The Eldest she had a Sweetheart came [2]
Hey down &c
The Eldest &c
And the Bough &c
The Eldest &c
But he had a mind for the younger dame
I’ll prove true &c]
2 He gave the eldest a gay gold ring,
Hey down down dery down
He gave the eldest a gay gold ring,
And the bough it was bent to me
He gave the eldest a gay gold ring,
But he gave the younger a better thing.
I'll prove true to my love,
If my love will prove true to me.
3 He bought the younger a beaver hat;
Hey down down dery down
He bought the younger a beaver hat;
And the bough it was bent to me
He bought the younger a beaver hat;
The eldest she thought much of that.
I'll prove true to my love,
If my love will prove true to me.
4 'Oh sister, oh sister, let us go run,
Hey down down dery down
'Oh sister, oh sister, let us go run,
And the bough it was bent to me
'Oh sister, oh sister, let us go run,
To see the ships come sailing along!'
I'll prove true to my love,
If my love will prove true to me.
5 And when they got to the sea-side[3] brim,
Hey down down dery down
And when they got to the sea-side brim,
And the bough it was bent to me
And when they got to the sea-side brim,
The eldest pushed the younger in.
I'll prove true to my love,
If my love will prove true to me.
6 'Oh sister, oh sister, lend me your hand,
Hey down down dery down
'Oh sister, oh sister, lend me your hand,
And the bough it was bent to me
'Oh sister, oh sister, lend me your hand,
I'll make you heir of my house and land.'
I'll prove true to my love,
If my love will prove true to me.
7 'I'll neither lend you my hand nor my glove,
Hey down down dery down
'I'll neither lend you my hand nor my glove,
And the bough it was bent to me
'I'll neither lend you my hand nor my glove,
Unless you grant me your true-love.'
I'll prove true to my love,
If my love will prove true to me.
8 Then down she sunk and away she swam,
Hey down down dery down
Then down she sunk and away she swam,
And the bough it was bent to me
Then down she sunk and away she swam,
Untill she came to the miller's mill-dam.
I'll prove true to my love,
If my love will prove true to me.
9 The miller's daughter sat at the mill-door,
Hey down down dery down
The miller's daughter sat at the mill-door,
And the bough it was bent to me
The miller's daughter sat at the mill-door,
As fair as never was seen before.
I'll prove true to my love,
If my love will prove true to me.
10 'Oh father, oh father, there swims a swan,
Hey down down dery down
'Oh father, oh father, there swims a swan,
And the bough it was bent to me
'Oh father, oh father, there swims a swan,
Or else the body of a dead woman.'
I'll prove true to my love,
If my love will prove true to me.
11 The miller he ran with his fishing hook,
Hey down down dery down
The miller he ran with his fishing hook,
And the bough it was bent to me
The miller he ran with his fishing hook,
To pull the fair maid out o the brook.
I'll prove true to my love,
If my love will prove true to me.
12 'Wee'll hang the miller upon the mill-gate,[4]
Hey down down dery down
'Wee'll hang the miller upon the mill-gate,
And the bough it was bent to me
'Wee'll hang the miller upon the mill-gate,
For drowning of my sister Kate.'
I'll prove true to my love,
If my love will prove true to me.
Footnotes:
1. clearly "derry" in 1770.
2. Stanza omitted in 1775.
3. In 1770, "seaside" crossed out and "river's" written above
4. This stanza is not in the original 1770 copy from Parsons, but is in the 1775 copy, however, the preceding stanza is missing.
-------------------
['The Two Sisters']-Version Z; Child 10- The Twa Sisters
496 a. This copy of 'The Twa Sisters,' Z, a variety of R, was derived from ladies in New York, and by them from a cousin.
1 There was a man lived in the West,
Sing bow down, bow down
There was a man lived in the West,
The bow was bent to me
There was a man lived in the West,
He loved his youngest daughter best;
So you be true to your own true-love
And I'll be true to thee.
2 He gave the youngest a beaver hat;
The eldest she was mad at that.
3 He gave the youngest a gay gold ring;
The eldest she had nothing.
4 As they stood by the river's brim,
The eldest pushed the youngest in.
5 'Oh dear sister, hand me your hand,
And I'll give you my house and land.
6 'Oh dear sister, hand me your glove,
And you shall have my own true-love.'
7 First she sank and then she swam,
She swam into the miller's dam.
8 The miller, with his line and hook,
He caught her by the petticoat
9 He robbed her of her gay gold ring,
And then he threw her back again.
10 The miller, he was burnt in flame,
The eldest sister fared the same.
End Notes: 10. The Twa Sisters
A. b. 11, went a-playing.
Burden2, a downe-o.
c. 11, went a-playing.
Burden1,2. With a hey down, down, a down, down-a.
42. Till oat-meal and salt grow both on a tree.
61. ran hastily down the clift.
62. And up he took her without any life.
132. Moll Symns.
141, 151. Then he bespake.
172. And let him go i the devil's name.
d. 11, went a-playing.
12, ships sailing in.
21. into.
32. me up on.
62. withouten life.
B. a. 26, 27, 28. And it has been written in as a conjectural emendation by Jamieson, he did it play, [it playd, he playd]; and it is adopted by Jamieson in his printed copy: see below, d 26, 27, 28.
b. The first stanza only, agreeing with a 1, is given by Anderson, Nichols's Illustrations, VII, 178.
c. Evidently a copy of Mrs. Brown's version, and in Scott's manuscript it has the air, as all the Tytler-Brown ballads had. Still it has but twenty-three stanzas, whereas Dr. Anderson gives fifty-eight lines as the extent of the Tytler-Brown copy of 'The Cruel Sister' (Nichols, Illus. Lit. Hist., VII, 178). This, counting the first stanza, with the burden, as four lines, according to the arrangement in Scott's manuscripy, would tally exactly with the Jamieson-Brown manuscript B a.
It would seem that B c had been altered by somebody in order to remove the absurd combination of sea and mill-dam; the invitation to go see the ships come to land, B a 7, is omitted, and "the deep mill-dam" substituted, in 8, for "yon sea-stran." Stanza 17 of c, "They raisd her," etc., cited below, occurs in Pinkerton, N 20, and is more likely to be his than anybody's.
21. brooch and ring.
22. abune a' thing.
31. wooed . . . with glove and knife.
32. looed the second.
52. she well nigh brist.
7. wanting.
82. led her to the deep mill-dam.
92. Her cruel sister pushd her in.
112. And Ise mak ye.
12. wanting.
141. Shame fa the hand that I shall tak.
151. gowden hair.
152. gar . . . maiden ever mair.
16. wanting.
171. Then out and cam.
172. swimming down.
181. O father, haste and draw.
191. his dam.
192. And then. (?)
Instead of 20-22:
They raisd her wi meikle dule and care,
Pale was her cheek and green was her hair.
241. that corpse upon.
252. he 's strung.
261, 271, 281, for tune, line, if the copy be right.
271. The next.
281. The last.
282. fause Ellen.
"Note by Ritson. 'The fragment of a very different copy of this ballad has been communicated to J.R. by a friend at Dublin.'" [J.C. Walker, no doubt.]
d. Jamieson, Popular Ballads and Songs, I, 48, says that he gives his text verbatim as it was taken from the recitation of the lady in Fifeshire (Mrs. Brown), to whom both he and Scott were so much indebted. That this is not to be understood with absolute strictness will appear from the variations which are subjoined. Jamieson adds that he had received another copy from Mrs. Arrott of Aberbrothick, "but as it furnished no readings by which the text could have been materially improved," it was not used. Both Jamieson and Scott substitute the "Binnorie" burden, "the most common and popular," says Scott, for the one given by Mrs. Brown, with which Mrs. Arrott's agreed. It may be added that Jamieson's interpolations are stanzas 20, 21, 27, etc., and not, as he says (I, 49), 19, 20, 27, etc. These interpolations also occur as such in the manuscript.
11, sisters livd.
22. aboon.
32. he loved.
42. and sair envied.
51. Intill her bower she coudna.
52. maistly brast.
112. mak ye.
142. me o.
161. omits an.
162. came to the mouth o yon mill-dam.
182. There 's.
202. that was.
222. that were.
261. it did.
271. it playd seen.
281. thirden tune that it.
A copy in Motherwell's Manuscript, p. 239, is derived from Jamieson's printed edition. It omits the interpolated stanzas, and makes a few very slight changes.
C. Scott's account of his edition is as follows (II, 143, later ed., III, 287):
"It is compiled from a copy in Mrs. Brown's manuscript, intermixed with a beautiful fragment, of fourteen verses, transmitted to the editor by J.C. Walker, Esq., the ingenious historian of the Irish bards. Mr. Walker, at the same time, favored the editor with the following note: ' I am indebted to my departed friend, Miss Brooke, for the foregoing pathetic fragment. Her account of it was as follows: This song was transcribed, several years ago, from the memory of an old woman, who had no recollection of the concluding verses; probably the beginning may also be lost, as it seems to commence abruptly.' The first verse and burden of the fragment run thus:
"'O sister, sister, reach thy hand!
Hey ho, my Nanny, O,
And you shall be heir of all my land.
While the swan swims bonny,'"
Out of this stanza, or the corresponding one in Mrs. Brown's copy, Scott seems to have made his 9, 10.
E. "My mother used to sing this song." Sharpe's Ballad Book, ed. of 1880, note, p. 129.
F. 22. An wooer.
G. 21. strand, with sand written above: sand in 31.
I. 12, var. in manuscript. There was a knicht and he loved them bath.
7. The following stanza was subsequently written on an opposite blank page, perhaps derived from D 8:
Foul fa the hand that I wad take,
To twin me and my warld's make.
102. a was, perhaps, meant to be expunged, but is only a little blotted.
112. var. a lady or a milk-white swan.
12, 13 were written in later than the rest; at the same time, apparently, as the stanza above (7).
K. Found among Mr. Kinloch's papers by Mr. Macmath, and inserted by him as a note on p. 59, vol. II, of Kinloch's manuscripts. The order of the stanzas is there, wrongly, inverted.
12, var. I wad give you.
L. a. These fragments were communicated to Notes and Queries, April 3, 1852, by "G. A. C.," who had heard 'The Miller's Melody' sung by an old lady in his childhood, and who represents himself as probably the last survivor of those who had enjoyed the privilege of listening to her ballads. We may, there fore, assign this version to the latter part of the 18th century. The two four-line stanzas were sung to "a slow, quaint strain." Two others which followed were not remembered, "but their purport was that the body 'stopped hard by a miller's mill,' and that this 'miller chanced to come by,' and took it out of the water 'to make a melodye.'" G. A. C. goes on to say: "My venerable friend's tune here became a more lively one, and the time quicker; but I can only recollect a few of the couplets, and these not correctly nor in order of sequence, in which the transformation of the lady into a viol is described."
b. Some stanzas of this four-line version, with a ludicrous modern supplement, are given in 'The Scouring of the White Horse,' p. 161, as from the Welsh marshes. Five out of the first six verses are there said to be very old indeed, "the rest all patchwork by different hands." Mr. Hughes has kindly informed me that he derived the ballad from his father, who had originally learned it at Ruthyn when a boy. What is material here follows:
1 O it was not a pheasant cock,
Nor yet a pheasant hen,
But O it was a lady fair
Came swimming down the stream.
2 An ancient harper passing by
Found this poor lady's body,
To which his pains he did apply
To make a sweet melody.
3 To cat-gut dried he her inside,
He drew out her back-bone,
And made thereof a fiddle sweet
All for to play upon.
4 And all her hair, so long and fair,
That down her back did flow,
he did lay it up with care,
To string his fiddle bow.
5 And what did he with her fingers,
Which were so straight and small?
O he did cut them into pegs,
To screw up his fiddoll.
6 Then forth went he, as it might be,
Upon a summer's day,
And met a goodly company,
Who asked him in to play.
7 Then from her bones he drew such tones
As made their bones to ache,
They sounded so like human groans
Their hearts began to quake.
8 They ordered him in ale to swim,
For sorrow's mighty dry,
And he to share their wassail fare
Essayd right willingly.
9 He laid his fiddle on a shelf
In that old manor-hall,
It played and sung all by itself,
And thus sung this fiddoll:
10 'There sits the squire, my worthy sire,
A-drinking hisself drunk,' etc., etc.
N. Pinkerton tells us, in the Preface to his Ancient Scottish Poems, p. cxxxi, that "Binnorie is one half from tradition, one half by the editor." One fourth and three fourths would have been a more exact apportionment. The remainder of his text, which is wholly of his invention, is as follows:
'Gae saddle to me my swiftest steid;
Her fere, by my fae, for her dethe sail bleid.'
A page cam rinning out owr the lie:
'O heavie tydings I bring,' quoth he.
'My luvely lady is far awa gane;
We weit the fairy hae her tane.
Her sister gaed wood wi dnle and rage;
Nocht cold we do her mind to suage.
"O Isabel, my sister," she wold cry,
"For thee will I weip, for thee will I die."
Till late yestrene, in an elric hour,
She lap frae aft the hichest touir.'
'Now sleip she in peace,' quoth the gallant squire;
'Her dethe was the maist that I cold require.
But I'll main for the, my Isabel deir,
Full mony a dreiry day, bot weir.'
20. This stanza occurs also in B c (17), and was perhaps borrowed from Pinkerton by the reviser of that copy.
O. a. Buchan's note, II, 320: "I have seen four or five different versions of this ballad, but none in this dress, nor with the same chorus... The old woman from whose recitation I took it down says she had heard another way of it, quite local, whose burden runs thus:
'Everinto Buchanshire, vari vari O.'"
12, hae courted.
b. Mr. Christie has "epitomized" Buchan's copy (omitting stanzas 9-12), with these few slight alterations from the singing of a Banffshire woman, who died in 1860, at the age of nearly eighty:
Burden: It 's hey, etc.
22. And he courted the eldest wi mony other thing.
31. But it fell.
52. And the eldest.
P. b. This stanza only:
There livd twa sisters in a bower,
Hey my bonnie Annie O
There cam a lover them to woo.
And the swan swims bonnie O,
And the swan swims bonnie
Q. The burden is given thus in Pop. Tales of the West Highlands, IV, 125:
Oh ochone, ochone a rie,
On the banks of the Banna, ochone a rie.
R. a. The title 'The Three Sisters,' and perhaps the first stanza, belongs rather to No 1 A, B, p. 3f.
b. 1. A farmer there lived in the north countree,
Bo down
And he had daughters one, two, three.
And I'll be true unto my love, if he'll be true unto me
(The burden is given as Bo down, bo down, etc., in Popular Tales of the West Highlands, iv, 125.)
Between 1 and 2 b has:
The eldest she had a lover come,
And he fell in love with the younger one.
He bought the younger a ...
The elder she thought ...
3. wanting.
41. The sisters they walkt by the river brim.
62. my true love.
8. The miller's daughter was at the door,
As sweet as any gillyflower.
9. O father, O father, there swims a swain,
And he looks like a gentleman.
10. The miller he fetcht his line and hook,
And he fisht the fair maiden out of the brook.
111. O miller, I'll give you guineas ten,
12. The miller he took her guineas ten,
And then he popt her in again.
131. ... behind his back gate, 2. the farmer's daughter Kate.
Instead of 14:
The sister she sailed over the sea,
And died an old maid of a hundred and three.
The lover became a beggar man,
And he drank out of a rusty tin can.
b 8, 11, 12, 14, 15 are cited in Popular Tales of the West Highlands, iv, 127.
c. 1. A varmer he lived in the west countree,
Hey-down, bow-down
A varmer he lived in the west countree,
And he had daughters one, two, and dree.
And I'll be true to my love.
If my love'll be true to me.
2, 3. wanting. 41. As thay wur walking by the river's brim.
51. pray gee me thy hand.
71. So down she sank and away she swam.
8. The miller's daughter stood by the door,
As fair as any gilly-flower.
9. here swims a swan,
Very much like a drownded gentlewoman.
10. The miller he fot his pole and hook,
And he fished the fair maid out of the brook.
111. O miller, I'll gee thee guineas ten.
122. pushed the fair maid in again.
Between 12 and 13 c has,
But the crowner he cum and the justice too,
With a hue and a cry and a hullaballoo.
They hanged the miller beside his own gate
For drowning the varmer's daughter, Kate.
Instead of 14:
The sister, she fled beyond the seas,
And died an old maid among black savagees.
So I've ended my tale of the west countree,
And they calls it the Barkshire Tragedee.
S. 12 Manuscript Or less (?).
T. "Sung to a peculiar and beautiful air." Allingham, p. xxxiii.
"Additions and Corrections"
Page 118 b. K is found in Kinloch Manuscripts, VII, 256.
Add: V. 'Benorie,' Campbell Manuscripts, II, 88.
W. 'Norham, down by Norham,' communicated by Mr. Thomas Lugton, of Kelso.
X. 'Binnorie,' Dr. Joseph Robertson's Note-Book, January 1, 1830, p. 7, one stanza.
Y. Communicated to Percy by Rev. P. Parsons, April 7, 1770.
119 a. Note *, first line. Read: I, 315.
120 a, first paragraph. "A very rare but very stupid modern adaptation, founded on the tradition as told in Småland, appeared in Götheborg, 1836, small 8vo, pp 32: Antiquiteter i Thorskinge. Fornminnet eller Kummel-Runan, tolkande Systersveket Bröllopps-dagen." The author was C.G. Lindblom, a Swedish priest. The first line is:
"En Näskonung bodde på Illvedens fjäll."
Professor George Stephens.
120 a. Note *, lines 3, 4. Read: and in 14, 15, calls the drowned girl "the bonnie miller's lass o Binorie," meaning the bonnie miller o Binorie's lass.
124 a, last paragraph. A drowned girl grows up on the sea-strand as a linden with nine branches: from the ninth her brother carves a harp. "Sweet the tone," he says, as he plays. The mother calls out through her tears, So sang my youngest daughter. G. Tillemann, in Livona, ein historisch-poetisches Taschenbuch, Riga u. Dorpat, 1812, p. 187, Ueber die Volkslieder der Letten. Dr. R. Köhler points out to me a version of this ballad given with a translation by Bishop Carl Chr. Ulmann in the Dorpater Jahrbücher, II, 404, 1834, 'Die Lindenharfe,' and another by Pastor Karl Ulmann in his Lettische Volkslieder, übertragen, 1874, p. 199, No 18, 'Das Lied von der Jüngsten.' In the former of these the brother says, Sweet sounds my linden harp! The mother, weeping, It is not the linden harp; it is thy sister's soul that has swum through the water to us; it is the voice of my youngest daughter.
124 b, first paragraph. In Bohemian, 'Zakletá dcera,' 'The Daughter Cursed,' Erben, 1864, p. 466 (with other references); Moravian, Sušil, p. 143, No 146. Dr. R. Köhler further refers to Peter, Volksthumliches aus Österreichisch-Schlesien, I, 209, "Die drei Spielleute; ' Meinert, p. 122, ' Die Erle;' Vernaleken, Alpensagen, p. 289, No 207, 'Der Ahornbaum.'
125 b. Add to the citations: 'Le Siffiet enchanté,' E. Cosquin, Contes populaires lorrains, No 26, Romania, VI, 565, with annotations, pp 567 f; Köhler's Nachträge in Zeitschrift für romanische Philologie, II, 350 f; Engelien u. Lahn, Der Volksmund in der Mark Brandenburg, I, 105, 'Diä 3 Brüöder;' Sébillot, Littérature orale de la Haute-Bretagne, p. 220, Les Trois Frères, p. 226, 'Le Sifflet qui parle.' (Köhler.)
132. I. 102. Read: for water.
K. Say: Kinloch Manuscripts, VII, 256.
12. And I'll gie the hail o my father's land.
2. The first tune that the bonnie fiddle playd,
Hang my sister Alison,' it said.
8. 'I wad gie you!
136a. R b. Read: Manarkshire.
Add versions V, W, X, Y.
V.
2, 3. In the Manuscript thus:
There came ...
Benorie ...
He's gien ...
At the merry
Because that ...
At the merry ...
8, 9. In the Manuscript thus:
She set ...
Benorie
To wash ...
At the ...
But the eldest .
The bonny ...
From 18 on, the burden is
O Benorie, O Benorie.
139 a. K. I wad give you, is the beginning of a new stanza (as seen above).
141 b. S. Read: 13. Manuscript Orless.
P. 119 b. Färöe versions. Seven are now known, and one is printed, from the manuscript collection of Färöe ballads made by Svend Grundtvig and Jargen Bloch, in Hammershaimb, Fieresk Anthologi, No 7, p. 23, 'Harpu rima.'
124 b. Waldau, Böhmische Granaten, II, 97. R. Köhler. (I have never been able to get the second volume.)
125 a. 'Siffle, berger, de mon haleine!
Mon frère m'a tué sous les bois d'Altumène,
Pour la rose de ma mère, que j'avais trouvée,' etc.
Poésies pop. de la France, Manuscript, VI, 193 Its; popular in Champagne: Mélusine, I, col. 424.
125 b, second paragraph. (7), also in Rochholz, Schweizersagen aus dem Aargau, IT, 126, No 353. Add to stories of this group, 'La Flute,' Bladé, Contes pop. de la Gascogne, II, 100-102. G.L.K.
The last paragraph. De Gubernatis, Zoölogical Mythology, 1, 195, cites other similar stories: Afanasief, Skazki, v, 71, No 17, and two varieties, vi, 133, No 25; the twentieth story of Santo Stefano di Calcinaia, II, 325. G.L.K.
---------------------------------------
496 a. This copy of 'The Twa Sisters,' Z, a variety of R, was derived from ladies in New York, and by them from a cousin.
1 There was a man lived in the West,
Sing bow down, bow down
There was a man lived in the West,
The bow was bent to me
There was a man lived in the West,
He loved his youngest daughter best;
So you be true to your own true-love
And I'll be true to thee.
2 He gave the youngest a beaver hat;
The eldest she was mad at that.
3 He gave the youngest a gay gold ring;
The eldest she had nothing.
4 As they stood by the river's brim,
The eldest pushed the youngest in.
5 'Oh dear sister, hand me your hand,
And I'll give you my house and land.
6 'Oh dear sister, hand me your glove,
And you shall have my own true-love.'
7 First she sank and then she swam,
She swam into the miller's dam.
8 The miller, with his line and hook,
He caught her by the petticoat
9 He robbed her of her gay gold ring,
And then he threw her back again.
10 The miller, he was burnt in flame,
The eldest sister fared the same.
-----------------------------------
P. 119. A Danish fragment of nine stanzas in Kristensen's Skattegraveren, IV, 161, No 509.
119 b. Three copies of the Swedish ballad are printed by Wahlfisk, Bidrag till Södermanlands aldere Kulturhistoria, No VI, p. 33 f..
124 b, 493 b, 11,498 b.
Rudchenko, South Russian Popular Tales, I, No 55: murder of brother revealed by a flute made from a reed that grows from his grave (No 56, flute from a willow). II, No 14, murder of a boy killed and eaten by his parents revealed by a bird that rises from his bones. (W.W.)
In a Flemish tale reported in the Revue des Traditions populaires, II, 125, Janneken is killed by Milken for the sake of a golden basket. The murder is disclosed by a singing rose. In 'Les Roseaux qui chantent' a sister kills her brother in a dispute over a bush covered with pain-prunelle. Roses grow from his grave. A shepherd, hearing them sing, cuts a stem of the rose-bush and whistles in it. The usual words follow. Revue des Traditions populaires, II, 365 ff.; cf. Sébillot's long note, p. 366 ff.. Das Flötenrohr (two prose versions), U. Jahn, Volkssagen aus Pommern und Rügen, No 510, pp. 399-401. (G.L.K.)
To be Corrected in the Print.
132 b, 72. Read Lord John.
The following are mostly trivial variations from the spelling of the text.
132 a, 51. Read father[s].
133 a, M. Read Deer.
P. 119 a. Danish. 'De talende Strenge,' Kristensen, Jyske Folkeminder, X, 68, 875, No 19, A-E.
119 b. Swedish. 'De två systrarna,' Lagus, Nyländska Folkvisor, I, 27, No 7, a, b; the latter imperfect.
124 b. Bohemian, Waldau, Böhmische Granaten, II, 97, No 137 (with the usual variations).
125 b, 493 b; II, 498 b; III, 499 a. Add: 'Les roseaux qui chantent,' Revue des Traditions Populaires, IV, 463, V, 178; 'La rose de Pimperlé,' Meyrac, Traditions, etc., des Ardennes, p. 486 ff.; 'L'os qui chante,' seven Walloon versions, E. Monseur, Bulletin de Folklore Wallon, I, 39 ff.
128. C. 'The Cruel Sister,' "Scotch Ballads, Materials for Border Minstrelsy," No 16; communicated to Scott by Major Henry Hutton, Royal Artillery, December 24, 1802 (Letters, I, No 77), as recollected by his father "and the family."
1 There were twa sisters in a bowr,
Binnorie, O Binnorie
The eldest was black and the youngest fair.
By the bonny milldams o Binnorie
After 13 (or as 14):
Your rosie cheeks and white hause-bane
Garrd me bide lang maiden at hame.
After 15:
The miller's daughter went out wi speed
To fetch some water to make her bread.
After 17:
He coud not see her fingers sma,
For the goud rings they glistend a'.
He coud na see her yellow hair
For pearlin and jewels that were so rare.
And when he saw her white hause-bane
Round it hung a gouden chain.
He stretched her owt-our the bra
And moane'd her wi mekle wa.
"Then, at the end, introduce the following" (which, however, are not traditional).
The last tune the harp did sing,
'And yonder stands my false sister Alison.
'O listen, listen, all my kin,
'T was she wha drownd me in the lin.'
And when the harp this song had done
It brast a' o pieces oer the stane.
"Alison. The writer of these additional stanzas understands the name was Alison, and not Helen." Alison occurs in D, K.
Pp. 183, 139. L. Anna Seward to Walter Scott, April 25-29, 1802: Letters addressed to Sir Walter Scott, I, No 54, Abbotsford. "The Binnorie of endless repetition has nothing truly pathetic, and the ludicrous use made of the drowned sister's body is well burlesqued in a ridiculous ballad, which I first heard sung, with farcial grimace, in my infancy [born 1747], thus:"
1 And O was it a pheasant cock,
Or eke a pheasant hen?
Or was it and a gay lady,
Came swimming down the stream?
2 O it was not a pheasant cock,
Or eke a pheasant hen,
But it was and a gay lady,
Came swimming down the stream.
3 And when she came to the mill-dam
The miller he took her body,
And with it he made him a fiddling thing,
To make him sweet melody.
4 And what did he do with her fingers small?
He made of them pegs to his vial.
5 And what did he do with her nose-ridge?
Why to his fiddle he made it a bridge.
Sing, the damnd mill-dam, O
6 And what did he do with her veins so blue?
Why he made him strings his fiddle unto.
7 And what did he do with her two shins?
Why to his vial they dancd Moll Sims.
8 And what did he do with her two sides?
Why he made of them sides to his fiddle besides.
9 And what did he do with her great toes?
Why what he did with them that nobody knows.
Sing, O the damnd mill-dam, O
For 4, 5, 6, 7, see A 8, 9, 10, 13.
P. 137. Manuscript of Thomas Wilkie, p. 1, in "Scotch Ballads, Materials for Border Minstrelsy," No 82; taken down "from a Miss Nancy Brockie, Bemerside." 1813.
1 There were twa sisters sat in a bower,
By Nera and by Nora
The youngest was the fairest flower.
Of all the mill-dams of Bennora
2 It happened upon a bonnie summer's day
By Nera and by Nora
The eldest to the youngest did say:
In the bonnie mill-dams of Bennora
3 'We must go and we shall go
By Nera and by Nora
To see our brother's ships come to land.'
In the bonnie mill-dams of Bennora
4 'I winna go and I downa go,
By Nera and by Nora
For weeting the corks o my coal-black shoes.'
In the bonnie mill-dams of Bennora
5 She set her foot into a rash-bush,
By Nera and by Nora
To see how tightly she was dressd.
In the bonnie mill-dams of Bennora
6 But the youngest sat upon a stone,
By Nera and by Nora
But the eldest threw the youngest in.
In the bonnie mill-dams of Bennora
7 'O sister, oh sister, come lend me your hand,
By Nera and by Nora
And draw my life into dry land!'
In the bonnie mill-dams of Bennora
8 'You shall not have one bit o my hand;
By Nera and by Nora
Nor will I draw you to dry land.'
In the bonnie mill-dams of Bennora
9 'O sister, O sister, come lend me your hand,
By Nera and by Nora
And you shall have Sir John and all his land.'
In the bonnie mill-dams of Bennora
10 'You shall not have one bit o my hand,
By Nera and by Nora
And I'll have Sir John and all his land.
In the bonnie mill-dams of Bennora
11 The miller's daughter, clad in red,
By Nera and by Nora
Came for some water to bake her bread.
In the bonnie mill-dams of Bennora
12 'O father, O father, go fish your mill-dams,
By Nera and by Nora
For there either a swan or a drownd woman.'
In the bonnie mill-dams of Bennora
13 You wad not have seen one bit o her waist,
By Nera and by Nora
The body was' swelld, and the stays strait laced.
In the bonnie mill-dams of Bennora
14 You wad not have seen one bit o her neck,
By Nera and by Nora
The chains of gold they hang so thick.
In the bonnie mill-dams of Bennora
15 He has taen a tait of her bonnie yellow hair,
By Nera and by Nora
He's tied it to his fiddle-strings there.
In the bonnie mill-dams of Bennora
16 The verry first spring that that fiddle playd
By Nera and by Nora
Was, Blest be [the] queen, my mother! [it] has said.
In the bonnie mill-dams of Bennora
17 The verry next spring that that fiddle playd
By Nera and by Nora
Was, Blest be Sir John, my own true-love!
In the bonnie mill-dams of Bennora
18 The very next spring that that fiddle playd
By Nera and by Nora
Was, Burn my sister for her sins!
In the bonnie mill-dams of Bennora
42. Written at first my black heeld shoes.
122. swain.
172. thy own.
137 b, S 42. Read cam.
P. 125, 493 b, II, 498 b, III, 499 a, IV, 447 b. 'Les roseaux qui chantent, Revue des Traditions Populaires, VII, 223 (blue flower); 'L'os qui chante,' discussion of the tale by M. Charles Ploix, Rev. des Trad. Pop., VIII, 129 ff.
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P. 124 a, 4th paragraph. The ballad in Schlegel's Reisen is simply a threnody in Esthonian marriage ceremonies over the carrying away of the bride to her husband's house, and is not to the point.
125, 493 b, II, 498 b, III, 499 a, IV, 447 b, V, 208 b. 'L'os qui chante:' M. Eugene Monseur has continued his study of this tale in Bulletin de Folklore, I, 39-51, 89-149, II, 219-41, 245-51. See also Bugiel in Wisła, VII, 339-61, 557-80, 665-85.
[See also 'Die Geschichte von zwei Freunden,' Socin u. Stumme, Dialekt der Houwāra des Wād Sūs in Marokko, pp. 53, 115, Abhandlungen der Phil.-hist. Classe der K. Sachs. Gesellschaft der Wissenschaften, XV.]
[On disclosure by musical instruments see Revue Celtique, II, 199; Hartland, Legend of Perseus, I, 193. F.N. Robinson.]
126 a. [For a parallel to the South African tale see Jacottet, Contes pop. des Bassoutos, p. 52.]
126 b. C is also translated by H. Schubart in Arnim's Tröst Einsamkeit, 1808, p. 146.
To be Corrected in the Print.
138 a, B c, 112. I'll. b, 261, 271, 281. Manuscript tune (copy wrong).
Trivial Corrections of Spelling.
138 a, B c, 52. Read brest.