7C. Sheffield Park-- Roud 860 ("The Unfortunate Maid;" "The Young Man of Sheffield Park;" "In Yorkshire Park" )
Sheffield Park ("In Sheffield Park there did live and dwell") Roud 860
A. "The Unfortunate Maid," Song collection
a. "The Unfortunate Maid," from "The Choice Spirits Delight Part II: Being a Choice Collection of New Songs, Sung this and the Last Season, at Renelagh, Vauxhall, Sadler's Wells, the Theatres, and in the Politest Companies. . ." printed by Dicey & Company in Aldermary Church-Yard, Bow-Lane, London, 1770.
B. "The Young Man of Sheffield Park." broadside
a. "The Young Man of Sheffield Park." Printed and sold by J. Jennings, No. 15, Water lane, Fleet street London; c. 1790.
b. "The Young Man of Sheffield Park" printed by Evans of 42 Long Lane, London, c1794.
c. "The Unfortunate Maid of Sheffield," Holroyd's Collection of Yorkshire Ballads by Abraham Holroyd, 1892.
C. "Sheffield Park" broadside
a. "Sheffield Park" Pitts, Printer, wholesale Toy and Marble warehouse 6, Gt. St. Andrew Street, Seven Dials; London, c. 1820.
b. "Sheffield Park" Printed by Thomas Birt 10 Great St. Andrew Street Seven Dials London. c. 1828. (In Sheffield Park, O there did dwell")
c. "Sheffield Park" Printed by J. Catnatch, 2 Monmouth Ct. Seven Dials, London [no date]
d. "Sheffield park.' printed by William Pratt, Printer, 82, Digbeth, Birmingham c. 1850
e. "Sheffield park" printed by R. Peach, Successor to Wright, Printer, Smithfield, Birmingham c. 1855
D. "In Castle Park," sung by Amos Ash at Combe Florey, Somerset in April, 1905 by H.E. Hammond and also on September 14th, 1908 as collected by Cecil Sharp.
E. "In Yorkshire Park" sung by Robert Barratt of Piddletown (Puddletown), Dorset in Sept.-Oct. 1905. Collector: H.E.D. Hammond. From Henry Hammond Manuscript Collection (HAM/3/11/9)
F. "Sheffield Park," sung by Moses Blake of Emery Down, Hampshire in May 23, 1906. George Gardiner Collection from The Wanton Seed: more English folk songs from the Hammond & Gardiner collections by Frank Purslow, Henry Edward Denison Hammond, Robert Francis Frederick Hammond - 1969. Stanza 7 from George Whitland in 1907.
G. "Chapel Park," sung by Thomas Colcombe of Weobley, Herefordshire in September, 1906. Collected by F. Jekyll. From: Lucy Broadwood Manuscript Collection (LEB/5/225)
H. "In Sheffield Park," sung by George Whiteland (67) of Preston Candover, Hampshire Oct. 1907. Collectors: G.B. Gardiner, Charles Gamblin. From: George Gardiner Manuscript Collection (GG/1/16/1010)
I. "Shepherd Park,"- sung by Elizabeth Smithers [Smitherd] of Tewkesbury, Gloucestershire on April 11, 1908. Three stanzas with music from Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/9/1498).
J. "Sheffield Park," sung by Mrs. Cranstone of Billingshurst Sussex about 1909; collected by G. Butterworth. From George Butterworth Manuscript Collection (GB/4/33).
K. "Sheffield Park," sung by E. Lawrence of Midhurst, Sussex on Jan. 1, 1912. Collected by Clive Carey. From Clive Carey Manuscript Collection (CC/1/152).
L. "Sheffield Park," as written down by Mrs. Moseley of Treyford, Suzzex about Jan.2, 1912. From a handwritten MS in Clive Carey Manuscript Collection (CC/1/162).
M. Sheffield Park- sung by Mrs. Smith of King's Pyon, Herefordshire in September, 1912. From: Ella Mary Leather Manuscript Collection (EML/2/29).
N. "In Sheffield Park" Miss E. King of Castle Eaton, Wiltshire; collected Alfred Williams, 1916. From WSRO: 2598/36 Packet 4 - Wiltshire: Williams, A: MS collection No Wt 339; also published in Wilts and Gloucestershire Standard, 22nd January, 1916, p 2, Part 15, No. 7.
O. "Sheffield Park," sung by William Carpenter of Ross, Herefordshire on 2 Sept, 1921. 10 1/2 stanzas with music from Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/10/4848).
P. "In Sheffield Park," sung by Enos White with his wife- collected by Bob Copper in Axford, Hampshire about 1954.
Q. "In Sheffield Park," sung by Ben Butcher of Popham, Hampshire; recorded by Bob Copper between September 1954 and November 1957 on the 1977 Topic album Songs and Southern Breezes: Country Singers from Hampshire and Sussex.
R. "Sheffield Park," sung by Frank Hinchliffe, recorded by Mike Yates and Ruairidh Greig in 1976.
[The British ballad, colloquially known as Sheffield Park, has at times been included as a member of Died for Love[1] but is a different ballad with a similar theme and several very similarly worded stanzas. The similarly worded stanzas are obvious when comparing Butcher Boy (Died for Love, E) with the opening of Sheffield Park. The opening stanza of the Pitts "Sheffield Park" broadside as well as the 2nd stanza, where the maid goes upstairs to bed, and the first half of 3rd stanza, the maid's response to her mistress-- are very similar to stanzas found in Butcher Boy:
Sheffield Park (Pitts broadside[2])
1. IN Sheffield park, O there did dwell,
A brisk young lad, I lov'd him well,
He courted me my heart to gain,
He is gone and left me full of pain.
2. I went up stairs to make the bed,
I laid me down and nothing said,
My mistress came and to me said,
What is the matter with you my maid.
3. O mistress, mistress you little know,
The pain and sorrow I undergo,
The maid's mistress has become her mother in Butcher Boy:
Butcher Boy (Wehman broadside[3])
In London City where I did dwell,
A butcher boy I loved so well;
He's courted me my heart away
An' along with me he will not stay.
I go up-stairs to make my bed,
But nothing to my mother said;
My mother comes up-stairs to me saying,
"What's the matter, my daughter dear?"
"Oh! mother, mother! you do not know
What grief, and pain, and sorrow, woe—
These very similar stanzas are why Belden remarked in his 1940 headnotes to Butcher Boy[4]: "The location is Sheffield park in Pitts's broadside of that title, which comes closest of all British stall prints to the American ballad." This curious affinity between Butcher Boy (American) and Sheffield Park (English) suggest a common ancestry. However similar the openings are these facts remain: Sheffield Park has not been reported in North America and Butcher Boy is not usually found in tradition in the UK[5]. The similarity with Butcher Boy ends after the 3rd stanza and although there is a letter-- it's a love letter sent by the maid to her false lover. In the modern broadsides[6] of Sheffield Park the false young man's response to the maid's letter is fashioned from a parallel broadside used by the Died for Love family, the c.1686 Constant Lady and False-Hearted Squire:
17. "Did she think I so fond could be,
That I could fancy none but she?
Man was not made for one alone;
I took delight to hear her moan."
The maid dies of a broken heart and other stanzas from "Constant Lady" end the tragic ballad. There are two different ballad stories from two different print versions. The earliest extant version, "The Unfortunate Maid," was printed in 1770 and does not have the location "Sheffield Park" in its text. The first print versions from c. 1770 use the "Unfortunate Maid" ballad story. About 1820 the broadside "Sheffield Park" was printed and a new ending was added and other changes were made-- this is the "Sheffield Park" ballad story as found in the Pitts broadside and subsequent broadsides of the 1800s.
The first ballad story of The Unfortunate Maid begins as follows: a young man fair, or brisk young lad, courts a young maid and when she falls in love with him, he "parts from her company." Her mistress sees the maid crying and offers to help by bringing her young man a letter. When he receives the letter he burns it and "Left her in grief to make her mourn." She cries, "O fatal death, come pity me, And ease me of my misery." In the second, more modern 1800s broadsides with Sheffield Park in the text a new ending is added--when the mistress returns to the maid she finds her "cold as clay"-- dead from a broken heart. The mistress "gather'd the green grass for her bed/And a flowery pillow for her head/The leaves that blow from tree to tree/ Shall be a covering over thee." This burial is similar to the one in the broadside, Constant Lady, where the maiden prepares her funeral bed with leaves and flowers for a pillow. The ending stanzas of the second versions (c. 1820s) with "Sheffield Park" have been added and reworded from Constant Lady.
These same stanzas are used in some versions of Died for Love and are especially important in some members of the larger "Died for love" family. Since 7B. "Love Has Brought Me To Despair" is derived from Constant Lady there will be stanzas in common. In 7H. She's like the Swallow the ending is similar to both Constant Lady and Sheffield Park. In the traditional versions of Sheffield Park after her lover burns her letter he says[7]:
"Oh, foolish girl, to weep for me!
Think I could fancy none but thee?
The world was not made for one alone,
I take delight to hear thee moan."
Now consider the last stanza of "She's like the Swallow[8]:
How foolish must that girl be
For to think I love no other but she.
For the world was not meant for one alone,
The world was meant for every one.
Sheffield Park was first printed as "The Unfortunate Maid," as early as c.1760[9] in a collection of songs titled Choice Spirits Delight. A copy of the first printing is unavailable. The ballad was printed in Choice Spirits Delight Part II in 1770 which may be viewed online[10]. This version was reprinted in 1790 as "The Young Man of Sheffield Park" and later in Holroyd's Collection of Yorkshire Ballads with minor changes. In 1820s broadsides the ending was reworked. Three new stanzas were added that were reworked from the last four stanzas of the c.1686 broadside "Constant Lady and the False-Hearted Squire," a parallel ballad used in some Died for Love ballads. "Constant Lady" was based in turn on the earlier broadsides "The Deceased Maiden Lover," and "The Faithlesse Lover" which were printed together on a single sheet by "the Assignes of Thomas Symcocke" about 1628. The nine stanza "Deceased Maiden Lover" is likely an expansion of the four stanza, "A Forlorn Lover’s Complaint" (As I walked forth one summer's day) by lutenist Robert Johnson, c. 1611. The three antecedent ballads are written in a different form, a quatrain stanza with a two line chorus.
* * * *
The first extant printing of Sheffield Park was some 80 years later than Constant Lady and this original text is not associated with Constant Lady. It begins with stanzas also found similarly in Butcher Boy. My Aa, "The Unfortunate Maid," a ballad variant from 1770, is found in "The Choice Spirits Delight Part II: Being a Choice Collection of New Songs, Sung this and the Last Season, at Renelagh, Vauxhall, Sadler's Wells, the Theatres, and in the Politest Companies. . ." which was printed by Dicey & Company in Aldermary Church-Yard, Bow-Lane, London. An additional print about the same year, 1770, is found in 'The Humourist' (British Library 11621.e.6.(3)). This version may have been first appeared in Choice Spirits Delight: Part I dated c. 1760 however no copy is available and the date is uncertain. Aa was reprinted with minor changes as "The Unfortunate Maid of Sheffield," in Holroyd's Collection of Yorkshire Ballads, 1892. The 1770 Dicey version is given in full:
The Unfortunate Maid
IN Sheffield Park there liv'd and dwell’d,
A young man fair, I lov’d him wel[l];
He courted me my love to gain,
Left me in grief and full of pain;
And when that I did send for him,
He laugh’d and said how fond I’d been,
And from my company would part;
His words went bleeding to my [heart].
I went upstairs unto my bed,
I laid me down, but nothing said;
My mistress came and to me said;
Pray what's the matter with my maid?
O mistress, you do little know,
What grief and sorrow I undergo;
Come lay your hands upon my breast,
My panting heart can take no rest.
My mistress cries, what shall I do?
Some help I'll have for you just now;
No help, no help, no help I crave,
A young man sends me to the grave.
Take you this letter into your hand,
And read it that you may understand,
Carry it to him just now with speed,
Give it to him if he can read.
He took this letter immediately,
And read it o'er while she stood by:
Then he did this letter burn,
Lest her in grief to make her moan;
She wrung her hands and tore her hair,
Crying I shall fall into despair,
O fatal death, come pity me,
And ease me of my misery.
Subdivided stanzas 1, 2 and 4 are held in common with Butcher Boy. The first two lines of the last stanza "She wrung her hands" are held common with Sailor Boy. The theme of the maid abandoned by the false young man is that of the Died for Love songs and their extended family and is why Sheffield Park is my 7C. Subsequent broadside printings with additional minor changes titled, "The Young Man of Sheffield Park," were made by printers including J. Jennings of Water lane, Fleet street, London about 1790 and Evans of London about 1794. The J. Jennings broadside, my Ba begins:
IN Sheffield park, there did live and dwell,
A young man fair, I lov'd him well,
He courted me my love to gain,
Left me in grief, and full of pain.
The location of the ballad is assumed to be a park in Sheffield, a city in the English county of South Yorkshire, an area considered part of West Riding. The liner notes online for Frank Hinchliffe's version provide details about the setting: "The Park district of Sheffield lies just to the east of the city centre and it is to this area that Frank had always understood the song to refer, although there is also a place called Sheffield Park in Sussex, and it must be said that this is the only example from the north of England in Roud's 81 entries[11]. But Frank said that the song was well-known in his area. . ."
* * * *
In the 1820s new broadsides were printed in Seven Dials by both John Pitts (c, 1820) and Thomas Birt (c.1828) with a new three stanza ending reworked from the end of the c.1686 broadside, "Constant Lady":
15. The green ground served as a bed,
And flowers, a pillow for her head;
She laid her down, and nothing spoke:
Alas! for love her heart was broke.
16. But when I found her body cold,
I went to her false love, and told
What unto her had just befel:
"I'm glad," said he, "she is so well.
17. "Did she think I so fond could be,
That I could fancy none but she?
Man was not made for one alone;
I took delight to hear her moan."
18. O wicked man! I find thou art,
Thus to break a Lady's heart:
In Abraham's bosom may she sleep,
While thy wicked soul doth weep!
Clearly the false young man in Unfortunate Maid who burned the maid's letter had similar qualities false young man in Constant Maid. A broadside writer from Seven Dials recognized this in the 1820s and reworked Stanza 15 and 16 while stanzas 17 and 18 were kept intact. Here's modern Pitts version dated about 1820:
Sheffield Park (Pitts broadside, c.1820)
1. IN Sheffield park, O there did dwell,
A brisk young lad, I lov'd him well,
He courted me my heart to gain,
He is gone and left me full of pain.
2. I went up stairs to make the bed,
I laid me down and nothing said,
My mistress came and to me said,
What is the matter with you my maid.
3. O mistress, mistress you little know,
The pain and sorrow I undergo,
Its put your hand on my left breast,
My panting heart can take no rest.
4. My mistress away from me did go,
Some help, some help I will have for you,
No help, no help, no help I crave,
Sweet William brought me to the grave.
5. So take this letter to him with speed,
And give it to him if he can read,
And bring me an answer without delay,
For he has stole my heart away.
6. She took the letter immediately,
He read it over while she stood by.
And soon he did the letter burn,
Leaving this maid to make her mourn.
7. How can she think how fond I'd be,
That I could fancy none but she,
Man was not made for one alone,
I take delight to hear her mourn.
8. Then she return'd immediately,
And found her maid as cold as clay;
Beware young maids don't love in vain,
For love has broke her heart in twain.
9. She gather'd the green grass for her bed,
And a flowery pillow for her head,
The leaves that blow from tree to tree,
Shall be a covering over thee.
10. O cruel man, I find thou art,
For breaking my own child's heart,
Now she in Abraham's bosom sleep,
While thy tormented soul shall weep.
A very similar broadside also titled "Sheffield Park" was printed by Thomas Birt, also of Seven Dials about 1828 while he was still at 10 Great St. Andrew Street. Because stanzas from "Constant Lady" are the basis for ‘Love has Brought Me To Despair," as well as "She’s Like the Swallow" and are found in many "Died for Love" songs, many collectors have assumed that "Sheffield Park" is closely related to "Died for Love" when, in fact, Sheffield Park’s antecedent, "The Unfortunate Maid" is not related at all to these ballads. As pointed out earlier subdivided stanzas 1, 2 and 4 of Unfortunate Maid are held in common with Butcher Boy. The first two lines of the last stanza "She wrung her hands" are held common with Sailor Boy. Although the associations are important, Constant Lady is not part of the core ballads of Died for Love but has shared stanzas with it and its extended family. Even though Constant Lady is the antecedent for the modern Sheffield Park ending and two members of the Died for Love extended family, Constant Lady and Died for Love are different ballads.
Two stanzas from Sheffield Park were included in The Darling Rose, a broadside from Glasgow Poet's Box, dated 4th October 1851:
2. I went upstairs to make the bed,
The mistress followed and this she said
What ails you, what ails you, the mistress said
What ails you, what ails you, my pretty maid
3. Oh mistress dear if you were to know
The killing pain that I do undergo;
It is the pain, the pain I do protest
It is the killing pain lies in my breast.
This shows that the ballad was known outside London and was at least known to this Scottish broadside writer. The Darling Rose is very obscure and includes a variety of other Died for Love stanzas as well as a chorus and last stanza written in Minstrel style.
The Tradition
The changes found in the Pitts and Birt broadsides of the 1820s are important and show some commonality with the other Died for Love family. One important stanza from subdivided stanzas of The Unfortunate Maid is missing-- stanza 3 which gives the reason the maid is in such despair: the young man "from my company would part." This rejection, the common thread in the Died for Love songs and their family members, is missing in the 1820s broadsides. In fact the tradition (ballads collected after 1905 in England) seems to be entirely based upon the 1820s broadsides and the new ending from Constant Lady. Other minor changes include the "young man fair" becoming a "brisk young lad." The first evidence of Sheffield Park in tradition comes from a version of "There is An Alehouse" taken from the singing of Hannah Collins a domestic servant native of Cottenham, Cambridgeshire in 1886. It ends with two corrupt stanzas of Sheffield Park-- I've filled in the missing text in brackets:
8. ["O mistress, you do little know,
What grief and sorrow I undergo;]
O put your hand to my left breast,
My panting heart can take no rest."
9. Her missis[mistress] came up and to her did say,
"What is the matter with you, my maid?"
["No help, no help, no help I crave,]
Sweet William brought me to the grave.
This borrowing of two stanzas hardly constitutes a significant version of Sheffield Park but it shows the association with the Died for Love family and it is dated 1886 which makes it the earliest extant version with collected stanzas. Other stanzas of Constant Lady are also found in this composite-- just as the Pitt's broadside's ending uses stanzas from Constant Lady.
The first full collected traditional version was sung by Amos Ash at Combe Florey, Somerset in April, 1905 and was collected by H. E. Hammond with music by Jeboult. On September 14th, 1908 the same version was collected by Cecil Sharp.
D. In Castle Park- sung by Amos Ash at Combe Florey, Somerset in April, 1905 by H.E. Hammond and also on September 14th, 1908 as collected by Cecil Sharp.
In Castle Park a lad did dwell
A fair young damsel I knew quite well
He courted her till her heart he gained
And he's gone and leaved her quite full of pain
She went upstairs to make her bed
Laid herself down and nothing said
Her mistress came unto her and said
O what's the matter my poor maid?
O mistress mistress what shall I do?
The pains and sorrows I undergo
Put your right hand on my left breast
My fainting heart can take no rest
Away, away her mistress flowed from she,
"Some help, some help I'll get for thee,"
"No help I want nor none I crave,
Sweet William has brought me to my grave."
"Taking this letter if you [he] can read
Tell him to read it immediately
Send me an answer without delay
Sweet William stole my poor heart away."
O cruel young man as I know thou art
For breaking of that fair one's heart
In Abraham's bosom she shall sleep
Whilst thy tormenting poor soul shall weep
We'll gather green grass all for her bed
And a feathery pillow under my head
The leaves that blowed from tree to tree
Shall be a covering over me.
This is similar the modern broadsides and has reverse the two endings stanzas. Later that year Robert Barratt of Piddletown (Puddletown), Dorset in Sept/Oct. of 1905. The seven stanza version "In Yorkshire Park" was collected by H.E.D. Hammond and was based on the modern broadsides of the 1820s and later.
E. In Yorkshire Park- sung by Robert Barratt of Piddletown.
In Yorkshire Park, a man did dwell
A brisk young man, I knows him well
He courted me my love to gain
He's gone and left me full of pain
I went upstairs and made the bed
Laid myself down with nothing said
My mistress came to me and said
What is the matter, my pretty maid?
0 mistress mistress you little know
Of the sorry pain I undergo
You put your hand on my left breast
[My fainting heart can take no rest]
"Some help, some help, for you fair maid
Some help, some help, for you with speed
No help, no help, no help I crave
Sweet William has brought me to my grave."
Then write a letter to your love with speed
Give him the question if he can read
As soon as the letter [was] read
Into the fire he threwed it a-speed.
"What a silly girl then she must be
For to think I love no one but she
Man was not made for one alone
Oh, it's my delight to hear her moan!"
Green leaves she gathered for her bed
And a feathery pillow for her head;
And the leaves that blow from tree to tree
Shall be a covering over she.
Although Barratt's version is missing the 4th line of the 3rd stanza and the stanza before "Green leaves" in which the maid dies of a broken heart, this is a good example of the 1800s broadside text that has become part of tradition. These two early collected versions demonstrate that for the most part traditional texts stay close to the modern 1800s broadsides. Most of the collected traditional versions are from southern England. The ballad was not widely known in England and has had little circulation outside of it. Additional traditional texts are attached to the British & Other Versions page and are listed at the top of the page. There are about 17 extant traditional versions and several later cover versions-- which are not given here.
Died for Love stanzas are rarely found in traditional versions of Sheffield Park. The Alehouse stanza is included in a composite version from Stephen Sedley's Seeds of Love[12] which was collated from broadsides in Dorset and Essex. The "Dig my grave" ending is found in Leather's "Sheffield Park" as sung by Mrs. Smith of King's Pyon, Herefordshire in September, 1912. Other added stanza come mainly from Constant Lady with the "apron's full" stanza[13] and the "hearts-ease" stanza[14] being added at the end. These same Constant Lady stanzas are also added to traditional Died for Love songs.
R. Matteson 2017]
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Footnotes:
1. Both Cox (1925, Folk Songs of the South) and Belden (1940, Ballads and Songs) have indicated that Sheffield Park is the source or closest broadside to Butcher Boy although not mentioning the title, "Died for Love."
2. "Sheffield Park" Pitts, Printer, wholesale Toy and Marble warehouse 6, Gt. St. Andrew Street, Seven Dials; London, c. 1820.
3. "Butcher Boy" a broadside of 8 1/2 divided stanza by Wehman brothers dated c. 1880, from New York.
4. H. M. Belden 1940, "Ballads and Songs" headnotes to Butcher Boy.
5. The Butcher Boy has been collected in the UK. Whether these versions originated in America and crossed-over back to Britain, is the question. Belden suggested that this was the case regarding Jessie's City with its obvious reference to Jersey City in its title. Babcock's version, taken from a UK nurse who apparently learned it in London, also has Jersey City.
6. The modern version of Sheffield Park is found in the Pitts and Birt London broadsides on the 1820s.
7. From: In Sheffield Park- Sung by Miss E. King, of Castle Eaton, Wiltshire. Collected by Alfred Williams.
8. This folk song is based mainly on Constant Lady and has bee found primarily in Canada.
9. The date was supplied by a listing in Copac.
10. The collection may be viewed at Google Books online. Search for title.
11. The notes are from Mike Yates. Roud now has 111 entries, some of them blank and many are duplicates. There are about seventeen traditional versions and 8 or 9 extant print versions.
12. The Seeds of Love; a Comprehensive Anthology of Folk Songs of the British Isles. Compiled and Edited by Stephen Sedley and Published in Association with the English Folk Dance & Song Society by Stephen Sedley, 1967.
13. Found in Sheffield Park as sung by E. Lawrence of Midhurst, Sussex on Jan. 1, 1912. Collected by Clive Carey.
14. Found in Sheffield Park as sung by Frank Hinchliffe of Yorkshire, 1976.