Bluegrass Messengers

8A. "Oh No, John," "No Sir," "Spanish Merchant's Daughter," "She answered No" Roud 146 ("Spanish Captain," "Spanish Lady," "Scottish Merchant's Daughter")

      Shall I? Shall I? No, No.

Aa. "Lady why doth love torment you" from "a manuscript version of about 1635-40, in Bodleian MS Ashmole 38 (a collection of single sheets from various sources bound together)." ref. Bruce Olson.
  b. "Consent at Last" from Pills to Purge Melancholy, commencing in 1700; (III, p. 82, 1719), with a tune.
  c. "To a Lady" Janck Horntip Collection, no date given, no chorus. See in Supplemental versions below.
B. "A Warning for Maides," attributed to Richard Crimsal and "printed at London for John Wright, the younger, dwelling at the upper end of the Old-Bayley," dated circa 1636.
C. "The Dumb Lady; Or, NO, no, not I; Ile Answer," a broadside in the British Library- Roxburghe 2.111. It was printed for P. Brooksy at the Golden-Ball in Pye-Corner between 1672-84.
D. "The Denying Lady," a broadside printed by A. Milbourn, at the Stationers-Arms in Green-Arbor about 1684.
E. "Shall I? Shall I? No No," a broadside by Tobias Bowne printed by Phillip Brooksby, London c. 1684.
Fa. "Tom and Doll; or, the Modest Maid's Delight" written by Tom D'Urfey, printed among his 'Choice Songs,' p. 16, in 1684. Reprinted with music not only in the '180 Loyal Songs' of 1685 and 1694, p. 252, but also in the second volume of 'Pills to Purge Melancholy,' 1719 edition, p. 27.
  b. Song 1154. [Tom and Dolly]  published in "The Aviary: Or, Magazine of British Melody. Consisting of a Collection of one thousand three hundred and forty-four songs," London, 1745.
  c. "Tom and Dolly" from a Dublin songbook; "A collection of songs: With some originals," 1769.
  d. "No Tom No" from Gardham's broadside collection M85738- single sheet, no imprint, mid-1800s
G. "No, No" sung by Mrs. Wrighten at Vauxhall in the 1770s. It's printed in "The Choice Spirit's Chaplet: Or, a Poesy from Parnassus" by George Alexander Stevens, 1771 as Song 144.
H. "No! No! The celebrated duet" which was "sung by Mr. Sinclair and Mrs. Rowbotham." It was published in a variety of music collections in the 1830s including "The American Minstrel: A Choice Collection of the Most Popular Songs, Glees, Choruses, Extravaganzas, &c." 1837.
I. Songs with the "No Sir" chorus. The UK versions in general are stanzas of "Oh No John" with a "No Sir chorus.
  a1. "No Sir." Words and Music Arr. by A. M. Wakefield, from: "The Peterson magazine," Volumes 79-80, Philadelphia, 1881. Also "Songs and Ballads: 96 Songs - words and music, W. F. Shaw," 1882 and Shaw's "Gems of Minstrel Song" dated 1882 and later in Delaney's Song Book (New York). Arranged from American tradition by Englishwoman Mary Wakefield.
  a2. "No Sir," sung by Mrs. Holmes' mother who learned the song about 1900 in Barren County, Kentucky. From: Roberts & Agey, In the Pine (1978) pp.217-218. Recorded in 1958. Cf. 1881 version arranged by A. M. Wakefield.
  a3. "No Sir" from Mrs. T. N. Underwood of Correct, Ind. printed in The play-party in Indiana by Leah Jackson Wolford, 1916.
  a4. "No, Sir." From the manuscript songbook of Miss Lura Wagoner of Vox, Alleghany county, lent to Dr. Brown in 1936. (Brown Collection Vol. III); the entries in the  book were probably made some twenty or more years earlier.
  a5. "No, Sir, No" sung by Mrs. Louisa Moses of Kentucky by 1930. From Harvey Fuson, Ballads of the Kentucky Highlands (1930) p. 81.
  a6. Scottish Merchant's Daughter- sung by Susie Evans Daley, of Tulsa (OK) c.1935. From Ethel & Chauncey Moore's "Ballads and Folk Songs of the Southwest," Univ. of Okla, Bk (1964).
  a7. "No Sir, No" contributed by Belle Plains High Scool as sung by Oren bewck sometimes of Belle Plains. Stout, Folklore from Iowa, 1936.
  a8. "My Father Was a Spanish Merchant," sung by Jennie Devlin (1865-1952), who worked and lived along the New York-Pennsylvania border. Collected Newman about 1937. From Never without a Song: The Years and Songs of Jennie Devlin, 1865-1952, by Katharine D. Newman.
  a9. "No, Sir, No" sung by  Mrs. Grace Longino of Huntsville, Texas, May 13, 1939. From John and Ruby Lomax 1939 Southern States Recording Trip (AFC 1939/001).
  a10. "No Sir, No Sir." Sung by Mrs. Maggie Morgan  of Springdale, Arkansas on Feb. 9, 1942. From: Randolph, Ozark Folksongs,  Volume III, 1946. This is the text from Wakefield's 1881 arrangement.
  a11. "No Sir, No Sir" sung by Beryl Walker and Peter Diprose October 16, 1942 at Temora, a town in the north-east of the Riverina area of New South Wales, 418 kilometres south-west of the state capital, Sydney, Australia.
  a12. "Yes Sir, No Sir" sung by by Perkins Flint at Braintree Vermont, dated 11-20-1944. From: D41A - archival cassette dub, Track 06b; the Helen Hartness Flanders Ballad Collection at Middlebury College
  a13. "No Sir, No Sir." Sung by Mrs. Robert Weare and Mary Jo Davis at DeValls Bluff, Arkansas on June 15, 1954. Ozark Folksong Collection Reel 195 Item 3. Collected by Mary Jo Davis for M.C. Parler. This is Wakefield's 1881 text.
  a14. "No Sir."  Sung by Oleavia Houser of Fayetteville, Arkansas on December 7, 1958. From Ozark Folksong Collection, Reel 278, Item 9. Collected by Merlyn B. Page and James R. Hayes. This is Wakefield's 1881 text.
  a15. "No, Sir." Sung by Bessie Atchley of Green Forest, on Arkansas July 7, 1960. Ozark Folksong Collection Reel 388, Item 3. Collected by M.C. Parler. Transcribed by Bessie Atchley. This is Wakefield's 1881 text.
   a16. "No Sir," sung by Jean Ritchie of Viper, Kentucky in 1961 who learned from her sister Edna Ritchie who in turn got it from a friend at Lothair Kentucky. From the Folkways Recording: "Precious Memories."
  b. "No Sir" sung by Lucy White and Louie Hooper of Hambridge on Dec. 23, 1903; collected by Cecil J. Sharp. Has stanzas of "Oh No John" with "No Sir" chorus.
  c. "No Sir, No," composite with first two stanzas from John Greening of Cuckold's Corner, Dorset in May 1906, verse 3 is from "Madam." The chorus, tune and 4-7 verses are from Mrs. Bowring of Cerne Abbas, Dorset in December 1907. Greening from Hammond Collection.
  d. "No, Sir! No" sung by Mrs. Bowring of Cerne Abbas, Dorset in Sept 1907. From Henry Hammond Manuscript Collection (HAM/5/35/15). Primarily stanzas of "Oh No John" with "No Sir" chorus.
  e. "No Sir!" Sung by Alfred Emery, Othery, Somerset on 6 April, 1908. From: Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/10/1604). Two versions of "Oh No John" text taken down by Cecil Sharp on the same day- three stanzas.
  f. "No Sir No," sung by Joseph Read of Trowbridge Workhouse, Wiltshire on 19 August, 1909. Single stanza with music from George Gardiner Manuscript Collection (GG/1/21/1427).
  g. "No Sir" sung by Lucy Garrison of Manchester, Kentucky on 11 August, 1917 as collected by Cecil J. Sharp. Stanzas of Madam and then "No Sir."
  h. "The Spanish Merchant's Daughter" performed by The Stoneman Family. "Vocal duet by Hattie and Ernest Stoneman with harmonica, violin, guitar." Recorded in Bristol, Tennessee on October 31, 1928. Original issue Victor V-40206.
  i. "No Sir, No," was sung by Mrs. W. V. Henderson of Fayetteville, Arkansas on February 23, 1950. From Ozark Folksong Collection; Reel 20 Item 6. Collected by Merlin Mitchell and transcribed by Kyle Perrin.
  j. "No Sir,"  sung by Emily Bishop of Bromsberrow Heath, Gloucestershire, 1952. From Kennedy, Folksongs of Britain & Ireland (1975) p. 315 by Peter Kennedy. The text begins similarly to Wakefield's print version but has the extra stanza at the end from tradition.
  k. "No Sir." Sung by Mrs. W.N. Osborne. Recorded in Cord, AR, 8/21/57. Recorded by John Quincy Wolf, Jr. for The John Quincy Wolf Folklore Collection.
  l. "No Sir, No Sir," sung by Sam Larner, The Norfolk fisherman Sam Larner; recorded  by Ewan McColl and Peggy Seeger about 1958. From "Now is the Time for Fishing", Topic TSCD511 and Smithsonian Folkways, 1961. Larner's version uses the somewhat bawdy "Oh No John" text with a No Sir Chorus.
J. Songs with the "Oh No John" chorus/text
  a. "Oh No John," sung by William Wooley of Bincombe in 1907, collected Sharp
  b. "No John No," sung by James Beale of Warehome, Kent on September 23, 1908. Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/9/1777).
  c1. "Oh No John" composite arranged by Sharp, published in 1911. Also One Hundred English Folksongs (1916) pp.154-155 with a new end stanza.
  c2. "Oh No John." From "Song Ballads & Other Songs of the Pine Mountain Settlement School," Kentucky, 1923; Sharp's text with one additional penultimate stanza from 1916 version.
  c3. "Oh No John." As sung by the Fuller Sisters, 1928; from "More Pious Friends and Drunken Companions: Songs and Ballads of Conviviality" by Frank Shay. Cover of Sharp's composite with extra stanza from the 1916 version.
  c4.  "O No, John." From the manuscripts of Obadiah Johnson of Crossnore. Avery county, NC about 1939; Brown Collection III. Cover of Sharp's composite.
  c5. "Oh No John" sung by Paul Robeson; Recorded c. 1953. Cover of Sharp's composite.
  c6. "No John, No." As sung by the Archer Goode of Cheltenham, Gloucestershire on January 6, 1975. From: Gwilym Davies Collection, sent to me by Gwilym, attributed to Sam Bennett but this is a cover of Sharp's composite text.
  d. "No Sir, John." Sung by Mrs. Hezeltine of Cambone, Cornwall on May 12, 1913. Collected by Cecil Sharp. Composite with music from Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/10/2848). This is a composite of three songs, the first is Madam with the "No Sir" chorus.
  e. "No, John No," as sung by Bob and Ron Copper of Rottingdean, Sussex, known before 1950. Recording: The Folk Songs of Britain Volume 1; Caedmon 1961; Topic 1968--  Bob and Ron Copper sang No, John, No, recording by Peter Kennedy. Also on "Songs of Courtship" Topic Records 12T157 and Copper Family's Leader album A Song for Every Season. Printed in Early to rise: a Sussex boyhood by Bob Copper/Heinemann, 1976.
K. Songs with the "she answered No" chorus.
  a. "Haselbury Girl" fragment sung by Mrs. Balsh of Ubley Somerset on 23 April 1906. Collector: Cecil J.Sharp.
  b1. "Uh, uh No," sung by Lannis Sutton of Doxy, Oklahoma, collected by Sam Eskin in 1951. From Lomax, Folk-Songs of North America, 1960.
  b2. "All of her answers to me were No," recording by Peggy Seeger, Folk Songs of Courting & complaint; Folkways 1955. Similar to "Uh, uh No," sung by Lannis Sutton of Doxy, Oklahoma.
L. Songs with stanzas primarily of "Madam" and the "No Sir" or "she answered No" chorus
  a1. "No Sir, No" (Yonder is a comely flower) c. 1919 from "Kentucky Mountain Songs" by Wyman and Brockway.
  a2. "No Sir, No" (Yonder is a comely flower) 1928 Bradley Kincaid, "My Favorite Mountain Ballads and Songs" with stanzas from Wakefield.
  b. "Oh No, No Sir, No" sung by Mrs. Mary Brown of Greene County, PA. Collected by Bayard in 1929; from Pennsylvania Songs and Legends, Korson.
  c. "Yonder Comes a Heavenly Creature" sung by O.B. Campbell of Medford, OK, 1934. Recorded later by Max Hunter.
  d. "Madam I Have Come A-Courting" vocal performance by Jonathan Moses at Orford (New Hampshire); recorded by Helen Flanders on 08-24-1951. Learned in North Haven, Maine.
M. Songs with primarily Spanish Lady text and the "she answered No" chorus
  a. "Spanish Lady' sung by Bell Robertson of Pitsligo, Aberdeenshire; collected about 1906 by Gavin Greg; Greig Duncan I.
  b. "Dublin City" sung by Miss Georgina Reid of Collyford, New Deer, married name Mrs. Ironside of Tarriff; collected by Greig about 1908; version F from Greig-Duncan Collection 4.
  c. "Spanish Lady" sung by Andrew Hawes of Pittsburg, New Hampshire June 18, 1943. Collected by Helen Hartness Flanders.
N. Version of "No Sir" from Tristan de Cuna
  a. "No Sir" sung by Frances Repetto of  Tristan da Cunha in 1938. From Peter Munch, "Song Tradition of Tristan da Cunha" (1970) pp. 90-93 (version C).
  
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["Oh No, John,"  "No Sir," "Spanish Merchant's Daughter" and the "she answered No" songs are part of a series of songs^[1] where the maid, confronted by a wooer, answers "No" to his advances. The "trick" to the "No" songs is that the wooer eventually asks questions expecting a "No" answer so that he wins over the maid.  The humorous, sometimes bawdy, "No" courting songs evolved out of broadsides and print versions from the 1600s and 1700s which eventually became, by the mid-to-late 1800s, the well-known songs "Oh No, John," and "No Sir." 

No attempt has been made to include every version^[2] of every song or ballad where the maid answers "No." Both Baskervill and Kittredge have provided some older analogs and variants-- but there are more. A number of additional "she answered No" songs are found in the Supplemental Versions Section at the end of these headnotes.  A-H are all versions where the maid answers "No" but none are close antecedents of "No Sir," or "Oh No, John." Both A, "Consent at Last^[3]" and G, "No, No" sung by Mrs. Wrighten at Vauxhall in the 1770s, are closer to "No Sir," and "Oh No, John" than some of the other "she answered No" songs. The purpose of this study is to show some of the underlying older versions and provide some guidance to differentiate between the more modern versions of the late 1800s and 1900s. That guidance is lacking in Roud 146 which lumps a number of versions of "Madam" with the "No" songs-- a problem complicated in part by past collectors titles^[4] and the interchangeability of the choruses. Another important resource, the Traditional Ballad Index, does not differentiate between "Oh No John" and "No Sir," gives no background on the development of the "she answered No" songs, and connects them to "Madam" through the "Wheel of Fortune." The Brown Collection versions are almost all similar to or based on recent print, yet no mention of print versions is made in the Brown notes. The usually reliable Cox (1925, Folk-songs of the South) says his version, titled "Spanish Lady," is formed upon "O No, John." So into the darkness we go without a torch.

Although listed as an appendix to 8. Madam I Have Come to Court You (Yonder Sits a Lovely Creature), versions of songs where the maid answers "No" to her wooer clearly predate known print versions of "Madam, I Have Come to Court You" which were rooted in the mid-1700s^[5]. The end of the first stanza of the earliest version of "Madam" (c.1760), which is titled "Lovely Creature," expects a response of "No" or at least an answer to his intention to court her^[6]: 

Yonder sits a lovely creature,
Who is she? I do not know,
I'll go court her for her features,
Whether her answer be "Ay" or "no."

There are a number early versions from the 1600s with the "No" response to the suitor's inquiries. The first, my Aa, is given by Bruce Olson from "a manuscript version of about 1635-40, in Bodleian MS Ashmole 38 (a collection of single sheets from various sources bound together), is so badly waterstained that most of it is unreadable. Only the first stanza of seven is legible:

"Lady why doth love torment you
May not I your grief remove?
Have I nothing will content you
With the sweet delights of Love."
"Oh, no, no, alas, no."

The lady's answer as a repeated chorus is "Oh, no, no, alas, no." This c.1635 MS is the antecedent of my Ab, "Consent at Last," which appears in Pills to Purge Melancholy, a series commencing in 1700 in Volume III, p. 82, dated 1719, with a tune. It goes as follows (original text):

Consent at Last.

Ladys, why doth Love torment you?
Cannot I your Grief remove?
Is there none that can content you
With the sweet delights of Love
O No, no, no, no, no: O, No, no, no, no, no, no, no.

Beauty in a perfect Measure,
Hath the Love and wish of all:
Dear, then shall I wait the Pleasure,
That commands my Heart and all:
O No, &c.

If I grieve, and you can ease me,
With you be so fiercely bent,
Having wherewithal to please me,
Must I still be Discontent?
O No, &c.

If I am your faithful Servant,
And my Love does still remain;
Will you think it ill deserved,
To be favour'd for my pain?
O No, &c.

If I should then crave a Favour,
Which your Lips invite me to,
Will you think it ill Behaviour,
Thus to steal a Kiss or two?
O No, &c.

All Amazing Beauty's Wonder,
May I presume your Breast to touch?
Or to feel a little under,
Will you think I do too much?
O No, &c.

Once more fairest, let me try ye^[7]
Now my wish is fully sped,
If all Night, I would lye by ye,
Shall I be refus'd your Bed?
O No, &c.

In this version the suitor has adeptly figured out how to have his way with the lass even with a "No" answer. "Consent at Last" was called the original of the "she answered No" songs by early music authority Bruce Olson^[8].

B, another broadside of about the same age, "A Warning for Maides," is attributed to Richard Crimsal and was "printed at London for John Wright, the younger, dwelling at the upper end of the Old-Bayley." Dated circa 1636, it's taken from The Roxburghe Ballads, Volume 3, edited by William Chappell, 1880, p. 41. The original spelling is kept:

"A Warning for Maides, Or, The False Dissembling, Cogging, Cunning, Cozening Young Man, who Long Did Try and Use His Skill, to Woo a Coy Young Maid to His Will and when He Had Obtain'd Her Love, to Her He Very False Did Prove" by Richard Crimsal (Climsall- Roxburghe). To A DAINTY New TUNE, CALLED No, no, not I.

All in a May morning, in the merry month of May,
Into the green meddowes I did take my way;
There I heard a young man to his love make reply;
But she answered him scornfully, "No, no, not I."

"Sweet heart," quoth this young man, "my love is intire,
My heart is inflamèd with Cupid's hot fire:
Your love I intreat, why should you deny?"
But she answered him scornfully, "'No, no, not I."

"O sweet, 'tis thy love that I doe so much crave,
And I will maintain you still gallant and brave;
Faire mistresse, for your love I certain shall die."
Quoth she, "Away! foolish man, I care not, I."

"Will you seeke to wrong a man in such a case?
If I die for love, it will be your disgrace;
I hope you will yeeld me some other reply."
But she answered him scornfully, "No, no, not I."

"Sweet, have you no more regard of a young man,
I will strive to doe thee all the good [that] I can;
Methinks you should yeeld unto me by and by."
But she answered him scornfully, "No no, not I."

"And if that all maids should be of your mind,
Then what would or should become of us mankind
Sweet, let you and I now try our destiny."
But she answered him scornfully, "No, no, not I."

"Pray, what is the reason, I am young and faire;
Besides you doe know I am my father's heire:
Sweet, let me intreat your love and courtesie."
But she answered him scornfully, "No, no, not I."

"For vaulting or leaping, or such exercises,
For dancing or skipping, I still win the prizes;
Come, grant me thy favour, my pretty pigsnie."
But she answered him scornfully, "No, no, not I."

"I am in all parts most compleat like a man,
And I can do as much as any [man] can:
Then, prethee, sweet heart, doe not my love deny."
Now she answered him kindly, "Sweet love, not I."

"If gold will content thee, why gold thou shalt have,
Or any thing else that thou canst wish or crave:
'Tis onely on thy love that I doe rely."
Now she had forgot to say, "No, no, not I."

A third version from the 1600s, my C, is a broadside in the British Library- Roxburghe 2.111. It was printed for P. Brooksy at the Golden-Ball in Pye-Corner between 1672-84:

The Dumb Lady; Or, NO, no, not I; Ile Answer.
To the Tune of, the Doubtful Virgin, or the new Borey; or Will you be a Man of Fashion.

Underneath a little Mountain
where I us'd my self to walk,
By a pretty pleasant Fountain
there I heard two Lovers talk
Hah! said he my only Jewel,
would you have your Lover dye,
Can you be so fare and cruel
no indeed quoth she not I,

Why my dear my pretty Nancy,
will you then torment my mind?
If poor Willy you can fancy
shew your self to him more kind.
Or if you design my Ruine,
I am willing for to dye
But be short in my undoing
Still she answered no not I.

Why then pray will you torment me
and take pleasure in my smart,
When a kind look will content me
will you frown to break my Heart,
If it be my Nannys Pleasure
on my Sword Ile freely die,
Give the word my only Treasure
Still she answered no not I.

Bid me live and ile endeavour,
every way to gain your Love
If this be to great a Favor
bid me from your eyes remove
Deal with me as with a Creature
as you please shall live or die
Are you Mistress of ill Nature,
Still she answered no not I.

This indeed was more contenting,
than what ere before she gave
Tho it was not full consenting
it encouragd her Flame.
Should I tempt to kiss my fair one
would you say dispair and die,
Say my Love my only dear one
Still she answered no not I.

Then he laid his Arms, about her
she the Posture did Approve,
He resolvd no more to doubt her
and by progress of his Love
Gaind such conquest streight upon her
that at last they swain cry
Will you yield the Fort of Honour
Still she answered no not I.

But their was so little distance
and so yielding a defence
That he found all her resistance
was but only complesence,
Now said he you must surrender
if I force you will cry?
All she said so: to defend her
Was indeed my dear not I.

Hard it was at the first Sally
for to say which side would beat,
Tho poor Willey oft did Rally
he as often did retreat:
But what most deservd my wonder
Willey he for all his Art,
Tho he kept poor Nanny under
was the first desird to part.

Notice that the word "mountain^[9]" is used in the opening-- similar to the children's game songs-- which is also "hillside."   Another example of a "she answered, No" song from the 1600s is D, "The Denying Lady" which was printed by A. Milbourn, at the Stationers-Arms in Green-Arbor about 1684.

The Denying Lady, Or, A Travellers Frolick with a Woman that Reply'd No to All Questions and Discourses Put to Her. Tune of, I marry and thank you too. Licensed according to Order.

1. AS I was upon the way,
a Lady by me did go;
I asked her what time of day,
her answer to me was no.

2. Concluding she did not hear,
I ask'd her how far to Bow;
Instead of saying far or near,
her answer to me was no.

3. Her humour methought was strange
I wou'd not be baffled so;
Madam will you a Kiss exchange?
her answer it still was no.

4. She smil'd as she spoke to me,
or else my Cake had been Dough;
Will you said I, then angry be,
her answer it still was no.

5. Encourag'd by this Reply,
I on with my Tail did go;
Won't you refuse my Company?
her answer it still was no.

6. Thus I discover'd the way;
her humour better to know;
Will you Loves precepts disobey?
her answer it still was no.

7. I offer'd her thewn my hand,
she took it with pleasing show;
Will you a Lovers wish withstand?
her answer it still was no.

8. If I shou'd a Favour crave,
you wou'd not offended grow;
Or shall I not your Anger have,
her answer it still was no.

9. Won't you be averse that we,
together shou'd walk to Bow;
Or sit a while beneath yon Tree?
her answer it still was no.

10. The Tree was nearest by much,
and thither we chose to go;
Will you your sweet embraces grutch
her answer to me was no.

11. I tumbl'd her gently down,
and pleas'd her fancy I trow;
For she gave me full twenty pou,
her answer no more was no.

12. I rally'd my Forces then,
and bravely attacqu'd my Froe;
She swore I was the best of men,
her answer no more was no.

13. I askt her House and Name,
which no Body here shall know;
She frankly did declare the same,
her answer no more was no.

14. We oft repeated our sport,
we were not Idle or slow;
What e're I beg'd of her in short,
her answer no more was no.

Two broadsides penned for publisher Phillip Brooksby by Tobias Bowne about the same date (1684) use the "she answers no" technique with a twist. The first, my E, titled "Shall I? Shall I? No No," was printed at the Harp & Ball in Pye corner:

Pretty Betty, now come to me,
thou hast set my Heart on fire,
Thy denyal will undo me,
grant me then what I desire:
Prithee try me, don't deny me
lest it prove my overthrow,
Never dally, shall I? shall I?
still she answered, No, no, no.

In the Fields they went a walking,
he this Maid did sweetly court,
But the subject of his talking
tended still to Venus sport:
He persuaded, she delay'd it,
and would not be deluded so;
Come let's dally, shall I? shall I?
but she answered No no no.

He bestow'd on her sweet kisses,
hoping thereby to obtain
And to tast true Lovers blisses,
Which he long time sought in vain
With sighs, & sobs, & deadly throbs,
he strove the Damzels mind to know
Come let's dally, shall I? shall I?
still she answered No no no.

To the Tavern then he took her,
feasting her with costly Wine;
In the Face did often look her,
swearing that she was divine:
She told the Youth it was untruth,
I would not have you flatter so:
Come let's dally, shall I? shall I?
but she answered No no no.

With fair Words he did intreat her
to him for to condescend;
As his passion waxed greater
he her Beauty did commend:
She denied it and defy'd it,
vowing it should ne'r be so:
Come let's dally, shall I? shall I?
but she answered No no no.

Thus he spent his time in Wooing
but found no encouragement,
His fingers itch'd for to be doing,
and she perceived his intent;
She still at tryal gave denyal,
but Maidens often times do so:
Come let's dally, shall I? shall I?
but she answered No no no.

He continued still to wooe her,
but she made him this Reply:
That his aim was to undo her,
and would know his reason why.
He protested that she jested,
his design was nothing so;
Come lets dally, shall I? shall I?
but she answered No no no.

But on hopes the Youngster builded,
hoping she at last would yield;
And at length the Damzel yielded,
with his Charms he won the field:
In the shade down her he layed,
he himself lay smiling by;
Come let's dally, shall I? shall I?
then she answered Ay, ay, ay.

Then they fell to sweet imbraces,
Lovers you know what I mean,
So close did joyn their blushing faces
you could not put a straw between,
In amorous chains there he remains
till he for breath did panting lye;
Come let's dally, shall I? shall I?
then she answered Ay ay ay.

She who stoutly first deny'd him,
by his Complements was won;
And she vowd when she had try'd him
that the job was neatly done.
Maids beware, and have a care
of flattering youths, who oft do try,
And will dally Shall I? shall I?
till you cry out Ay ay ay.

The twist in this version and the one by Bowne immediately below is: the wooer manages to turn the "No" response in an "Ay" response in the last stanzas. A similar ballad attributed to Bowne that was printed about the same time (dated c.1685) is (1st stanza only),

 King William, or, Constant Betty.

Constant Betty, that sweet Creature,
she was William's heart's delight;
In the shades he chanc'd to meet her,
when fair Phoebus shined bright:
In conclusion his delusion was
to bring her to his Bow,
"Let's not dally, 'Shall I, shall I."
But she answer'd, "No, no, no!"

Both of these No songs were probably penned by London broadside writer Tobias Bowne (sometimes T.B.), who authored a dozen or so printed ballads between 1670 and 1695. The full text of King William is available in the Supplemental Texts at the end of the headnotes. Fa, "Tom and Doll; or, the Modest Maid's Delight" written by Tom D'Urfey, was printed among his "Choice Songs," p. 16, in 1684. It was reprinted with music not only in the "180 Loyal Songs" of 1685 and 1694, p. 252, but also in the second volume of "Pills to Purge Melancholy," 1719 edition, p. 27. The same text given immediately below is from Fb Song 1154 (Tom and Dolly) published in "The Aviary: Or, Magazine of British Melody. Consisting of a Collection of one thousand three hundred and forty-four songs," London, 1745.

SONG 1154. (Tom and Dolly)

When the Kine had giv'n a pail full,
And the Sheep came bleating home;
Doll, who knew it would be healthful,
Went a walking with young Tom.
    Then Hand in Hand, Sir,
    O'er the Land, Sir,
As they walked to and fro;
Tom made jolly Love to Dolly;
But was answer'd, No, no, no, no, &c.

Faith, says Tom, the Time is fitting,
We shall never get; the like;
You can never get from Knitting,
Whilst I'm digging in the Dike:
      Now 'we're gone too,
       And alone too,
No one by to see or know;
Come, come, Dolly, prithee shall I?
Still she answer'd, No, no, no, no, &c.

Fie upon you Men, quoth Dolly,
In what Snares you'd make us fall;
You'll get nothing but the Folly,
But I shall get the Devil and all,
      Tom with Sobs,
       And some dry Bobs,
Cry'd, you're a Fool to argue so;

Come, come, Dolly, shall I? shall I?
Still she answer'd, No, no, no, no, &c.

To the Tavern then he took her,
  Wine to Love's a Friend confest;
By the Hand he often shook her,
  And drank Brimmers to the hest, &s.
         Doll grew warm,
       And thought no Harm;
Till after a brik Pint or two,
To what he said, the silly Maid
Could hardly bring out, No, no, no, no, &c.

She swore he was the prettiest Fellow
In the Country or the Town,
And began to grow so mellow,
On the Couch he laid her down;
     Tom came 'to her,
     For to woe her,
Thinking this the Time to try:
Something past so kind at last,
Her No was chang'd to I [aye], I, I, I, &c.

Closely then they join'd their Fates,
  Lovers you know what I mean,
Nor could she hinder his Embraces,
Love was now too far got in
        Both now lying,
         Panting, dying, 
Calms succeed the stormy Joy;
Tom would fain renew't again,
And she consents with I, I, I, I, &c.

Fc, "Tom and Dolly," is taken from a bawdy Dublin songbook; "A collection of songs: With some originals," 1769. This version was also referenced by Kittredge^[10] as a broadside titled "No. Tom No."

Tom and Dolly

WHEN the cows had given a pailful,
And the ewes came blearing home,
Dolly thinking ’twould be healthful,
Went a-walking with young Tom
Hand in hand Sir o'er the land, Sir
As they walked to and fro,
Tom made love to Dolly,
But she answer'd No, no, no, no Tom,
No Tom, no Tom, no Tom no.

"Tom and Doll" is similar to the Bowne broadsides since the maid's "No" becomes a "Yes" in the end stanzas. Despite a wide variety of texts, there are no clear "she answered, No" antecedents to "Oh No John" or "No Sir" among the 1600s versions.  Another similar example of an early "No" courting song is "No, No" as sung by Mrs. Wrighten at Vauxhall. It's printed as a song in "The Choice Spirit's Chaplet: Or, a Poesy from Parnassus" by George Alexander Stevens, 1771.

[No! No!] SONG 144.

THAT I might not be plagued with the nonsense of men,
I promis'd my mother again and again
To say as she bids me wherever I go,
And to all that they ask, or would haw, tell 'em No.

I really believe I have frighten'd a score:
They'll want to be with me, I warrant no more,
And I own I'm not sorry for serving them so;
Were the same thing to do, I again would say No.

For a shepherd I like, with more courage and art,
Won't let me alone, tho' I bid him depart;
Such questions he puts since I answer him so,
That he makes me mean Yes, tho' my words are still No.

He ask'd, did I hate him, or think him too plain;
(Let me die if he is not a clever young swain,)
If he ventur'd a kiss, if I from him would go,
Then he press'd my young lips, while I blush'd and said No.

He ask'd if my heart to another was gone;
If I'd have him to leave me, or cease to love on;
If I meant my life long to answer him so;
I faulter'd, and sigh'd, and reply'd to him, No.

This morning an end to his courtship he made;
Will Phillis live longer a virgin he said;
If I press you to church, will you scruple to go
In a hearty good-humour I answer'd, No, no.

Certainly the opening stanza is similar to the "Spanish merchant/Captain" stanza found in Wakefield's popular arrangement of "No Sir." This ending is similar to the ending in the composite version published by Cecil Sharp of "Oh No, John" which begins:

O hark! I hear the church bells ringing,
Will you come to be my wife?

In my opinion "No, No" as sung by Mrs. Wrighten at Vauxhall is the closest version to the popular versions of "Oh No, John" and No Sir" of the late 1800s and early 1900s. The most popular version published in the US was "No! No! The celebrated duet" which was "sung by Mr. Sinclair and Mrs. Rowbotham." It was published in a variety of music collections in the 1830s including "The American Minstrel: A Choice Collection of the Most Popular Songs, Glees, Choruses, Extravaganzas, &c." in 1837. Here's the text:

No! No! The celebrated duet sung by Mr. Sinclair and Mrs. Rowbotham.

He.—Will you not bless, with one sentence, a lover,
       Whose bosom beats only for you;
       The cause of your anger, I prythee discover,
       Pray tell me the reason for?
She. No!
He. Say dearest, you still love me?
She. No!
He. Oh, how can you doom me to sorrow,
      Yet once again bless me with
She. No!
He.—And promise to meet me to-morrow,
       Promise—
She. No!
He.  Prythee--
She. No!
He.  Don't say no!
He.—Must we, then, dearest Maria, sever,
        And can you then part with me!
She. No!
He.—Then swear by yon sun, to be mine only ever,
        You cannot refuse me, love:
She. No!
He-- You hate not your fond lover?
She. No!
He.  Your hand to my faithful heart pressing,
       Say, does it offend you, love?
She. No!
He.—Then, to marry will not be distressing,
        Answer?
She. No!
He.—Once more
She. No! no! no! no!

This last example of an early print version shows that the "she answered No" theme was popular from the 1600s until the early 1800s. In the 1800s and early 1900s the modern oral forms of "Oh No, John" and No Sir" were collected and printed. The print versions also entered tradition and were collected. There are no extant early print versions from whence "Oh No, John" and "No Sir" originated. According to the notes in Marrowbones^[11] which lump the two titles, this oral form has been found "mainly in the southern English counties but versions have shown up in Herefordshire and Lancashire."

* * * *

In the opening stanza of "No, No," as sung by Mrs. Wrighten at Vauxhall, the mother instructs her daughter to say "No" to any proposals or questions a suitor might pose. This is similar to a stanza from the more modern^[12] "No Sir":

My father was a Spanish merchant
And before he went to sea,
He told me to be sure and answer No!
To all you said to me.

This stanza from Mary Wakefield's 1882 published version introduces the Spanish Lady and her father, a Spanish merchant, sailor, or captain, who similarly instructs this daughter to say "No" to all advances from young men. The mysterious Spanish Lady is also courted by a suitor in a variety of different, possibly related, versions. Here are five specific variants and uses of the Spanish Lady, some are used in the "she answered No" courting songs:

Spanish Lady I: The opening first and second stanzas are similar to or derived from a 1770s bawdy song, "The Ride in London." The bawdy song has been reworked with "The Spanish Lady" replacing the "damsel pretty." These two new stanzas are followed by stanzas of "Madam" sometimes with the "Twenty-Eighteen" chorus and/or other choruses. See Greig-Duncan for Scottish examples collected c.1908.
Spanish Lady II: The Spanish Lady as referred to "No Sir," "Oh No, John" and the "she answered No" songs. She is the daughter of a Spanish merchant, Spanish sailor or captain who told the Spanish lady to say "No" to all advances. She is not usually called, "The Spanish Lady" by name but is simply the daughter of a Spanish sailor. At least three versions with the archaic opening stanzas of Spanish Lady I have the "she answered No" chorus (see also 8D, versions Ca-Cc).
Spanish Lady III: The Spanish Lady found as the poem of the same title by Irish poet Joseph Campbell based off the first two stanzas he collected of Spanish Lady I about 1911. Campbell's poem is sung and has entered tradition and is sung with Hughes syllable chorus (Spanish Lady V) or rarely the "Twenty-Eighteen" chorus and/or other choruses. It has also been combined with stanzas of the 1930 version by Herbert Hughes.
Spanish Lady IV: The name "Spanish Lady" is found replacing "lovely creature" in a number of versions including children's game songs. Examples include "Here sits a Spanish lady" [JAF, Ontario, 1909 children's song] and Wehman's "Spanish Lady" printed in Universal Songster No. 39. See also "Spanish Lady" in Cox, Folk Songs of the South, 1925, and the version by Eddy.
Spanish Lady V: An arrangement with new text of Spanish Lady for piano and voice by Irish composer Herbert Hughes in 1930. It was based on the first two stanzas (1911) supplied by Joseph Campbell from tradition. Hughes text also has entered tradition and is sometimes combined with Campbell's last stanza.

There are at least three versions of Spanish Lady I with a "she answered No" chorus (see Ma, "Spanish Lady" by Bell Robertson, Aberdeenshire, Mb, "Dublin City" by Miss Georgina Reid of Collyford, New Deer and Mc, "Spanish Lady" by Andrew Hawes, New Hampshire, US). These are classified as Spanish Lady II. The opening stanzas of the Spanish Lady I  are similar to or derived from a 1770s bawdy song, "The Ride in London," which has been reworked with "The Spanish Lady" replacing the "damsel pretty." The remainder of the stanzas are from Madam and other 1800s "No" songs.

Variants of the "she answered No" songs with the Spanish merchant stanza are also classified as Spanish Lady II. Whether that use of a person of the Spanish nationality (Spanish merchant) is related to Spanish Lady versions I, III, IV and V, or is a coincidence, is unknown. It would seem more likely the Spanish merchant and other uses of Spanish Lady come from a early related and unknown version derived in part from the 1770s bawdy English version.The first appearance of the Spanish lady as the courted woman (or woman obsessed in the Irish rewrites of the 1900s) is also not known. The Spanish Lady must have been introduced in the late 1700s or early 1800s rewrites of the 1776 bawdy song, "The Ride in London," which have not been found in print. The link between Spanish Lady I and Spanish Lady II is Found in Bell Robertson's Scottish version, my Ma.

Some variants "Oh No, John," and "No Sir" have also been called "The Spanish Merchant's Daughter" since in both songs there  is usually a stanza about a Spanish merchant or captain who goes to sea and instructs his daughter to say "No" to any young man who asks her questions or makes proposals. "No Sir" was popular in US and widely printed here in the late 1800s. One early publisher of "No Sir" was W. F. Shaw's version with music arranged by Miss A. M. Wakefield that was a "Spanish Ballad" which was "Sung by the leading Minstrels." According to Cecil Sharp her arrangement was very popular^[13]. He reports that Wakefield said, "I first heard something like this from an American Governess. . . neither words or music were at all complete. I wrote it down and it got a good deal altered. I never regarded it as a folk song."

The first extant published version with music was in "The Peterson Magazine," Volumes 79-80, Philadelphia, 1881. Here's the text of "No Sir" from: "Songs and Ballads: 96 Songs - Words and Music W.F. Shaw," 1882. It's also found in Shaw's "Gems of Minstrel Song" also dated 1882 and later in Delaney's Song Book (New York).

No Sir!
Words and Music Arr. by A. M. Wakefield

1. Tell me one thing, tell me truly,
Tell me why you scorn me so?
Tell me why when asked a question,
You will always answer no?

CHORUS: No sir! No sir! No sir! No-- sir!
No sir! No sir! No sir! No.

2. My father was a Spanish merchant
And before he went to sea,
He told me to be sure and answer No!
To all you said to me.
CHORUS

3. If I was walking in the garden,
Plucking flow'rs all wet with dew,
Tell me will you be offended,
If I walk and talk with you?
CHORUS

4. If when walking in the garden,
I should ask you to be mine,
and should tell you that I loved you,
would you then my heart decline?
CHORUS

This print version of "No Sir" was reprinted a number of times and was "very popular." A version was even arranged for Banjo by Frank Converse who published "No Sir" in a 1888 edition of "Converse's Banjo Songs." Wakefield's arrangement entered tradition and versions have been titled "Spanish Merchant's Daughter" and her version was called a "Spanish Ballad." It was was sung in the US and UK in the early 1900s sometimes mixed with stanzas of "Madam." A version titled "No Sir, No Sir" was sung by Beryl Walker and Peter Diprose near Tempora, Australia on October 16, 1942^[14]. Since the printed "minstrel" version of "No Sir" was adapted from tradition, the stanzas are from a pre-1881 English then American tradition. Any version with the exact same stanzas and the same "No Sir" chorus is obviously from print. The 1917 version in the book "The Play-Party from Indiana" is exactly like the 1881 print version by Wakefield as is the version from Australia. 

Even though "Oh No John" is similar^[15] and has the "Spanish captain" stanza in common, there are differences from "No Sir." In both versions the suitor asks questions expecting a "No" answer so he can win his love even with a "No" response. When the core stanzas of "No Sir" and "Oh No John" are compared, in most versions only the Spanish Captain/merchant stanza is held in common. There are a number of composites and separating the two is difficult but they should be regarded as different songs possibly from a common ancestor. The 1881 print version of "No Sir," which represents the majority of collected versions in the US and Canada, is clearly different than "Oh No, John." In the UK the chorus is interchangeable and sometimes used for the core stanzas of "Oh No John"-- which is why the songs are usually lumped together. Although "Oh No John" was very popular, its chorus is rare in tradition and found mainly in southern England in the early 1900s. It's possible that the chorus of "Oh no John" was modeled after one of the many "she answered No" songs such as "Tom and Dolly" (No Tom, No):

But she answer'd No, no, no, no Tom,
No Tom, no Tom, no Tom no.

"Oh No John" was collected by Cecil Sharp in 1907 from William Wooley of Bincombe, Over Stowey, but was heavily revised. Sharp compares the melody to Billy Taylor and relates that the theme is similar to Keys of Heaven, another courting song-- which should be considered a different song.

Oh No John (first two stanzas from William Wooley of Bincombe in 1907, composite of 4 versions collected by Cecil Sharp)

On yonder hill there stands a creature,
Who she is I do not know.
I'll go and court her for her beauty;
She must answer Yes or No.
O No John! No John! No John! No!

My father was a Spanish captain -
Went to sea a month ago,
First he kissed me, then he left me -
Bid me always answer No.
O No John! No John! No John! No!

O Madam in your face is beauty,
On your lips red roses grow,
Will you take me for your lover?
Madam, answer Yes or No.
O No John! No John! No John! No!

0 Madam, I will give you jewels,
I will make you rich and free,
1 will give you silken dresses;
Madam, will you marry me?
Oh No, John! No John! No, John! No!

O Madam since you are so cruel,
And that you do scorn me so,
If I may not be your lover,
Madam, will you let me go?
O No John! No John! No John! No!

O hark! I hear the church bells ringing,
Will you come to be my wife?
Or dear Madam, have you settled
To live single all your life?
O No John! No John! No John! No!

Woolsey's original version has a "garter" stanza and is much racier which is why Sharp changed it. His first stanza is taken from the opening stanza of "Madam, I Am Come to Court You" which shows the song's relatedness. Here's Woolsey's original text from Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/9/1285):

Oh No John

On yonder hill there stands a creature,
Who she is I do not know.
I'll go and court her for her beauty;
She must answer Yes or No.
O No John! No John! No John! No!

On her bosom were bunches of posies,
On her breast where flowers grow,
If I've a chance to touch that posy
She must answer Yes or No.
O No John! No John! No John! No!

My father was a Spanish captain,
Went to sea but a month ago,
And the very last time we kissed and parted,
He always bid me answer No.
O No John! No John! No John! No!

"Madam, shall I tie your garter?
Tie it a little above your knee,
If my hand should slip a little farther
Would you think it amiss of me?"
O No John! No John! No John! No!

One night they went to bed we together
There they lay till cocks did crow
Then they sport till the daylight was breaking
Now it's time for us to  go.
O No John! No John! No John! No!

The garter stanza and last stanza of Woolsey's original are found in other traditional versions of "Oh No John" which sometimes appear with a "No Sir" chorus.  Sharp's composite version of "O No, John" was first published in Folk Songs from Somerset in 1911. It was republished in One Hundred English Folksongs (1916) pp. 154-155 with a different last stanza and again in Novello's School Songs and in Vol. 2 of the Selected Edition of English Folk Songs in 1921.  Sharp's popular arrangement was reprinted many times and sung with great acclaim by the Fuller Sisters from Portsmouth, England in their America tours. An extra penultimate stanza was taken from Sharp's 1916 revision by the Fuller Sisters. A similar text was published in "Oh No, John!" song no. 11 in "Song Ballads & Other Songs of the Pine Mountain Settlement School," Kentucky, 1923. Sharp's "Oh No, John" was recorded by Paul Robeson, African-American actor and singer in the 1950s. It was also a popular sixties revival song appearing in "Song Fest" (1964) and was in the repertoire of Canadian folk singer Oscar Brand (1920-2016) whose recording is on youtube.

Sharp's composite has a happy ending and the suitor and maid appear to be correcting their improprieties by entering the realm of matrimonial bliss.  The suitor managed to learn how to ask the right questions to get the result he wanted from her "no" responses. "Oh No John" is not related to "No Sir" songs through the common "Spanish merchant" stanza, although in general they have different core stanzas.

Here's the text of "Oh No John" from the Fuller Sisters, who toured the US to great acclaim. Their text comes from "More Pious Friends and Drunken Companions: Songs and Ballads of Conviviality" by Frank Shay, dated 1928. They sang Sharp's arrangement with an additional penultimate stanza and other minor changes:

OH, NO, JOHN!
As sung by the Fuller Sisters, 1928.

On yonder hill there stands a creature,
Who she is I do not know;
I'll go and court her for her beauty,
  She must answer "Yes" or "No."
Oh, no, John, no, John, no, John, no.

My father was a Spanish captain,
  Went to sea a month ago;
First he kissed me, then he left me,
  Bade me always answer "No!"
Oh, no, John, no, John, no, John, no.

O madam, in your face is beauty,
On your lips red roses grow;
Will you take me for your lover?
Madam, answer "Yes" or "No."
Oh, no, John, no, John, no, John, no.

0 madam, I will give you jewels,
I will make you rich and free,
1 will give you silken dresses;
Madam, will you marry me?
Oh, no, John, no, John, no, John, no.

O madam, if you are so cruel,
And that you do scorn me so,
If I may not be your lover,
Madam, will you let me go?
Oh, no, John, no, John, no, John, no.

Then I will stay with you forever,
Since you will not be unkind;
Madam, I have vowed to love you,
Would you have me change my mind?
Oh, no, John, no, John, no, John, no.

Hark! I hear the trumpets ringing,
Will you come and be my wife?
Or, dear madam, have you settled
 To live single all your life?
Oh, no, John, no, John, no, John, no.

Although "Oh No John" was clearly in circulation in the late 1800s in England, some versions of "she answered No" usually with the Spanish merchant or captain stanza are much older both in North America and the UK than the "Oh No John" versions or the 1882 "No Sir" version by Wakefield which has no stanzas in common with "Madam." From the following archaic Scottish version, one evolution of "No Sir" can be quantified. The common stanzas can be traced in this early traditional version which was sung by Bell Robertson of Pitsligo, Aberdeenshire:

1. Walking down through London city,
Between twelve and one at night,
There I saw a Spanish lady
Wash herself by candle light.
CHORUS: She said Aye, no, no, no,
She said Aye, no, no, no,
She said Aye, no, no, no,
Still the lady answered No.

2 Wi' a basin full of water
And a towel in her hand.
And a candle on the table,
Like an angel she did stand.
CHORUS

3 Madam, I am come to court you,
If I could your favour gain.
And gin ye mak me kindly welcome
Maybe I come back again.
CHORUS

4. My father he's a wealthy merchant
He has lately gone from home
He left me strict directions
Never to say Aye to none.
CHORUS

5. Saw ye ever a copper kettle,
Marriet with a brazen pan,
Saw ye ever a Spanish Lady,
Would refuse an Englishman?
CHORUS

This Scottish composite version of "Spanish Lady" and "lady answered No" was sung by Bell Robertson of New Pitsligo (b.1841) which may, through her mother and maternal grandmother of Strichen, date back to the 1700s or early 1800s. It was collected by Grieg about 1907 and is version I from Greig-Duncan Collection, vol. 4. The Scottish versions of Spanish Lady have the opening stanzas of the bawdy 1776 song rewritten as found Bell's stanza 1 and 2. They are followed by stanzas of "Madam" and in Bell's version there is only one. The Spanish merchant stanza is standard in "Oh No John" and "No Sir," while the last stanza is found similarly in "Galway City" and some other versions of Spanish Lady.

Another archaic example is from Kentucky from the Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/9/2813). In the MS there is a "she answered No" chorus but then it stops after the second stanza. In the two recordings made of Garrison by Lomax in 1937, the chorus is sung throughout.

No Sir- sung by Lucy Garrison of Manchester, Kentucky on 11 August, 1917 as collected by Cecil J. Sharp. Recorded twice in 1937 by Alan Lomax with an extra stanza.

1. Yonder stands a pretty fair maiden
With her hands as white as snow,
I'll go and court her for her beauty,
Till she answers Yes or No,
   Yes or no, yes or no,
   Till she answers Yes or No.
   Yes or no, yes or no,
   Till she answers Yes or No.

2. "Madam, I am come a-courting,
If your favor I do gain,
And [if] you'll kindly entertain me,
Then perhaps I'll come again."
   Aha no, no, sir no,
   Every Answer to me was No.

3. "Madam I have gold and silver,
Madam I have house and land,
Madam I have a ship on ocean,
It may be at your command."

4. "I don't want any of your gold and silver
I don't want any of your house and land,
I don't want any of your ship on the ocean
All I want is a handsome man."

5. Tell me one thing tell me truly,
Tell me why you scorn me so,
Tell me why when I ask a question
You will always answer, No.

6. My father was a Spanish sailor
And before he went to sea,
Told me to be sure to answer, No Sir,
To everything you said to me.

7. If you're walking in your garden
Plucking flowers all wet with dew,
Tell me would you be offended,
If I walked and talked with you?

8. If when walking in your garden
I should ask you to be mine,
If I tell you that I love you
Would you then my heart decline?

9. If you were sitting in your parlour,
Well content as you'd wish to be,
Would it be a misbehaviour
For me to come and sit with thee?

10. There we sat and there we courted,
Till the chickens began to crow.
All in the world I had to ask her,
[If she would] open her arms and let me go.

The first 4 stanzas are "Madam" whilst the last are "Spanish Sailor/No Sir" stanzas. This version was found in Kentucky in 1917 and surely dates back to the 1800s. Even though it has stanzas similar to the printed "No Sir" version of the late 1800s -- it would seem to pre-date that version by many years.

The "Oh No John," "No Sir" and "she answered No" songs emerged from the early "No" songs of the 1600 and 1700s. The various modern "No" songs were developed in the last part of the 1800s and were widely collected in England in the early 1900s. Sometimes the choruses are interchangeable which makes categorization difficult. Here is an early example of an interchangeable chorus as sung by Lucy White and Louie Hooper of Hambridge, Somerset on Dec. 23, 1903. It was collected by Cecil Sharp and is a version with "Oh No John" stanzas and the "No Sir" chorus:

No, Sir!

My father was a Spanish Captain
Leave me to mourn five years ago
First he kist me then he leave me
Always told me to answer No!
No Sir, No Sir, No Sir, No!

Madam in your face is beauty
In your flowers grow
In your bedroom there is pleasure
Shall I view it, yes or no?
No Sir, etc.

Madam shall I tie your garter
Shall I tie it above your knee?
If I should be little bolder
Would you think it rude of me?
No Sir, etc.

"Oh No John" is English and has two specific types. The best known, Type A, is the composite by Sharp. The other variants are Type B, made up of the traditional versions. Both types sometimes use the opening first and possibly second stanzas of Madam. Type B has variants of these three stanzas as found in Woolsey's original text:

On her bosom were bunches of posies,
On her breast where flowers grow,
If I've a chance to touch that posy
She must answer Yes or No.
O No John! No John! No John! No!

"Madam, shall I tie your garter?
Tie it a little above your knee,
If my hand should slip a little farther
Would you think it amiss of me?"
O No John! No John! No John! No!

One night they went to bed we together
There they lay till cocks did crow
Then they sport till the daylight was breaking
Now it's time for us to  go.
O No John! No John! No John! No!

Clearly The White and Hopper version is "Oh No John" with a "No sir" Chorus. Stanza 2 of the White version is another bawdy type stanza that belongs to the "Oh No John" ur-ballad^[16]. The conclusion is "Oh No John" usually has these characteristics:

1. evolved from a bawdy English "she answered No" song. Type B is usually bawdy.
2. used the opening stanza or stanzas from "Madam, I Have Come to Court You." Does not usually have the "Madam I have gold and Silver" stanzas or other stanzas of "Madam."
3. was sanitized by Sharp to become the popular "Oh No John" type A.
4. was not widely known outside of England and was not brought to America. The American versions all appear to have been derived from Sharp's twp published composite versions.
5. does not usually have the "garden" stanzas found in print and traditional versions of No Sir.
6. has the Spanish merchant/sailor/Captain stanza which also is found in No Sir.

The Oh No John chorus was not widely known and few traditional versions were collected. Cecil Sharp collected four^[17] but the total of original traditional versions is less than a dozen with most just fragments. There is no history of the "Oh No, John" chorus which was first collected in 1906 and also appears "No John, No." It may have been adapted from "No Tom No."

* * * *

The "No Sir" songs were English then American-- see also the version from Tristan de Cuna, originally a British colony^[18]. "No Sir" has a wider degree of variety in England and is sometimes combined with the "she answered No" chorus. In England the stanzas of  "Oh No John" (see White, Larner and Copper versions) are sometimes sung with the "No Sir" chorus. In general No Sir is associated with the two garden stanzas found similarly in the print version:

3. If I was walking in the garden,
Plucking flow'rs all wet with dew,
Tell me will you be offended,
If I walk and talk with you?
CHORUS

4. If when walking in the garden,
I should ask you to be mine,
and should tell you that I loved you,
would you then my heart decline?

There are also two basic types of versions of "No Sir." Type A is the popular print version, "No Sir," which was arranged from text collected from an American governess by Mary Wakefield and published in 1881, entered tradition and has been collected both here and abroad. There is also a possibility that the four-stanza type A with No Sir" chorus was the standard traditional text before it was printed. Type B versions are traditional and similar to Type A but have at least one stanza not found in Type A. While it may be assumed that type B is the older version from whence Type A was born, the additional stanza or stanzas could have been added to the four Wakefield stanzas. Examples of this older tradition can be seen above in both the Bell Robertson version and the MS version collected by Sharp in Kentucky in 1917. The conclusion is "No Sir" usually has these characteristics:

1. has the two "garden" stanzas
2. has a wider variety of chorus variations and is sometimes mixed with "she answered No" choruses.
3. has the "tell me truly/why you scorn me" stanza usually before the Spanish captain stanza.
4. has the Spanish merchant/Captain stanza in common with Oh No John.
5. has "chickens crowed for day" or "We lay there till the cocks did crow" ending stanza found in the US and UK.

Since the chorus is occasionally interchangeable some versions of "Oh No John" (see, for example, the version from Norfolk fisherman Sam Larner titled "No Sir" and the 1903 version from Lucy White of Somerset) which have Oh No John bawdy stanzas, do not have the "Oh No John" chorus. Some rare versions of "Madam" use the "No Sir" or "she answered No" choruses. The following short version is one example:

"Madam I Have Come A-Courting" - voice performance by Jonathan Moses at Orford (New Hampshire); recorded by Helen Flanders on 08-24-1951. Learned in North Haven, Maine. Listen, Track 01: https://archive.org/details/HHFBC_tapes_T07A

Madam, I have come a-courting
Your perfection for to win,
If you'll kindly entertain me,
Perhaps I may return again.
CHORUS: No, no, no no no sir,
All of her answers to me was No.

Oh madam I have gold and silver,
Madam I have houses and lands,
Oh madam I have ships on anchor
All to be at your command.
CHORUS

Don't want some of your gold or silver
Don't want some of your houses and lands,
Don't want some of your ships on anchor
All's I want's a handsome man.
CHORUS

A handsome man that I admire,
A handsome man that I adore,
A handsome man that I will have,
Whether he is rich or poor.
CHORUS

Both Wyman's Kentucky version and Bradley Kincaid's 1928 version, which is based on hers, have a similar "No Sir" chorus and use stanzas of Madam. Kincaid also added stanzas from Wakefield's No Sir version.

Versions of "she answered No" here and abroad have used stanzas of Madam along with the "My father is a Spanish merchant" stanza which is categorized as Spanish Lady II. It's important to realize the even though "Oh No John" and "No Sir" both have a "No" chorus, are part of Roud 146, and have the Spanish merchant stanza in common-- they should be considered different songs, albeit from a common ancestor. It's normal for borrowing among theses songs so it's not surprising to find composite versions.

* * * *

Here are four basic types of chorus found in the US:

1. The "No Sir" type: No sir! No sir! No sir! No-- sir!
No sir! No sir! No sir! No.
2) The "Oh No John" type: Oh, no, John, no, John, no, John, no.
3) The "Spanish Lady" type: Rattle O ding, ding dom, ding dom,
Rattle O ding, dom da.
4) The "her answers were no" type: Uh-uh, no, no sir no,
All of her answers to me were no.

These four types are also found in the UK although the Type 3 chorus is usually found in different versions of Spanish Lady. The last Type (her answers were No) usually has "No Sir" in the opening and is often titled "No Sir." The first type is from the Wakefield print version of 1881 which was widely printed and was well known both here and abroad. The third type sung to a West Virginia version (see: Cox, 1916) with Spanish Lady replacing "lovely creature" is similarly found in Gypsy Davy. The Spanish Lady versions that are not closely related to Madam sometimes have a "No Sir" chorus (see Bell Roberston's version above). In this rare US version of Spanish Lady (No Sir) by Andrew Hawes^[19] at Pittsburg, NH in 1943 he sang the type 4 chorus "her answer it was No":

As I rode out to McCloud city
At twelve o'clock the other night
Twas there I spied a Spanish lady
Washing her scarves in pale moonlight.
CHORUS: She said No, no sir no
Still her answer it was No.

This first stanza from Hawes is the identifying Spanish lady stanza. Type 1 may be used to identify the Wakefield print versions which are easily identified by the four core stanzas. Wakefield's text also appears with type 4 chorus.

* * * *

Some Conclusions

The inevitable blending of the "Madam, I Am Come to Court You" and "Spanish Lady" variants with the "she answered No" songs has caused confusion and made classification difficult. Although the choruses have been somewhat interchangeable, it should be noted that the texts of both "Oh No John" and "No Sir" have certain characteristics and are represented by stanzas usually unique to each^[20]. They share in common the Spanish merchant stanza and have blended in some later versions indicating that they may be from an unknown common ancestor. No Sir should be identified by the four stanzas associated with Wakefield's popular version and not with the interchangeable No Sir chorus.

Currently "Oh No, John" and "No Sir" all are listed under Roud 146 which is mixed with some versions of "Madam." Most collectors and musicologists have lumped "Oh No John" and "No Sir" despite their unique stanzas since the choruses are somewhat interchangeable. Worse than lumping the two songs is the failure to separate them from "Madam" and the sometimes related Spanish Lady versions which are not identified. Although presenting a chronological order of the "No" songs has little bearing on understanding the stanzas of "Oh No, John" and "No Sir," it is important to show that "Oh No, John" and "No Sir" were developed from the same "she answered No" formula and that they are part of a series of different songs that use "No" answer as a chorus.

Traditional versions with the "Oh No John" chorus are rare and were first collected about 1906. They are best represented by two versions: "Oh No John" sung by William Wooley of Bincombe in 1907, and "No John, No" sung by James Beale of Warehome, Kent on September 23, 1908.

The two print versions, "No Sir" by A. M. Wakefield ("The Peterson magazine," Volumes 79-80, Philadelphia, 1881) and "Oh No John," the composite version arranged by Cecil Sharp (published in Folk Songs from Somerset-- Series 4, 46, dated 1911), are by far the most popular and frequently performed versions. A more recent composite published in Marrowbones^[21] was titled "No Sir, No" and arranged from various traditional UK versions collected in the early 1900s. The three versions composite in Marrowbones have been arranged from tradition-- which is an earlier, largely unknown, tradition with a possible common ancestry. 

Two important later English versions (which still date before 1950) by Sam Larner and Bob Cooper are not part of the revival versions which are usually covers and arrangement of existing versions. Both the Larner (Norfolk) and Copper (Sussex) versions exhibit a blending of "No Sir," "Oh No John" and "Madam" with interchangeable choruses. Larner's version, "No Sir, No Sir" uses a somewhat bawdy "Oh No John" text with a "No Sir" chorus similar to the White/Hooper version collected by Sharp in 1903. Being a fisherman Larner picked up stanzas from different ports. Inversely-- the Copper family version, which was first collected from Bob Copper in 1950 from Collinson, has stanzas of Madam and then resembles Wakefield's "No Sir" yet it has a "No John No" chorus similar to Beale's. Regardless of the mixtures and titles, "No Sir" and "Oh No John" can usually be categorized separately by comparing core stanzas. See two Ur-ballads given after the footnotes.

R. Matteson 2017]
_____________________________________

Footnotes:

1. The terms "song" and "ballad" are used interchangeably in the "Madam" songs and "she answered No" songs. By definition a ballad must tell a story and in many of these courting songs  there is a plot although it's a flimsy one.
2. Early music scholar the late Bruce Olson regarded "Consent at Last" as a fundamental antecedent (see his quote at Mudcat).
3. A number of related "No" versions have been listed by Kittredge in his notes for Tolman's "Traditional Texts and Tunes" in the JAF. See also Charles Read Baskervill in his "The Elizabethan Jig and Related Song Drama," 1929.
4. Sharp, for example, uses "Oh No John" as his master title and has titled versions, "Oh No John," when that chorus is not even present.
5. If "Madam" was sung in the Mummer's Wooing Plays it's possible that it pre-dates the "No" songs. The earliest extant print of Madam is c.1760.
6. In versions of "Madam" the courted maid also refuses the offers of the wooer.
7. alternative text: Once more fairest, only let me love you,
                            For my lippes is fully sped.
8. According to Bruce Olson (quoted on Mudcat): "Consent at Last" in Scarce Songs 1 on my website. I take it to be the original of "No, John, No/ Spanish Merchant's Daughter".
9. There is no relationship with "On the Mountain Stands a Lady" -- only the word "mountain" is common.
10. Kittredge's song notes appear in the 1916 JAF article by Tolman, "Some Songs Traditional in the United States."
11. The song notes in Marrowbones were from Steve Gardham.
12. Mary Wakefield's "modern" arrangement and text was first published in 1881. Wakefield is an English woman who collected her text in England from an Americdan governess.
13. See notes in Sharp's "One Hundred English Folksongs," 1916.
14. From: There Was Always a Cat: Memories of My Early Life- The Cats I've Loved and Who Have Loved Me" by Beryl Walker 2013. This is Wakefield's version.
15. There is a blurring of text and titles which makes separating the two songs difficult.
16. An ur-ballad is the earliest prototype, which represents the earliest most complete version.
17. Sharp's versions are from Woolsey, Tucker, Beale and Hezeltine.
18. The British annexed the islands in 1816 and the ballads and songs show the British influence. The Tristan de Cuna version of No Sir has stanza of No Sir plus the "garter" stanza usually found in Oh No John.
19. Hawes version was collected by Helen Hartness Flanders-- it may be heard online at Internet Archive.
20. Some British versions are composites of "Oh No, John" and "No Sir" with a random "No" chorus (see versions by Sam Larner and Bob Cooper) and can't be categorized a a version of either.
21. The composite arranged by Frank Purslow in 'Marrowbones' (notes written, arrangement created about 2003; reissued 2013) under the name 'No Sir No' (Hammond nos D 417 and D 880). The verses are from John Greening of Cuckold's Corner, Dorset in May 1906, verse 3 is from "Madam," the chorus, tune and 4-7 verses are from Mrs. Bowring of Cerne Abbas, Dorset in December 1907.
____________________________

 
A collection of related songs: with some originals.

1) Taken from a 1769 Bawdy song book; see also The Aviary: Or, Magazine of British Melody.

Tom and Dolly

WHEN the cows had given a pailful,
And the ewes came bleating home,
Dolly thinking ’twould be healthful,
Went a-walking with young Tom
     Hand in hand Sir
     O'er the land, Sir
As they walked to and fro,
Tom made love to Dolly,
But she answer'd No, no, no, no Tom,
No Tom, no Tom, no Tom no.

Faith, says Tom, the Time is fitting,
We shall never get; the like;
You can never get from Knitting,
Whiist l'm digging in the Dike:
      Now 'we're gone too,
       And alone too,
No one by to see or know;
Come, come, Dolly, prithee shall I?
Still she answer'd, No, no, no, no, &e.

Fie upon you Men, quoth Dolly,
In wnat Snares you'd make us fall;
You'll get nothing but the Folly,
But I shall get the Devil and all'
      Tom with Sobs,
       And some dry Bobs,
Cry'd, you're a Fool to argue so;
Come, come, Dolly, shall l? shall I?
Still she answer'd, No, no, no, no, &c.

To the Tavern then he took her,
  Wine to Love's a Friend confest;
By the Hand he often shook her,
  And drank Brimmers to the hest, &c.
         Doll grew warm,
       And thought no Harm;
Till after a brik Pint or two,
To what he said, the silly Maid
Could hardly bring out, No, no, no, no, &c.

She swore he was the prettiest
Fellow In the Country or the Town,
And began to grow so mellow,
On the Couch he laid her down,
Tom came 'to her,
For to woe her, "
Thinking this the Time to try:
Something past so kind at last,
Her No was chang'd to I, I, I, I. &c.

Closely then they join'd their Fates,
  Lovers you know what I mean;
Nor could she hinder his Embraces,
  Love was now too far got in;
        Both now lying,
         Panting, dying,
Calms succeed the stormy Joy;
  Tom would fain renew't again,
And she consents with 1, 1, I, I, &c.  
__________________________________________

2) Recording by Stoneman Family, original issue Victor V-40206. "Vocal duet by Hattie and Ernest Stoneman with harmonica, violin, guitar." Recorded in Bristol, Tennessee on October 31, 1928. This is similar to Waskefield's 1881 printed version of "No Sir" and has the chorus and the two "garden" stanza. The second and third stanzas are a folk adaptation unique to the "No Sir" versions.

"The Spanish Merchant's Daughter" performed by The Stoneman Family; recorded on Oct. 31, 1928.

Father was a Spanish Merchant and before he went to sea,
Made me promise to say "no sir" to all you say to me.
No sir, no sir, no sir, no sir.

I know your father was against me.
Should he not return from sea,
And they say you have no mother,
Would you then say "No" to me?
No sir, no sir, no sir, no sir.

Yes, I know I have no mother,
Should father not return from sea,
Then you see I have a brother
Who would take good care of me.
No sir, no sir, no sir, no sir.

If we were walking in the garden,
Plucking roses wet with dew.
Would you be in any way offended
If I walked and talked with you?
No sir, no sir, no sir, no sir.

I know the world is very cruel,
If you have no one to care.
But I always will say no sir
Until from father I do hear.
No sir, no sir, no sir, no sir.

As we tarry in the garden
and I linger by your side,
Would you tell me I must leave you
and refuse to be my bride?
No sir, no sir, no sir, no sir.
No sir, no sir, no sir, no no!

__________________________

3) "Oh No John" from More Pious Friends and Drunken Companions: Songs and Ballads of Conviviality by Frank Shay; with drawings by John Held Jr. 1928

OH, NO, JOHN!
As sung by the Fuller Sisters

On yonder hill there stands a creature,
Who she is I do not know;
I'll go and court her for her beauty,
  She must answer "Yes" or "No."
Oh, no, John, no, John, no, John, no.

My father was a Spanish captain,
  Went to sea a month ago;
First he kissed me, then he left me,
  Bade me always answer "No!"
Oh, no, John, no, John, no, John, no.

O madam, in your face is beauty,
On your lips red roses grow;
Will you take me for your lover?
Madam, answer "Yes" or "No."
Oh, no, John, no, John, no, John, no.

0 madam, I will give you jewels,
I will make you rich and free,
1 will give you silken dresses;
Madam, will you marry me?
Oh, no, John, no, John, no, John, no.

O madam, if you are so cruel,
And that you do scorn me so,
If I may not be your lover,
Madam, will you let me go?
Oh, no, John, no, John, no, John, no.

Then I will stay with you forever,
Since you will not be unkind;
Madam, I have vowed to love you,
Would you have me change my mind?
Oh, no, John, no, John, no, John, no.

Hark! I hear the trumpets ringing,
Will you come and be my wife?
Or, dear madam, have you settled
 To live single all your life?
Oh, no, John, no, John, no, John, no.

_______________________

4) "No Sir" sung by Emily Bishop of Bromsberrow Heath, Gloucestershire, 1952. From FolkSongs of Britain and Ireland - Kennedy

NO SIR

Tell me, will you tell me truly
Tell me, why you scorn me so
Tell me, why whene'er I ask you
Why you always answer no?

no sir, no sir, no sir
No-o-o-o-o sir
No sir, no sir,
No sir, no

My father was a Spanish merchant
And before he went to sea
Told me to be sure ans answer
No to all you said to me

If when walking in the garden
Plucking flowers all wet with dew
Tell me, would you be offended
If I walked and talked to you?

If when walking in the garden
I should ask you to be mine
And should tell you that I loved you
Would you them my heart decline?

In the garden we were sitting
And her blushes she did show
Tell me would you be offended
If one kiss I did bestow?

Madam, may I tie your garter
Would you let me make so free
If I should be a little bolder
Would you think it wrong of me?

If to bed we went together
I would stay till cocks do crow
When I'd say: It's time to leave you
Would you ever let me go?

_____________________________________

5) King William, or, Constant Betty.
 The Roxburghe Ballads, Volume 7, Part 1 edited by William Chappell, 1890

[Pepys Collection, III. 179; Douce, I. 107m.; Huth, I. 91; C. 22. e. 2. 46» ]

King William, or, Constant Betty.

Let Maids beware, and shun the snare, I say be rul'd by me;
Though you['re] embrace[d], be perfect Chaste, from stains of Infamy.

To The Tune Of, The Doubting Virgin. [See vol. iv. pp. 344, 349.]

Constant Betty, that sweet Creature, she was William's heart's delight;
     In the shades he chanc'd to meet her, when fair Phoebus shined bright:
In conclusion his delusion was to bring her to his Bow,

  "Let's not dally, 'Shall I, shall I.'" But she answer'd, "No, no, no!"
Then his Betty he embraced, hoping for to win the Field,
She with modesty was graced, and resolved not to yield:
She denyed, he replyed, "Do no[t] seek my Overthrow ;"

"Let's not dally, ' Shall I, shall I.'
But she answer'd, "No, no, no."
"Thou hast set mine heart on fire- sweetest Creature be not coy;
Grant me what I do desire, thou shalt be my only joy."
Thus he woo'd her to delude her, and to bring her to his Bow,
"Let's not dally, 'Shall I, shall I.'"
But she answer'd, "No, no, no."

"Love thou art my only treasure!" Then he took her by the hand;
"Let me now enjoy the pleasure, I will be at thy command.
Don't abuse me, nor refuse me, lest it prove my overthrow,
  Let's not dally, 'Shall I, shall II'" But she [answer'd, " No, no, Ho."]

"Now admit me, my sweet Betty, to salute and lay thee down,
None alive I think more pritty, I will thee with pleasure Crown:
Don't deny me, do but try me, from those charms such pleasures flow,

   Let's not dally, 'Shall I, shall I.'" But she [answer'd, " No, no, no."]
"Thy obliging eye hath won me; dearest, I am not in jest,
Why should'st thou be coy and shun me? I am certainly possest
With thy Beauty, for my duty is to bring thee to my Bow.

   Let's not dally, 'Shall I, shall I.'" But she [answer'd, "No, no, no."]
'' Dearest Betty, sit down by me, let us lovingly agree.
Sweetest Creature, don't deny me, Cupid's dart hath wounded me:
Then come near me, Love, and chear me, for my heart is sinking low,

Let's not dally, 'Shall I, shall I.'" But she [answer'd, "No, no, no."]

         BETTY'S Answer To WILLIAM'S Request.
"William, you are much mistaken, you shall never me ensnare,
In your Net l'l not be taken, therefore now your Suit forbear:
I'll deny it, and defie it, for I vow it shan't be so;

   While 1 marry, I will tarry, and will answer, 'No, no, no.' [while = mit\\.
"I from Love will be excluded, e'er I'll hear an idle Tale,
I will never be deluded, no, nor shall you e'er prevail
To embrace me, and disgrace me, thus to sink my heart full low:

While I marry, I will tarry, and will [answer, 'No, no, no !' "]

                      WILLIAM.
"Now my loving constant Betty, I will ever thee adore,
For thy Answer has been witty, I will never tempt thee more;
When I try'd thee, thou deny'd me, all thy answer still was ' No,'
   We'll not tarry, but will Marry: then it must and shall be so."

When I try'd thee, thou deny'd me, all thy answer still was ' No,'
   We'll not tarry, but will Marry: then it must and shall be so."

Finis. [Probably by Tobias Bowne (c.1685).

Printed for J. Beacon, Gilt-spur-street. [In Black-letter. See Note, p. 200.]

_________________________________

No my Love, Not I
Walker, Durham

As I was a walking one morning in May,
I met a pretty fair maid making her hay,
I asked her to marry me and speedily,
But her answer back again was, no, my love, not I.

I  gave to my love a ribbon, I gave to her a ring,
I gave to her a kiss and a far better thing;
I told her in private that I would marry by and by,
But her answer it was back again, no, my love, not I.

When 5 months were over, and 6 months were past,
This comely far maid got thick around the waist,
Her gown it would not meet the strings would not tie,
And she cursed the very hour she said, no my love, not I.

When 6 months were over and 9 months were come,
This comely far maid was delivered of a son,
She wrote to him a letter to come speedily,
But his answer it was, back again, no my love, not I.

If I, love, should marry you my parents they would frown,
My friends and relations they would me disown;
For you be of a low degree and me so very high,
Do you think that I would marry you, no, my love, not I.

You may take your babe on your back,
And a begging you may go,
And when you are tired you may sit down and cry,
And curse the very hour you said, no, my love, not I.
_____________________________________________________

Choyce Drollery: Songs & Sonnets: Being a Collection of Divers Excellent
edited by Joseph Woodfall Ebsworth
Also in the Percy Folio MS

Page 32 [204]. A young man walking all alone.

This is another of the songs contained in the Percy Folio MS. (p. 460; iv. 92 of print); wrongly supposed to be otherwise lost, but imperfect there, our fourth and fifth verses being absent. We cannot accept "if that I may thy favour haue, thy bcwtye to behold" as the true reading; while we find "If that thy favour I may -win With theefor to be bold:" which is much more in the Lover's line of advance. Yet we avail ourselves of the " I am so mad" in 3rd verse, because it rhymes with "maidenhead," in M. D., though not suiting with the " honestye" of the P. F. MS. The final half-verse is different.

Merry Drollerie, 1661

A Song. [p. 32.]

A Young man walking all alone
      Abroad to take the air,
It was his chance to meet a maid
Of beauty passing fair:
Desiring her of curtesie
Down by him for to sit;
She answered him most modestly,
      O nay, O nay not yet.

Forty Crowns I will give thee,
Sweet heart, in good red Gold,
If that thy favour I may win
With thee for to be bold:
She answered him with modesty,
And with a fervent wit,
Think'st thou I'll stain my honesty?
      O nay, O nay not yet.

Gold and silver is but dross, [p. 33-1
And worldly vanity;
There's nothing I esteem so much
As my Virginity;
What do you think I am so loose, [mad]
And of so little wit,
As for to lose my maidenhead?
     . O nay, O nay not yet.

Although our Sex be counted base,
And easie to be won,
You see that I can find a check ,
Dame Natures Games to shun;
Except it be in modesty,
That may become me fit,
Think'st I am weary of my honesty?
      O nay, O nay not yet.

The young man stood in such a dump,
Not giving no more words.
He gave her that in quietness
Which love to maids affords:
The maid was ta'n as in a trance,
And such a sudden fit,
As she had almost quite forgot
Her nay, O nay not yet.

The way to win a woman's love
Is only to be brief,
And give her that in quietness
Will ease her of her grief:
For kindness they will not refuse
When young men proffer it,
Although their common speeches be
      O nay, O nay not yet.

--------------------------

The king and the tinkler [sic] : To which is added, Tom and Polly. Chapbook

Greenock : Printed by W. Scott, [1812-1820?]

TOM AND POLLY.

  AS Tom and Cupid went astray,
  For to pass the time away,
  Tom he thought himself quite happy.
  While he walk’d the new moon hay:
  By the brink of a chrystal river,
  Joining to a shady grove ;
  Cupid being a canning master,
  Pierc’d him with the dart of love.

 A thousand goddesses, surrounded
  To divert the lovely pair.,
  Polly’s beauty, Tom conioundeu,
  Love’s passion wrought him to despair;
  How to gam’this lovely creature,
  You god of love pray let me jnow.
  Must I,"shall I, kiss you, Polly,"
  But she answer’d, no, no, no.

  To a tavern straight he brought her.
  Gave her liquor of the best,
  By the hand he often shook her,
  Saving, I love you the best.
  Poll hrew warm and thought no harm,
  After a harmless glass or two,
  To what he said, the silly maid,
  Could hardly answer, no, no, no.

  Madam your smiles are so engaging,
  And your bright eyes do me confound.
  Let my persuasions be prevailing,
  For you have giv’n a mortal wound.
  By the hand he softly press'd her.
  Saying, My darling don t be coy.
  Must I, Shalt I kiss you, Polly,
  Then she answer'd ay, ay, ay.

  FINIS.
______________________________________________

The Aviary: Or, Magazine of British Melody. Consisting of a Collection of one thousand three hundred and forty-four songs. London, 1745.

SONG 1154.

When the Kine had giv'n a pail full,
And the Sheep came blearing home;
Doll, who knew it would be healthful,
Went a walking with young Tom.
    Then Hand in Hand, Sir,
    O'er the Land, Sir,
As they walked to and fro;
Tom made jolly Love to Dolly;
But was answer'd, No, no, no, no, &c.

Faith, says Tom, the Time is fitting,
We shall never get; the like;
You can never get from Knitting,
Whilst I'm digging in the Dike:
      Now 'we're gone too,
       And alone too,
No one by to see or know;
Come, come, Dolly, prithee shall I?
Still she answer'd, No, no, no, no, &c.

Fie upon you Men, quoth Dolly,
In what Snares you'd make us fall;
You'll get nothing but the Folly,
But I shall get the Devil and all,
      Tom with Sobs,
       And some dry Bobs,
Cry'd, you're a Fool to argue so;

Come, come, Dolly, shall I? shall I?
Still she answer'd, No, no, no, no, &c.

To the Tavern then he took her,
  Wine to Love's a Friend confest;
By the Hand he often shook her,
  And drank Brimmers to the hest, &s.
         Doll grew warm,
       And thought no Harm;
Till after a brik Pint or two,
To what he said, the silly Maid
Could hardly bring out, No, no, no, no, &c.

She swore he was the prettiest Fellow
In the Country or the Town,
And began to grow so mellow,
On the Couch he laid her down;
Tom came 'to her,
For to woe her,
Thinking this the Time to try:
Something past so kind at last,
Her No was chang'd to I, I, I, I, &c.

Closely then they join'd their Fates,
  Lovers you know what I mean,
Nor could she hinder his Embraces,
Love was now too far got in
        Both now lying,
         Panting, dying, 
Calms succeed the stormy Joy;
Tom would fain renew't again,
And she consents with I, I, I, I, &c.

________________________________

Melodies of Scotland
By Archibald Bell, 1849.

XXXIX. NO TOM, NO.

This is a pleasant and lively air; but the Author has some doubts whether it belongs to Scotland. Such of the former words as he has heard are scarcely presentable.

1. Tom the Miller was a stealer
Of the pretty maidens' hearts;
But, free ranger, scorning danger,
Still he laugh'd at Cupid's darts:
Till young Nancy took his fancy;
Then, to speak he was not slow:
Can you love me?—
Can you love me ?—
But she answer'd, No, no;
No Tom, no Tom, no Tom, no.

2. Think again, my bonny Blue-Eyes,
I am strappin', stout, and tall;
I've got two arms, two legs, two eyes,
And one heart that's worth them all:
On the green none lighter foot it;
None the pipe more sweetly blow;
How your pretty voice would suit it:—
But she answer'd, No, no;
No Tom, no Tom, no Tom, no.

3. Trust me, Girl, I 'll toil and trudge it,
All the year, from morn till night;
Wet or dry, I 'll never grudge it,
To keep home all trim and tight:
Warm and true, Love, still to you, Love,
Change or chill I 'll never know;
Come, cease pouting;—why this doubting?
Still she answer'd, No, no;
No Tom, no Tom, no Tom, no.

4. Tom then smartly turn'd the tables,
Cock'd his cap, and wheel'd hiin round:
I 'll not mope in sack or sables,
While a lass is to be found:
Pretty Kitty will have pity ;—
I'll to her a-wooing go ;—
She will prize me;—you despise me ;—
Quick she answer'd, No, no;
No Tom, no Tom, no Tom, no.
__________________________________

"THUS DAMON KNOCKED AT CELIA'S DOOR' (By G. Farquhar in The Constant Couple, 1700)

THUS Damon knock'd at Celia's Door,

Thus Damon knock'd at Celia's Door,
He sigh'd and begg'd, and wept and swore,
The sign was so, She answer'd no,
The sign was so, She answer'd no, no, no, no.

Again he sigh'd, again he pray'd,
No, Damon, no, no, no, no, no, I am afraid;
Consider, Damon, I'm a Maid,
Consider, Damon, no, no, no, no, no, no, no,
      I'm a Maid.

At last his Sighs and Tears made way,
She rose and softly turn'd the key;
Come in, said she, but do not, do not stay,
I may conclude, you will be rude;
But if you are you may:
I may conclude, you will be rude,
But if you are you may.

---------------------------------

Title: King William: or, Constant Betty

First Line: Constant Betty that sweet creature
Tune: The doubting virgin
Tobias Bowne, 1672-1695
Shall I? Shall I? No, no. A wanton lad and comely lass did once together meet; tho she seem'd coy her heart he won with complements most sweet. Tune of, The doubting virgin
[London] : Printed for P. Brooksby at the Harp & Ball in Pye corner, [1684?]

Pretty Betty now come to me,
thou hast set my Heart on fire,
Thy denyal will undo me,
grant me then what I desire:
Prithae try me, don't deny me
lest it prove my overthrow,
Never dally, shall I? shall I?
still she answered, no, no, no.

In the Fields they went a walking,
he this Maid did sweetly court,
But the subject of his talking
tended still to Venus sport:
He persuaded, she delay'd it,
and would not be deluded so;
Come let's dally, shall I? shall I?
but she answered No no no.

He bestow'd on her sweet kisses,
hoping thereby to obtain
And to tast true Lovers blisses,
Which he long time sought in vain
With sighs, & sobs, & deadly throbs,
he strove the Damzels mind to know
Come let's dally, shall I? shall I?
still she answered No no no.
To the Tavern then he took her,
feasting her vvith costly Wine;
In the Face did often look her,
svvearing that she vvas divine:
She told the Youth it vvas untruth,
I vvould not have you flatter so:
Come let's dally, shall I? shall I?
but she answered No no no.
With fair Words he did intreat her
to him for to condescend;
As his passion waxed greater
he her Beauty did commend:
She denied it and defy'd it,
vowing it should ne'r be so:
Come let's dally, shall I? shall I?
but she answered No no no.
Thus he spent his time in Wooing
but found no encouragement,
His fingers itch'd for to be doing,
and she perceived his intent;
She still at tryal gave denyal,
but Maidens often times do so:
Come let's dally, shall I? shall I?
but she answered No no no.
He continued still to wooe her,
but she made him this Reply:
That his aim vvas to undo her,
and would knovv his reason vvhy.
He protested that she jested,
his design vvas nothing so;
Come lets dally, shall I? shall I?
but she answered No no no.
But on hopes the Youngster builded,
hoping she at last would yield;
And at length the Damzel yielded,
with his Charms he won the field:
In the shade down her he layed,
he himself lay smiling by;
Come let's dally, shall I? shall I?
then she answered Ay, ay, ay.
Then they fell to sweet imbraces,
Lovers you know what I mean,
So close did joyn their blushing faces
you could not put a straw between,
In amorous chains there he remains
till he for breath did panting lye;
Come let's dally, shall I? shall I?
then she answered Ay ay ay.
She who stoutly first deny'd him,
by his Complements vvas won;
And she vowd when she had try'd him
that the job vvas neatly done.
Maids beware, and have a care
of flattering youths, vvho oft do try,
And will dally Shall I? shall I?
till you cry out Ay ay ay.

Printed for P. Brooksby at the Harp & ball in Pye Corner.

The Bagford Ballads: Illustrating the Last Years of the Stuarts, Volume 1
edited by Joseph Woodfall Ebsworth

A different set of words concerning a “Doubting Virgin,” avowedly to the tune so named, is entitled, “Shall I ? shall I? No, no, no.” Like our Souldier's Return, it is printed by P. Brooksby. It is in Douce Coll., p. 190, and Roxb. Coll., ii. 421. The first verse runs thus,

Pretty Betty, now come to me,
thou hast set my Heart on fire,
Thy denyal will undo me,
grant me then what I desire:
Prithee try me, don't deny me
lest it prove my overthrow,
Never dally, shall I ? shall I ?
still she answered, no, no, no.

-------------
http://ballads.bodleian.ox.ac.uk/static/images/sheets/20000/15386.gif

Shall I? Shall I? No No
Tobias Bowne - 1684

In the Douce Collection, p. 190, is " Shall I, shall I, no, no, no," &c. Tune of The Doubting Virgin; " commencing

"Pretty Betty, now come to me,
Thou hast set my heart on fire," and having the burden :

" Never dally, shall I? shall I ?
Still she answered, No, no, no."

Whenever the tune of The Doubting Virgin is referred to in the Douce Collection, either Mr. Douce, or some prior possessor, has pencilled against it, " 0 that I had never married," as the other name.
" 0 that I had never.married" is the first line of "Woman's work is never done, or The Crown Garland of Princely Pastime and Mirth; the Woman has the worst of it, or her work is never done. To the tune of The Doubting Virgin."
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