As I Was Walking Out- McAlpin (VA) 1914 Davis Aa
[My title. From Davis, Traditional Ballads of Virginia (1929) pp.439-478 (version appendix a). His notes follow. only two stanzas 2 and 3, belong to the House Carpenter.
R. Matteson 2016]
Traditional Ballads of Virginia (Davis' commentary)
JAMES HARRIS (THE DAEMON LOVER) (Child, No. 243) Next to "Barbara Allen" in Virginia popularity stands "The House Carpenter," with fifty-two texts and seven melodies, of which twenty-nine-texts and all seven melodies are here given. "The House Carpenter" is its almost invariable title, which yields only once to "The House Carpenter's Wife" (a slightly more appropriate title) and once to "On the Banks of the Sweet Laurie." "James Harris" which appears once, and "The Daemon Lover," which appears three times at the head of manuscripts (and therefore in the table of contents), may be regarded merely as identifications, not as local titles. The lover has lost not only his name, but also, with the possible exception of four variants, all trace of his demoniac character.
The Virginia texts are most closely related to Child B, but with occasional stanzas and details that suggest other Child versions. But as all the Child versions are based upon A, with traditional modifications, the story of Child A may be profitably scanned as a preliminary step: "Jane Reynolds and James Harris, a seaman, had exchanged vows of marriage. The young man was pressed as a sailor, and after three years was reported as dead; the young woman married a ship carpenter, and they lived together happily for four years, and had children. One night when this carpenter was absent from home, a spirit rapped at the window and announced himself as James Harris, come after an absence of seven years to claim the woman for his wife. She explained the state of things, but upon obtaining assurance that her long-lost lover had the means to support her- seven ships upon the sea - consented to go with him, for he was really much like unto a man. 'The woman-kind' was seen no more after that; the carpenter hanged himself."
The Virginia ballad cuts out all the antecedent action and the aftermath about the carpenter. It omits all names (except for the stolen "Fair Ellen" of Virginia F), and deprives the lover altogether of his ghostly character (with the possible exception of Virginia A, M, N, and Appendix A). The Virginia story, then, is a compressed and very human drama of illicit elopement and retribution. A seaman returns to find his old love married, it seems happily, to a house carpenter, by whom she has a child (or more). By his persuasiveness and by promises, the old lover induces the wife to desert husband and babe and sail away with him. But soon she pines for the old ties, weeps for her sweet little babe, and (sometimes after she has had a vision of the torment in store for her) the ship springs a leak and sinks to the bottom of the sea. There is often a final stanza voicing her contrition, her curse upon deceiving men, or her warning to other women. In Virginia texts the carpenter does not reappear, as he does in Child B, to grieving and swon at the news of the disaster and to curse such deluding mariners. Virginia A, M, N, and appendix A are related to Child E and F; they contain the "hills of heaven and hell" stanzas, in which the so-called lover by interpreting the wife's vision assumes a more eerie and diabolical personality. But she never spies his cloven foot, as in Child E, F, and G, and, even the vision stanzas are exceedingly rare in Virginia.
"The House Carpenter" is very often corrupted with other songs and ballads that fit in with its general motif. But it generally preserves its own identity; it does not, like "The Lass of Roch Royal" in Virginia, merely contribute certain stanzas to other songs of the texts that follow, A-E are more or less pure and unalloyed variants, though the name "Fair Ellen," in F9 and Q4, and stanzas E 8, K 7, N 3, suggest "Lord Thomas and Fair Eleanor." But with R the combined texts begin. R-AA are marked by the intrusion of a stanza or more from some other source, but with the "House Carpenter" story still well preserved. Appendices A and B have been corrupted almost beyond recognition, but they still preserve two or three stanzas of the ballad. The "shoe my foot" stanias of "The Lass of Roch Royal," appear in R 7, and 8, S 7 and 8, Appendix A 5 and 6, Appendix B 5 and 6; and the chorus of Appendix A is a stanza of "The Lass of Roch Royal" seldom found in Virginia. In variants T-AA stanzas are supplied from certain later songs- which have something in common with "The House Carpenter" such as a lovers' greeting, a lovers' parting, a false lover, a remorseful lover, a betrayed lover's lament or warning, -etc. Traces of "The False young Man," "The True Lover's Farewell," "The Rejected Lover," "The Wagoner's Lad," "Cold Winter's Night," "Careless Love," and perhaps other English folk-songs are to be found in the Virginia variants T-AA, and in the appendices. "The False Young Man" is the most frequent intruder. These variants in combination are a most interesting feature of the ballad in Virginia
A. [As I Was Walking Out] No title given. Reported by Professor James M. Grainger. Collected by Miss Ira McAlpin. Sung by Mrs. Charles McAlpin, of Lexington, Va. Rockbridge County. March 14, 1914. In the confusion of songs the story has been completely lost. Stanzas 2 and 3 belong to "The House Carpenter"; the chorus and stanza 5 and 6 belong to "The Lass of Roch Royal"; stanzas 1, 4 and 7 belong almost indiscriminently to the cycle of songs so often blended with this ballad, such as "The True Lover's Farewell," "The False Young Man," "The Rejected Lovers" and others. See the head-note.
1. As I was walking out early one morn,
Thinking of sweet wine,
I overtook that sweet little girl
That broke this heart of mine.
Chorus: Saddle me the milk-white horse,
Saddle me the brown,
Saddle me the swiftest horse
That ever laid foot on ground.
2 "See those fairy banks of heaven
White as driven snow?
They are the fairy banks of heaven
Where you and I can't go."
3 "See those cloudy banks of heaven
Dark as driven woe?
They are the cloudy banks of torment
Where you and I shall go.''
4 I'm going away but not to stay,
If I go ten thousand miles.
5 "Who will shoe your pretty white foot?
Who will glove Your hand?
Who will kiss Your ruby lips
When I come from foreign land?
6 "Your father will shoe your pretty white foot;
Your mother will glove your hand;
And I will kiss Your sweet ruby lips
When I come from foreign land."
7 Wish I were a little babe
Sitting on my father's knee,
Or I were dead and in my grave
With green grass growing over me.