British, Scandinavian and other Versions- 13. Edward (My Headnotes) Roud 200 Son ("Davie, Son Davie," "Edward," "My Son David," "What Blood is This?" "Son, Come Tell it unto Me,"
List of All Texts of Child 13 in this Collection Including Scandinavian Versions (which are given first)
A. "Sven in Rosengård" Swedish, dated early 1600s, Aa is MS from George Stephens' collection dated c. 1640.
a. ["Sohnen i Roosengård"] (Son in the Rose Garden/ Son of Roosengård)- my title, dated c. 1640, from Swedish MS, UUB T 144 b, pp. 79-80; Jonsson I, pp. 190-195. 33 stanzas archaic Swedish.
b. ["Sven in Rosengård"] Swedish, my title, guestimated c. 1762. KB Vs 2: 1, pp. 431-432, from Mrs. Beata Memsen, Kisa sn, Östergötland (born 1742 in Oppeby sn, Östergötland, d. 1831 in Kisa; Jonsson I, pp. 325-326). Recorded by L. F. Rääf, 1810. Printed as SF 87 B.
c. ["Sven in Rosengård"] Swedish, my title, guestimated c. 1762. KB Vs 2: 1, pp. 429-430. From the girl, Anna Persdotter, the servant in L. F. Rääfs home (born 1733 in Målilla sn, Småland, came young years to Östergötland, 1819 at Millingstorp, Kisa sn; Jonsson I, pp. 326-327). Recorded by L. F. Rääf 1811. Printed as SF 87 A.
d. ["Sven in Rosengård"] Swedish, my title, guestimated early 1800s. KB S 163 (Drake) No. 45. Östergötland. Recorded in the 1810s or possibly. a little later (by 1834). Printed as SF 87 A and B.
e1. "Sven in Rosengård" Varmland. Listed by E. G. Geijer 1814 (Jonsson I, p. 420). e1: GA 67 [: I],
e2. "Sven in Rosengård" Greenland, Alte Schwed. Volks-Melodies, 1818, p. 27.
e2 & 3.: "Sven in Rosengård" Skilling print, based on GA 67 [: I], 1827, 1836 (= DgFT 340: 1-2; see Jonsson I, p. 655).
e4. "Sven in Rosengård" Two shilling prints from 1902 (= DgFT 340: 3, 1).
e5. "Sven in Rosengård" Shilling print 1902 (= DgFT 340: 5).
e6. "Sven in Rosengård" Chapbook 1903, reprint of Eg.
e7. "Sven in Rosengård" Skilling print 1906 (KB E 1906 r3, reprint of Eg with little change of title page).
e8. "Sven in Rosengård" Skilling print 1911 (= DgFT 340: 6; see Jonsson I, p. 656).
e9. "Sven in Rosengård" Shilling print 1911, reprint of Ej (KB E 1911 h1 2a).
f. "Sven in Rosengård" GA 67 [: II] From the soldier's wife, Hedda Berg f. Söderholm, Biskopskulla sn, Uppland (born 1764 in Järlås sn, Uppland, d. 1843 in Bishopskulla; Jonsson I, pp. 429-436). Recorded by A. A. Afzelius in the middle of the 1810s.
g. "Sven in Rosengård" UUB V 6 a. Skåne. Submitted by later Archbishop Henrik Reuterdahl about 1820 (Jonsson I, pp. 516-518.
h. "Sven in Rosengård" KB Vs 4, p. 284. Almundsryds sn, Småland. Recorded by G. O. Hyltén-Cavallius 1839. A rendering of a part of The text, made by George Stephens, is in KB Vs 3: 3, No. 176 C.
i. "Sven in Rosengård" KB Vs 4, p. 461. Småland. Recorded about 1840 by Johanna Gustava Angel f. Lagergréen, Ryssby sn (born 1791 in Tolgssn, d. 1869; Jonsson I, p. 540). A rendering, made by George Stephens, is found in KB Vs 3: 3, No. 176 B.
j1. "Sven in Rosengård" From Augusta Mathilda Öberg (born in Åkers sn, Södermanland). Recorded by her husband Emil Öberg in 1850-ta-Let. Yes: KVHAA Dybeck, Folk-lore V, p. 106.
j2. "Sven in Rosengård" ULMA 1951: 31. Sent to Södermanks fuminnesfor. 1863. Printed as a contribution to Södermank's older culture. I, 1877, p. 32 (No. 8).
j3. "Sven in Rosengård" MAB Folk Songs, p. 113 v. Submit to Mouse Akad in 1881.
k. "Sven in Rosende." KVHAA Dybeck, Folk-lore V, p. 297. Valbo sn, Gästrikland. Recorded in the 1860s by the priest Erik Adolf Lidforss (born 1805 in Valbo, d. 1873), in his own memory. Submitted to R. Dybeck by 1870.
l1. "Sven in Rosengård," taken from an 86-year-old woman, called 'Stenbrogumman', from Länna sn, Södermanland. Recorded by Gustaf Ericsson in the period 1860-1882. ULMA 347: 55, pp. 87-88.
l2. "Sven in Rosengård" ULMA 347: 48, pp. 191-192. Printed in Contribution to Söder-Manl's older group. III, 1882, pp. 37-38. - A text of 13 strofer in ULMA 347: 44 a, pp. 119-120, is one of Ericsson made editing, where the records L and AC (below) are joined.
B. "Velisurmaaja" ["The Brother Slayer"] Finnish also "Werinen Pojka; Der blutige Sohn" ["Werinen Pojka; The Bloody Son"] Finnish early 1800s (1819 Upsala)
a. "Werinen Pojka; The Bloody Son" from Upsala in 1819 by H.R. von Schroter "Finnische Runen, finnisch and deutsch" reprinted Stuttgart in 1834. Taylor FF A
b. "Velisurmaaja" [Brother Slayer] written down in 1823 in Abo by J.J. Pippingkold; MS in Helingfors (single stanza) shelfmark D.IV.47. Taylor FF D
c. "Velisurmaaja" was published in Elias Lönnrot's collection of traditional Finnish poems, the Kanteletar in 1840.
d. ["Veli Surmaaja"] collected by Kaarle Krohn in Tavastland from Adolfine Monin about 1884. Taylor FF C.
e. "Poikaini iloinen" [My Happy Son] My title, from Suomen Kansan Vanhat Runot volume IV2, No. 2701. from Moloskovitsa, Goritsa. J. Fr. Ruotsalainen. n. 676. dated 1901 from Annikka Roitto.
C. "Svend i Rosengaard" Danish as Grundtvig A, collected in Sydsaelland in 1844 and 1846.
a. "Svend i Rosengaard" from Grundtvig collected in Sydsaelland in 1844 and 1846 and published in "Danmarks gamle Folkviser," 1853.
b. "Svend i Rosenslund" from "Danmarks gamle Folkviser," 1895 as taken down in Fyn from Gaardejar Lars Fredericksen before 1884.
D. "What is the Blood?" British, earliest Scotch, Percy's "Edward," 1765, Child 13B. Includes compilations with Twa Brothers and Lizie Wan, earliest compilation: "Lizie Wan" Herd, 1776.
a. "Edward, Edward" Scottish from David Dalrymple (Lord Hailes) as recreation published in Percy "Reliques" in 1765, Child 13B.
b. "Lizie Wan" Scottish compilation with Child 13(ending) and Child 51 from David Herd in "Ancient and Modern Scottish Songs" 1776; stanzas 7-12 are Child 13.
c. "Twa Brothers" Scottish compilation with Child 13(ending) and Child 49 as 49D from Jamieson, 1806; stanzas 16-17 and 19-20 are Child 13.
d. "Son Davie, Son Davie" From recitation in Motherwell's Minstrelsy, p. 339, Child 13A, 1827.
e. "Twa Brothers" Scottish compilation from recitation in Motherwell's Minstrelsy, Child 49E, 1827.
f. "The Two Brothers," Scottish compilation from Buchan's Manuscripts, I, 57; Motherwell's Manuscript, p. 662, Child 49F, c.1827.
g. "Lizie Wan" Scottish compilation with Child 13(ending) and Child 51B from Motherwell's Manuscript, c.1827
h. "O what did the fray begin about?" Child 13C, a fragment from the manuscript of Alexander Laing of Newburgh-upon-Tay, dated 1829, p. 25.
i. "Come tell it unto me" my title, dated 1891. Communicated by Mr. J.K. Hudson of Manchester. Sung after a St. George play regularly acted on All Souls' Day at a village a few miles from Chester, and written down for Mr. Hudson by one of the performers, a lad of sixteen. Originally listed as Child 51I added in Additions and Corrections.
j. "My Son David." Sung by Jeannie Robertson (Mrs. Jean Higgins), Aberdeenshire as learned from her mother about 1916. Recorded by Hamish Henderson, 1952; transcribed by Francis Collinson. From: Two Versions of "Edward" Journal of the English Folk Dance and Song Society, Vol. 7, No. 4 (Dec., 1955), pp. 252-253 (By courtesy of the School of Scottish Studies).
k. "My boy, come tell it unto me" my title, sung by George Dunn of Staffordshire) no date c. 1930 (lyrics from Digital Tradition) George Dunn's recording is on Musical Traditions MTCD 317-8, recorded by Roy Palmer in 1971.
l. "What Blood Is This?" Noted from the singing of Mrs. Day of Aldershot, Hants, by Peter Kennedy, August, 1950. From "Edward" by F. K. and M. K. Journal of the English Folk Dance and Song Society, Vol. 6, No. 3 (Dec., 1951), p. 99.
m. "My Son David." Sung by Margaret Stewart, Aberdeenshire (see also Jeannie Robertson). Recorded by Hamish Henderson; as transcribed by Francis Collinson. Two Versions of "Edward" Journal of the English Folk Dance and Song Society, Vol. 7, No. 4 (Dec., 1955), pp. 252-253 (By courtesy of the School of Scottish Studies).
n. "Son, Come Tell it unto Me." As sung by Mary Connor an Irish traveller. Recorded by Peter Kennedy in August 1952. Also by Peter Shepheard in Mary Connor's caravan in a layby beside the main Bristol to Somerset road on May 12, 1966.
o. "Edward" a recreation of Child B from George Brune with new melody, from his "Roving Songster" 1964.
p. "Son, Come Tell it unto Me." As sung by Danny Brazil in The Tabard bar in Gloucester on May 9, 1966. Recorded by Peter Shepheard [Spr 66.5.22]. Also sung by other members of the Brazil family - Danny's sister Lemmy [Spr 67.6.25] and by another sister Alice Webb [Spr 69.1.30] and her son (Spr 69.1.29); see: Singing Tradition.
q. "What is that Blood?" sung by George White of Sheffield, 1971. From: Stability and Change in a Sheffield Singing Tradition by Ian Russell Folk Music Journal, Vol. 5, No. 3 (1987), pp. 317-358.
r. "What Put The Blood?" Paddy Tunney (Irish), on O'er his grave the grass grew green, Tragic Ballads, The Voice of the People vol.3, Topic TSCD 653; song recorded 1975
s. "What Put The Blood?" sung by Mary Delaney (Irish), on It fell on a day, a bonny sumer day, Ballads, The Voice of the People vol.17, Topic TSCD 667; ballad recorded 1977.
E. "What is the Blood?" American South, estimated date mid to late 1700s in Appalachia.
a. "Percy." A ballad recreation of Child A, from R. E. Lee Smith, of Palmyra, Va. Sung by his brother, Thomas P. Smith, of Palmyra, Ya., and himself. They purported to have learned it January 22, 1916, from the singing of "M. A. Yarber, of Mast, N. C., who had heard it sang now of sixty-five years by his father." Fluvanna County.
b. [It Is the Blood] my title. As sung by Mrs. James Robertson; learned in Missouri; c. 1890. From Ballads and Songs from Ohio; Eddy, 1939.
c. "What Is That Blood?" sung Burton S. Lowrimore's mother c. 1890. My title. From: A California Version of "Edward" by Burton S. Lowrimore; California Folklore Quarterly, Vol. 5, No. 3 (Jul., 1946), pp. 310-311. Although this version was collected in Berkeley, California it was learned in Oklahoma.
d. "What's on Your Sword?" sung by Elizabeth Purcell of Virginia learned about 1891, Davis B. From Davis- Traditional Ballads of Virginia, 1929. His notes follow. The Purcell version was "collected by Miss Margaret Purcell, of Greenwood, Va. as sung by her mother, Elizabeth Ashton Garrett Purcell (Mrs. S. H. Purcell), of Greenwood, Va., in the early nineties."
e. "The Blood on your Shirt Sleeve." My amended title as sung by Almeda Riddle, dated c. 1910. From: The John Quincy Wolf Folklore Collection; Lyon College, Batesville, Arkansas as recorded by John Quincy Wolf, Jr in 1970. I've dated this c. 1910 from Mrs. Riddle's comment: "That’s at least a part of it. I haven’t sung that since I was a kid.”
[Child 13, by any name, has proven to be mysterious. The place of origin and the motive for the murder of this dialogue ballad have long been debated by folklorists. The most famous version, published by Percy in 1765, was titled "Edward" and called "unimpeachable" by Child in his 1884 headnotes of Volume 1, English and Scottish Popular Ballads. Despite Child's enthusiastic endorsement, this ballad was surely edited, the question is: how much? The mystery of the ballad began when Percy or his source named the elder brother "Edward," rewrote the text in an archaic style[1] and published his recreation in his 1765 collection, Reliques. The "Edward" ballad was subsequently widely reprinted and used ironically as an exemplar of the finest traditional ballad. That the elder son's name was not usually "Edward" is born out by tradition both in Scandinavia, Britain and North America. Other versions with the "Edward" name have largely proven to be spurious and were "collected" by known imposters[2] and ballad re-creators. Percy's ballad however does prove the existence of the ballad in Britain by the mid-1700s but its original text may never be known. Certainly the name "Edward" and the murder of the father by the son, complicit with the mother, are the likely recreations. The surprise ending of Percy's version is perhaps finest murder implications found in all balladry. The last half-stanza implicates the mother in her husband's murder, an example of the Oedipus Complex [see: Barry BFSSNE, 1933]:
The curse of hell frae me sall ye beir,
Sic counseils ye gave to me O[3].
The ending does not fit the earlier mother-son dialogue and if the mother was implicit in the murder-- the mother's questions and son's replies would have been different. My conclusion: the ending is not traditional. The ballad also is one of fratricide not patricide regardless of several deviant variants[4]. The title, the killing of the father instead of the brother and the surprise ending are all changes made in Percy's version that contradict tradition. In "Two Songs and a Dance" in the Journal of the English Folk Dance and Song Society (Vol. 3, No. 3 (Dec., 1938, pp. 203-210) Anne Gilchrist comments corroborate the name change: ". . . and I suspect that Percy himself was responsible for an alteration of the homely 'Son Davy, Son Davy' of Motherwell's version to 'Edward, Edward.' If so, it was an ill-considered improvement, as the name 'Edward' was abhorrent to Scottish ears, the 'proud usurper' even in Burns's day being associated with 'chains and slaverie,' and his name about the last to be bestowed upon an infant son."
The ballad story of the British and American versions is fairly simple. The eldest brother returns home and his mother notices blood on his sword/coat. The ballad is made up of a mother/son dialogue and the mother poses this first question, "What is the blood on your sword/coat? The son replies that it is the blood of hawk (or another animal). The mother counters that the blood of the hawk ne'er looked so red. The son then replies that it is the blood of my greyhound (or another animal). The mother counters that the blood of the greyhound ne'er looked so red. Finally the son admits he's killed his younger brother. The mother asks what the fight was about. Her son replies: "It began about the cutting of a willow wand/That would never been a tree." His punishment is to be exiled. In the versions where he requests to leave or leaves on a "bottomless" boat, it's clear he will drown and not return. In the versions where he leaves on a boat, he is exiled and will never return. "Testament" stanzas are given before he leaves about what he will leave (or what will happen) to his wife and children while "penance" stanzas are given about how long he will be gone and if, or when, he will return.
I've selected "What is the blood?" as my master title since in many versions the elder son is not named. "What is the blood?" or variations of this question are one of the main identifiers and usually are the opening of the British/US variants. The name "Sven" is commonly used in Scandinavian versions (Sven i Rosegarden) which means "servant" or "swain" while in medieval Sweden "Sven" has also been used as a name for a "squire." In Scotland the ballad has usually been titled after the elder son whose name is frequently Davie/David. The Scottish ballad, taken by Motherwell in the 1820s from an old woman in Kilbarchan as "Son Davie," was designated by Child to be his A version and may be reasonably dated back to the late 1700s. Ther standard textual stanzas found in Child's two Scottish versions (A and B) have been verified by a number of US versions collected in the Appalachians by Cecil Sharp and others in the early to mid-1900s. In Scotland the ballad disappeared then mysteriously emerged among the Scottish travellers in the 1950s. Jennie Robertson's version "My Son David" gives no motive for the murder yet she suggested the murder was a sibling rivalry over which son would become the family heir[5]. Although not supported by her text, this motive would explain other similar texts where the brothers fight and the younger brother is murdered over an unimportant argument over the "cutting of a bush that would not make a tree." Because there is not a continuous line from Motherwell's c. 1825 version and those 1950s versions from Britain, the modern versions should be considered suspect and may have been arranged from print, then entered tradition. The origin and critical details should be examined from Child's versions and the English version c. 1891 taken from a "mummer's play."
The Origin
Despite differences, the Scandinavian and British versions are similar enough to be considered the same ballad and hence came-- at some distant point in time-- from the same ur-ballad[6]. Based on chronology alone, the Scandinavian versions are the oldest. Besides the Swedish parody of 1794 and several traditional versions known in the 1700s[7] is a Swedish recreation of 33 verses in a handwriting estimated to be as old as the 1640s which is listed in Grundtvig's headnotes as his Swedish A version. Of the eleven Swedish versions listed by Grundtvig is this MS from Stockholm, a transcript from George Stephens' collection which appears in Grudtvig's notes: A, Stockholm, Afskrift i Stephens' Sämling. This early ballad version disappeared for many years in the early 1900s (hence it was not included in Archer Taylor's 1931 study) but was found later among theological manuscripts. It is classified now as a SMB (Scandinavian Medieval Ballad) 153 (a fratricide) and TSB D 320 (Sven i Rosengard). It's important to note that murderous son is addressed as "Son in the Roosengård (rose garden)" rather than "Sven in Rosengård" found in all the latter Scandinavian versions. My rough transcription below was first cobbled together with a few changes from a thread on the Mudcat Discussion Forum. Final corrections and suggestions have been made by Per G. L. Ahlander, an independent scholar who is a member of the Swedish Society for Musicology. The murder of the brother itself is never literally stated but carefully implied through the dialogue beginning with Stanza 8. Here is the complete ballad and translation:
Sohnen i Roosengård (my title, dated c. 1640, from Swedish MS, UUB T 144 b, pp. 79-80; Jonsson I, pp. 190-195.)
[Son in the Rose Garden/ Son of Roosengård]
1 Alt godt iagh tigh meddeelar,
Sohnen i Roosengård
Mycket der vthi feelar,
Käre Moder wår (vår)
- i wänten oss aldrig.
["All good things I tell to you,
Son in the rose garden."
Many of these things are flawed,
Dear mother of ours [lit.: Dear mother ours]
- Expect us[me] never."
2 Nåde och frijd aff herran:
Sohnen i Roosengårdh:
den ware migh ey fierran.
Käre moder wår
["Grace and peace of the Lord
Son in the rose garden:
May it not be far from me.
Dear mother of ours."]
3 Kan iagh gott aff digh spöria:
Sonen i Roosengård:
Nu först det icke börias
Käre Moder wår
["Can I ask you of good things,
Son in the rosegarden?"
"Don’t start that now,
Dear mother of ours."]
4 "Annat iagh ey tänker:
Sohnen i Roosengårdh,
dett werlden migh ihnskänker,
Käre moder wår
["I don’t think anything else,
Son in the rosegarden.
"Whatever the world brings me,
Dear mother of ours."]
5 Dageligh du dygdh öfwa:
Sohnen i Rosengårdh:
effter som dee migh pröfwa:
Käre moder wår
["Every day you do good deeds,
Son in the rosegarden."
"Because they test/challenge me,
Dear mother of ours."]
6 Rijkedom effter trachta:
Sohnen i Roosengårdh:
den iagh lijtet achtar,
Kära moder wår
["Coveting riches:
Son in the rosegarden."
"I have but little desire of that,
Dear mother of ours."]
7 Redeligen wandra:
Sohnen i Roosengårdh:
hoos edher och bland andra:
Kära moder vår
["To wander (ie. to conduct myself) decently
Son in the rose garden."
"With you and among others,
Dear mother of ours."]
8 Inthet hörs aff din brodher:
Sohnen i Roosengårdh
han war migh aldrigh godher
Kära Moder wår
["Nothing is heard of your brother,
Son in the rose garden."
"He was never good to me,
Dear mother of ours."]
9 Ey mon han dödher wara,
Sohnen i Roosengård:
Jo, så plä skalkar fahra
Kära moder wår
["Might he be dead?
Son in the rose garden."
"Indeed, that is often the fate of scoundrels,
Dear mother of ours."]
10 Aldrigh du det förgäter,
Sohnen i Roosengårdh:
Jagh slipper fulle släter:
Käre Moder wår
["You will never forget it (his murder),
Son in the rosegarden."
"I will avoid it completely,
Dear mother of ours."]
11 Ney du skall det betaala:
Sohnen i Roosengård:
Jagh will der medh förhaala
Kära Moder wår
["No, you must pay for this (murder):
Son in the rosegarden."
"I shall delay it,
Dear mother of ours."]
12 Sannerligh det ey hielper:
Sohnen i Roosengårdh:
fögha det migh stielper.
Käre Moder wår,
["Truly it will not help:
Son in the rosegarden."
It will hardly hinder me,
Dear mother of ours."]
13 Ey will du migh bedröfwa:
Sohnen i Roosengård.
här i hielper det fögha.
Käre Moder wår,
["You will not cause me sorrow;
Son in the rosegarden."
"That can hardly be helped.
Dear mother of ours."]
14 Rundeligh kan du bööta:
Sohnen i Roosengård.
Jagh tohl ey dee migh hööta
Kära moder wår
["You will pay in full,
Son in the rosegarden."
"I can’t stand that they (you?) threaten me,
Dear mother of ours."]
15 Zeel må du nähr migh wara:
Sohnen i Rosengård
Jagh blijhr ey vthan fahra.
Kära moder wår
["You should be near me,
Son in the rosegarden."
I will not be without danger,
Dear mother of ours."]
16 Annat då hahr iagh med digh mehnt,
Sohnen i Rosengård
Jagh fruchtar det är nu förseendt.
Kära Moder wår
[I wanted it to be otherwise for you,
Son in the rosegarden."
I fear it is now too late,
Dear mother of ours."]
17 Jagh hahr digh ähmat trösta:
Sohnen i Rosengård
Det är ey till det bästa:
Kära moder wåhr
["I had thought I would comfort you,
Son in the rosegarden.
That would not be for the best,
Dear mother of ours."]
19 Så will du hedan reesa:
Sohnen i Roosengård
Ja, dijt iagh rååkar lijsa
Käre moder wåhr
["So you want to travel away from here,
Son in the rosegarden?"
Yes, to wherever I find relief,
Dear mother of ours."]
21 Så sägh migh då ditt Näste:
Sohnen i Roosengård.
Ey det på första Qwisten.
Ka ra Moder wår
["So tell me then where your nest will be (lit. So tell me then your nest),
Son in the rosegarden?"
"Not on the first branch,
Dear mother of ours."
22 Då, huadh mehnar din fader:
Sohnen i Roosengård
på den är iagh ey gladher:
Kära moder wår
["Then what will your father think,
Son in the rosegarden?"
"I am not happy about father's thoughts,
Dear mother of ours."
23 Han will digh ighen tagha,
Sohnen i Rosengård
Jagh skall wäl annars lagha,
Kära Moder wår
["He will take you back,
Son in the rosegarden."
"I suppose it will be otherwise (I will have it otherwise),
Dear mother of ours."
24 Din fader digh wäll finner,
Sohnen i roosengård.
Nappast han migh hinner
Kära Moder wår
["I suppose your father will find you,
Son in the rosegarden."
"He will hardly reach me,
Dear mother of ours."]
25 Ähn Konungen i rijket:
Sohnen i Roosengård.
han finner wäl sihn lijke:
Käre Modher wåhr.
["As the king in his realm,
Son in the rosegarden."
I suppose he will find his kin,
Dear mother of ours.
26 Hwart hahr du ähmat lända
sohnen i Roosengård
Dijt werlden hahr ehn ända
Kära moder wår
["Where do you think you will go,
Son in the rosegarden?"
"To where the world has an end,
Dear mother of ours."]
27 Hwad will du dig medh fööda
sohnen i Roosengård
Medh ahrbethe och möda,
Käre moder wår,
[How will you earn a living? (lit.: how will you feed yourself)
Son in the rosegarden?"
By work and weariness,
Dear mother of ours."]
28 När kommer du åter
Sohnen i Roosengård
När Elden blifaer wåter.
Kära moder wår
["When will you come back?
Son in the rosegarden?"
When the fire turns wet,
Dear mother of ours."]
29 När will du ighen komma.
Sohnen i Roosengård
När steenen står i blomma.
Kära moder wår
["When will you come back?
Son in the rose garden."
When the stone is in bloom.
Dear mother of ours."]
30 När will du blijfwa hemma
Sohnen i Roosengård
När stenen böriar simma.
Kära moder wår
["When will you be home?
Son in the rose garden."
"When the stone starts to swim,
Dear mother of ours."]
31 När skall iag till digh hinna.
Sohnen i Roosengård
När watnet böriar brinna
Käre moder wår
["When shall I reach you,
Son in the rose garden?"
"When water starts burning,
Dear mother of ours."]
32 När seer iagh digh min bästa
Sohnen i Roosengård
När som det dagas wästan
Käre moder wår
[When will I see you again, my dear?
Son in the rose garden."
When day breaks in the west,
Dear mother of ours."]
33 Skall iagh mehr om digh fråga
Sohnen i Roosengård
der före i nu råda.
Kära moder wåhr
- i wänten oss aldrig.
["Shall I ask any more about you?
Son in the rose garden."
That is for you to decide,
Dear mother of ours
- Expect us (me) never."]
The opening stanza of this archaic Swedish ballad establishes the dialogue between the "son in the rose garden" and "Käre Moder wår (vår)" which is literally "dear mother ours." The "ours" refers to the other children and in stanza 8 -- there is a brother, recently deceased. The last line of the opening stanza "- i wänten oss aldrig" translates litarally to: "Expect us never." The "us" apparently referring to the dead brother and the "son in the rose garden." These "plural" references (mother ours/ expect us) make more sense to be singular (mother mine/ expect me) but including the dead brother adds a morbid touch. The way the poem approaches the death in a circular pattern adds suspense to the curious dialogue. The mother suggests the father will forgive him and take him back but the son says he thinks otherwise. The son will leave where the father cannot find him. The "pennace" stanzas begin with stanza 26 and continue to the end (stanza 33). What is made clear by the ending is that: the son (and his brother who is murdered) will not return. No reason is given for the murder of the fallen brother who is called a "scoundrel" by his brother--showing that there was no love between the two and that perhaps he deserved to be murdered. The ballad has been called "semi-comic" but rather seem to be an elabroration of what was an unknown shorter, coarser original version similar to the extant traditional Scandinavian versions. The "blood" of the slain brother is not present. However the question of blood, common in British/American versions is also common in the traditional Scandinavian variants:
Why is your sword so bloody?
Sven in Rosengård
I've killed my brother
Dear mother mine[8]
It's safe to assume this c. 1640 Swedish MS version is an "poetic" recreation (art song) written from the standard original missing ballad. Assuming that the MS date of c.1640 is correct, the original ballad in Scandinavia would date back at least to the early 1600s. While this transcription regards Roosengård to be "rose garden" it is also thought to be a town or place-name as in "Sohnen i Roosengård" meaning "Son of Roosengård" (the town). Missing from the c.1640 version are many of the details of the ur-ballad. These details are revealed in most standard Scandinavian versions:
1) the murderous son's name is "Sven,"
2) his occupation is a farmer;
3) there is an introductory stanza where he is asked where he's going, to which he replies "to the stable" where he waters the horse(s).
4) to the mother's question, "Why is there blood on his shoe/foot?" he answers: "The horse trampled my foot."
5) to the mother's question, "Why is there blood on my sword?" he answers: "Because I have killed my brother."
6) the testament stanzas (What will you give your wife?) precede the penance stanzas (When will you return?).
7) in the standard "penance" ending Sven will not return till the end of the world (doomsday).
The dialogue format remains the same in the c.1640 rewrite and the standard Scandinavian ballad: the mother asks the questions followed by the son's response with three refrain lines. Included before the penance stanzas (Where will you go? When will you return?) are testament stanzas (What will you leave to your wife? . . . children? etc) which are similar to Child 12 (Lord Randal). The following standard Swedish version possibly dates to the mid-1700s and can be used as a comparison to the c.1640 Swedish rewrite. I'm giving only a rough English translation:
[Sven in Rosengård] KB Vs 2: 1, pp. 429-430. From the girl, Anna Persdotter, the servant in L. F. Rääfs home (born 1733 in Målilla sn, Småland, came young years to Östergötland, 1819 at Millingstorp, Kisa sn; Jonsson I, pp. 326-327). Recorded by L. F. Rääf 1811. Printed as SF 87 A.
1 Where have you been for so long?
Sven in Rosengård
Well, I've been in the stables
Dear mother mine [ours]
- I wait [for your return] late or never.
2 What have you done in the stables?
Sven in Rosengård
Yes, I've seen the black (horse),
Dear mother mine,
3 How is your foot so bloody?
Sven in Rosengård
The black has stamped me so,
Dear mother mine
4 Why is your sword so bloody?
Sven in Rosengård
I've killed my brother
dear mother mine
5 What have you done your brother's (body)?
Sven in Rosengård
He is located outside the stable wall
dear mother mine
6 Where shall you go now?
Sven in Rosengård
Yes, I will escape from the country
dear mother mine
7 What shall you do of your wife?
Sven in Rosengård
I will put her on the Söije (spinning) box[9]
Dear mother mine
8 What shall you do of your children?
Sven in Rosengård
Leave them with a few trusted friends and relatives
dear mother mine
9 What shall you do of the animals?
Sven in Rosengård
I will release them on the farm,
dear mother mine
10 What shall you do with your fields and meadows?
Sven in Rosengård
I will sell them for a fee
Dear mother mine
11 When will you wait to return again?
Sven in Rosengård
When the raven he turns white
Dear mother mine
12 When will the raven whiten?
Sven in Rosengård
When the swan he blackens
Dear mother mine
13 When blackens the swan?
Sven in Rosengård
When the stone floats
Dear mother mine
14 When the stone floats
Sven in Rosengård
When the feather sinks
Dear mother mine
15 When does the feather sink?
Sven in Rosengård
When all juniper berries ripen
Dear mother mine
16 When is the ripening of the junipers?
Sven in Rosengård
When all the girls get married
Dear mother mine
17 When do all girls get married?
Sven in Rosengård
"When all women[10] become widows,
Dear mother mine,"
18 When do women becomes widows?
Sven in Rosengård
Just before the end of the world
Dear mother mine,
- You wait for me late or never[11].
The similarity to Child 12 (Lord Randal) which has the mother/son dialogue and the testament (What will you leave?) stanzas should be considered since Child 12 is also found in Scandinavia. Other ballads with intrafamilial murders (Twa Brothers and Lizie Wan) have also adapted the testament and penance stanzas of Child 13. It's natural that traditional singers would borrow or exchange these endings.
The Percy ballad's recreation of a Scottish ballad, Child B, can't be dated much earlier that c.1750 while Child A can't be dated earlier than the late 1700s (from Motherwell taken from the recitation of an old woman in Kilbarchan c. 1820s). Herd's 1776 version, a compilation of Child 13 with Lizie Wan (Child 51), was printed about the time of Percy's recreation.
The US versions, two of which I'd date to the late 1700s (Hicks family version and the Moncure version), can't be dated earlier than the mid-1700s without new evidence. The older Scandinavian versions given in Child's headnotes are of a similar date as Child A and B.
The most comprehensive study of Child 13 was made by Archer Taylor (1931, "Edward and Sven I. Rosengard: A Study in the Dissemination of the Ballad") who concluded that because of the courtly setting exemplified by the use of swords, hawks and hounds that the ballad originated in Britain and was taken to Scandinavia. Since the Swedish versions are at least 100 years older, an argument for a Scandinavian origin is warranted. The "courtly" features could have been added in Scotland in the mid-1700s.
Steve Gardham comments[], "Whereas some Scandinavian ballads naturally are set in Britain I can't off hand think of a single ballad that went from Britain to Scandinavia prior to 1800. One reason for this may be that there are far more Scandinavian ballads and they were set down at a much earlier period." Given the Swedish date of early 1600s[], it seems more likely that the British versions were recreated by the mid to late 1700s. By the late 1700s I presume the ballad was brought to the area of the Virginia Colony and spread into Appalachia[].
Other Scandinavia Ballads
The Finnish ballads date back to the late 1700s at least and were most likely derived from the Swedish. The standard Finnish title is "Velisurmaaja" which means "brother slayer" or "brother murderer." The Finnish ballads differ in several respects from the Swedish although the Finnish versions were likely derived from the earlier Swedish version or versions which date before the the 1640 recreation. In the Finnish version the mother refers to the murderous brother usually as the "happy son" instead of "Sven in Rosengård." The Finnish versions usually have the horses in the stable splash "clay" on the son's jacket instead of the horse stamping on the foot of Sven's foot which bleeds.
The British Ballads
The first British version was published by Percy in his Reliques in 1765. Although a traditional version[], this famous version (Child B) given to Percy by David Dalrymple (Lord Hailes) appears to have been reworked in the following ways: 1) it was written in archaic style, 2) the name of the son was changed to "Edward" 3) the son slays his father not his brother, and 4) an ending was created that implicated the mother in the murder plot. The traditionality of this version is not questioned, only the details which seem to have been rewritten. Child A, "Son Davie" from Motherwell as "given from the recitation of an old woman." In Motherwell's last stanza the mother is implicated as having a hand in the murder or in the sentencing of the murder for she is left "A fire o coals to burn her, wi hearty cheer" by her son.
The ballads Twa Brothers (Child 49) Lizie Wan (Child 51) have used the ending of Child 13 in several versions. Besides Child 49-I, additional Child versions of Edward are suggested by Archer Taylor (Edward and Sven i Rosengard): stanzas 16-20 of Child 49-D (Twa Brothers); stanzas 12-18 of 49-E; stanzas 19-25 of 49-F; stanzas 6-10 of 49-G; stanzas 7-12 of Child 51-A (Lizie Wan) and stanzas 10-17 of 51-B. Clearly versions of Twa Brothers and Lizie Wan have borrowed the ending, a ballad commonplace in Scandinavia, North America and Britain, from Child 13. There are two types of questions asked by the mother; the "bequeath" or "testament (will)" stanzas (What will you give/leave?) and the "penance" or "punishment" stanzas (when will return?).
As a punishment in some version (British/American) the murderous son must leave on a bottomless boat, the result will be his death: he will drown.
British Revival
In 1950 Peter Kennedy collected an English version from the singing of Mrs. Day of Aldershot, Hants. Less than two years later Kennedy then recorded, "Son, Come Tell it unto Me," as sung by Mary Connor an Irish traveller. That same year, 1952, Jeannie Robertson of Aberdeenshire recorded her classic Scottish revival version, "My Son David."
_______________________
Footnotes:
1. The ballad was given to Percy by Sir David Dalrymple (1726-1792), 3rd Baronet, known as Lord Hailes. Dalrymple, born in Edinburgh, was a Scottish judge and historian. Although it's possible that the text was doctored by Dalrymple or by a hand before Dalrymple received it, the ballad "Edward" was more likely reworked by Percy.
2. Perhaps only the Arkansas version collected by Randolph can be considered legitimate. Even then, there is a chance that print influenced all recent versions.
1. From an email by Per G L Ahlander: The singular/plural issue remains ambiguous. The plural can of course refer to two people, but in archaic Swedish, it could also be used as a more polite form when referring to one person only. Possibly even when referring back to oneself (cf. in English: “We are not amused”, said Queen Victoria!).
9. usually this is a reference to "spinning thread" and may be a "thread box" or related to spinning.
10. The Swedish word is "church" (see also stanza 18). Other transcripts have "women" (see Karpeles for example) which makes sense.
11. meaning: "You expect me to come home late, but I will never come."
[The first three texts are from Child A-C. The oldest is Edward, Edward (Child B) was supplied to Percy from Dalrymple (Hailes) in 1765. This is the text that is most famous and the ballad is known by the text title- "Edward." The authenticity of this text is questionable and several articles have been written (see Bronson; other articles attached to Recordings & Info page) about Child B. The ballad was thought to have disappeared in Scotland but different versions have surfaced first in 1938 (Gilchrist published a version from c. 1891) and then traditional versions in the 1950s. Robertson's My Son David dates back to around 1918 when it was learned from her mother, taking it back to the nineteenth century. Traditional titles are "What is that Blood?" and "My Son David."
I've included a sampling of Scandinavian versions from the 1800s at the end.]
1) Son Davie, Son Davie- Motherwell pre-1827 Child A
2) Edward, Edward- Dalrymple- 1765 (Percy) Child B
3) No title- Edward- Laing 1829; Child C
4) No title- Edward- Hudson 1891 (England) Gilchrist 1938
5) My Son David- Robertson (Aberdeenshire) c. 1918
6) Edward- George Dunn (Staffordshire) no date given c. 1930
7) What Blood Is This?- Day (Aldershot) 1950
8) My Son David- Stewart (Aberdeenshire) pre 1955
Son Come Tell it unto Me- Brazil; Gloucester 1966
Son Come Tell it unto Me- Connor (Dublin) 1966
Oh Come Dear Son- Webb (Gloucester) 1969
What is that Blood?- George White (Sheffield) 1971
Edward- Nic Jones 1971
The Youth of Rosengord- Geijer (Sweden) pre1857
The Blood-Stained Son- Schroter (Finland) pre1857
Svend I Rosensgaard- Carlsen (Danish) 1846
________________________
What Put The Blood?
Paddy Tunney, on O'er his grave the grass grew green, Tragic Ballads, The Voice of the People vol.3, Topic TSCD 653; song recorded 1975
Where have you been the whole day long?
Son, come tell it unto me
I was fishing and fowling the whole day long
All through mother's treachery
All through mother's treachery
What put the blood on your right shoulder?
Son, come tell it unto me
'T was the killing of a hare that I killed today
That I killed right manfully
That I killed right manfully
The blood of the old hare it could never be so red
Son, come tell it unto me
'T was the killing of a boy that I killed today
That I killed most manfully
That I killed most manfully
What came between yourself and the boy?
Son, come tell it unto me
It was mostly the cutting of a rod
That would never come a tree
That would never come a tree
What are you going to do when your daddy finds you out?
Son, come tell it unto me
I will put my foot on board of a ship
And sail to a foreign country
And sail to a foreign country
What are you going to do with your lovely young wife?
Son, come tell it unto me
She can put her foot on board of a ship
And sail e'er after me
And sail e'er after me
What are you going to do with your two fine young babes?
Son, come tell it unto me
I'll give one to my father and the other to my mother
For to bear them company
For to bear them company
What are you going to do with your two fine racehorses?
Son, come tell it unto me
I will take the bridles off their necks
For they'll run no more for me
They'll run no more for me
What are you going to do with your two fine greyhounds?
Son, come tell it unto me
I will take the leads all off their necks
For they'll run no more for me
They'll race no more for me
What are you going to do with your houses and your lands?
Son, come tell it unto me
I will lay them bare to the birds of the air
For there's no more welcome there for me
There's no more welcome there for me
What Put The Blood?
Mary Delaney, on It fell on a day, a bonny sumer day, Ballads, The Voice of the People vol.17, Topic TSCD 667; ballad recorded 1977
Where have you been all the long summer's day?
Son, come tell it unto me
I was a-hunting and fowling the whole day long
And it's, Mama, pardon me, oh, me
And it's, Mama, pardon me
What put the blood upon your right shoulder?
Son, come tell it unto me
It's the blood of a hare I killed today
That I killed so manfully, oh ee
That I killed so manfully
The blood of a hare then it cannot be so red
Son, come tell it unto me
That's the blood of my youngest brother
That I killed so manfully, oh ee
That I killed so manfully
What came between you and your youngest brother?
Son, come tell it unto me
It is all all about the pulling of a stick
Ah, that never grew a tree, a tree
Oh, that never grew a tree
What will you do when your daddy will come home?
Son, come and tell it unto me
I will put my foot on board of the ship
And I'll sail to a foreign country, ee oh ee
And I'll sail to a foreign country
What will you do with your own lovely wife?
Son, come tell it unto me
She will put her foot on board of the ship
And she'll sail all along with me, with me
And she'll sail all along with me
What will you do with your two lovely children?
Son, come and tell it unto me
I'll leave one to my mummy and the other to my daddy
For to keep them company, oh ee
For to keep them company
What will you do with your two greyhounds?
Son, come and tell it unto me
I will take the straps from around their neck
And they'll hunt no more for me, for me
And they'll hunt no more for me
What will you do with your two race horses?
Son, come and tell it unto me
I will take those halters off their head
And they'll race no more for me, for me
And they'll race no more for me
What will you do with your fine big house?
Son, come and tell it unto me
I will leave it there to the birds in the air
And there be no more welcome for me, for me
And there be no more welcome for me
What Put The Blood
John Reilly, in Jacko Reilly, Irish Tinker Ballads, Folktrax; recordings made by the Irish folk-collector Tom Munnelly, near Boyle, Co. Roscommon, 1967
The Christy Moore Songbook, edited by Frank Connolly, introduction by Donald Lunny, Brandon 1984 – What Put The Blood? (John Reilly's version)
Singing – What put the blood on your right shoulder?
And, son, come tell it unto me, to me
And, son, come tell it unto me
Saying – That is the blood af a hare, Mama
Says, Mam', O pardon me
I says – Mam', O pardon me
Saying – That is the blood of your youngest brother
And, son, come tell it unto me, to me
And, son, come tell it unto me
Well, it's all from the cutting of a hazel rod
That never will grow a tree, a tree
That never will grow a tree
What are you want to do with your two grand children?
Son, come tell it unto me, to me
And, son, come tell it unto me
I'll give one to me daddy and the other to me mammy
And they'll keep them company
And they'll keep them company
What will you do with your house and land?
Son, come tell it unto me, to me
I will leave it here for the birds of the air
For to sing and mourn for me, for me
For to sing and mourn for me
What will you do with your greyhounds?
And, son, come tell it unto me, to me
And, son, come tell it unto me
I will take the straps off their two necks
And they'll race no more for me, for me
And they'll race no more for me
What will you do with your two racehorses?
And, son, come tell it unto me, to me
And, son, come tell it unto me
I will take the bridles off their heads
And they'll race no more for me, for me
And they'll race no more for me
What will you do with your darling wife?
Son, come tell it unto me, to me
O, son, come tell it unto me
She will leave her foot upon a ship board
And she'll sail all along with me
---------------
A. (Fra Sydsælland. Sungen af en gammel Kone i
Rønnebæk ved Næstved; optegnet 1844 og 1846 af
Frøken Frantziska Carlsen.)
1. »Hvor har du været saa længe?
Svend i Rosensgaard!"
»Og jeg har været i Enge,
kære Moder vor!
I vente mig sent eller aldrig!"
2. "Hvor for er dit Sværd saa blodigt?"
»For jeg har dræbt min Broder."
3. „Hvor vil du dig hen vende?"
„Jeg vil af Landet rende,"
4. „Hvor vil du gøre af Hustruen din?"
„Hun skal spinde for Føden sin."
5. „Hvor vil du gøre af Børnene dine?"
„Jeg vil sætte dem til Vemierne mine."
6. „Naar vil du dig hjem vende?"
„Naar alle Kvinder bliver Enke."
7. „Naar bliver alle Kvinder Enke?"
„Naar alle Mænd bliver døde."
8. „Naar bliver alle Mænd døde?"
„Naar Huse og Gaarde bliver øde."
9. „Naar bliver Huse og Gaarde øde?"
„Naar vi ser hvide Ravne,"
10. "Naar ser vi hvide Ravne?'
"Naar vi ser sorte Svaner."
11. ,Naar ser vi sorte Svaner?"
,Naar vi ser Fjedren synke".
12. ,Naar ser vi Fjedren synke?"
gNåar vi ser Stenen flyde."
13. "Naar ser vi Stenen flyde?"
^Naar vi ser Havet brænde.
14. „Naar ser vi Havet brænde?
Svend i Rosensgaard!"
,Naar vi ser Verdens Ende,
kære Moder vor!
I vente mig sent eller aldrig."
A. (From South Zealand. Sungen of an old wife in
Rønnebæk near Næstved; Recorded 1844 and 1846
Miss Frantziska Carlsen.)
1. "Where have you been so long?
Svend in Rosensgaard! "
"And I've been to Enge,
dear mother ours!
You wait late or never! "
2. "How is your sword so bloody?"
"For I have killed my brother."
3. "Where do you want to turn?"
"I want to run from the country"
4. "Where do you want to do from your wife?"
"She's going to spin for her birth."
5. "Where do you want to do your children?"
"I will put them to my Vemiers."
6. "Do you want to return home?"
"When all women become widows."
7. "Will all women become widows?"
"When all men are dead."
8. "Will all men die?"
"The houses and the yard will be desolate."
9. "Are houses and farms desolate?"
"When we see White Ravne,"
10. "Where do we see white raven?"
"When we see black swans."
11. When do we see black swans? "
, When we see the spring sinking ".
12. When do we see the feathers sink? "
gWhen we see the stone flowing. "
13. "Do we see the stone flowing?"
^ When we see the sea burning.
14. "When do we see the sea burn?
Svend in Rosensgaard! "
, When we see the end of the world,
dear mother ours!
You wait late or never. "
---------------------
E. Lonnrot Kanteletar elikka suomen kasan aanhoja lauluja ja
virsia[1] ("Suomalaisen kirjallisuuden seuran toimituksia" III lHelsinki
1906]) x-xi No. 4
"Velisurmaaja."'
1. Mistis tulet, kustas tulet,
Poikani iloinen ?
Meren rannalta, meren rannalta,
Aitini kultainen.[2]
z Mitd sieltd tekemdsti?
Hevostani juottamasta.
3 Mist' on selkisi saveen tullut?
Hevonen huiskasi hinnilldnsi.
a Mist' on jalkasi Yereen tullut?
Hevonen polkasi rauallansa.
5 Mist' on miekkasi vereen tullut?
Pistin veljeni kuoliaksi.
6 Mintdhen sind veljesi pistit,
Poikani poloinen ?
Mintdhen naistani nauratteli,
Muorini kultainen.
7 Minne nyt sini itse jouvut?
Muille maille vierahille.
1 Ldnnrot's manuscript, which is still preserved in the archives of the Suoma-
laisen Kirjallisuuden Seura, exhibits some variants ofwhich no account is taken
in the printed Kanteletar. These variants probably indicate that L6nnrot had a
second text before him. I note that the refrain refers to "maiden" (nuori) and
not to "mother" (aiti) and in stanza 8 the father may either knit nets or go
begging, and the variant "go begging" is used of the mother in stanza 9 as we1l.
2. This refrain is used until stanza 6, from which point on another refrain is
used.
From where do you come, my merry son?
From the seashore, my dear mother [var. maidenl.
What have you done there?"
I have watered my horse.
Why is your back spotted with clay?
The horse brushed me with its tail.
Why is your foot bloody?
The korse kicked me with its iron [shoesl.
Why is your sword bloody?
I stabbed my brother.
Why did you stab your brother?
Because he put my wife to shame.
What will you do now?
Hide myself and flee.
Where do you leave you, father
[var. refrain; Oh, where indeed]-
He may knit nets [var. go beggingl.
Where do you leave your mother?
She may spin at the spinning wheel
[var. go begging].
Where do you leave your young wife?
She may look for men [var. bewail me].
Where do you-leave your young son?
He may suffer in school [var. suffer the rod and visit the school].
"Where do you leave your young daughter?"
She may watch the cattle.
When will you come home?
[Var. refrain "Oh, when indeed?]
When the raven becomes white.
When will the raven become white?
When the goose becomes black.
When will the goose become black?
When the stone rolls on the water.
when will the stone roll on the water?
when the feather sinks to the bottom.
When will the feather sink to the bottom?
When the sun shines at midnight.
When will the sun shine at midnight?
When the moon burns with burning heat.
when will the moon buin with burning heat?
when the stars dance in heaven.
"When will the stars dance in heaven?"
"When all come to judgment."
________________
Collected in Kalvola, South Tavastland, Finland from Adolfine Montin, aged
thirty-four, by Professor Kaarle Krohn about 1884.
1. Mistas tulet, kustas tulet,
Poikani poloinen?
2. Meren tannalta.
3. [missing]
4. Hevostani uittamasta.
5. Mista miekkas on vereen tullut?
6. Hevonen potkasi.
7. Misti takkis on saveen tullut?
8. Hevonen huiskasi hdnndlldnsi.
9. Miksi han naistani nauratteli ?
10. Menen muille maille vierahille.
11. Mihinkns jatat vaimosi nuoren?
12. Mieron tietzi kulkemahan.
1. Whence do you come,
My wretched son?
2. From the seashore.
3. [missing]
4. From swimming my horse.
5. Why is your sword wet?
6. The horse stamped.
7. Why is your coat bespattered with clay?
8. The horse swished its tail
9. Why did he seduce your wife?
10. I shall go to foreign lands.
11. What do you leave your wife?
12. She may go begging.
1. The refrain is omitted henceforth; from stanza 6 on it is "my wretched son.,'
A variant refrain for the mother's stanzas is noted in the text.
2. Schott's translation (Acta comparationis ritt. unit:. IKolosvir rggo-gr] IV
rz9) is unsatisfactory.
_________
Taylor GSF H p. 109
4. Vart skall du taga vagen?
Jag har tankt att ge mig pa landet.
Nar kommer du hem tillbaka?
Nar som granarna bliva med love.
Nar kommer du hem tillbaka?
Nar som bjorkarna bliva med bare.
Nar kommer du hem tillbaka?
Nir som korparna bliva vita.
Nar kommer du hem tillbaka?
Nar som svanorna bliva svarta'
Nar kommer du hem tillbaka?
Nar som alla flickor bliva gifta'
Nar bliva dF, alla flickor gifta?
Uppa den stora dagen.
Nar dr den stora dagen,
-du sven i rosenvrd.-
Uppa den stora domedagen
I omma moders vard.-
_____________
Here's Paddy Doran's version from The Stone Fiddle. I'll get the Paddy Tunney versions from the records in the next few days.
Mick
X:1
T:Edward
B:The Stone Fiddle - Paddy Tunney
S:Paddy Doran
L:1/8
M:4/4
K:Gdor
G2 G>F (G>A) B>G|(A>F) D>E F4|
w:Where have you been_ all the whole_ af-ter-noon
d3 d c<A F>A|c6
w:Son come tell it un-to me
Bc|d2 d>d c2 dd|G (G/A/G/F/) (D>C)
w:I've been fish-in' and fowl-in' the whole day___ long_
DF|G2 G2 F2 c2|(B2- B/c/B/G/ A2)
w:All through moth-er's treach-er-ie_____
B>A|G2 (G>F) (DC)(DF)|G6 z2|]
w:All through moth-er's_ treach_er_ie
EDWARD
"Where have you been all the whole afternoon?
son come tell it unto me."
"I've been fishin' and fowlin' the whole day long,
all through mother's treacherie,
all through mother's treacherie."
"What put the blood on your right shoulder?
son come tell it unto me."
"Twas the killing of a hare that I killed today,
that I killed most manfulliee,
that I killed most manfulliee."
"The blood of the hare it could never be so red,
son come tell it unto me."
"Twas the killing of a boy that I killed today,
that I killed most manfulliee,
that I killed most manfulliee."
"What came between yourself and the boy?
son come tell it unto me."
"It was mostly the cutting of a rod,
that would never come a tree, a tree,
that would never come a tree."
"What are you going to do when your Daddy finds you out?
son come tell it unto me."
"I will put my foot on board of a ship
and sail to a far-off countriee,
and sail to a far-off counteriee."
"What are you going to do with your lovely young wife?
son come tell it unto me."
"She can put her foot on board of a ship,
and sail there after me-e,
and sail there after me."
"What are you going to do with your two fine young babes?
son come tell it unto me."
"I'll give one to my father and the other to my mother
for to bear them companie-e,
for to keep them companie."
"What are you going to do with your two fine race-horses?
son come tell it unto me."
"I will take the bridles off their heads,
for they'll race no more for me-e,
for they'll race no more for me."
"What are you going to do with your two fine greyhounds?
son come tell it unto me."
"I will take the leads all off their necks,
for they'll run no more for me-e
they'll run no more for me."
"What are you going to do with your houses and your lands?
son come tell it unto me."
"I will lay them bare to the birds of the air
for there's no more welcome there for me-e,
for there's no more welcome there for me."
"What will you do in the winter of your life?
son come tell it unto me."
"Like a saggin[1] on the lough I'll bend with the wind
and I'll hope for God's mercie-e,
and I'll hope for God's mercie."
1. Paddy Tunney himself gives "reed" as the meaning of saggin. Origin may well be Irish
Source: In Paddy Tunney - The Stone Fiddle, from Paddy Doran
SON COME TELL IT UNTO ME
Caedmon TC 1145 / Topic 12T 160 (`Child Ballads 1')
Tunney, Paddy
Kennedy, Peter
N. Ireland : Co. Fermanagh : Beleek
What brought the blood on your right shoulder dear
WHAT BROUGHT THE BLOOD
Topic 12TS 289 (`The Flowery Vale')
Tunney, Paddy
1976 N. Ireland : Co. Fermanagh
Where have you been the whole day long
WHAT BROUGHT THE BLOOD
O Boyle, Irish Song Tradition pp.90-91
Connors, Ellen
O Boyle, Sean
Ireland : Co. Wexford
Where have you been all the whole afternoon
WHAT PUT THE BLOOD
Topic 12T 359 (`The Bonny Green Tree')
Reilly, John
Munnelly, Tom
1969 Ireland : Co. Roscommon : Boyle
Oh, what put the blood on your right shoulder?
WHAT PUT THE BLOOD
Ceol 4:1 (1972) pp.3-5
Reilly, John
Munnelly, Tom
1969 Ireland : Co. Roscommon : Boyle
O what put the blood on your right shoulder
EDWARD
BBC recording 22015
Moran, Thomas
Ennis, Seamus
1954 (Dec) Ireland : Co. Leitrim : Mohill
Oh where have you been all this long summer's day
EDWARD
BBC recording 22423
Murphy, James & Brigid
Ennis, Seamus
1954 (18 Dec) Ireland : Co. Leitrim : Mohill
What had the blood on your right sword
WHAT BROUGHT THE BLOOD ON YOUR RIGHT SHOULDER
BBC recording 18587
Connors, Mary Kennedy,
Peter / Sean O'Boyle
1952 (1 Aug) N. Ireland : Belfast
Where have you been of the whole afternoon
WHAT PUT THE BLOOD
Topic TSCD 667 (`It Fell on a Day, a Bonny Summer Day')
Delaney, Mary
Carroll, Jim / Pat Mackenzie
1977 (27 May) Ireland
Where have you been all the long summer's day
WHAT PUT THE BLOOD
Topic TSCD 653 (`O'er his Grave the Grass Grew Green')
Tunney, Paddy
Engle, Tony / Tony Russell
1975 (Feb) N. Ireland : Co. Fermanagh
Where have you been the whole day long
EDWARD
Rounder CD 1775 ('Classic Ballads 1')
Connors, Mary Ellen
Kennedy, Peter
1952 N. Ireland : Belfast
Where have you been of the whole afternoon
EDWARD
Rounder CD 1775 ('Classic Ballads 1')
Moran, Thomas
Ennis, Seamus
1954 Ireland : Co. Leitrim : Mohill
And what will you do when your father comes home
WHAT PUT THE BLOOD
Folktrax 175-C60 ('John Reilly')
Reilly, John
Munnelly, Tom
1967 Ireland : Co. Roscommon : Boyle
What put the blood on your right shoulder
WHAT PUT THE BLOOD
Jim Carroll / Pat Mackenzie Collection
Connors, (Pop's) Johnny
Carroll, Jim / Pat Mackenzie
1973 (Jul / Aug) Ireland : Co. Wexford / England : London
What put the blood on your hands, my son
WHAT PUT THE BLOOD
Jim Carroll / Pat Mackenzie Collection
Cash, Andy
Carroll, Jim / Pat Mackenzie
1973 (Jul / Aug) Ireland : Co. Wexford / England : London
Where have you been all day my beloved son
WHAT PUT THE BLOOD
Jim Carroll / Pat Mackenzie Collection
Cash, Mary
Carroll, Jim / Pat Mackenzie
1973 (Aug) / 1975 Ireland / England : London
Where have you been this long whole say
EDWARD
Tunney, The Stone Fiddle pp.111-112
Doran, Paddy
Tunney, Paddy
Ireland
Where have you been all the whole afternoon
EDWARD
Folktracks 60-501 (`Bonny Barbara Allen')
Connors, Mary
Kennedy, Peter
N. Ireland : Belfast
Where have you been all the whole afternoon
EDWARD
Folktracks 60-501 (`Bonny Barbara Allen')
Moran, Thomas
Kennedy, Peter
Ireland : Co. Leitrim : Mohill
And what will you do when your father comes home
WHAT PUT THE BLOOD ON YOUR RIGHT SHOULDER SON
Folk-Legacy FSE 7 (`The Man of Songs')
Tunney, Paddy
Hamilton, Diane
1963c N. Ireland : Co. Fermanagh
Where have you been a' the whole afternoon
---------------------
SMB 153
SVEN I ROSENGÅRD
TSB D 320
153
A
UUB T 144 b, s. 79-80. Uppskrift från 1600-talets mitt, sannolikt från uppsvenskt område (Jonsson I, s. 190-195).
1 Alt godt iagh tigh meddeelar,
Sohnen i Roosengård
Mycket der vthi feelar,
Käre Moder wår (vår)
- i wänten oss aldrig.
2 Nåde och frijd aff herran:
Sohnen i Roosengårdh:
den ware migh ey fierran.
Käre moder wår
3 Kan iagh gott aff digh spöria:
Sonen i Roosengård:
Nu först det icke börias
Käre Moder wår
4 Annat iagh ey tänker:
Sohnen i Roosengårdh,
dett werlden migh ihnskänker,
Käre moder wår
5 Dageligh du dygdh öfwa:
Sohnen i Rosengårdh:
effter som dee migh pröfwa:
Käre moder wår
6 Rijkedom effter trachta:
Sohnen i Roosengårdh:
den iagh lijtet achtar,
Kära moder wår
7 Redeligen wandra:
Sohnen i Roosengårdh:
hoos edher och bland andra:
Kära moder vår
8 Inthet hörs aff din brodher:
Sohnen i Roosengårdh
han war migh aldrigh godher
Kära Moder wår
9 Ey mon han dödher wara,
Sohnen i Roosengård:
Jo, så plä skalkar fahra
Kära moder wår
10 Aldrigh du det förgäter,
Sohnen i Roosengårdh:
Jagh slipper fulle släter:
Käre Moder wår
11 Ney du skall det betaala:
Sohnen i Roosengård:
Jagh will der medh förhaala
Kära Moder wår
12 Sannerligh det ey hielper:
Sohnen i Roosengårdh:
fögha det migh stielper.
Käre Moder wår
13 Ey will du migh bedröfwa:
Sohnen i Roosengård.
här i hielper det fögha.
Käre Moder wår
14 Rundeligh kan du bööta:
Sohnen i Roosengård.
Jagh tohl ey dee migh hööta
Kära moder wår
15 Zeel må du nähr migh wara:
Sohnen i Rosengård
Jagh blijhr ey vthan fahra.
Kära moder wår
16 Annat då hahr iagh med digh mehnt,
Sohnen i Rosengård
Jagh fruchtar det är nu förseendt.
Kära Moder wår
17 Jagh hahr digh ähmat trösta:
Sohnen i Rosengård
Det är ey till det bästa:
Kära moder wåhr
18 Kan ingen digh hugswala:
Sohnen i Roosengård
Näy icke vthan fahra:
Käre Moder wåhr
19 Så will du hedan reesa:
Sohnen i Roosengård
Ja, dijt iagh rååkar lijsa
Käre moder wåhr
20 Rymmer du uthur Landet
Sohnen i Roosengård
Ja vndan skalka händer
Kära moder wåhr
21 Så sägh migh då ditt Näste:
Sohnen i Roosengård.
Ey det på första Qwisten.
Ka ra Moder wår
22 Då, huadh mehnar din fader:
Sohnen i Roosengård
på den är iagh ey gladher:
Kära moder wår
23 Han will digh ighen tagha,
Sohnen i Rosengård
Jagh skall wäl annars lagha,
Kära Moder wår
24 Din fader digh wäll finner,
Sohnen i roosengård.
Nappast han migh hinner
Kära Moder wår
25 Ähn Konungen i rijket:
Sohnen i Roosengård.
han finner wäl sihn lijke:
Käre Modher wåhr.
26 Hwart hahr du ähmat lända
sohnen i Roosengård
Dijt werlden hahr ehn ända
Kära moder wår
27 Hwad will du dig medh fööda
sohnen i Roosengård
Medh ahrbethe och möda,
Käre moder wår
28 När kommer du åter
Sohnen i Roosengård
När Elden blifaer wåter.
Kära moder wår
29 När will du ighen komma.
Sohnen i Roosengård
När steenen står i blomma.
Kära moder wår
30 När will du blijfwa hemma
Sohnen i Roosengård
När stenen böriar simma.
Kära moder wår
31 När skall iag till digh hinna.
Sohnen i Roosengård
När watnet böriar brinna
Käre moder wår
32 När seer iagh digh min bästa
Sohnen i Roosengård
När som det dagas wästan
Käre moder wår
33 Skall iagh mehr om digh fråga
Sohnen i Roosengård
der före i nu råda.
Kära moder wåhr
- i wänten oss aldrig.
30:1 blijfna hemma orden skrivna i omvänd ordningsföljd, vilken korrigerats
Anmärkning
Ms saknar strofnr. Omkvädet utskrivet i str. 1 och 33,
markerat i str. 1-16, 18, 20-22, 24.
28:2 Elden ordets början svårtydd, möjligen ändrat
från steenen
----------------
SMB 153
SVEN IN ROSE GARDEN
TSB D 320
153
A. UUB T 144 b, pp. 79-80. Recipe from the middle of the 17th century, probably from the British region (Jonsson I, pp. 190-195).
1 All good fellow friends,
Son in Roosengård
There is strong feeling,
Dear Mother mine [Our dear mother]
I'll never warn you [I'll never return]
2 Grace and freedom my lord,
Son in Roosengård:
"The truth is far away,
Dear mother mine
3 Can Iagh have a good aff digh spöria:
Son in Roosengård:
Now, first of all, it is not borne.
Dear Mother wow
4 Other iagh ey thinks:
Son in Roosengårdh,
That was a migh ihnskänker,
Dear mother mine
5 Dageligh du dygdh öfwa:
Sohnen in Rosengårdh:
effter as dee migh pröfwa:
Dear mother wow
6 Wealth is foretold:
Sohnen i Roosengårdh:
The Iagh Lieutenant,
Dear Mother
7 Reasonable Wandra:
Sohnen i Roosengårdh:
hoos edher and among others:
Dear mother wow
8 "Nothing is heard of your brother:
Sohnen i Roosengårdh."
He never shows me kindness.
Dear Mother mine
9 Ey mon han dödher wara,
Sohnen in Roosengård:
Well, then, the peat scales fahra.
Dear mother mine
10 Never forget you,
Sohnen in Roosengårdh:
Jagh drops completely:
Dear Mother mine
11 Now you'll pay for it:
Sohnen in Roosengård:
I will be sorry for that.
Dear Mother mine
12 Sannerligh det ey hielper:
Sohnen in Roosengårdh:
fögha that migh stielper.
Dear Mother mine
13 Ey will you migh bedröfwa:
Sohnen i Roosengård.
Here you can see the fogha.
Dear Mother mine
14 Rundeligh can you bend:
Sohnen in Roosengård.
Jagh tohl ey dee migh hate
Dear mother mine
15 Zeel you can nähr migh wara:
Sohnen in Rosengård
Jagh gladhr ey vthan fahra.
Dear mother mine
16 Otherwise, I have heard with digh mehnt,
Sohnen i Rosengård
Jagh Fruchtar it is now forfeited.
Son in Roosengård
17 Jagh hahr digh eghmat comfort:
Son in Roosengård
It's an eye for the best:
Dear Mother mine
18 Can not be a good hugswala:
Son in Roosengård
Näy non vthan fahra:
Dear Mother mine
19 And you will say, Hean Reesa:
Son in Roosengård
Yeah, Iagh dare to die.
Dear mother wahr
20 Do you spend the night
Sohnen in Roosengård?
Yes vndan shave hands
Dear mother wahr
21 Then say your neighbor:
Son in Roosengård.
Ey it on the first Qwisten.
Dear Mother mine
22 Then, huadh smites your father:
Sohnen iRoos Farm
on it is iagh ey gladher:
dear mother mine
23 He will digh ighen tagha,
Sohnen in Rosengård
I'm going to love you,
my dear mother mine
24 Your father digh wäll finds,
Sohnen in rosengård.
Nappast he migh hinner.
Dear Mother mine
25 The King of the Kingdom:
Son in Roosengård
He finds wäl sihn ligijke:
Dear Mother mine
26 Hwart hahr du ähmat lend
Son in Roosengård
Dijt werr hahr ehn end
Dear mother mine
27 Hwad would you like to feed the
sun in Roosengård?
Medh ahrbethe and mourning,
dear mother mine
28 When will you come back?
Son in Roosengård
When the fire burns wet.
Dear mother mine
29 When will you come back?
Son in Roosengård
When the stone is in bloom,
Dear mother mine.
30 When will you return home?
Son in Roosengård
When the stone starts to swim.
Dear mother mine
31 When will I see you again?
Son in Roosengård
When the water begins to burn,
Dear mother mine
32 When will I see you again, my dear?
Son in Roosengård
When the sun sets in the west[1]
Dear mother mine
33 Did you answer the last question
Son in Roosengård
That before you now advise.
Dear Mother mine
I will never wait[2].
1. interpreted from: When it's time to go to the west
2. interpreted from: I will never wait for you
Remark
Ms misses strofnr. Omkvävet printed in size. 1 and 33,
marked in size 1-16, 18, 20-22, 24.
28: 2
fire
The beginning of the word difficult, possibly changed
from
Steenen
--------------
G
UUB V 6 a. Skåne. Upptecknad av sedermera ärkebiskopen Henrik Reuterdahl ca 1820 (Jonsson I, s. 516-518).
1. Hvar har du varit så länge
Sven i Rosengård.
Jag har varit i änge
Kära moder vår
- I väntar mig sent eller aldrig.
2. Hvar har du varit så länge
Sven i Rosengård.
Jag har varit i stallet
Kära moder vår
3. Hvad har du gjort i stallet
Sven i Rosengård.
Vattnat den svarta fålen
Kära moder vår
4. Hvarför är ditt svärd så draget
Sven i Rosengård.
För jag har dräpt vår fader.
Kära moder vår
5 Hvarför är ditt svärd så blodigt
Sven i Rosengård.
För jag har dräpt vår moder.
Kära moder vår
6 Hvarför är ditt svärd så röstet
Sven i Rosengård.
För jag har dräpt vår syster.
Kära moder vår
7 När skall jag dig vänta?
Sven i Rosengård.
När kyrkan blifver Enka.
Kära moder vår
8 När skall jag dig vänta?
Sven i Rosengård.
När korpen blifver hvit, och svanen svart.
Kära moder vår
9 Hvad skall jag göra af hustru din?
Sven i Rosengård.
Hon skall sitta i vrå och spinna trå.
Kära moder vår
10 Hvad skall jag göra af barnen din
Sven i Rosengård.
De skall gå för hvar mans dörr.
Kära moder vår
- I väntar mig sent eller aldrig.
Titel:
Sven i Rosengård.
Anmärkning
Ms saknar strofnr. Omkvädet och de återkommande till-
talsfraserna utskrivna i str. 1, markerade i str. 2 och 3.
2:1 har ms här
3:1 Hvad ändrat från Hvar
--------------
Not at Mudcat
G
UUB V 6 a. Skåne. Submitted by later Archbishop Henrik Reuterdahl about 1820 (Jonsson I, pp. 516-518).
1. Where have you been so long?
Sven in Rosengård.
I've been with an angel
Dear Mother ours
- You wait late or never.
2. Where have you been so long?
Sven in Rosengård.
I've been to the stables
Dear Mother ours
3. What have you done in the stables?
Sven in Rosengård.
Watered the black foal
Dear Mother ours
4. Why is your sword so bloody?
Sven in Rosengård.
Because I've killed our father.
Dear Mother ours
5 Why is your sword so bloody?
Sven in Rosengård.
Because I've killed our mother.
Dear Mother ours
6 Why is your sword so bloody?
Sven in Rosengård.
Because I've killed our sister.
Dear Mother ours
7 How long will I wait (for your return)?
Sven in Rosengård.
When the church is widows.
Dear Mother ours
8 How long will I wait?
Sven in Rosengård.
When the crow is white, and the swan is black.
Dear Mother ours
9 What shall I do with thy wife?
Sven in Rosengård.
She is going to sit in a row and spin tread.
Dear Mother ours
10 What shall I do of your children?
Sven in Rosengård.
They shall go beg at everyone's door.
Dear Mother ours
- You'll wait late or never.
Title:
Sven in Rosengård.
Remark
Ms misses strofnr. The weather and the recurring
the speech phrases printed in str. 1, marked in size 2 and 3.
2: 1 has ms here
3: 1 What changed from Hvar
---------------
The Roving Songster volume 1 (actually there never was a second volume) contained a mix of Brune's own songs, a few by others (Belle Stewart's 'Berryfields of Blair', for example) and traditional pieces. It was published by Gillian Cook of Collet's record shop in 1965.
I've already said; but there was an earlier printing of c.39 pages privately issued in 1959 or 1960; perhaps McGrath has a copy of that. Apparently only 75 copies were made; Brune's middle name is, incidentally, revealed as Anatole.
Jim Carroll:
Coming to the end of the preparation for "The Travelling People" MacColl and Parker decided it would be a good idea to try and fnd songs that were specifically Traveller compositions, (we found enough of these among the Irish Travellers) so they put out an appeal for such.
Brune responded with a recording of 'an old English Travelling woman' singing 'Traveller' songs; these recordings were of Brune singing his own songs in a funny voice.
The production team decided that these were good enough to make the point that Travellers were composers as well as singers and musicians, so one of the songs was given to Sheila Stewart to sing for the programme. When it was found to be a fake it was withdrawn. Had it been used as a 'Traveller's own' song it would have undermined the authenticity of the whole programme. God knows, the Travellers had (and have) enough enemies who would have jumped at the chance to point the finger and cry 'fake'.
wocko: John and his father ran a printshop some where near Holborn, the place stank of the Old Holborn Tobacco factory nearby.It was above the Chiappa fairground organ repairers which would occasionally start playing to brighten our day. I met John at a club some where, probably the York and Albion and I started working in his printshop.There was a second volume of Marrowbones, it was hand written in a notebook, My landlady was going to type out a copy for John to make plates from and print but she lost the book. The company was Edwards and Brune.
"Edward" as arranged by John Brune from Child B, Percy's Reliques, 1765, i, 5, with music.
1 'What mzade your brand sae drap wi blood,
Edward, Edward,
What made your brand sae drap wi blood,
And why sae sad gang ye, oh?'
'O I hae killed my hawk sae good,
Mither, mither,
O I hae killed my hawk sae good,
And I had nae mair bot he, oh!'
2 'Your hawkis blood was never sae red,
Edward, Edward,
Your hawkis blood was never sae red,
My son now I tell ye oh.'
'O I hae killed my red-roan steed,
Mither, mither,
O I hae killed my red-roan steed,
That was sae fair and free oh.'
________________________
Taylor Finnish D
Velisurmaaja VELI-SURMAAJA. [Brother Slayer]
(Finnish.)
Mistas tulet, kustas tulet,
Poikani ilonen?
Meren rannalta, mereu rannalta,
Aitini kultainen!
Mita sieltaltekonasta,
Poikant ilonen?
Hevostani jnottamasta,
Aitini kultainen!
----
Taylor A
The Westminster Review, Volume 7
WERINEN POJKA. The Bloody Son.
"Whither com'st thou? whither com'st thou?
Joyous son of mine!"
"From the sea-shore, from the sea-shore,
Golden mother mine!"
"What hast done there? what hast done there?
Joyous son of mine "
"Horses watered, horses watered,
Golden mother mine!"
"What's the clay upon thy garments?
Joyous son of mine!"
"Horses splashed me, horses splashed me,
Golden mother mine!"
"Tell me why thy sword is bloody?
Joyous son of mine!"
"I have smote mine only brother,
Golden mother mine!"
"Whither, whither, wilt thou speed thee?
Joyous son of mine!"
"Far away in distant countries,
Golden mother mine!"
"Where hast left thine aged father?
Joyous son of mine!"
"Hewing wood within the forest;
Never more would he behold me,
Golden mother mine!"
"Where hast left thine aged mother?
Joyous son of mine!"
"She was seated at her spindle;
Never more would look upon me, Golden mother mine!"
"Where thy youthful bride abandoned?
Joyous son of mine!"
"Well-attired, she took another;
Never more would she behold me,
Golden mother mine!"
"And thy son, where didst thou leave him?Joyous son of mine!"
"In the school, 'neath bitter master, Golden mother mine!"
"Where didst leave thy little daughter?Joyous son of mine!"
"In the forest, gathering berries; She would look on me no longer,
Golden mother mine!"
"When wilt thou be wending homeward?
Joyous son of mine!"
"When the north shall light the day-break,
Golden mother mine V
"When shall day from north be lighted?
Joyous son of mine!"
"When the stones spring out of water,
Golden mother mine!"
"When shall stones spring out of water?
Joyous son of mine V
"When the feathers seek the bottom, Golden mother mine!"
." When will feathers seek the bottom?Joyous son of mine \"
"When we all shall come to judgment, Golden mother mine !"'
Schrbter gives this remarkable composition from the lips of a Finlander. He supposes it to be an imitation of the Swedish ballad Iven i Rosengard, though somewhat altered in the progress of its peregrinations. It has a striking resemblance to the Twa Brothers, in Jamieson's Popular Ballads.
____________
"Poikaini iloinen"
"Poikaini iloinen" From Suomen Kansan Vanhat Runot volume IV2
N. 2701. from Moloskovitsa, Goritsa. J. Fr. Ruotsalainen. n. 676. 1901.
Annikka Roitto.
Mist' tulet, kustas tulet,
Poikaini iloinen?
Mist saappaas savvee sait,
Poika iloinen?
5 Maa teitä myöte kulkeissain,
Likka lintusein.
Mistäs miekkas verree teit,
Poika poloinen?
Tapoin miehen, saatoin päähä,
10 Likka lintusein.
Mihinkäs luulet joutuvasi,
Poika poloinen?
Jouvuin maille vierahille,
Likka lintusein.
15 Mihin jätät sie issäis,
Poika poloinen?
Käyköö metsäss, hakatkoo halkoi,
Likka lintusein.
Mihin jätät äitiseisi,
20 Poika poloinen?
Istukoo nurkassa, vatvokoo villoi
Likka lintusein.
Mihin jätät veikkoseisi,
Poika poloinen?
25 Punokoo nuoraa, lyököö koiraa,
Likka lintusein.
Mihin jätät siskoseisi,
Poika poloinen?
Keträtköö rihmaa, kutokoo kankast,
30 Likka lintusein.
Konsas tuolta poisi pääset,
Poika poloinen?
Konsa korppi valkenoopi,
Likka lintusein.
------------
A, Grundtvig, Engelske og skotske Folkeviser, p. 175, nine stanzas;
SVEND I ROSENSGAARD
(Son, Come Tell To Me)
(Andantino)
1. Hvor [Em]har du været saa længe?
[Am]Svend i Rosensgaard!
Og [G]jeg har [Am]været i [Em]enge,
[B7]Kære moder [Em]vor!
I vente mig [B7]sent eller [Em]aldrig!
2. Hvorfor er dit svæd saa blodigt?
For jeg har dræbt min broder.
3. Hvor vil du dig hen vende?
Jeg vil af landet rende.
4. Naar vil du dig hjem vende?
Naar alle kvinder bliver enke.
5. Naar bliver alle kvinder enke?
Naar alle mænd bliver døde.
6. Naar bliver alle mænd døde?
Naar huse og gaarde bliver øde.
7. Naar bliver huse og gaarde øde?
Naar vi ser fjedren synke.
8. Naar ser vi fjedren synke?
Naar vi ser stenen flyde.
9. Naar ser vi stenen flyde?
Naar vi ser havet brænde.
10. Naar ser vi havet brænde?
Naar ser vi verdens ende.
(English translation)
1. O where have you been a-roaming?
Son, come tell to me.
All day I've been in the meadow.
O my mother dear,
It's I may come home late or never.
2. O why is your sword so bloody?
Because I've killed my brother.
3. O where, O where will you turn to?
I'll flee to some far country.
4. And when will you come back home, love?
When women all are widows.
5. And when will women be widows?
When there is no man living.
6. And when will no man be living?
When farmlands are all wasted.
7. And when will farmlands be wasted?
When we see feathers a-sinking.
8. And when will feathers be sinking?
When we see stones a-floating.
9. And when will stones be floating?
When we see oceans a-burning.
10. And when will oceans be burning?
When we have seen the world's end.
SOURCE: Maud Karpeles, ed., Folk Songs of Europe (Oak, 1964, p. 4; with music); from Danske Folkesange og Melodier, by A.P. Berggreen (3rd Ed., Copenhagen, 1869)
More literal translation of a Danish version ("Svend i Rosengård (Hvor har du været så længe)") from Erik Dal, Danish Ballads and Folk Songs, translated by Henry Meyer (The American-Scandinavian Foundation, 1967, pp. 133-134; translated text only).
SVEND IN THE ROSE GARDEN
Recording from South Sealand by Franziska Carlsen, 1846
"Where were you at this late hour
-- Svend in the rose garden near?"
"I have been in the bower
-- O my mother dear.
-- I shall be late or never."
"Why is your sword so bloody?"
"Because I have killed my bother."
"Where will you turn your course?"
"I'll flee this country of ours."
"What will you do with your good wife?"
"She'll spin for her food and keep alive."
"What will you do with the children of yours?"
"I shall place them with friends of ours."
"When shall we see your home-coming?"
"When women are all widow-women."
"When are they all widow-women?"
"When all the men are dead."
"When are all men dead?"
"When all farms are desolate."
"When are they desolate?"
"When ravens they grow white."
"When do ravens grow white?"
"When the swans grow black."
"When do swans grow black?"
"When we see feathers sink."
"When will we see feathers sink?"
"When we see stones afloat."
"When will we see stones afloat?"
"When we see the ocean bloom."
"When will the ocean bloom?"
"When we hear the crack of doom."
Notes: "DgF 340A. See also DgF X, with references to important recent research. * Although the story of this ballad precedes its beginning and possibly continues after its ending, and we thus have only a string of riddle questions and answers (in themselves far older than the poem as in No. 20 ["Svend Normand"]) to stress the murderer's indelible sin, it belongs, nevertheless, together with its Nordic and English parallels (Child 13 Edward) to the most admired specimens of these countries' folk poetry. Its background is indefinable; it simply passes into the chivalry group, although it is tempting to claasify it as a mythical ballad. In early versions one recognizes a knightly setting, in later ones a peasant environment. Rose garden seems to mean cemetery, which the singer possibly has not understood." (p. 276)
B.
Gaardejar Lars Fredericksen
Hvornaar mon jeg dig vente?
Svend i Rosenslund!"
Naar Slenene de flyder
min hjœrtens-кгеге Mor!"
2. »Hvornaar saa flyder Stenene?"
»Naar Fjerene de synker."
3.
4
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There're translations of Danish and Finnish versions in Francis James Child's English and Scottish Ballads, vol. 2 (1860, pp.347-352) [this is not his definitive edition].
THE YOUTH OF ROSENGORD.
Sven i Rosengård, Svenska Folk-Visor, iii. 3, and Arwidsson's Fornsånger, ii. 83: translated in Literature and Romance of Northern Europe, i. 263.
"So long where hast thou tarried,
Young man of Rosengord?"
"I have been into my stable,
Our mother dear."
Long may you look for me, or look for me never.
"What hast thou done in the stable,
Young man of Rosengord?"
"I have watered the horses,
Our mother dear."
Long may ye look for me, or look for me never.
"Why is thy foot so bloody,
Young man of Rosengord?"
"The black horse has trampled me,
Our mother dear."
Long may you look for me, or look for me never.
"Why is thy sword so bloody,
Young man of Rosengord?"
"I have murdered my brother,
Our mother dear."
Long may you look for me, or look for me never.
"Whither wilt thou betake thee,
Young man of Rosengord?"
"I shall flee my country,
Our mother dear."
Long may you look for me, or look for me never.
"What will become of thy wedded wife,
Young man of Rosengord?"
"She must spin for her living,
Our mother dear."
Long may you look for me, or look for me never.
"What will become of thy children small,
Young man of Rosengord?"
"They must beg from door to door,
Our mother dear."
Long may you look for me, or look for me never.
"When comest thou back again,
Young man of Rosengord?"
"When the swan is black as night,
Our mother dear."
Long may you look for me, or look for me never.
"And when will the swan be black as night,
Young man of Rosengord?"
"When the raven shall be white as snow,
Our mother dear."
Long may you look for me, or look for me never.
"And when will the raven be white as snow,
Young man of Rosengord?"
"When the grey rocks take to flight,
Our mother dear."
Long may you look for me, or look for me never.
"And when will fly the grey rocks,
Young man of Rosengord?"
"The rocks they will fly never,
Our mother dear."
Long may you look for me, or look for me never.
THE BLOOD-STAINED SON.
A translation, nearly word for word, of Der Blutige Sohn, printed from oral tradition in Schröter's Finnische Runen, (Finnisch und Deutsch,) ed. 1834, p. 151.
"SAY whence com'st thou, say whence com'st thou,
Merry son of mine?"
"From the lake-side, from the lake-side,
O dear mother mine."
"What hast done there, what hast done there,
Merry son of mine?"
"Steeds I watered, steeds I watered,
O dear mother mine."
"Why thus clay-bedaubed thy jacket,
Merry son of mine?"
"Steeds kept stamping, steeds kept stamping,
O dear mother mine."
"But how came thy sword so bloody,
Merry son of mine?"
"I have stabbed my only brother,
O dear mother mine."
"Whither wilt thou now betake thee,
Merry son of mine?"
"Far away to foreign countries,
O dear mother mine."
"Where leav'st thou thy gray-haired father,
Merry son of mine?"
"Let him chop wood in the forest,
Never wish to see me more,
0 dear mother mine."
"Where leav'st thou thy gray-haired mother,
Merry son of mine?"
"Let her sit, her flax a-picking,
Never wish to see me more,
0 dear mother mine."
"Where leav'st thou thy wife so youthful,
Merry son of mine?"
"Let her deck her, take another,
Never wish to see me more,
0 dear mother mine."
"Where leav'st thou thy son so youthful,
Merry son of mine?"
"He to school, and bear the rod there,
[Never wish to see me more,]
0 dear mother mine."
"Where leav'st thou thy youthful daughter,
Merry son of mine?
"She to the wood and eat wild berries,
Never wish to see me more,
O dear mother mine."
"Home when com'st thou back from roaming,
Merry son of mine?"
"In the north when breaks the morning,
O dear mother mine."
"In the north when breaks the morning,
Merry son of mine?"
"When stones dance upon the water,
O dear mother mine."
"When shall stones dance on the water,
Merry son of mine?"
"When a feather sinks to the bottom,
O dear mother mine."
"When shall feathers sink to the bottom,
Merry son of mine?"
"When we all shall come to judgment,
O dear mother mine."