Bluegrass Messengers

English Folk Songs from the Southern Appalachians; 1917 Edition

Comprising 122 Songs and Ballads, and 323 Tunes  

[This page has Title Page, Introduction, Contents, Song Notes and Bibliography only; Songs lyrics for individual songs are attached to this page on the left hand column.

NOTE: The 1917 edition does not have complete III. Nursery Songs; and none of the IV.Jigs or V. Play-Party Games which will be added on at a later time from the 1932 edition.

The 1932 edition of English folk songs from the Southern Appalachians, comprises two hundred and seventy-four songs and ballads with nine hundred and sixty-eight tunes, including thirty-nine tunes contributed by Olive Dame Campbell, edited by Maud Karpeles. Oxford: Oxford University Press, 1932.]


Collected by:  
Olive Dame Campbell  
and  
Cecil J. Sharp  
With an Introduction and Notes  

G. P. Putnam's Sons
New York and London
Knickerbocker Press 1917

INTRODUCTION

The effort that has been made to collect and preserve in permanent form the folk-songs of England during the last twenty or thirty years has resulted in the salvage of many thousands of beautiful songs. It was pardonable, therefore, if those who, like myself, had assisted in the task had come to believe that the major part of the work had been completed. So far as the collection in England itself was concerned, this belief was no doubt well founded, Nevertheless, in arriving at this very consolatory conclusion, one' important, albeit not very obvious consideration had been overlooked, namely, the possibility that one or other of those English communities that lie scattered in various parts of the woild might provide as good a field for the collector as England itself, and yield as bountiful and rich a harvest. The investigation which my colleague Mrs. Campbell began, and in which later on I came to bear a hand, has proved that at least one such community does in fact exist in the Southern Appalachian Mountains of North America. The region is an extensive one, covering some 110,000 square miles, and is considerably larger than England, Wales, and Scotland com­bined. It includes about one third of the total area of the States of North and South Carolina, Tennessee, Virginia, West Virginia, Kentucky, Alabama, and Georgia. [1. See Map below] The total population exceeds five millions, or, excluding city dwellers, about three millions.



The Country and its Inhabitants.
The reader will, I think, be in a better position to appreciate and assess the value of the songs and ballads which form the major part of this volume if, by way of preface, I give some account of the way in which they were collected and record the impression which the inhabitants of this unique country made upon me. But I must bid him remember that I claim to speak with authority only with respect to that part of the mountain district into which I penetrated and that the statements and opinions which are now to follow must be accepted subject to this qualification.

I spent nine weeks only in the mountains, accompanied throughout by Miss Maud Karpeles, who took down, usually in shorthand, the words of the songs we heard, while I noted the tunes. Mr. John C. Campbell, the agent for the Southern Highland Division of the Russell Sage Foun­dation, went with us on our first expedition and afterwards directed our journeyings and, in general, gave us the benefit of his very full knowledge of the country and its people. Our usual procedure was to stay at one or ether of the Presbyterian Missionary Settlements and to make it our centre for a week or ten days while we visited the singers who lived within a walking radius. In this way we successively visited White Rock, Allanstand, Alleghany and Carmen, Big Laurel and Hot Springs, in North Carolina, and thus succeeded in exploring the major portion of what is known as the Laurel Country. Afterwards we spent ten days at Rocky Fork, Tenn., and a similar period at Charlottesville, Va. I should add that had it not been for the generous hospitality extended to us by the heads of the Missionary Settlements at which we sojourned, it would have been quite impossible to prosecute our work.

The present inhabitants of the Laurel Country are the direct de­scendants of the original settlers who were emigrants from England and, I suspect, the lowlands of Scotland. I was able to ascertain with some degree of certainty that the settlement of this particular section began about three or four generations ago, i.e. in the latter part of the eight­eenth century or early years of the nineteenth. How many years prior to this the original emigration from England had taken place, I am unable to say; but it is fairly safe, I think, to conclude that the present-day residents of this section of the mountains are the de­scendants of those who left the shores of Britain some time in the eighteenth century.

The region is from its inaccessibility a very secluded one. There are but few roads—most of them little better than mountain tracks— and practically no railroads. Indeed, so remote and shut off from outside influence were, until quite recently, these sequestered mountain valleys that the inhabitants have for a hundred years or more been completely isolated and cut off from all traffic with the rest of the world. Their speech is English, not American, and, from the number of expressions they use which have long been obsolete elsewhere, and the old-fashioned way in which they pronounce many of their words, it is clear that they are talking the language of a past day, though exactly of what period I am not competent to decide. One peculiarity is perhaps worth thenoting, namely the pronunciation of the impersonal pronoun with an aspirate—"hit"—a practice that seems to be universal.

Economically they are independent. As there are practically no available markets, little or no surplus produce is grown, each family extracting from its holding just what is needed to support life, and no more. They have very little money, barter in kind being the customary form of exchange.

Many set the standard of bodily and material comfort perilously low, in order, presumably, that they may have the more leisure and so extract the maximum enjoyment out of life. The majority live in log-cabins, more or less water-tight, usually, but not always, lighted with windows; but some have built larger and more comfortable homesteads.

They are a leisurely, cheery people in their quiet way, in whom the social instinct is very highly developed. They dispense hospitality with an openhanded generosity and are extremely interested in and friendly toward strangers, communicative and unsuspicious. "But surely you will tarry with us for the night? " was said to us on more than one occasion when, after paying an afternoon's visit, we rose to say good-bye.

They know their Bible intimately and subscribe to an austere creed, charged with Calvinism and the unrelenting doctrines of determinism or fatalism. The majority we met were Baptists, but we met Methodists also, a few Presbyterians, and some who are attached to what is known as the "Holiness" sect, with whom, however, we had but little truck, as their creed forbids the singing of secular songs.

They have an easy unaffected bearing and the unselfconscious manners of the well-bred. I have received salutations upon introduction or on bidding farewell, dignified and restrained, such as a courtier might make to his Sovereign. Our work naturally led to the making of many acquaintances, and, in not a few cases, to the formation of friendships of a more intimate nature, but on no single occasion did we receive anything . but courteous and friendly treatment. Strangers that we met in the course of our long walks would usually bow, doff the hat, and extend thehand, saying, "My name is------; what is yours?" an introduction which often led to a pleasant talk and sometimes to singing and the noting of interesting ballads. In their general characteristics they reminded me of the English peasant, with whom my work in England for the past fifteen years or more has brought me into close contact. There are differences, however. The mountaineer is freer in his manner, more alert, and less inarticulate than his British prototype, and bears no traceof the obsequiousness of manner which, since the Enclosure Acts robbed him of his economic independence and made of him a hired labourer, has unhappily characterized the English villager. The difference is seen in the way the mountaineer, as I have already said, upon meeting a stranger, removes his hat, offers his hand and enters into conversation, where the English labourer would touch his cap," or pull his forelock, and pass on.
A few of those we met were able to read and write, but the majority were illiterate. They are, however, good talkers, using an abundant vocabulary racily and often picturesquely. Although uneducated, in the sense in which that term is usually understood, they possess that elemental wisdom, abundant knowledge and intuitive understanding which those only who live in constant touch with Nature and face to face with reality seem to be able to acquire. It is to be hoped that the schools which are beginning to be established in some districts, chiefly in the vicinity of the Missionary Settlements, will succeed in giving them what they lack without infecting their ideals, or depriving them of the charm of manner and the many engaging qualities which so happily distinguish them.

Physically, they are strong and of good stature, though usually spare in figure. Their features are clean-cut and often handsome; while their complexions testify to wholesome, out-of-door habits. They carry themselves superbly, and it was a never-failing delight to note their swinging, easy gait and the sureness with which they would negotiate the foot-logs over the creeks, the crossing of which caused us many anxious moments. The children usually go about barefooted, and, on occasion their elders too, at any rate in the summer time. Like all primitive peoples, or those who live under primitive conditions, they attain to physical maturity at a very early age, especially the women, with whom marriage at thirteen, or even younger, is not unknown.

I have been told that in past days there were blood-feuds—a species of vendetta—which were pursued for generations between members of certain families or clans; but, whenever circumstances connected with these were related to me, I was always given to understand that this barbarous custom had long since been discontinued. I have heard, too, that there is a good deal of illicit distilling of corn spirit by "moonshiners", as they are called, in defiance of the State excise laws; but of this, again, I personally saw nothing and heard but little. Nor did I see any con­sumption of alcohol in the houses I visited. On the other hand, the chewing or snuffing of tobacco is a common habit amongst young and old; but, curiously enough, no one smokes. Indeed, many looked askance at my pipe and I rarely succeeded in extracting more than a half­hearted assent to my request for permission to light it.

That the illiterate may nevertheless reach a high level of culture will surprise those only who imagine that education and cultivation are convertible terms. The reason, I take it, why these mountain people, albeit unlettered, have acquired so many of the essentials of culture is partly to be attributed to the large amount of leisure they enjoy, with­out which, of course, no cultural development is possible, but chiefly to the fact that they have one and all entered at birth into the full enjoyment of their racial heritage. Their language, wisdom, man­ners, and the many graces of life that are theirs, are merely racial attributes which have been gradually acquired and accumulated in past centuries and handed down generation by generation, each genera­tion adding its quotum to that which it received. It must be re­membered, also, that in their everyday lives they are immune from that continuous, grinding, mental pressure, due to the attempt to "make a living," from which nearly all of us in the modern world suffer. Here no one is "on the make"; commercial competition and social rivalries are unknown. In this respect, at any rate, they have the advantage over those who habitually spend the greater part of every day in preparing to live, in acquiring the technique of life, rather than in its enjoyment.

I have dwelt at considerable length upon this aspect of the mountain life because it was the first which struck me and further, because, without a realization of this background, it will be difficult for the reader to follow intelligently what I have to say. But before I leave this part of my subject I must, in self-justification, add that I am aware that the outsider does not always see the whole of the game, and that I am fully conscious that there is another and less lovely side of the picture which in my appreciation I have ignored. I have deliberately done so because that side has, I believe, already been emphasized, perhaps with unnecessary insistence, by other observers.

The Singers and their Songs.
My sole purpose in visiting this country was to collect the traditional songs and ballads which I had heard from Mrs. Campbell, and knew from other sources, were still being sung there. I naturally expected to find conditions very similar to those which I had encountered in England when engaged on the same quest. But of this I was soon to be agreeably disillusioned. Instead, for instance, of having to confine my attention to the aged, as in England where noone under the age of seventy ordinarily possesses the folk-song tradition, I discovered that I could get what I wanted from pretty nearly every one I met, young and old. In fact, I found myself for the first time in my life in a community in which singing was as common and almost as universal a practice as speaking. With us, of course, singing is an entertainment, something done by others for our delectation, the cult and close preserve of a professional caste of specialists. The fact has been forgotten that singing is the one form of artistic expression that can be practised without any preliminary study or special training; that every normal human being can sing just as every one can talk; and that it is, consequently, just as ridiculous to restrict the practice of singing to a chosen few as it would be to limit the art of speaking to orators, professors of elocution and other specialists. In an ideal society every child in his earliest years would as a matter of course develop this inborn capacity and learn to sing the songs of his fore­fathers in the same natural and unselfconscious way in which he now learns his mother tongue and the elementary literature of the nation to which he belongs.

And it was precisely this ideal state of things that I found existing in the mountain communities. So closely, indeed, is the practice of this particular art interwoven with the ordinary avocations of everyday life that singers, unable to recall a song I had asked for, would often make some such remark as, "Oh, if only I were driving the cows home I could sing it at once!". On one occasion, too, I remember that a small boy tried to edge himself into my cabin in which a man was singing to me and, when I asked him what he wanted, he said, "I always like to go where there is sweet music." Of course, I let him in and, later on, when my singer failed to remember a song I had asked for, my little visitor came to the rescue and straightway sang the ballad from beginning to end in the true traditional manner, and in a way which would have shamed many a professional vocalist (see No. 15, B). I have no doubt but that this delightful habit of making beautiful music at all times and in all places largely compensates for any deficiencies in the matter of reading and writing.

But, of course, the cultural value of singing must depend upon the kind of songs that are sung. Happily, in this matter the hillsman is not called upon to exercise any choice, for the only music, or, at any rate, the only secular music, that he hears and has, therefore, any opportunity of learning is that which his British forefathers brought with them from their native country and has since survived by oral tradition.

When, by chance, the text of a modern street-song succeeds in penetrating into the mountains it is at once mated to a traditional tune (e.g. No. 99) and sometimes still further purified by being moulded into the form of a traditional ballad (see No. 87). But this happens but rarely, for, strange as it may seem, these mountain valleys are in fact far less affected by modern musical influences than the most remote and secluded English village, where there is always a Parsonage or Manor House, or both, to link it to the outside world.

We found little or no difficulty in persuading those we visited to sing to us. To prove our interest in the subject and to arouse their memories, we wrould ourselves sometimes sing folk-songs that I had collected in England, choosing, for preference, those with which they were un­acquainted. Very often they misunderstood our requirements and would give us hymns instead of the secular songs and ballads which we wanted; but that was befoie we had learned to ask for "love-songs," which is their name for these ditties. It was evident, too, that it was often assumed that strangers like ourselves could have but one object and that to "improve", and their relief was obvious when they found that we came not to give but to receive.

It is no exaggeration to say that some of the hours I passed sitting on the porch (i. e. verandah) of a log-cabin, talking and listening to songs wrere amongst the pleasantest I have ever spent. Very often we would call upon some of our friends early in the morning and remain till dusk, sharing the mid-day meal with the family, and I would go away in the evening with the feeling that I had never before been in a more musical atmosphere, nor benefited more greatly by the exchange of musical confidences.

The singers displayed much interest in watching me take down their music in my note-book and when at the conclusion of a song I hummed over the tune to test the accuracy of my transcription they were as delighted as though I had successfully performed a conjuring trick.

The mountain singers sing in very much the same way as English folk-singers, in the same straightforward, direct manner, without any conscious effort at expression, and with the even tone and clarity of enunciation with which all folk-song collectors are familiar. Perhaps, however, they are less unselfconscious and sing rather more freely and with somewhat less restraint than the English peasant; I certainly never saw any one of them close the eyes when he sang nor assume that rigid, passive expression to which collectors in England have so often called attention.

They have one vocal peculiarity, however, which I have never noticed amongst English folk-singers, namely, the habit of dwelling arbitrarily upon certain notes of the melody, generally the weaker accents. This practice, which is almost universal, by disguising the rhythm and breaking up the monotonous regularity of the phrases, produces an effect of improvisation and freedom from rule which is very pleasing. The effect is most characteristic intunes, as, for example, No. 16 G, in which in the course of the tune pauses are made on each of the three notes of the subsidiary triplets.

The wonderful charm, fascinating and well-nigh magical, which the folk-singer produces upon those who are fortunate enough to hear him is to be attributed very largely to his method of singing, and this, it should be understood, is quite as traditional as the song itself. The genuine folk-singer is never conscious of his audience—indeed, as often as not, he has none—and he never, therefore, strives after effect, nor endeavours in this or in any other way to attract the attention, much less the admiration of his hearers. So far as I have been able to com­prehend his mental attitude, I gather that, when singing a ballad, for instance, he is merely relating a story in a peculiarly effective way which he has learned from his elders, his conscious attention being wholly concentrated upon what he is singing and not upon the effect which he himself is producing. This is more true, perhaps, of the English than of the American singers, some of whom I found were able mentally to separate the tune from the text—which English singers can rarely do— and even in some cases to discuss the musical points of the former with considerable intelligence.

I came across but one singer who sang to an instrumental accom­paniment, the guitar, and that was in Charlottesville, Va. (No. II, B). Mrs. Campbell, however, tells me that in Kentucky, where I have not yet collected, singers occasionally play an instrument called the dulcimer, a shallow, wooden box, with four sound-holes, in shape somewhat like a flat, elongated violin, over which are strung three (sometimes four) metal strings, the two (or three) lower of which are tonic-drones, the melody being played upon the remaining and uppermost string which is fretted. As the strings are plucked with the fingers and not struck with a hammer, the instrument would, I suppose, be more correctly called a psaltery.

The only instrumental music I heard were jig tunes played on the fiddle. I took down several of these from the two fiddlers, Mr. Reuben Hensley and Mr. Michael Wallin, who were good enough to play to me. Whenever possible they used the open strings as drones, tuning the strings—which, by the way, were of metal—in a particular way for each air they were about to perform. I have not included any of these in this collection, but I hope, later on, to publish some of them when I have had further opportunities of examining this peculiar and unusual method of performance.

Many of the singers whose songs are recorded in the following pages had very large repertories. Mrs. Reuben Hensley, with the assistance of her husband and her daughter Emma, sang me thirty-five songs; while Mrs. Sands of Allanstand gave me twenty-five; Mr. Jeff Stockton of Flag Pond, Tenn., seventeen; Mr. N. B. Chisholm of Woodridge, Va., twenty-four; Mrs. Tom Rice of Big Laurel, twenty-six; and Mrs. Jane Gentry of Hot Springs, no less than sixty-four. Attention has often been called to the wonderful and retentive memories of folk-singers in England, and I can vouch for it that these American singers are, in this respect, in no way inferior to their English contemporaries.

None of the singers whom I visited possessed any printed song-sheets but some of them produced written copies, usually made by children, which they called "ballets", a term which the English singer reserves for the printed broadside.

It will be seen that in many cases we give several variants or different versions of the same song and that we have made no attempt to dis­criminate between these. The fact that no two singers ever sing the same song in identically the same way is familiar to all collectors, and may be interpreted in either of two ways. The upholder of the individ­ualistic theory of origin contends that these variants are merely incorrect renderings of some original, individual composition which, never having been written down, has orally survived in various corrupt forms. On the other hand, there are those—and I count myself amongst them—who maintain that in these minute differences lie the germs of development; that the changes made by individual singers are akin to the "sports" in the flower or animal worlds, which, if perpetuated, lead to further ideal development and, perhaps, ultimately to the birth of new varieties and species. There is no doubt that if this problem is ever to be solved it will be through the examination and analysis of genuine, authentic variants, such as we have done our best faithfully to record; and we make no apology, therefore, for printing so many of them.

For very much the same reason, in addition to the variants derived from different singers, we have in many cases recorded the changes made by the individual singer in the successive repetitions of the tune  in the course of his song. These are often of great interest and signifi­cance and sometimes show an inventiveness on the part of the singer that is nothing less than amazing as, for example, in Mr. Jeff Stockton's version of "Fair Margaret" (No. 17, A). Mrs. Campbell and I have together collected 450 tunes. For the purposes of this volume, we have selected 325 of these, which are asso­ciated with 122 different sets of words—55 ballads and 67 songs.

The distinction between the ballad and the song is more or less arbitrary and is not easy to define with precision. Broadly speaking, however, the ballad is a narrative song, romantic in character and, above all, impersonal, that is to say, the singer is merely the narrator of events with which he personally has no connection and for which he has no responsibility. The song, on the other hand, is a far more emotional and passionate utterance and is usually the record of a personal experience —very frequently of an amatory nature.

The Ballads.
The ballads have, probably, the longer history behind them; at any rate, they attracted the attention of collectors earlier than the songs—the reason, perhaps, why the ballads have suffered, far more than the songs, from the unscrupulous editing of literary meddlers.

The ballad air is necessarily of a straightforward type, as it is sung indifferently to verses often varying very widely in emotional character. Nevertheless, many of the ballad tunes are very lovely, as the musician who studies the contents of this volume will readily perceive. Such airs, for instance, as Nos. 3, 15, 19, 20, 27, 29, 35, 37, 39 and 47 make really beautiful music and are fully capable of standing alone, divorced from their texts, and of being played or sung as absolute music. The most perfect type of ballad, however, is that in which the tune, whilst serving its purpose as an ideal vehicle for the words, is of comparatively little value when divorced from its text. "The False Knight upon the Road" (No. 1) is a good instance of this and, in my opinion, a splendid example of the genuine ballad at its highest pitch.

It is greatly to be deplored that the literature of the ballad has, in the past, attracted so much more attention than the music. Properly speaking, the two elements should never be dissociated; the music and the text are one and indivisible, and to sever one from the other is to remove the gem from its setting. Early poetry, to which category the traditional ballad belongs, was always sung or chanted; it was addressed to the ear, not the eye. While language appeals primarily to the intelliso far as I have been able to discover, in any of the standard English collections, e.g., Nos. 57, 59, 63, 65, 68, 70, 79, 81, 86, 88, 91, 122 and 123.

The literature of the traditional song does not, as a whole, compare favourably with that of the ballad. Many of the lines printed in this volume are corrupt and unintelligible, while some of them are the merest doggerel. Nevertheless, a few of the verses are very beautiful, not merely by contrast but intrinsically. Stanzas, for example, such as:

When I see your babe a-laughing,
It makes me think of your sweet face;
But when I see your babe a-crying,
It makes me think of my disgrace.

and

When your heart was mine, true love,
And your head lay on my breast,
You could make me believe by the falling of your arm
That the sun rose up in the West.

There's many a girl can go all round about
And hear the small birds sing,
And many a girl that stays at home alone
And rocks the cradle and spins.

There's many a star that shall jingle in the West,
There's many a leaf below,
There's many a damn that will light upon a man
For treating a poor girl so.

contain all the essentials of genuine poetry and, in their feeling, in their artlessness, in the directness and simplicity of their verbal expression and the absence of circumlocution, reach a high level of imaginative and poetic expression.

One curious hiatus in the repertories of the mountain-singers struck me very forcibly, viz. the total absence of songs of a ritual nature, e.g. Harvest-Home songs, Carols (with one notable exception, No. 13), May-day songs and others of religious origin, such as those associated with the Morris and Sword-dance ceremonies; as well as, for obvious reasons, all Cuckoo*, Primrose and other Spring songs. The reason for this, I take it, is because ritual observances belong to, and are bound up so closely with, the soil of a country that they do not readily survive trans­plantation; and partly, too, because the mountain people for the most part live in isolated dwellings and at considerable distances from one another and do not congregate in villages as in older and more settled

[*This statement must now (i. e. May, 1917) be modified, for I have just noted down in Knox Co., Ky., a version of "The Cuckoo is a fine bird," a remarkable example, in the circumstances, of the persistence of tradition.]

countries like England, a condition that would inevitably lead to the discontinuance of seasonal and other communal festivals. This latter reason may also account for the decadence of dancing amongst the mountaineers, although I have no doubt that religious scruples have also been a contributory cause-—I noticed that in reply to my enquiries on this subject the euphemism "playing games" was always substituted for "dancing" by my informants.

Scales and Modes.
Very nearly all these Appalachian tunes are cast in "gapped" scales, that is to say, scales containing only five, or sometimes six, notes to the octave, instead of the seven with which we are familiar, a "hiatus", or "gap", occurring where a note is omitted.
To trace the history of this particular scale is to venture upon controversial ground.

Personally, I believe that it was the first form of scale evolved by the folk which was in any way comparable with our modern major or minor scale. Originally, as may be gathered from the music of primitive tribes, the singer was content to chant his song in monotone, varied by occasional excursions to the sounds immediately above or below his single tone, or by a leap to the fourth below. Even­tually, however, he succeeded in covering the whole octave, but, even so, he was satisfied with fewer intermediate sounds than the seven which comprise the modern diatonic scale. Indeed, there are many nations at the present day which have not yet advanced beyond the two-gapped or pentatonic scale, such as, for instance, the Gaels of Highland Scotland; and, when we realize the almost infinite melodic possibilities of the 5-note scale, as exemplified in Celtic folk-music and, for that matter, in the tunes printed in this volume, we can readily understand that singers felt no urgent necessity to increase the number of notes in the octave. A further development in this direction was, however, eventually achieved by the folk-singer, though, for a long while, as was but natural, the two medial notes, required to complete the scale, were introduced speculatively and with hesitation. There are many instances in Irish folk-music, for example, in which the pitch or intonation of these added sounds is varied in the course of one and the same tune. This experi­mental and transitional period, however, eventually came to a close and the final stage was reached, so far as the folk-singer was concerned, when the diatonic scale, i.e. the 7-note scale represented by the white notes of the pianoforte, became definitely settled. And this is the scale which is commonly used by the English folk-singer of the present day. But even then, and for a long period after, the mediate sounds remained " weak "and were employed only as auxiliary notes or connecting links, rather than structural or cadential notes, so that the gaps, though covered up, were not concealed. And it was left to the art-musician to take the final step and evolve the 7-note scale of which every note could be used with equal freedom and certainty.

Of the tunes in this volume, some are pentatonic; others belong to the transitional period and are hesitatingly hexatonic, or even heptatonic; while a few are frankly in the major mode, i.e. diatonic 7-note tunes in which no indication of a pentatonic origin can be traced. For the benefit of those interested in this technical question, particulars concerning scale and mode are given at the head of every tune in the text. The names and characteristics of the 7-note diatonic modes need no explanation; but with regard to the pentatonic modes, which are but rarely employed by art-musicians, it may be as well, perhaps, to explain the method of classification and nomenclature adopted in this volume. This is set out in the chart on the opposite page.
The five pentatonic modes there given have been derived in the following way:—

If from the white-note scale of the pianoforte the two notes E and B be eliminated we have the pentatonic scale with its two gaps in every octave, between D and F and between A and C. As each one of the five notes of the system may in turn be chosen as tonic, five modes emerge, based, respectively, upon the notes C, D, F, G and A. The gaps, of course, occur at different intervals in each scale and it is this distinguishing feature which gives to each mode its individuality and peculiar characteristic.

The one-gapped or hexatonic scale, and the 7-note or heptatonic scale are, as we have already seen, derivates of the original pentatonic, obtained by the filling in, respectively, of one or both of the gaps. Miss Gilchrist (see Journal of the Folk-Song Society, v., pp. 150-153), whose very clear exposition of this matter I am in the main following, allows the lower gap, i.e. between D and F, to be completed by the insertion of either E-flat or E-natural, and the upper gap, i.e. between A and C, by the addition of B-flat; and by this method she has succeeded in classifying very satisfactorily her material, which consists entirely of Gaelic tunes. When, however, I came to apply this method to the mountain-tunes I found it necessary to make the following modification, viz., to take E-natural as the constant and invariable mediate note of the lower gap, and either B-flat or B-natural of the upper. The chart, given here, has, therefore, been constructed on this plan, i.e. Miss Gilchrist's, modified in the way just explained.

[Pentatonic}

This description will, it is hoped, enable the reader to understand the modal and scale index attached to each of the tunes printed in this volume. His attention, however, must still be called to two points.

In some tunes it has been difficult to decide with certainty upon the tonic, for in pentatonic airs, or, at any rate, in these mountain melodies, the tonic is frequently and patently not the final note of the tune. Airs of this kind are called "circular," because the final phrase is fashioned so that it may lead into the initial phrase without pause or break of con­tinuity and thus complete the melodic circle. Strictly speaking, the singer on the final repetition of a circular tune should vary the last phrase so as to conclude upon the tonic; but this singers very rarely do— No. 25 is the only tune in this Collection in which this is done.
Again, it will be seen that a heptatonic tune may, so far as its notes are concerned, be assigned indifferently to one or other of two modes. An ionian air, for instance, may belong to Mode I, or Mode 3; a dorian to Modes 2 or 4, and so forth. The true classification in such cases is determined by detecting the "weak" notes, which, by disclosing the places in the scale where the gaps originally occurred, will thereby show the mode, of which the tune in question is a derivative. An ionian tune, for example, will be assigned to Mode 1 if its third be a weak note (as well as its seventh), and to Mode 2 if, instead of the third, the fourth be the weak one. Similarly a dorian air will be classified second or fourth Mode according as the second or third scale-degree be the weak note.

Ethnological Origin of the Singers.
If the prevalence of the gapped scale in the mountain tunes is any indication of the ethnological origin of the singers, it seems to point to the North of England, or to the Lowlands, rather than the Highlands, of Scotland, as the country from which they originally migrated. For the Appalachian tunes, notwithstanding their "gapped" characteristics, have far more affinity with the normal English folk-tune than with that of the Gaelic-speaking Highlander (cf. Journal of the Folk-Song Society, v., pp. 157-269), and may, therefore, very well have been derived from those who, dwelling on the borders of the High­land Kingdom, had become infected to some extent with the musical proclivities of their neighbours. It will be observed, moreover, that the Notes contain a large number of references to Dean Christie's Traditional Ballad Airs and to the late Gavin Greig's Folk-Songs of the North-East, and both of these are collections of traditional songs from Lowland, not Highland, Scotland.

There is, however, another possible explanation. For all that weknow—and there is really no trustworthy evidence on this point—the English folk-singer of the eighteenth century may still have been using the gapped scale and may not have advanced to the understanding and use of the 7-note scale until the following century. And if this supposi­tion be made—and it is at least a possible one—we may argue that the ancestors of our mountain singers hailed originally from England and that they sang in the gapped scale because that was the habit which then prevailed amongst their contemporaries. An analysis of the names of the singers recorded in this volume does not help us very much, but, so far as it goes, it seems to support rather than to contradict this latter supposition.

However, it is not a matter of any great importance which of these two hypotheses we accept, because, in either event, the tunes in question would quite correctly be called English. For, as folk-lorists will, I think, agree, England and the English-speaking parts of Scotland must, so far as folk-tales, folk-songs and other folk-products are concerned, be re­garded as one homogeneous area.

The Cultural Significance of Tradition.
The words and the tunes in this Collection are typical and authentic examples of the beginnings and foundations of English literature and music. The history of man is the history of his efforts to express himself, and the degree to which he has at any given moment succeeded in doing this is the measure of the civilization to which he has attained. The method by which he has sought to achieve this end has been through the exercise and development of certain inborn and basic human faculties; and his achievements are concretely to be seen in the literature, music, paint­ing, dancing, sculpture and other art - works which each nation has created and accumulated and in which it finds reflected its own peculiar and distinctive characteristics. The process is a cumulative one, the children of each generation receiving from their fathers that which, with certain modifications and additions of their own, they be­queath to their children. The historian, however, will point out that this process is not uniformly progressive; that nations in the course of their development pass through different phases, and that, in consonance with these, their artistic output varies in character and quality from period to period. These variations, however, fluctuate within certain clearly defined limits, and are superficial rather than radical; so that, while each may reflect with greater or less fidelity the specific outlook of a particular epoch, the form of expression remains fundamentally true toone type, and that the national type. And this national type is always to be found in its purest, as well as in its most stable and permanent form, in the folk-arts of a nation.

Although this theory of nationalism in art is now very generally accepted, the fact that it is based upon the intimate relationship which the art of the folk must always bear to that of the self-conscious, culti­vated and trained individual artist is too often overlooked. But, bearing this in mind, the significance and value of the contents of such a book as this become immediately apparent. We talk glibly of the creative musician, but, however clever and inspired he may be, he cannot, magi­cian-like, produce music out of nothing; and if he were to make the attempt he would only put himself back into the position of the primi­tive savage. All that he can do and, as a matter of fact, does, is to make use of the material bequeathed to him by his predeces­sors, fashion it anew and in such manner that he can through it, and by means of it, express himself. It is my sober belief that if a young composer were to master the contents of this book, study and assimilate each tune with its variants, he would acquire just the kind of education that he needs, and one far better suited to his requirements than he would obtain from the ordinary Conservatoire or College of Music.

Again, the value of such songs as these as material for the general education of the young cannot be overestimated. For, if education is to be cultural and not merely utilitarian, if its aim is to produce men and women capable, not only of earning a living, but of holding a dignified and worthy position upon an equality with the most cultivated of their geneiation, it will be necessary to pay at least as much attention to the training and development of the emotional, spiritual and imaginative faculties as to those of the intellect. And this, of course, can be achieved only by the early cultivation of some form of artistic expression, such as singing, which, for reasons already given, seems of all the arts to be the most natural and the most suitable one for the young. Moreover, remembering that 'the primary purpose of education is to place the children of the present generation in possession of the cultural achieve­ments of the past so that they may as quickly as possible enter into their racial inheritance, what better form of music or of literature can we give them than the folk-songs and folk-ballads of the race to which they belong, or of the nation whose language they speak? To deny them these is to cut them off from the past and to rob them of that which is theirs by right of birth. To put it another way, the aim of theeducationist should be not to forge the first link of a new chain, but to add a fresh link to an old one.

That culture is primarily a matter of inheritance and not of educa­tion is, perhaps, a mere truism, but it is one, nevertheless, which educa­tionists often forget. My knowledge of American life may be too slender for an opinion of mine to carry much weight, but I cannot withhold the criticism—advanced with the greatest diffidence—that the educational authorities of some of the larger cities in the United States are too ready to ignore the educational and cultural value of that national heritage which every immigrant brings with him to his new home, and to rest too con­fidently upon their educational system, which is often almost wholly utilitarian and vocational, to create the ideal American citizen. I admit that the problem which faces the educationist in America is a peculiarly difficult one, but it will, I am convinced, never be satisfactorily solved until the education given to every foreign colonist is directly based upon, and closely related to, his or her national inheritance of culture.
Of the supreme cultural value of an inherited tradition, even when unenforced by any formal school education, our mountain community in the Southern Highlands is an outstanding example. Another, though negative, instance of the truth of the same principle may be seen in the contents of a book which Professor Lomax has recently compiled, con­cerning the songs of the cowboys of Texas.1 Let me ask the reader to compare these with the songs of the Southern Highlanders. The com­parison is a fair one, for the cowboys live a communal life almost as isolated and shut off from the world as that of the mountaineers, and feel, accordingly, the same compelling desire to express themselves in song. They are not, or at any rate they would not, I imagine, consider themselves, in any way inferior to their neighbours; they are, I take it, less illiterate, while the life they lead is more vivid and exciting and far richer in incident. Why, then, is it that their songs compare so un­favourably with those of the mountain singers? It can only be because the cowboy has been despoiled of his inheritance of traditional song; he has nothing behind him. When, therefore, he feels the need of self-expression, having no inherited fund of poetic literature upon which to draw, no imaginative world into which to escape, he has only himself and his daily occupations to sing about, and that in a self-centred, self-conscious way, e.g., "The cowboy's life is a dreadful life"; "I'm a poor lonesome cowboy"; "I'm a lonely bull-whacker"—and so forth.

[1 Cowboy Songs and other Frontier Ballads. Sturgis and Walton, 1916.]

Now this, of course, is precisely what the folk-singer never does. When he sings his aim is to forget himself and everything that reminds him of his everyday life; and so it is that he has come to create an imagin­ary world of his own and to people it with characters quite as wonderful, in their way, as the elfish creations of Spenser.

Mrs. Campbell and I realize that we are, of course, only at the beginning of our labours and that the contents of this book are but a first instalment. Indeed, when we consider into what a very small portion of the field we have as yet carried our investigations the magni­tude of the task before us seems overwhelming. But this may not in reality be so, for it may not, after all, be necessary to pursue our researches throughout the whole of the area with the same care that we have already given, say, to the Laurel Country. For folk-singing in the mountains is so live an art and so general a practice that in all probability by the time we have collected a certain number of songs—-not necessarily a very great number—we shall find that we have exhausted the field. Whether or not this comforting supposition proves to be correct, we shall, neither of us, rest content until all of this material has been collected, either by ourselves or by others, published, and made generally available.
We have in the following pages printed the songs exactly as we took them down from the lips of the singers, without any editing or "adorn­ments" whatsoever, and we have done so because we are convinced that this is the only way in which work of this kind should be presented, at any rate in the first instance. Later on, we may harmonize and publish a certain number of the songs and so make a wider and more popular appeal.

But this can be done at leisure. The pressing need of the moment is to complete our collection while there is yet the opportunity—and who can say how long the present ideal conditions will remain unaltered? Already the forests are attracting the attention of the commercial world; lumber companies are being formed to cut down and carry off the timber, and it is not difficult to foresee the inevitable effect which this will have upon the simple, Arcadian life of the mountains. And then, too, there are the schools, which, whatever may be said in their favour, will always be the sworn enemies of the folk-song collector.
I cannot allow myself to conclude these remarks without expressing my gratitude to the many friends who have assisted me in my investiga­tions. There are those in particular, who were kind enough to entertain me in their mountain homes:—Dr. and Mrs. Packard of White Rock; Miss Edith Fish of Allanstand; Mrs. Hamilton and Miss Bacon of Alleghany; Miss Ollie Henricks of Big Laurel; and Miss Jennie Moor of Rocky Fork. Nor can I omit the names of some, at least, of those by whose help and advice I have so greatly profited:—Mrs. J. J. Storrow, who gave me assistance of a most practical kind; Professor Alphonso Smith, and Mr. John M. Glenn of the Russell Sage Foundation.

C. J. S.
27 Church Row, Hampstead,
London, N. W.

CONTENTS         PAGE  
 Introduction

 Ballads:   
 1. The False Knight Upon the Road 1 
 2. Lady Isabel and the Elf Knight 3 
 3- Earl Brand 9 
 4- The Two Sisters 16 
 5- The Cruel Brother 20 
 6. Lord Randal 22 
 7- Edward 26 
 8. Sir Lionel 28 
 9- The Cruel Mother 29 
 10. The Three Ravens 32 
 11. The Two Brothers 33 
 12. Young Beichan 38 
 13- The Cherry-Tree Carol 43 
 14. Fair Annie 45 
 15- Young Hunting 47 
 16. Lord Thomas and Fair Ellinor 55 
 17- Fair Margaret and Sweet William 62 
 18. Lord Lovel 71 
 19. The Wife of Usher's Well 73 
 20. Little Musgrave and Lady Barnard 78 
 21. Barbara Allen 90 
 22. Giles Collins 100 
 23- Lamkin 104 
 24. The Maid Freed from the Gallows 106 
 25- Johnie Scot 109 
 26. Sir Hugh 111 
 27. The Gypsy Laddie 112 
 28. Geordie 117 
 29. The Daemon Lover 119 
 30- The Grey Cock 128 
 31- The Suffolk Miracle 130 
 32. Our Goodman 134 
 33. The Wife Wrapt in Wether's Skin 
 34- The Farmer's Curst Wife 139 
 35- The Golden Vanity 142 
 36. The Brown Girl 145 
 37- The Trooper and the Maid 149 
 38. In Seaport Town 151 
 39- The Cruel Ship's Carpenter 154 
 40. Shooting of His Dear 159 
 41. The Lady and the Dragoon 161 
 42. The Boatsman and the Chest 163 
 43- The Holly Twig 165 
 44. Polly Oliver  167 
 45- The Rich Old Lady 168 
 46. Edwin in the Lowlands Low. 169 
 47- Awake! Awake i73 
 48. The Green Bed 176 
 49. The Simple Ploughboy 178 
 50. The Three Butchers 179 
 5i- William Taylor 181 
 52- The Golden Glove 182 
 53- Pretty Nancy of Yarmouth 184 
 54- The Silk Merchant's Daughter 186 
 55- Jack Went A-Sailing 189  

 Songs:    
 56. The Rejected Lover 197 
 57- The Lover's Lament 200 
 58. The Dear Companion 204 
 59- The Rocky Mountain Top 205 
 60. The Warfare is Raging 206 
 61. The True Lover's Farewell 208  
 62. Katie Morey 211 
 63- Rain and Snow 214 
 64. The Wagoner's Lad 215 
 65. Come all you Fair and Tender Ladies 220 
 66. Ibby Damsel . 223 
 67. Handsome Sally 224 
 68. William and Polly 225
 69.  Hick's Farewell  227  
 70. Poor Omie 228 
 71. The Virginian Lover 231 
 72. Early, Early in the Spring 232 
 73. Married and Single Life 235 
 74- Betsy 236 
 75- If You Want to Go A-courting 238 
 76. Pretty Saro 239 
 77- My Dearest Dear 242 
 78. I'm Going to Georgia 243 
 79- Harry Gray 244 
 80. Locks and Bolts 245 
 81. William and Nancy 248 
 82. George Reilly 249 
 83- Johnny Doyle 251 
 84. Lazarus 253 
 85. Black is the Colour 255 
 86. The Single Girl 256 
 87. John Hardy 257 
 88. Betty Anne 259 
 89. My Boy Billy 260 
 90. Soldier, Won't You Marry me? 262 
 91. Swannanoa Town 263 
 92. The Keys of Heaven 264 
 93- Putman's Hill 268 
 94. The False Young Man 269 
 95- Pretty Peggy 0 274 
 96. My Parents Treated Me Tenderly 276 
 97- The Sheffield Apprentice 278 
 98. The Broken Token 281 
 99. Wild Bill Jones 284 
 100. The Shoemaker 285 
 101. The Brisk Young Lover 286 
 102. Seven Long Years 288 
 103. Come All You Young and Handsome Girls 289 
 104. Loving Reilly 290 
 105. The Awful Wedding 292 
 106. Sweet William 293 
 107. Good Morning, My Pretty Little Miss 296 
 108. My Mother Bid Me 298 
 109. The Ten Commandments 300  
 110. The Tree in the Wood 302  
        
 Nursery Songs:   
 111. The Farmyard 307 
 112. The Drummer and His Wife 308 
 113. The Bird Song 310 
 114. Sourwood Mountain 312 
 115- The Foolish Boy 313 
 116. Harm Link 314 
 117. Sing Said the Mother 315 
 118. I Whipped My Horse 316 
 119. A Frog He Went A-courting 317 
 120. The Frog in the Well 3i9 
 121. The Carrion Crow 320 
 122. The Old Grey Mare 321  

 Notes  323 
 Bibliography  337 
 Index  339 

NOTES

No. 1. The False Knight upon the Road.
Texts without tunes:—Child, No. 3. Compare, also, "Harpkin," Chambers's Popular
Rhymes of Scotland, p. 66. Texts with tunes:—Motherwell's Minstrelsy, Appendix, p. xxiv., and tune No. 32.
Child, v., 411. American variant:—Journal of American Folk-Lore, xxiv., 344.
The Introduction to version A, "A knight met a child on the road," sung by the singer by way of preface, is very unusual, if not unique.

No. 2. Lady Isabel and the Elf Knight.
Texts without tunes:—Child, No. 4. Gavin Greig's Folk-Song of the North-East, ii., art.
106. Miss Burne's Shropshire Folk-Lore, p. 548. Texts with tunes:—Journal of the Folk-Song Society, i., 246; ii., 282; iv., 116. English
County Songs, p. 164. Kidson's Traditional Tunes, pp. 27 and 172. Northumbrian
Minstrelsy, p. 48. Folk Songs from Somerset, No. 84. American variants:—Journal of American Folk-Lore, xviii., 132 (with tune); xix., 232,
xxii., 65, 76 (tune only) and 374 (with tune); xxiii., 375; xxiv., 344; xxvii., 90; xxviii.;
148. Wyman and Brockway's Lonesome Tunes, p. 82.
"My Colleen" in A may, or may not be, a corruption of the May Colvin, Colven, or Collins of other versions.

No. 3. Earl Brand.
Texts without tunes:—Child, No. 7. Gavin Greig's Folk-Song of the North-East, i., art.
57-Text with tune:—Northumbrian Minstrelsy, p. 31.
No. 4. The Two Sisters.
Texts without tunes:—Child, No. 10.
Texts with tunes:—Christie's Traditional Ballad Airs, i., pp. 40 and 42. Journal of the
Folk-Song Society, i., 253, and ii., 282. English County Songs, p. 118. Northumbrian
Minstrelsy, p. 61. Child, v., pp. 411 and 412 (three tunes). "Binnorie," arranged
by Dr. Arthur Somervell. American variants:—Journal of American Folk-Lore, xviii., 130 (with tune); xviii., 130
(without tune); xix., 233.
Compare the refrain in A, "Jury flower gent the rose-berry," with "Jennifer gentle and rosemaree," in "Riddles Wisely Expounded" (Child, No. I, B).

No. 5. The Cruel Brother.
Texts without tunes:—Child, No. II.
Texts with tunes: — Christie's Traditional Ballad Airs, i., 109. Gilbert's Ancient
Christmas Carols, 2nd ed., p. 68. Child, v., 412. American variants:—Journal of American Folk-Lore, xxviii., 300 (with tune).
The version given in the text is a close variant of Davies Gilbert's, which, it should be noted, was collected in the West of England.

No. 6. Lord Randal.
Texts without tunes:—Child, No. 12. Halliwell's Nursery Rhymes and Tales, p. 95.
Gavin Greig's Folk-Song of the North-East, ii., art. 112. Texts with tunes:—Miss Broad wood's Traditional Songs and Carols, p. 96. A Garland
of Country Song, No. 38. Journal of the Folk-Song Society, ii., 29; iii., 43; v., 117, 122
and 245. Folk Songs from Somerset, Nos. 13 and 14. Child, v., pp. 412 and 413. American variants:—Journal of American Folk-Lore, xiii., 115; xvi., 258-264 (three
tunes); xviii., 195 (ten tunes); xxii., 75 (tune only); xxii., 376 (with tune); xxiv.,345.
Musical Quarterly, January, 1916, p. 19.

No. 7. Edward.
Texts without tunes:—Child, No. 13.
The single stanza of B may, or may not, belong to this ballad. Mrs. Hensley learnt it from her father who often sang this particular stanza, but never, to her recollection, sang any other lines.
No. 8. Sir Lionel.
Texts without tunes:—Child, No. 18.
Text with tune:—Christie's Traditional Ballad Airs, i., HO.
American variants:—Journal of American Folk-Lore, xix., 235; xxv., 175.
No. 9. The Cruel Mother.
Texts without tunes:—Child, No. 20. Miss Burne's Shropshire Folk-Lore, p. 540.
Texts with tunes:—Kinloch's Ancient Scottish Ballads, p. 44 and Appendix. Child, v., 413. Christie's Traditional Ballad Airs, i., 105 and 107. Journal of the Folk-Song Society, ii., 109; iii., 70. Folk Songs from Somerset, No. 98.
American variants:—Journal of American Folk-Lore, xxv., 183.
No. 10. The Three Ravens.
Texts without tunes:—Child, No. 26.
Texts with tunes:—Kidson's Traditional Tunes, p. 17. Motherwell's Minstrelsy,
Appendix xviii., tune No. 12. Melismata, No. 20. American variants:—Journal of American Folk-Lore, xx., 154 (no tune).
No. 11. The Two Brothers.
Texts without tunes:—Child, No. 49.
American variants:—Journal of American Folk-Lore, xxvi., 361 (no tune); xxix., 158
mention of the sweetheart until the conclusion of the ballad. Mrs. Smith sang her version (B) to the accompaniment of the guitar which possibly may account for the harmonic character of the tune.
No. 12. Young Beichan.
Texts without tunes:—Child, No. 53. Gavin Greig's Folk-Song of the North-East, i., art. 78, ii., art. 112. Logan's Pedlar's Pack of Ballads, p. 11. Broadsides by Pitts, Catnach and Jackson. Miss Burne's Shropshire Folk-Lore, p. 547. Garret's Merrie Book of Garlands, vol. iii.
Texts with tunes:—Kinloch's Ancient Scottish Ballads, p. 260 (tune in Appendix). Child, v., 415. Christie's Traditional Ballad Airs, i., pp. 8 and 31. Northumbrian Minstrelsy, p. 64. Kidson's Traditional Tunes, p. 33. English County Songs, p. 62. Folk Songs from Somerset, No. 65. Journal of the Folk-Song Society, i., 240; iii., 192-200.
American variants:—Journal of American Folk-Lore, xviii., 209; xx., 251; xxii., 64 and 78 (tune only). Wyman and Brockway's Lonesome Tunes, p. 58.
No. 13. The Cherry Tree Carol.
Texts without tunes:—Child, No. 54. Hone's Ancient Mysteries Described, p. 90.
Gavin Greig's Folk-Song of the North-East, ii., art. 160. Texts with tunes:—Husk's Songs of the Nativity, p. 194. English Folk-Carols, Nos. 3
and 4. Journal of the Folk-Song Society, iii., 260; v., II and 321.
No. 14. Fair Annie.
Texts without tunes:—Child, No. 62.
No. 15. Young Hunting.
Texts without tunes:—Child, No. 68.
Text with tune:—Child, v., 416.
American variants:—Journal of American Folk-Lore, xx., 252.
Compare "And you shall have the cheers of a cherry cold girl" of D. 4 with "Ye shall hae cheer, an charcoal clear" in Child's version K. 4.
No. 16. Lord Thomas and Fair Ellinor.
Texts without tunes:—Child, No. 73. Broadside by Catnach. Miss Burne's Shrop­shire Folk-Lore, p. 545.
Texts with tunes:—Kidson's Traditional Tunes, p. 40. English County Songs, p. 42. Mrs. Leather's Folk-Lore of Herefordshire, p. 200. Sandys's Christmas Carols, tune 18. Journal of the Folk-Song Society, ii., 105; v., 130. Rimbault's Musical Illus­trations to Percy's Reliques, p. 94.
American variants:—Journal of American Folk-Lore, xviii., 128 (one tune); xix., 235; xx., 254; xxviii., 152. One Hundred English Folk-Songs (Ditson), No. 28 (with tune).
No. 17. Fair Margaret and Sweet William.
Texts without tunes:—Child, No. 74. Ashton's Century of Ballads, p. 345.
Texts with tunes:—Christie's Traditional Ballad Airs, i., 117. Journal of the Folk-Song Society, ii., 289; iii., 64. Folk-Songs of England, L, No. 14. Rimbault's Musical Illustrations to Percy's Reliques, pp. 117 and 118.
American variants:—Journal of American Folk-Lore, xix., 281; xxiii., 381; xxviii., 154. Wyman and Brockway's Lonesome Tunes, p. 94. Musical Quarterly, January, 1916, p. 18.
No. 18. Lord Lovel.
Texts without tunes:—Child, No. 75. Gavin Greig's Folk-Song of the North-East, art.
ii-, 159-
Texts with tunes:—Journal of the Folk-Song Society, ii., 289; iii., 64. Child, v., p. 416. American variants:—Journal of American Folk-Lore, xix., 283. One Hundred English
Folk-Songs (Ditson), No. 26 (with tune). Broadside by H. De Marsan, New York.
Musical Quarterly, January, 1916, p. 5.
No. 19. The Wife of Usher's Well.
Texts without tunes:—Child, No. 79.
Text with tune:—Mrs. Leather's Folk-Lore of Herefordshire, p. 198.
American variants:—Journal of American Folk-Lore, xiii., 119; xxiii., 429.
Texts A and C are remarkable in that the children cite the mother's "proud heart" as the reason that has caused them to "lie in the cold clay," a motive which is absent from other English and Scottish versions.
No. 20. Little Musgrave and Lady Barnard.
Texts without tunes:—Child, No. 81.
Text with tune:—Rimbault's Musical Illustrations to Percy's Reliqiies, p. 92.
American variants:—Journal of American Folk-Lore, xxiii., 371; xxv., 182.
No. 21. Barbara Allen.
Texts without tunes:—Child, No. 84. Gavin Greig's Folk-So?ig of the North-East, ii., arts. 165 and 166. Ashton's Century of Ballads, p. 173. Miss Burne's Shropshire Folk-Lore, p. 543. Garret's Merrie Book of Garlands, vol. ii.
Texts with tunes:—Christie's Traditional Ballad Airs, i., 87 and 89. Journal of the Folk-Song Society, i., in and 265; ii., 15 and 80. Kidson's Traditional Tunes, p. 37. Folk Songs from Somerset, No. 22. Journal of the Irish Folk-Song Society, i., 45.
American variants:—Journal of American Folk-Lore, vi., 131 (with tune); xix., 285; xx., 250; xxii., 63 and 74 (tune only); xxix., 161. Musical Quarterly, January, 1916, p. 20 (tune only). Wyman and Brockway's Lonesome Tunes, p. 1.
No. 22. Giles Collins.
Texts without tunes:—Child, No. 85.
Texts with tunes:—Miss Mason's Nursery Rhymes and Country Songs, p. 46. Journal of the Folk-Song Society, iii., 299.
In a note {Journal of the Folk-Song Society, iv., 106), Miss Barbara M. Cra'ster argues that this ballad and Clerk Colvill are complementary or, rather, that they are both descended from a more complete form such as that given in Journal of the Folk-Song Society, iii., 299. In the usual form in which Giles Collins is sung {e.g. the versions given in the text), no reason is given for Giles's death, and this, of course, robs the song of its point. This omission is supplied in the version above cited, but so far has not been found in any other variant.
No. 23. Lamkin.
Texts without tunes:—Child, No. 93.
Texts with tunes:—Christie's Traditional Ballad Airs, i., 61. Mrs. Leather's Folk-Lore
of Herefordshire, p. 199. Folk-Songs of England, iv., p. 38. Journal of the Folk-Song
Society, i., 212; ii., in; v., 81. American variants:—Journal of American Folk-Lore, xiii., 117; xxix., 162.
No. 24. The Maid Freed from the Gallows.
Texts without tunes:—Child, No. 95.
Texts with tunes:—English County Songs, p. 112. Folk Songs from Somerset, No. 121.
Journal of the Folk-Song Society, v., 228. American variants:—American Journal of Folk-Lore, xxi., 56; xxvi., 175. Musical
Quarterly, January, 1916, pp. 10 and 11 (without tunes). Wyman and Brockway's
Lonesome Tunes, p. 44.
No. 25. Johnie Scot.
Texts without tunes:—Child, No. 99.
Texts with tunes:—Motherwell's Minstrelsy, Appendix, tune No. 15. Child, v., p. 418.
"Taverin" in the text is "Italian," "Tailliant," "Itilian," or simply "champion" in other versions. Child throws light upon the incident by quoting a story (Revd. Andrew Hall's Interesting Roman Antiquities recently Discovered in Fife, 1823, p. 216) in which James Macgill of Lindores is offered a pardon by Charles II. upon condition of his fighting an Italian gladiator or bully. In the contest which ensues, "the Italian actually leaped over his opponent as if he would swallow him alive, but in attempting to do this a second time Sir James run his sword up through him and then called out, 'I have spitted him; let them roast him who will.'" A similar story is related of the Breton seigneur Les Aubrays of St. Bricux, who is ordered by the French King to undertake a combat with his wild Moor (Luzel's Poesies populaires de la France, MS., vol. 1).
No. 26. Sir Hugh.
Texts without tunes:—Child, No. 155. Miss Burne's Shropshire Folk-Lore, p. 539. Baring-Gould's Nursery Songs and Rhymes, pp. 92 and 94.
Texts with tunes:—Miss Mason's Nursery Rhymes, p. 46. English County Songs, p. 86.
Folk Songs from Somerset, No. 68. Journal of the Folk-Song Society, i., 264. Rim-
bault's Musical Illustrations to Percy's Reliques, p. 46. Motherwell's Minstrelsy,
Appendix, xvii., tune No. 7. American variants:—Journal of American Folk-Lore, xix., 293; xxix., 164. Newell's
Games and Songs of American Children, p. 76. Musical Quarterly, January, 1916,
p. 15 (three tunes).
No. 27. The Gypsy Laddie.
Texts without tunes:—Child, No. 200. Miss Burne's Shropshire Folk-Lore, p. 550.
Gavin Greig's Folk-Song of the North-East, ii., art. 110. Irish and English broadsides.
Garret's Merrie Book of Garlands, vol. i. Texts with tunes:—Songs of the West, 2nd ed., No. 50. Folk Songs from Somerset, No. 9. American variants:—Journal of American Folk-Lore, xviii., 191 (7 versions, 3 with
tunes); xix., 294; xxii., 80 (tune only); xxiv., 346; xxv., I7i-T75- Broadside by H.
De Marsan, New York (a comic parody).
No. 28. Geordie.
Texts with tunes:—Child, No. 209. Gavin Greig's Folk-Songs of the North-East, i., art. 75. Broadside by Such.
Texts with tunes:—Christie's Traditional Ballad Airs, i., 53. Journal of the Folk-Song Society, ii., 27, 208; iii., 191; iv., 332. Kidson's Traditional Tunes, p. 25. Miss Broadwood's Traditional Songs and Carols, p. 32. Kinloch's Ancient Scottish Ballads, p. 187 and tune. Folk-Songs of England, ii., p. 47. Folk Songs from Somerset, No. 2.
No. 29. The Daemon Lover.
Texts without tunes:—Child, No. 243.
Texts with tunes:—Journal of the Folk-Song Society, iii., 84. Motherwell's Minstrelsy,
Appendix xv., tune 1. Songs of the West, 2nd ed., No. 76. American variants:—Journal of American Folk-Lore, xviii., 207; xix., 295; xx., 257;
xxvi., 360; xxv., 274 (with tune). Broadside by H. De Marsan, New York. Musical
Quarterly, January, 1916, p. 18.
No. 30. The Grey Cock.
Texts without tunes:—Child, No. 248.
Texts with tunes:—Songster's Companion, ii., 36, 2d ed. Scots Musical Museum, 1787,
No. 76. Dick's The Songs of Robert Burns, pp. 100 and 386. Herbert Hughes's
Irish Country Songs, vol. ii., p. 64.
No. 31. The Suffolk Miracle.
Texts without tunes:—Child, No. 272.
Each of the three tunes, A, B and C, is a variant of the carol air, "Christmas now is draw­ing near at hand" ( see Journal of the Folk-Song Society, v., pp. 7—11).
No. 32. Our Goodman.
Texts without tunes:—Child, No. 274. Ford's Vagabond Songs of Scotland, ii., 31. Texts with tunes:—Songs of the West, 2d ed., No. 30. Chambers's Songs of Scotland
Prior to Burns, p. 184. American variants:—Journal of American Folk-Lore, xviii., 294. Musical Quarterly,
January, 1916, p. 17 (tune only).
No. 33. The Wife Wrapt in Wether's Skin.
Texts without tunes:—Child, No. 277. Gavin Greig's Folk-Song of the North-East,
i., art. 13; and ii., art. 122. Ford's Song Histories, pp. 271-274. Texts with tunes:—Journal of the Folk-Song Society, ii., 223; v., 260. Folk Songs from
Somerset, No. 97. Ford's Vagabond Songs of Scotland, p. 192. American variants:—Journal of American Folk-Lore, vii., 253; xix., 298.
No. 34. The Farmer's Curst Wife.
Texts without tunes:—Child, No. 278.
Texts with tunes:—Journal of the Folk-Song Society, ii., 184; iii., 131. Dick's Songs of
Robert Burns, No. 331. American variants:—Journal of American Folk-Lore, xix., 298; xxvii., 68. Lomax's
Cowboy Songs, p. no.
"Bell, blubs," stanza 10, version A, may be a corruption of "Beelzebubs." Most of the published versions of this song have whistling refrains.
No. 35. The Golden Vanity.
Texts without tunes:—Child, No. 286. Gavin Greig's Folk-Song of the North-East,
ii., arts. 116 and 119. Texts with tunes:—Christie's Traditional Ballad Airs, i., 238. English County Songs,
p. 182. Songs of the West, 2nd ed., No. 64. Journal of the Folk-Song Society, i., 104;
ii., 244. Ford's Vagabond Songs of Scotland, p. 103. American variants:—Journal of American Folk-Lore, xviii., 125 (two tunes). One
Hundred English Folk-Songs (Ditson), p. 36. Wyman and Brockway's Lonesome
Tunes, p. 72.
No. 36. The Brown Girl.
Texts without tunes:—Child, No. 295. Gavin Greig's Folk-Song of the North-East, i.,
art. 79. Broadside by Such, "Sally and her True Love Billy. " Texts with tunes:—Christie's Traditional Ballad Airs, ii., 241. American variants:—Journal of American Folk-Lore, xxvii., 73.
No. 37. The Trooper and the Maid.
Texts without tunes:—Child, No. 299.
Texts with tunes:—Christie's Traditional Ballad Airs, ii., 210. Songs of the West, 2nd ed., No. 65.
No. 38. In Seaport Town.
Texts with tunes:—Journal of the Folk-Song Society, i., 160; ii., 42; v., 123. Miss Broad-wood's Traditional Sojigs and Carols, p. 28. Folk Songs from Somerset, No. 12. American variants:—Journal of American Folk-Lore, xx., 259; xxix., 168.
No. 39. The Cruel Ship's Carpenter.
Texts without tunes:—Broadsides by Pitts, Jackson & Son, and Bloomer (Birmingham)
Ash ton's A Century of Ballads, p. 101. Texts with tunes:—Christie's Traditional Ballad Airs, ii., 99. Journal of the Folk-Song
Society, i., 172. Folk Songs from Somerset, No. 83. American variant:—Journal of American Folk-Lore, xx., 262.
No. 40. The Shooting of his Dear.
Texts with tunes:—Journal of the Folk-Song Society, ii., 59. Journal of the Irish Folk-Song Society, iii., 25. Songs of the West, 2nd ed., No. 62. Folk Songs from Somerset, No. 16. "Molly Ban (pronounced Van) so fair," Petrie's Collection of Irish Music, Nos. 724 and 1171 (tunes only).
American variant:—Journal of American Folk-Lore, xxii., 387.
No. 41. The Lady and the Dragoon.
Text without tune:—Broadside by Such.
Text with tune:—Journal of the Folk-Song Society, i., 108.
American variant:—Journal of American Folk-Lore, xxiii., 447.
No. 43. The Holly Twig.
Text without tune:—West Country Garlands (c. 1760).
Texts with tunes:—Journal of the Folk-Song Society, iii., 315. Songs of the West, 2nd ed. No. 117.
No. 44. Polly Oliver.
Text without tune:—Broadside by Such.
Texts with tunes:—Chappell's Popular Music of the Olden Time, p. 676. Kidson's
Traditional Tunes, p. 116. American variants:—Journal of American Folk-Lore, xii., 248; xxii., 75 (tune only).
Wyman and Brockway's Lonesome Tunes, p. 79.
No. 45. The Rich Old Lady.
Text without tune:—Gavin Greig's Folk-Song of the North-East, L, art. 13. American variants:—Journal of American Folk-Lore, xxviii., 174; xxix., 179.
No. 53. Pretty Nancy of Yarmouth.
Texts without tunes:—Broadside by W. Wright (Birmingham). Garret's Merrie Book
of Garlands, vol. ii. Texts with tunes:—Journal of the Folk-Song Society, ii., 113. Christie's Traditional
Ballad Airs, ii., 282 (tune only).
Mrs. Sands's song is a shortened and condensed version of the broadside ballad—which consists of 56 stanzas, i.e. 22^ lines! In the original story, Jemmy's love for Nancy of Yarmouth is opposed by her father, who, however, promises his consent to their marriage if Jemmy returns safely from an ocean voyage. Jemmy accordingly sails for the Barbadoes where his "comely features" attract the attention, and arouse the love, of the "Perbadus {i.e. Barbadoes) lady whose fortune was great." Jemmy is constant to his first love, and the Perbadus lady, thwarted in her desires, commits suicide. Nancy's father, hearing that Jemmy is returning, writes to his friend the boatswain and promises him a handsome reward if he "the life of young Jemmy would end." The boatswain accepts the bribe and "tumbles " the unfortunate Jemmy "into the deep." The conclusion of the story is correctly given in the text.
No. 55. Jack Went A-Sailing.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, i., art. 45. Broad­side by Such.
Text with tune:—Journal of the Folk-Song Society, ii., 227.
American variants:—Journal of American Folk-Lore, xii., 249; xx., 270; xxv., 9. Wyman and Brockway's Lonesome Tunes, p. 38. Lomax's Cowboy Songs, p. 204.
No. 57. The Lover's Lament.
American variants:—Journal of American Folk-Lore, xx., 268; xxvi., 176.
No. 58. The Dear Companion.
Text without tune:—Gavin Grieg's Folk-Song of the North-East, ii., art. 169.
The tune may be a variant of "The Dowie Dens o' Yarrow" (see Journal of the Folk-Song Society, v., no, first version).
No. 61. The True Lover's Farewell.
Texts without tunes:—Henley and Henderson's Centenary Burns, art. "A red, red rose." Texts with tunes:—Christie's Traditional Ballad Airs, ii., 164. Journal of the Folk-
Song Society, hi., 86; iv., 286. Roxburghe Ballads (Ballad Society, No. 33, Pt. xxii.,
vol. vii.). Butterworth's Folk-Songs from Sussex, No. 10.
Stanzas 4 and 5 in A occur elsewhere in ballad literature, e.g. "The Lass of Roch Royal" {Child, No. 76).
No. 62. Katey Morey.
The tune is a variant of "The Dowie Dens o' Yarrow," several versions of which are given in The Journal of the Folk-Song Society, v., 110-113.
No. 64. The Waggoner's Lad.
American variants:—Journal of American Folk-Lore, xx., 268. Wyman and Brockway'j Lonesome Tunes, p. 62.
No. 65. Come All ye Fair and Tender Ladies.
American variants:—Wyman and Brockway's Lonesome Tunes, p. 55.
No. 67. Handsome Sally.
Text with tune:—Joyce's Old Irish Folk Music, p. 193.
No. 68. William and Polly.
American variant:—Journal of American Folk-Lore, xxv., 10.
No. 70. Poor Omie.
American variant:—Journal of American Folk-Lore, xx., 265-6.
No. 72. Early, Early in the Spring.
Texts without tunes:—Gavin Greig's Folk-Song of the Norlh-East, ii., art. 128. Logan's
Pedlar's Pack of Ballads, p. 29. Broadside by Bloomer of Birmingham. Text with tune:—Folk Songs from Somerset, No. 70.
In the version given by Logan, the hero is present at the siege of Carthagena. If this is the correct reading, the ballad must refer to Admiral Vernon's expedition to the West Indies in 1793.
No. 74. Betsy.
Text without tune:—Gavin Greig's Folk-Song of the North-East, i., art. 80. American variant:—Journal of American Folk-Lore, xii., 245.
No. 75. If you Want to Go A-Courting.
Compare the tune with that of "The Crabfish," Folk Songs from Somerset, No. 59.
No. 80. Locks and Bolts.
Text without tune:—Gavin Greig's Folk-Song of the North-East, i., art. 8. Text with tune:—Christie's Traditional Ballad Airs, i., 37.
Christie states that this ballad "is supposed to refer to the return of Ensign Knight to claim Miss Erskine of Pittodrie as his bride."
No. 81. William and Nancy.
American variant:—Journal of American Folk-Lore, xx., 273.
No. 82. George Reilly.
Text without tune:—Garret's Merrie Book of Garlands, vol. iii. Text with tune:—Christie's Traditional Ballad Airs, ii., 243.
American variant:—Journal of American Folk-Lore, xxii., 397. Wyman and Brock-way's Lonesome Tunes, p. 34.
No. 83. Johnny Doyle.
Text without tune:—Gavin Greig's Folk-Song of the North-East, ii., art. 102.
Texts with tunes:—Journal of the Folk-Song Society, v., 142. Herbert Hughes's Songs
of Uladh. Journal of the Irish Folk-Song Society, i., 66. Petrie's Collection of Irish
Music, Nos. 443, 629 and 630 (all without words).
No. 86. The Single Girl.
Compare last phrase of the tune with that of "Brochan Lorn, Tana Lorn" {Journal of the Folk-Song Society, iv., 192).
No. 87. John Hardy.
American variant:—Journal of American Folk-Lore, vi., 134 (with tune).
This is clearly a modern production despite the "sequence of relatives" and the employ­ment of the two beautiful stanzas (Nos. 7 and 8) from "The Lass of Roch Royal" (see Note to No. 61). No better proof could be adduced of the way in which the mountain singers have assimilated and acquired the technique of balladry.
No. 88. Betty Anne.
American variant:—Journal of American Folk-Lore, vi., 134 (with tune).
No. 89. My Boy Billy.
Texts without tunes:—Halliwell's Nursery Rhymes and Tales, pp. 89 and 328. Barmg-
Gould's Nursery Songs and Rhymes, p. 36. Texts with tunes:—Rimbault's Nursery Rhymes, p. 34. Folk-Songs of England, iv., p. 6. American variant:—Wyman and Brockway's Lonesome Tunes, p. 14.
No. 90. Soldier, Won't you Marry Me.
Text with tune:—Percy Dearmer and Martin Shaw's Songtime, p. 82 (used as a child­ren's game).
No. 91. Swananoah Town.
American variant:—Journal of American Folk-Lore, xxvi., 163 (with tune).
No. 92. The Keys of Heaven.
Text without tune:—Halliwell's Nursery Rhymes and Tales, p. 92.
Texts with tunes:—Miss Mason's Nursery Rhymes and Country Tales, p. 27. English
County Songs, p. 32. Songs of the West, 2nd ed., No. 22. Folk Songs from Somerset,
No. 63. Journal of the Folk-Song Society, ii., 85; iv., 297. American variant:—Newell's Games and Songs of American Children, p. 51.
No. 94. The False Young Man.
Texts with tunes:—Christie's Traditional Ballad Airs, i., 199. Folk-Songs of England, ii., 16. Journal of the Folk-Song Society, ii., 152.
The stanza Ai, B4 and C2 is evidently a reminiscence of a similar verse of "Young Hunt­ing," from which this ballad has probably been derived. Compare the tunes A, B and E with those of "The Daemon Lover" (No. 29). The tune of C and some of its words are reminiscent of "The True Lover's Farewell" (No. 61).
No. 95. Pretty Peggy 0.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, i., art. 15. Ford's Vagabond Songs and Ballads, p. 121. Broadside, "Pretty Peggy of Derby" by Pitts. Texts with tunes:—Christie's Traditional Ballad Airs, i., 277.
"Pretty Girl of Derby 0," is the name of the air to which Thomas Moore, under the mistaken impression that it was an Irish tune, set his "Evelyn's Bower." In the set given by Ford, cited above, the scene is laid in Derby, but in Christie's version and the two variants noted by Gavin Greig Fyvie is substituted for Derby.
No. 96. My Parents Treated me Tenderly.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, i., art. 83. Broad­side by Such. American variant:—Wyman and Brockway's Lonesome Tunes, p. 76.
No. 97. The Sheffield Apprentice.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, i., art. 45. Broad­sides by Harkness (Preston) and Pitts.
Texts with tunes:—Christie's Traditional Ballad Airs, ii., 67. Journal of the Folk-Song Society, i., 200; ii., 169. Folk-Songs of England, ii., 44.
American variant:—Broadside by H. De Marsan (New York).
No. 98. The Broken Token.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, i., art. 23. Broadside by Brereton (Dublin).
Texts with tunes:—Christie's Traditional Ballad Airs, i., 265; ii., 201. Songs of the West, 2nd ed., No. 44. Journal of the Folk-Song Society, iv., 127. English Folk-Songs for Schools, 7th ed., p. 82. Folk Songs from Somerset, No. 45. Miss Broadwood's Traditional Songs and Carols, p. 26.
American variants:—Journal of American Folk-Lore, xxii., 67. Wyman and Brock-way's Lonesome Tunes, p. 88.
No. 101. The Brisk Young Lover.
Text without tune:—Gavin Greig's Folk-Song of the North-East, ii., art. 175.
Texts with tunes:—Journal of the Folk-Song Society, i., 252; ii., 155 and 168; v., 181.
Miss Broadwood's Traditional Songs and Carols, p. 92. Butterworth's Folk Songs
from Sussex, No. 7. Kidson's Traditional Times, p. 44. Mrs. Leather's Folk-Lore
of Herefordshire, p. 205. American variants:—Journal of American Folk-Lore, xxii., 78 (tune only); xxv., 13.
Broadside by H. De Marsan (New York).
No. 104. Loving Reilly.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, ii., art. 143. Broad­side by Brereton (Dublin).
Texts with tunes:—Christie's Traditional Ballad Airs, ii., 145. Journal of the Folk-Song Society, iii., 133. Petrie's Collection of Irish Music, No. 510 (tune only).
William Carleton published a novel, "Willy Reilly and his dear Colleen Bawn," founded on this song.
No. 105. The Awful Wedding.
Text without tune:—Gavin Greig's Folk-Song of the North-East, i., art. 24.
No. 106. Sweet William.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, i., art. 64. Broad­side by T. Evans. Garret's Merrie Book of Garlands, vol. i.
Texts with tunes:—Christie's Traditional Ballad Airs, i., 248. Journal of the Folk-Song Society, i., 99. English County Songs, p. 74. Novello's School Songs, No. 993.
No. 107. Good-Morning, my Pretty Little Miss.
Text without tune:—"A Gentleman's Meeting" in William Garret's Merrie Book of
Garlands, vol. i. Texts with tunes:—Journal of the Folk-Song Society, iii., 296; iv., 281. Songs of the West, 1st ed., No. 23.
No. 108. My Mother Bid me.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, ii., art. 149. Bell's
Ballads of the Peasantry, p. 237. Texts with tunes:—Miss Mason's Nursery Rhymes and Country Songs, p. 33. Kidson's
Traditional Times, p. 92.
No. 109. The Ten Commandments.
Texts without tunes:—Sandys's Christmas Carols, p. 135. Baring-Gould's Nursery
Songs and Rhymes, p. 62. Texts with tunes:—Folk Songs from Somerset, No. 87. Songs of the West, 2nd ed., No.
78. English County Songs, p. 154.
No. no. The Tree in the Wood.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, i., art. 87. Baring-Gould's Nursery Songs and Rhymes, p. 33.
Texts with tunes:—Miss Mason's Nursery Rhymes and Country Songs, p. 26. English County Sotigs, p. 175. Songs of the West, 1st ed., No. 104. Folk Songs from Somerset, No. 93. Journal of the Welsh Folk-Song Society, i., 40.
American variants:—Newell's Games and Songs of American Children, p. III. One Hundred English Folk-Songs (Ditson), No. 98.
No. in. The Farmyard.
Texts without tunes:—Gavin Greig's Folk-Song of the North-East, ii., art. 159. Halli-well's Nursery Rhymes and Tales, p. 332. Chambers's Popular Rhymes of Scotland, ed. 1847, p. 190.
Text with tune:—Novello's School Songs, No. 985.
American variant:—Wyman and Brock way's Lonesome Tunes, p. 6.
No. 112. The Drummer and his Wife.
Text without tune:—Ford's Song Histories, pp. 39-47.
Texts with tunes:—English Folk-Songs for Schools, 7th ed., No. 3. Journal of the Irish
Folk-Song Society, i., 44. American variants:—Journal of American Folk-Lore, xxvi., 365; xxix., 173.
No. 114. Sourwood Mountain.
American variant:—Wyman and Brockway's Lonesome Tunes, p. 91.
No. 115. The Foolish Boy.
Texts without tunes:—Halliwell's Nursery Rhymes and Tales, p. 37. Baring-Gould's Nursery Songs and Rhymes, p. 17. Gavin Greig's Folk-Song of the North-East, [., art.
43-Texts with tunes:—Miss Mason's Nursery Rhymes and Country Songs, p. 16. Rim-
bault's Nursery Rhymes, No. 19. English Folk-Songs for Schools, 7th ed.. No. 52. American variant:—Journal of American Folk-Lore, xxvi., 143.
No. 116. Harm Link.
American variant:—Journal of American Folk-Lore, xxix., 181.
No. 119.) A Frog he Went A-Courting. No. 120. j The Frog in the Well.
Texts without tunes:—Baring-Gould's Nursery Songs and Rhymes, p. 27. Ford's Children's Rhymes, Games and Songs, pp. 122-6.
Notes 
 Texts with tunes:—English Folk-Songs for Schools, 7th ed., Nos. 43 and 44. Journal of the Irish Folk-Song Society, iv., 22. Journal of the Welsh Folk-Song Society, i., 178. Journal of the Folk-Song Society, ii., 226. Mclismata. Pills to Purge Melancholy, ed. 1719, vol. i. Baring-Gould's A Garland of Country Song, No. 13. Joyce's Old Irish Folk Music, p. 331 (tune only). Chappell's Popular Music of the Olden Time, p. 88. Mrs. Leather's Folk-Lore of Herefordshire, p. 209.
American variants:—Journal of American Folk-Lore, xxii., 74 (tune only); xxvi., 134. Wyman and Brockway's Lonesome Tunes, p. 25.
No. 121. The Carrion Crow.
Texts without tunes:—Halliwell's Nursery Rhymes and Tales, p. 46. Baring-Gould's Nursery Songs and Rhymes, p. 39. Bell's Ballads of the Peasantry, p. 202. Ford's Children's Rhymes, Games and Songs, p. 126.
Texts with tunes:—A Garland of Country Song, No. 46. English Folk-Songs for Schools, 7th ed., No. 48.
No. 122. The Old Grey Mare.
American variant:—Journal of American Folk-Lore, xxvi., 123 (with tune).