Some Notes on "O Waly Waly"- Allen 1954
Some Notes on "O Waly Waly"
by J. W. Allen
Journal of the English Folk Dance and Song Society, Vol. 7, No. 3 (Dec., 1954), pp. 161-171
SOME NOTES ON "O WALY WALY"
BY J. W. ALLEN
ONE of the most beautiful of the folk songs published by Cecil Sharp was called by him "O Waly Waly", on the grounds of its similarity to the Scottish song of that name. But examination now shows that the song as published is really a synthesis of three distinct songs, which are related to the Child ballad "Jamie Douglas", and to some other songs. Cecil Sharp was in no way to blame for confusing the three; in this matter he had distinguished support, and at that time it certainly seemed reasonable that the three songs were one. It is only when we compare all the versions available that we see that they fall naturally into three d istinct groups.
"Down in the Meadows"
The best known and most clearly defined group, to which we give the title "Down in the Meadows" for convenience only, is exemplified by a broadside entitled "The Unfortunate Swain", now in the British Museum [1]*; which dates from about 1766.
(A close variant is given by Logan in his Pedlar's Pack [2] ).
THE UNFORTUNATE SWAIN
1. Down in a meadow fair and gay
Plucking a Rose the other day,
Plucking a Rose both red and blue,
I little thought what love could do.
2. Where love is planted, there it grows,
It buds and blossoms like a rose,
And has so sweet and pleasant smell,
No power on earth can it excel.
3. Must I be bound that can go free?
Must I love one that loves not me?
Why should I act such a childish part
To love a girl that will break my heart.
4. If there's a thousand in the room,
My true love has the highest bloom,
Sure she is some chosen one,
I will have her or I'll have none.
5. I spied a ship sail on the deep
She sailed as deep as she could swim,
But not so deep as in love I am,
I care not whether I sink or swim.
6. I set my foot against an oak
I thought it had been a trusty tree,
But first it bent and then it broke
And so did my true love to me.
7. I put my hand into a bush,
Thinking the sweetest rose to find,
I pricked my finger to the bone,
I wish I'd left that rose behind.
8. If roses are such prickly flowers,
They should be gathered while they are green,
And he that loves an unkind maid,
I'm sure he strives against the stream.
9. I'll think of her whom I love best
To wrap her up in linen strong
I'll think of her when dead and gone
When my love is dead and at her rest.
(Note.- There appears to be a printer's error in v. 9, as the last line should be the first). *This and subsequent numbers in the text refer to the Bibliography on pp. 170-1.
These nine verses may be taken to define the group, since all the other songs considered in this section consist of selections of verses from these. This does not mean, of course, that this is the original version, for verses 7 and 8 occur in a ballad by Martin Parker[3] which is about a hundred years older than the above broadside. It seems unlikely that Parker was the author of these two verses, for they have all the appearance of having been taken by him from popular sources and inserted bodily into his ballad. The search for original versions has, in general, proved to be rather fruitless in studies of English folk song, and this is true here.
The earliest tune I can discover in this group is that given in Johnson's Scots Musical Museum in the sixth volume, which was published in 1803.[4] As the book is rare, and the song a good one, it is given here. Johnson does not say how or where he got it, but there can be little doubt that it came from oral tradition:-
[music]
1. In yon garden fine an' gay
Picking lilies a' the day
Gath'ring flow'rs of ilka hue,
I wist na then what love cou'd do.
2. Where love is planted there it grows,
It buds and blows like any rose
It has a sweet and pleasant smell,
No flow'r on earth can it excel.
3. I put my hand into the bush,
And thought the sweetest rose to find,
But prick'd my finger to the bone
And left the sweetest rose behind.
Christie remarks that the song was widespread in North-East Scotland in the middle of the last century, and gives a version collected from two oral sources.[5] It is interesting that most of the versions subsequently collected are from the far south of England.
Baring-Gould collected three variants [6-8] in Devon and Cornwall between 1889 and 1891, one of which[8] was known to have been sung nearly seventy years before. A collated version appears with valuable notes in his Songs of the West under the title "A Ship came Sailing". The words he gives are in essence those that he collected, although they have been polished in a manner which now seems rather artificial. The last verse he gives (which comes from the Cornish variant[6]) does not occur in the versions so far considered. It runs:-
I wish! I wish! but 'tis in vain,
I wish I had my heart again.
I'd lock it in a golden box,
I'd fasten it with a silver chain.
Cecil Sharp has two English copies [9, 10]. It is perhaps worth while to give the original of the published "O Waly Waly":
CECIL SHARP MSS. From: MRS. CAROLINE COX,
Clare College Library. High Ham, August 8th, 1905.
[music]
1. Down in the meadows the other day,
Gathering flowers both fine and gay,
Gathering flowers both red and blue,
I little thought what love can do.
2. I put my hand into the bush
Thinking the sweetest flower to find
I pricked my finger right to the bone
But left that sweetest flower behind.
3. I leant my back against some oak
Thinking it was a trusty tree
First he bended then he broke
And so did my false love to me.
4. There is a ship sailing on the sea
But it's loaded so deep as deep can be
But not so deep as in love I am
I care not whether I sink or swim.
5. Since my love's dead and gone to rest
I'll think on her who I love best
I've scured her up in flannel strong
Have another now she is dead and gone.
Comparison with the published form shows that Sharp has added a verse at the beginning and end, while deleting the slightly incongruous fifth verse, and he has altered the phrasing of the music to give a smoother flow to the melody. This melody has some echoes of that printed by Johnson is given above. (Incidentally a similar tune to this occurs in a version of "Lord Thomas and Fair Ellinor"[31] and again in a version of both "Young Hunting"[32], from the Appalachians).
There are other copies from traditional sources, some of which are noted in the bibliography [11 12, 15, 16]. In their texts these are all fairly close to the version given above, although some of the tunes are quite distinct. But a variant with quite marked differences occurs in a broadside in the British Museum under the title "The Forsaken Lover"[13] and again in the Hammond collection.[14] They contain several verses additional to those already given. Of these some are from other songs, as exemplified by:-
Had I kept my apron down
My love had ne'er forsaken me,
But now he walks up and down the town
With a harlot and not with me.
which probably comes from the song of which "Every night when the sun goes down"[33] is a late version.* But not all can be explained in this manner, as, for instance:-
Against the stream, love, I dare not go,
Because the stream it seems so strong,
I'm deadly afraid I'm one of those
That loved an unkind man too long.
[*See, however, the Journal of the E.F.D.S.S., Vol. VII, No. 2, 1953, p. 103, where it is suggested that the verse belongs to the "Brisk Young Sailor".]
which follows on naturally from the verse beginning "If roses be such prickly flowers". Some of the verses of this type, not found in other versions of "Down in the Meadows", nor, as far as I know, in any other song, are of remarkable beauty, as
He gave me honey all mixed with gall,
He gave me words and vows withal,
He gave me a delicate gown to wear
All stitched with sorrow and hemmed with fear.
It would appear that such additions were made after the song had become widely distributed among the folk, and so they are of rare occurrence.
Hammond's tune is very similar to that printed and published by Sharp, and if the phrase has any meaning we may say that this tune, in its various forms, is the one proper to the song "Down in the Meadows".
"'The Water is Wide"
The song to which we give this title is not nearly so widespread or as clearly defined as the previous one. It can be illustrated by "Maggie Goddon" from Cox's collection of West Virginian folk songs. [18] Unfortunately Cox gives no tune; and the chorus he gives is irrelevant to the present discussion.
Folk Songs of the South. From MR. W. E. BOGGS,
Ed. J. H. Cox (1925). Mingo County. 1918.
MAGGIE GODDON
1. I wish I was once a-sailing
As far from land as far could be,
Far across the deep blue waters,
Where I have no one to trouble me.
Ch. Sweet Maggie Goddon, you are my bride;
Come set you down upon my knee,
Tell to me the very reason
Why I was slighted just by thee.
2. The sea is deep I can't swim over,
Neither have I the wings to fly;
There I hear some jolly sportsman,
To carry over the love and I.
3. I wish I had a glass of brandy,
I'll tell to you the reason why;
While drinking, I am thinking,
Does my true love remember me?
Sharp collected a version in Somerset on two occasions at an interval of two years from Elizabeth Moss [19, 20]. The tune is unremarkablee xcept for its rather wide compass. It is evident that Mrs. Moss did not remember the words well, for the two sets of verses are not identical, and two verses are very jumbled.
The later version is as follows:-
CECIL SHARP MSS. From ELIZABETH MOSS,
Clare College Library. Doddington, August 10th, 1906
1. The water is wide and I can't get over
Neither have I got wings to fly
Go and get me O some little little boat
To carry over my true love and I.
2. In London city the girls are pretty
Streets as paved with marble stones
My true love the clever a woman
As ever trod on English ground.
3. I'm often drunk but seldom sober
I'm a rover in every degree
When I'm drinking I'm always thinking
How to gain my love's company.
4. I have two dogs under my father's stable
They prick their ears when they do hear the horn
When I'm dead ere it will be all over
And I hope my friends will bury me.
On the earlier occasion the tune which she sang was almost identical in outline to that given above, but was very irregular in rhythm. Sharp has it down in G the first time and it would be interesting to know the exact pitch at which it was sung. Of the three verses recorded, the first and third were the first and fourth above, while the second was:-
Love is handsome, love is pretty
Love is charming when it's true
As it grows older it grows colder
And fades away like the morning dew.
This verse is very old and quite widespread, and we shall return to it later. Its occurrence here and in "O Waly Waly" probably led Sharp to believe that the song was really "O Waly Waly" badly remembered.
The song appears also in Volume I of the Folk Song Journal as "The Ripest of Apples" from Portland, Maine[21]. Fragments of it appear in other places, but these do not amount to much.
"Waly Waly"
The Scottish "Waly Waly" has been printed in very many collections of popular- Scots songs since it appeared in the 1720's in the Orpheus Caledonius[22] and the Tea- Table Miscellany[23] (where it is marked as an old song). As happened so often in Scotland, its early appearance in print fixed its form, and subsequent collections show negligible variation. But in the Scotish Minstrel there is a tune given as the old set to "Waly Waly"[24] although it has different words. Another variant with its own tune is known as "Cockle Shells"[25]: Carl Sandburg collected a version of this in America[26] which has the freedom of rhythm and the ornamentation so often found in true folk songs. On the other hand, the richness and grace of the words are unusual. There is another version of "Waly Waly" from Maine[27] but unfortunately it is published without a tune. It is close to the usual version in its words, but has a few additional stanzas of a ballad nature; these, however, are insufficient to tell any story and are obviously incomplete.
In Laing's collection of Scottish broadside ballads, dating from about 1700, there is a song called "Arthur's Seat shall be my bed,"[28] which has four stanzas in common with "Waly Waly" and in addition the following:-
Should I be bound, that may go free?
Should I love them that loves not me?
I'le rather travel into Spain,
Where I'le get love for love again.
This broadside and the text of Thomson's and Ramsay's version are given in the notes to Child No. 204 "Jamie Douglas"[29].
"Jamie Douglas" and "Waly Waly"
Child [29] gives fifteen versions of the ballad "Jamie Douglas" as collected by Motherwell, Kinloch, Finlay, and Herd, together with an account of the historical events to which it refers. These events occurred between 1670 and 1681, so the ballad is comparatively recent. It lacks the dramatic austerity and impersonality of earlier ballads, most of the versions being diffuse and obscure. Its distribution was limited to a small area near Glasgow. (A fragment has been found in Maine[27] but this also was from a Scotsman).
Now most of these versions contain some stanzas from "Waly Waly", and this led to the idea that the song was a fragment split off from the ballad. Thus Chambers states[34] that there was a tradition that "Waly Waly" was a lament of Queen Mary, but that the publication of "Lord Jamie Douglas" by Motherwell showed it in fact to be a lament of Lady Barbara Erskine. Motherwell's notes give some support to this idea, for he mentions that "Jamie Douglas" was often sung to the tune of "Waly Waly", although the tune he gives to the ballad is quite different[30]. The theory that the song refers to Lady Barbara Erskine persists, as is shown, for instance, by the title "The Lament of Barbara, Marchioness of Douglas" given to it in the Oxford Book of Ballads.
There are strong reasons for believing this view to be mistaken; nearly all the evidence shews that "Waly Waly" was in existence before "Jamie Douglas" and that parts of the song were incorporated in the ballad. The ballad (or a portion of it) first appeared in print in 1776, fifty years after the appearance of "Waly Waly". This in itself is not conclusive, for, as we have said, the subject of the ballad dates from 1681.
But in the Laing broadside "Arthur's Seat"[28] are verses taken from "Waly Waly", and this broadside is believed to have been printed about 1700. Chamber's hypothesis therefore requires that the ballad should be composed, "Waly Waly" be made from certain stanzas of it, and "Arthur's Seat" should in turn borrow from "Waly Waly", all within about twenty years, which seems unlikely. "Arthur's Seat" could not have been borrowed directly from "Jamie Douglas" as it has verses in common with "Waly Waly" not possessed by the ballad. The existence of several verses in "Waly Waly" not found in the ballad is of course an additional argument for the independent and prior existence of the song. Moreover, the song appears to be that of an unmarried woman deserted by her lover, whereas Lady Barbara Erskine had been married for eleven years and had three children when she was estranged from the Marquis of Douglas.
It therefore seems fairly certain that "Waly Waly" preceded "Jamie Douglas" and that verses common to both probably derive from the song. The incorporation of these verses has been performed with various degrees of skill in different versions of the ballad: in Child's "A" from Kinloch's MSS., it is done so well that the pattern of the ballad is not disturbed, whereas in Child's "N" from Motherwell, the song is inserted bodily at the beginning as a sort of prologue. We are then left with the problem of the origin of "Waly Waly"; this remains unsolved. It has something of the nature of a ballad about it (hence its easy amalgamation with "Jamie Douglas" and it gives the impression of referring to a specific event. This is especially true of the Maine version already mentioned[27]. Perhaps its traditional association with Mary Queen of Scots is correct, but we have no evidence, and so many and so varied in style are the songs ascribed to her that yet another such attribution must be viewed with caution. There may somewhere be a text, whether printed or in MIS. or still in oral circulation, which contains the key to the problem, but at the moment all the clues seem to have been lost.
Comparison of the Songs
The three sonigs presented above have many similarities. They are songs of sorrow, of a woman deserted by a false lover. Their imagery is varied, and although mostly conventional, it is quite effective. Moreover, they have certain verses in common. This has led to some confusion between the three, and in Sharp's published version the title is taken from "Waly Waly", the tune and the greater part of the text from "Down in the Meadows", and the first and last verses from "The Water is Wide", the three pieces being combined to form a very beautiful unity.
On the other hand, the material readily fits the hypothesis that there are three distinct songs. These have different geographical distributions, for "Waly Waly" is distinctively Scottish, "Down in the Meadows" is found throughout the wide area associated with "English" folk song, from Cornwall to Aberdeen, and in Ireland and in America, while "The Water is Wide" occurs mainly in America. The tunes give little help in typifying the groups, although we have seen that several texts grouped under "Down in the Meadows" have similar tunes. The variety of the other tunes to this song and the striking uniformity of the collected words suggest that broadsides have played a considerable part in spreading the song, and certainly it is known to occur in broadsides of the eighteenth century.
As to the overlapping of the texts, a close examination shows that this happens mostly in early printed texts which are published for entertainment rather than for comparative study, and where editors were therefore not over scrupulous in adding verses either of their own composition or from other songs; nor did these editors hesitate to amend the songs to suit contemporary tastes. Thus in "The Forsaken Lover",[34] based mainly on "Down in the Meadows" and discussed in that section, there are four additional verses, two of which("I wish to Christ my babe was born" and "What makes the western wind to blow") are normally associated with "Waly Waly", although the first occurs elsewhere[35]. These four verses are not found in the traditional version given by Hammond [14] which is the nearest of the collected versions to this particular broadside. A related broadside is "The Effects of Love"[36], a veritable pot-pourri of songs:
THE EFFECTS OF LOVE
1. Olove is hot and love is cold
And love is dearer than any gold
And love is dearer than anything
Unto my grave it will me bring.
2. 0 when my apron it hang low
He followed me through frost and snow
And now I am with child by him
He passes by, and says nothing.
3. I wish that my dear babe was born
And dawdled on its daddy's knee,
And I in the cold grave did be
And the green grass grew over me.
4. Ye Christmas winds when will ye blow
And blow the green leaves from the tree,
O gentle death when will you call
For of my life I am weary.
5. Unloose those chains, love, set me free
And let me be at liberty
For was you here instead of me,
I'd unloose you, love, and set you free,
Of course, not all the overlapping can be ascribed to editors of broadsides. It is instructive to follow the appearance of particular verses in different songs. For instance, Child[29] gives a verse stated to be part of a Yule medley from an Edinburgh MS. of c. 1620:-
Hey trollie lollie, love is jolly
A qhyll qhill it is new;
Qhen it is old, it grows full cold
Woe worth the love untrew!
A hundred years later it appears in "Waly Waly". In more recent collections it is found in "The Water is Wide", in a version of "Little Sparrow"[37], as a variant in "The Brisk Young Sailor"[38], and another variant is found in the Appalachian collection grouped with versions of "William Hall"[39]. Like the ballad ending of the rose and the brier bush tied in a true-lovers' knot, it is an effective summary of the general feeling of many songs, and it would be difficult to show that it really belongs to any one song, and that all the other occurrences are borrowings. Similarly the verse:-
Oh, oh, if my young babe were born,
And set upon the nurse's knee,
And I my sell were dead and gane!
For a maid again I'll never be.
from "Waly Waly" is found not only in the broadside"The Forsaken Lover", which we have classified with "Down in the Meadows" but also in "A Brisk Young Sailor"[35], and again the verse:-
But had I wist, before I kissed
That love had been sae ill to win,
I'd locked my heart in a case of gold,
And pin'd it with a silver pin.
is found in "Come all you Fair and Tender Ladies"[40] as well as in "Waly Waly" and "Down in the Meadows".
To enumerate all the cases in which a verse is shared between our three songs and other songs of a similar character would be tedious and unprofitable. It seems clear that if we are considering the origin or development of a particular song it is unwise to attach too much signficance to the fact that it may have verses in common with other songs. Only if the common verse occurs consistently in nearly every version of the two songs, and only if it is not a stock verse of the rose and brier type, can we begin to deduce a connection between the two, and even then often the only valid deduction is that the two have a common subject matter.
On the other hand, when considering folk songs in general this sort of process of interchange is of some importance. For we can speak of folk song as being a distinct category of song,* even though the bounds of this category are very diffuse. This
means that despite their great variety they have certain type characteristics, such as method of expression, attitude to life, choice of subject, and so on. The interchange of verses (and of tunes) is one of the mechanisms by which this loose homogeneity is brought about and maintained. This is especially obvious when we consider the introduction of new material into the tradition. We have already seen that broadside writers and ballad-mongers often incorporated parts of old songs into their works, and this helped to ensure (not always successfully) that the new material should be compatible with the old, in style,in form, and incontent. "Jamie Douglas"is an excellent example, for it takes a song already traditional as its basis; this determines not only its approximate metre and in some versions its tune, but also the whole character of the narrative, which has none of the terse impersonality usually regarded as necessary in a true ballad, even of so late a date, but which is told throughout in the first person and is as much a lament as a story.
[* This refers specifically to "English" folk song; in many primitive cultures there is, of course, no distinction between "art song" and "folk song".]
As Hodgart points out [4I], a great deal has been written on the origin, development and general characteristics of ballads and folk songs, but detailed studies of individual songs or groups of songs are lacking. A corpus of such papers would provide the variety of examples that are needed to support further advances in the study of folk song. This, article is presented as a contribution towards that end.
For their help in preparing this paper I wish to thank: Mr. W. Best Harris, City Librarian of Plymouth, for a transcript of the relevant portions of Baring-Gould's. MS. collections; the Librarian of Clare College, Cambridge, and Miss Maud Karpeles,
for permission to use MS. material from the Cecil Sharp collections, and Miss Karpeles again for further information concerning the songs; and I should like to express my especial gratitude to Kathleen, Bobby and Jacqueline for their help and inspiration.
BIBLIOGRAPHY AND REFERENCES
(It should be noted that these references are given as illustrations to the text, and are in no way intended to be a comprehensive catalogue of variants, a lthough they are grouped under songs).
"Down in the Meadows"
1. "The Unfortunate Swain." British Museum 11621, k4, vol. 2, p. 275, single sheet broadsides. c. 1766; also: "The Unfortunate Swain" in The Merry Songster. B.M. 11621, e.b. No. 1, almost identical to the above. c. 1760.
2. "Picking Lilies", from a chap-book Four Excellent New Songs (quoted in Logan's Pedlar's Pack, p. 336), c. 1782.
3. "The Distressed Virgin" by Martin Parker, printed by F. Coles (fl. 1642-62). To be found in the Roxburgh Ballads (Ballad Soc.), vol. I, p. 277, and Hindley's RoxburghB allads,v ol I, p. 360.
4 "In yon garden". In the Scots Musical Museum, edited by J. Johnson, vol. VI, p. 582, published in 1803.
5 "The Prickly Rose." In Christie's T raditional Ballad A irs, vol. I, p. 226. With a 16-bar tune, with a break at the middle, collated from two versions collected orally. Published in 1876.
6 "Deep in Love." Baring-Gould MSS. Sent to S.B.G. in 1889 by Miss Octavia Hoare, who had it from an old man of St. Enoder.
7 "Deep in Love." Baring-Gould MSS.: "Taken down from Mary Sacherley, Huckaby Bridge, May 1890. She learned it from her crippled father, a famous singer on Dartmoor."
8 "Deep in Love." Baring-GouldM SS: "Taken down from William Nichols, Whitchurch, May 29, 1091. His grandmother sang it to him about 1825."
9 "Waly Waly." Cecil Sharp MSS. From Mrs. Caroline Cox, High Ham, August 8th, 1905. The title is Sharp's.
10 "Waly Waly." In Cecil Sharp's MSS. From James Thomas, of Cannington, on April 20th, 1906.
11. "The Brisk Young Lover". In English F olk Songs from the Southern Appalachians collected by Cecil Sharp, vol. II, p. 77, 1933. Sung by Mrs. Jane Gentry, Hot Springs, N.C., on August 25th, 1916. Miss Karpeles informs me that this is only the last verse of a complete text of "The Brisk Young Lover".
12. "Waly, Waly." In Cecil Sharp's MSS. From Mrs. Jane Gentry, Hot Springs, N.C., on September 14th, 1916.
13. "The Forsaken Lover" (to the tune of "Farewell thou Flower of False Deceit") B.M. 11621 k.4, vol. I, p. 425, single sheet broadsides. Illustrated with a figure in a costume of c. 1650. This of course gives no idea of the date of the broadside, except that it cannot be earlier than c. 1650.
14 "Must I be Bound." In the H.E.D. Hammond collection. Journal of the Folk-Song Society, vol. VII, No. 27, p. 69. From Mr. Jacob Baker, Bere Regis, 1905.
15 "Waly Waly." George Butterworth MSS. From Mrs. Cranstone. The tune seems to be missing.
16 "Must I go bound." In Irish Country Songs, vol. I, p. 68, edited by Herbert Hughes, 1909. From Co. Derry.
17 "Love has brought me to despair." In Folk-Songs of the South, No. 144, edited by J. H. Cox, 1925; "Communicated by Mrs. Parker, New Haven . . . 'I have copied this song from a quaint old MS. dated Feb. 20th, 1859'." See verses 6 and 7.
"The Water is Wide"
18. "Maggie Goddon." In Folk-Songs of the South, No. 142. From Mr. W. E. Boggs, Mingo County, 1918.
19 "Waly, Waly." In Cecil Sharp's MSS. from Elizabeth Moss, Holford, on August 30th, 1904.
20 "Waly, Waly." In Cecil Sharp's MSS. from Elizabeth Moss, Doddington, on August 10th, 1906.
21 "The Ripest of Apples." Journal of the Folk-Song Society, vol. I, No. 2, p. 45, from Portland, Maine.
"Waly Waly"
22 "Waly, Waly." In Thomson's Orpheus Caledonius, 1st edition, 1725, 2nd edition, 1733. See also the notes to Child, No. 204.
23 "Waly, Waly, gin Love be Bonny." In Ramsay'sT ea-TableM iscellany,c . 1725. See also the notes to Child, No. 204.
24 "I'll lay me on the Wintry Lea." In Scotish Minstrel, vol. VI, p. 98, edited by R. A. Smith, 1820-24.
25 "Cockle Shells." See, for instance Marjorie Kennedy-Fraser's Twenty S cottish Songs, vol. I, n.d.
26 "Waillie, Waillie!" In The American Songbag, p. 16, edited by Carl Sandburg, 1927. From Daniel Read, Chicago, and Isadore Read, South Carolina.
27 "O Waly, Waly." In British Ballads from Maine, p. 469 et. seq., edited by P. Barry,F . H. Eckstorm and M. W. Smyth, 1929.
28 "Arthur's Seat shall be my bed" or "Love in Despair". In Laings' Broadside Ballads, n.d., but c. 1700. See also the notes to Child, No. 204.
"Jamie Douglas"
29 No. 204 in English and Scottish Popular Ballads, edited by F. J. Child, 1882-98.
30 "Jamie Douglas." In Motherwell's Minstrelsy, Ancient and Modern, 1827. Appendix No. XVII.
Miscellaneous
31.' "Lord Thomas and Fair Ellinor." In English Folk Songs from the Southern Appalachians, No. 19, verses A and C, vol. I, page 115.
32 "Young Hunting," in English Folk Songs from the Southern Appalachians, No. 38, version H., vol. 1, p. 110.
33 "Every Night when the Sun goes in," in English Folk Songs from the Southern Appalachians, No. 189, vol. II, p. 268.
34 In Robert Chambers' Scottish Songs prior to Burns, 1890; also quoted in E. Rimbault's Musical Illustrations to Percy's Reliques, 1850; and in G. F. Graham's S ongs o f Scotland, v ol. I, 1848.
35 See, for example, "My True Love once he courted me", in TraditionaTl unes,c ollectedb y Frank Kidson from Mr. Halliday in N. Yorkshire, published in 1891.
36 "The Effects of Love." B.M. 11621, R4, vol. I, p. 158, c. 1780.
37 "Young Ladies", in Folk-Songs of the South. No. 140. From Mrs. A. R. Fiske, Terra Alta, W. Virginia.
38 "Brisk Young Sailor", in G. Butterworth's MSS.
39 "William Hall", in English Folk Songs from the Southern Appalachians, No. 171, v ersion D . vol. II, p. 242. However, since this is the only verse, it may not be connected with "William Hall".
40 See, for example, "Come all you fair and tender ladies", in English Folk Songs from the Southern Appalachians, No. 118, vol. II, p. 128, et seq.
41 M. J. C. Hodgart: The Ballads, 1950, p. 164.