Traditional Ballads from Utah- 1951 JOAFL

Traditional Ballads from Utah
by Lester A. Hubbard and LeRoy J. Robertson
The Journal of American Folklore, Vol. 64, No. 251 (Jan. - Mar., 1951), pp. 37-53

TRADITIONAL BALLADS FROM UTAH
By LESTER A. HUBBARD AND LEROY J. ROBERTSON

IN UTAH TWENTY DIFFERENT CHILD BALLADS and eighteen variants have been recovered from the Latter-day Saints, also known as Mormons.[1] Although the immediate geographical sources of only four of these can quite definitely be determined, it seems that most of the others might well have been importations from Great Britain and the northeastern area of the United States. In these places proselyting among the working classes was most successful before the first Mormon migration to the Salt Lake Valley in 1847 and continued to be so during the next two decades.[2] During this period these areas supplied the Utah colony with the largest percentage of its population.

The external evidence, though somewhat meagre, indicates that the early converts very likely knew the Child ballads when they migrated to Utah. Almost all of the singers of the ballads which we have recorded are children or grandchildren of converts who came from England, Scotland and the region near the Great Lakes. Two of the singers assured us that their parents knew
the ballads when they joined the Mormon Church in Ohio in 1846. One old lady eighty-five years of age described her grandfather's diary which he brought to Utah in 1848. In it he had copied "Gypsy Davy" and "Barbara Allen," two of his favorites which he often sang to his grandchildren.

Except two variants of "The House Carpenter" which the singers learned in Missouri and Kentucky since 1900, the Utah survivals can be traced to the rural areas where settlements, under the direction of Brigham Young, were established soon after the Mormons arrived in the Salt Lake Valley.[3] All of the other singers were either born in these widely separated communities or migrated to them before 1890.

The part played by ballads and folk songs in the social and home life of early Mormon colonists is at least suggested by sporadic information acquired  from the old people who lived in rural communities. Three informants vividly recalled singing "old songs" during intermission in dances supervised by the church authorities. Mrs. Jeannette Murdock McMullin, whose parents came from Scotland and moved to Heber City in I860, when she was four years old, learned "The House Carpenter" from her mother and "The Golden Vanity" from her father by hearing them sung. Mrs. McMullin, relating her pioneer experiences, observed that spinning and singing went well together in early days. When she and three other girls were spinning wool in her home and sang an old ballad, the movement of the spinning wheel synchronized with that of the ballad being sung.

That the traditional ballad occupied a rather significant place in Mormon life can be inferred from other sources. Mrs. Elizabeth Ferrin Jensen when she was a small girl working in a dairy near the public herd grounds east of Ogden learned "Andrew Bardean" from John McFarland, a sheepherder "in the hills of home," and "Lord Thomas and Fair Eleanor" from the cowboys who gathered around the campfire and sang to the accompaniment of the banjo until ten or eleven o'clock in the evening. Singing contests provided entertainment in the sheepshearing camps, said Milas E. Wakefield, formerly of Emery County. He still plays his banjo, a prize possession for sixty years, and sings "Andy Bardean," one of the favorites of the men. Now ninety-four years old, James Jepson explained that he arrived in Virgin, Washington County, in 1862 and in 1873 became a freighter, and sang much of the time on his trips from southern Utah to Pioche, Nevada, Salt Lake City, and other centers. From the Mormon colonists he learned five Child ballads and forty-eight folk songs, of which we made recordings in the summer of I947. For him and scores of other people living in small pioneer settlements, the non-religious songs provided an emotional outlet as well as entertainment in an environment predominantly religious.

All of the old people who sang for us can read and write literate English. Those reared in homes where the Scottish language was spoken when they were children usually can speak this language but show no evidence of it in their conversation. The texts of the ballads, moreover, reflect little evidence of change to suit local religious beliefs or living conditions.

The following represent a few of the most interesting of the ballads recovered in Utah. "The Broomfield Hill," "The Bishop of Canterbury," and "Rosanna" have appeared in only a few ballad collections in the United States. More widely diffused in this country are "The King's Daughter Fair" and "Little Saloo," the second of which illustrates a notable degeneration in both text
and title.

I. "Lady Isabel and the Elf Knight" (Child No. 4)
"The King's Daughter Fair." Sung by Mrs. Lottie Marsh Heed of Ogden, who learned it about 67 years ago from her mother, Jane Marsh, in Willard, Box Elder County. Two texts of this widely known ballad have been recovered in Utah. The version given below corresponds closely to Child E. For history and references see Paul Brewster, Ballads and Songs of Indiana (Bloomington, 1940), p. 31, and H. M. Belden, Ballads and Songs Collected by the Missouri Folk-Lore Society (The University of Missouri Studies, XV, Columbia, Mo., 1940), pp. 5-6.


There was a no - ble Eng - lish lad, Who
court-ed a King'sd augh-ter fair. He prom-isedt o take her to the
north coun-tree, And they would be mar -ried there.

"Now you must get some of your father's gold
And some of your mother's fee
And two of the finest horses in these stables
Where there are thirty and three."

She mounted on her milk-white steed;
He rode the dappled gray.
They rode till they came to the seaside
Two hours before it was day.

"Flight of, flight off from your milk-white steed,
Flight off, flight off," I say,
"For six pretty fair maids I've drowned here
And the seventh one you shall be.

"Now you must take off this silken dress
And give it unto me,
For I think it looks too rich and too rare
To rot in the salty sea."

"Well, if I must take off this silken dress,
You must turn your back unto me,
For I don't think it fit for a roughen like thee
An undressed lady to see."

He wheeled himself around about
While bitterly she did weep.
She caught him by the coat collar
And plunged him into the deep.

"Take hold, take hold of my finger, love,
Take hold with your lily-white hand,
And I will make you my own true love
And the fairest in the land."

"Lie there, lie there, lie there," said she,
"Lie there instead of me,
For if six pretty, fair maids you've drowned here,
The seventh one drownded thee."

She mounted on her milk-white steed,
She led the dappled gray.
She rode till she came to her father's house;
The chickens were crowing for day.

The parrot rose up in the garret so high
And unto Polly did say,
"Where have you been, my pretty Polly?
You tarry so long before day."

"Oh hush, oh hush, oh hush," said she,
"Don't you tell no tales on me,
And your cage shall be lined with a glittering gold
And hang in the green willow tree."

The king rose up in the castle so high
And unto the parrot did say,
"Oh what is the matter, my pretty parrot?
You prattle so long before day."

"Nothing's the matter with me, kind sir,
Nothing's the matter, I say,
But there were two white kittens that bothered me so
I called Polly to drive them away."

"Well done, well done, well done," said she,
"Well done, well done," said she,
Now your cage shall be lined with the glittering gold
And hang in the green willow tree."

2. "The Broomfield Hill" (Child No. 43)
"The Hard-hearted Young Man." James Jepson of Hurricane was nearly 93 years old when he sang this and 48 other ballads and songs in August, I947. He learned this ballad while freighting from southern Utah to Salt Lake City in 1870. The two similar Utah texts have deteriorated considerably. The soporific effects of the broom flower and the attempts of the steed, goshawk or parrot to arouse the sleeping young man are omitted in both. Texts and references are included in Josiah H. Combs, Folk-Songs du Midi Etats-Unis (Paris, I925) pp. 127-129; Mellinger E. Henry, Folk-Songs from the Southern Highlands (New York, I938), pp. 53-54; JAF, 24 (I9II), I4.

A. "The Hard-hearted Young Man."

"Wager a wager and I will go with thee
Away to the May blooming field;
A maiden I will go to the May blooming field
And a maiden it I will return."

"Wager a wager and you may go with me
Away to the May blooming field;
A maiden you may go to the May blooming field,
But a maiden you never will return."

Away this young man went his wager for to win,
Away to the May blooming field.
He sat himself down by a clear flowing stream
And fell fast asleep on its banks.

Nine times she walked around the crown of his head,
And nine times she walked around his feet,
And nine times she kissed the ruby, ruby lips
As he lay on the banks fast asleep.

The ring that she wore on her little finger,
The same she did place upon his own
That it might be a token of love unto him
That she had been there but was gone.

"If I had been awake as I was asleep
This maiden she never would have fled.
It's her I would have killed and her blood I would have spilled,
And the birds told the story of the dead."

"Oh, hard-heartedy oung man, oh, hard-heartedy outh!
Your heart is just as hard as any stone,
For to think of killing one who has loved you so long
And would mourn o'er the grave you lie in."

B. "The Broomfield Hill." Sung by Salley A. Hubbard, age 86, of Salt Lake City. She learned it from "Doc" Lish, who worked on her father's farm in Willard in 187I.

(Music at the end.)
"A wage a love a wager and I'll go with thee,
And I'll bet you five hundred to one
That a maiden I may go to the May blooming field
And a maiden I'm sure to return."

Away this young man ran to the May blooming field
His wages all for to win,
He set himself down by a clear purling stream,
And he set till he fell fast asleep.

Nine times she walked around his head,
And nine times she walked around his feet,
And nine times she kissed his ruby, ruby lips
As he lay on the bank fast asleep.

She had a ring on her little finger,
And on his she placed it as his own;
She placed it there as a token of love
That she had been there but was gone.

"If I'd a-been awake when I was asleep
A maiden she never would return,
For her I would have killed and the blood I would have spilled,
And the butcher told the tale of the dead."

"You false-heartedy oung man, you hard-heartedy outh,
Your heart to me is as hard as any stone.
Would you think of killing one who's never harmed you?
I'd a-mourned for the grave you lie in."


A wage a love a wag - er, and go a- long with me; I'll
bet you five hun-dred to one, That a maid-en you may go to the
may- bloom-ing field And a maid- en you nev-er will re - turn.

3. "King John and the Bishop" (Child No. 45)
"The Bishop of Canterbury." Mrs. Salley A. Hubbard communicated the text February 10, 1946, and sang it for recording June 10, I947. She learned it from her brother in Willard about 1875. The few survivals of this ballad indicate that it is rare in America. The text given here corresponds quite closely to Child B. One stanza of "King John and the Bishop" is included in Emelyn E. Gardner and Geraldine J. Chickering, Ballads and Songs of Southern Michigan (University of Michigan Press, 1939), p. 379. See also "The King's Three Questions" in Helen Hartness Flanders and George Brown, Vermont Folk-Songs and Ballads (Brattleboro, I932), pp. 200-203.


Old King John was a great no - ble Knight; He

built up all wrong and he tore down all right; And when he got seat-ed to
make him-self mer-ry, He sent for the Bish-op of Can- ter-bur-y.

Lal the roo- loo, Lal the roo- loo, li - ful the day.

"Good morning, Mr. Bishop, it's been told unto me
That you set a far better table than me,
And if you don't answer my questions three,
Your head shall be taken from your body.

"My first question is, while me and my estate,
With my golden crown all on my pate,
With all my nobility, joy and great mirth,
You must tell to one penny what I am worth.

"My second question is, without any doubt,
How long I'll be traveling this wide world about.
My third question is, when I do wink,
You must tell to me plainly what I do think."

The poor bishop on his return home,
He met a poor shepherd, and him all alone,
"Good morning, Mr. Bishop," the shepherd did say,
"What news have you brought from the king today?"

"Bad news, bad news," the bishop did say,
"For he has been asking me questions three,
And if I don't answer to them all right,
My head shall be taken from my body quite.

"His first question is, while he and his estate,
His golden crown all on his pate,
With all his nobility, joy and great mirth,
I must tell to one penny what he is worth.

"His second question is, without any doubt,
How long he'll be traveling this wide world about.
His third question is, when he does wink,
I must tell to him plainly what he does think."

"Give to me one suit of your apparel;
I'll go to King John and answer the farrell."
"One suit of my apparel I freely will give
And ten pounds a year as long as I live."

Now the poor shepherd and he is gone
To answer the questions of King John,
And if he don't answer to them all right,
His head will be taken from his body quite.

"Good morning, Mr. Bishop," the king did reply,
"Have you come here to live or to die?"
"If I don't answer to your questions three
I hope your grace will pardon me.

"Your first question is, while you and your estate,
With your golden crown all on your pate,
With all your nobility, joy and great mirth,
I must tell to one penny what you are worth.

"The Saviour for thirty bright pieces was sold
Among the false Jews so brazen and bold,
Twenty-nine pieces is your just due,
For I think he's one piece better than you.

"Your second question is, without any doubt,
How long you'll be traveling this wide world about.
You'll rise with the sun and keep in full pace,
And in twenty-four hours you'll end your race.

"Your third question is, when you do wink,
I must tell to you plainly just what you do think.
That if I do, it will make your heart merry;
You think I'm the Bishop of Canterbury."

The king looked the shepherd in the face with a smile,
Saying, "He shall reign bishop another while.
Go tell your bishop, go tell him for me
He keeps a good fellow while he keeps thee."

4. "Fair Annie" (Child No. 62)
"Rosanna." Communicated by Mrs. Salley A. Hubbard, February 6, 1946, and sung for recording July 10, I947. Her father, George J. Marsh, who learned it while he was a Mormon missionary in Leeds, England, in 1865 and frequently sang it after he returned to Utah. For texts and references see Combs, pp. I29-I33; Gavin Grieg and Alexander Keith, Last Leaves of Traditional Ballads and Ballad Airs (Aberdeen, 1925), pp. 47-50; Cecil J. Sharp, English Folk Songs from the Southern Appalachians, ed. by Maud Karpeles (London, 1932), I, 95-96, 415.

My Ros an - na, Ros - an - na,. says he, What
makes you look as you do?- Why don't you look so
y main lie As w n ft m d mer. ry maid-en like As when I first mar-ried yo

"How can I look merry maidenlike
When a maiden I am none?
Seven sons I've borne unto thee
And all my fresh colors gone."

"Who'll bake my bread," he says,
"And who'll brew my ale?
And who will welcome the gay lady home
That I bring across the main?"

"I'll bake your bread," she says,
"And I'll brew your ale,
But I'll not welcome the gay lady home
That you bring across the main."

She took the spyglass in her hand
And wandered up and down.
Who could she see but her own husband dear
With his young bride bringing home?

She called to her seven sons
By one, two and three,
And she said unto the eldest one,
"I can see what you can see."

He took the spyglass in his hand
And wandered up and down,
And who could he see but his own father dear
With his young bride coming home?

"Shall I dress in green," she says,
"Or shall I dress in black?
Or shall I go down to the raging main
And send my soul to wrack?"

"You needn't dress in green," he says.
"You needn't dress in black,
But open all of your doors wide
And welcome my father back."

"You are welcome home, King Henry," she says,
"You're welcome to what's your own,
Likewise all your weary servant men
That along with you have come."

"Rosanna, Rosanna, Rosanna," says he,
Now welcome the gay lady home,
 . . . . . . . . . .
And rewarded you shall be."

"You're welcome home, gay lady," she says,
"You're welcome to what's your own,
Likewise all your weary servant maids
That along with you have come."

She treated them round with the best of wine;
She treated them round and round,
But she drank herself of the cold well water
To keep her courage down.

And supper being made ready
And all things over with
Rosanna went down to the lower cellar room
All alone in silence to weep.

"Rosanna, Rosanna, Rosanna," says she,
"What makes you weep so loud?
Your hogshead hoops are all a-bursting off
And your wine is a-running out.

"I will get up and you shall lie down,
For this bed it is your own;
For a maid I've come and a maid I'll stay
And a maid I will go home.

"Have you any father dear,
Or have you any mother?
Or have you any sister dear,
Or have you any brother?"

"King Henry is my own father dear,
Queen Esther she's my mother,
Liddie Margaret is my own sister dear
And Lord Arnold he's my brother."

"If King Henry is your own father dear
And Queen Esther is your mother,
I'm sure I'm your sister Margaret,
For Lord Arnold he's my brother.

"Seven ships I have at sea,
These seven they are my own.
Five of them I'll give unto thee
And two shall carry me home."

5. "Sir Hugh, or, The Jew's Daughter" (Child No. I55)
"Little Saloo." Sung by Mrs. Mable J. Overson, who learned it "a long time ago" from Mrs. Anna McKellar in Leamington, Millard County. The text and title have undergone several changes through oral transmission. The ritual murder and the catching blood in a basin have disappeared. The Jew's daughter has become a cruel aunt whose motive is spite. The addition of the boy's request not to have his rest disturbed seems somewhat incongruous. For references see John H. Cox, Folk-Songs of the South (Harvard University Press, 1925); Belden, pp. 69-70; Brewster, p. 128.


Yes- ter-day was a hol - i -day, A hol- i- day in the
year;_ And all the school boys had leave to play, And lit-tle Sa-loo was
there, was there,_ And lit-tle Sa - loo was there.

He had an aunt who held him spite;
She lived in castle hall.
She said, "Come here, my little Saloo,
To you I will give this ball, this ball,
To you I will give this ball."

She took a ball out of her pocket
And threw it in the hall.
And little Saloo he picked it up,
The prettiest one of all, of all,
The prettiest one of all.

She took him by his little white hand
And led him through the hall,
And led him into a cold dark room
Where none could hear him call, call,
Where none could hear him call.

She took a penknife out of her pocket
And pointed it to his breast.
"Oh aunt, oh aunt, oh cruel aunt,
Please don't disturb my rest, my rest,
Please don't disturb my rest."

She cut and cut through thick and thin
Until she came to skin,
Until she came to his little heart's blood,
Where life it lies within, within,
Where life it lies within.

Then she wrapped him up in a sheet of lead,
Which weighed a many a pound,
And threw him into a dark, cold well
Way down deep under ground, ground,
Way down deep under ground.

6. "James Harris" ("The Daemon Lover") (Child No. 243)
"The House Carpenter." The first three stanzas were sung for recording and the others dictated by Mrs. Jeannette Murdock McMullin, who has lived in Heber City since 1860. In I864, when she was eight years old, she learned "The House Carpenter" from her mother, who came to Utah from Scotland in I852. It seems that this ballad was widely known among the Mormons. Five fairly complete variants have been recorded, and several informants more than 75 years old remembered hearing it sung in public and elsewhere. For references and discussion see Henry, p. 113; Belden, pp. 79-80.

"I just returned from the salt, salt sea,
My true love for to see;
But she was married to a house carpenter,
And a very pretty lad was he.

"If you'll forsake your house carpenter
And go along with me,
I will take you to the valley where the grass grows green
On the banks of the sweet Willie."

"If I would forsake my house carpenter
And go along with thee,
What hast thou to maintain me upon
And keep me from poverty?"

"I have three ships upon the land
And four upon the sea,
And a hundred ten jolly, jolly brave men,
And they all may wait upon me."

She called her babe unto her knee
And gave it kisses one, two and three,
Saying, "Stay at home, you dear little babe,
And keep your father company."

They had not sailed above two days,
I'm sure it was not three,
Till the underdeck of the vessel sprang a leak,
And she wept most bitterly.

"Oh, do you weep for gold?" he said,
"Or do you weep for fear?
Or do you weep for the house carpenter
That you left when we sailed here?"

"I do not weep for gold," she said,
"Nor do I weep for fear,
But I do pine for the sweet little babe
That I left when we sailed here."

They had not sailed above three weeks,
I'm sure it was not four,
Till the gallant ship she sprang a leak,
And she sank to rise no more.

"There is a curse, a curse," she said,
"And it shall follow thee--
On all who would their baby leave
And sail the raging sea."

7. "Henry Martin" (Child No. 250)
"Andy Bardean." Sung by Milas E. Wakefield of Ogden, who learned it in 1889 from Arlie Day at a sawmill in Huntington Canyon, Emery County. Three fairly complete variants and two fragments, all closely corresponding to Child E, have been recovered in Utah. Cf. the A version in Gardner and Chickering, pp. 211-213, and Cox, pp. I50-I5I. References and discussion are included in Belden, pp. 87-88; Louise Pound, Southern Folklore Quarterly, 2 (1938), 205.

Three lov - ing broth-ers from Old_ Scot- land, ree
lov - ing broth-ers were they,. They all cast lots to
see which would go a rob - bing all. on the salt se .

The lot it fell to young Andy Bardean,
The youngest one of the three,
To maintain himself and his brothers too
He went robbing all on the salt sea.

He had not sailed scarce three cold winters' nights
When a ship he did espy,
Sailing far off, a-sailing far off,
And at length it came sailing close by.

"Who's there, who's there?" cried Andy Bardean;
Who's there that sails so nigh?"
"We're three merchant vessels from old England shore.
Won't you please to let us pass by?"

"Oh no, oh no," said Andy Bardean,
"Such a thing as that never could be,
For I'll take your ship and your cargo, boys,
But your bodies I'll sink in the sea."

Then broadside to broadside the two vessels sailed,
And cannons did loudly roar
Until Andy Bardean gained the victory,
And the rich merchant vessel gave o'er.

The news soon reached to the ears of the king.
Young Alfred then wore the crown.
He said, "Is there anyone here I can find
That will run young Andy Bardean down?"

"Go build me a ship," said Captain Charles Stewart;
"Go build it strong and sure,
And if I don't bring in that young Andy Bardean,
My life I'll no longer endure."

The ship it was ricketed and ready for sail
With guns and men galore,
And one cold, frosty morning the anchor she weighed
And sailed from old England shore.

They had not sailed scarce three cold winter nights
When a ship he did espy,
Sailing far off, sailing far off,
And at length it came sailing close by.

"Who's there, who's there?" cried Captain Charles Stewart,
"Who's there that sails so nigh?"
"We're three bold robbers from old Scotland shore:
Won't you please to let us pass by?"

"Oh no, oh no," cried Captain Charles Stewart,
"Such a thing as that never could be,
For I'll sink your ship and your cargo, boys,
But your bodies I'll carry with me."

Then broadside to broadside the two vessels sailed,
And cannons did loudly roar
Till Captain Charles Stewart was forced to give up,
And he sailed for Old England shore.

"Go back, go back," cried Andy Bardean,
"And tell your king for me
That he may reign king over the dry land,
But I shall reign king on the sea."

8. The Wife Wrapt in Wetherskin" (Child No. 277)
"Jenny Fair Gentle Rosemarie." Sung 6y Mrs. Susie S. Barlow of Salt Lake City. She learned it in Richville, Morgan County, about 56 years ago from her mother, who sang this and other ballads while Mrs. Barlow daily combed her mother's hair.
Eight stanzas show a definite relationship to those in Child F. Cf. the B text in Belden, pp. 93-94. For references see Henry, p. 125; Belden, p. 92; Brewster, p. 151.

Now sweet Wil-liam to get him a wife, Jen- ny fair gen - tie
Rose - Ma- rie, . And there is Nan- cy and she's ver- y bright, And the
dew flies ov- er the green val- lee, And there is Nan - cy and
she's ver-y bright, And the dew flies ov- er the green val-lee.

Now sweet William to church has gone.
He might have done better to have let her alone.
Now sweet William comes in from plow.
And says, "Dear wife, is your dinner done now?"

She calls sweet William a paltry whelp.
"If you want any dinner go get it yourself."
Down to the barn sweet William did go,
And down with his best wether did throw.

He wrapt the skin 'round his wife's back,
And with two sticks went whickety whack.
Now sweet William comes in from plow
And says, "Dear wife, is your dinner done now?"

She draws her table, spreads her board,
And it's "Oh dear husband" at every word.
Ever since then she's been a good wife,
And I hope she'll remain so all the days of her life.

9. "The Sweet Trinity" ("The Golden Vanity") (Child No. 286)
"The Golden Furnity." Sung by James Jepson, who learned it in 1863 from James Stratton of Virgin. Mr. Stratton drove an ox team, hauling freight for the Mormon Church. He made trips from Virgin to Salt Lake City and to Missouri and back.
For references see Cox, p. 169; Sharp, I, 421; Belden, pp. 97-98.


Oh, once there was a ship sail- in' the north- ern coun- ter-
ee And she went by the name of the Gol- den Fur - nity.
She was 'fraid she would be tak- en by the Tur - key gollee
As she sailed a - long the low - lands, the low - lands
low,- As she sailed a, - long the lowe - lands low.-

Up stepped a little cabin boy, to his captain did say,
"What will you give me if her I will destroy?"
"Oh I will give you gold and I will give you store,
And you shall have my daughter Jane when we get safe to shore
If you'll sink them in the lowlands, the lowlands low,
If you'll sink them in the lowlands low."

This boy he bent his breast and he did venture in;
This boy he bent his breast and away he did swim;
He swam till he came to the Turkey gollee
As she sailed along the lowlands, the lowlands low,
As she sailed along the lowlands low.

This boy he had a brace which bored two holes at twice;
This boy he had a brace which did bore two holes at twice.
As some were playing cards and others playing dice,
He let the water in and it dashed into their eyes,
And he sank them in the lowlands, the lowlands low,
And he sank them in the lowlands low.

This boy he swam back unto his own ship side,
Saying, "Captain, take me up, I am going with the tide;
I am sinking, I am drownding, I am going with the tide,
I am sinking in the lowlands, the lowlands low,
I am sinking in the lowlands low."

The captain he spoke and this was his reply,
"I'll sink you, I will drowned you, I'll send you with the tide;
I'll sink you, I will drowned you, I'll send you with the tide;
I will sink you in the lowlands, the lowlands low,
I will sink you in the lowlands low."

The boy he swam 'round unto the other side,
Where the sailors took him up but soon the poor boy died.
They dressed him in his armor and threw him overboard,
And they sank him in the lowlands, the lowlands low,
And they sank him in the lowlands low.

University of Utah,
Salt Lake City, Utah
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Footnotes:

1. The Hubbard collection of Utah songs and ballads, acquired since February, 1946, were recorded by Lester A. Hubbard and Barbara L. Hubbard. The music is being transcribed from aluminum discs by LeRoy J. Robertson, Department of Music, University of Utah. Variants of several songs in this collection are included in Pioneer Songs, compiled by the Daughters of the Utah Pioneers and arranged by Alfred M. Durham, 1932, and in the collection recorded for the Library of Congress by Austin E. Fife and Alta S. Fife. Interesting articles pertaining to Utah songs are Levette J. Davidson, "Mormon Songs," JAF, 58 (1945), 273-300 and Austin E. Fife and Alta S. Fife, "Folk Songs of Mormon Inspiration," California F olklore Quarterly 4, (1947), 42-52.

2 Cf. Gustave O. Larsen, Prelude to the Kingdom (Francestown, New Hampshire, 1947), pp. 96, 238-239.

3 During the first fifteen years more than 160 colonies were founded by the Mormons. For a complete list see Milton R. Hunter, Brigham Young the Colonizer (Salt Lake City, 1940), pp. 361-366.