US & Canada Versions: 250. Henry Martin
[This ballad about piracy on the high seas has been found in the likely North American locations of Maritime Canada (Mackenzie, Karpeles, Creighton) and New England (Barry, Flanders, Thompson). There is no currency in Appalachia and Cecil Sharp found no versions there which means the Virginia colony was not a point of origin for this ballad. Of the few random imports have been collected in Appalachia, only the Cox West Virginia version seems to be authentic. Surprisingly, this somewhat rare ballad made its way to the mid-west and was collected in Arkansas, Missouri, Nebraska, Colorado, Oklahoma and Utah. The ballad has also surfaced in Michigan (Gardner) and Wisconsin (Peters).
Of the 43 versions in my collection two are likely ballad recreations (Davis; Gainer) and most are very consistent except for a variety of endings (see Coffin's ballad types below).
The ballad dates back to the early 1800s but was likely here by the late 1700s. If we accept Barry's hypothesis that Captain Charles Stewart has replaced Lord Charles Howard in North America, then the ballads that name him would date after c. 1799. Barry suggests this in BBM, 1929:
The historical captain Charles Stewart (1778-1869) was one of the most dashing and popular naval heroes of the United States, with a long record of distinguished service in the French crisis of 1799, the Barbary war, and the war of 1812.
Child published two version from the United States in his English and Scottish Popular Ballads from the early to mid 1800s- his Henry Martyn versions D and E. There is no print tradition of this ballad in North America and no established tradition of circulation (except possibly Newfoundland and Nova Scotia and even then it wasn't a strong tradition) so most versions were brought over from the British Isles and remained in a few isolated areas or among several generations of one family.
* * * *
In some cases (Roud Index, Phillips Barry etc), the US & Canada Child ballads of No. 250 Henry Martyn (Martin) have been combined with No. 167 Sir Andrew Barton and are treated as one ballad. Barry placed all versions under Sir Andrew Barton--I'm putting all the US and Canadian versions under Henry Martyn, since they are more similar to the plot and form of the abbreviated Henry Martin form. Child having initially separated the two and had already published Sir Andrew as No. 167 in Volume 7. When he reached No. 250 he declared it "must have sprung from the ashes of 'Andrew Barton.' " Because of the consistent text and form of the Henry Martin versions they are distinct enough to warrant separation (Belden, Davis, Sharp).
According to Coffin:
Barry, Brit Bids Me, 253ff., argues that they are the same song. He bases his claim on the older American texts and points out that the Child Henry Martyn stories are all fragments of the Andrew Barton tale which leave the chase and the capture out. Any ballad that has a chase and capture is Sir Andrew Barton. The American Henry Martyn songs that have the hero die and fall overboard are the result of a crossing with a text of Sir Andrew Barton itself or of an accident of traditional change. His conclusion is that Sir Andrew Barton exists in two forms in America: the story in which Sir Andrew Barton is hung (Type A), and the story in which, through contact with Captain Ward and the Rainbow (Child 287), Sir Andrew Barton wins and escapes (Type B). There are also abbreviations of these types which do not contain the chase and the capture. Such songs should be properly considered as Henry Martyn versions of Sir Andrew Barton. Barry is probably right. See Eddy, Bids Sgs Ohio, 8 1 for further discussion.
The complete Coffin excerpt from The British Traditional Ballad in North America by Tristram Coffin 1950, from the section A Critical Biographical Study of the Traditional Ballads of North America is below. The two ballads, Sir Andrew Barton and Henry Martin have been described in detail by Barry, Davis (More Ballads) and Bronson (see below).
Two of Child's versions of Henry Martyn, D and E, are from the US.
R. Matteson 2012, 2016]
CONTENTS: (To access individual versions; click on attached pages- left hand column)
1) Andrew Bardeen- Rathburn (CT) c.1830s Flanders H
2) Andrew Bodee- Richardson (NH) c.1842 Child D
3) Henry Martin- Gale (MN) c.1850 Barry JAFL
4) Andrew Bartin- Alexander (SC) 1856 Smith/Child E
5) Andrew Martine- Ostinelli (ME) 1859 Barry B
6) Andy Bardan- Laws (KY) c.1870 Belden; Barry C
7) Ander Bardeen- Prescott (NE) c. 1880 Pound
Andrew Bordeen- Delorme (NY) c.1880 Flanders I
Andrew Bardeen- Nelms (OK) pre 1889 Moores
Andy Bardean- Wakefield (UT) 1889 Hubbard
Three Brothers of Scotland- Paugh (WV) c.1896 Cox
Andrew Batting- Kneeland (ME) 1914 Flanders G
Ronald Barton- Smiths (VA) c.1914 Davis AA
Three Brothers of Merry Scotland- Marstan (ME) 1926 Barry
Bolender Martin- Langille (NS) pre1928 Mackenzie
Henry Martin- Neville (NL) 1929 Karpeles C
Henry Martin- Jackman (NL) 1930 Karpeles A
Henry Martin- Bishop (NL) 1930 Karpeles B
Andrew Bardeen- Williams (VT) 1933 Flanders K
Andrew Bordeen- Bellows (NY) pre1934 Flanders A
The Three Scotch Robbers- Evilsizer (MI) 1934
Andrew Bardeen- Evans (MO) 1934 Randolph
Andrew Batan- Ford (WI- CA) pre1937 Cowell
Elder Bardee- Andrew (NY) 1939 Thompson
The Pirates- Housley (OH) pre1939 Eddy A
Andrew Batan- Williams (NC) pre1939 Eddy B
Andrew Battan- Post (MI) 1939 Gardner B
Andrew Marteen- Hayes (ME) 1940 Flanders C
Andrew Bateen- Moses (NH) c.1940 Flanders E
Andrew Bataan- Richards (NH) 1942 Flanders D
Andrew Battin- Pease (NH) 1942 Flanders J
Henry Martyn- Brachett (ME) 1942 Flanders L
Three Loving Brathers- Cassidy (RI) 1945 Flanders
Andrew Batan- Degreenia (VT) pre1949 Flanders B
Henry Martyn- Gallagher (NS) pre1950 Creighton B
Henry Burt Doyle- Scott (NS) pre1950 Creighton A
Andrew Bardine- (ID) pre1952 Harrison
Andy Bardeen- Pennington (AR) 1952 Parler B
Andrew Batan - Chesbro (AR) 1958 Parler A
Elder Bordee- Older (NY) 1960 Porter/Paton REC
Harry Maltee- Stevenson (CO) pre1962 Lumpkin
Henry Martin- Williams (WV) 1975 Gainer
_______________________________
Excerpt from The British Traditional Ballad in North America by Tristram Coffin 1950, from the section A Critical Biographical Study of the Traditional Ballads of North America
167. SIR ANDREW BARTON (including 250, HENRY MARTYN)
Texts: Adventure, n 30 '23 ; 1 120 -24 / Barry, Brit Bids Me, 248 / Belden, Mo F-S, 27 / Child, IV, 395 ; V, 302 / Cox, F-S South, 150 / Davis, FS Fa / Eddy, Bids Sgs Ohio, 78 / Flanders, Cntry Sgs Vt, 8 / Focus, V, 280 / Gardner and Chickering, Bids Sgs So Mich, 211 / Gray, Sgs Bids Me Vjks, 80 / Haufrecht (ed.), Wayfarin' Stranger, 20 / JAFL, XVIII, 135, 302; XXV, 171; XXX, 327 / Karpeles, F-S Netofdld, 104. / Kolb, Treasry F-S, 19 / MacKenzie, Bids Sea Sgs N Sc, 61 / Randolph, Oz F-S, 1, 177; Reed Smith, SC Bids, 156; SFLQ, II, 205 / Thompson, Bdy Bts Brtcbs, 37.
Local Titles: Andrew Bardeen (Satan, Battan), Andrew Martine, Andy (Ander) Barden (Bratann), Bolender Martin, Elder Bardee, The Pirates, The Three Scotch Brothers, Three Brothers of (Merrie) Scotland.
Story Types; A: Three Scottish brothers cast lots to see which of them shall become a pirate to support the family. The lot falls to the youngest, Andy. He attacks and robs a rich English merchant. When the King learns of this crime, he sends Captain Stewart (Howard, in England) out to catch the robbers. Stewart locates and takes Andy, and brings him back to the gallows in England. Sometimes, however, Andy is sunk and drowned instead.
Examples: Barry (under 167) (B); Belden; SFLQ, II, 205.
B: The story is the same as that of Type A. However, Andy beats Stewart in the fight and continues on his way.
Examples: Barry (under 167) (A); Cox; Randolph.
C: The Barry (Brit Bids Me, 253 ff.) "Henry Martyn" type story ends with the capture of the merchant ship and the bad news* reaching England. In some versions the hero receives a death-wound and dies.
Examples: Eddy (A); Haufrecht; JAFL, XVIII, 135.
Discussion: This ballad and Henry Martyn (Child 250) are closely allied (see Child, IV, 393), and Barry, Brit Bids Me, 253ff., argues that they are the same song. He bases his claim on the older American texts and points out that the Child Henry Martyn stories are all fragments of the Andrew Barton tale which leave the chase and the capture out. Any ballad that has
a chase and capture is Sir Andrew Barton. The American Henry Martyn songs that have the hero die and fall overboard are the result of a crossing with a text of Sir Andrew Barton itself or of an accident of traditional change. His conclusion is that Sir Andrew Barton exists in two forms in America: the story in which Sir Andrew Barton is hung (Type A), and the story in which, through contact with Captain Ward and the Rainbow (Child 287), Sir Andrew Barton wins and escapes (Type B). There are also abbreviations of these types which do not contain the chase and the capture. Such songs should be properly considered as Henry Martyn versions of Sir Andrew Barton. Barry is probably right. See Eddy, Bids Sgs Ohio, 81 for further discussion.
Barry, ibid. 9 also poses an interesting and probably accurate hypothesis that the Charles Stewart (Stuart) who replaces Howard in the ballad is Captain Charles Stewart (17781869), U. S. N.
Henry Martyn was a popular stall ballad in the nineteenth century (see Kittredge's note in JAFL> XXX, 327), but there is no record of Sir Andrew Barton being printed in America.
Note also that the West Virginia version is almost identical to Child, V, 302 (South Carolina).
--------------------------
Bronson TTCB:
"The ballad," Child remarks, "must have sprung from the ashes of 'Andrew Barton,'of which name Henry Martyn would be no extraordinary corruption" (1882-98, IV, p. :q:). Must is more than may to so cautious a scholar and the observation would at first glance seem tantamount to saying that No. 250 is a secondary form of No. 167. Nevertheless, it is obvious that he regarded them as distinct ballads, or he would not have given them separate places in the canon. On what grounds, however, is not at all easy to determine. We should be able to assume that in Child's opinion every ballad in the collection either had a popular origin or is a surrogate for such a ballad, a more authentic form not having survived. Unquestionably, the present ballad is genuinely traditional. Not only is it still very much alive in oral circulation, but we have no hint of illegitimacy in origin, no suggestion by Child of traffic in the black market of the broadside press.
What is the meaning of his metaphor, "sprung from the ashes"? In what sense is the new phoenix another, and in what is it the same? The phrase was only too happily chosen: it cannot be reduced to precise statement. It expresses perfectly Child's sense of a vital, spontaneous genesis for the younger ballad. But ashes imply, surely- for we must try to compel a statement from the myth- that there was a real cessation: the earlier ballad died. Had there been no actual break in the tradition there could be no justification for separating the two versions by number. Yet in the same sentence, Child suggests that the later name is a "corruption" of the earlier. In balladry, "corruption" is one of the clearest marks of genuine oral transmission. It implies the opposite of deliberate, willful alteration: an unconscious, uncontrolled substitution, produced by mishearing, misunderstanding, or forgetfulness. But such a change cannot occur in connection with beginnings: baptism is a deliberate act. What is implied, then, is continuity in oral tradition; between the last singer to use the name Barton and the first to use Martin there could be no gap either geographical or temporal. In that case, no matter how great the changes which ensue, the ballad is a single entity, and 167 and 250 are the same ballad. To uphold the alternative, of baptism, we should have to meet awkward questions, if we wished to cling to the old orthodoxy. For it would mean, would it not, that someone had possessed himself of a written text of the old ballad of "Andrew Barton"- none that it must have been written, because oral transmission has been rendered impossible by death- and deliberately made up a new ballad along similar lines, and called it "Henry Martin." This act of conscious invention would have to have been performed by a single individual some time in the eighteenth century, for the oral tradition of "Henry Martyn" goes back as far as 1800 and the "Barton" tradition is alive into the eighteenth century. But such an origin, and so late, would at once throw "Henry Martyn" out of the traditional canon, in obedience to the teaching of Gummere, who thought he was following Child in declaring that "only a definition by origins really defines" (The Popular Ballad, 1907, p. 14). For how could an interloper like this be other than an impostor? Therefore, if "Henry Martyn" be a genuine traditional ballad- and Child accepted it as such- and if it sprang from the ashes of an earlier but extinct authentic traditional ballad- and Child says it "must have" done so-- Child's most devoted disciples are caught on the horns of an interesting dilemma. They must reject their master's decision or give up their basic definition.
The easiest way out of the difficulry would be to regard the two ballads as in reality one, which has survived into the present century in a considerably altered form, like "Lady Isabel" (No. 4) and a good many others. Nor do I see reason, in the light of the dozens of variants which have been collected since Child's death, to deny a closer connection than he suspected. In particular, the editors of British Ballads from Maine set down four heads under which they find a close correspondence between certain American texts and the older ballad. (Cf.. ibid., pp. 248-58.) These points are; (1) the name of the hero; (2) the name of the king; (3) the name of the pursuer; (4) the defeat of the pirate. Among these more recent variants, we find the name given as Andrew Bartin (Battan, Batan, Bardan, Bardun, Bardeen, Bardee, Bodee), or Andrew Martine, and Bolender (Bold Andrew) Martin. The last two obviously exhibit a transitional stage in which the first name preserves the old, the last name the new, form. Bodee, it should be said, appears in Child's D; and the king in his C version is Henrie. In other versions, the king's name is revised to George. None of Child's versions except Arnerican E introduces a pursuer; but in this and other copies lately recovered, that character is named Stewart- Captain Charles Stewart, revised, for plausible reasons suggested by the Maine editors, from the Howard of the earlier ballads.
The "Henry Martyn" ballads fall into two classes, those in which the pirate is killed, as in "Sir Andrew Barton," and those in which he is victorious. The majority make the pirate the victor, and it is worthwhile to try to account for this shift. Both classes exist in two forms, a short and a long. In the first there is only one encounter; in the second there are two. Now, the earlier "Barton" ballads take account of two battles, one against a merchant, in which the pirate wins, the other against an avenging naval captain, in which the pirate is worsted. It is the second battle that gets fully described: the first is merely mentioned. It is obvious, in the general diminishment that has overtaken traditional balladry in latter days, that the two sea-fights would come to be described in more and more repetitive terms, so that except for the outcome, the incident would tend to be merely duplicated. With resemblance carried to such a point, the inclination to drop the one or the other encounter would be fairly sure to prove irresistible. Then, according to which fight is omited, the pirate ends victorious or defeated. If the ballad recounts a fight between the pirate and a merchantman, in which the latter is defeated, there is no difficulty. It is simply a matter of forgetting the old termination and stopping short, with the trimph of iniquity. Here, a reversal of fortune in the narrative follows as a matter of course. But where two fights are mentioned and the pirate remains victor, we need further explanation, we find it in a crossing with another pirate ballad, "Captain Ward and the Rainbow"- (No. 297). In the "Henry Martyn" texts (and not in the "Barton" texts) there are often two striking features which provide confrrmation of this influence. The first is that Martin is made to cry defiance, the battle in terms like the following (from Child E, 1882-98, V, p. 303; variant 42 below):
'Come on! come on!' says Andrew Bartin,
'I value you not one pin:
And though you are lined with good brass without,
I'll show you I've fine steel within.
'Go home! go home!' says Andrew Bartin,
'And tell your king for me,
Tht he may reign king of the merry dry land,
But that I will be king of the sea.'
Both these features are characteristic of "Captain Ward," and Child himself without hesitation pronounces them importations from that ballad. A good example of the simple mechanism of the inquitious reversal is to be seen in Maine A (British ballads from Maine), pp. 248-50. ante, Vol. III, p. 138, variant 9) where the defeat of the merchantman is conveyed largely by implication and is in turn the provocation of Captain Stewart's expedition. The latter is described in --- mutatis mutandis-- identical terms; an additional stanza recounts the battle with its routing of justice;and Battam's final taunt of the king, as above, ends the ballad.*
--------------------
Barry et all; British Ballad From Maine
The editors, without hesitation, have referred the Maine texts to the tradition of Sir Andrew Barton (Child 167) rather than to that of "Henry Martin" (Child 250). Child's theory that "Henry Martin" must have sprung from the ashes of "Sir Andrew Barton," is quite correct. The precise relation, however, to each other, of the older and the later forms of the ballad for "Sir Andrew Barton" and "Henry Martin" are not two ballads, but one--has been made clear only through the evidence of the American texts.
The salient details of the story of "Sir Andrew Barton" as compared with "Henry Martin," are, first, the name of the hero himself; second, the name of the king, that is, Henry; third, the name of the captor of Barton, Lord Charles Howard; fourth, the defeat of Sir Andrew, who dies of wounds received in action, and whose head is taken to London. Professor Belden's interesting and important- text, our C, here printed for comparison, preserves these details of the old ballad story more closely than any other known version,- that is, the hero is Andy Bardan, the king is Henry; the king's officer, Captain Charles Howard, has become Captain Charles Stewart, while the pirate, instead of meeting death in a sea-fight, is taken to England, a prisoner, and hanged.
With C, Maine A agrees in the name of the pirate, Andrew Battam, in the retention of King Henry, and of Captain Charles Stewart, but differs in making the pirate victorious and boastful, Maine B, which has Andrew Martine as the hero, is still nearer to "Sir Andrew Barton," in making the pirate to be killed in action, but it has George, and not Henry, as the name of the king. To the same group represented by our A, B, C, belong also three closely related texts: Child E (of Henry Martin); a text printed by Mr. R. W. Gordon, in "Adventure" Nov. 20, 1924, as derived from a Kansas correspondent who heard it sung as late as 1881; Cox's text (Folk-Songs of the South, pp. 150-151). In these texts, the pirate Andrew Bartin, (Bardeen, Bardun) defeat,
and taunts Captain Charles Stewart, officer of the king, who is George in Child E, George III in Mr. Gordon's text, unnamed in Cox's text.
The texts of "Bolender (i.e., Bold Andrew) Martin" printed by Mackenzie (Ballads and Sea Songs, p. 61) and Child D (of Henry Martin from Nova Scotia and New Hampshire, repectively, though fragments, certainly belong to the same group. "Henry Martin," is a mere torso, so to speak. It has preserved of the story of the older ballad only the account of the pirates with nothing of the pursuit and capture. Child's groups of texts, listed under the head of Henry Martin (exclusive of those which retain the name of "Andrew," and which, by reason of their content, preserving, as they do, the longer form of the story, are here referred to "Sir Andrew Barton," are three. All have the name Henry Martin, except C, from Motherwell's MSS, which has Robin Hood as the name of the pirate. The story is short, - three brothers turn pirates, the youngest is chosen chief by lot, they meet and destroy (A, B), or plunder and scuttle (C) a royal merchantman, so that the bad news of the loss of the ship reaches England. In C, the king is Henry, - in the other texts, he is not named. Child notes that in A a, Henry Martin gets a deep
wound, and falls by the mast. This detail is also in an American text (printed by P. 8., in JAFL, XVIII, 135-136), in which Henry Martin receives his death wound, and falls overboard. It would seem at first sight, that, as Child thought, this detail must have come directly from the tradition of the older ballad. Yet both Child A a and the American text agree with the remaining texts of the ballad of "Henry Martin" in the concluding stanza, which tells of the bad news of the sinking of the ship, without any reference again to the death of the pirate. Now, if we turn to Child A b, and to the group of texts under Child B, we find that it is not the pirate, but the rich merchant ship which receives the death wound and sinks. Such an issue of the sea fight is quite consistent with the mood of the concluding stanza. It may then be inferred that Child A b and the texts of the B-group have the original form of the story, and that the incident of the pirate's wounding and death, if not a mere accident of traditional change, is at most due to crossing in tradition with some text of the older ballad.
For the reasons stated, therefore, it seems at least probable that the group of American texts, represented by "Andy Bardan," should be reckoned as of an older tradition than that of Henry Martin, in addition, certain specific details of this group of texts, absent from any known texts of "Henry Martin," have a certain bearing on the case, and may be dealt with at this point in the discussion. In Child's E version of "Henry Martin," and in the two texts most closely related to it, the pirate taunts his would-be captor, saying, "If thou are brass without, I am steel within," and, after the battle, as also in Maine A, boasts that he will be king on sea, in spite of the king who reigns on land. These details are correctly stated in Child V, 302, to have come from the ballad of "Captain Ward and the Rainbow." We have, however, in "Sir Andrew Barton," A 27 (Child III, 340):
Hee is brasse within, and steele without,
And beames hee beares in his topcastle stronge;
His shipp hath ordinance cleane round about,
Besids my lord, hee is verry well mand.
It is not beyond the bounds of possibility that a reminiscence of this very stanza may have suggested to the author of "Captain Ward," the pirate boast of steel within to match brass without. The denouement of the ballad of "Captain Ward," which leaves the pirate a winner, not less satisfactory to the ballad singer, who love, a good fighter always, and perhaps all the better, if he happen to be a gallant rogue or a merry outlaw. Hence the intrusion of the pirate taunts into one form of the tradition of "Sir Andrew Barton."
A second interesting feature of the American tradition of the group of "Andy Bardan" texts, is the name of the king's officer, Captain Charles Stewart. There can be no doubt, of course, that "Stewart," has simply replaced "Howard," as the name stood in the older tradition of "Sir Andrew Barton." But why has "Howard" become "Stewart?" Mr. Gordon, in his notes to his Kansas text of "Andrew Bardeen," says: "The story is confused by the introduction of King George III and Charles Stuart." Apparently, he thought the Young Chevalier was meant. But Bonnie Prince Charlie was no sea-dog or sailors hero. The absence of any reference to any Charles Stewart in English texts of either the earlier or later form of the ballad forces us to look elsewhere
than in English history for the source of the name of the king's officer. The historical captain Charles Stewart (1778-1869) was one of the most dashing and popular naval heroes of thu United States, with a long record of distinguished service in the French crisis of 1799, the Barbary war, and the war of 1812. An early Maine broadside song, printed and sold at the Bangor Printing-office, entitled Yankee Tars: Tune, "Mrs. Casey," contains the stanza:
With Ironsides, brave STEWART slips
To sea, on her third cruise sir,
And tir'd of flogging single ships,
She drubs them now by two's sir!
The allusion is to the sea fight of February 19, 1815, when stewart, in command of the Constitution, defeated and took the Cyana and the Levant. In 1844 some Democrats of Pennsylvania named him as a "favorite son" for nomination for President of the songs composed at the time, and circulated to help his candidacy several were printed in The Union Song Book (Leavitt and Allen, New York, pp. 109, 117, 119). The event of his career, however, omitted from most histories, but which must have made him for the time being, at least, much in the public ear, was the execution of the official order, which, as he expressed it, caused him to be "cashiered" from his position in the navy. This took place in 1855.
It may be a mere coincidence, but it is a fact, that about the time when capture, or as he was then, Commodore Stewart was "cashiered" the ballad of "Sir Andrew Barton," with Charles Stewart, instead of Charles Howard as the name of the king's officer, was circulating in American tradition. Maine B was sung in Portland, probably early in 1859, by the well-known Boston singer, Eliza Ostinelli (1824-96), Child's E-text of "Henry Martin," may be dated with equal exactness; we know from the contributor, that it was sung in the winter of 1856-57, by a cadet in the west Point Military Academy. This date is significant. The American party ticket in the Presidential campaign of 1856 was headed by Fillmore and Donelson, who, in the election, carried the state of Maryland. This result was due in a measure to the efforts of Miss Anna Ella Carroll, who took up the cause of Stewart and others as a campaign issue, charging that their retirement was part of a plot to cripple the Navy. The case of Commodore Stewart was likely to provoke a feeling in official, as well as in nonofficial circles. To put him into a good sea song as an officer of the king's navy might be as doubtful compliment as it was a serious breach of history, neither of which offenses are unknown in ballad tradition. As a working theory of the reason for the substitution of "Stewart" for "Howard" it does, at least, no more violence to history or to person than Mr. Gordon's hypothesis.
It is proper here to summarize the results of the foregoing discussion. The thesis is that "Sir Andrew Barton," a ballad extinct in English tradition, has survived in America. Capt. Charles L' Donovan, of Jonesport, whose memory of the content of songs sung by his sailors is excellent, even though he can recall no texts, has said that the older ballad was still sung in his day. No broadside or songster text of "Sir Andrew Burton," printed in America, is known to have existed. Yet we cannot for this reason infer that the older ballad never circulated in print in this country. The traditional variants of this hypothetical printed text, the exisience of which can neither be proved nor disproved, have through one group of texts represented by Maine B, C, preserved the older ballad with little change. The second group, represented by Maine A and three texts allied to it, has undergone a change in the theme, due to crossing with the tradition of "Captain Ward and the Rainbow."
----------------------
Kyle Davis Jr; More Ballads:
37. HENRY MARTYN (Child, No. 250)
This is a new ballad in Virginia. TBVa did not have it; FSVa reports one text, without tune, given here. There is also a major controversy about the ballad: whether it is a version of "Sir Andrew Barton" (Child, No. 167) or whether it is a separate but related ballad. Child obviously took the latter view, since he gave it a separate number, but in his comment, "The ballad must have sprung from the ashes of 'Andrew Barton" of which the name Henry Martyn would be no extraordinary corruption," he opened the door slightly for those who have chosen to regard the two ballads as one. That the two deal with a somewhat similar story is quite true, but they deal with it quite differently. That some versions may represent crossing or intermingling of the two further complicates the problem. Two eminent English authorities take a different view of the relationship from Child's, while insisting even more strongly on the separateness of the two ballads, and feel that the traditional "Henry Martyn" is the older of the two. Cecil Sharp, in his one Hundred, English Folk songs, p. xvii, writes:
"In Percy's Reliques there is a long and much edited ballad, called 'Sir Andrew Barton,' with which, however, the traditional versions have nothing in common." After quoting child's remark about the relations of the two, he resumed, "The Rev. S. Baring Gould, in his note to the ballad in songs of the west, differs from this view and contends that the Percy version is the ballad 'as recomposed in the reign of James I, when there was a perfect rage for rewriting the old historical ballads.' I am inclined to agree that the two versions are quite distinct. 'Sir Andrew Barton' deals with the final encounter between Barton and the King's ships, in which Andrew Barton's ship is sunk and he himself killed; whereas the traditional versions are concerned with a piratical raid made by Henry Martyn upon an English merchantman."
Sharp further notes Baring-Gould's belief, not only that "Sir Andrew Barton" was a recomposition of earlier versions of the present day "Henry Martin," but also that the present Martyn "form of the ballad is probably earlier, but it is incomplete." Of course, neither Child, Sharp, nor, Baring-Gould were familiar with certain recent American texts upon which the argument for one ballad rather than two is partly based. The problem of classification is further complicated by the fact that many texts of this ballad have taken over the ending of "Captain Ward and the Rainbow" (Child, No. 287).
Before going further into these controversies, perhaps the present editor should say that he is convinced of the distinctness of the ballads, despite some mixed versions, and that the present Virginia ballad is a version of "Henry Martyn" and not of "Sir Andrew Barton." He also finds Baring-Gould's theory of their relationship more appealing than Child's, though it is perhaps unnecessary that he commit himself on this hardly provable issue.
As background for summary consideration of the controversy, let us briefly review Child's versions of both ballads, before we move on to recently recovered texts and to the present unique Virginia text.
Child prints three versions of "Sir Andrew Barton" (Child, No. 167). Child A, from the Percy MS., has eighty-two stanzas. Child B, with sixty-four stanzas, tells essentially the same story as A. Child collates a number of printed variants and gives in full a Scottish manuscript copy. A third text, which he might have labeled C but did not, is given in Additions and Corrections, IV, 502-7, from a manuscript written in a sixteenth-century hand and now in York Minster Library, and runs to eighty-one stanzas. Child traces this ballad of piracy through chronicles to historical events of June, 1511.
The ballad story in Child A, roughly followed in the other two texts, is as follows: King Henry VIII, hearing of the piracy of the Scot, Andrew Barton, asks for a lord to rid him of the traitor. Lord Charles Howard volunteers, and others sail with him to track down Barton. On the third day they meet a ship commanded by Henry Hunt, who has just recently been robbed by Barton and who tells them where they may find him. Howard takes Barton by surprise, and after a long fight recounted in great detail, Barton is given a death wound. Until he dies, Barton blows his whistle and urges his men to fight on. After his death his men give o'er. Howard severs Barton's head and throws the body overboard. The head is presented to King Henry and he rewards Howard and his men, To Barton's men, in honor of their valor, he gives enough money to get them to their Scottish homes.
The ballad is extremely long and very detailed. The outstanding features are three: the plea of the merchants to King Henry and his subsequent action; the central core of the chase with the vividly detailed and involved battle with which most of the ballad is concerned; and the triumphant return of Howard to England after Barton's death.
"Henry Martyn" (Child, No. 250) is a much shorter ballad which in content might conceivably once have served as an introduction to the longer one. Child prints four versions as his main entry and a fifth important version, E, in Additions and corrections, V, 302-3. Child A (ten stanzas) was taken down from recitation by the Reverend S. Baring-Gould. Child B (eight stanzas) has three sources: a broadside, and two traditional pieces collected by Kidson from oral tradition. Child C (seven stanzas) is from Motherwell's MS. Child D (two stanzas) and E (thirteen stanzas) are both American versions from oral tradition, from New Hampshire and South Carolina, respectively. All of these texts, it will be noticed, are of much more recent date than the texts of "Sir Andrew Barton."
The essential story of the ballad is perhaps most clearly and simply told in Child B. Three brothers in merry Scotland cast lots to see which of them should turn pirate. The lot falls to the youngest one, Henry Martyn, who turns robber on the salt sea to maintain his brothers and himself. He spies a rich merchant ship, refuses to let her pass by, and commences battle. At last Henry Martyn gives her a death wound and down to the bottom goes she. The bad news reaches England, of the loss of the merchant ship and the drowning of most of her merry men.
There are a few significant variations in child's other texts. Child A, though it has the merchant ship sunk, has the pirate die, as in the longer ballad. But this is probably only a verbal change by which the pirate receives rather than gives the death wound. That the pirate's name changes to Robin Hood in Child C is unimportant. Child D, with its pirate named Andrew Bodee, is too fragmentary to offer much help. The essentials of the story of Child B- the lot-casting, the successful sinking of the merchant ship, the pirate victorious, and the bad news carried to England certainly differentiate this ballad from "Sir Andrew Barton." This form of the story, best exemplified in Child B, will henceforth be referred to as the Martyn type of the ballad, even if by verbal confusion, as in Child A, the pirate is supposedly killed.
Child E is a different version, somewhat closer to "Sir Andrew Barton," but still properly classified under child, No. 250. The story is more complicated. The brothers cast lots, Andrew Bartin goes to sea, a merchant ship is robbed, news reaches England, and stout ship is prepared, under the command of Captain Charles Stewart, for the pursuit of Bartin. Stewart's ship meets Martin's, Stewart gives over, and Bartin sends by him his boastful message to the king (George) that the king may reign on dry land but that he, Bartin, will be king of the sea. This is getting a little closer to "Sir Andrew Barton," not only in the name of the hero but in some of the complications of the story. But the opening lot casting, the sinking of the merchant ship, and the pirate victory all point to Child, No. 250. A further complication is that two stanzas--the "brass and steel" of stanza 11 and the final boastful stanza--are imported from another ballad, "Captain Ward and the Rainbow" (child, No. 287). Child is certainly right in classifying this E text under 250 and not under 267. The form of the story exemplified in Child E will henceforth be referred to as the Ward type of the ballad.
Since the Virginia text belongs to the Ward type, we might perhaps drop this discussion here except that to do so would be to drop without an attempt at solution a fascinating and hitherto unsatisfactorily resolved problem in ballad scholarship and ballad relationships. To continue, then:
Two texts of the Ward type or of a third type (yet to be discussed) still closer to the original story of "Sir Andrew Barton" seem to survive in recent British tradition. Texts of the Martyn type are fairly prevalent in England and have been recovered by Sharp, Baring-Gould, Broadwood, and Alfred Williams, among others. In addition to Miss Dean-Smith's listings, references are supplied by Kittredge in JAFL, XIX (July-September, 1917), 327, and by Belden, p. 97. A possible source of weakness in the testimony of Sharp and Baring-Gould as to the ballad's classification, as has been intimated before, is that they are unfamiliar with certain of the ballad's versions, recently recovered in America. But even in the light of the new evidence their conclusion seems to stand. Greig-Keith present no text or tune of "Henry Martyn" (Child No. 250) from recent Scottish tradition. And no trace of the much longer ballad of "Sir Andrew Barton" (Child, No. 167) has been found in recent tradition, British or American, unless one accepts the theory that the two ballads are one.
The appearance of certain twentieth-century American texts and tunes has further complicated the problem of classification and precipitated controversy-- and, be it admitted, some confusion, which it is the effort of this rather elaborate headnote to clear up if it can. Much of the confusion has resulted from Barry's determination to regard "Sir Andrew Barton" and "Henry Martyn" not as two ballads, but one, and to refer all American texts of "Henry Martyn" [see Barry's argument above] "without hesitation" to the tradition of "Sir Andrew Barton." His elaborate discussion (pp. 248-58) cannot (and need not) be summarized here. Further confusion has arisen from the fact that Coffin, following Barry, discusses North American texts of this ballad under Child, No. 167, as "Sir Andrew Barton (including 250, Henry Martyn)." Coffin has also made the American record of this ballad appear larger than it is by duplicate references and by listing a number of reprintings in America of well-known British texts.
Barry draws the strongest support for his argument from a Missouri text entitled "Andy Bardan," originally collected by Belden in 1911 and published by him in JAFL, XXV (April-June, 1912), reprinted by Barry (pp. 252-53) as his version C, and again (later) printed by Belden in Missouri Ballad's and Songs, 1940, pp. 87-89. This thirteen- stanza version is indeed the closest of all texts of "Henry Martyn" to the "Sir Andrew Barton" story. Andy Bardan is the pirate, Captain Charles Stewart his pursuer, and the king, as in "Sir Andrew Barton," is Henry, not George. Lots are cast, Bardan takes to sea and robs a merchantman. News comes to the king, who gives orders for the building of a ship, warning that Bardan be taken on pain of death. Captain Charles Stewart challenges the robbers and will not let them pass by. The fight is joined, Stewart captures Bardan and takes him to England, where he (Bardan) makes a sad speech before he is hanged. Barry points out the several parallels to "Sir Andrew Barton," but of course notes that "the pirate, instead of meeting death in a sea-fight, is taken to England, a prisoner, and hanged." Barry continues: "It seems at least probable that the group of American texts, represented by 'Andy Bardan,' should be reckoned as of an older tradition than that of Henry Martyn,' " and in conclusion he states as his thesis "that 'Sir Andrew Barton,' a ballad extinct in English tradition, has survived in America." Hardly; only a version of "Henry Martyn" somewhat closer to "Sir Andrew Barton." This third form of the story of child, No. 250, best exemplified in Belden's Missouri text, will henceforth be referred to as the Bardan type of the ballad.
Barry's contention ignores too much: the relative brevity of all the "Henry Martyn" texts, the standard opening of the brothers casting lots, the sinking of the merchantman, the usually but not always triumphant pirate. The best answer to Barry is given by Belden, the finder of the disputed text, who classifies it under "Henry Martyn" (Child, No. 25o). He reviews Barry's arguments, then replies: "On the other hand, all the texts given by Child under "Henry Martyn" and all those recorded from tradition since Child's time- whether the hero is called Bardun or Battan or Bodee or Martin-- have a formal likeness that alone is enough to warrant classing them together as a distinct ballad: they all begin with three brothers of old Scotland casting lots to see which of them shall go robbing all on the salt sea to maintain the family. Most of them, too, represent the pirate as triumphing over his foes. But form is a more trustworthy mark of identity than particulars of plot" (p. 87).
Barry's ingenious but rather far-fetched effort to identify the Captain Charles Stewart of the ballad as an American naval hero of that name (1778-1869) has been called in question by Miss Pound's Nebraska text brought from Ireland, in which the pursuer is Captain Joe Stuart. (SFLQ, II, 205-6.)
The conclusion as to classification is that in consideration of structure, details of plot, language, etc., the traditional ballads called "Henry Martyn" or some such approximate title, whether Martyn type, Ward type, or Bardan type, should be classed together under Child, No. 250, even though we recognize the fairly close relationship of some texts of this ballad to "Sir Andrew Barton" (Child, No. 167). It is a pity that recent American texts have been confusedly classified.
All of Coffin's American references (p. 113) should, in my opinion, be transferred from "Sir Andrew Barton" (Child, No. 167) to "Henry Martyn" (Child, No. 250). A few other editors have followed Barry and Coffin in their classification, and have furthered the confusion. To Coffin's references should be added the following more recent texts: a Ward-type text printed by Russell M. Harrison in Western Folklore, XI, 180-82, under Child, No. 167; Ward-type text printed by Lester Hubbard and LeRoy J. Robertson in JAFL, LXIV (January-March, 1951), 49-50, under Child, No. 250; two Bardan-type texts printed by Flanders in Ballads Migrant in New England, pp. 72-74 and 201-3. And the present Virginia text, the Ward type.
Some twenty-odd texts and about half as many tunes of the ballad have been recovered from recent North American tradition. In addition to Newfoundland, at least the following states have produced variants: Maine, New Hampshire, Vermont, Connecticut, New York, West Virginia, Virginia, South Carolina, Arkansas, Ohio, Michigan, Missouri, Kansas, Nebraska, Minnesota, Utah, Oregon. The nautical theme of the ballad might have a bearing on its currency in the Northeast. More surprising is its wide circulation in the Middle West and West. Surprising, too, is its almost total absence from the ballad-singing regions of the South. Since Reed Smith's South Carolina text and tune (pp. 156-58) are only reprints of Child E, the present Virginia text appears to be a unique post-Child Southern text. Neither Sharp-Karpeles nor Brown nor any other Southern collection has it. [The Davis version is suspect because it was supplied by the Smith's and is one of their questionable contributions. It was not recorded orally and was possibly reconstructed with additional verses from printed material by Thomas Smith, who was a also contributor to the Brown collection. R. Matteson 2013]
By the use of Coffin's references and those which have been added here, a summary classification by types may be made of the published American texts. Equality signs between texts indicate that these references are to one text which has been reprinted two or more times. The two American texts printed by Child are included. Texts of the Martyn type are three in number (Eddy A; Karpeles; JAFL, XVIII, 135 [1]). Ward texts are eleven in number including the present Virginia text (Adventure, 1923; Barry A; Child E= Reed Smith; Cox; Garner and Chickering, A and B ; Randolph; Flanders, Country Songs of Vermont; Western Folklore, XI, 1952: JAFL, LXIV, 1951; Virginia text). Texts of the Bardan type are seven in number (Barry B = JAFL, XVIII, 302= Gray; JAFL, XXV, 171= Belden = Barry C; Eddy B; Str10, II, 205; Thompson; Flanders, Ballads Migrant in New England, 1951 pp. 72-74 and 202-3). Two more North American texts, that of Mackenzie from Nova Scotia and Child D from New Hampshire, seem too fragmentary for accurate classification, but they too seem to point toward the Ward type, which is clearly the most numerous type in American oral tradition. The total number of distinct American texts involved in this tabulation is twenty-three.
The Virginia Ward-type text of ten stanzas has the robber named Ronald Barton, his pursuer William Stewart, the king Henry, not George. Ronald Barton of the North Countree becomes a pirate of the Northern seas because he and his brothers "could
not make a living." Dice are cast, and the youngest, Ronald Barton, goes to sea. No single encounter with a merchant ship is recited, but "he sunk and robbed a hundred ships to support himself and brothers on the Northern seas." William Stewart in a unique oath swears to bring Barton back "dead or alive" to London town. He gets "the best ship of England," and sails away. Sighting Barton's ship, he orders him not to pass by. Barton says he will die rather than give in. After a three-hour battle it is Stewart who gives in. Barton sends him back to England to deliver a message to King Henry that the King can rule over dry land, but Barton is king of the sea. The version ends with a stanza not found in any other text, telling how after the battle Ronald Barton set sail and was never seen any more; he never returned again to the Northern seas. Baring-Gould felt that another stanza was needed after the pirate's boastful taunt, and wrote one himself, a very different one, as follows (Songs of the West, Revised edition. 1905, p. 115):
O had I a twisted rope of hemp,
A bowstring strong though thin;
I'd soon hang him up to his middle yard arm
And have done with Henry Martyn.
The Virginia text supplies such a stanza, and a much better stanza, frorn oral tradition.
The genuine antique flavor of the text is apparent. It has required some editorial attention to line and stanza divisions, but is
otherwise untouched. See the more specific headnote, below. One final word may be in order on the problem of the relationship of "Henry Martyn" to "Andrew Barton," which has received so much attention in this headnote. What degree of difference distinguishes a separate ballad from a somewhat distant version of the same ballad is an extremely delicate and difficult question. It is by no means a "yes-or-no" question, but often a matter of agonized decision. the essential problem being just where the line may best be drawn. The habit of ballad intermixture and contamination further complicates the issue. But in the case of these apparently somewhat related ballads of piracy at sea, both the degree of difference and the nature of the differences point to the conclusions that the ballads are two and not one, and to the identification of all three types from recent tradition as belonging with "Henry Martyn" and not with "Sir Andrew Barton."
1. This text is of the "Henry Martyn" form, but as in Child Aa the robber is killed. It does not relate structurally to the "Bardan" type.
------------------------
Artist: Burl Ives (Appears to have been adapted from Cecil's Sharp's version collected from Mrs. White- the text is a compilation- in 1905. There is only one major change- the first two lines of stanza three.)
Title: Henry Martin
Haufrecht (ed.), Wayfarin' Stranger, p. 20; 1945
There were three brothers in merry Scotland
In merry Scotland there were three
And they did cast lots which of them should go
should go, should go
And turn robber all on the salt sea
The lot it fell first upon Henry Martin
The youngest of all three
That he should turn robber all on the salt sea
Salt sea, salt sea
For to maintain his two brothers and he
He had not been sailing but a long winter's night
And a part of a short winter's day
Before he espied a stout lofty ship
lofty ship, lofty ship
Come abiding down on him straight way
Hullo! Hullo! cried Henry Martin
What makes you sail so nigh
I'm a rich merchant bound for fair London town
London Town London Town
Will you please for to let me pass by
Oh no! Oh no! cried Henry Martin
That thing it never could be
For I am turned robber all on the salt sea
Salt sea, salt sea
For to maintain my brothers and me
Come lower your topsail and brail up your mizzen
And bring your ship under my lee
Or I will give you a full flowing ball
flowing ball flowing ball
And your dear bodies drown in the salt sea
Oh no! we won't lower our lofty topsail
Nor bow ourselves under your lee
And you shan't take from us our rich merchant goods
merchant goods merchant goods
Nor point our bold guns to the sea
With broadside and broadside and at it they went
For fully two hours or three
Till Henry Martin gave to her the deathshot
the deathshot the deathshot
And straight to the bottom went she
Bad news bad news to old England came
Bad news to fair London Town
There's been a rich vessel and she's cast away
cast away cast away
And all of the merry men drowned
----------------------
From: Ballads and Songs collected by the Missouri Folk-Lore Society, 1940; Belden's notes
Henry Martin
(Child 250)
With some hesitation, I have entered the text given below under Child 250 instead of under Child 167, Sir Andrew Barton. Barry BBM 253-8 argues rather impressively that Henry Martin should be considered not a distinct ballad that has sprung from the ashes' of Sir Andrew Barton but simply as a variant of that ballad; and that the American versions, retaining the name
Barton- variously modified- and substituting 'Captain Charles Stuart'[1] for the Howard of Sir Andrew Barton, (the challenger of the pirate is not named in British versions of Henry Martin), constitute a fuller and probably older intermediate stage. On the other hand, all the texts given by Child under Henry Martin and all those recorded from tradition since Child's time- whether
the hero is called Bardun or Battam or Bodee or Martin- have a formal likeness that alone is enough to warrant classing them together as a distinct ballad: they all begin with three brothers of old Scotland. casting lots to see which of them shall go robbing all on the salt sea to maintain the family. Most of them, too, represent the pirate as triumphing over his foes. But form is a more trustworthy mark of identity than particulars of plot. Catnach and other ballad printers of the nineteenth century (see Kittredge's bibliographical note JAFL XXX 327) printed Henry Martyn as a stall ballad. Two of Child's texts, D and E, are American. Since the completion of his work the ballad has been reported from tradition in Sussex (JFSS I162-3, IV 301-2), Dorset (JFSS IV 303), Gloucestershire (FSUT 78-9), Somerset (FSSom, No. 80), and Devonshire (JFSS IV 92-3) in England.
1. See upon this point Miss Pound's comment in connection with her Nebraska text secured from a man from who learned it in Ireland, in which the name appears as 'Captain Joe Stuart'- SFLQ II 206-6.
-------------
Sharp's Notes: No. 30. HENRY MARTIN.
Time from Mrs. Lucy White, of Hambridge.
Versions of this ballad, with tunes, are in Mr. Kidson's Traditional Tunes, p. 30; in Songs of the West, No. 53, ed. 1905 ; and in the Journal of the Folk-Song Society, Vol. I, 162.
The words are on a Catnach broadside; and, in Percy's Reliques, there is a long and much edited ballad, called "Sir Andrew Barton," with which, however, the traditional versions have nothing in common.
In English and Scottish Ballads, Child prints the versions in Traditional Tunes and Songs of the West and gives, in addition, four other sets—one from Motherwell's MS., two traditional copies obtained from residents in U.S.A., and a Suffolk fragment contributed by Edward Fitzgerald to Suffolk Notes and Queries; Ipswich Journal, 1877-8).
In these several versions the hero is variously styled Henry Martin, Robin Hood, Sir Andrew Barton, Andrew Bodee, Andrew Bartin, Henry Burgin and Roberton.
Child suggests that the "the ballad must have sprung from the ashes of 'Sir Andrew Barton' (Percy's Reliques), of which name Henry Martin would be no extraordinary corruption." The Rev. S. Baring Gould in his note to the ballad in Songs of the West, differs from this view and contends that the Percy version is the ballad "as recomposed in the reign of James I, when there was a perfect rage for rewriting the old historical ballads."
I am inclined to think, however, that the two versions are quite distinct. "Sir Andrew Barton" deals with the final encounter between Barton and the King's ships, in which Andrew Barton's ship is sunk and he himself killed; whereas the traditional versions are concerned with a piratical raid made by Henry Martin upon an English merchantman. It is true that in Songs of the West Henry Martin receives his death wound, but, as Child points out, this incident does not square with the rest of the story and may, therefore, be an interpolation.
Unlike so many so-called historical ballads this one is really based on fact. In the latter part of the 15th century, a Scottish sea-officer, Andrew Barton, suffered by sea at the hands of the Portuguese, and obtained letters of marque for his two sons to make reprisals upon the trading ships of Portugal. The brothers, under pretense of searching for Portuguese shipping, levied toll upon English merchant vessels. King Henry VIII accordingly commissioned the Earl of Surrey to rid the seas of the pirates and put an end to their illegal depredations. The earl fitted out two vessels, and gave the command of them to his two sons, Sir Thomas and Sir Edward Howard. They sought out Barton's ships, the Lion and the Union, fought them, captured them and carried them in triumph up the river Thames on Aug. 2nd, 1511.
I have noted down the ballad several times in Somerset. Mr. James Bale of Bridgwater, gave me a variant of Mrs. White's tune, which has many points in common with the version in Songs of the West; but Mr. Thomas Hendy of Ilminster and Captain Lewis of Minehead sang me two very different airs.
Mrs. White could only remember one verse of the words, but the other singers gave me full copies, and it is from these that Mr. Marson has constructed the version of the ballad given in the text. Mrs. White's air is in the Dorian mode.
____________________________
Missing Versions:
Paul Holland, head of a printing company in Springfield, knew many old songs, some of which he consistently refused to have recorded by the folksong hunters. In carefully chosen company, back in 1934, Mr. Holland sang a highly prized "family ballad" (Child 250) which he called "Andrew Bardeen" and believed to be virtually unknown outside the Holland clan. He would not allow collectors to write down either the words or the tune of this piece. Mr. Holland said in 1939 that he was preparing a large collection of folksongs for publication, but we failed to find anybody who has ever seen his manuscript. [Randolph]
Emma Dusenberry- reportedly knew a fragment [Randolph]
"Andrew Bardean" J. Kenneth Larsen text and tune Idaho. [Hubbard]
WPA Version- Virginia (Finley Adams)
THERE WERE ONCE THREE BROTHERS
Source Peters, Folk Songs Out of Wisconsin (1977) pp.107-108
Performer Bainter, Fred
Place collected USA : Wisconsin : Ladysmith
Collector Rickaby, Franz
THREE LOVING BROTHERS FROM MERRY SCOTLAND
Source Doucette: Canadian Folk Music Journal 3 (1975) p.29
In the Ontario version, the central character, the youngest of the three brothers, is not named, but his
adversary (Charlie Stuart) is, suggesting a closer relationship to American than
to Newfoundland or British versions.
Performer
Place collected Canada : Ontario : Bobcaygeon / Lakehurst
Collector Puckett, Newbell Niles