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Wagoner's Lad/Loving Nancy/My Horses Ain't Hungry
Traditional Old-Time song; widely known
ARTIST: Versions collected by Brown from NC
CATEGORY: Fiddle and Instrumental Tunes
EARLIEST DATE: 1800s; JOAFL 1907; 1908 Sharp
RECORDING INFO: Waggoner's/Wagoners Lad [Sh 117/Me II-E 2b]
Rt - Rambling (Rambler) Gambler; My Horses Ain't Hungry; On Top Of Old Smokey/Smoky; Pretty Saro; Poor Girl's Warning; It Was a Young Man; Texas Cowboy; I'm a Rambler, I'm a Gambler; Farewell Sweet Mary; Pretty Nancy; Coo Coo [Bird]
At - Loving Nancy
Sm - John Adkin's Farewell ; Rye Whiskey ; Farewell to Tarwathie
Mf - Heather's Song
Uf - On Top Of Old Smokey/Smoky
Dunson, Josh; & Ethel Raim (eds) / Anthology of American Folk Music, Oak, Sof (1973), p 30
Silverman, Jerry (ed.) / Flat-Picker's Guitar Guide, Oak, Sof (1963), p29
Cazden, Norman (ed.) / Merry Ditties, Bonanza Books, Bk (1958), p 64
Sing Out Reprints, Sing Out, Sof (1959), 3, p 8
Leisy, James F. (ed.) / Hootenanny Tonight!, Gold Medal Books, sof (1964), p134
Miller Jr., E. John; & Michael Cromie / Folk Guitar, Quadrangle, Bk (1968), p 42
Silverman, Jerry / Folk Guitar - Folk Song, Scarborough Book, Sof (1983/1977), p 47 (Hard Is the Fortune [of All Womankind])
Fife, Austin E. & Alta S. / Cowboy and Western Songs, Bramhall House, Bk (1982/1969), p 13/# 6
Banjo Newsletter, BNL, Ser (1973-), 1975/11,p11
Leisy, James F. (ed.) / Folk Song Abecedary, Bonanza, Bk (1966), trk# p343
Baez, Joan. Joan Baez, Volume 2, Vanguard VSD 2097, LP (1961), trk# 1
Baez, Joan. Siegmeister, Elie (arr.) / Joan Baez Song Book, Ryerson Music, Sof (1971/1964), p 20
Baez, Joan. Treasures from the Folk Den, Appleseed CD 1046, CD (2001), 1
Benford, Mac; and the Woodshed All-Stars. Willow, Rounder 0371, CD (1996), trk# 3
Boguslav, Raphael (Ray). Songs from a Village Garret, Riverside RLP 12-638, LP (1956), trk# B.07
Bostwick, G. W.. Scarborough, Dorothy (ed.) / A Song Catcher in the Southern Mountains, AMS, Bk (1966/1937), p274,428 [1930] (My Fortune's Been Bad)
Carter, Ora. Chase, Richard (ed.) / American Folk Tales and Songs, Dover, sof (1971/1956), p181 [1930-40's]
Clapp, June. Buttermilk Hill, Butterfly CP 1992, Cas (1992), trk# A.02
Cowan, Debra; and Acie Cargill. Songs and Ballads of Hattie Mae Tyler Cargill, Folk Legacy CD 128, CD (2001), trk# 21
Davis, Bill. Sounds of the Smokies, Old Traditions BWD 51471, LP (1971), trk# A.01
Ebenezer. Tell It To Me, Biograph RC 6007, LP (1975), trk# 6
Gibson, Bob. Carnegie Concert, Riverside RLP 12-816, LP (1957), trk# A.07a (Hard Is the Fortune [of All Womankind])
Grey, Rhoda. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p127/# 117F [1918/08/03]
Gwynne, Kitty. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p125/# 117C [1916/09/01]
Houston, Cisco. I Ain't Got No Home, Vanguard VRS 9107, LP (1962?), trk# 2
House, Hester. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p126/# 117D [1916/09/14]
Isle of Skye. Isle of Skye, Kicking Mule KM 234, LP (1983), trk# A.04
Journeymen. Coming Attraction - Live, Capitol ST 1770, LP (196?), trk# A.06
Kazee, Buell. Anthology of American Folk Music, Smithsonian/Folkways SFW 40090, CD( (1997), trk# 7 [1928/01/18]
Kazee, Buell. Buell Kazee Sings and Plays, Folkways FS 3810, LP (196?/1956), trk# A.04
Kazee, Buell. Lomax, Alan / Folksongs of North America, Doubleday Dolphin, Sof (1975/1960), p220/#112
Kazee, Buell. Mountain Frolic. Rare Old Timey Classics; 1924-37, JSP 77100A-D, CD (2007), trk# C.02 [1928/01/18]
Kossoy Sisters. Bowling Green and Other Folksongs from the Southern Mountains, Tradition TLP 1018, LP (1956), trk# 7
Kossoy Sisters. Banjo Music of the Southern Appalachians, Olympic OL-6173, LP (197?), trk# B.03
Molsky, Bruce; and Big Hoedown. Bruce Molsky and Big Hoedown, Rounder 0421, CD (1997), trk# 5
O'Quinn, Orville. Scarborough, Dorothy (ed.) / A Song Catcher in the Southern Mountains, AMS, Bk (1966/1937), p276a [1930] (Last Farewell)
Owens, Mary. Scarborough, Dorothy (ed.) / A Song Catcher in the Southern Mountains, AMS, Bk (1966/1937), p273 [1930]
Ramsey, Obray. Obray Ramsey Sings Folksongs from the Three Laurels, Prestige International INT 13020, LP (196?), trk# A.02
Red Fox Chasers. Red Fox Chasers, County 510, LP (1967), trk# A.01 [1931/01/27] (Pretty Polly)
Robinson, Zilpha. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p124/# 117B [1908]
Sams, John. Mountain Music of Kentucky, Smithsonian/Folkways SF 40077, CD (1996), trk# 2.48 [1959]
Schilling, Jean and Lee. Porches of the Poor, Traditional JLS 617, LP (1971), trk# 3
Sellers, Maxine. Folk Songs, Prestige Folklore 14032, LP (1964), trk# B.04
Seneff, Liz. Now Listen to Liz, Gateway GLP-2081, LP (196?), trk# B.01
Taussig, Harry. Taussig, Harry / Teach Yourself Guitar, Oak, Sof (1971), p 44
Taussig, Harry. Taussig, Harry / Folk Style Autoharp, Oak, Sof (1967), p 40
Trapezoid. Another Country, Flying Fish FF 287, LP (1982), trk# 1
Trivette, Marina. Carolina Sampler, Global Village C 312, Cas (1992), trk# 16 [1980s]
RECORDINGS: Dock Boggs, "Loving Nancy" (on Boggs3, BoggsCD1)
Vernon Dalhart, "My Horse's Ain't Hungry" [sic] (Edison 52077, 1927)
[G. B.] Grayson & [Henry] Whitter, "My Mind is to Marry" (unissued; on StuffDreams1)
Kelly Harrell, "My Horses Ain't Hungry" (Victor 20103, 1926; on KHarrell01)
Buell Kazee, "The Wagoner's Lad" (Brunswick 213B, 1928; Brunswick 437, 1930; on AAFM1) (on Kazee01)
Mr. & Mrs. John Sams, "Wagoner's Lad" (on MMOKCD)
Pete Seeger, "Fare You Well, Polly" (on PeteSeeger07, PeteSeeger07a);The Wagoner's Lad" (on PeteSeeger17)
SOURCES: Folk Index; Kuntz
Leach, pp.738-740, "The Wagoner's Lad" (2 texts, with the "A" text belonging here and the "B" text a composite of "Wagoner's Lad" and "Old Smokey" verses)
Randolph 740, "Texas Cowboy" (1 text, with much floating material but the plot seems to be here)
BrownIII 250, "The Wagoner's Lad" (3 texts plus 3 fragments; the texts "A"-"C" are "The Wagoner's Lad," and "D" has an associated verse, but "E" and "F" are fragments of a love song, perhaps "Farewell, Charming Nancy" or "Omie Wise," both of which have similar lyrics; "D" also shares this single verse, and "E" adds a "Troubled in Mind" chorus)
Chappell-FSRA 42, "Lamkins" (1 text, apparently a fragment of Child #93 (containing only a threat of cannibalism) plus three "My Horses Ain't Hungry" stanzas)
Scarborough-SongCatcher, pp. 272-282, "The Waggoner's Lad" (9 texts, 6 tunes on pp. 428-431, but the entry combines many songs; A (no title), B ("My Fortune's Been Bad"), and E ("My Horses Ain't Hungry") are extended versions of "The Wagoner's Lad"; C ("The Last Farewell") is a short text probably of "The Wagoner's Lad"; D ("Old Smokie") combined one "Smokey" verse with three "Wagoner's Lad" verses; "F" ("Old Smoky") is a very long "Old Smokey" text which seems to have gained parts of other songs; G ("A False Lying True Love") is "Old Smokey" minus the first verse; H ("I'll Build My Cabin on a Mountain So High" is "Old Smokey" with a first verse from a drunkard song and a final floating verse supplying the title; I (no title) is a fragment probably of "Old Smokey")
SharpAp 117, "The Wagoner's Lad" (6 texts, 6 tunes)
Cambiaire, p. 37, "Loving Nancy" (1 text)
Wyman-Brockway I, p. 62, "Loving Nancy" (1 text, 1 tune)
Sandburg, pp. 284-285, "Rabble Soldier" (1 text, 1 tune -- a strange version, probably composite, in which the wanderer is a "rabble soldier")
Lomax-FSNA 112, "The Wagoner's Lad"; (1 text, 1 tune)
Asch/Dunson/Raim, p. 30 "The Wagoner's Lad" (1 text, 1 tune)
Fife-Cowboy/West 6, "The Wagoner's Lad" (1 text, 1 tune); 83, "Old Paint" (3 texts, 1 tune, of which the "C" text appears actually to be a version of this piece or perhaps "Rye Whisky")
Chase, pp. 181-182, "The Wagoner's Lad" (1 text, 1 tune)
Abrahams/Foss, pp. 38-39, "Wagonner's Lad" (1 text)
PSeeger-AFB, p. 21, "My Horses Ain't Hungry" (1 text, 1 tune)
Silber-FSWB, p. 171 "The Wagoner's Lad"; p. 174 "My Horses Ain't Hungry"; p. 186 "Hard Is The Fortune Of All Womankind" (3 texts)
Saffel-CowboyP, pp. 211-213, "Jack o' Diamonds" (1 text; this particular Lomax offering contains elements of "Jack o Diamonds/Rye Whisky," "The Wagoner's Lad," The Rebel Soldier," and others)
OTHER NAMES: "Loving Nancy," "My Horse's Ain't Hungry," "The Waggoner's Lad"
An Inconstant Lover; I'm a Rambler, I'm a Gambler; The Rambling Gambler
CROSS-REFERENCES:
cf. "The Cuckoo" (floating lyrics)
cf. "Goodbye, Old Paint" (floating lyrics)
cf. "Rye Whiskey" (floating lyrics)
cf. "The Gambler (I)" (floating lyrics)
cf. "Oh Lily, Dear Lily" (floating lyrics)
cf. "The Lady's Case" (floating lyrics)
cf. "I Am a Young Maiden (If I Were a Blackbird)" (lyrics)
cf. "The Rebel Soldier" (floating lyrics)
cf. "The Rue and the Thyme (The Rose and the Thyme)" (floating lyrics)
cf. "Farewell, Sweet Mary"
cf. "Goodbye, Little Bonnie, Goodbye" (theme)
cf. "Moonshiner" (floating lyrics)
cf. "The Virginia Lover" (plot)
NOTES: The song is related to many different songs. The song, of English origin, is titled by many early country recordings artists as "My Horse's Ain't Hungry," "Your Wagon Need Greasing" and even "Pretty Polly." The verses are found in many songs and can be traced back to England in the 1730s song, "The Ladies Case."
The basic plot is: Young woman is courted by a wagoner's lad. Her parents don't like him because he is poor; he tells her he is self-supporting and not ashamed. He tells her he is leaving; she asks him to linger with him, but he refuses. She laments women's hard fortune.
The classic first verse was collected by Cecil Sharp in 1908 and appears in his EFSSA:
No. 64 Version B. The Wagoner's Lad
Zilpha Robison; Clay Co. KY 1908
1. I am a poor girl my fortune's been bad
So ofttimes I've been courted by a wagoner's lad.
He courted me duly, by night and by day,
And now for to leave me he's going away.
Eleven of the stanzas of Sharp's Version A are almost identical with eleven of the stanzas of the preceding song, "Old Smoky". Wyman and Brockway, p. 64 title the song "Loving Nancy") and Cox, No. 146 "Farewell, Sweet Mary" and his interesting note pointing out how lines of other songs have been taken up by "The Wagoner's Lad."
The song is listed in Kuntz as a fiddle tune: WAGONER'S LAD, THE. AKA and see "Rye Whiskey," "The Drunken Hiccups," "The Cuckoo," "Jack of Diamonds," "Robie Donua Gorach," "Tod(d)lin' Hame," "Johnnie Armstrong," "Bacach," "Clinch Mountain." Old‑Time, Air. USA, Kentucky. C Major. The song was first printed by the English collector Cecil Sharp, who toured the Appalachians in 1908. Biograph RC6007, Ebenezer ‑ "Tell it to Me." Rounder CD0421, Bruce Molsky - “Big Hoedown” (1997. Learned from recordings of Mr. & Mrs. John Sams of Combs, Kentucky, and also Buell Kazee).
Here are additional notes:
[1961:] [This] and On Top of Old Smokey are first cousins in the complex Anglo-American family of folksongs which includes East Virginia, The Cuckoo, Sugar Baby, Pretty Polly and probably a few dozen other folksongs. Originally, it was a British broadside ballad, and then it became transformed into an American lyric folksong, ignoring the sage advice of Polonius, and freely borrowing and lending verses to and from a score of other songs. (Reprint Sing Out 3, 138)
[1967:] We have suggested the majority of English songs tell a story or at least purport to. But there are also songs that are simply expressions of mood and nothing more. They are not numerous but they are confusing in their variety because they make use of a stock of symbolic or epigrammatic verses that are combined and re-combined in song after song, so that often it is hard to tell one piece from another. This stock of common-place lyrical 'floaters' [...] is relatively restricted, comprising perhaps not many more than fifty tropes in all [...]. The verses are usually concerned with love, especially love betrayed or denied, and a repertory of such verses provides a handy kit for making countless songs almost at will. [...] Fluid as the use of these floating stanzas may be, sets of them sometimes show signs of crystallizing into specific songs [e.g. The wagoner lad]. [...]
The first verse of "The Ladies Case" from 1734 is simliar to most versions of the 'The Wagoner's Lad.' The text below is from a single sheet song with music, but evidently an unathorized issue. Henry Carey is elsewhere credited with the first two verses here,
which was his complete song, "The Ladies Case". I do not know exactly when it first appeared, but can narrow down the range. The song was printed without credits and without music in a book of 1734, 'The Vocal Miscellany', II, p. 159, and noted in a book with music, 'The Universal Musician', [1737], to have been sung by Miss Raftor (trained by Carey) at the Theatre Royal. She made her debut in 1728 and became Mrs. (Kitty) Clive in 1732. Mr. Gouge (whose first name seems to be unknown) was credited with the music in later printings, e.g., 'The Muses Delight', p. 143, Liverpool, 1754 (slightly revised and retitled 'Apollo's Cabinet', 1757). [Bruce olsen]
The Ladies Case
(Attributed to Mr. Henry Carey)
How hard is the fortune of all womankind,
Forever subjected, forever confined,
The parent controls us until we are wives,
The husband enslaves us the rest of our lives.
If fondly we love, yet we dare not reveal,
But secretly languish, compelled to conceal,
Deny'd every freedom of Life to enjoy,
We're sham'd if we're kind, we're blamed if we're coy.
If fortune we have Oh! then we must be joyn'd,
To the Man that is by our Parents Design'd,
Compel'd for to have the Man we never see,
No matter if Ugly or Handsome he be.
Then who would be Wealthy or Strive to be great,
Since so many Dangers upon them does wait,
That Couples most happy that Love uncontroul'd,
That marrys for nothing despises the Gold.
Another similar song that shares the same first verse is Batchelor's Hall. Note the first verse of Jean Ritchie's version is an imitation of the 1st verse of Henry Carey's "The Ladies Case", c 1730-32. In addition to Baring-Gould, it is in Edith Fowke's Penguin Book of Canadian Folk Songs, and Fuson's Ballads of the Kentucky Highlands. Those lyrics correlate closely with the Ritchie song.
How hard is the fortune of all womenkind,
They're alway contolled, they're always confined,
Controlled by their parents until they're made wives,
Then slaves to their husbands for the rest of their lives.
Notes from Ballad Index- Wagoner's Lad: This song, which barely qualifies as a ballad even in its full forms, has produced many non-ballad offspring, of which "On Top of Old Smokey" is the best known. Randolph apparently thinks his "Texas Cowboy" piece to be related but separate, but (based on his text) I would have to say they are the same. It is very hard to tell certain versions of this from "Rye Whiskey"; the two have exchanged many verses. But the "core" versions seem to be distinct.
An even greater problem is posed by the relationship between this song and "On Top of Old Smoky." The two are occasionally listed as one song (e.g. by Leach); indeed, this was done in early versions of the Index. This was done under the influence of the Lomaxes, who classify the songs together.
Further study, however, seems to show that all versions which have common material are derived from the Lomaxes. The plots of the two songs are different, their tunes are distinct, and true cross-fertilization seems very rare. It would appear that the identification of the two is purely the result of the sort of editorial work the Lomaxes so often committed.
Due to this inconsistency, it is suggested that the reader check all versions of both songs, as well as both sets of cross-references, to find all related materials.
Another closely related song is "Farewell, Sweet Mary," as much as three-quarters of which may derive from this song. It has taken a slightly different direction, however, and is at least a distinct subfamily of this piece. Since it doesn't have anything about horses or wagoners, I list it separately. - RBW
Wagoner's Lad- Brown Collection versions
250 The Wagoner's Lad
This is one of those folk lyrics of unhappy love that are of uncertain content, taking: up or slou.trhing: ott plu'ases and inia.s:es as they pass through the minds and feelings of singers. The core of it. 'in so far as it has one, is the lovelorn girl trying to prevent
the wagoner lad from leaving her. It slips almost unnoticed into another (if it really is another) often called 'Old Smoky,' and like "Old Smoky' it' belongs to the southern Appalachians and to the days of what Winston Churchill called "The Crossing," the
time of freighting over the mountain passes to the newer country in the West. It is known in Virginia ( SharpK 11 127. SCSM 2-y;, FSV 83-5), Kentucky (JAFL xx 268-9, LT 64, SharpK 11 124-5, BKH i\g-20, Shearin's syllabus), Tennessee (ETWVMB 37,
SharpK 11 125-6. 127. and' a trace of it in JAFL xlii 292-3). North Carolina (JAFL xxviii 159. xi.v 108-10, SharpK 11 123-4. 126-7, SCSM 277-9. FSSH 279-80. SSS.\ 2-3. 18-9), Georgia (FSSH 280-1. IA1'"L XI. V iio-TT). and Indiana (SMAJ iii 212-13, 215-16).
There is a trace of it reported from Mississippi (JAFL XXIX 148), another from Arkansas (OFS iv 216), another from Iowa (jMAFLS XXIX 49), and another from Nova Scotia (BSSNS 138). Mrs. Steely found it in the Ehenezer community in Wake county. I have found no trace of it in the New England states; its appearance in Indiana tradition is intelligible enough if we remember that that state was in great part settled from the South. There are three texts of it and three fragments that may be assigned to it in the Brown Collection, besides an Ediphone record.
A. 'Wagoner's Lad.' Contributed by I. G. Greer of Boone, Watauga county, about 1916.
1 I'm but a poor orphan, my fortune's been bad;
I've a long time been courted by a wagoner's lad.
He courted me truly by night and by day;
But now he is loaded and going away.
2 'Your horses are hungry, go give them some hay;
Come sit down beside me, darling, as long as you stay."
'My horses aren't htmgry, nor they won't eat your hay.
So fare you well, darling, I've no time to stay.'
3 He mounted his horses and away he did ride
And left the girl weeping on New River side.
But when he returned, she crowned him with joy
And kissed the sweet lips of the wagoner boy.
4 'I can love you right lightly, or I can love long;
I can love an old sweetheart till a new one comes on,
I can hug him and kiss him and keep him with ease,
Then turn my back on him and court who I please.
5 'So hard is the fortune of poor woman-kind!
They're always controlled and they're always confined.
Controlled by their parents until they're made wives.
Then slaves for their husbands the rest of their lives.
6 'Young ladies, young ladies, take warning from me,
Never cast your affection on a young man so free.
He will hug you and kiss you and tell you more lies
Than the leaves on the green trees or stars in the skies.'
B. 'The Wagoner Lad." Reported by Mrs. Sutton from the singing of Myra Barnc-tt (.Miller), who lived as a nurse with the Minish family in Mrs. Sutton's childhood and from wboni Mrs. Sutton (then Maude Minish) first heard many of the ballads which she was afterwards to report for the Brown Collection, that she heard it also from many others. "I have variants of 'The Wagoner's Lad.'" she writes, "from Caldwell, Mitchell, ^';uK•ev. and Buncombe counties. I collected it once on Toe River." Of Myra Barnett she writes: "Myra, like every ballad singer I've seen, was convinced of the perfidy of men, Truth and devotion were not to be found in the masculine gender, according to
Myra's attitude and songs." But this is of course merely the traditional tone of the folk lyric. Mrs. Sutton's report of Myra's version exists in the manuscripts of the Collection in two forms, which differ slightly but significantly: both are therefore given. The last two lines of stanza I are no doubt a refrain, to be repeated after each stanza.
1 'Go away from me, Willie, and leave me alone;
For I am a poor girl and a long way from home.
Oh yes, I'm a poor girl, my fortune'.s been bad;
I've a long time been courted by a wagoner lad.
He courted me duly, by night and by day.
And now he is loaded and a-going away.
2 'Your horses are hungry, go feed them some hay.
Come sit you down by rne as long as you stay.'
'yiy horses ain't hungry; they won't eat your hay,
So fare you well, darling. I'm a-going away.'
3 'Your horse is to saddle, your wagon's to grease.
Come sit you down by me as long as you please.'
'My horse it is saddled, my whip's in my hand ;
So fare you well, darling, I've no time to stand.
4 'Your parents don't like me because I am poor;
They say I'm not worthy to enter your door.
Some day they will rue it, and rue it in vain.
For love is a killing and tormenting pain.
5 'I can love little, or I can love long.
I can love my old sweetheart till a new comes along.
I can hug her and kiss her and prove to her kind;
I can turn my back on her and also my mind.'
(1))
1 'Go away from me. Willy, and let me alone.
For I am a poor girl and a long way from home.
Oh yes, I'm a poor girl, my fortune's been bad.
I have a long time been courted by a wagoner lad.
He courted me duly, by night and by day,
And now he's a-loadin' and a-goin" away !
2 'Your horses is hungry, go feed them some hay.
Come set you down by me as long as you sta}.'
'My horses ain't hungry, they won't eat your hay.
So fare you well, darlin'. I'm goin' away.
I courted you duly, by night and by day.
But now I am loaded and a-goin' away.'
3 His wagon is loaded and stands in the road.
He leaves poor Nelly a-totin' a load.
So come, all young ladies, if you wouldn't be sad,
Avoid the attentions of a wagoner's lad.
They'll court you all duly by night and by day.
And then the\- will leave you and go far away.
C. 'My Horses Ain't Hungry.' Secured in 1939 from the manuscripts of G. S. Robinson of Asheville. Not strictly a North Carolina version, since it was taken down in Pulaski county, Kentucky ; but it represents a southern Appalachian tradition.
1 'Oh. my horses ain't hungry, they won't eat your hay.
I'll hitch up my horses and drive right away.
Your mama and papa they think I'm too poor.
So I'll hitch up my horses and drive from your door.'
2 'Oh, Johnnie, sweet Johnnie, ye know that I care;
I'd drive right away with ye now if I'd dare.
My mama and papa they want me to home.
But I love ye, sweet Johnnie, and with ye I'll roam.'
3 'Your mama and papa and family, I'm told.
Say all I be wantin' is part of your gold.
But Polly, sweet Polly, oh. how can ye stay
With my horses hitched up and I'm a-going away?'
4 'Oh, I hate to leave mama, she treats me so kind.
But I do love ye so, darling Johnnie of mine!
Ye must tell me, my darling, if with ye I roam.
That deep in your heart I'll always be home.
5 So goodbye, dear mama, we're leavin' today.
We'll drive along southward, and feed on the way :
'Cause young love is happier far than old.
And that's all our story we care to be told.'
D. 'Pretty Mary.' From Mamie Mansfield of the Fowler School District, in Durham county, in 1922. Like so many folk love lyrics it is a composite of divers simples, but may he reckoned with 'The Wagoner's Lad' in virtue of its last stanza. See 'Troubled Mind, A . 344 below.
1 'Pretty Mary, pretty Mary, do you think it's unkind
For me to come to see you and tell you my mind?
My mind is for to marry and never more part,
For the first time I saw you you broken my heart.
I'll go 'way to the mountain, to the mountain so high;
I'll send you a letter as the wild geese go by.'
Chorus: I am troubled, I am troubled, I am troubled in mind.
And if trouble don't kill me I'll live a long time.
"Take out your horses and give them some hay
And sit down beside me as long as you may.'
'My horses are not hungry, and they won't eat your hay.
I'll drive on a little further and feed on the way."
'Poor Johnny.' This and the following fragment clearly belong with the first stanza of D, though they lack any direct connection with 'The Wagoner's Lad.' The present fragment was reported by Mrs. Sutton, without date, as a "dance song, with banjo," from the performance of Silas Ruchanan of Horse Creek, Ashe ct)unty. She conmients : "This
tune is marvelously infectious. We 'ran a reel' to it tonight, at Silas Buchanan's. One call was particularly funny. "Chase the bird,' called out the leader. Three of us caught hands, leaving the fourth member in the center. 'Red bird out and buzzard in' was the next command, and the lady came out of the ring while her partner took her place.
Silas doesn't want the school authorities to know that he sanctions dancing. 'I let the young folks play a little when the boys come down the creek,' he said, 'but they don't do no round dancin'.' "
Poor Johnny, poor Johnny, would you think it unkind
Fur me to sit down beside you and tell you my mind?
My mind is to marry and never to part;
For the first time I saw you, you wounded my heart.
F. 'Lovely Emma.' Contributed by Elsie Doxey of Currituck county, but with the notation that it came from western North Carolina. Its relation to 1) and E is obvious. It might perhaps as well be thought of as part of 'Pretty Polly' (i.e., 'The Gosport Tragedy'), for a Tennessee text of that ballad (ETWV.MB 74) begins with the same stanza except
that the name there is Polly instead of Emma.
Lovely Emma, sweet Emma, would you think it unkind
If I were to sit by you and tell you my mind?
My mind is to marry and never to part;
The first time I saw you you wounded my heart.
Chorus: Oh, her breath smells as sweet as the dew on the vine.
God bless vou, lovely Emma, I wish you were mine.
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