Chapter XXIV: Appendix (1)

Buchan's Ballads of the North of Scotland, I, 15.

1
It fell about the gude Yule time,
When caps and stoups gaed roun,
Down it came him Young Waters,
To welcome James, our king.

2
The great, the great, rade a' together,
The sma came a' behin,
But wi Young Waters, that brave knight,
There came a gay gatherin.

3
The horse Young Waters rade upon,
It cost him hunders nine;
For he was siller-shod before,
And gowd-graith had behin.

4
At ilka tippit o his horse mane
There hang a siller bell;
The wind was loud, the steed was proud,
And they gae a sindry knell.

5
The king he lay ower's castle-wa,
Beheld baith dale and down,
And he beheld him Young Waters,
Come riding to the town.

6
He turnd him right and round about,
And to the queen said he,
Who is the bravest man, my dame,
That ever your een did see?

7
'I've seen lairds, and I've seen lords,
And knights o high degree,
But a braver man than Young Waters
My een did never see.'

8
He turnd him right and roun about,
And ane angry man was he:
'O wae to you, my dame, the queen,
Ye might hae excepted me!'

9
'Ye are nae laird, ye are nae lord,
Ye are the king that wears the crown;
There's nae a lord in fair Scotland
But unto you maun a' bow down.'

10
'O lady, for your love-choicing,
Ye shall win to your will;
The morn, or I eat or drink,
Young Waters I'll gar kill.'

11
'And nevertheless,' the king coud say,
'Ye might hae excepted me;
Yea for yea,' the king coud say,
'Young Waters he shall die.

12
'Likewise for your ill-wyled words,
Ye sall hae cause to mourn;
Gin ye hadna been sae big wi child,
Ye on a hill sud burn.'

13
Young Waters came before the king,
Fell low down on his knee:
'Win up, win up, Young Waters,
What 's this I hear o thee?'

14
'What ails the king at me,' he said,
'What ails the king at me?'
'It is tauld me the day, sir knight,
Ye 've done me treasonie.'

15
'Liars will lie on fell gude men,
Sae will they do on me;
I wudna wish to be the man
That liars on wudna lie.'

16
'Nevertheless,' the king coud say,
'In prison strang gang ye;
O yea for yea,' the king coud say,
'Young Waters, ye shall die.'

17
Syne they hae taen him Young Waters,
Laid him in prison strang,
And left him there wi fetters boun,
Making a heavy mane.

18
'Aft hae I ridden thro Striveling town
Thro heavy wind and weet;
But neer rade I thro Striveling town
Wi fetters on my feet.

19
'Aft hae I ridden thro Striveling town
Thro heavy wind and rain;
But neer rade I thro Striveling town
But thought to ridden't again.'

20
They brought him to the heading-hill,
His horse bot and his saddle;
And they brought to the heading-hill
His young son in his cradle.

21
And they brought to the heading-hill
His hounds intill a leish;
And they brought till the heading-hill
His gos-hawk in a jess.

22
King James he then rade up the hill,
And mony a man him wi,
And called on his trusty page
To come right speedilie.

23
'Ye'll do ye to the Earl o Mar,
For he sits on yon hill;
Bid him to loose the brand frae his bodie,
Young Waters for to kill.'

24
'O gude forbid,' the Earl he said,
'The like sud eer fa me,
My bodie eer sud wear the brand
That gars Young Waters die.'

25
Then he has loosd his trusty brand
And casten't in the sea;
Says, Never lat them get a brand
Till it come back to me.

26
The scaffold it prepared was,
And he did mount it hie,
And a' spectators that were there,
The saut tears blint their ee.

27
'O had your tongues, my brethren dear,
And mourn nae mair for me;
Ye're seeking grace frae a graceless face,
For there is nane to gie.

28
'Ye'll tak a bit o canvas claith
And pit it ower my ee;
And Jack, my man, ye'll be at hand
The hour that I sud die.

29
'Syne aff ye'll tak my bluidy sark,
Gie it fair Margaret Grahame;
For she may curse the dowie dell
That brought King James him hame.

30
'Ye'll bid her mak her bed narrow,
And mak it naeways wide;
For a brawer man than Young Waters
Will neer streek by her side.

31
'Bid her do weel to my young son,
And gie him nurses three;
For gin he live to be a man,
King James will gar him die.'

32
He calld upon the headsman, then,
A purse o gowd him gae;
Says, Do your office, headsman, boy,
And mak nae mair delay.

33
O head me soon, O head me clean,
And pit me out o pine;
For it is by the king's command;
Gang head me till his min.

34
Tho by him I'm condemnd to die,
I'm lieve to his ain kin;
And for the truth, I'll plainly tell,
I am his sister's son.

35
'Gin ye're my sister's son,' he said,
'It is unkent to me;'
'O mindna ye on your sister Bess,
That lives in the French countrie?'

36
'Gin Bess then be your mither dear,
As I trust well she be,
Gae hame, gae hame, Young Waters,
Ye'se neer be slain by me.'

37
But he lay by his napkin fine,
Was saft as ony silk,
And on the block he laid his neck,
Was whiter than the milk.

38
Says, Strike the blow, ye headsman, boy,
And that right speedilie;
It's never be said, Here gaes a knight
Was ance condemnd to die.

39
The head was taen frae Young Waters,
And mony tears for him shed;
But mair did mourn for fair Margaret,
As raving she lyes mad.

[153] #D#, which is made up from the three others, is translated by Prior, II, 160, No 65.

95

THE MAID FREED FROM THE GALLOWS

#A.# Communicated to Bishop Percy, 1770.

#B.# 'The Broom o the Cathery Knowes,' Motherwell's MS.,
p. 290.

#C.# Notes and Queries, Sixth Series, VII, 275, 1883.

#D.# Skene MSS, p. 61, stanzas 19-24: 1802-03.

#E.# 'Lady Maisry,' Buchan's MSS, II, 186; 'Warenston and
the Duke of York's Daughter,' Buchan's Ballads of the
North of Scotland, II, 190, stanzas 16-22.

#F.# Notes and Queries, Sixth Series, VI, 476, 1882.

#G. a.# 'The Golden Key,' Notes and Queries, Sixth
Series, VI, 415. #b.# The same, p. 269.

#H.# 'The Golden Ball.' #a.# Baring-Gould's Appendix
to Henderson's Notes on the Folk Lore of the Northern
Counties of England and the Borders, 1866, p. 333. #b.#
Notes and Queries, Sixth Series, X, 354, 1884.

#D#, #E# form the conclusion of a ballad which belongs to the series of 'Mary Hamilton,' or 'The Queen's Mary,' and give an entirely wrong turn to that distressful tragedy.

#F# had become a children's game, the last stage of many old ballads: see the notes. In #G# and #H# the verses are set in a popular tale, and a characteristic explanation is furnished of the danger which the heroine has incurred: she has lost a golden key, or a golden ball, which had been entrusted to her. See, again, the notes.

All the English versions are defective and distorted, as comparison will show. In many others, both from northern and southern Europe, a young woman has fallen into the hands of corsairs; father, mother, brother, sister, refuse to pay ransom, but her lover, in one case husband, stickles at no price which may be necessary to retrieve her.

We will begin with the best ballad of the cycle, the #Sicilian# 'Scibilia Nobili,' communicated to Nuove Effemeridi Siciliane, Nuova Serie, I, 528, 1874, by Salvatore Struppa, as sung by a peasant woman in the neighborhood of Marsala, 151 verses.[154] Tunisian corsairs, learning of the marriage of the king's daughter, fit out a strong force, and when they are near port change caps, to pass for Christians. They knock at Scibilia's door, and, on her refusing to open, her husband being a-hunting, burst the door in, and carry her on board ship. Her husband goes to the shore weeping, and offers her captors her weight in gold; they will not give her up for a shipful. He begs to be allowed a word with her: why has she let herself be carried off, and who will nurse her boy? She refuses to eat, drink, or sleep. The sailors fall asleep, and Scibilia drops into the sea. They take silk ladders to recover her; she weeps always. (It would be superfluous to do more than point to the fact that the story is not well compacted, or altogether rational, as we have it.) The lady, turning to a sailor, says, Can you tell me how the wind is? If north or south, I will go to my father. No opposition is made by the pirates, who had but just now refused a shipful of gold for her. "My dear father, will you ransom me?" "For how much, my dear daughter?" "Three lions, three falcons, and four pillars of gold." "I cannot lose so much money: how much better lose you!" She is urged by her captors to eat and drink, but will not eat, drink, or sleep, for her boy is starving. She again makes for the coast, weeping ever, and the foregoing scene, from the inquiry as to the wind, is repeated with mother, brother, sister. All say it is better to lose her than so much money. She finally tries her husband, who answers, Better lose all this gold; it is enough if you are not lost. And after three days the father died. "And let him die; I will dress all in red." And after three days the mother died. "And let her die; I will dress all in yellow." And after three days the brother died. "And let him die; I will dress all in green." And after three days the sister died. "And let her die; I will dress all in white. And if my dear husband dies, I will dress in black."

#Spanish.# #A. a#, 'La Donzella,' Die Balearen in Wort und Bild geschildert, II, 263 (privately printed by the Archduke Ludwig Salvator, Leipzig, 1871, a book which I have not been able to obtain), Liebrecht, Zur Volkskunde, p. 231; #b#, Briz, Cansons de la Terra, IV, 15, from a Majorcan _revista_. #B.# 'Lo Rescat,' Briz, IV, 13. #C.# 'La Cautiva,' Milá, Romancerillo, p. 257, No 261. In #A# a maid, who is embroidering a handkerchief by the seashore, lacking silk, hails a vessel, and asks if they have any. She is invited to come aboard and see if they have what she requires. She falls asleep, and the sailors put off. This beginning is like that of another very common ballad. The maid is wakened by the singing of the sailors, and asks them to put into the port where her father is. What follows corresponds to the English ballad. "Father, will you ransom me? The Moors offer me for sale." "Dear daughter, how much do they ask?" "I am yours for a hundred crowns." "Daughter, I will not pay a penny for you." The scene is repeated with mother, brother, and sister, all of whom make the same answer as the father, and then with the lover; but his reply is, I would not give you up for all the world.

The first five stanzas of #A# are wanting in #B#, which begins, accordingly, at the point where the maid asks to have the ship put about. The sister is omitted in #B#, as also in #A b#. #C# is shortened still further, beginning with the appeal to the father, and omitting both sister and brother.

#Färöe.# 'Frísa Vísa,' communicated by Hammershaimb, with other ballads, to the Antiquarisk Tidsskrift, 1849-51, p. 95. Frisian pirates are carrying away a maid. She weeps and beats her hands, and cries, Wait, my father will ransom me; he will ransom me with his castles; he will not let me perish in Friesland. The father answers, I have only two castles; neither of them can I give up for thee; indeed thou mayst perish in Friesland. The Frisians are starting off again. The maid begs them to stop; her mother will redeem her with her kirtles. But the mother says, I have but two kirtles, and neither of them can I give up for thee; indeed thou mayst perish in Friesland. Once more the Frisians are about to put off. The maid says her lover will redeem her with his ships. The lover loyally responds, I have only two ships; both will I gladly part with for thee; thou shalt not perish in Friesland. It appears from a note of Hammershaimb that the ballad might be extended indefinitely by the maid's calling upon brother, sister, and friends to redeem her with their respective valuables.[155]

#Icelandic.# A ballad briefly mentioned at p. 20 f of the volume of the Antiquarisk Tidsskrift, before cited. The Frisians call out, Bear the Danish maid to the ships! 'Bide, Frisians, bide; my kinsfolk will redeem me.' Upon the sixth appeal, to her lover, the maid is ransomed.

#Swedish.# 'Den Bortsålda,' the same ballad as the Färöe and the Icelandic, with an absurd introductory stanza, in which the maid is said to have been sold into the heathen land by her parents for a bit of bread; whence the title. #A. a#, Afzelius, No 15, I, 73;[156] #b#, Hofberg, Nerikes Gamla Minnen, p. 256, No 5. #B.# Afzelius, I, 134. #C.# Rancken, Några prof af folksång, p. 6, No 2, with collation of three other copies. #D.# Eva Wigström, Folkdiktning, I, 62, No 29. #E.# Öberg, in Aminson, Bidrag, I, 23. #F.# Axelson, Vesterdalarne, p. 174, No 2, three stanzas, the rest said to be "entirely like" the Afzelius copies, which differ considerably. A maid is in the hands of sea-rovers, and they are on the point of rowing off with her. She wrings her hands, and calls to them to wait a while. She sees her father coming, who will redeem her with his oxen, and so she shall escape going to the heathen land to pine away. The father says he has but oxen two: the one he shall be using, the other he shall keep--låta stå; and she will not scape going to the heathen land. The sailors lower their oars. The maid wrings her hands, and calls to them again to wait; she sees her mother coming, who will redeem her with her gold caskets. The mother says she has of gold caskets but two: the one she shall be using, the other shall let stay. The maid sees her sister, who will redeem her with her gold crowns. The sister has but two gold crowns, one of which she shall be using, the other will let be. The maid sees her brother, who will redeem her with his foals. The brother has but two foals: the one he shall be using, the other he will let be, and she will not scape from going to the heathen land to pine away. Then the maid sees her true-love coming, and calls to him to redeem her with his gold rings. "Of gold rings," he says, "I have no more than twelve: with six I shall redeem thee, six thou shalt have thyself; so thou scapest going to the heathen land to pine away."

This is the story in #A#, and the chief variations of the other copies are in the things which the maid proposes to her kindred and her lover to redeem her with, and the number of these which they profess to have. The spuriousness of the introductory stanza, in which the girl is said to have been sold into the heathen land for dire need, is evident. The family have two oxen, two gold caskets, two gold crowns, two foals; or even houses, gold caskets, gold chains, mills, more than five, #B#, and no doubt everything handsome about them. In #D# the father is even a king. #E#, #F# lack this beginning. #C# concludes with a permissible imprecation on the part of the lover:

'Cursed be thy father, cursed be thy mother,
Cursed be thy sister, and even so thy brother!'

In #Danish# the ballad occurs in manuscripts, and has been printed as a broadside: Bergström's Afzelius, II, 63.

#German.# #A.# Gräter's Idunna und Hermode, 1814, p. 76, communicated by Abrahamson, one of the editors of the Danske Viser, as learned by him from a maid-servant of his mother, in Sleswig, not long after 1750. #B.# 'Liebesprobe,' Kretzschmer-Zuccalmaglio, II, 54, No 22, "from North Germany," apparently a little retouched. #C.# 'Des Liebsten Liebe die grösste Liebe,' Hoffmann und Richter, p. 43, No 23, Silesia. #D.# 'Loskauf,' Erk's Liederhort, p. 136, No 40, Saxony. #E.# 'Das losgekaufte Mädchen,' Erk und Irmer, II, 52, No 53, Saxony. #F.# 'Loskauf,' Erk's Liederhort, p. 138, No 40^a, Brandenburg. #G.# 'O Schipmann,' Reiffenberg, p. 138, Westphalia. #H.# 'O Schipmann,' Reiffenberg, p. 10, No 5, Westphalia. #I.# 'Loskauf,' Uhland, p. 267, No 117, Westphalia. #J.# Köhler, in Anzeiger für deutsches Alterthum, VI, 268, from Friedrich Kind in "Abend-Zeitung, 1819, No 164, Kind's Erzählungen, 1822, p. 77," Auserwählte Unterhaltungen, Wien, 1827, I, 20. 'Die Losgekaufte,' in Kretzschmer, I, 181, is rewritten; 'Loskauf,' in Simrock, No 39, p. 90, is made up from a variety of copies. Several of the versions come very near to one another, especially #C-F#, nor is there any noteworthy difference in the story of the whole series, save a single point in the last three. A maid whom seamen are carrying off begs them to stop or put back to land; she has a father who will not abandon her. She begs her father to part with coat, house, hat, watch, or bull, to save her from drowning; the father refuses. Then, as before, she successively and vainly entreats her mother to redeem her with gold chain, ring, apron, gown, or silver trinkets; her brother with silver buckles, hat, horse, sword, or coat; her sister with apron, dress, shoes, green wreath, or pearl wreath. Two of the four relatives are wanting in #H#, #I#, #J#. All of her blood refusing to ransom the maid, she calls upon her lover to sacrifice sword, horse, ring, golden hill, to save her, or, in #H#, #I#, #J#, to sell himself to the oar, and the lover is ready in every case. The redemption is not from slavery in a foreign land, but from drowning.

#Esthonian.# The ballad is known all over Esthonia, and a copy composed of two closely resembling versions is given by Neus, Ehstnische Volkslieder, p. 109, 'Die Ausgelöste.' A girl, taken captive in war, asks that the boats may put in, in order that she may find some one to buy her off. She appeals first to her mother, who might redeem her with the best of three aprons which she possesses, one of which is of gold web, another of silver, another of brass. A daughter, answers the mother, is a thing of to-day and to-morrow; my aprons are for life. Her father is next asked to ransom her with the best of three bulls which he owns, which have a horn of gold, silver, and brass respectively. His daughter is his for two days, his bulls for life. The brother is entreated to save her by the sacrifice of the best of his three horses, which have severally manes of gold, silver, and brass. His sister is his for two days, his horse for life. The sister is asked to part with the best of her three wreaths, which are of gold, silver, brass, for an only sister's sake. A sister is hers for a month or two, her wreath for life. Finally the maid turns to her true-love, who has three hats, one of brass, one of silver, one of gold, and entreats him to devote the best to her redemption. How long lasts a hat? he exclaims. A couple of days; but my betrothed for life! Another copy of the same ballad is given by Neus in Dorpater Jahrbücher, V, 228.

The ballad is equally popular in Finland: 'Lunastettava neiti,' Kanteletar, 1864, p. 283, No 26, p. 285, No 27, ed. 1840, III, 131, 137, 273 f; Rancken, Några prof, p. 9.

In various Slavic ballads the man and maid change parts, and the man is ransomed by the generosity of his mistress when his kinsfolk have failed him.

Two #Wendish# ballads, Haupt and Schmaler, #A#, No 74, #B#, No 75, I, 107 ff, begin, like the popular German ballad 'Der Schäfer und der Edelmann,' with a shepherd's being thrown into prison by a nobleman for wearing a costume beyond his rank, and proud words besides. He sees his father coming, #A#, and asks him to pawn half a hundred sheep and get him out. The father prefers his half hundred sheep. He sees his mother coming, and asks her to pawn two cows and release him. She prefers her cows. He sees his brother coming, and asks him to pawn his horse. His brother prefers his horse. He sees his sister coming, and asks her to pawn a fine gown, but the gown again is much dearer in his sister's eyes. He sees his love coming, and asks her to pawn her coral necklace for his ransom, which she does, and he is released. In #B# he writes to father, mother, and sister to ransom him; they all tell him that if he were good for anything he would not be in prison. His love flies to him and ransoms him.[157]

#Russian.# Čelakowský, II, 106,[158] Sakharof, IV, 171, No 13. A young man in prison writes to father and mother for ransom; the whole family will have nothing to do with malefactors and robbers. His love, when written to, calls to her women to get her gold together, all that shall be needed to free him.

#Little-Russian.# Golovatsky, I, 48, No 8. An imprisoned youth writes to his father, Wilt thou ransom me, or shall I perish? How much must he give? Forty saddled horses. Better he should perish. He writes to his mother; she must give forty oxen with their yokes. She declines. He writes to his love; she must furnish forty geese with their goslings. I will spin, she says, spin lustily, buy geese, and ransom thee. No 7, I, 46, is to the same effect, but lacks the close.

#Slovenian.# 'Rodbina,' 'Kinship,' Vraz, Narodne Pěsni ilirske, p. 141.[159] A hero in prison asks his father to release him; the three horses he must give are too much. He asks his mother; the three castles she must give are too much. He asks his brother; the three rifles he must give are too much. He asks his sister; the three fair tresses she must sacrifice are too much. He asks his love; she must give her white hand. Not too much is my white hand, she says; easy to give for thee hand and life besides.

A Little-Russian ballad in Waclaw z Oleska, p. 226, and a Polish in Waldbrühl's Balalaika, p. 504, have the same theme, Love stronger than Blood (woman's love here), but do not belong with the pieces already cited as to form.

A

Communicated to Percy, April 7, 1770, by the Rev. P.
Parsons, of Wey, from oral tradition.

* * * * * * *

1
'O good Lord Judge, and sweet Lord Judge,
Peace for a little while!
Methinks I see my own father,
Come riding by the stile.

2
'Oh father, oh father, a little of your gold,
And likewise of your fee!
To keep my body from yonder grave,
And my neck from the gallows-tree.'

3
'None of my gold now you shall have,
Nor likewise of my fee;
For I am come to see you hangd,
And hanged you shall be.'

4
'Oh good Lord Judge, and sweet Lord Judge,
Peace for a little while!
Methinks I see my own mother,
Come riding by the stile.

5
'Oh mother, oh mother, a little of your gold,
And likewise of your fee,
To keep my body from yonder grave,
And my neck from the gallows-tree!'

6
'None of my gold now shall you have,
Nor likewise of my fee;
For I am come to see you hangd,
And hanged you shall be.'

7
'Oh good Lord Judge, and sweet Lord Judge,
Peace for a little while!
Methinks I see my own brother,
Come riding by the stile.

8
'Oh brother, oh brother, a little of your gold,
And likewise of your fee,
To keep my body from yonder grave,
And my neck from the gallows-tree!'

9
'None of my gold now shall you have,
Nor likewise of my fee;
For I am come to see you hangd,
And hanged you shall be.'

10
'Oh good Lord Judge, and sweet Lord Judge,
Peace for a little while!
Methinks I see my own sister,
Come riding by the stile.

11
'Oh sister, oh sister, a little of your gold,
And likewise of your fee,
To keep my body from yonder grave,
And my neck from the gallows-tree!'

12
'None of my gold now shall you have,
Nor likewise of my fee;
For I am come to see you hangd,
And hanged you shall be.'

13
'Oh good Lord Judge, and sweet Lord Judge,
Peace for a little while!
Methinks I see my own true-love,
Come riding by the stile.

14
'Oh true-love, oh true-love, a little of your gold,
And likewise of your fee,
To save my body from yonder grave,
And my neck from the gallows-tree.'

15
'Some of my gold now you shall have,
And likewise of my fee,
For I am come to see you saved,
And saved you shall be.'

B

Motherwell MS., p. 290, from the recitation of Widow
McCormick; learned in Dumbarton.

* * * * * * *

1
'It's hold your hand, dear judge,' she says,
'O hold your hand for a while!
For yonder I see my father a coming,
Riding many's the mile.

2
'Have you any gold, father?' she says,
'Or have you any fee?
Or did you come to see your own daughter a hanging,
Like a dog, upon a tree?'

3
'I have no gold, daughter,' he says,
'Neither have I any fee;
But I am come to see my ain daughter hanged,
And hanged she shall be.'

4
'Hey the broom, and the bonny, bonny broom,
The broom o the Cauthery Knowes!
I wish I were at hame again,
Milking my ain daddie's ewes.

5
'Hold your hand, dear judge,' she says,
'O hold your hand for a while!
For yonder I see my own mother coming,
Riding full many a mile.

6
'Have you any gold, mother?' she says,
'Or have you any fee?
Or did you come to see your own daughter hanged,
Like a dog, upon a tree?'

7
'I have no gold, daughter,' she says,
'Neither have I any fee;
But I am come to see my own daughter hanged,
And hanged she shall be.'

8
'Hey the broom, the bonnie, bonnie broom,
The broom o the Cauthery Knowes!
I wish I were at hame again,
Milking my ain daddie's ewes.

9
'Hold your hand, dear judge,' she says,
'O hold your hand for a while!
For yonder I see my ae brother a coming,
Riding many's the mile.

10
'Have you any gold, brother?' she says,
'Or have you any fee?
Or did you come to see your ain sister a hanging,
Like a dog, upon a tree?'

11
'I have no gold, sister,' he says,
'Nor have I any fee;
But I am come to see my ain sister hanged,
And hanged she shall be.'

12
'Hey the broom, the bonnie, bonnie broom,
The broom o the Cathery Knowes!
I wish I were at hame again,
Milking my ain daddie's ewes.

13
'Hold your hand, dear judge,' she says,
'O hold your hand for a while!
For yonder I see my own true-love coming,
Riding full many a mile.

14
'Have you any gold, my true-love?' she says,
'Or have you any fee?
Or have you come to see your own love hanged,
Like a dog, upon a tree?'

* * * * * * *

C

Notes and Queries, Sixth Series, VII, 275, 1883:
communicated by the Rev. E. Venables, Precentor of
Lincoln, as sung by a nurse-maid from Woburn, near High
Wycombe, Buckinghamshire, "between fifty and sixty years
ago."

1
'Hold up thy hand, most righteous judge,
Hold up thy hand a while!
For here I see my own dear father,
Come tumbling over the stile.

2
'Oh hast thou brought me silver or gold,
Or jewels, to set me free?
Or hast thou come to see me hung?
For hanged I shall be.

3
'If I could get out of this prickly bush,
That prickles my heart so sore,
If I could get out of this prickly bush,
I'd never get in it no more.'

4
'Oh I have brought nor silver nor gold,
Nor jewels, to set thee free;
But I have come to see thee hung,
For hanged thou shall be.

* * * * * * *

5
'It's I have brought thee silver and gold,
And jewels, to set thee free;
I have not come to see thee hung,
For hanged thou shall not be.'

6
'Now I have got out of this prickly bush,
That prickled my heart so sore,
And I have got out of this prickly bush,
I'll never get in it no more.'

D

Skene MSS, p. 61, stanzas 19-24: taken down in the north
or northeast of Scotland, 1802-03.

1
. . . . . . .
'O had your hand a while!
For yonder comes my father,
I'm sure he'l borrow me.

2
'O some of your goud, father,
An of your well won fee!
To save me [frae the high hill],
[And] frae the gallow-tree.'

3
'Ye 's get nane of my goud,
Nor of my well won fee,
For I would gie five hundred poun
To see ye hangit hie.'

4
. . . . . . .
'O had yer hand a while!
Yonder is my love Willie,
Sure he will borrow me.

5
'O some o your goud, my love Willie,
An some o yer well won fee!
To save me frae the high hill,
And frae the gallow-tree.'

6
'Ye's get a' my goud,
And a' my well won fee,
To save ye fra the headin-hill,
And frae the gallow-tree.'

E

Buchan's MSS, II, 186, stanzas 16-22.

1
'Hold your hands, ye justice o peace,
Hold them a little while!
For yonder comes my father and mother,
That 's travelld mony a mile.

2
'Gie me some o your gowd, parents,
Some o your white monie,
To save me frae the head o yon hill,
Yon greenwood gallows-tree.'

3
'Ye 'll get nane o our gowd, daughter,
Nor nane o our white monie,
For we have travelld mony a mile,
This day to see you die.'

4
'Hold your hands, ye justice o peace,
Hold them a little while!
For yonder comes him Warenston,
The father of my chile.

5
'Give me some o your gowd, Warenston,
Some o your white monie,
To save me frae the head o yon hill,
Yon greenwood gallows-tree.'

6
'I bade you nurse my bairn well,
And nurse it carefullie,
And gowd shoud been your hire, Maisry,
And my body your fee.'

7
He's taen out a purse o gowd,
Another o white monie,
And he's tauld down ten thousand crowns,
Says, True-love, gang wi me.

F

Notes and Queries, Sixth Series, VI, 476, 1882: "sung in
Forfarshire, forty years ago."

1
'Stop, stop, ...
. . . . . . .
I think I see my father coming,
. . . . . . .

2
'O hae ye brocht my silken cloak,
Or my golden key?
Or hae ye come to see me hanged,
On this green gallows-tree?'

3
'I've neither brocht your silken cloak,
Nor your golden key,
But I have come to see you hanged,
On this green gallows-tree.'

* * * * * * *

4
'I've neither brocht your silken cloak,
Nor your golden key,
But I am come to set you free
From this green gallows-tree.'

G

#a.# Notes and Queries, Sixth Series, VI, 415, 1882. #b.#
The same, p. 269.

1
'Hangman, hangman, stop a minute,
. . . . . . .
I think I see my father coming,
. . . . . . .

2
'Father, father, have you found the key,
And have you come to set me free?
Or have you come to see me hanged,
Upon this gallows-tree?'

* * * * * * *

3
'I have not come to see you hanged,
Upon the gallows-tree,
For I have found the golden key,'
. . . . . . .

H

#a.# Baring-Gould's Appendix to Henderson's Notes on the
Folk Lore of the Northern Counties of England and the
Borders, 1866, p. 333, Yorkshire. #b.# Notes and Queries,
Sixth Series, X, 354, 1884.

1
'Stop, stop! ...
. . . . . . .
I think I see my mother coming,
. . . . . . .

2
'Oh mother, hast brought my golden ball,
And come to set me free?
. . . . . . .
. . . . . . .

3
'I've neither brought thy golden ball,
Nor come to set thee free,
But I have come to see thee hung,
Upon this gallows-tree.'

4
'Stop, stop! ...
. . . . . . .
I think I see my father coming,
. . . . . . .

5
'O father, hast brought my golden ball,
And come to set me free?
. . . . . . .
. . . . . . .

6
'I've neither brought thy golden ball,
Nor come to set thee free,
But I have come to see thee hung,
Upon this gallows-tree.'

7
'Stop, stop! ...
. . . . . . .
I see my sweet-heart coming,
. . . . . . .

8
'Sweet-heart, hast brought my golden ball,
And come to set me free?
. . . . . . .
. . . . . . .

9
'Aye, I have brought thy golden ball,
And come to set thee free;
I have not come to see thee hung,
Upon this gallows-tree.'

* * * * *

#B.#

_The title, '~The Broom o the Cathery Knowes~,' is not
prefixed to the ballad, but is given in the Index._

5^4. _Changed by Motherwell to ~many's the mile~, as in
1._

12. Hey the broom, &c.

#C.#

_This version, which the Rev. E. Venables has also
communicated to me in manuscript, was tagged on to a
fragment of '~Hugh of Lincoln~.'_

_After 4_: "Mother, brother, sister, uncle, aunt, etc.,
succeed. At last comes the own true love, who replies."

#D.#

2^{3, 4}. _Restored from stanza 5._

#F.#

"It was sung in Forfarshire forty years ago by girls
during the progress of some game, which I do not now
distinctly recollect. A lady, at the point of being
executed, cries Stop, stop! I think I see my father
coming. Then, addressing her father, she asks," _as in
stanza 2_; "to which the father replies," _as in stanza
3_. "Mother, brother, sister, are each addressed in turn,
and give the same answer. Last of all the fair sinner
sees her lover coming, and on putting the question to him
is answered thus," _as in stanza 4_; "whereupon the game
ends." _W. F. (2), Saline Manse, Fife._

#G. a.#

_Before stanza 1_: "I think the title of this ballad is
'The Golden Key.' The substance of it is that a woman
has lost a gold key, and is about to be hung, when she
exclaims, _as in stanza 1_. Then follows" _stanza 2_.
_After 2_: "Father, mother, brother, sister, all in turn
come up, and have not found the lost key. At last the
sweet-heart appears, who exclaims triumphantly," _as in
stanza 3_. "I write this from memory. I never saw it in
print." _H. Fishwick._

#b.#

"A lady writes to me, My mother used to hear, in
Lancashire and Cheshire, a ballad of which she only
recollects three lines:

And I'm not come to set you free,
But I am come to see you hanged,
All under the gallows-tree.

The last line was repeated, I believe, in every verse."
_William Andrews._

#H. a.#

_The verses form part of a Yorkshire story called ~The
Golden Ball~. A man gives a golden ball to each of two
lasses, and if either loses the ball she is to be hanged.
The younger, while playing with her ball, tosses it over
a park-paling; the ball runs away over the grass into a
house, and is seen no more._

"Now t' lass was taken to York to be hanged. She was
brought out on t' scaffold, and t' hangman said, Now,
lass, tha must hang by t' neck till tha be'st dead. But
she cried out, Stop, stop," _etc., stanzas 1-3_.

"Then the hangman said. Now, lass, say thy prayers, for
tha must dee." _Stanzas 4-6 follow. The maid thinks she
sees her brother coming, her sister, uncle, aunt, cousin.
The hangman then says_, "I wee-nt stop no longer, tha's
making gam of me. Tha must be hung at once. But now she
saw her sweetheart coming through the crowd, and he had
over head i t' air her own golden ball. So she said," _as
in stanzas 7-9_.

#b.#

_Miss Kate Thompson, of Newcastle-on-Tyne, had when a
child frequently been told the story of ~The Golden Ball~
by a woman who was a native of the Borderland. A rich
lady possessed a golden ball, which she held in high
esteem. A poor girl, her servant, had to clean this ball
every day, and it was death to lose it. One day when she
was cleaning the ball near a stream it disappeared. The
girl was condemned to die, and had mounted the scaffold.
The story was all in prose up to the execution, when the
narrator broke into rhyme:_

'Stop the rope! stop the rope!
For here I see my mother coming.

'Oh mother, have you brought the golden ball,
And come to set me free?
Or are you only here to see me die,
Upon the high, high gallows-tree?'

_The mother answers that she has only come to see her
die. Other relatives follow, and last of all comes
the lover, who produces the ball, and the execution
is stopped. Miss Thompson adds that two Northumbrian
servants in her house remember the story so._

[154] Liebrecht was the first to call attention to this ballad-cycle, Zur Volkskunde, p. 222, repeating, with enlargement, an article in Zeitschrift für deutsche Philologie, IX, 53. He gives the Sicilian text, and a Balearic and a Färöe, presently to be noticed, with translations, and points out other parallels. Reifferscheid made additions in his Westfälische Volkslieder, p. 10, p. 138 ff. I have not at hand the Effemeridi for 1874.

[155] "_Legen_ kan nu fortsættes videre" might imply that the ballad was used as a game; but it is presumable that the author would have been explicit, had he meant this.

[156] Translated by George Stephens in the Foreign Quarterly Review, XXVI, 31.

[157] In the same collection, No 297, I, 297, there is no refusal on the part of the kindred, but what they offer is insufficient, and the maid succeeds by outbidding them. So in some of the corresponding German ballads, as Hoffmann und Richter, Nos 9, 10; Erk's Liederhort, Nos 51, 51^a, 51^b; Elwert, Ungedruckte Reste alten Gesangs, p. 43,==Liederhort, 51^c; Longard, p. 22, No 11; Fiedler, p. 141. In Ulmann's Lettische Volkslieder, 1874, p. 168 (cited by Reiffenberg), 'Der losgekaufte Soldat,' a conscript writes to father, mother, brother, sister, to buy him off, and they devote horses, cows, lands, dowry, to this object, but do not succeed. His mistress sells her wreath and frees him.

[158] Goetze, Stimmen des russischen Volks, p. 150; Wenzig, Slawische Volkslieder, p. 151.

[159] Translated by Anastasius Grün, Volkslieder aus Krain, p. 30.

96

THE GAY GOSHAWK

#A.# 'The Gay Goss Hawk,' Jamieson-Brown MS., fol. 15, No
6.

#B.# Motherwell's MS., p. 230.

#C.# 'The Jolly Goshawk,' Motherwell's MS., p. 435;
Motherwell's Minstrelsy, p. 353.

#D.# 'The Gay Goss-hawk,' Motherwell's Note-Book, 27;
Motherwell's MS., p. 415.

#E.# 'The Gay Goss-hawk,' Minstrelsy of the Scottish
Border, II, 7, 1802.

#F.# Communicated by Miss Reburn, as sung in County
Meath, Ireland.

#G.# 'The Scottish Squire,' Buchan's Ballads of the North
of Scotland, II, 245.

The 'Gay Goshawk' first appeared in print in the second volume of Scott's Minstrelsy, in 1802. Scott's copy was formed partly from Mrs Brown's version, #A#, "and partly from a MS. of some antiquity _penes Edit_." This compounded copy is now given, #E#, with those portions which are contained in the Brown MS. printed in smaller type, in order that what is peculiar to the other manuscript may be distinguished. A second copy of #A# was made for William Tytler under the direction of the reciter in 1783, but has not been recovered. There were 28 stanzas, as in #A#, and the first stanza has been given by Anderson in Nichols's Illustrations, VII, 176. #C# was furnished Motherwell by Buchan from a manuscript sent him, and Buchan says that he himself took down from recitation the vilely dilated and debased #G#: Ballads of the North of Scotland, II, 340.

A ballad widely known in France has the central idea of the Gay Goshawk, a maid's feigning death to escape from a father to a lover whom she is not permitted to marry, but in the development of the story there is no likeness. A version of this ballad, 'Belle Isambourg,' was printed as early as 1607 in a collection with the title Airs de Cour, p. 40, and was republished by Rathery in the Moniteur of August 26, 1853, p. 946, afterwards in Haupt's Französische Volkslieder, p. 92. The king wishes to give Fair Isambourg a husband, but her heart is fixed on a handsome knight, whom she loves more than all her kin together, though he is poor. The king shuts her up in a dark tower, thinking that this treatment will bring about a change, but it does not. Isambourg sees her lover riding towards or by the tower at full speed. She calls to him to stop, and says:

Malade et morte m'y feray,
Porter en terre m'y lairray,
Pourtant morte je ne seray.

Puis apres je vous prie amy,
Qu'à ma chapelle a Sainct-Denis
Ne m'y laissez pas enfouir.

Isambourg is now proclaimed to be dead, and is carried to burial by three princes and a knight. Her lover, hearing the knelling and chanting, puts himself in the way and bids the bearers stop. Since she has died for loving him too well, he wishes to say a De profundis. He rips open a little of the shroud, and she darts a loving smile at him. Everybody is astonished.

Other versions, derived from oral tradition, have a more popular stamp: (1.) Poésies populaires de la France, MS., III, 54, 'La fille du roi et le Prince de Guise,' learned at Maubeuge, about 1760. (2.) III, 47, 'Le beau Déon,' Auvergne. (3.) III, 49, 'La princesse de la Grand' Tour,' Berry. (4.) III, 50 (the hero being Léon), Berry. (5.) III, 53, Caudebec. (6.) III, 56, Pamiers, Languedoc. (7.) III, 57, and II, 52, Orléans. (8.) 'La fille d'un prince,' Buchon, Noëls et chants p. de la Franche-Comté, p. 82, No 16. (9.) 'La fille d'un prince,' Rondes et Chansons p. illustrées, Paris, 1876, p. 286. (10.) 'La princesse,' Guillon, Chansons p. de l'Ain, p. 87. (11.) 'La maîtresse captive,' Puymaigre, Chants p. messins, I, 87. (12.) Le Héricher, Littérature p. de Normandie, p. 153 f. (13.) 'De Dion et de la fille du roi,' Ampère, Instructions, p. 38, the first fourteen stanzas; Auvergne. (14.) G. de Nerval, La Bohème Galante, ed. 1866, p. 70, and Les Faux Saulniers, ed. 1868, p. 346, the story completed in Les Filles du Feu, ed. 1868, p. 132; or, in the collection lately made from his works, Chansons et Ballades p. du Valois, p. 16, VIII. The last two have a false termination, as already remarked under No 4, I, 42.

In these traditional versions, the father pays a visit to the princess after she has been confined seven years, and asks how she is. One side is eaten away by worms, her feet are rotting in the irons. She begs a few sous to give the jailer to loosen her fetters. Millions are at her disposal if she will give up her lover. Rather rot, is her reply. Rot, then, says her father. The lover comes by and throws a few words of writing into the tower, directing her to counterfeit death. The rest is much the same. In several versions the king yields.

There are many other ballads in which a girl, for one reason or another, feigns death. In 'Les trois capitaines,' or 'La jolie fille de la Garde,' etc., Arbaud, I, 143, Decombe, Ch. p. d'Ille-et-Vilaine, p. 150, No 51, Champfleury, Ch. p. des Provinces, p. 95, Bujeaud, II, 174, 'La Bohème Galante,' ed. 1866, p. 71 f, Chansons du Valois, p. 19, IX, Puymaigre, Vieux Auteurs, II, 478, E. Legrand, Romania, X, 369, No 6, the object is to save her honor;[160] so in Marcoaldi, p. 162, No 10, Ferraro, C. p. monferrini, p. 41, No 31. The well-disposed hostess of an inn administers a sleeping-draught, in Arbaud's ballad and in Decombe's. The object is to avoid becoming a king's mistress, in 'Kvindelist,' Grundtvig, IV, 394, No 235, 'Hertig Hillebrand och hans Syster,' Arwidsson, I, 380 No 61; in a Bohemian ballad, to avoid marrying a Turk, 'Oklamaný Turek,' 'The Turk duped,' Čelakovský, III, 11 (translated in Bowring's Cheskian Anthology, p. 129) Erben, p. 485, etc., etc.; to move a lover who is on the point of deserting, Hoffmann, Niederländische Volkslieder, p. 61, No 15, Willems, No 60, Uhland, No 97 #B#.

In 'Willie's Lyke-Wake,' No 25, I, 247, a man feigns death in order to capture a coy maid, or a maid refused him by her parents.

Birds are not seldom employed as posts in ballads: see 'Sweet William,' Motherwell's Minstrelsy, p. 307, Milá, Romancerillo, No 258; Hartung, Romanceiro, I, 193 (dove). A falcon carries a letter, in Afzelius, III, 116, No 87, and Milá, No 258 K, and Marko Kraljevitch sends a letter by a falcon from his prison, Karadshitch, II, 383. For a love-message of a general sort, not involving business, the nightingale is usually and rightly selected. On the other hand, a nightingale first orders a ring of a goldsmith, and afterwards delivers it to a lady, in Uhland, No 15.[161] In this ballad the goshawk is endowed with the nightingale's voice. The substitution of a parrot in #G#, a bird that we all know can talk, testifies to the advances made by reason among the humblest in the later generations.[162] A parrot, says Buchan, "is by far a more likely messenger to carry a love-letter or deliver a verbal message," II, 341. The parrot goes well with the heroine swooning on a sofa (stanza 33) and the step-dame sitting on the sofa's end (stanza 36).

Thieves drop three drops of _wax_ on the breast of a servant-girl who is feigning sleep, and she shows no sign of feeling, in a Catalan ballad, Milá, Romancerillo, p. 104, No 114, vv 13-16, Observaciones, p. 147, No 43, Briz, I, 147.[163]

Translated by Grundtvig, Engelske og skotske Folkeviser, No 32, after #E#, #C#, #G#. After #D# by Talvj, Versuch, u. s. w., p. 560; Schubart, p. 57; Doenniges, p. 19; Gerhard, p. 37; Loève-Veimars, p. 264. By Knortz, Lieder Alt-Englands, No 2, after #C#; by Rosa Warrens, Schottische Volkslieder, No 38, after #C# and #E#, sometimes following Aytoun, I, 178.

A

Jamieson-Brown MS., No 6, pt 15.

1
'O well's me o my gay goss-hawk,
That he can speak and flee;
He'll carry a letter to my love,
Bring back another to me.'

2
'O how can I your true-love ken,
Or how can I her know?
Whan frae her mouth I never heard couth,
Nor wi my eyes her saw.'

3
'O well sal ye my true-love ken,
As soon as you her see;
For, of a' the flowrs in fair Englan,
The fairest flowr is she.

4
'At even at my love's bowr-door
There grows a bowing birk,
An sit ye down and sing thereon,
As she gangs to the kirk.

5
'An four-and-twenty ladies fair
Will wash and go to kirk,
But well shall ye my true-love ken,
For she wears goud on her skirt.

6
'An four and twenty gay ladies
Will to the mass repair,
But well sal ye my true-love ken,
For she wears goud on her hair.'

7
O even at that lady's bowr-door
There grows a bowin birk,
An she set down and sang thereon,
As she ged to the kirk.

8
'O eet and drink, my marys a',
The wine flows you among,
Till I gang to my shot-window,
An hear yon bonny bird's song.

9
'Sing on, sing on, my bonny bird,
The song ye sang the streen,
For I ken by your sweet singin
You 're frae my true-love sen.'

10
O first he sang a merry song,
An then he sang a grave,
An then he peckd his feathers gray,
To her the letter gave.

11
'Ha, there's a letter frae your love,
He says he sent you three;
He canna wait your love langer,
But for your sake he'll die.

12
'He bids you write a letter to him;
He says he's sent you five;
He canna wait your love langer,
Tho you 're the fairest woman alive.'

13
'Ye bid him bake his bridal-bread,
And brew his bridal-ale,
An I 'll meet him in fair Scotlan
Lang, lang or it be stale.'

14
She 's doen her to her father dear,
Fa'n low down on her knee:
'A boon, a boon, my father dear,
I pray you, grant it me.'

15
'Ask on, ask on, my daughter,
An granted it sal be;
Except ae squire in fair Scotlan,
An him you sall never see.'

16
'The only boon, my father dear,
That I do crave of the,
Is, gin I die in southin lands,
In Scotland to bury me.

17
'An the firstin kirk that ye come till,
Ye gar the bells be rung,
An the nextin kirk that ye come till,
Ye gar the mess be sung.

18
'An the thirdin kirk that ye come till,
You deal gold for my sake,
An the fourthin kirk that ye come till,
You tarry there till night.'

19
She is doen her to her bigly bowr,
As fast as she coud fare,
An she has tane a sleepy draught,
That she had mixed wi care.

20
She's laid her down upon her bed,
An soon she's fa'n asleep,
And soon oer every tender limb
Cauld death began to creep.

21
Whan night was flown, an day was come,
Nae ane that did her see
But thought she was as surely dead
As ony lady coud be.

22
Her father an her brothers dear
Gard make to her a bier;
The tae half was o guide red gold,
The tither o silver clear.

23
Her mither an her sisters fair
Gard work for her a sark;
The tae half was o cambrick fine,
The tither o needle wark.

24
The firstin kirk that they came till,
They gard the bells be rung,
An the nextin kirk that they came till,
They gard the mess be sung.

25
The thirdin kirk that they came till,
They dealt gold for her sake,
An the fourthin kirk that they came till,
Lo, there they met her make!

26
'Lay down, lay down the bigly bier,
Lat me the dead look on;'
Wi cherry cheeks and ruby lips
She lay an smil'd on him.

27
'O ae sheave o your bread, true-love,
An ae glass o your wine,
For I hae fasted for your sake
These fully days is nine.

28
'Gang hame, gang hame, my seven bold brothers,
Gang hame and sound your horn;
An ye may boast in southin lans
Your sister's playd you scorn.'

B

Motherwell's MS., p. 230: from the recitation of Mrs
Bell, of Paisley, and of Miss Montgomerie, of Edinburgh,
her sister.

1
Out then spoke the king of Scotland,
And he spak wondrous clear:
Where will I get a boy, and a pretty little boy,
That will my tidings bear?

2
Out then spak a pretty little bird,
As it sat on a brier:
What will ye gie me, king of Scotland, he said,
If I your tidings will bear?

3
'One wing of the beaten gowd,
And another of the silver clear;
It's all unto thee, my pretty little bird,
If thou my tidings will bear.'