The Child Ballads are 305 traditional ballads from England and Scotland, and their American variants, anthologized by Francis James Child during the second half of the 19th century. Their lyrics and Child's studies of them were published as The English and Scottish Popular Ballads. The tunes of most of the ballads were collected and published by Bertrand Harris Bronson in and around the 1960s. [1]
The ballads vary in age; for instance, the manuscript of "Judas" dates to the thirteenth century and a version of "A Gest of Robyn Hode" was printed in the late fifteenth or early sixteenth century. [2] The majority of the ballads, however, date to the seventeenth and eighteenth centuries. Although some are claimed to have very ancient influences,[ citation needed ] only a handful can be definitively traced to before 1600. Moreover, few of the tunes collected are as old as the words. Nevertheless, Child's collection was far more comprehensive than any previous collection of ballads in English.
Many of Child's ballads were obtained from printed broadsides, but he generally distinguished the "traditional" ballads that interested him from later broadside ballads. As Child died before writing a commentary on his work, it is uncertain exactly how and why he selected some ballads and discounted others. [3]
Child's collection was not the first of its kind; there had been many less scholarly collections of English and Scottish ballads, particularly from Bishop Thomas Percy's Reliques of Ancient English Poetry (1765) onwards. [4] There were also "comprehensive" ballad collections from other countries. Child modelled his work on Svend Grundtvig's Danmarks gamle Folkeviser , classifying and numbering the ballads and noting different versions, which were placed side by side to aid comparison. [2] As a result, one Child number may cover several ballads, which Child considered variants of the same story, although they may differ in many ways (as in "James Hatley"). Conversely, ballads classified separately may contain turns of phrase, and even entire verses, that are identical.
The editorial history of Child's publication received a monograph study by Mary Ellen Brown in 2011. [5]
In 1860, Child published an eight-volume collection entitled English and Scottish Ballads, generally presenting just one variant of each ballad, via Little, Brown and Company. [6] However, as a scholarly edition this was superseded by his later and similarly named The English and Scottish Popular Ballads.
The first edition of Child's book was, once complete, The English and Scottish Popular Ballads, ed. by Francis James Child, 5 vols (Boston and New York: Houghton, Mifflin and Company, [1882–98]). [7]
It was printed in one thousand copies, and issued in ten parts, each with a half-title and title page. The final title pages for each of the five volumes, printed in red and black, were issued with part 10. Part 10 emerged after Child's death, and was edited by George Lyman Kittredge. Volume 5 contained a variety of scholarly apparatuses: the "Glossary" (V, pp. [309]-396); "Sources of the texts of the English and Scottish ballads" (V, pp. [397]-404); "Index of published airs of English and Scottish popular ballads, with an appendix of some airs from manuscript" (V, pp. [405]-424); "Index of ballad titles" (V, pp. [425]-453); "Titles of collections of ballads, or of books containing ballads" (V, pp. [455]-468); and "Index of matters and literature" (V, pp. [469]-502). [7]
The book was reprinted, this time physically in three volumes, in 1957 by the New York-based Folklore Press, in association with the Pageant Book Company. [8] It was reprinted again in 1965 in New York by Dover, this time with an essay by Walter Morris Hart entitled 'Professor Child and the Ballad' (reprinted from Publications of the Modern Language Association of America, vol. 21 [N.S. Vol. 14, no. 4]). [9]
Child's edition was also the basis for a number of shorter, popular editions, prominently including English and Scottish Popular Ballads Edited from the Collection of Francis James Child, ed. by Helen Child Sargent and George Lyman Kittredge (Boston: Houghton-Mifflin, 1904). [1] 0
Corrected edition of The English and Scottish Popular Ballads, five volumes (Northfield, Minnesota: Loomis House Press, 2002-2011). Not counting reissues of the 1882-98 publication, this is its second edition. It incorporates, where they apply, the additional lyrics, additional commentary, corrections and music scores that Child included in appendixes in his subsequent volumes. It includes music scores (from sources that Child cited) for many ballads for which the 1882-1898 edition did not include one.
Child Ballads are generally heavier and darker than is usual for ballads. Some of the topics and other features characteristic enough of Child Ballads to be considered Child Ballad motifs are these: romance, enchantment, devotion, determination, obsession, jealousy, forbidden love, insanity, hallucination, uncertainty of one's sanity, the ease with which the truth can be suppressed temporarily, supernatural experiences, supernatural deeds, half-human creatures, teenagers, family strife, the boldness of outlaws, abuse of authority, betting, lust, death, karma, punishment, sin, morality, vanity, folly, dignity, nobility, honor, loyalty, dishonor, riddles, historical events, omens, fate, trust, shock, deception, disguise, treachery, disappointment, revenge, violence, murder, cruelty, combat, courage, escape, exile, rescue, forgiveness, being tested, human weaknesses, and folk heroes.[ citation needed ]
On one extreme, some Child Ballads recount identifiable historical people, in known events, embellished for dramatic effect. [10] On the other, some differ from fairy tales solely by their being songs and in verse; some have been recast in prose form as fairy tales. A large part of the collection is about Robin Hood; some are about King Arthur. A few of the ballads are rather bawdy. [11]
Many Child Ballads have subsequently appeared in contemporary music recordings. Burl Ives's 1949 album, The Return of the Wayfaring Stranger, for example, includes two: "Lord Randall" and "The Divil and the Farmer".
In 1956 four albums (consisting of eight LPs) of 72 Child Ballads sung by Ewan MacColl and A.L. Lloyd were released: The English and Scottish Popular Ballads, Vols. 1–4. [12]
In 1960 John Jacob Niles published The Ballad Book of John Jacob Niles, in which he connects folk songs which he collected throughout the southern United States and Appalachia in the early 20th century to the Child Ballads. Many of the songs he published were revived in the Folk music revival, for example "The Riddle Song" ("I gave my love a Cherry"), which he connects with Child No. 1, "Riddles Wisely Expounded".
Joan Baez sang ten Child ballads distributed among her first five albums, the liner notes of which identified them as such. [13]
Loreena McKennitt performs Child ballad 170 The Death of Queen Jane on her album The Wind that Shakes the Barley recorded in 2010, and Child ballad 239 Annachie Gordon on her album Parallel Dreams in 1989.
British folk rock groups such as Fairport Convention, Pentangle and Steeleye Span drew heavily on the Child Ballads in their repertoires, and many other recording artists have recorded individual ballads. Harry Smith included a number of them into his Anthology of American Folk Music .
A rendition of child ballad 155 ("Fatal Flower Garden") appears on Andrew Bird's The Swimming Hour.
In 2003 English folk singer June Tabor recorded the album An Echo of Hooves consisting entirely of Child ballads (210, 212, 161, 195, 191, 106, 74, 215, 88, 20, 58). [14]
Child ballad 95, The Maid Freed from the Gallows has appeared in several recordings of blues and rock bands, notably by Lead Belly as "Gallis Pole" and on the album Led Zeppelin III under the name "Gallows Pole."
Child ballads also occasionally occur in the work of musical groups not usually associated with folk material, such as Ween's recording of "The Unquiet Grave" (Child 78) under the title "Cold Blows the Wind" and versions of "Barbara Allen" (Child 84) recorded by the Everly Brothers, Art Garfunkel, and (on the soundtrack of the 2004 film A Love Song for Bobby Long ) John Travolta. In 2009, Fleet Foxes included "The Fause Knight Upon the Road" as the b-side to the 7" release of "Mykonos" (as "False Knight on the Road"). In 2013 US singer-songwriter Anaïs Mitchell and Jefferson Hamer released Child Ballads comprising seven songs from the Francis James Child collection and in 2014 American folksinger Martyn Wylde released eight of the Ballads on his album The Child Ballads, Volume 1.
Child Ballads are also referenced heavily in James A. Michener's novel The Drifters .
Virginia Woolf references Child Ballad number 173 "Mary Hamilton" in A Room of One's Own.
The two collections have about 200 ballads in common. Each of the two collections includes about a hundred ballads that the other does not. [15]
All the variants contained in Child's edition are digitised, without apparatus, at http://www.sacred-texts.com/neu/eng/child/ and http://www.peterrobins.co.uk/ballads/.
Volume 1; Volume 2; Volume 3; Volume 4; Volume 5; Volume 6; Volume 7; Volume 8.
A ballad is a form of verse, often a narrative set to music. Ballads were particularly characteristic of the popular poetry and song of Great Britain and Ireland from the Late Middle Ages until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North America and South America.
Francis James Child was an American scholar, educator, and folklorist, best known today for his collection of English and Scottish ballads now known as the Child Ballads. Child was Boylston professor of rhetoric and oratory at Harvard University, where he produced influential editions of English poetry. In 1876 he was named Harvard's first Professor of English, a position which allowed him to focus on academic research. It was during this time that he began work on the Child Ballads.
"Barbara Allen" is a traditional folk song that is popular throughout the English-speaking world and beyond. It tells of how the eponymous character denies a dying man's love, then dies of grief soon after his untimely death.
"The Daemon Lover" – also known as "James Harris", "A Warning for Married Women", "The Distressed Ship Carpenter", "James Herries", "The Carpenter’s Wife", "The Banks of Italy", or "The House-Carpenter" – is a popular ballad dating from the mid-seventeenth century, when the earliest known broadside version of the ballad was entered in the Stationers' Register on 21 February 1657.
"The Raggle Taggle Gypsy" (Roud 1, Child 200), is a traditional folk song that originated as a Scottish border ballad, and has been popular throughout Britain, Ireland and North America. It concerns a rich lady who runs off to join the gypsies (or one gypsy). Common alternative names are "Gypsy Davy", "The Raggle Taggle Gypsies O", "The Gypsy Laddie(s)", "Black Jack David" (or "Davy") and "Seven Yellow Gypsies".
Willie O Winsbury is a traditional English-language folk ballad. The song, of which there are many variants, is a traditional Scottish ballad that dates from at least 1775, and is known under several other names, including "Johnnie Barbour" and "Lord Thomas of Winesberry".
"Lady Isabel and the Elf Knight" is the English common name representative of a very large class of European ballads.
"The Two Sisters" is a traditional murder ballad, dating at least as far back as the mid 17th century. The song recounts the tale of a girl drowned by her jealous sister. At least 21 English variants exist under several names, including "Minnorie" or "Binnorie", "The Cruel Sister", "The Wind and Rain", "Dreadful Wind and Rain", "The Bonny Swans" and the "Bonnie Bows of London". The ballad was collected by renowned folklorist Francis J. Child as Child Ballad 10 and is also listed in the Roud Folk Song Index. Whilst the song is thought to originate somewhere around England or Scotland, extremely similar songs have been found throughout Europe, particularly in Scandinavia.
"The Maid Freed from the Gallows" is one of many titles of a centuries-old folk song about a condemned maiden pleading for someone to buy her freedom from the executioner. Other variants and/or titles include "The Gallows Pole", "The Gallis Pole", "Anathea", "Hangman", "The Prickle-Holly Bush", "The Golden Ball", and "Hold Up Your Hand, Old Joshua She Cried." In the collection of ballads compiled by Francis James Child in the late 19th century, it is indexed as Child Ballad number 95; 11 variants, some fragmentary, are indexed as 95A to 95K. The Roud Folk Song Index identifies it as number 144.
"Geordie" is an English language folk song concerning the trial of the eponymous hero whose lover pleads for his life. It is listed as Child ballad 209 and Number 90 in the Roud Folk Song Index. The ballad was traditionally sung across the English speaking world, particularly in England, Scotland and North America, and was performed with many different melodies and lyrics. In recent times, popular versions have been performed and recorded by numerous artists and groups in different languages, mostly inspired by Joan Baez's 1962 recording based on a traditional version from Somerset, England.
"The Knight and the Shepherd’s Daughter" is an English ballad, collected by Francis James Child as Child Ballad 110 and listed as number 67 in the Roud Folk Song Index.
"Edward" is a traditional murder ballad existing in several variants, categorised by Francis James Child as Child Ballad number 13 and listed as number 200 in the Roud Folk Song Index. The ballad, which is at least 250 years old, has been documented and recorded numerous times across the English speaking world into the twentieth century.
"Our Goodman" is a Scottish and English humorous folk song. It describes the efforts of an unfaithful wife to explain away the evidence of her infidelity. A version of the song, "Seven Drunken Nights", was a hit record for The Dubliners in the 1960s.
"The Maid and the Palmer" is an English language medieval murder ballad with supernatural/religious overtones. Because of its dark lyrics, the song was often avoided by folk singers. Considered by scholars to be a "debased" version of a work more completely known in European sources as the Ballad of the Magdalene, the ballad was believed lost in the oral tradition in the British Isles from the time of Sir Walter Scott, who noted a fragment of it having heard it sung in the early years of the nineteenth century, until it was discovered in the repertoire of a living Irish singer, John Reilly, from whom it was collected in the 1960s, although subsequently other versions have surfaced from Ireland from the 1950s to the 1970s; an additional full text, collected and notated in around 1818, was also recently published in Emily Lyle's 1994 Scottish Ballads under the title "The Maid of Coldingham", having remained in manuscript form in the intervening time. Based on a tape of Reilly's performance provided by the collector Tom Munnelly, the singer Christy Moore popularised the song under its alternate title "The Well Below the Valley" with the Irish folk band Planxty and later solo performances/recordings, this song providing the title of that group's second album released in 1973; the song has subsequently been recorded by a number of more recent "folk revival" acts.
"Judas" is one of the oldest surviving English folk ballads, dating back to at least the 13th century. Francis Child numbered it No. 23 in his collection.
Lady Diamond is an English-language folk song, existing in several variants. The story is derived from that of Ghismonda and Guiscardo from The Decameron of Giovanni Boccaccio.
"Wee Cooper O'Fife" is a Scottish folk song about a cooper who has "a braw new wife" who will not cook, clean, and sew in case she "spoil her comely hue". A town in Fife is called Cupar; this is a pun.
"King John and the Bishop" is an English folk-song dating back at least to the 16th century. It is catalogued in Child Ballads as number 45 and Roud Folk Song Index 302.
The Voice of the People is an anthology of folk songs produced by Topic Records containing recordings of traditional singers and musicians from England, Ireland, Scotland and Wales.
The minstrels manipulate the story with coarse explicitness.