Moonshine


DESCRIPTION: "Come all you booze fighters, if you want to hear, 'Bout the kind of liquor that they sell around here...." The great power of the product is described: "One drop'll make a rabbit lick a hound dog." The large number of 'shiners and revenuers is mentioned
AUTHOR: unknown
EARLIEST DATE: 1938 (Warner)
KEYWORDS: drink talltale
FOUND IN: US(SE)
REFERENCES (3 citations):
Warner 131, "Moonshine" (1 text, 1 tune)
BrownIII 42, "Moonshine" (1 text)
Silber-FSWB, p. 230, "Kentucky Bootlegger" (1 text)
ST Wa131 (Partial)
Roud #3126
RECORDINGS:
Fruit Jar Guzzlers, "Kentucky Bootlegger" (Paramount 3113, 1928)
Buell Kazee, "Moonshiner Song" (on Kazee01)
New Lost City Ramblers, "Kentucky Moonshiner" (on NLCR08)
Red Fox Chasers, "Virginia Bootlegger" (Champion 15790 [as Virginia Possum Tamers]/Supertone 9492, 1929)
File: Wa131

Moonshine Can, The


DESCRIPTION: Informers report Pat's whiskey still to the Mounties. He is called to court. His still is dumped in the bay. At a neighbor's house a health is drunk to all but the informers
AUTHOR: unknown
EARLIEST DATE: 1956 (NFOBlondahl01)
KEYWORDS: drink police
FOUND IN: Canada(Newf)
REFERENCES (2 citations):
Peacock, pp. 75-76, "The Moonshine Can" (1 text, 1 tune)
Blondahl, p. 39, "Moonshine Can" (1 text, 1 tune)
Roud #9949
RECORDINGS:
Omar Blondahl, "The Moonshine Can" (on NFOBlondahl01,NFOBlondahl05)
CROSS-REFERENCES:
cf. "Blockader's Trail" (subject)
cf. "Ewie Wi' the Crookit Horn" (subject)
File: Pea075

Moonshine Informer, The


DESCRIPTION: John Snow "informed on those people for making moonshine" around Bonavista Bay and is driven from town by the women of Southern Bay.
AUTHOR: Moses Harris
EARLIEST DATE: 1976 (Lehr/Best)
KEYWORDS: crime punishment revenge drink
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Lehr/Best 79, "The Moonshine Informer" (1 text, 1 tune)
NOTES: Southern Bay is near Bonavista Bay on the east coast of Newfoundland. - BS
File: LeBe079

Moonshine Steer, The


DESCRIPTION: Two cowboys come across a still whose owner, thinking they are sheriffs, has fled. They get well and truly drunk, and see a steer with two heads, 12 legs, and 14 tails. At last they manage to give it a drink, and it disappears -- flying, according to them
AUTHOR: unknown
EARLIEST DATE: 1935
KEYWORDS: drink cowboy talltale
FOUND IN: US
REFERENCES (1 citation):
Fife-Cowboy/West 73, "The Moonshine Steer" (1 text, 1 tune)
Roud #11202
File: FCW073

Moonshiner


DESCRIPTION: "I've been a moonshiner for sev'nteen long years, I've spent all my money for whiskey and beer, I'll go to some holler, I'll put up my still...." "I'll eat when I'm hungry and drink when I'm dry; If moonshine don't kill me I'll live till I die...."
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: drink nonballad floatingverses
FOUND IN: US(Ap) Ireland
REFERENCES (7 citations):
BrownIII 291, "Cornbread When I'm Hungry" (2 fragments; the "A" text combines "Moonshiner" with "Make Me a Pallet on Your Floor"; "B" mixes "Moonshiner" with what appears to be a minstel song)
Sandburg, pp. 142-143, "Kentucky Moonshiner" (1 text, 1 tune)
Combs/Wilgus 187, p. 189, "Moonshiner" (1 text)
Ritchie-Southern, p. 38, "God Bless the Moonshiners" (1 text, 1 tune)
Lomax-FSNA 134, "Moonshiner" (1 text, 1 tune)
Silber-FSWB, p. 229, "Moonshiner" (1 text)
ADDITIONAL: _Sing Out_ magazine, Volume 29, #3 (1983), p, 1, "God Bless that Moonshiner" (1 text, 1 tune, from Currence Hammons)
ST San142 (Full)
Roud #4301
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Moonshiner" (on IRClancyMakem01)
Daw Henson, "Moonshiner" (AFS, 1937; on KMM)
Roscoe Holcomb, "Moonshiner" (on Holcomb-Ward1, HolcombCD1)
New Lost City Ramblers, "Moonshiner" (on NLCR08)
CROSS-REFERENCES:
cf. "Country Blues" (words)
cf. "The Wagoner's Lad" (floating lyrics)
cf. "Wild Rover No More" (floating lyrics)
NOTES: An early 1960s recording of this song by Bob Dylan, long circulated as a bootleg but released in the 1990s, became justly famous in the folk revival as one of his finest performances, and inspired multiple covers of his version. Listening to the Daw Henson field recording, it seems very likely that this was Dylan's source. - PJS
Last updated in version 2.4
File: San142

Moonshiner's Dream


DESCRIPTION: "Las night as I lay sleeping I dreamed one pleasant dream...." "Making blockade whiskey And selling at retail; But I woke up sad, broken-hearted In the Fulton County Jail." He laments the conditions, dreams of better, and warns others
AUTHOR: unknown
EARLIEST DATE: 1928 (recording, Riley Puckett)
KEYWORDS: prison drink dream
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 355, "Moonshiner's Dream" (1 text)
Roud #11729
RECORDINGS:
Riley Puckett, "The Moonshiner's Dream" (Columbia 15324-D, 1928)
CROSS-REFERENCES:
cf. "Logan County Jail (Dallas County Jail)" [Laws E17] (theme, lyrics)
NOTES: This shows clear signs of borrowing from "Logan County Jail" or a relative. But the dream motif seems important enough for me to list it separately. - RBW
File: Br3355

Moorlough Maggie


DESCRIPTION: Singer owns sheep, cattle, and ships at sea. He offers each to Moorlough Maggie if she will go with him. She rejects each offer: "Tae gie consent, love, I darna gie Tae herd your sheep high in yon heathery hills"
AUTHOR: unknown
EARLIEST DATE: 1973 (recording, Stanley Robertson)
KEYWORDS: love rejection nonballad
FOUND IN: Britain(Scotland(Aber))
Roud #12939
RECORDINGS:
Stanley Robertson, "Moorlough Maggie" (on Voice15)
NOTES: I have to suspect this is a fragment of something like "Lizie Lindsay." - RBW
File: RcMooMag

Moorlough Mary


DESCRIPTION: The singer recalls meeting Mary in Strabane, and being stricken. He describes how lovely it is to see her. He wishes he had education so he could wed and entertain her. Having no hope of wedding her, he departs Moorlough's banks forever
AUTHOR: James Devine ?
EARLIEST DATE: before 1886 (broadside, Bodleian 2806 b.11(223))
KEYWORDS: love courting rejection nonballad shepherd
FOUND IN: Ireland
REFERENCES (4 citations):
SHenry H173, pp. 250-251, "Moorlough Mary" (1 text, 1 tune)
OLochlainn 85, "Moorlug Mary" (1 text, 1 tune)
Tunney-SongsThunder, pp. 59-61, "Moorlough Mary" (1 text)
OBoyle 17, "Moorlough Mary" (1 text, 1 tune)
Roud #2742
RECORDINGS:
Brigid Tunney, "Murlough Mary" (on IRTunneyFamily01)
Paddy Tunney, "Moorlough Mary" (on IRPTunney02)
BROADSIDES:
Bodleian, 2806 b.11(223), "Moorlough Mary" ("The first time I saw young Moorlough Mary"), H. Such (London), 1863-1885; also 2806 c.14(18)[some words illegible], "Moorlough Mary"; Firth b.27(232), "Moorlouch Mary"[text uses "Moorlough Mary"]
NOTES: Credited to James Devine by Sam Henry. Devine's one other song known to me ("The Pride of Glenelly") is a dreadul literary contraption; there is little real evidence that it went into tradition. This song is better-known, and not nearly as pretentious; it makes me wonder if Devine really wrote it. - RBW
Tunney-SongsThunder: "It seems that Mary Gormley or Moorlough Mary was no great beauty at all." Peter Boyle's notes to IRPTunney02: "Local tradition has it that, though they were never married, he [Devine] remained in love with her until they both were very old." - BS
File: HHH173

Moorlough Shore, The


See The Maid of Mourne Shore (File: HHH034b)

Moorlug Mary


See Moorlough Mary (File: HHH173)

Moorsoldaten, Die (Peat-Bog Soldiers)


DESCRIPTION: German: The prisoners, trapped in a concentration camp, carry their spades to work in the moors and bogs. There is no escape; they can only keep working. But the winter (of despair) will eventually end, and they can reclaim their corrupted homeland
AUTHOR: unknown
EARLIEST DATE: 1939
KEYWORDS: war prisoner hardtimes abuse political foreignlanguage
FOUND IN:
REFERENCES (2 citations):
Scott-BoA, pp. 354-355, "Die Moorsoldaten (Peat-Bog Soldiers)" (2 texts (1 English, 1 German), 1 tune)
Silber-FSWB, p. 307, "Peat Bog Soldiers" (1 text)
NOTES: This is properly a German folksong, but the English translation has become so popular in revival circles that it probably belongs here. - RBW
File: SBoA354

Moose Song, The


DESCRIPTION: Izzie Walters sees a moose. The boys kill it. An informer sees them divide the meat. The magistrate says "Five dollars ... or fourteen days in jail." Next time I'll "pay the squealer b'y to keep his big mouth closed."
AUTHOR: George Croucher?
EARLIEST DATE: 1960 (Peacock)
KEYWORDS: hunting animal police punishment
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Peacock, pp. 77-78, "The Moose Song" (1 text, 1 tune)
Roud #9950
CROSS-REFERENCES:
cf. "Terry Toole's Cabbage" (plot)
File: Pea077

Moosehead Lake


DESCRIPTION: "In eighteen hundred and ninety-two, Bant Breau and George Elliot they started a crew." Life in the camp, and the various characters there, are described. The singer talks about the combative men and the long hours
AUTHOR: unknown
EARLIEST DATE: 1916 (Gray)
KEYWORDS: logger work
FOUND IN: US(NE) Canada(Mar)
REFERENCES (3 citations):
Gray, pp. 60-61, "Mell Whitten" (1 text)
Lomax-FSNA 58, "Moosehead Lake" (1 text, 1 tune)
Creighton-NovaScotia 122, "In the Month of October" (1 text, 1 tune)
Roud #1825
CROSS-REFERENCES:
cf. "Blue Mountain Lake (The Belle of Long Lake)" [Laws C20] (floating lyrics)
NOTES: This song as found in Lomax shares several verses with "Blue Mountain Lake" (with which Roud lumps it) as well as the "Derry Down" tune, and may well have sprung from the same roots. The overall feeling is just different enough, however, that I have very tentatively decided to keep them separate.
Laws offers another explanation: "Lomax seems to have added some stanzas from [Blue Mountain Lake] to... 'Moosehead Lake.'" - RBW
Creighton-NovaScotia begins "In the month of October eighteen-eight-two, Billy Williams from Bangor he scared up a crew, And forty brave fellows of us he did take, And he landed us over across head Moose Lake" - BS
The crew chief seems to vary more than the lake -- e.g. Gray's text megins "In the month of October eighteen eighty-two, Mell Whitten from Bangor he started a crew. A crew of young fellows with him he did take, And he landed them safely upon Moosehead Lake." Gray's version also claims to have been composted by "Heyward the chopper, "White-headed Bob," and "Marshall the sled-tender." - RBW
Last updated in version 2.5
File: LoF058

More Pretty Girls Than One


DESCRIPTION: Singer is a rambler who likes women; his mother told him to settle down, but he won't. He cries, thinking of pretty girls, and hopes he'll never die; he leaves us this lonesome song: "Every town I ramble around/There's more pretty girls than one."
AUTHOR: unknown
EARLIEST DATE: 1909 (JAFL)
KEYWORDS: loneliness rambling nonballad lyric floatingverses love separation travel farewell courting parting family
FOUND IN: US(Ap,SE,So,SW)
REFERENCES (7 citations):
Randolph 734, "Goodbye, Little Bonnie Blue Eyes" (1 text, 1 tune)
Shellans, p. 10, "Hush, LIttle Bonnie" (1 text, 1 tune)
BrownIII 284, "Bonnie Blue Eyes" (2 text plus 1 fragment and 1 excerpt); also 301, "High-Topped Shoes" (2 texts, both mixed; "A" is mostly "Pretty Little Foot" with verses from "Don't Let Your Deal Go Down" while "B" is a hash of "Don't Let Your Deal Go Down," ""More Pretty Girls Than One," "In the Pines," and others)
Cambiaire, pp. 23, "More Pretty Girls Than One" (1 text)
MHenry-Appalachians, p. 170, "More Pretty Girls Than One" (1 text)
Cohen/Seeger/Wood, p. 192, "More Pretty Girls Than One" (1 text, 1 tune)
Silber-FSWB, p. 142, "Goodbye, Little Bonnie, Goodbye" (1 text)
Roud #11505
RECORDINGS:
[Richard] Burnett & [Leonard] Rutherford, "There's More Pretty Girls Than One" (Challenge 423 [as Crockett & Cannon], 1929)
Carolina Tar Heels, "Goodbye My Bonnie, Goodbye" (Victor 21193, 1928, rec. 1927)
The Carter Family, "Bonnie Blue Eyes" (Decca 5304, 1936)
Cranford & Thompson, "Goodbye Little Bonnie" (Supertone 2594, c. 1932)
Woody Guthrie, "More Pretty Gals" (Folk Tunes 150, n.d., prob. mid-1940s)
Ken Marvin, "More Pretty Girls" (Mercury 6366, 1951)
Ozarkers, "There's More Pretty Girls Than One" (OKeh 45573, 1932)
Prairie Ramblers, "There's More Pretty Girls Than One" ((Perfect 6-10-58/Melotone 6-10-58/Conqueror 8713, 1936)
Riley Puckett, "There's More Pretty Girls Than One - Parts 1 & 2" (Decca 5439, 1937)
Ridgel's Fountain Citians, "Little Bonnie" (Vocalion 5389, 1930)
Rutherford & Foster, "There's More Pretty Girls Than One" (prob. Brunswick, 1930; on KMM)
Arthur Smith Trio, "There's More Pretty Girls Than One" Montgomery Ward M-4822/Bluebird B-6322, 1936)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Goodbye, Little Bonnie, Blue Eyes" (on DownYonder)
Fields Ward and the Grayson County Railsplitters, "Good Bye Little Bonnie" (Gennett, unissued, 1929)
CROSS-REFERENCES:
cf. "Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2]" (words, tune)
cf. "The Lass of Roch Royal" [Child 76] and its various offshoots (tune)
cf. "Lonesome Road" (words)
cf. "The Wagoner's Lad" (theme)
SAME TUNE:
Dixon Brothers, "Bonnie Blue Eyes - Part 2" (Bluebird B-6691, 1936)
Arthur Smith Trio, "There's More Pretty Girls Than One - Part 2" (Bluebird B-6889/Montgomery Ward M-7155, 1937)
Arthur Smith Trio, "Answer to More Pretty Girls Than One" (Bluebird B-7437/Montgomery Ward M7476, 1938)
Howard Dixon & Frank Gerald (The Rambling Duet), "More Pretty Girls Than One - Part 3" (Bluebird B-7484/Montgomery Ward M-7464, 1938)
NOTES: This song and "Danville Girl" [one of the various forms of Laws H2 - RBW] are siblings. - PJS
And the whole family is rather a mess. "More Pretty Girls Than One" is reasonably well-known. The Silber text "Goodby, Little Bonnie, Goodbye" has been found with this tune. Since both are largely floating verses, we decided to lump them.
Randolph's text also has a similar tune, and it shares the basic form of the Silber text, as well as some lyrics:
""Goodbye, little bonnie blue eyes (x2), I'll see you again, But God knows when, Goodbye, little...." "I'm going on the railroad train... 'Cause I love you, God knows I do." "I'm goin' on the ocean blue...." "Lay your hand in mine...."
Brown's two substantial texts ("A" and "B") are similar: Most of the same verses, but no chorus. Note the absence of the "more pretty girls" verse, which originally caused us to classify separately.
After some discussion, Paul Stamler and I decided to lump the lot, even though it's against our general policy, simply because none of the variations are really well-attested enough to be regarded as independent songs. But it should be noted that almost anything can be grafted onto this stalk.
The "Goodbye, Little Bonnie Blue Eyes" family, which includes Shellans's "Hush, Little Bonnie," is Roud #762. These texts often end with the singer coming back. - RBW
File: CSW192

Moree Spider, The


See The Spider from the Gwydir (File: MA204)

Moreton Bay (I)


DESCRIPTION: The singer meets a prisoner. The prisoner, an Irish transportee, describes the various prisons he has been in, ending with Moreton Bay, which had no equal for harshness. He rejoices at the death of the sadistic commander, Captain Logan
AUTHOR: unknown
EARLIEST DATE: 1879 (quoted the "Jerilderie Letter" of Ned Kelly; see Hughes, p. 444)
KEYWORDS: abuse prison transportation injury Australia
HISTORICAL REFERENCES:
1824-1842 - Period during which Moreton Bay served as a prison colony
1830 - Murder of Captain Patrick Logan by an aborigine
FOUND IN: Australia
REFERENCES (5 citations):
Fahey-Eureka, pp. 38-39, "Moreton Bay" (1 text, 1 tune)
Manifold-PASB, pp. 16-18, "Moreton Bay" (1 text, 2 tunes)
Paterson/Fahey/Seal, pp. 52-54, "Moreton Bay" (1 text)
DT, MORETONB*
ADDITIONAL: Robert Hughes, _The Fatal Shore: The epic of Australia's founding_, Knopf, 1986, pp. 443-444 (1 text)
Roud #2537
NOTES: "Between his arrival at Moreton Bay and his violent death there four years later, Logan became a legend among the convicts -- so much so that he was the only commandant of an Australian penal station to have a whole ballad dedicated to him" (Hughes, p. 443). Specifically this song, which Hughes quotes in full.
Logan (1792-1830) was a Scotsman who joined the 57th Regiment in 1810, coming to Australia in 1825 (Hughes, p. 445).
Learmonth, p. 321, says that "Little is known of the true personality of this hated commander except through official reports and the tales of flogging and escapes, and bitter ballads made by his convict charges whom he disciplined strictly and with some brutality." Hughes believe that Logan's brutal regiment was shaped by the experience of the British army, which -- being composed mostly of those who could find no other work -- was controlled largely by the lash.
Hughes, p. 446, reports that "Although the punishment registers for Moreton Bay in Logan's time are lost, it seems clear that Logan habitually worked prisoners in irons, whatever their sentences. He was also a relentles flogger. One sample record... show[s] that from February to October 1828, Logan ordered 200 floggings, for a total of 11,100 lashes."
Few reports of what was going on escaped the colony, since prisoners could not escape and Logan had to endorse any papers that were sent out. It has been speculated that what reports did reach the world were actually leaks intended to make people fear transfer to Moreton Bay (Hughes, p. 447). But at last a manuscript by Thomas Matthew emerged detailing the brutalities (Hughes, p. 449) -- and Logan's caprice in applying them.
Paterson/Fahey/Seal notes that, during Logan's tenure as commander of Moreton Bay, the death rate among the prisoners exceeded ten percent per year; there was a time when it exceeded 3% per month (cf. Hughes, p. 4460. This is not entirely Logan's fault; there was a famine and an epidemic at the time. On the other hand, a pretty good way to kill a sick man is to flog him unmercifully. No wonder prisoners celebrated his death!
Eventually Logan was ordered to India, but he stayed at Moreton Bay for some time to show his successor the ropes (Hughes, p. 450) and to testify to the state of things in Queensland. While waiting for the call to testify, he did some exploring, and waylaid (Hughes, pp. 450-451).
Moreton Bay is located in what is now southern Queensland. The penal colony there was founded in 1824 (though relocated slightly in 1825), and deliberately placed far away from the settled areas of Australia. Moreton Bay was intended for "doubly convicted felons," and it was thought that its remoteness would make it more secure.
Governor Brisbane, who gave his name to the local river and to the town which later arose on the site, wrote that "Port Macquarie [is] for first grave offenses [in Australia], Moreton Bay for runaways from the former, and Norfolk Island as the *ne plus ultra" (Hughes, p. 461).
This policy of "security through distance" didn't work; squatters were settling near Moreton Bay by 1840. In 1842, the government gave in and opened the area to settlement.
The list of settlements the prisoner has inhabited seems unlikely. For one thing, Norfolk Island should have been his last stop -- unless he had been on Norfolk Island in its first incarnation. But the island was closed in 1814 and not reopened until 1825, when it was determined that Moreton Bay was not sufficient to handle the die-hards (Clark, p. 54). And convicts sent there were not allowed to leave for at least ten years!
In addition, Norfolk Island (in both its incarnations) was as bad as Moreton Bay (the death rate was prodigious; some men received over a thousand lashes a year, and the most common reason for murders was that men would do anything to be sent to Sydney for trial).
Of the other sites mentioned:
Toongabbie is one of the farming areas near Sydney, and (despite being called "cursed Toongabbie") was said to be the easiest, not the worst, of the settlements.
Castle Hill probably refers to Newcastle (which was so called because it was near a Castle Hill); founded in 1821, it was another place destined for incorrigibles, but was close enough to Sydney that it didn't last long.
The reference to Moreton Bay as part of New South Wales as correct at the time; although it is now in Queensland, all the settled regions of Australia, save Van Diemen's Land, were initially called "New South Wales," and Queensland did not become a separate territory until 1859.
The reference to men dying of starvation in Moreton Bay also has its truth; the British were incredibly inept about organizing colonies, and prison colonies were the worst; they didn't even allow plows to till the soil. A crop failure in 1828/1829 caused Logan to cut the minimal rations in half. He also kept prisoners in irons whatever their punishment status; this can only have lowered their productivity
A "triangle" was actually a tetrahedron, three sticks lashed together from which a man was hung to be flogged.
Logan (1792-1830) was assigned to Moreton Bay in 1826, and since he was judge, jury, and tribune, no word came out for some time; Governor Darling (who succeeded Brisbane in 1825) wanted it that way. But eventually a prisoner was brought to Sydney for trial, and though he was hanged, a manuscript he left behind revealed some of the truth.
Logan was assigned to other duties, outside Australia, in 1830. But he stayed on for a time to show his successor the ways of the colony.
During this period, Logan did some private exploration. On one such trip, he became separated from his party. His body was eventually found, partly buried; the physical evidence seemed to indicate that an aborigine had killed him. (Relations with the local natives had turned bad almost instantly, and they killed any intruders they could.) But there isn't much doubt that most of his prisoners would have murdered him given the slightest opportunity.
As with most such historical figures, there have been attempts to whitewash him (see Hughes, p. 444). The attempts strike me as ludicrous. Possibly he would have been a decent man in another job; perhaps he thought what he was doing was necessary. That does not make him less a sadist, brute, and fool, nor does it make Moreton Bay any less of a concentration camp.
Paterson/Fahey/Seal notes that this song is usually attributed to Francis Macnamara, but observes that other authors have also been suggested. - RBW
BibliographyLast updated in version 2.5
File: FaE038

Moreton Bay (II)


See The Boston Burglar [LawsL16] (File: LL16)

Mormon Cowboy (I), The


DESCRIPTION: Singer, a Mormon cowboy, is invited to a grand ball. He meets all the girls and enjoys the music. After dancing a few sets, he steps out for rest; later, a fight starts, with gunplay, but is quickly quashed. The cowboy rides off, vowing nevermore to roam
AUTHOR: unknown
EARLIEST DATE: 1929 (recording, Carl T. Sprague)
KEYWORDS: fight dancing music party cowboy
FOUND IN: US
Roud #11523
RECORDINGS:
Carl T. Sprague, "The Mormon Cowboy" (Victor V-40246, 1929; on AuthCowboys, WhenIWas1)
CROSS-REFERENCES:
cf. "The High-Toned Dance" (plot)
File: RcTMorCw

Mormon Cowboy (II), The


DESCRIPTION: The singer sings "Concerning Archie Barber and his unhappy state." At 22, he marries, but he has "no tool at all" and can't satisfy the girl. Her mother tells her to try him before a female jury. The marriage is annulled; the girl marries a Mormon cowboy
AUTHOR: unknown
EARLIEST DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: marriage sex abandonment cowboy humorous
FOUND IN: US(SW)
REFERENCES (1 citation):
Logsdon 3, pp. 38-41, "The Mormon Cowboy" (1 text, 1 tune)
ST Logs003 (Partial)
CROSS-REFERENCES:
cf. "No Balls at All" (theme) and references there
NOTES: Logsdon treats this as a version of "No Balls at All." I really don't see it; the lyrics are almost entirely different, the boy is young, the girl puts him on trial before a jury of women, and she goes on to remarry a Mormon cowboy. That surely qualifies as enough reason to split the songs. - RBW
File: Logs003

Mormond Braes


DESCRIPTION: A (lass/lad) laments a lost sweetheart, (who promised to marry but proved fickle). At last (she) says she will find another sweetheart elsewhere. "So fare ye weel, ye Mormond braes, Where after I've been cheerie... Sin I hae lost my dearie."
AUTHOR: unknown
EARLIEST DATE: before 1894 (Murison collection, according to Lyle, _Fairies and Folk_)
KEYWORDS: love abandonment rambling
FOUND IN: Britain(Scotland(Aber))
REFERENCES (5 citations):
Ford-Vagabond, pp. 171-173, "Mormond Braes" (1 text, 1 tune)
Greig #1, pp. 2-3, "Mormond Braes"; Greig #4, p. 3, ("Farewell ye Mormond Braes"); Greig #6, p. 3, "Mormond Braes"; Greig #107, p. 2, ("Farewell to Pulteney-banks")(6 texts)
GreigDuncan6 1142, "Mormond Braes," GreigDuncan8 Addenda, "Mormond Braes" (25 texts plus a single verse on p. 554, 22 tunes)
Ord, pp. 62-63, "Mormond Braes" (1 text, 1 tune)
DT, MORMBRAE*
Roud #2171
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Mormond Braes" (on SCMacCollSeeger01)
BROADSIDES:
NLScotland, L.C.Fol.70(124b), "Fareweel tae Blairgowrie," Poet's Box (Dundee), c. 1890
NOTES: Greig #1: "The authorship of 'Mormond Braes' is usually attributed to Dr Gavin of Strichen, father of the late Dr Gavin. All tradtions of this kind, however are to be received with extreme caution, even when there exist no specific grounds for doubting them. And in the present case we are confronted with an awkward problem." He then goes on to quote the text of "Fareweel to Blairgowrie," which is lumped with "Mormond Braes," and discusses the problem of which came first, which borrowed what, and whether there might be an earlier ancestor. "There is really no settling such points." - BS
Last updated in version 2.5
File: FVS171

Mormond Braes (II)


See Blithe Mormond Braes (File: GrD4712)

Mormons, The


DESCRIPTION: "Some folks talk about the Mormons, and I think it is very sad...." Most people try to make the Mormons look bad for having many wives, but the singer thinks "they have lots of fun, Do the Mormons!" He described the loose Mormon customs
AUTHOR: Herbert W. Taylor?
EARLIEST DATE: 1942 (Randolph)
KEYWORDS: marriage wife sin humorous
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 500, "The Mormons" (1 text)
Roud #7638
NOTES: Ordinary Christians viewed Mormons as scandalous because they had multiple wives, and this song portrays a very flirtatious Mormon girl. In fact Mormons, except for being polygynous, were sexually strict; public nudity was unacceptable. And in fact the church had abandoned multiple marriage by the time this song was collected. Today the Mormons' primary difference from Protestant Christianity is their acceptance of several books by Joseph Smith as scripture. There are other theological differences, to be sure (including some over how salvation is achieved) which are of great importance to scholars -- but they generally don't interest ordinary people much, and are not widely published. - RBW
File: R500

Morning After, The


DESCRIPTION: "Sometimes, old scout, in the morning, when the dawn looks cold and gray," the singer ponders life's troubles and wonders 'Is it really worth the while?" He lists various problems. Then he gets serious about the day, for "tomorrow you may die."
AUTHOR: unknown
EARLIEST DATE: 1922 (Dean)
KEYWORDS: nonballad death
FOUND IN: US(MW)
REFERENCES (2 citations):
Dean, pp. 131-132, "The Morning After" (1 text)
ADDITIONAL: Hazel Felleman, Best Loved Poems of the American People, pp. 621-622, "Is It Really Worth the While?" (1 text)
Roud #9588
File: Dean131

Morning Dew, The


DESCRIPTION: "The pink, the lily, and the blooming rose Grow in the garden where my true love goes. The little birds they do rejoice When they think they hear my love Jimmy's voice. O James Machree, I do love you well; I love you better than tongue can tell...."
AUTHOR: unknown
EARLIEST DATE: 1929
KEYWORDS: love courting nonballad
FOUND IN: Canada(Newf)
REFERENCES (2 citations):
Karpeles-Newfoundland 86, "The Morning Dew" (1 text, 1 tune)
Fowke/Johnston, pp. 148-149, "The Morning Dew" (1 text, 1 tune)
ST FJ148 (Full)
Roud #2307
File: FJ148

Morning Fair


See The Butcher Boy [Laws P24] (File: LP24)

Morning of the Fray, The


DESCRIPTION: Frank Gardner leads his gang against a coach at the Eugowra Rocks. The outlaws scatter the escort and take the rich prize. Chorus: "You can sing of Johnny Gilbert, Dan Morgan, and Ben Hall, But the bold and reckless Gardiner he's the boy to beat them all"
AUTHOR: Music supplied by A.L. Lloyd
EARLIEST DATE: 1984
KEYWORDS: outlaw robbery battle money
HISTORICAL REFERENCES:
1830 - Birth of Francis Christie in New South Wales. He later took the name Frank Gardiner, and was known as "the Darkie" for his part-Aborigine ancestry
FOUND IN: Australia?
REFERENCES (1 citation):
Fahey-Eureka, pp. 84-85, "The Morning of the Fray" (1 text, 1 tune)
RECORDINGS:
A. L. Lloyd, "The Hold-Up at Eugowra Rocks" (on Lloyd4, Lloyd10)
NOTES: Although the song implies Gardiner was separate from Gilbert, Morgan, and Ben Hall, in fact Gilbert and Hall were associated with Gardiner's gang. Ben Hall was shot in 1865; Johnny Gilbert met his fate in 1866. Gardiner was eventually taken and imprisoned, but was released and sent into exile after serving ten years of a 32 year sentence. - RBW
File: FaE084

Morrisey and the Russian Bear


See Morrissey and the Russian Sailor [Laws H18] (File: LH18)

Morrisite Massacre, The


DESCRIPTION: "We'll see Morris, Banks, and others, Joseph, Hyrum with the Martyrs, On Mount Zion in great glory With the savior and his army." "Slain by Burton, cruel Mormon," the song tells of the coming joys for the believers
AUTHOR: unknown
EARLIEST DATE: 1958 (Burt)
KEYWORDS: religious murder
HISTORICAL REFERENCES:
June 13, 1862 - The Morrisite Massacre
FOUND IN: US
REFERENCES (1 citation):
Burt, pp. 121-122, (no title) (1 text)
NOTES: The Morrisites are, as best I can tell, an extinct sect, largely because of the actions described in this song. Joseph Morris in 1860 had received a series of revelations; he gathered followers among the Mormons and founded his own community. Being a rather poor organizer, and expecting the second coming at any moment, he was unable to control dissension among his followers.
Eventually some disgruntled followers called on the Utah authorities, who -- being left largely free of federal control due to the Civil War -- moved in quickly to settle the dissident faction. Salt Lake County sheriff Robert T. Burton gave the Morrisites 30 minutes to surrender, then moved in. Burton moved in, killed a few people including Morris and his assistant Banks, and took the rest prisoner.
Burton would be placed on trial in 1879, but was acquitted.
Joseph and Hyrum are, of course, the brothers Joseph and Hyrum Smith, who were slaim by a mob near Nauvoo, Illinois, one of the key events in Mormon history. - RBW
File: Burt121

Morrissey and the Benicia Boy


DESCRIPTION: The Benicia Boy -- Heenan -- challenges Morrissey saying "no man from Ireland before him could stand." They agree to fight for $5200 in North America. Morrissey wins in the eleventh round and takes the championship belt.
AUTHOR: unknown
EARLIEST DATE: 1901 (O'Conor)
KEYWORDS: fight gambling sports
HISTORICAL REFERENCES:
Oct 20, 1858 - American Heavyweight Championship fight between John Morrissey and John C Heenan at Long Point, Canada. Heenan broke his hand during the fight. This is Morrissey's last fight
FOUND IN: Ireland
REFERENCES (2 citations):
O'Conor, p. 44, "Morrissey and the Benicia Boy" (1 text)
OLochlainn-More, pp. 252-253, "Morrissey and the Benicia Boy" (1 text, tune referenced: OLochlainn 26)
Roud #9781
CROSS-REFERENCES:
cf. "Heenan and Sayers" [Laws H20] (subject)
cf. "Morrissey and the Black" (subject)
cf. "Morrissey and the Russian Sailor" (subject)
cf. "Donnelly and Cooper" (tune)
NOTES: Source: Re historical references--"Troy Boxing -Round Two" by Don Rittner on The Mesh site. I have not been able to find which Long Point in Canada was the site of the fight. - BS
John Morrissey was born in Ireland in 1831 but was raised in New York and apparently went to California at the time of the Gold Rush. In 1852 he gained fame as a boxer by defeating George Thomson. The climax of Morrissey's career came in 1858 (so DAB and other sources; I've seen a date of 1860 cited), when he defeated champion John C. Heenan and promptly retired. In the years that followed his gambling resort in Saratoga Springs proved very successful, and Morrissey was twice elected to congress. He died in 1878.
In addition to his boxing prowess, he is said to have been a "hatchet man" for the New York Tammany Hall machine. - RBW
America Singing at the Library of Congress American Memory site does not have this ballad but has another about Morrissey and Heenan:
LOCSinging, sb10143a, "The Great Prize Fight Between Morrissey and Heenan, the Benicia Boy, at Long Point, Canada, Oct 20, 1858 for $5000," H. De Marsan (New York), 1864-1878
Bodleian Library site Ballads Catalogue does not have this ballad among its "prizefighting" broadsides. However, among the broadsides at that site, there are many celebrating Heenan. For example:
Bodleian, 2806 c.15(229), "Heenan's Challenge to Mace," unbknown, n.d.; also Harding B 19(62), "Heenan's Challenge to Mace"
Bodleian, Firth b.25(587/588), "Heenan and King," J.F. Nugent & Co. (Dublin), 1850-1899 [could not be downloaded]
Bodleian, Harding B 13(12), "Sayers' and Heenan's Struggle for the Championship and GBP400," J.O. Bebbington (Manchester), 1858-1861
Bodleian, Harding B 13(7), "The Bold Irish Yankee Benicia Boy," J.O. Bebbington (Manchester), 1858-1861 [tune: "Irish Molly"]
Bodleian, Johnson Ballads 2161a, "Coburn's Challange to Heenan," P. Brereton (Dublin), c.1867; also 2806 c.8(234), "Coburn's Challenge to Heenan"
Bodleian, Johnson Ballads 2705, "The Boxing Match Between Sayers and Heenan," unknown, n.d.
Bodleian, Johnson Ballads 1448B, "Maugh Bonamalath" or "Charles Heenan, the Champion of the World," W. Pratt (Birmingham), c.1850
Bodleian, Firth c.19(12), "The Fight with Heenan and the Black," H. Disley (London), 1860-1883
Bodleian, Harding B 26(247), "Heenan's Arrival in England," unknown, n.d.
There is a different broadside there for this fight:
Bodleian, Harding B 40(15), "The glorious victory of John Morrissy, of Templemore, Ireland, over the Yankee Buffalo boy, on Long Island, North America," J.F. Nugent and Co.? (Dublin?), 1850-1899 [could not be downloaded]
Morrissey has many fewer but at least two have been collected (see cross-references above)
Broadside LOCSinging sb10143a: H. De Marsan dating per Studying Nineteenth-Century Popular Song by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: OCon044A

Morrissey and the Black [Laws H19]


DESCRIPTION: Morrissey agrees to fight "Ned the black of Mulberry town" for a stake of ten thousand pounds. By the fourteenth round Morrissey is unconscious or nearly, but he is revived and knocks out his opponent in the twenty-fifth round
AUTHOR: unknown
EARLIEST DATE: 1928 (Mackenzie)
KEYWORDS: fight
FOUND IN: US(NE) Canada(Mar,Newf)
REFERENCES (6 citations):
Laws H19, "Morrissey and the Black"
Greenleaf/Mansfield 175, "John Morrissey and the Black" (1 text)
Mackenzie 136, "Morrissey and the Black" (1 text)
Ives-DullCare, pp. 186-187,251, "Morrissey and the Black" (1 text, 1 tune)
Ives-NewBrunswick, pp. 30-32, "Morrissey and the Black" (1 text, 1 tune)
DT 706, MORRBLK
Roud #1884
CROSS-REFERENCES:
cf. "Morrissey and the Russian Sailor" [Laws H18] (subject)
cf. "Donnelly and Cooper" (subject)
cf. "Heenan and Sayers" [Laws H20] (subject)
cf. "Morrissey and the Benicia Boy" (subject)
cf. "The Napan Heroes" (theme)
NOTES: John Morrissey was born in Ireland in 1831 but was raised in New York and apparently went to California at the time of the Gold Rush. In 1852 he gained fame as a boxer by defeating George Thomson. The climax of Morrissey's career came in 1858 (so DAB and other sources; I've seen a date of 1860 cited), when he defeated champion John C. Heenan and promptly retired. In the years that followed his gambling resort in Saratoga Springs proved very successful, and Morrissey was twice elected to congress. He died in 1878.
In addition to his boxing prowess, he is said to have been a "hatchet man" for the New York Tammany Hall machine. - RBW
Greenleaf/Mansfield says Morrissey was also a Congressman and State Senator for New York.
Ives-DullCare: .".. there is no record of a fight between Morrissey and anyone with a name remotely resembling 'Ned the blackman' from Melbourne or anywhere else." - BS
There had been, however, a tendency to recruit Black boxers in the early nineteenth century (see Christopher Sinclair-Stevenson, Blood Royal: The Illustrious House of Hanover, pp. 142-143). This was apparently due to the success of one Molineaux, called "The Moor." This may well have been remembered. - RBW
File: LH19

Morrissey and the Russian Sailor [Laws H18]


DESCRIPTION: A Russian sailor in Tierra del Fuego challenges Morrissey to a duel. Morrissey takes on the challenge to uphold the honor of Ireland. The fight, for a large stake, takes 38 rounds, and each knocks the other down, before Morrissey is victorious
AUTHOR: unknown
EARLIEST DATE: 1901 (O'Conor)
KEYWORDS: fight patriotic
FOUND IN: US(MW,NE) Canada(Mar,Newf) Ireland Australia
REFERENCES (11 citations):
Laws H18, "Morrissey and the Russian Sailor"
Rickaby 48, "Morrisey and the Russian Sailor" (1 text, 1 tune)
Dean, pp. 4-5, "Morrisy and the Russian Sailor" (1 text)
Fahey-Eureka, pp. 216-217, "Morrissey and the Russian Sailor" (1 text, 1 tune)
Sandburg, pp. 398-399, "Morrissey and the Russian Sailor" (1 text, 1 tune)
Kennedy 325, "Morrissey and the Russian Sailor" (1 text, 1 tune)
Mackenzie 135, "Morrissey and the Russian" (1 text)
O'Conor, p. 30, "Morrisey and the Russian" (1 text)
OLochlainn-More, pp. 255-256, "Morrissey and the Russian Sailor" (1 text, tune referenced: see OLochlainn 26)
Leach-Labrador 38, "Morrisey and the Russian Bear" (1 text, 1 tune)
DT 694, MORRRUSS MORRRUS2*
Roud #2150
RECORDINGS:
Joe Heaney, "Morrissey and the Russian Sailor" (on Pubs1, Voice08)
Johnny McDonagh, "Morrissey and the Russian Sailor" (on Lomax42, LomaxCD1742)
CROSS-REFERENCES:
cf. "Morrissey and the Black" [Laws H19] (subject)
cf. "Donnelly and Cooper" (subject, tune)
cf. "Heenan and Sayers" [Laws H20] (subject, tune)
cf. "Morrissey and the Benicia Boy" (subject)
NOTES: John Morrissey was born in Ireland in 1831 but was raised in New York and apparently went to California at the time of the Gold Rush. In 1852 he gained fame as a boxer by defeating George Thomson. The climax of Morrissey's career came in 1858 (so DAB and other sources; I've seen a date of 1860 cited), when he defeated champion John C. Heenan and promptly retired. In the years that followed his gambling resort in Saratoga Springs proved very successful, and Morrissey was twice elected to congress. He died in 1878.
In addition to his boxing prowess, he is said to have been a "hatchet man" for the New York Tammany Hall machine.
There is no record of Morrissey ever fighting a Russian sailor -- and certainly not in Tierra del Fuego! On the other hand, he did fight some very long matches; in 1853 it took Morrissey 37 rounds to defeat James Sullivan.
(That win, incidentally, made Morrissey arguably the American champion; Sullivan in 1849 had beaten Tom Hyer in what the February 2006 issue of American History magazine says was "considered to be the [first[ American championships prizefight") - RBW
O'Conor's last verse refers to other fights. Specifically, "Our hero conquered Thompson, the Yankee Clipper, too, The Benicia Boy, and Sheppard he nobly did subdue."
We have a ballad for "Morrissey and the Benicia Boy", at least.
"Thompson" was George Thompson, California champion, who lost a controversial fight to Morrissey in 1852.
The "Yankee Clipper" refers to Morrissey's controversial victory over Yankee Sullivan to become "Champion of America". See "The Fight at Boston Corners" and "The Great Prize Fight Which Took Place at Boston Corners, Oct 12, 1853" broadsides at the Library of Congress American Memory site.
There is also a broadside "Rough and Tumble, or the Amos Street Fight between Poole & Morrissey" at the Library of Congress American Memory site.
Sources: Biography of John Morrissey on the International Boxing Hall of Fame site; Biography of John Morrissey on the HarpWeek Explore History site; "Yankee Sullivan (James Ambrose)(alias Frank Murray)" at Cyber Boxing Zone site. - BS
File: LH18

Morrisy and the Russian Sailor


See Morrissey and the Russian Sailor [Laws H18] (File: LH18)

Moses Donohoe


DESCRIPTION: "The news from Rome ... our Pope he was in danger." April 29, 1869 Irish volunteers leave Dublin on the Avatuskey. They are rammed in a gale on May 10 and sink, deserted by the crew. Moses Donohue of Killincooley is among those drowned.
AUTHOR: unknown
EARLIEST DATE: 1948 (Ranson)
KEYWORDS: drowning sea ship wreck soldier war
FOUND IN: Ireland
REFERENCES (1 citation):
Ranson, pp. 123-124, "Moses Donohoe" (1 text)
NOTES: Did some ship, possibly named Avatuskey -- or some more Polish name -- sail on April 29, 1869 to sink following a collision on May 10, 1869?
Ransom says "I have not been able to check up the correctness of the name 'Avatuskey,' nor have I been able to verify the statement that Irish volunteers went to the defence of the Papal States in 1869." Rome was all that was left of the Papal States in 1869 and it fell to Italy in "The Battle of Porta Pia" on September 20, 1870. Newspapers in Galway and London for the dates may reveal the facts. - BS
We might note that the Papal States were annexed rather than directly conquered by Italy; Porta Pia was more demonstration than battle. Of course, if the Papacy had had an Irish regiment at hand, who knows what it might have tried? - RBW
File: Ran123

Moses in the Bulrushes


See Little Moses (File: R662)

Moses of the Mail


DESCRIPTION: "It was a dark and stormy night, The snow was falling fast, I stood on Thorpbridge Junction Where the reckless Moses passed." Although there is no description of a wreck, the song ends with the dying words of Moses
AUTHOR: unknown
EARLIEST DATE: 1954 (MacColl-Shuttle)
KEYWORDS: train death storm
FOUND IN: Britain(England(West))
REFERENCES (1 citation):
MacColl-Shuttle, pp. 8-9, "Moses of the Mail" (1 text, 1 tune)
NOTES: Although the text in MacColl-Shuttle is described as composite, it doesn't make much sense: It is never made clear if there was a serious accident, or if engineer Moses retired after a minor injury, or if the whole thing is just a talltale. The song is said to refer to an actual engineer, Henry "Moses" Poyser, who worked in the 1880s. - RBW
File: MacCS08

Moses Paul


DESCRIPTION: "My kindred Indians, pray attend and hear... This day I warn you of that cursed sin That poor despised Indians wallow in." The preacher warns Indians against drink, which led Moses Paul to murder; he bids them turn to Christ
AUTHOR: unknown
EARLIEST DATE: 1958 (Burt)
KEYWORDS: drink murder Indians(Am.) religious
HISTORICAL REFERENCES:
1772 - Execution of Moses Paul, an Indian, for the murder of Moses Cook.
FOUND IN: US
REFERENCES (1 citation):
Burt, pp. 152-153, "(Moses Paul)" (1 excerpted text)
NOTES: Supposed to be based on the words of one Reverend Samson Occom, himself an Indian, who gave the funeral sermon for Moses Paul. Occom correctly noted the poverty in which the Indians lived, and noted the effects of drink -- but rather ruined the effect, I would say, by blaming these faults on Sin. - RBW
File: Burt152

Moses Ritoora-li-ay


DESCRIPTION: A policeman sees a man peddling in the street and hauls him in. A trial ensues in which the court tries to find out if Moses Ri-too-ral-i-ay is Irish. He turns out to be a Jew related to the judge. Moses is released, and the unhappy policeman fired
AUTHOR: (attributed to Brian O'Higgins in the Digital Tradition, but see NOTES)
EARLIEST DATE: 1952 (recording, Margaret Barry)
KEYWORDS: police Jew humorous trial punishment
FOUND IN: Ireland
REFERENCES (1 citation):
DT, MOSESRIT*
Roud #5197
RECORDINGS:
Margaret Barry, "Moses Ritoora-li-ay" (on IRMBarry-Fairs)
CROSS-REFERENCES:
cf. "Vilikens and his Dinah (William and Dinah) [Laws M31A/B]" (tune & meter) and references there
cf. "The Sergeant's Lamentation" (theme)
NOTES: In the period around the Easter Rising, it was a crime in Ireland to preach rebellion. Apparently many revolutionaries got around this by preaching in Irish (though this raised the possibility that the listeners couldn't understand them!). The police, who were often English and almost always anglophone, were told to learn Irish to try to figure out what was going on.
This didn't work out all that well. (Gee, where have we heard that story before? The Habsburg Empire? Iraq?) The amused Irish created songs like this to celebrate the problem.
Brian O'Higgins wrote a song about this topic, according to Frank Harte. But Harte believes the song on this topic is "The Limb of the Law", found in Songs of Dublin, second edition, Ossian, 1993, pp. 36-37. Could he have written two such songs? I don't know.
Robert Kee, on p. 48 of Ourselves Alone (being volume III of The Green Flag) cites a Sinn Fein speech from 1918 claiming that "there were by then five hundred people in Ireland imprisoned under the Defence of the Realm Regulations on chrages ranging from singing a song written seventy years before to presenting their names in Irish when accosted by a policeman." Unfortunately, he does not cite a precise source. - RBW
File: DTmosesr

Moss o Burreldale, The


DESCRIPTION: Description of a rowdy gathering of Travellers at the market of Burreldale. A piper's bag bursts, and he's launched into the air; another man plans to fight but his Annie knocks him over, etc. (Some versions describe the participants and their trades)
AUTHOR: unknown
EARLIEST DATE: 1952 (collected from Jimmy McBeath)
LONG DESCRIPTION: Description of a rowdy gathering of Travellers at the market of Burreldale. A piper's bag bursts, and he's launched into the air; another man plans to fight but his Annie knocks him over then challenges him to fight some more; a showoff horseman is thrown (I think). Another man challenges a Catholic to fight. Eventually all leave, but vow they will always remember the fracas. (Some versions describe the participants and their trades)
KEYWORDS: bragging fight commerce drink music party moniker worker Gypsy migrant
FOUND IN: Britain(Scotland)
REFERENCES (2 citations):
Kennedy 351, "The Moss o' Burreldale" (1 text, 1 tune)
MacSeegTrav 127, "The Moss o' Burreldale" (2 texts, 2 tunes)
Roud #1876
File: K351

Moss of Balloch Fair


DESCRIPTION: The singer meets Mary Ann at the fair. He takes her to see the show and buys candy. He takes her home that night; "the auld folks" consent. The next day they marry at the fair. In twelve months they have twins and plan to open a baby show at the fair.
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan4)
KEYWORDS: courting marriage food children father mother
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan4 885, "Moss of Balloch Fair" (3 texts, 1 tune)
Roud #5144
CROSS-REFERENCES:
cf. "Oh Dinna Quarrel the Bairnies" (tune, per GreigDuncan4)
ALTERNATE TITLES:
Peter Fair
NOTES: The fair is either Peter Fair in Raffin or Moss of Balloch Fair at Ben Lomond. - BS
Last updated in version 2.5
File: GrD4885

Mossback, The


See The Farmer and the Shanty Boy (File: Wa033)

Mossie and His Mare


DESCRIPTION: "Oh, Mossie was a cunning man, A little mare did buy; For winking and for jinking There was few could come her nigh." After telling how Mossie captures her, various folks are warned against bad behavior; they will be punished "as Mossie catch'd his mare."
AUTHOR: unknown
EARLIEST DATE: before 1813 (broadside, Bodleian Harding B 22(179))
KEYWORDS: horse humorous warning Jacobites
FOUND IN: Britain(Scotland)
REFERENCES (4 citations):
Ford-Vagabond, pp. 39-42, "Mossie and His Mare" (1 text, 1 tune)
Greig 171, p. 1, "Mossie and His Meer" (1 fragment)
GreigDuncan3 677, "Mossie and His Meer" (2 fragments, 3 tunes)
Baring-Gould-MotherGoose #234, p. 152, "(Moss was a little man, and a little mare did buy)"
Roud #6104
BROADSIDES:
Bodleian, Harding B 22(179), "Moss and his Mare" ("Moss was a cunning man a little mare did buy"), J. Evans (London), 1780-1812
NOTES: The keyword "Jacobite" may be strange for this song, but Ford's text, after warning "gilpy lasses," "crafty ale wives," "lousy tailors," and "pettyfoggers," turns its attention to "A' ye Whigs about the land, Wha deny our lawfu' King." - RBW
There is no reference to Jacobite politics in broadside Bodleian Harding B 22(179), the earliest text I have seen. Ford's second notion, "that [it] was rejuvenated in the first half of the last century," may explain "the Jacobitish dirl that occurs in the concluding stanza." - BS
Last updated in version 2.4
File: FVS39

Mossie and His Meer


See Mossie and His Mare (File: FVS39)

Most Done Ling'rin' Here


See notes under Run, Nigger, Run (File: R264)

Most Done Suffering


See Rough, Rocky Road (Most Done Suffering) (File: Br3632)

Most Done Traveling


See Rough, Rocky Road (Most Done Suffering) (File: Br3632)

Most Unconstant of Young Men, The


See Two Lovers Discoursing [Laws O22] (File: LO22)

Moth and the Flame, The


DESCRIPTION: Two old sweethearts meet. He says he still loves her; she says she is to be married to another. He tells the fable of the Moth and the Flame to reveal her lover is already married. At the wedding, the fiance kills his wife. The girl turns to her old love
AUTHOR: Words: George Taggart/Music: Max S. Witt
EARLIEST DATE: 1940 (Randolph)
KEYWORDS: love separation murder wedding adultery
FOUND IN: US(So)
REFERENCES (3 citations):
Randolph 818, "The Moth and the Flame" (1 text)
Spaeth-ReadWeep, pp. 156-158, "The Moth and the Flame" (1 text, 1 tune)
Geller-Famous, pp. 155-160, "The Moth and the Flame" (1 text, 1 tune)
Roud #7433
NOTES: Should be an opera. - PJS
It comes close. It's based loosely on an 1898 play by Clyde Fitch with the same title. Taggart wrote the words after seeing the play, then sought someone to write the music. - RBW
File: R818

Mother Carey's


DESCRIPTION: Capstan shanty. "The brave west wind it filled our top-s'ls and bore us out-ward bound... for Frisco Town.... Sheet it home- that big main top-s'l, sheet it home- boys, good and true, For we're bound to Mother Carey's, where she feeds her chicks at sea."
AUTHOR: unknown
EARLIEST DATE: 1961 (Hugill)
LONG DESCRIPTION: Capstan shanty. "The brave west wind it filled our top-s'ls and bore us out-ward bound, out-ward bound across the Western, out-ward bound for Frisco Town. Chorus: Sheet it home- that big main top-s'l, sheet it home- boys, good and true, For we're bound to Mother Carey's, where she feeds her chicks at sea."
KEYWORDS: shanty ship travel return
FOUND IN: Britain
REFERENCES (1 citation):
Hugill, p. 192, "Mother Carey's" (1 text, 1 tune)
NOTES: Hugill: "'Mother Carey's chickens' was a sailor name for stormy petrels, seabirds found flying close to the crests of the great seas of the high latitudes." - SL
The origin and use of this name is the subject of some dispute. Numerous sources agree that Mother Carey's chickens are stormy petrels. Hendrickson, p. 58, notes that there are several species of stormy petrels, and identifies Mother Carey's chickens in particular with Hydrobates pelagicius -- but gives no explanation for the origin of the name.
Benet, in the article on mothers, adds that Mother Carey's goose is "the great black petrel or fulmar of the pacific." (Interestingly, Brewer/Evans, p. 759, article on "Mother Carey's Chickens," has these definitions almost verbatim. I don't know who stole from whom, though.) Both sources also agree that the phrase "Mother Carey is plucking her goose" means that it is snowing.
Partridge dates the use of Mother Carey's Chickens as a name for snowflakes to 1861, citing Hotten's slang dictionary. This usage is also supported by Simpson/Roud. Partridge also cites a usage, "faring alike and paying the same, ca. 1820-1850," and lastly notes that Bowen's Sea Slang applies the phrase to "a small gun."
But who is Mother Carey? Walker states that the name is an "English sailor's version of Mater Cara, 'Beloved Mother' [or 'Dear Mother'], the Latin Sea-goddess." She notes that the French call the petrels the "Birds of Our Lady." Similarly, Benet notes that the French call them "oiseaux de Notre Dame" or "aves Sanctae Mariae."
Walker's equivalence appears to be wrong, I checked four classical dictionaries, and not one mentions "Mater Cara" as a Latin goddess. There is a "[Mater] Matuta," identified in Zimmerman as a "goddess of sea travel," or perhaps of harbors, but Lucretius (De Rerum Natura, B. 656) credits Matuta with bringing the dawn; she is also associated with childbirth. In any case, it's obviously a different name.
Of course, Mater Cara as a name for the Virgin Mary -- frequently addressed as the Mother of God in Catholic tradition, and often invoked as an intercessor -- is quite common. But would nineteenth century English sailors be addressing Mary for help? (Indeed, if we're trying Latin for a goddess of sailors, how about "Mater Carina," which can mean "Mother of hulls/keels." I don't believe it, though.)
The real problem with the Mother Carey=Mater Cara equivalence, though, is noted by Simpson/Roud: It has no support. We nowhere find references to Mother Carey without her birds.
Simpson/Roud speculate that Mother Carey is the Old Woman of the Storms -- the hag who brings foul weather (sometimes illustrated as stirring the clouds or the sea with a very long finger). This strikes me as quite reasonable but beyond proof.
The phrase is certainly famous, however. Kate Douglas Wiggin (1856-1923), best known for writing Rebecca of Sunnybrook Farm, also wrote a book called Mother Carey's Chickens, which was made into a movie in 1938. As best I can tell from reading excerpts, though, it's just a book about chickens. - RBW
BibliographyLast updated in version 2.5
File: Hugi192

Mother Dear, Goodbye


DESCRIPTION: "I'll not be long with you, mother, I soon must say goodbye, But, mother, we shall meet again, In God's bright home on high." The singer rejoices that she(?) will join sister in heaven, and taste the joys there; she promises to pray for mother
AUTHOR: unknown
EARLIEST DATE: 1936 (Thomas)
KEYWORDS: death mother children
FOUND IN: US(Ap)
REFERENCES (1 citation):
Thomas-Makin', pp. 177, (no title) (1 text)
NOTES: Thomas reports this to have been composed by Anna Messer on her deathbed, and that it was still being sung in 1936, 63 years after Messer's reported death. It's insipid enough to come from a dying girl -- but much too cutesy, I think. - RBW
File: ThBa177

Mother Jones (I)


See The Death of Mother Jones (File: Grnw154)

Mother, He's Going Away


DESCRIPTION: Mother: Don't cry for that liar Barney; remember "how he served poor Kate Kearney." Nelly: He's going away; I dreamed of his ghost. Mother: All the better; remember you protested when he courted Jinny M'Cray last week. Nelly: He's going away ...
AUTHOR: Samuel Lover (1797-1868)
EARLIEST DATE: before 1885 (broadside, Bodleian Firth b.28(5a/b) view 2 of 8)
KEYWORDS: dialog love separation mother rake ghost
FOUND IN:
REFERENCES (1 citation):
O'Conor, p. 71, "Mother, He's Going Away" (1 text)
BROADSIDES:
Bodleian, Firth b.28(5a/b) view 2 of 8, "Mother, He's Going Away", Richard March & Co (London), 1877-1884
File: OCon071

Mother, Is the Battle Over?


DESCRIPTION: The boy asks, "Mother, is the battle over? Ten thousand have been slain, they say. Is my father coming? Tell me, Have the rebels gained the day?" The boy sees his mother crying, and assumes his father is dead. At last mother admits the truth
AUTHOR: Henry Werner
EARLIEST DATE: 1863
KEYWORDS: father battle death
FOUND IN: US(So)
REFERENCES (3 citations):
Randolph 243, "Mother, Is the Battle Over?" (1 text)
JHCox 75, "Mother, Is the Battle Over?" (1 text)
DT, BTTLOVER*
Roud #5462
CROSS-REFERENCES:
cf. "Does Your Mother Know You're Out" (floating lyrics)
File: R243

Mother, May I Go to Swim


DESCRIPTION: "Mother, may I go out to swim? Yes, my darling daughter. Hang your clothes on a hickory limb But don't go near the water."
AUTHOR: unknown
EARLIEST DATE: 1939 (Randolph)
KEYWORDS: floatingverses clothes nonballad river
FOUND IN: US(SE,So) Canada(Ont)
REFERENCES (5 citations):
BrownIII 325, "Mother, May I Go to Swim" (1 text)
Randolph 873, "The Alphabet Song" (6 texts, 6 tunes, the "A" text has this verse)
Opie-Oxford2 360, "Mother may I go and bathe?" (2 texts)
Baring-Gould-MotherGoose #879, p. 327, "(Mother, may I go out to swim?)"
DT, (DRLDAUGH -- probably a composed song borrowing this stanza)
Roud #3303
RECORDINGS:
May Kennedy McCord, "The Singing Alphabet" (AFS; on LC12 -- the recording cited by Randolph)
CROSS-REFERENCES:
cf. "Alphabet Songs" (floating lyrics)
NOTES: This is primarily a floating verse, but apparently exists also independently (as in Brown), so here it files. Most of the entries listed are songs borrowing the verse.
The Baring-Goulds quote Ditchfield to the effect that this goes back to the sixth century writer Hierocles. The joke may be the same, but I strongly doubt literary dependence. - RBW
File: Br3325

Mother, Mother, Make My Bed


DESCRIPTION: A young woman, dying, sends for her true love. He hastens home, but finds her already dead. He kisses her, and dies the next day. They are buried side by side, and a rose and briar twine over their grave.
AUTHOR: unknown
EARLIEST DATE: 1906 (Vaughan Williams/Lloyd)
KEYWORDS: love death dying magic lover burial
FOUND IN: Britain(England(South)) US(SE)
REFERENCES (4 citations):
Bronson 65, "Lady Maisry" (13 versions, of which #4, #5, #7, #8, #10, and perhaps #9 and #11 are this piece)
MacSeegTrav 22, "Mother, Mother, Make My Bed" (2 texts, 1 tune)
Vaughan Williams/Lloyd, p. 71, "Mother, Mother, Make My Bed" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 137-139, "Laidy Maisry" (1 text, which despite the title appears closer to this than to "Lady Maisry," though it lacks the "Mother, Mother, Make My Bed" verse)
ST VWL071 (Partial)
Roud #45
CROSS-REFERENCES:
cf. "Lady Maisry" [Child 65] (floating verses)
cf. "Lord Lovel" [Child 75] (floating verses)
cf. "Bonny Barbara Allen" [Child 84] (floating verses)
NOTES: This ballad shares verses with the cross-referenced titles; it's essentially a composite of floating verses and plot elements. -PJS
The problems with this song are myriad, though enough versions exist that it must be treated as a separate piece (at least; *I* say so; Roud lumps it with "Lady Maisry"). It shares material with many ballads (MacColl & Seeger see contacts with no fewer than ten Child ballads in their version, though some of these are stretched or verses found floating in several Child ballads -- e.g. the contact with "Little Musgrave" is the stanza "The first two miles the little boy walked, and the next two miles he run," which is an element which can float easily).
The real difficulty is, every version seems fragmentary. We don't know why the young woman is dying. If the ultimate source were "Lady Maisry," she is to be executed; if "Lord Lovel," she is dying for love. But neither explanation gains any support from the extant texts, implying that the cause of death was never stated. Paul Stamler suggests the possibility of plague. I doubt we'll ever know.
It is worth noting that Bronson has thirteen tunes listed under "Lady Maisry," and that eight of them (#4-11) belong to his "C" group, and that *all* of the texts of "Mother, Mother" are in the C group, and *every* song in the C group is either "Mother Mother" or a fragment which could be either song. Thus "Mother Mother" in fact appears to have its own distinct tune group. - RBW
File: VWL071

Mother's Admonition, The


See As I Roved Out (I) (Tarry Trousers II) (File: LoF014)

Mother's Malison, The, or Clyde's Water [Child 216]


DESCRIPTION: Willie wishes to visit his lover. His mother bids him stay, and curses him to drown in Clyde if he goes. Willie, trusting in his horse, goes anyway, but his lover's mother bids him away. Returning, he drowns in Clyde; his lover drowns as she seeks him
AUTHOR: unknown
EARLIEST DATE: 1800
KEYWORDS: river death love drowning curse horse
FOUND IN: Britain(Scotland(Aber))
REFERENCES (7 citations):
Child 216, "The Mother's Malison, or, Clyde's Water" (3 texts)
Bronson 216, "The Mother's Malison, or, Clyde's Water" (14 versions+2 in addenda)
Greig #60, pp. 1-2, "Clyde's Waters" (2 texts)
GreigDuncan6 1231, "Clyde's Waters" (10 texts plus a single verse on p. 582, 11 tunes) {A=Bronson's #7, B=#2, C=#1,D=#10, E=#9, F=#8, G=#5, H=#4, I=#12, J=#13, K=#11?}
Leach, pp. 572-575, "The Mother's Malison, or, Clyde's Water" (1 text)
OBB 90, "Clyde Water" (1 text)
DT 216, CLYDWATR*
Roud #91
RECORDINGS:
Stanley Robertson, "The Clattering of the Clyde Waters" (on Voice03)
John Strachan, "Clyde's Water (The Mother's Malison)" (on FSBBAL2) {Bronsons #12.2}
CROSS-REFERENCES:
cf. "Annan Water"
cf. "Lord Derwentwater" [Child 208] (lyrics)
cf. "Ballad of the Drover (Death of Harry Dale)" (theme)
cf. "Martha Dexter" (theme)
ALTERNATE TITLES:
The Drowned Lovers
Maggie's Bowers
File: C216

Motherless Child


See Sometimes I Feel Like a Motherless Child (File: LxU107)

Motherless Children


DESCRIPTION: "Nobody treat you like mother will when mother is dead." (Various surrogate parents are suggested, but the children "have no place to go." "Motherless children have a hard time when mother is gone.")
AUTHOR: unknown
EARLIEST DATE: 1927 (Recording, Blind Willie Johnson)
KEYWORDS: orphan mother nonballad family
FOUND IN: US(SE)
REFERENCES (4 citations):
Botkin-SoFolklr, p. 761, "Motherless Children Sees a Hard Time" (1 text, 1 tune -- a lyric piece, but with enough common lyrics to apparently belong here)
Courlander-NFM, pp. 143-144, "(Motherless Children)" (1 text); pp. 269-270, "Motherless Children" (1 tune, partial text)
Silber-FSWB, p. 58, "Motherless Children" (1 text)
DT, MOTHRLSS*
Roud #16113
RECORDINGS:
Bessemer Melody Singers, "Motherless Children" (Victor V-38606, 1930; Bluebird B-5041 [as Bessemer Melody Boys], 1933)
The Blind Pilgrim, "Motherless Children" (Anchor 380, n.d.)
Carter Family, "Motherless Children" (Victor 23641, 1932; Bluebird B-5924, 1935; Montgomery Ward M-5010, 1936; rec. 1929)
Roscoe Holcomb, "Motherless Children" (on Holcomb2, HolcombCD1)
Joe, John & Janey Hunter & Mable Hillery, "Motherless Child" (on JohnsIsland1)
Blind Willie Johnson, "Mother's Children Have a Hard Time" (Columbia 14343-D, 1928; Vocalion 03021, 1935; rec. 1927; on BWJ02)
Blind Gussie Nesbitt, "Motherless Children" (Decca 7131, 1935)
Joshua White, "Motherless Children" (Banner 32859/Melotone 12786, 1933) (Musicraft 250 [as Josh White Trio], c. 1944)
File: BSoF761

Motherless Children Sees a Hard Time


See Motherless Children (File: BSoF761)

Mount and Go


See Hey Bonnie Laddie, Mount and Go (File: GrD71361)

Mountain Dew, The


See Good Old Mountain Dew (File: LxA180)

Mountain Meadows Massacre, The [Laws B19]


DESCRIPTION: A wagon train is attacked by (Mormons disguised as) Indians. They surrender, but are slaughtered the moment they lay down their weapons. The assault is blamed on Brigham Young
AUTHOR: unknown
EARLIEST DATE: 1958 (Burt)
KEYWORDS: fight death Indians(Am.)
HISTORICAL REFERENCES:
Sept 11, 1857 - The assault at Mountain Meadows. All members of the caravan except 17 small children are said to have been killed. John D. Lee, reported to have led the assault, was executed Mar 23, 1877
FOUND IN: US(NW,Ro,SW)
REFERENCES (3 citations):
Laws B19, "The Mountain Meadows Massacre"
Burt, pp. 117-120, "Mountain Meadows Massacre" (1 composite text, 1 tune, plus a loose stanza about the punishment of Lee)
DT 386, MTMDOW
Roud #3240
CROSS-REFERENCES:
cf. "Lee's Ferry" (character of John D. Lee)
ALTERNATE TITLES:
The Ballad of John D. Lee
NOTES: The Mountain Meadows Massacre is one of those Great Mysteries of History. I've done a lot of research on what follows, but very little of what follows is absolutely certain, and much will be inherently controversial, especially to Mormons. Too much knowledge died with the victims of the massacre, or has been hidden away in one form or another. To those who disagree with what follows, I can only say that a church which will not open its archives will almost always be suspected of having something to hide.
Almost from the moment Joseph Smith announced his first revelation, the Mormon Church suffered persecution. After all, they added new sacred scriptures to the Bible (something no significant sect had tried for roughly 1500 years), and they produced a doctrine of salvation completely unlike anything in orthodox Christianity.
And this was even before polygamy became an issue! But the pressures on the Mormons just kept getting greater. The sect was born in New York, but early on headed for the midwest; where, in 1833, they became victim of a massacre organized by Missouri's then-Lieutenant Governor Lilburn Boggs (Brodie, pp. 136-137). In 1838, Boggs (by then governor) ordered the whole church destoryed (Brooks, p. 5), though his orders were not obeyed. Moving once again, this time to the east, they built a city in Nauvoo, Illinois, where leader Smith was lynched (Brodie, pp. 393-395). This, even more than the earlier massacre at Independence, Missouri, was psychologically very significant; as Stegner writes (p. 17), it "made zealots out of men and women who might otherwise have been only die-hards," while Walker, p. 209, observes that it "set in stone the Mormon hatred for the Gentile and gave the Saints a thirst for revenge that found a slaking thirteen years later."
Nor was the Mormon doctrine created by Smith entirely peaceful; Brooks, p. 59, notes a revelation in the Doctine and Covenants stating "if he has sought thy life, and thy life is endangered by him [as Mormon lives obviously had been threatened], thine enemy is in thine hands and thou art justified." Easy to whip up a mob with texts like that!
Smith had also established a dangerous precedent of authoritarianism; although Stegner, p. 24, cites Brodie to the effect that the problems the Mormons had in Ohio, Missouri, and Illinois all arose from different causes, he goes on on pp. 25-27 to tell how Smith harassed and persecuted some of his own followers who disagreed with him (cf. Brooks, p. 6; Stegner, pp. 28-30). It was one of these internal quarrels that resulted in Smith's imprisonment and thus led to his lynching.
Smith was succeeded by Brigham Young (for whom see "Brigham Young"). The new Prophet's solution was to head farther west, away from the rest of America, to the Great Salt Lake area, which would become the land of Deseret (Brooks, p. 7; Stegner, pp. 37-42). The reasoning was that no one would want to follow them there; not only was it a remote and inhospitable land, it was at that time Mexican rather than United States territory.
For the Mormons, this was their Exodus -- both the test and the salvation that forged a people. Forced out of their homes by the pressures of the locals, they suffered much on the trail (Brooks, pp. 8-10, plus this is the main topic of Stegner; Bagley, p. 22, says that some 600 of the 6000 who were in their "Winter Quarters" that first year died). But their exile wasn't far enough. The Mexican War gave the United States control of that land. And whereas Mexican control had been lax (indeed, non-existent), the United States wanted to use the land. They sent the explorer John Williams Gunnison to survey the area. In the process, he met and observed the Mormons in Deseret. And he published a book: The Mormons, or Latter-Day Saints, In the Valley of The Great Salt Lake: A History of Their Rise and Progress, Peculiar Doctrines, Present Condition, and Prospects, Derived from Personal Observation, During a Residence Among Them.
The book came out in 1852 (Denton, p. 65). Denton believes that Gunnison was relatively sympathetic to the Mormons: If left alone, he expected their church to decay due to its internal contradictions. (Obviously he hadn't met many fundamentalists.) But Gunnison's book changed the whole debate. The Federals had made Brigham Young governor of Utah Territory (Denton, p. 66), a region rather smaller than the area of Deseret they had hoped to control (Bagley, p. 24), but it didn't know much about the Mormons. Gunnison's publication made it clear: Mormons were polygamous. It didn't sit well with the regular population.
Gradually the Mormons and the government started heating up their cold war. In 1853, the Federal Government sent Gunnison on another surveying expedition in Utah. He thought the Mormons would let him work as before. They didn't. They (or someone) shot him down, along with most of his party, at the Sevier River on October 26, 1853 (Denton, p. 87). It was, in a way, the first blood of what was to follow.
The Sevier River massacre by itself did not cause war between the Mormons and the United States, but it made it easier to blame Mormons for their behavior -- especially as they did little to investigate it (Bagley, p. 44). Add in the church's fierce desire to run its own affairs, and you had trouble. In 1857, Brigham Young declared that he would decide which Federal laws were enforced in his domain (Denton, p. 108). As the government became more insistent, Young would make what amounted to a declaration of independence (Denton, p. 113); he also assembled troops to resist (Brooks, pp. 18-19). As this was going on, discipline among the Mormons was becoming more vigorous, in part because of bad harvests and the unrest they brought; to backslide was to risk death (Denton, pp. 104-107).
To be fair, Young's authoritarianism "was strongly approved by the Mormons when they found President Pierce [who served 1853-1857] appointing political hacks of bad personal character, prejudiced and quarrelsome, to executive and judicial offices in the Territory" (Nevins, p. 317). But Young's declaration was still an obvious attempt to block enforcement of Federal law in Deseret (Nevins, p. 318).
In 1857, President Buchanan ordered the army to suppress Brigham Young's government (Brooks, p. 13; Denton, p. 108; Walker, p. 210).
Many think that Young's declaration was just a negotiating ploy. But Young was too smart to run a pure bluff. Young sent out orders to leaders in other communities to count up their arms and prepare to fight (Brooks, pp. 19-22, 31n; Denton, p. 116); all able-bodied men were drafted into a militia. Many, including John D. Lee, would take this very seriously indeed, calling the instructions "sacred commands" (Denton, p. 117). The Mormons also built up a stock of food, weapons, and ammunition, even trying (and failing) to start a lead mine for bullets (Brooks, pp. 25-27). Brooks, pp. 40-41, also tells of Brigham Young meeting with groups of Indian chiefs; he was probably trying to convince them to ally with him against the invaders -- a "hang together or hang separately" sort of situation. The stage was set for the Mormon War (or, as it is also known, the Utah War).
It was a war with an unusual number of bystanders, because the Great Salt Lake was along the route of most of the trails to the West Coast. There were several overland routes to California, all difficult due to the dry and deserted nature of the lands west of the Mississippi. Utah was one of the few places where water and help could be had. So it was quite normal for emigrants to come that way. Brooks, pp. 43-44, prints a journal that lists six emigrant parties reaching Salt LakeCity over a period of 16 days in late July and early August 1857. Most probably took a northern route out of Utah, but at least one group -- the Fancher party, from Arkansas -- went south. Their route took them up the Arkansas River, then north to meet the Platte at Fort Kearney; from there they followed the North Platte to Fort Laramie, then through South Pass to Salt Lake City. From there, they evidently intended to head mostly south through the Great Basin; see the map in Denton, pp. 12-13.
What Denton's map doesn't tell you (and what her book clouds by describing the Massacre before the Utah War) is that the shooting between Mormons and "Gentiles" had already started on a small scale. At the time of the Massacre, the Mormons feared that any Gentiles among them might be spies, and any supplies they gave them would not be available during the coming fight. Indeed, even as the Massacre was starting, Brigham Young was negotiating with a federal officer, knowing full well that the U. S. Army was coming -- and that it had a very big supply problem (Denton, pp. 164-165; Brooks, p. 63, prints a letter from Young which seems to show that he knew this. It also orders his followers not to "meddle" with emigrant trains. It is dated September 10, in response to a lost letter dated September 7. Yet Brooks, p. 64, notes that this letter might allow a massacre by Indians). On September 15, Young declared a scorched earth policy against the Federals. By the end of the month, Mormon guerillas were attacking army outposts (Denton, p. 168)
The Fancher party should perhaps have known better than to get mixed up in all this. The Fancher brothers, Alexander and John, had moved to California as early as 1850 and started a ranch (Denton, pp. 95-96). They made several trips to ferry cattle to California. Alexander's 1857 expedition was expected to be their last.
We don't have exact details on the Fancher party, but it included a number of families, and property estimated to be worth over $2500, plus cash on the order of $100,000 (Denton, p. 100; Walker, p. 213). There were at least 30, and perhaps more than 40, wagons in the train. There are estimated to have been about fifty men, forty women, and fifty chldren (Walker, p. 212), and perhaps close to a thousand cattle -- though Brooks would reduce those totals (see below).
The Fancher party hoped to simply pass through Mormon territory, purchasing supplies along the way -- but quickly found that the Mormons closed their doors (Denton, p. 119). It appears (though we cannot know for sure) that the members of the caravan were forced to resort to eating the cattle they had hoped to use to make their fortunes in California (Denton, p. 123). They circled their wagons at night to guard against attack, even as some Mormons, frightened of the Church's strict regimentation, tried to join them.
Meanwhile, groups of Mormons were gathering to make plans. Brooks, pp. 60-61, makes the interesting point that John D. Lee, who would later suffer for the Massacre, was not present at these early meetings.
Despite all that hostility, the caravan almost made it through. Mountain Meadows is in southern Utah; the area is now a national forest, near the town of Enterprise, just east of the Nevada border and almost due north of Saint George, which is on the Arizona border.
They picked a bad place to camp. Mountain Meadows is just what the name implies, a relatively open field surrounded by high rocks on all sides, with excellent grazing for cattle (Brooks, p. 69). But it can be a trap; there are only two exits, and the rocks provide excellent cover for an attack on a train in the meadow (Denton, p. 129). In 1857, it was a desolate area; Brooks, p. 69, says that there was only one house within 20 miles. There is water, but the Fancher train camped at some distance from it (Brooks, p. 70, thinks it was because the ground was swampy). The camp simply could not be defended for an extended period (Walker, p. 218). Given how far they were from any settlement, the Fanchers probably thought they didn't need to worry about that.
It is noteworthy that the date of the Massacre is somewhat uncertain; Brooks, p. 62, writes that "among the many writers on the subject, many different dates have been used"; she then assembles what evidence she can for the date (pp. 63-67)l This is significant because it bears directly on the guilt of high officials of the church.
The best guess is that, on Monday, September 7, 1857, the Fancher Train was attacked by people who apparently were dressed as Indians. John D. Lee, however, dated the attack to Tuesday, and said that there were seven defenders killed and three badly wounded at this stage; Brooks, p. 70, notes that we simply cannot test this.
Soon after the attack started, the Fancher party then circled their wagons (Brooks, p. 70; Denton, p. 128), but they had no water supply, little food, limited ammunition, and no way to escape. When they tried to send out young girls to get water, the attackers shot them (Denton, p. 130). They tried to send out messengers seeking help; the only result of that was that several ended up dead and one returned to the camp wounded (and, according to Denton, pp. 130, 132, with news that the attackers were Mormons, though it's not clear how she could possibly know this; Brooks, p. 72, does note that the death of one of these men has been claimed as the cause of the massacre, since the victims would now know that their attackers were white, but this doesn't make much sense that I can see. A few messengers continued on -- Brooks, pp. 95-100 -- but they could not bring help in any reasonable time.). Those who were left prepared to die; even if one of the messengers made it through, it would be a week or more before rescue arrived.
The ugliest part of the story is also perhaps the best documented. With the Fancher party close to despair, the Mormon elder John D. Lee came into the camp under a flag of truce (Brooks, p. 73). Denton, p. 134, says that he claimed the train needed to appease the Indians, and could survive by surrendering their weapons and cattle. (This even though the local Indians, the Paiutes, were relatively peaceful and ill-armed. The Indians admit to having taken some of the artifacts, but deny participation in the actual assault. Their actual role remains disputed; Denton seems to think they were not involved, but Walker and others think they were.) After much discussion, seeing no alternative, the survivors gave in (Denton, pp. 135-136).
The Mormon leaders, including Lee, broke them up into smaller parties -- and slaughtered them (Brooks, p. 74; Walker, p. 221). It was pure and simple murder; the only survivors were children under the age of eight, most of whom saw their parents and older siblings killed before their eyes. Supposedly 121 people were killed (Walker, p. 222), though there is uncertainty about the numbers; Brooks, pp. xix-xxiv, considers this to be "greatly exaggerated." She never ventures an exact number; I suspect she would have accepted 80-100 as reasonable. Brooks, pp. 101-103, counts 17 children recovered after the massacre; she thinks (pp. 104-105) that one other infant was raised by the Mormons.
Who gave the order for the murders is not clear; after it was over, no one wanted to admit responsibility (Brooks, p. 75). Supposedly the order was phrased, "Halt! Do your duty!" (Brooks, p. 70). Whoever said it -- it may well have been Lee -- but the Mormon soldiers instantly obeyed (Denton, p. 137-143, which gives brutal details of the treatment of the prisoners).
Who was this man who was responsible for what Denton, p. 241, calls "the largest civilian atrocity to occur on American soil" prior to 1995 and the Oklahoma City bombing? (A disputed claim, but it probably does qualify as the largest white-on-white civilian atrocity in that time.) John D. Lee (1812-1877) was an orphan whose father had died of alcoholism when he was six (Bagley, p. 20). Deprived of an inheritance, and raised strictly, he had joined the Mormon church in 1838 after fighting in the Black Hawk War (Walker, pp. 208-209). He was recruited into the Danites, the society of vigilantes who fought the Mormon's enemies (for other tales of the Danites, see "Old Port Rockwell").
Lee was one of Brigham Young's earliest lieutenants, who gave his allegiance to the prophet at the time when Young's power was still uncertain. Lee was in effect Young's adopted son (Brooks, p. 79; Walker, p. 214), for a time signing himself "J. D. L. Young" (Bagley, p. 19). Despite some minor quarrels (e.g. over a woman both wanted as a wife) he would surely obey the prophet almost without question (Walker, p. 215; Brooks, p. 40, stresses how all Mormons were urged to seek directions from higher authority whenever in doubt about anything) -- a significant point in assessing the conflicting blame for the Massacre.
When word of the Massacre came out, the government had to figure out how to respond. There were two basic questions: Who was responsible for the initial attack (Indians or Mormons)? And (since it was clear that the Mormons were responsible for the eventual slaughter) who was responsible for the Massacre (John D. Lee or someone higher in the church)?
There isn't much evidence. Federal officers took testimony from the surviving children, but all were very young, and many were traumatized; it is very likely that their testimony would today be considered tainted. The Mormon participants reportedly swore vows of secrecy.
Opinions have shifted over the years. The very first investigator was appointed by Brigham Young himself, who had promised the incoming governor that he would look into the Massacre (Denton, p. 182) -- but Young chose as his investigator George A. Smith, was one of those who had helped whip up the people behind the Massacre (Denton, p. 186). Smith's report is so far off the mark that it dates the massacre to September 21-25 rather than September 7-11, and it places almost the entire blame on the Indians (Denton, pp. 186-187).
A non-Mormon investigator, Jacob Forney, set out to investigate further. He recovered 17 children and much property in Mormon hands, and his 1859 report placed the blame squarely in the hands of the Mormons (Denton, pp. 192-194). And, indeed, forensic examination from that day to this show that firearms caused most if not all the deaths, confirming that the Indians were not responsible for the slaughter.
As for what historians have written, the earliest description of the massacre in my library is from Jameson, p. 433; he reports that the emigrants "were brutally murdered at Mountain Meadow, Utah, by a band of Indians, who were incited thereto by Lee, a Mormon fanatic." Note the complete absence of mention of any Mormon other than Lee! He goes on to say, "It was the period of the first troubles between the United States Government and the Mormons. Brigham Young had made threats of turning the Indians loose upon west-bound emigrants, but the Mormons, as a body, were innocent of a massacre."
Nevins, p. 322, reports that "In September, a party of one hundred and thirty-seven California-bound emigrants passing through southern Utah had been all but wiped out by a Mormon-Indian attack in the Mountain Meadows massacre." He as in a footnote, "Neither Young nor the Mormon church approved this murderous attack on the Missouri emigrant train."
Stegner, p. 277, comments, "The massacre of the Fancher party at Mountain Meadows in 1857 may have been, though it probably was not, planned with the knowledge of Brigham Young."
Walker's is the strangest account of all: On p. 216, he tells of the killers sending to Brigham Young for instructions, but then going ahead with the killings -- even as Young sent orders to leave the settlers alone. This makes no sense, unless it was a way for Young to establish plausible deniability. Walker, p. 224, adds that Young certainly knew about the massacre before he officially acknowledged guilt.
Brooks, probably the most careful historian of the event, is certain that Indians were involved, and looted the wagons (p. 95). But she admits that we simply can't be certain about Young's role; there just isn't enough information. She does say, p. 77, that the original plan was for a few whites to induce the Indians to harrass the Fancher party; there was initially "no decision to exterminate them." John D. Lee claimed there were hundreds of Indians, angry at the repluse of their initial attack, thirsting for slaughter (Brooks, p. 80). John D. Lee claimed that a militia band had orders to destron the Americans; Lee asserts that he prayed, then assented (Brooks, p. 82).
Yet Denton seems to possess no doubts whatsoever that Mormons did it -- and with the full knowledge of Brigham Young (presenting her arguments on pp. 153-159). This even though she confesses that the local leaders argued long and hard about what to tell him (Denton, pp. 147-148). And the planning seems to have been imperfect; while many of the attackers disguised themselves as Indians, there was no scheme to hide the bodies, except to leave them to the crows and wolves (Denton, pp. 149-150).
(I wonder a bit about Denton's motives. The dust jacket says she is "of Mormon descent" -- but she is not a practicing Mormon. She seems to have a strong prejudice against the church.)
Part of Denton's case seems pretty airtight: The massacre was the action of the Mormons, not the local Indians. Modern examination of the bodies -- though it was quickly halted by Mormon authorities -- seems sufficient to establish this.
The case against Young, though, rests on a very slender basis: The testimony of John D. Lee, published after his death and possibly fiddled with by its editor. There is also a "John D. Lee scroll," which if authentic would seem to confirm his guilt (Denton, pp. 242-243), but all that can be proved about it is that it seems to be the right age.
It is of course possible -- even likely -- that there is additional information in Mormon records, which are not accessible to the public; this would explain why the Mormons seem always to try to quash investigations into the matter. These may even include the journals of John D. Lee, which he reported giving to the church for safekeeping, and which they did not return when asked.
The only conclusion I can make is that it would be very hard to convict Young based on Denton's evidence; at best, he might be labelled an accomplice after the fact. And I would hate to be the prosecuting attorney on that one (even if you ignore the likelihood that Young's followers would have lynched any lawyer who brought the case).
In any case, President Buchanan had offered a near-blanket amnesty for all events of the Mormon War if the Mormons would just back down (Denton, p. 179). Which, for the most part, they did. Buchanan then took away the rights of the military investigators to seek information, stalling any investigation (Denton, p. 202). National dislike of polygamy, and other details, meant that Utah was kept a territory for decades after it had met the normal criteria for statehood, but once the Mormons eliminated polygamy and obtained guarantees of religious autonomy, statehood followed.
Which does not mean that the participants of the massacre were entirely safe. The Mormon church, after all, had every reason to want to clear its name. And once the trasncontinental railroad was completed, it was much easier for journalists and others to head west and see what they could learn. For many years, Brigham Young remained close to John D. Lee (Denton, pp. 209-211), but eventually started to distance himself from Lee and the other leaders of the massacre. Lee and another Massacre leader, Isaac Haight, were excommunicated in 1870 (Denton, p. 214; Walker, p. 224).
Eventually Lee was pushed out of Utah altogether, spending some time with John Wesley Powell as the latter explored the Colorado River. He went on to found and operate Lee's Ferry (yes, the Lee's Ferry of the song of that name; Denton, p. 218). He was forced to sell his property in Utah (Denton, p. 215).
When, in 1874, the federal government took over direct control of justice in Utah (Denton, p. 219), it was the beginning of the end for Lee. He was arrested in that year. According to Bagley, p. 290, it was the most sensational trial in American history prior to the twentieth century. Initially, Lee stated that the Church, and Brigham Young, had no role in the massacre (Denton, pp. 219, 221; Bagley, p. 291, notes that a document Lee submitted placed all the names on lesser men such as Haight and Higbee).
What happened next is fascinating. Even though Lee had been excommunicated, the Mormon Church provided two lawyers for his 1875 trial. Lee himself had three (Denton, p. 221). Bagley, p. 291, argues that this was a mistake for the church, since it led to claims of a cover-up.
Denton thinks these two groups were at cross-purposes. The church lawyers had as their chief purpose to protect the church. Lee's lawyers wanted to keep him alive -- which would be very hard to do unless they could implicate the church. (After all, Lee had already given a partial confession.)
The 1875 trial was defective in many ways. No testimony was taken from Indians. All sorts of tricks were used to obtain what should have been invalid testimony, or to block what should have been valid (Bagley, p. 291). Many Mormons were subpoenaed; fewer than half appeared. One of those who avoided testifying was Brigham Young (Denton, p. 225). There was conflicting testimony about who did what. Supposedly the lawyers didn't even know when the massacre happened (Bagley, p. 292); he comments acidly, "In their eagerness to answer larger questions about the massacre, the prosecutors apparently forgot they needed witnesses and evidence to convict Lee of murder." But the defence was not noticeably better, because (as Lee himself noted) the defence lawyers were defending "some person not in court" (Bagley, p. 295).
Eventually the trial went to the jury, which -- being part Mormon, part Gentile -- deadlocked (Denton, p. 226); the Mormon jurors apparently wanted Lee acquitted, the Gentiles wanted him convicted (Walker, p. 226). Bagley, p. 296, claims that the church by this time wanted Lee convicted, but failed to give proper instructions to the Mormon jury members.
If Denton is right (p. 228), the next step was simply despicable. A new U. S. attorney reached a deal with Brigham Young: Young would supply all needed witnesses to convict Lee -- as long as the attorney didn't do anything which would implicate the greater church. Since even Denton admits there are no records of this deal, we can hardly be sure of it. Bagley, p. 300, at least offers some slight justifications: The new prosecutor found, to his shock, that the Utah prosecutor's office had neither propoer facilities nor equipment, so an independent prosecution was almost impossible. And he was under intense pressure to convict *someone*, so that there could be an oficial scapegoat. Prosecutors often make pleabargains with defendends. Bagley suggests that Sumner Howard, who had no practice in dealing with the Mormons, instead made a deal with the LDS church.
According to Bagley, p. 301, prosecuter Howard told the judge, "I have eaten dirst and I have gone down out of sight in dirt and expect to eat more dirt."
What is certain is that Lee's church-appointed lawyers withdrew from the case, and that the U. S. attorney would earn a reprimand over the matter (Denton, p. 232). We also know that none of the others we know to have taken part in the massacre was ever brought to trial (Walker, p. 226).
In 1876, Lee's second trial began -- this time with an all-Mormon jury. It was a much briefer trial: Seven prosecution witnesses, all Mormons, all of whom testified voluntarily. The defence called no witnesses at all (Denton, p. 229; Bagley, p. 305, says, "By the time the prosecution rested, Lee knew he had been betrayed [by the church]. He ordered his attorneys to present no defence").
According to Bagley, p. 306, "The jurors themselves knew that Brigham Young had furnished the witnesses and evidence to convict Lee." He strongly implies that only one juror proved even slightly reluctant, and the rest convinced him that it was better to sacrifice Lee than threaten the whole church.
Not surprisingly, Lee was found guilty of first degree murder, with the jury needing not quite four hours to convict (Bagley, p. 306). The judge sentenced him to execution (Denton, p. 230; Walker, p. 226); Lee chose a firing squad as a method of execution (Walker, p. 227).
Denton notes the interesting point that, at this time, the Mormons practiced beheading as a means of "blood atonement" -- a sort of release from sin. She thinks that Lee, by rejecting the option of beheading, was stating that he did not think his actions needed atonement. In support of this, we note that Lee would write while in prison, I have been treacherously betrayed and sacrificed in a most cowardly manner by those who should have been my friends" (Walker, p. 227).
(I must admit to extreme disquiet about the whole affair. There can be no doubt that Lee was a mass murderer, and that he defiled the names "Christian," "American," and "human being." So Lee deserved everything the law could do to him, and more. Still, the Mormon practice of "blood atonement" -- ritual beheading -- surely made it easier to induce the attackers to massacre their victims; a church that's run like a Mafia shouldn't be surprised that its people turn into barbarians! Certainly Lee's trial should not have been conducted in Utah, there should have been no Mormons on the jury, and the parties involved should have taken real testimony. If there is a Hell, I can only hope Lee and the prosecuting attorney are confined together....)
Lee would write various statements about his actions as the appeals process worked itself out. Eventually, he delivered a large manuscript to his lawyer W. W. Bishop; in it, Lee would aim the blame directly at Brigham Young (Denton, p. 237). Lee was executed March 23, 1877 at the site of the Mountain Meadows Massacre.
In an interesting coincidence, Lee predicted before his end that Brigham Young would die within six months of his own execution. On August 23, 1877, Young took sick with an illness that killed him six days later (Denton, p. 238).
Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 323-324, does not offer a text of this song, but reports the Arkansas belief that the Massacre was "the sequel to the killing in Arkansas of the Mormon Elder, Parley P. Pratt." This story is also reported in the literature on the Massacre: Pratt had become involved with an already-married women, Elenore McLean (Bagley, pp. 8-9). After a long and complicated pursuit across the country, McLean's husband succeeded in killing Pratt near Van Buren, Arkansas. It was extrajudicial -- but it was also popular; the locals had already hauled Pratt before the law on trumped-up charges (Denton, pp. 110-111). The basic reason for the hullabaloo was polygamy, but Denton, p. 112, and Brooks, p. 57, state that the Mormons viewed it as religious persecution. Hence, in Denton's view, their particular anger with the Arkansans of the Fancher party. Brooks, however, thinks (p. 61) that there is no evidence at all that the Mormons were after the Fancher party in particular; they just wanted blood in general.
(Denton does not say so, but this is, I think, an argument against the guilt of Brigham Young. He was too smart a politician to let things like that influence him.)
This song appears to be generally accurate in its details: The Fancher train of "thirty wagons" was attacked by "Lee's Mormon bullets" and by people "In Indian garb and colors." ÒWhile Lee... his word to them did give That if their arms they would give up He'd surely let them live." "When once they had given up their arms... They rushed on them." "Their property was divided Among this bloody crew." The one interesting element is found in what is the final stanza of Burt's and Fife's texts: "By order of their president This awful deed was done... His name was Brigham Young." This, of course, is the point still in dispute -- but this verse has been sung by Mormons themselves!
Sundry references appear in the literature to a song, "The Ballad of John D. Lee." Denton, for instance, has a scrap of it on pp. 209-210. But almost all of her words are found in either the Burt or the Fife text of "The Mountain Meadows Massacre." Until something clearer comes along, I am assuming these are the same song. - RBW
BibliographyLast updated in version 2.5
File: LB19

Mountain Men, The


DESCRIPTION: The singer is one of Dwyer's mountain men. The Yeos can't trap us, he says. "The people all bless us, for many a cabin's left safe and secure" We are few but we control the mountains and, while we have strength, "we'll keep the old cause living still"
AUTHOR: William Rooney (source: Moylan)
EARLIEST DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: rebellion Ireland nonballad patriotic
HISTORICAL REFERENCES:
1798 - Irish rebellion against British rule
FOUND IN:
REFERENCES (1 citation):
Moylan 146, "The Mountain Men" (1 text)
CROSS-REFERENCES:
cf. "Michael Dwyer (I)" (subject of Michael Dwyer) and references there
NOTES: Moylan: "Michael Dwyer was a Wicklow man, a member of the United Irishmen, who fought during the 1798 rebellion, and who waged a guerilla war in the Wicklow mountains for several years afterwards." - BS
"Yeos" = yeomen, the British militia. Contrary to this song, they did catch up with Dwyer -- or, at least, put him under so much pressure that he gave in and allowed himself to be transported. For more details, see "Michael Dwyer (I)" or Michael Dwyer (II)." - RBW
File: Moyl146

Mountain Stream, The


See Where the Moorcocks Grow (The Mountain Stream; With My Dog and Gun) (File: K136)

Mountain Streams Where the Moorcocks Crow, The


See Where the Moorcocks Grow (The Mountain Stream; With My Dog and Gun) (File: K136)

Mountaineer's Courtship


See Buffalo Boy (File: LoF162)

Mountains of Mourne, The


DESCRIPTION: The Irishman in London writes home to Mary to tell her of the city. He describes how the local women dress (or, rather, don't dress). He watches the King of England. He wishes he were home with Mary "where the Mountains of Mourse sweep down to the see"
AUTHOR: Percy French (died 1920)
EARLIEST DATE: 1931 (recording, Peter Dawson)
KEYWORDS: love home separation homesickness clothes royalty
HISTORICAL REFERENCES:
1903 - Visit of King Edward VII to "Erin's Green Shore" (mentioned in the song)
FOUND IN: Ireland
REFERENCES (1 citation):
DT, MTMOURNE*
RECORDINGS:
Peter Dawson, "The Mountains O' Mourne"(HMV [UK] B-3772, 1931; HMV [UK] B-9114, 1940)
CROSS-REFERENCES:
cf. "The Green Hills of Antrim" (tune, lyrics)
cf. "Canny Newcastle" (plot)
SAME TUNE:
The Green Hills of Antrim (File: HHH606)
NOTES: Several sources say that the tune to this is properly known as "Carrighdhoun," but it is now much better known under French's title. The tune is reported by Robert Gogan, 130 Great Irish Ballads (third edition, Music Ireland, 2004), p. 12, to have been supplied by one Houston Collison.
The dating of the poem is more problematic. Gogan says that French is "reputed to have written it in 1896 on a very clear day when he could see the Mountains of Mourne from the Hill of Howth in North Dublin."
And yet there is the mention of England's King having "visited Erin's green shore." Now note that, in 1896, England *had* no King; the ruling queen was Victoria, and her husband Albert had died in the 1860s, when French was still a boy too young to notice girls. The first English King to visit Ireland in modern times was Edward VII, who did not ascend until 1901 and who made his visit in 1903 (and "was regarded as a friend of Ireland and was the first of his line to be so," according to Edmund Curtis, A History of Ireland. sixth edition, 1950 (I use the 1968 University Paperbacks edition), p. 402).
Edward VII did visit Ireland, but the year was 1903. So how could this song have been written in 1896?
Whatever the explanation, Edward's visit had little real effect; five of six histories I checked had no mention of the event (and some other reference apparently had the wrong date, since earlier versions of this Index gave the date as 1905).
But his trip did show an interesting change in Irish attitudes: quite a few radical nationalists were very upset about the visit, but the ordinary people seem to have loved it; Robert Kee (The Bold Fenian Men, being volume II of The Green Flag, p. 154) calls it an "outstanding success," and cites newspaper accounts of how he was greeted. Compare the song's mention of the singer "cheer[ing] with the rest."
Too bad the Easter Rebellion, and the British over-reaction, did such a find job of messing that up.
There was an interesting article about Percy French, who was an Irish-born engineer and entertainer, in Sing Out magazine, Volume 32, #4 (1987), pp, 18-20, It quotes extensively from James N. Healy, Percy French and His Songs, 1966, a book which I have not seen. - RBW
Last updated in version 2.5
File: DTmtmour

Mountains of Pomeroy, The


DESCRIPTION: A maid meets "her gallant Reynardine, on the mountains of Pomeroy." He is an outlaw "but keeps the flag of freedom safe." She is afraid for him. Her kinsmen would kill him. She leaves "her cruel kin and home" to go to him but drowns in a storm
AUTHOR: George Sigerson (1838-1925) (source: Celtic Lyrics site)
EARLIEST DATE: 1991 (Tunney-SongsThunder)
KEYWORDS: love drowning storm Ireland patriotic outlaw derivative
FOUND IN: Ireland
REFERENCES (1 citation):
Tunney-SongsThunder, pp. 146-147, "The Mountains of Pomeroy" (1 text)
CROSS-REFERENCES:
cf. "Reynardine" [Laws P15] (subject)
NOTES: This version is almost exactly George Sigerson's as quoted at "The Mountains Of Pomeroy" at The Celtic Lyrics site, copyright The Celtic Lyrics Collection 2000-2004. Steve Roud's Folk Song Index reference for "Renaldine" makes it appear that this version is also in Flanders, Ballard, Brown and Barry The New Green Mountain Songster.
Pomeroy is in County Tyrone, Ireland. - BS
The description of Reynardine immediately made me think of the resistance fighter Michael Dwyer, who after the collapse of the 1798 rebellion organized a resistance movement in Wicklow, then was transported to Australia after giving up to the British. (For more background, see "Michael Dwyer (I)"). would explain why the girl has to cross the ocean to see him. The problem is that Wicklow is in the southeast of Ireland, Ppmeroy is in Ulster, about ten miles northwest of Dungannon or twice that from Armagh.
On the other hand, Pomeroy is not mountainous. (Fermoy, mentioned in some other versions of "Reynardine," is in south Ireland, on the Blackwater a few dozen miles north of Cork, an is in a much more hilly region.) So I think we have to conclude that this song is not intended to be "real" -- but it may have been meant to remind listeners of both Reynardine and Dwyer. - RBW
File: TST146

Mountblairy


DESCRIPTION: "Mountblairy thy woods and walks are green ... Thy pleasant scenes in after years I'll lovingly review ... when I am far from you." The singer says Mountblairy's "trees can tell a tale ... but keep thee ever silent ... And I will ever love you."
AUTHOR: unknown
EARLIEST DATE: 1909 (GreigDuncan3)
KEYWORDS: lyric home
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan3 509, "Mountblairy" (1 text)
Roud #5993
NOTES: GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Mountblairy (509) is at coordinate (h5-6,v7) on that map [roughly 35 miles NNW of Aberdeen]. - BS
Last updated in version 2.4
File: GrD3509

Mountsandel


DESCRIPTION: The singer praises the "soft sylvan splendour" of Mountsandel. Wandering the land reminds him of childhood. He says that friendships grow in the central town of Coleraine
AUTHOR: George Graham
EARLIEST DATE: 1939 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND IN:
REFERENCES (1 citation):
SHenry H817, p. 169, "Mountsandel" (1 text, 1 tune)
Roud #13483
File: HHH817

Mourner, You Shall Be Free (Moanish Lady)


DESCRIPTION: A complex family, with no clear dividing line, known by the key chorus line "You shall be free When the good lord sets you free" (or "calls you home"). Verses can be serious or silly ("Oh! there was a moanish lady Lived in a moanish land...")
AUTHOR: unknown
EARLIEST DATE: 1926 (recording, Uncle Dave Macon)
KEYWORDS: nonballad religious nonsense parody humorous floatingverses
FOUND IN: US(Ap,SE,So)
REFERENCES (4 citations):
Sandburg, p. 11, "Moanish Lady!" (1 fragment, 1 tune)
Spaeth-ReadWeep, pp. 110-112, "Mona (You Shall Be Free)" (1 text, 1 tune)
Lomax-ABFS, pp. 254-258, "When de Good Lord Sets You Free" (1 text, 1 tune -- an immense composite containing elements of "Moanish Lady," "Talking Blues," and probably other materials, to the tune of "Mourner, You Shall Be Free")
Scarborough-NegroFS, pp. 163-164, "Old Marse John" (1 text, 1 tune, with this chorus and sundry floating verses: Ole Marse John and the mule he is riding till it dies; the singer standing on the corner doing no harm; the singer in the henhouse hearing the chicken sneeze); p. 172, "Po' Mournah" (1 fragment); p. 176, "Great Big Nigger Sittin' on a Log" (1 text, with this chorus and floating verses: Jakey hunting coons, the Big Nigger shooting at a hog; an humorous description of an ususual girl); p. 194, "Fragment from Pore Mournah" (1 text); p. 197, "There Was an Old Nigger, His Name Was Dr. Peck" (1 text, which uses this chorus); pp. 224-225, (no title), with this chorus and the "My old mistus promised me" and "Some folks say a nigger won't steal" lyrics; p. 235, with a variant on "Ain't no use me working so hard"
Roud #11685
RECORDINGS:
The Blue Chips, "Oh! Monah!" (ARC 6-09-55, 1936)
Bill Boyd & his Cowboy Ramblers, "You Shall Be Free, Monah" (Bluebird B-6694, 1936)
Carolina Tar Heels, "When the Good Lord Sets You Free" (Victor 20931, 1927)
Four Dusty Travelers, "Po' Mourner" (Columbia 14477-D, 1929; on VocalQ2)
Lions Quartet, "Moanin' Lady" (Columbia 1167-D, 1927)
Uncle Dave Macon, "Shout Mourner, You Shall Be Free" (Vocalion 5007, 1926)
Bill & Belle Reed, "You Shall Be Free" (Columbia 15336-D, 1928)
Frank Stokes & Dan Sane, "You Shall" (Paramount 12518, 1927; on Cornshuckers2)
CROSS-REFERENCES:
cf. "Raise a Ruckus" (floating lyrics)
cf. ""Uncle Eph" (floating lyrics)
cf. "Talking Blues" (sometimes sung to a tune similar to this)
cf. "Some Folks Say that a Preacher Won't Steal" (floating lyrics)
cf. "The Deacon's Calf" (floating lyrics)
NOTES: This is a complicated group, and the problem is not lessened by the way editors have handled it. The first three text I indexed, for instance, were all messed with by editors. Sandburg, e.g., derived his "Moanish Lady" from the spiritual "Mourner, You Shall Be Free," but printed only one verse because "the music is too superbly serious to have cheap lines."
It appears, however, to be the same as Spaeth's song about a no-count who hangs around rail yards and sponges off his girl, giving us a whole family of knock-offs.
Fred W. Allsop, in Folklore of Romantic Arkansas, Volume II, p. 161, says Moanish Lady "has been heard often in negro barber shops." Whatever that tells us. - RBW
"Moanish Lady" is derived from "Mourner, You Shall Be Free," and so is "You Shall," but the latter is quite a different song, with a different melody, having in common only the derivation.... [The hymn] seems to have spawned quite a few [parodies], mostly in African-American tradition, but even Bob Dylan created one. - PJS
For the moment, I'm still lumping the family. It's just too messy. - RBW
File: San011

Mourner's Comfort, The


See Boundless Mercy (Drooping Souls, No Longer Grieve) (File: Br3528)

Mourning Souls


DESCRIPTION: "Ah, poor souls, why cast you down, And why art thou so sad?" The sinner confesses being bound down by his body and his sins; his soul confesses "its ruined state," it prays to Jesus, and is set free
AUTHOR: unknown
EARLIEST DATE: 1906 (Belden)
KEYWORDS: religious nonballad
FOUND IN: US(So)
REFERENCES (1 citation):
Belden, p. 466, "Mourning Souls" (1 text)
Roud #7955
File: Beld466

Mouse's Courting Song, The


See Frog Went A-Courting (File: R108)

Move Along, 'Gator


See Haming on a Live Oak Log (Mister Gator) (File: JDM240)

Move, Members, Move


DESCRIPTION: "Move members move Daniel (x4)! Move till I get (there/home), Daniel (x4) Got on my little John shoes, Got on my little John shoes Daniel (x3), Shoes gonna rocka me home Daniel... Who want to buy this land Daniel...."
AUTHOR: unknown
EARLIEST DATE: 1950 (recording, Rosie Hibler & family)
KEYWORDS: playparty
FOUND IN: US(SE)
REFERENCES (1 citation):
Courlander-NFM, pp. 230-233, "Move, Members, Move" (1 text, 1 tune)
Roud #10958
RECORDINGS:
Rosie Hibler & family, "Move Members Move" (on NFMAla2, NFMAfAm)
NOTES: The form of this song, and the references to Daniel, would seem to imply a religious theme. But there are no religious references, and none of the phrases are reminiscent of the Biblical stories of Daniel. - RBW
Despite the fact that Rosie Hibler's version appears in the series of recordings "Negro Folk Music of Alabama," she and her family were recorded in Mississippi. Just thought I'd mention it. - PJS
File: CNFM230

Moving On (The Bug-Out Ballad)


DESCRIPTION: "Hear the patter of running feet / It's the old First Cav in full retreat. / They're moving on; they'll soon be gone." The singer describes the unpleasant conditions in which he is fighting, and the many enemies approaching. He intends to head out
AUTHOR: unknown
EARLIEST DATE: Korean War
KEYWORDS: soldier war battle escape
HISTORICAL REFERENCES:
1950-1953 - Korean War
FOUND IN: US
REFERENCES (2 citations):
Cray, pp. 412-414, "Moving On" (1 text, 1 tune)
DT, BUGOUT*
Roud #10360
NOTES: This parody was inspired by Hank Snow's immensely popular recording "Moving On." - EC
File: EM412

Moving Picture Cowboy


See Cowboy Again for a Day (File: FCW116)

Moving-On Song


DESCRIPTION: "Born in the middle of the afternoon In a horse-drawn wagon on the old A5." Wherever travelers stop, they are ordered away -- they lower the price of property, they have no work. "You'd better get born in someplace else, so move along, get along, SHIFT!"
AUTHOR: Ewan MacColl
EARLIEST DATE: c. 1961 (radio ballad, "The Traveling People")
KEYWORDS: Gypsy travel childbirth rejection money
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
DT, MOVEON
Roud #6852
RECORDINGS:
Sheila Stewart, "The Moving-On ong" (on SCStewartsBlair01)
NOTES: Although this is obviously a modern composed song, I was surprised to find what amount to two "field collections" -- by Sheila Stewart and Johnny Connors. Does that make it traditional? It would seem to imply at the very least that it touched a nerve. I am, very hesitantly, indexing it. - RBW
File: RcMovOn

Mower, The


DESCRIPTION: Singer meets a young woman; she has a small meadow needing mowing, it has never been mowed before. He mows all afternoon, but the grass remains standing; she tells him to sharpen his scythe, for the work's not finished
AUTHOR: unknown
EARLIEST DATE: 1938 (recording, Warde Ford)
KEYWORDS: sex virginity farming harvest work
FOUND IN: Britain(England) US(MW)
REFERENCES (1 citation):
DT, THEMOWER
Roud #833
RECORDINGS:
Warde Ford, "The Mowing of the Hay" (AFS 4200 B2, 1938; tr.; in AMMEM/Cowell)
A.L. Lloyd, "The Mower" (on Lloyd 1) (on BirdBush1, BirdBush2)
CROSS-REFERENCES:
cf. "The Next Market Day" (plot) and references there
cf. "One Man Shall Mow My Meadow" (imagery)
cf. "The Wanton Seed"
cf. "Mowing the Hay" (subject)
NOTES: Lloyd remarks that the song "often appeared on 19th century broadsides," but as he gives no further dates I've refrained from citing that as earliest date. - PJS
The more so since this image is quite a common one. - RBW
File: DTthemow

Mowing Machine, The


DESCRIPTION: The cowboy "used to go dashing," "But that was before they invented wire fences And started the cowboys to shoveling hay." He looks back to the good old days, curses the man who invented barbed wire, and requests a "mowing machine" for his tombstone
AUTHOR: Words: "Haywire Mac" McClintock
EARLIEST DATE: c. 1934 (recording, Charlie Marshall)
KEYWORDS: cowboy work technology
FOUND IN: US
REFERENCES (1 citation):
Ohrlin-HBT 3, "The Mowing Machine" (1 text, 1 tune)
CROSS-REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter) and references there
File: Ohr003

Mowing the Barley (Cold and Raw)


DESCRIPTION: A lawyer asks a pretty woman where she's going: "To my father a-mowing the barley." He propositions her; she scorns him, (telling him to keep his money for his wife at home). (He presses his case; she yields and marries "into a station above her")
AUTHOR: unknown
EARLIEST DATE: before 1697 (broadside, Bodleian Harding B 39(152)); 1699 ("Pills to Purge Melancholy"; a bawdy version)
KEYWORDS: courting seduction marriage rejection lawyer
FOUND IN: Britain(England(South)) Ireland
REFERENCES (6 citations):
Sharp-100E 60, "Mowing the Barley" (1 text, 1 tune)
OLochlainn 61, "The Maid That Sold Her Barley" (1 text, 1 tune)
Chappell/Wooldridge I, "Stingo, or The Oil Of Barley, or Cold And Raw" (1 tune)
BBI, ZN499, "Cold and Raw the North did blow"; cf. ZN2294, "Riding down a narrow lane, two or three hours after"
DT, MOWBRLY SOLDBRLY*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 281-282, "The Maid That Sold Her Barley" (1 text)
Roud #922
RECORDINGS:
A. L. Lloyd, "Cold and Raw" (on Lloyd1)
BROADSIDES:
Bodleian, Harding B 39(152), "The Northern Ditty" or "The Scotch-man Out-witted by the Country Damsel", P. Brooksby (London), 1683-1696; also Harding B 39(201)[almost entirely illegible], Douce Ballads 2(168a), Douce Ballads 3(70a), Vet. A3 b.43(13), Harding B 1(86), "The Northern Ditty" or "The Scotch-man Out-witted by the Country Damsel"; Harding B 1(87), Harding B 11(2300), Harding B 11(2301), 2806 c.15(108)[almost entirely illegible], Harding B 26(413), Harding B 11(3867), 2806 b.11(138), Harding B 19(28), "[The] Maid That Sold Her Barley"
NLScotland, APS.4.84.18, "The Northern Ditty" or "The Scotchman Outwitted by a Country Damsel," unknown, 19C
SAME TUNE:
The Lusty Fryer of Flanders/Not long ago from hence I went (BBI ZN1898)
The Poor Contented Cuckold/Was e'er man so unfortunate (BBI ZN2731)
Roger's Renown..Fourth and Last Merry Ditty of Cold and Raw/Roger did a letter send (BBI ZN2302)
The Downright Wooing Of Honest John & Betty/Well met my pritty Betty (BBI ZN2778)
A General Summons ..Hen-Peck'd Frigate/Here is a summons for all honest men (BBI ZN1133)
The London Jilts Lamentation/Here is wonderful Strange News (BBI ZN1136)
The Miserable Mountebank/In a market town of late (BBI ZN1403)
The Wealthy Farmers Choice/Near a pleasant shady grove, in prime of summer weather (BBI ZN1863)
Up in the Morning Early (_Scots Musical Museum_ #140, probably a partial rewrite of this piece)
ALTERNATE TITLES:
Cold and Raw
Lawyer Lee
The Maid Who Sold Her Barley
NOTES: Although this song is most famous as "Cold and Raw" (see the numerous broadsides using this tune), there are versions which do not use this phrase, so I chose the title "Mowing the Barley." In addition, the "Cold and raw" refrain apparently exists as ain independent nursery refrain; see Baring-Gould-MotherGoose #414, p. 194, "(Cold and raw the north wind doth blow)"
There is a broadside, NLScotland APS.4.84.18, "The Northern Ditty; or The Scotchman Outwitted by a Country Lass," which begins with the words of this song, but the rest sounds like a "Baffled Knight" plot. The photograph of the sheet is largely illegible. - RBW
Sequels or answers arose early. Some of the "Northern Ditty" broadsides listed above have "a second part" (for example, Douce Ballads 3(70a) and Harding B 1(87)).
See Bodleian, Don. b.13(12), "A third merry ditty of Cold and raw," J. Deacon (London), 1671-1704; Bodleian, Douce Ballads 2(187a), "Rogers Renown" or "The fourth and last merry ditty of Cold and raw," J. Blare (London), 1683-1706
Bodleian attributes its "The Northern Ditty" broadsides' authorship to Thomas D'Urfey. I don't find that attribution on the face of any of those broadsides. For information about Thomas D'Urfey see The Contemplator's Short Biography of Thomas D'Urfey (1653-1723) at the Contemplations from the Marianas Trench contemplator.com site. - BS
File: ShH60

Mowing the Hay


DESCRIPTION: Singer goes to Dublin to hire to mow hay. He is hired by a farmer for one thousand a year. He apparently meets a girl and gets consent of "daddy and mammy." They marry and "Whilst the money it will hold out, We'll make the old-tap-room shake"
AUTHOR: unknown
EARLIEST DATE: 1985 (IRTravellers01)
KEYWORDS: courting marriage farming drink
FOUND IN: Ireland
Roud #16878
RECORDINGS:
Andy Cash, "Mowing the Hay" (on IRTravellers01)
CROSS-REFERENCES:
cf. "The Mower" (subject)
File: RcMowtHa

MP that Goes Shilly Shally, The


DESCRIPTION: An MP says he's a good Protestant but does not speak out or vote on critical issues. He won't insist on letting the Bible into school. "He hates the name of 'Orangeman,' 'They go it far too strong; They hit too hard at Popery, And that is very wrong!'"
AUTHOR: unknown
EARLIEST DATE: 1987 (OrangeLark)
KEYWORDS: Ireland humorous nonballad political religious
FOUND IN:
REFERENCES (1 citation):
OrangeLark 30, "The MP that Goes Shilly Shally" (1 text)
CROSS-REFERENCES:
cf. "Lucy Long" (tune, according to OrangeLark)
NOTES: OrangeLark: "An attack on a Parliamentarian who was a Mister Looking-Both-Ways." - BS
This sort of behavior was apparently a significant issue in Ulster. Robert Kee, in The Bold Fenian Men (being volume II of The Green Flag), Penguin, 1972, p. 102, talks of the response of William Johnston [for whom see "William Johnston of Ballykilbeg"] to such people: "At [a meeting in 1868] the resentment felt by rank and file Orangemen for the upper-class conservatives was particularly marked. Such conservatives, said Johnston, liked their votes very much but they disliked the name of Orangemen. They had used the Orangemen for thirty years and it was 'now time to put their members of Parliament through their catechism.'" Johnston in fact did so, running for Parliament himself and taking the seat even though neither major party supported him. - RBW
File: OrLa030

Mr. Boll Weevil


See The Boll Weevil [Laws I17] (File: LI17)

Mr. Mouse Went A-Courting


See Frog Went A-Courting AND Kemo Kimo (File: R108)

Mr. Woodburn's Courtship


See Captain Wedderburn's Courtship [Child 46] (File: C046)

Mrs McLeod of Raasay


DESCRIPTION: "Up wi't Meggie Dickie, doun wi't a'"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1720, "Mrs McLeod of Raasay" (1 fragment)
Roud #13196
NOTES: The GreigDuncan8 text repeats the description line three times. GreigDuncan8 does not explain why this text is connected to the title. There is, GreigDuncan8 notes, a tune named "Mrs McLeod of Raasay" but there is no indication that this text is to be sung to that tune.
GreigDuncan8: "This is said to refer to the notorious Meg Dick of the White Ship Tavern .... The Black Drummer was murdered in her house.... Margaret Dick's case is discussed at page 168 in the fourth edition of James Bruce, The Black Kalendar of Aberdeen (Aberdeen, 1878)" - BS
Last updated in version 2.5
File: GrD81720

Mrs Mulligan, the Pride of the Coombe


DESCRIPTION: "I am a scrap of a widow" from the Coombe in Dublin. She has had a room and stall, selling fruit, sweets and second-hand clothes, for (35) years. "And where would you see a nate widow like me, Mrs Mulligan, the Pride of the Coombe?"
AUTHOR: unknown
EARLIEST DATE: 1929 (OLochlainn)
KEYWORDS: commerce humorous Ireland
FOUND IN: Ireland
REFERENCES (3 citations):
OLochlainn, p. 230, "Mrs Mulligan, the Pride of the Coombe" (1 text)
DT, BIDDYMUL*
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 10-11, "Biddy Mulligan" (1 text, 1 tune)
Roud #16250
ALTERNATE TITLES:
Biddy Mulligan
Biddy Mulligan the Pride of the Coombe
NOTES: Harte declares this a relatively recent song, made famous by Jimmy O'Dea, who acted the character of Biddy. He does not say that O'Dea wrote the song, but it seems not impossible. - RBW
File: OLoc230A

Mrs. Bond


DESCRIPTION: "Oh, what (shall we have/have you got) for dinner, (Mrs.) Bond? There's beef in the larder and ducks in the pond." Mrs. Bond offers good meat to her customers, and sends the ostler to kill the ducks. They flee him. She at last goes out herself
AUTHOR: unknown
EARLIEST DATE: 1797 (Juvenile Amusements No. 48, according to Opie-Oxford2)
KEYWORDS: food bird commerce
FOUND IN:
REFERENCES (2 citations):
Opie-Oxford2 62, "Oh, what have you got for dinner, Mrs Bond?" (1 text)
Baring-Gould-MotherGoose #822, pp. 306-307, "(Oh, what have you got for dinner, Mrs. Bond)"
Roud #4580
NOTES: Much of this revolves around the duck cry "Dilly, dilly, come and be killed." The Baring-Goulds note that there are actually traditions of such animal calls, though this is the only one I've ever heard quoted in any other context. - RBW
Opie-Oxford2: "'Mrs Bond' was originally 'introduced and sung by Mr Bannister Junior in the character of Jerry Sneak', in Foote's 'The Mayor of Garret' (1763). The song was popular, and was immediately issued by rival music publishers ....'" - BS
File: BGMG822

Mrs. Brown Went to Town


DESCRIPTION: "Mrs Brown went to town, Riding on a pony, When she came back, she took off her hat And gave it to [or they called her] Miss Malonie"
AUTHOR: unknown
EARLIEST DATE: 1910 (GreigDuncan8)
KEYWORDS: derivative humorous nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
Greig #159, p. 2, ("Mrs Brown went to town") (1 text)
GreigDuncan8 1617, "Mrs Brown Went to Town" (1 text)
Roud #12982
CROSS-REFERENCES:
cf. "Yankee Doodle" (structure and some words)
NOTES: Both Opie-Game and GreigDuncan8 add one or more unrelated verses that "might be used in any order" [Opie-Game]. - BS
The strange thought occurs to me that this might just be about Queen Victoria, her servant John Brown, and her earlier confidant Lord Melbourne. This may have come to me simply because the song is printed in GriegDuncan 8 not too far from "John Brown's Snapsack," which gives every evidence of being about Victoria and Brown. For the background on this, see the notes to "John Brown's Body," under which "John Brown's Snapsack" files. - RBW
Last updated in version 2.5
File: GrD81617

Mrs. Fogarty's Cake


See Trinity Cake (Mrs. Fogarty's Cake) (File: Doyl3062)

Mrs. Greig of Sandlaw


DESCRIPTION: "Twas at a certain firm toon... A braw goodwife ca'd Mrs. Greig Her servant girlies kept in order." After Greig foils many attempts to sneak in a man, the girls create a straw man, which Grieg "slays" with a cudgel. They hope she has learned her lesson
AUTHOR: unknown
EARLIEST DATE: 1906 (GreigDuncan2)
KEYWORDS: sex nightvisit trick disguise hiding
FOUND IN: Britain(Scotland)
REFERENCES (3 citations):
Greig #178, pp. 1-2, "The Straw Man" (1 text)
GreigDuncan2 316, "Mrs Greig of Sandlaw" (3 texts, 1 tune)
Ord, pp. 247-248, "Mrs. Greig of S--" (1 text)
Roud #5161
NOTES: Greig: .".. we have deemed it advisable to suppress names. "The Straw Man" (as we have named the ditty) is said to have been written by a Banffshire rhymer of the name of Shaw, who was long beadle at Alvah. He was the author also of "O Charlie, O Charlie," given in Art. LI." - BS
To this we may compare Ord. He did not suppress the family name, but did suppress the name of the town. Only in Greig-Duncan do all the names come out. - RBW
Last updated in version 2.4
File: Ord247

Mrs. McGrath


DESCRIPTION: A sergeant urges Mrs. McGrath to make her boy a soldier. He sails away in fine style. For seven years she waits for him, hoping for word. At last he returns with both legs gone. (She curses the wars.)
AUTHOR: unknown
EARLIEST DATE: 1916 (OLochlainn)
KEYWORDS: war injury separation soldier
FOUND IN: Ireland Australia US(MW)
REFERENCES (10 citations):
Meredith/Anderson, p. 126, "Mrs. McGrath"; pp. 197-198, "My Son Ted" (2 texts, 2 tunes)
Dean, pp. 48-49, "Teddy McGraw" (1 text)
Scott-BoA, pp. 121-123, "Mrs. McGrath" (1 text, 1 tune)
Hodgart, p. 211, "Mrs McGrath" (1 text)
SHenry H131, pp. 84-85, "My Son Ted" (1 text, 1 tune)
OLochlainn 71, "Mrs McGrath" (1 text, 1 tune)
Moylan 179, "Mrs. McGrath" (1 text, 1 tune)
Silber-FSWB, p. 275, "Mrs. McGrath" (1 text)
DT, MRSMCGRT*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 285-287, "Mrs. McGrath" (1 text)
Roud #678
RECORDINGS:
Seamus Ennis, "Mrs. McGrath" (on Lomax42, LomaxCD1742)
Pete Seeger, "Mrs. McGrath" (on BroonzySeeger2) (on PeteSeeger15) (on PeteSeeger44)
BROADSIDES:
Bodleian, 2806 b.11(76), "Teddy O'Gra" ("Come all you sons of Hibernia," T. Birt (London), 1833-1841; also Harding B 11(3746), Firth c.12(314), "Teddy O'Gra"
CROSS-REFERENCES:
cf. "The Kerry Recruit" [Laws J8] (theme)
cf. "Felix the Soldier" (theme)
cf. "Lovely Jamie" (plot)
cf. "The Wars of America" (plot)
NOTES: OLochlainn: "Known to every true-born citizen of Dublin. In the years 1913-1916 it was the most popular marching song of the Irish Volunteers."
Moylan: "This song of the Peninsular War dates, according to one source, to 1815. The earliest account of it in Ireland seems to be 1876 when Sam Henry's informant learned it in Belfast."
The final verse of the three Bodleian "Teddy O'Gra" broadsides seems to refer to the Peninsular War or the 1830s First Carlist War (which included Irish volunteers):
A mighty war I will proclaim
Against the King and Queen of Spain,
And I will make them rue the day,
They shot my Teddy's legs away.
Hoagland's text refers to the First Carlist War: "All foreign wars I do proclaim Between Don John and the King of Spain...."
The following note from John Moulden is quoted with permission:
"I note that all the ballad sheets of this song in Bodley or Madden are English printed. To my almost certain knowledge there is not a single one of Irish popular print origin in those libraries, the British Library, Birmingham University Library or any Irish library in either ballad sheet or 8-page song book form. This suggests that the song originated in Britain and diffused to Ireland only early in the 20th century. This is not the only possibility but the one the evidence most strongly suggests.
Actually, it appears that the mid nineteenth-century texts which begin approximately 'Come all of you Hibernian sons' have been substantially altered in the more recent ones; several of the verses at the beginning have been omitted and the 'humour' of the later ones 'enhanced'."
John Moulden is researcher at the "Centre for the Study of Human Settlement and Historical Change" at National University of Ireland, Galway whose subject is "the printed ballad in Ireland."
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "My Son Tim" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001)) - BS
File: MA126

Mrs. Mullowney Was Three Weeks in Bed Since She Ate the Fipper Stew


DESCRIPTION: "Mrs. James Mullowney gave A party Tuesday night... They say the table fairly groaned...." Mrs. Mullowney "couldn't eat no more... She swooned off on the floor." After recovering, "just mention fippper stew" if you want to be attacked
AUTHOR: presumably Johnny Burke
EARLIEST DATE: 1960 (Burke's Ballads)
KEYWORDS: food party doctor humorous
FOUND IN:
REFERENCES (1 citation):
Ryan/Small, p. 125, "Mrs. Mullowney Was Three Weeks in Bed Since She Ate the Fipper Stew" (1 text)
NOTES: Yes, that's "fipper." Presumably for "flipper," since the dish is made of seal.
According to Bob Bartlett (who should know; see his biography under "Captain Bob Bartlett"), "The flesh [of the seal] is by no means disagreeable, though it has a general flavor of fish, which constitutes the seal's chief food" (see p. 54 of The Last Voyage of the Karluk, as told to Ralph T. Hale; published 1916; now available with a new introduction by Edward E. Leslie as The Karluk's Last Voyage). - RBW
File: RySm125

Mucking o' Geordie's Byre, The


DESCRIPTION: The singer describes the filthy habits of Geordie and his family, and the strange and immense task of cleaning out Geordie's byre. The family's ineptitude and the poorly trained animals result in improbable accidents
AUTHOR: unknown
EARLIEST DATE: 1797 (_Scots Musical Museum_, #96)
KEYWORDS: home work animal dancetune
FOUND IN: Britain(England(North),Scotland(Aber)) Australia
REFERENCES (6 citations):
Kennedy 257, "The Muckin' o' Geordie's Byre" (1 text, 1 tune)
GreigDuncan7 1303, "The Muckin' o' Geordie's Byre" (3 fragments, 2 tunes)
Meredith/Covell/Brown, p. 82, "Muckin' of Geordie's Byre" (1 tune)
DT, MUCKBYRE
ADDITIONAL: Alexander Rodger, _Poems and Songs_ (Glasgow, 1838), pp. 29-33, "The Mucking o' Geordie's Byre"
Robert Chambers, The Scottish Songs (Edinburgh, 1829), Vol II, p. 372, "The Muckin' o' Geordie's Byre"
ST DTMoGB (Full)
Roud #2137
NOTES: This humorous piece has an incredibly complex history, as various poets (including Robert Burns) have taken their hacks at it. The result is so thoroughly mingled that it probably is not possible even to describe the original. - RBW
Rodger: "Written in 1819." - BS
Last updated in version 2.5
File: DTMoGB

Muckle Meal-Pock, The


DESCRIPTION: "I am a sturdy beggar loon, weel kent the country through." The rambler describes his life and all work. At last he trades in his pack for "a cuddy an' a cart;" he admits a carrier is "a gentleman compared to the owner o' a pock."
AUTHOR: unknown
EARLIEST DATE: 1901 (Ford); before 1850 (NLScotland, L.C.1270(006))
KEYWORDS: begging work travel
FOUND IN: Britain(Scotland)
REFERENCES (1 citation):
Ford-Vagabond, pp. 239-241, "The Muckle Meal-Pock" (1 text)
Roud #13087
BROADSIDES:
NLScotland, L.C.1270(006), "The Muckle Meal Pock," James Kay (Glasgow), c. 1845; also L.C.Fol.70(34a) [same as the preceding, but with the accompanying text of "Irish Molly, O" cut away]
File: FVS239

Muddley Barracks


DESCRIPTION: The singer accepts the King's shilling to enlist in Muddley Minor regiment. At Muddley Barracks "they cut my hair so close to my head I could hardly wink my eye." Between marching drills, discipline, and meager food he wishes he were back behind the plow.
AUTHOR: unknown
EARLIEST DATE: 1975 (recording, Jumbo Brightwell)
KEYWORDS: soldier recruiting food ordeal hardtimes hair
FOUND IN: Britain(England(Lond))
Roud #1735
RECORDINGS:
Jumbo Brightwell, "Muddley Barracks" (on Voice20)
NOTES: For the typical British recruiting method of The King's Shilling and getting potential soldiers drunk, as well as the miserable conditions in the army, see the notes to "The Recruited Collier." - RBW
Last updated in version 2.5
File: RcMuddBa

Mudion River


DESCRIPTION: The singer calls on the muses to pay attention as he asks their aid in praising the Mudion River. He admits the virtues of other Irish rivers, but none can compare with the Mudion. Had he money to spare, he would spent it living by the Mudion
AUTHOR: "Master (Mc?)Mullan"
EARLIEST DATE: 1925 (Sam Henry collection)
KEYWORDS: river home nonballad
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H108b, pp. 169-170, "Mudion River" (1 text, tune referenced)
Roud #13484
File: HHH108b

Muff Lawler, the Squealer [Laws E25]


DESCRIPTION: Muff Lawler, a member of the Molly Maguires, is accused (of murder). Rather than face the consequences, he offers to turn informant if he can be protected from the remaining Mollies. The deal is struck when the lawyers offer to send him to another county
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: mining reprieve punishment
HISTORICAL REFERENCES:
1876 - Conviction of Michael "Muff" Lawler on a charge of murder
FOUND IN: US(MA)
REFERENCES (2 citations):
Laws E25, "Muff Lawler, the Squealer"
DT 710, MUFFLAWL
Roud #2254
NOTES: The Molly Maguires were an underground group that engaged in terrorist acts against Pennsylvania mine bosses. In their defense, it should be noted that the mine bosses' treatment of their employees also verged on terrorism; the Mollies were just seeking decent conditions. - RBW
File: LE25

Muileann Dubh, Am (The Black Mill)


DESCRIPTION: Gaelic. The black mill is moving around and we expect to go dancing. There are many things you wouldn't expect at the black mill
AUTHOR: unknown
EARLIEST DATE: 1961 (Creighton-Maritime)
KEYWORDS: foreignlanguage dancing nonballad
FOUND IN: Canada(Mar)
REFERENCES (1 citation):
Creighton-Maritime, p. 179, "Black Mill, The" (1 text, 1 tune)
NOTES: The translation, as far as it goes, is from the Celtic Lyrics Corner site. Two verses are untranslated: "An cual thu gun robh snaoisean" (apparently something to do with "your faggot was without snuff") and "Tha gobhair is crodh-laoigh ann" (maybe "the goat and calf are there"). If you can translate this please update the entry.
Is the mill here symbolic, in a mythic sense? For a popular starting point for research on the mill as a non-sexual symbol see Hamlet's Mill by Giorgio de Santillana and Hertha von Dechend. - BS
File: CrMa179

Muir Hen, The


DESCRIPTION: The singer bends his bow to fire at the muir hen, but cannot fire. She complains that the young men "do want the pouder." The young man later arrives with "pouder," and twenty weeks later her back grows sore. He still fears a misfire
AUTHOR: unknown
EARLIEST DATE: 1827 (Kinloch)
KEYWORDS: courting pregnancy bawdy hunting
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
Kinloch-BBook XVII, pp. 65-66, "The Muir Hen" (1 text)
GreigDuncan7 1426Ab, "The Bonnie Muirhen" (1 fragment, 1 tune)
Roud #6859
CROSS-REFERENCES:
cf. "Joseph Watt" (muir hen as sex symbol)
NOTES: If this song is traditional (as usual with Kinloch, it's not clear), having another version would help greatly. Toward the end, it appears strongly that the girl is pregnant -- but the final stanza seems to contradict this, and even contradict the singer's personal prowess of which he previously boasted:
But I thought my gun would me misgie,
Whan I had her on my shouther,
Tho' my flint was soft and fired not,
'Twas an for want o' pouder. - RBW
Last updated in version 2.5
File: KinBB18

Muir of Culloden, The


DESCRIPTION: "I'll sing of my country, its deep glens and fountains... I'll sing of its battles renowned in story." "On the sixteenth of April, I'll ever remember." The Jacobite leaders disagree and attack half-heartedly; "Cauld lies the lads on the Muir of Culloden."
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan1)
KEYWORDS: Jacobites battle death
HISTORICAL REFERENCES:
Apr 16, 1746 - Battle of Culloden Muir ends the 1745 Jacobite rebellion
FOUND IN: Britain(Scotland)
REFERENCES (2 citations):
GreigDuncan1 127, "The Muir of Culloden" (1 text, 1 tune)
Ord, p. 293, "The Muir of Culloden" (1 text)
Roud #3777
CROSS-REFERENCES:
cf. "Culloden Moor" (subject)
cf. "Culloden Field" (subject)
NOTES: Most songs of the end of 1745 Jacobite Rebellion (at least the ones in English) seem to talk about Bonnie Prince Charlie. This is a genuine exception; it is almost entirely about the tragic Battle of Culloden, which not only destroyed the Jacobite army but, ultimately, the Highland culture.
The history of the 1745 rebellion is almost like a wave: The level rises and rises and crests and then collapses. Indeed, the whole history of Jacobitism is rather like that. In the thirty years after George I had died, the Jacobite cause had seemed to die down -- notably due to the accession of George II in 1727 (Magnusson, p. 584); even the most extreme Jacobite would agree that he was an improvement on his father. It took two major change to bring Jacobitism back to life: The European political situation, and the rise of a new generation of leaders. James III, the "Old Pretender," was a pessimistic, uninspiring leader who outlived five monarchs who sat on the throne he claimed (Cook, p. 409) but managed to drive off even his own wife (Cook, pp. 407-408); he did his own cause more harm than good.
His son, Charles Edward Stuart, the "Young Pretender," was altogether different -- handsome, outgoing, and tremendously attractive. Few would call him a genius and some declare him little more than a drunk -- but he roused wild affection; he must have been one of the most charismatic leaders in history.
The whole thing started, in a way, as an incident in the War of the Austrian Succession, in which Britain (as usual) found itself fighting France. In 1743, the French were preparing to invade the British Isles. The invading force was to have been led by the brilliant Marshal de Saxe (Dorn, p. 161), who was so superior to British generals of the period that success seemed certain. Britain was poorly defended -- so many troops had gone to the continent that there were supposedly only 8000 soldiers in all of Britain (Browning, p. 221). But the expedition, which was intended to take place in 1744, was intercepted and ruined by the British fleet and storms (Magnusson, p. 585; Reid, pp. 7-9; Wilkinson, pp. 56-58).
Prince Charles, who had hoped to lead the expedition, wasn't willing to take that for an answer. The French were not willing to commit much to a second attempt, in part because they didn't trust Charles -- Browning, p. 220, says that the French viewed him as a "blinkered and quixotic adventurer."
The "blinkered" part probably arises from his manifest incompetence in writing and in scholarship; he hated studying, and McLynn-Charles, p. 35, quotes his tutor's comment on the boy's schoolwork: "[I]t is impossible to get him to apply to any study as he ought to or indeed in any tolerable degree, by which means the Latin goes ill on." Wilkinson, p. 45, tells us that he spoke French, Spanish, and Italian as well as English, and apparently eventually gained some Gaelic as well, but he flatly could not spell. Kybett, p. 31, declares that he was "functionally illiterate," but also claims that he "never fully mastered English, his primary language." This, of course, is nonsense unless he communicated by grunting; at best, it shows how diverse the opinions about Charles were. But it is agreed that he was very, very stubborn. He clearly hated studying -- and being told that things were impossible.
McLynn-Charlie, p. 553, gives perhaps the most balanced assessment of his abilities: "The old view of the prince as a man unable to deal with failure because of mental feebleness will not stand up to scrutiny. A close study of Charles Edward reveals him as highly intelligent, even if the intelligence was often of the divergent or 'lateral' type. His poor spelling and punctuation is a red herring, assiduously peddled by those who cannot see that 'intelligent' and 'academic' are very far from matching complements. More pertinently, the prince, unlike his father who wrote letters of impeccable orthography and sentiments, never wrote a boring sentence.... The prince habitually uses a medley of unusual (even eccentric) arguments, wit, irony and imagery that gives even his most self-pitying letters a peculiar richness...." Charles was stubborn to an extreme, and there were things he never learned (such as military tactics) -- but he was certainly more than a mere fool and a drunk.
Even though the French wouldn't support Charles, they certainly didn't mind him going on his own as long as it didnÕt cost them anything. Supported by some Irish exiles in France, and by pawning his mother's jewels (Magnusson, p. 586), he managed to scrape up two ships and headed for the Hebrides with about 3500 muskets (firelocks), 2500 swords, a tiny treasury, and about sixty marines (Reid, p. 10).
The two ships included only one real fighting vessel, the Elizabeth. On their way from France to Scotland, they ran into the British vessel Lion. Having little other choice, the Prince's expedition put as many crew as possibly on the Elizabeth and left her to fight the Lion alone. (The ships ended up battering each other to the point where neither could continue, suffering total casualties in excess of 300; Browning, p. 221.) The prince, with half his supply of arms left behind, continued on (Wilkinson, pp. 60-63).
The prince landed on Eriskay with only a handful of men, and only a handful of that handful (the "seven men of Moidart") crossed to the mainland, landing at, yes, Moidart. Many chiefs were afraid of a rising without at least some foreign troops (Magnusson, p. 586) --but he was charming enough that he quickly built an army. His reply, when some chiefs told him to go home, was the stuff of legend: "I am come home, Sir, and I will entertain no notion at all of returning to the place from whence I came; for I am persuaded that my faithful Highlanders will stand by me" (Magnusson, p. 587).
Not all of them did, to be sure. But most of the MacDonalds joined him (Thomson, p. 99, claims that they made up 40% of his force, but this was true for only a very short time. Still, most of them came in early, making them very important). Add in Lochiel's Camerons, and it was enough men to organize into something that could be called an army. Plus, while the Prince hadn't been able to bring many firearms, he at least had some -- and most of the Highlanders had been disarmed after the 1715 rebellion, so those who opposed the Jacobites had nothing with which to fight (Browning, p. 243).
It would have been interesting to see what would have happened had a significant fraction of the Campbells, the other great clan, joined. But, of course, Campbells and MacDonalds were not going to be on the same side at this time! (Thomson, p. 98).
It wasn't a big army, but it was enough to occupy Edinburgh (it helped that the city's fortifications were decayed, according to Magnusson, p. 591; Sinclair-Stevenson, p. 57, says that there was no real resistance. In an interesting move that might have done some good had anyone paid attention, the Jacobites proclaimed the Union of Scotland and England to be dissolved; Magnusson, p. 592). They then took on and defeated Sir John Cope at Prestonpans (for which see "Hey Johnnie Cope" and "Tranent Muir") in just ten minutes; it was said to be the shortest battle of the entire War of the Austrian Succession (Browning, p. 241).
After some further maneuvering in Scotland, during which more Highlanders joined the army but the Lowlanders for the most part proved disinterested (Fry/Fry, p. 194), Charles and his men headed into England. This was controversial -- many of the Scots wanted to be independent of England, whereas Charles wanted to regain the entire British Kingdom for the Stuarts. Plus many leaders thought that their force simply wasn't sufficient to attack the English. Charles finally persuaded a bare majority of his senior officers that they should take the army south (Browning, p. 243).
An invasion of England could not go down the center of the island due to the Pennine range. It had to go either to the east (via Berwick and Newcastle) or to the west (via Carlisle). The Hanoverian army of Marshall Wade blocked the eastward route. So the Jacobites went west. Some scholars think "The Flower of France and England, O" tells of their occupation of Carlisle -- an event which caused significant friction, because Lord George Murray (the brother of Charles's Marquis of Tullibardine, who had been one of the Seven Men of Moidart), who was widely regarded as the best soldier in the army, but was a confirmed pessimist and as touchy as mercury fulminate, felt slighted. Neither for the first nor the last time (Sinclair-Stevenson, p. 58).
I note incidentally that, despite his reputation, Murray before 1745 seems never to have commanded anything larger than an understrength regiment (Young/Adair, p. 256), so that his position in the Jacobite army (he was officially Lieutenant General, giving him charge of half the force, and also a sort of de facto chief of staff) was about two grades above his previous best rank. He had no more strategic experience than anyone else in the army. He was now 51 years old, and set in his opinions; Reid, p. 23, quotes one of his own aides as saying "Lord George was vigilant, active, and diligent; his plans were always judiciously formed, and he carried them promptly and vigorously into execution. However, with an infinity of good qualities, he was not without his defects: proud, haughty, blunt and imperious, he wished to have executive disposal of everything and, feeling his superiority, would listen to no advice." Not a good recipe for a second-in-command! It was even worse because, as McLynn-Charlie notes on p. 142, Prince Charles was unused to dealing with such independent men.
Although there were forces in England capable of fighting them, the Jacobite maneuver did a good job of befuddling them. The main defensive army, led by Marshall Wade, was centered on Newcastle, and it just sat there. A second army, assembled by the Duke of Cumberland, tried to block the Jacobites from reaching Wales and the southwest, and it too tended to sit still. The Jacobite army , instead of continuing south from Carlisle, soon turned to the southeast, almost halfway between Wade and Cumberland (Browning, p. 243). The objective was London -- a go-for-broke gamble to take over the government before they could be stopped.
The invading army eventually reaching Derby. It had been a depressing march. There had been Jacobite rebellions in Scotland before, but no Jacobite army had reached England. They had hoped to find supporters. Except for a few recruits raised in Manchester, they found nothing. As Dorn says (p. 162), the rebellion's failure "was certain from the mment when Prince Charles on hos southward march from Carlisle to Derby encountered oly a dispiriting indifference among the inhabitants of the countryside." They managed to raise (extort, really) money in most places -- enough to keep the army fed. "But the Jacobites were invariably greeted by sullen faces or by boots and jeers from the brave" (Kybett, p. 170).
And the Jacobite army remained small -- McLynn-Army, p. 25, lists the formations which began the march south. There were about 5100 infantry, mostly in small formation which were hard to control, and many of them ill-equipped. The cavalry totalled only 520, and their equipment was even worse. Had they raised the expected recruits in England, they could perhaps have defeated the Hanoverian armies in detail. Certainly the rank and file were very confident (McLynn-Army, p. 123). But many of the officers felt that, without reinforcements, there was no hope of real victory -- they might win a battle by stratagem, but if it came to a set battle against a proper Hanoverian army, they would certainly be destroyed.
So, at Derby, there was a council of war -- one that lasted from shortly after sunrise until midnight, then resumed the next day. Apparently many of Charles's officers had agreed to advance on England more as a raid than an actual invasion, and were willing to continue only if foreign troops appeared -- and, so far, none had (Magnusson, p. 603. It's ironic to note that this was at about the time Lord John Drummond's expedition, mentioned below, was being mounted). Charles had not understood this to be their meaning (McLynn-Charlie, p. 188). What was Charles to do? As Adair/Young note on p. 248, in connection with another revolt, "A rebellion on the defensive must fail." Charles could have risked everything on a run for London. He could have disbanded the revolt on the spot and fled. He could have retreated for Scotland and tried again for foreign help. Or he could retreat for Scotland and then dispersed the army.
In practical terms, the first was the most risky. It was also the only thing that could possibly succeed -- and McLynn-Army, p. vi, offers reasons why it might have succeeded, because the English government was in panic and the London mob was fickle. The odds were huge -- but the odds of winning any other way were non-existent. As Wilkinson says (p. 136), "There was still just a chance in London, a gambler's throw. But a retreat could only mean one thing -- the failure of the rebellion."
Charles wanted to go for it. But Lord George Murray again showed his severe pessimism, and argued that the army must retreat (Wilkinson, p. 132). He brought most of the other leaders over to his side. Sinclair-Stevenson, pp. 59-60, declares, "It [the arguments of those in favor of retreat] was all special pleading, and almost certainly the wrong decision. It was not well received: The Highlanders, conceiving at first that they were on the march to attack the army of the Duke of Cumberland, displayed the utmost joy and cheerfulness, but as soon as the day allowed them to see the objects around them and they found that we were retracing our steps, nothing was to be heard throughout the whole army but expressions of rage and lamentation."
Magnusson, p. 603: "They called it 'Black Friday': Friday, 6 December 1745, the day the Jacobites began their retreat from Derby." Page 604: "Lord George Murray had won the day, but had he lost the future. For two and a half centuries there has been endless speculation. Derby is one of the great, unanswerable 'ifs' of Scottish history."
Especially since the French had finally been induced to help out, in a small way. A small force of reinforcements, mostly taken from the Irish units in the French army, had been sent out around around the end of 1745 under the command of Lord John Drummond (McLynn-Charlie, p. 202). The Jacobite cause thus gained roughly a thousand experienced troops, plus artillery heavier than the light pieces they had managed to capture so far (Reid, p. 83). It's too bad these forces hadn't arrived earlier; their arrival, and Drummond's strong leadership, might have done much to strengthen the Jacobite grip on Scotland, which weakened appreciably while the army was in England.
Despite the despair of the retreat, and the hostility and appalling weather the army met on its way back to Scotland, there were military successes during the retreat, at Clifton and Falkirk. The former was small; the Duke of Cumberland's army was snapping at the Jacobite rear, and Lord George Murray, who commanded the rear, gave his vanguard a bit of a bloody nose and caused him to halt his pursuit (McLynn-Army, pp. 186-189). Falkirk was big though a very close-run thing (Sinclair-Stevenson, p. 60). But there was little planning behind what was done at this time; as Reid says on p. 94 of the siege of Stirling which preceded Falkirk, "they had decided to besiege Stirling Castle, not through any pressing strategic necessity, but rather it seemed for lack of anything more positive to do."
Falkirk shouldn't have happened. The Hanoverian forces under Hawley (who had replaced Marshall Wade) had a tremendous superiority in cavalry, but they did not scout the field (Reid, p. 98). Hawley's junior officers apparently considered his orders absurd, but he was so harsh that they dared not disobey (McLynn-Charlie, p. 209).
Falkirk is generally described as a big brawl. Neither side was properly deployed, and it ended in darkness and storm (Reid, p. 100) -- not too surprising, since it took place on January 17, 1746. Wilkinson, p. 176, says that "it was Prince Charles in person who by his intervention saved the situation," but most other sources think that he did little good, even causing the pursuit to fail (see, e.g., McLynn-Charlie, p. 210). Casualties were relatively light (Reid, p. 102), but the Jacobites has possession of the field, and picked up some useful equipment as a result.
Then, after Falkirk, the commanders started arguing again. Lord George Murray claimed that soldiers were deserting, that the weather was bad, and that British forces were on their tail; the only option was to head for the Highlands (Wilkinson, p. 184). As Wilkinson comments on p. 185, "Another victory was to be turned into a rearguard action." The retreat continued, but Charles himself wrote, "I know I have an army that I cannot command any further than the chief officers please, and therefore if you are resolved of it I must yield -- but I take God to witness that it is with the greatest reluctance, and that I wash my hands of the fatal consequences which I foresee but cannot help."
Whoever is to blame, these delays and retreats gave the government time to bring home more troops. Note that Falkirk is in Scotland, near the Forth. At the end of 1745, the Jacobites had retired back into Scotland (Kybett, p. 180) -- though they left a small garrison left at Carlisle which was quickly swallowed (A bad move by Charles, since he had left all of his artillery with the garrison, hampering his future operations; Magnusson, p. 605. Though if he'd followed Lord George Murray's plan, things might have been just as bad; McLynn-Army, p. 191, says that Murray wanted to trash all the baggage).
Kybett and Magnusson both think that Charles was by this time an alcoholic (Magnusson, p. 610, and Kybett, almost everywhere; Wilkinson, p. 228, admits that many called him a drunkard as early as the 1740s but says that he was simply trying to act like a British squire. McLynn-Charlie accepts that he ended up a drunkard, and acknowledges that he always had a fondness for drink, but does not think it began to overwhelm him until *after* the Forty-Five; on p. 243 he argues that it was during the flight, when Charles was under great tension but spent most of him simply sitting and waiting, that he really started drinking heavily). It cannot be denied that the decision to garrison Carlisle was militarily bad --yet it made some symbolic sense: Charles did not want to entirely abandon England.
The Jacobites returned to a Scotland which had largely been occupied against them. Glasgow had always been loyal to the Hanoverians, and Edinburgh had been recaptured soon after the invasion of England began (Magnusson, p. 606). The only good news was that Lord John Drummond has assembled another Jacobite army at Perth, which had even been reinforced by a few French soldiers (Wilkinson, p. 159). This force combined with the invasion army to win the aforementioned battle of Falkirk. But there was no follow-up; "The Jacobites spent most of the month of January in or around Falkirk, and in doing so they threw away whatever initiative they might have gained. They were never to regain it" (Magnusson, p. 608).
A month later, after Charles and Lord George Murray had another fight, they fell back into the Highlands (Magnusson, p. 615; McLynn-Charlie, p. 218, who adds on p. 219 that each of these retreats was disorganized -- the Jacobites, as Murray should have known, were horrible at logistics). Charles was once again sarcastic about the potential effects of the retreat: "Can we imagine, that where we go the enemy will not follow, and at last oblige us to a battle which we now decline?" (Browning, p. 264). In this, Charles again saw more clearly than Murray.
If there was any happy note for the Prince, it was that Charles met Clementina Walkinshaw, the closest thing he had to a love of his life, around this time (Magnusson, p. 608). Wilkinson, p. 157, says that it is not quite certain when he met her, but it was definitely in early 1746. McLynn-Charlie, p. 204, says that she helped nurse him through the various illnesses he suffered in early 1746. According to Cook, p. 422, she had actually been named for Charles's mother Clementina Sobieska, so it was pretty clear what her family politics were!
Other than that, it was a particularly hard time for the Prince, who was sick for several months in early 1746 (McLynn-Charlie, pp. 232-233), even as the army was enjoying several minor successes. But it was still pinned back into a small, desolate area. They were out of money, meaning the soldiers could not be paid (Wilkinson, p. 193; McLynn-Charlie, p. 233. Magnusson, p. 616, notes that a ship sent by the French with a large supply of cash was captured). They had managed to bring in a French technical expert on sieges, Monsieur Mirabelle; he proved a complete incompetent (Magnusson, p. 612). Based in the relatively unproductive country around Inverness, they were short of supplies. Their commissary was breaking down due to the death of Charles's efficient administrator Murray of Broughton (McLynn-Charlie, p. 235).
In this situation, a good many clansmen deserted (Wilkinson, p. 194). Somehow, before the army fell apart of starvation and lack of pay and lack of hope, they needed to get out of their trap. They never figured out how to do it.
Into their stronghold came William Augustus, Duke of Cumberland (1721-1765), the third son of George II (and the second son to survive infancy), the man who had lost the skirmish at Clifton. Cumberland's record in wars in Europe shows that he was no general, but he inflicted ferocious discipline and understood butchery very well; massacres don't require brainpower. His army had been following the Jacobites since the March to Derby (his had been the army the chiefs were most afraid of when they argued for a retreat), but apart from the skirmish at Clifton, this was the first time he had closed on them. They had had one chance to stop him as he crossed the Spey (McLynn-Charlie, pp. 237-238; Reid, pp. 121-124). They didn't (most authors seem to think this was sheer stupidity, by junior officers or by Charles himself; Reid, p. 125, blames lack of reconnaissance). After that, the Jacobites were cornered; they had the sea to one side, dead land on another, and Cumberland coming up against them on another.
The faction led by Lord George Murray, that endless fount of suggestions that increased the odds of short-term survival at the expense of any chance of long-term success, wanted to go to the hills and fight as guerrillas (Magnusson, p. 616). But this would mean giving up arms and equipment, and -- as the government's vengeance after Culloden showed -- would open up the clans to piecemeal destruction. Charles insisted he would fight. This was the most hopeless of all the Jacobite battles -- but, once again, it seems to me the most reasonable option in the broad sense. The Jacobites had little chance of victory, but failure to fight meant clear defeat.
In a singularly foolish move, the Jacobite army had been scattered for the winter -- and did not manage to concentrate fully in time for Culloden (McLynn-Charlie, p. 239). The extra few thousand men who were still out foraging might have made a great deal of difference.
The Hanoverian army had the Highlanders outnumbered on the order of two to one -- Wilkinson, p. 195, estimates Cumberland to have had 9000 troops, the Jacobites 5000. Browning, p. 265, gives the numbers as 9000 and 5400. Young/Adair, p. 262, credit the Jacobites with "at most" 5000. Reid, pp. 145-146, puts 3800 in the Jacobite front line, which would probably mean 5500-6000 for the whole force. Young/Adair estimates the loyalist army at 13000. Kybett, p. 203, makes the exceptional estimate that the Hanoverians had 14000 troops. Brander, p. 215, thinks the Jacobites had only 4500 going into the Night March, compared to 10000 Hanoverians -- though on p. 217, Brander gives the Hanoverian numbers at Culloden as 9000 and Charles's as "certainly under 5,000."
And, no matter what their initial numbers, the Jacobite ranks were depleted by the march, and some of the men who made it back from the march would still have lost their weapons, and others would be too tired and hungry to fight successfully. This is one of the main reasons why estimates vary so much: Although we know which units were present for the Night March, the disaster of Culloden meant that there were no reports about the units' strength before the March or -- even more so -- after.
In addition to their edge in numbers, the Hanoverians of course had a great advantage in equipment. Making this disparity worse is the fact that Charles's handful of French regulars, who presumably would have been the best musketeers he had, were in the second line (Brander,p. 217.
The Battle of Culloden, April 27, 1746, was one of the most mismanaged affairs of military history. Experience showed that Charles's Highlanders had only one successful tactic, the so-called Highland Charge. The idea was to get a bunch of burly clansmen with swords in among the enemy. It worked better than a modern would think -- the standard army of the time was armed with slow-firing smoothbore muskets that weren't very accurate. If the charge were properly executed, the defenders might have time for only one volley, which would not do enough damage to halt the attackers. But the Charge required suitable terrain to pull it off. Why Charles's forced messed up so badly, and who made the decision to fight as they did, is an open question.
Lord George Murray wrote afterward that the Jacobite plan was hopeless -- Kybett, p. 197 -- but of course Murray was trying to defend his own behavior and make Charles look bad.
Reid, p. 129, reports, "Murray's criticism of the field appears to have owed more to his insistence on contradicting everything which Sullivan proposed, for on previous experience it fitted the rebel army's requirements in every respect. In order to execute a 'Highland Charge' successfully the rebels needed a clear run at their opponents, as they had on the flat cornfields of Prestonpans, not on the broken grounds of the defensive position proposed by Murray." Magnusson, p. 617, says of the battlefield, "They used to call it Drumossie Moor -- a bleak stretch of boggy, heather-clad upland moor above Culloden House, south-east of Inverness, overlooking the broad waters of the Moray Firth." McLynn-Charlie, p. 240, agrees with Magnusson at least in part: The ground on the left was too wet to make it easy to attack.
The original Jacobite plan was for a night march, allowing them to attack the Hanoverians at sunrise at Nairn. There is no agreement on whose idea this was. Ben Schwartz looked through the early histories on Google, and found the following quotes:
*** Supporting the theory that it was Charles's idea:*
Robert Chambers, History of the Rebellion of 1745-6 (London and Edinburgh, 1869 ("Digitized by Google")), p. 281, "There yet remained, before playing the great stake of a [pitch?]ed battle, one chance of success by the irregular mode [of] warfare to which the army was accustomed, and Charles [res]olved to put it to trial. This was a night-attack upon the [ca]mp of the Duke of Cumberland."
James Browne, A History of the Highlands and of the Highland Clans (London, Edinburgh, and Dublin, 1849 ("Digitized by Google")), Vol. III p. 232, has Lord George Murray putting the details to Charles's proposal:
"Concluding from the inactivity of the duke of Cumberland that he had no intention of marching that day, Charles held a council of war in the afternoon, to deliberate upon the course it might be considered most advisable to pursue in consequence of the duke's stay at Nairn. According to Charles's own statement, he had formed the bold and desperate design of surprising the English army in their camp during the night; but, desirous of knowing the views of his officers before divulging his plan, he allowed all the members of the council to speak before him. After hearing the sentiments of the chiefs, and the other commanders who were present, Lord George Murray proposed to attack the duke of Cumberland during the night, provided it was the general opinion that the attack could be made before one or two o'clock in the morning. Charles, overjoyed at the suggestion of his lieutenant-general, immediately embraced him, said that he approved of it, that in fact he had contemplated the measure himself, and that he did not intend to have disclosed it till all the members of the council had delivered their sentiments [vide Memorandum by the Prince, note, p. 134].
(James Johnstone) The Chevalier de Johnstone, Memoirs of the Rebellion in 1745 and 1746 (London, 1820 ("Digitized by Microsoft")), pp. 132-133, footnote, "The following is the account of it [the night-march to Nairn] given of it by Mr. Home: --
"'When mid-day (the 15th) came, and the King's army did not appear, it was concluded that they had not moved from their camp at Nairn, and would not move that day, which was the Duke of Cumberland's birth-day. About two o'clock, the men were ordered to their quarters, and Charles, calling together the generals and chiefs, made them a speech, in which he proposed to march with all his forces in the evening, and make a night-attack upon the Duke of Cumberland's army, in their camp at Nairn.
"'At first nobody seemed to relish this proposal; and the Duke of Perth and Lord John Drummond expressed their dislike of it. Lochiel, who was not a man of many words, said that the army would be stronger next day by 1500 men at least; but when Lord George Murray rose and seconded the proposal made by Charles, insisting and enlarging upon the advantage of a night-attack, that rendered cannon and cavalry (in which the superiority of the Duke's army chiefly consisted) of little service, it was agreed to make the attempt, as the best thing that could be done in their present circumstances, for they were almost entirely destitute of both money and provisions.'"
The notes apparently were added by the uncredited editor, "J.B" in 1821, along with the Introduction that had this to say about Home, whom he was apparently responsible for quoting, above. "But, of Home, from the introduction, pp. xlvi-xlvii, 'The history of Home, which appeared nearly sixty years after the Rebellion, and from which, previous to its publication, considerable expectations were entertained, added little to our knowledge on any of the above important points. This was partly owing to the defective information of the author, and partly owing to his fear of giving offence. Having himself borne arms in the Rebellion as a volunteer, in aid of the government, he was not a person to whom the leading Jacobites would willingly confide their secrets; .. Besides, the writer of this introduction can assert, of his own knowledge, that Mr Home submitted his history in manuscript to some members of the royal family.. His book affords materials for the historian, but ought not to be considered a history.'"
*** Supporting the theory that it was Lord George Murray's idea:*
Andrew Lang, "Prince Charles Stuart" in Scribner's Magazine (New York, 1895 ("Digitized by Google")), Vol. XVII January-June p. 416, "At a council Lord George proposed what Charles was longing for, a night surprise."
"Murray, Lord George (1694-1760" in Dictionary of National Biography (London, 1909 ("Digitized by Google")), Vol. XIII p. 1257, "Murray was entirely opposed to making a stand against Cumberland at Culloden.. He therefore advised that meanwhile a retreat should be made to the hills to await reinforcements, and when overruled in this, stipulated for a night attack as affording the only possible chance of victory."
*** Unclear as to whose idea it was:*
Robert Chambers, Jacobite Memoirs of the Rebellion of 1745 (Edinburgh, 1834 ("Digitized by Google")), p. 138, "The Prince (being informed that the Duke of Cumberland had halted that day at Nairn, to refresh his men, and that the ships with provisions were coming into the bay of Inverness, that evening) called a council of war; and, after great debates, (although that neither the Earl of Cromarty, who by this time was prisoner, though not known, nor the MacPhersons, nor a great many of the Frazers was come up,) it was resolved to march, and endeavor to surprise the Duke in his camp at Nairn, about twelve miles distance."
The Lockhart Papers (London, 1817 ("Digitized by Google")), Vol. II p. 518 in "Account of events at Inverness and Culloden" [likely a source for Chambers], "The P. being inform'd that the Duke of Cumberland had halted that day at Nairn to refresh his men (the ships with his provisions came into the bay of Inverness that evening) the P. calld a council and after great debates, tho' neither the Earl of Cromerty (who by that time was prisoner tho' not known) nor the Macphersons nor a great many of the Fraizers were come up, it was resolved to march and endeavour to surprise the Duke in his camp at Nairn about twelve miles distant."
Among modern commentators, Reid, p. 130, says the concept of the night march was Murray's. Wilkinson, p. 195, says, "Lord George Murray came forward with an ingenious plan for attacking the royal army at a disadvantage, thus offsetting their numerical superiority. Briefly, his proposal was to make an immediate night march upon Nairn, followed by the Highland charge at the first peep of dawn.... From Murray's own account it seems doubtful whether the proposal first came from him, but, at any rate, he adopted it with enthusiasm." Magnusson, p. 618, writes, "When the Hanoverian army did not appear on 15 April, Lord George Murray urged that the Jacobites should turn the tables by taking the offensive, and suggested a surprise night attack on Cumberland's sleeping camp."
Young/Adair, p. 258, says that "This plan, somewhat reminiscent of Monmouth's for Sedgemoor, was devised by the Prince and O'Sullivan. The Duke of Perth disliked it... but Lord George Murray, though 'very sensible of the danger should it miscarry,' came round to it, probably because he preferred it to fighting on the open moor." McLynn-Charlie, p. 241, describes the prince as "cajoling" the chiefs while Murray argued for another battlefield, and McLynn-Charlie, p. 242, implies that Murray was opposed to the very end. Brander, p. 215, credits the whole business to Charles and O'Sullivan, never even mentioning Murray.
Kybett, p. 198, says "Charles walked around the field [the day before Culloden] speaking to individual officers, trying to cajole them to agree to an impetuously conceived plan to attack Cumberland's camp at dawn the next day. No doubt he hoped to take the drunken government troops by surprise, but almost without exception everyone believes it a mad scheme."
"[Adjutant General] Sullivan was commanded to give the orders, and explain what he said in them. Lord George answered that there was no need of orders, [tha]t everybody knew what he had to do" (Reid, p. 132). But in fact they did *not* know what they had to do. "The attack on Nairn, put forward more or less on the spur of the moment by Murray, was badly thought out, poorly prepared and incompetently executed, and responsibility for the debacle lies squarely with Murray alone."
The real problem was not with the idea, though, but with its execution. The Highlanders had not been fed for two days, and were weakened by a cold rain (Magnusson, p. 618). The ground had not been scouted. The distance was rather long for a night march (Wilkinson, p. 195, says 12 miles; McLynn-Charlie, p. 244, implies a distance of 10 miles; Young/Adair, p. 258, says eight miles but adds that the night was exceptionally dark; Magnusson, p. 618, says 16 kilometers, or 10 miles. The map in Reid, p. 135, shows that Culloden Moor is about five miles from Inverness, with Nairn about 12 miles beyond that, but the army did not start from Culloden and would not have followed the direct path).
It would surely have been wiser to cover at least some of the distance before dark, but the army did not start until about 8:30 (Young/Adair, p. 258) or 9:00 p.m. (Magnusson, p. 618). The troops were slow to make the journey, and the march resulted in much disorganization (Magnusson, p. 619). The plan called for the army to divide into three columns, but they ended up all on the same trail (McLynn-Charlie, p. 244). Eventually the column started to break up. Lord George Murray, at the front of the column, sent word to Charles at the rear that it was too late for the attack, and that it had better be abandoned (McLynn-Charlie, p. 245). Charles, ever aggressive, didn't want to give up. But eventually Murray on his own ordered the column to halt (Young/Adair, p. 259). "Lord George made the only decision he could under the circumstances. He ordered what remained of the bitter army back to Culloden" (Kybett, p. 200).
"Surviving accounts of the night are pretty unanimous in depicting it as a sorry shambles from its confused beginning to its acrimonious end. The rebel army initially set off in what should have been three columns, following one behind the other. The first was let by Lord George Murray, the second by Lord John Drummond and the third by the Duke of Perth.... Instead of proceeding straight down the main road to Nairn, Murray decided to move across country, thus shunning any houses and people who might be tempted to warn Cumberland of his approach..." (Reid, p. 133). "[I]t soon proved quite impossible to prevent substantial gaps opening up between the columns and between the individual units within the columns. Murray afterwards tried to blame the French regulars and his MacIntosh guides... " (Reid, pp. 133-134). "[T]he rebel army simply [was] not up to the task" (Reid, pp. 134-136).
Charles apparently went bananas over this; Kybett, p. 200, describes him as losing control completely -- "Charles continued to shout hysterically that nobody could command his army but himself" -- though Reid, p. 139, declares that he put on a brave face. Wilkinson, p. 196, describes him as angry but resigned. Wilkinson and McLynn-Charlie, p. 246, both describe him as asking, "Where the devil are the men going?" McLynn also describes a man who went from fury at being disobeyed to weary resignation after the Duke of Perth pulled him aside and described the situation. Whatever his behavior, there was nothing to be done at that point. Lord George, not the Prince, had decided where and how the last battle would be fought. And his decision was simply dreadful: The open field of Culloden, where the Hanoverian artillery could sweep the Jacobite army.
(I must admit that I've never understood this. I can at least comprehend that Lord George would call off the attack. But why send everyone back to Culloden? Lord George disliked the ground, and the retreat left the men even more tired and hungry. If it was light enough for the night attack to fail, it was light enough to pick a better defensive position.)
Just how close the Jacobites had come to the enemy camp is not certain. Wilkinson, p. 196, and Reid, p. 137, say that Cumberland's campfires were already in sight, but McLynn-Charlie, p. 244, calculates that the Jacobites still had four miles to go before they could attack. Brander, p. 216, gives the distance as two miles from Cumberland's camp.
The troops straggled back to camp, even more hungry and exhausted than they had been before. They were also even more scrambled, because there was no real plan for the retreat (Reid, p. 138). All the Night March had done was soften them up for Cumberland's attack. Magnusson, p. 619, estimates that only a thousand Jacobite soldiers were still ready to fight, and says only 1500 took part in the initial attack on Cumberland's line. This is probably too low, but the number cannot have been large.
Thomson, p. 101, notes that "by every standard the Jacobite generals made a mess of Culloden when battle came on 16 April 1746. They chose unsuitable terrain, tired out their troops by ill-thought-out manouevres and vacillation, and failed totally to make proper use of their greatest asset, the Highland charge."
Kybett, whose method of analysis consists of finding the worst possible interpretation of Charles's behavior and then inventing a way to make it sound worse, claims that everyone in the army believed the battle plan was a "desperate attempt" -- and claims that Charles was drunk as the battle began (Kybett, pp. 198-199).
"There has been much argument about the choice of the battleground -- Lord George Murray claimed that it was a death trap for his troops. Others maintain that it was good ground for the Highland clansman to charge over; but it was also ideal terrain for the Hanoverian cavalry" (Magnusson, pp. 619-620).
The final battle took place a little south of the ocean. The Jacobite army seems to have left both its flanks rather exposed (so both the maps in Reid, p. 147, and Young/Adair, p. 264, and the semi-legible sketch facing p. 198 of Wilkinson; Reid, p. 145, says the flanks rested on walled parks. The parks probably had some defensive strength, but only if properly manned -- and they weren't; Reid, pp. 150-151, describes how the Hanoverians used them to outflank the Jacobites on the right).
Of the three divisions of the Jacobite army that had marched to Nairn, two were placed in the front line, with the third division forming a second line. Reid, p. 145, estimates that there were 3800 men in the Jacobite front line, which stretched over a distance of 1100 yards (and with a bit of a gap in it when Lord George Murray realigned some of his forces and the other half did not conform). The second line, which was more a tactical reserve than an actual line of battle, had no more than half that many (Reid, p. 146; in the map on p. 216 of Brander, it is so thin as to hardly even constitute a line). A few units, probably mostly cavalry (much of it dismounted, according to Young/Adair, p. 261), were behind that, but they were not really a line, just a small reserve. The small handful of guns -- perhaps a dozen cannon, of various calibers and poorly manned -- was all in the front line, according to Young/Adair, p. 262.
The Hanoverian army also was arranged in three lines, though Reid shows all three lines as being about equally heavy, while Young/Adair makes the front line very strong and the third line little more than a token; Brander splits the difference and makes the second line almost as strong as the first and the third line very weak. Still, given the relative sizes of the armies, the number in the Hanoverian front line must have been at least as many as in the Jacobite, and their reserves were greater -- and they covered the attack with artillery. Young/Adair, p. 263, says that the Hanoverian artillery was able to fire twenty rounds for each round fired by the Jacobites.
The weather too was on the Hanoverian side; the weather was cold and rainy, and the wind blew into the faces of the Highlanders (Young/Adair, p. 262).
"At Culloden the advantages in terms of firepower and training lay with Cumberland, and he had the bonus of fumbling Jacobite command. The result was swift, decisive and bloody. The Jacobite artillery was silenced by a precise, long-range bombardment from artillerymen who were then free to pound the Highland line with shot. When the charge began, fire was opened with grape[shot] which was supplemented by volleys of musketry. The onrush was poorly co-ordinated and the clusters of clansmen who reached the lines of redcoats were repelled by bayonets. Culloden was uncannily like one of those Victorian colonial battles in which steady, confident troops used discipline and firepower to repel tribal armies" (James, p. 219).
Under this pressure, the Jacobites had little choice but to charge. As it is, Young/Adair, p. 265. thinks they waited too long to go in. Reid, p. 159, agrees, and says that Charles probably ordered it; Lord George Murray, who actually commanded the charge, had been responsible for the delay.
Unfortunately, it was a disorganized charge -- the Duke of Perth's command on the left hardly took part at all, and when it did move, it got tied up in the bog and the movement halted (Reid, p. 166). The center and right, under Murray, rapidly lost order; Young/Adair, p. 267. Reid, pp. 159, says that, instead of the usual fairly regular advance until the clans were in musket range, at which time the men would rush the enemy lines, most men dropped their guns, drew their swords, and started running at once. And they bunched up, exposing them to concentrated canister fire, which of course slaughtered the officers leading the charge and caused the men to become even more disorganized; Reid, p. 160. Reid estimates they may have lost as many as 400 men just getting to Cumberland's line -- in other words, at least 20% of those who were charging. What was left simply could not hit with the force of a proper Highland Charge. Within minutes of reaching the Hanoverian line, the right had to retreat, and as it retreated, it broke up even further. The left still held together, but when the Hanoverian army counter-charged, the Jacobite army generally dissolved.
Browning, p. 265, gives Hanoverian casualties as 300, Jacobite as 1560 (though this is surely too precise). Magnusson, p. 620, estimates Jacobite losses as "at least 1,500 dead" and the Loyalist forces as having lost fifty dead and 259 wounded. Young/Adair, p. 271, concurs with gives those same numbers for the Hanoverians, adding that one (yes, just one!) soldier was missing, and adds that only about 3000 Hanoverian troops were seriously engaged. Reid, p. 170, also gives 50 dead and 259 wounded in Cumberland's force, and says there were 750 Jacobite dead on the moor, and estimates total Highlander losses as 1500, plus "154 rebel and 222 'French' prisoners."
"The main battle was over inside an hour. Prince Charles, once he saw the day was lost, rode away to the south-west, into hiding. For a moment there might have been a chance of gathering for another fight, but it was too late, and the prince sent word to the clans to disperse and look to their own safety. And well they might for the vengeance of the English was systematic and terrible" (Fry/Fry, p. 196). Although the Frys, and Kybett, seem to imply cowardice, Sinclair-Stevenson, p. 61, declares that Charles left the battlefield reluctantly.
"The curtain was about to ring down on the clan system and the last battle fought on British soil. It was only regrettable that it should have been marred by the excesses of the victorious general. 'Butcher' Cumberland earned his nickname and the notoriety which still clings to his memory. Instead of dying courageously on the field the Prince was persuaded to fly for his life in the heather and the legend of his escape wove a magic round his name which was largely undeserved. It was the poverty-stricken Highlanders whose honour and gallantry forbade them to betray him whose memory we must applaud. Ahead of them lay the Clearances and the empty glens, the sorrows and persecutions of the century to come..." (Brander, p. 217). Brander also notes the interesting fact that Culloden inspired few songs. He compares it to Flodden: Time needed to pass before the poets' pens could face the tragedy.
"There was still a chance of taking to the hills and continuing a guerrilla war of attrition against the Hanoverian victors. But Prince Charles had no intention of staying in Scotland, and told his followers it was now every man for himself.... For him, the Rising was over" (Magnusson, p. 624). Magnusson seems to disapprove of this course. But such an attempt would surely have failed; many man would have deserted, and their only bases would be in the Highlands; they would have had no way to trouble the English government, or even the Lowland Scots. All they would have done was inflict further trouble on the Highlands. True, the Hanoverians came with fire and sword -- but if the Jacobites had fought, then it would have been *both* Hanoverians *and* Jacobites picking the Highlands clean. If Charles made no other right choices, his decision to abandon the rising was certainly the best thing for all involved.
James, p. 220, observes how strongly our modern attitudes are influences by the romance and legend of Bonnie Prince Charlie. At the time, Cumberland was feted as a great victor -- the "Conquering Hero" of Handel (Magnusson, p. 623). Magnusson also claims that a plant was renamed "Sweet William" after him (which I doubt); I am only slightly more willing to accept that, in Scotland, "the foul-smelling ragwort Senecto jacobaea was nicknamed 'Stinking Willie.'"
"But the '45 did not end with the battle. Everyone knew that, this time, rebellion was serious, and the smallness of the section of Scotland involved meant that real punishment would follow. The fact that many groups of clansmen got away from the battle gave a particular motive for punitive search. It would be made clear to those who had chosen to fight for the prince rather than have their roofs burnt over their heads by Lochiel and his men, that they were not better off in rebellion" (Mitchison, p 342).
"The atrocities and indiscriminate killing went on for several days. Detachments of Hanoverian troops were sent far and wide to scour the Highlands for rebels on the run. The glens were laid waste. Men found bearing weapons were hanged on the spot, and their womenfolk were raped. Whole families were evicted from their blazing hovels and left to starve. Twenty thousand head of livestock -- cattle, sheep and goats -- were driven off to be sold at market in Fort Augustus, the money to be distributed to the victorious army" (Magnusson, p. 623).
"Nowadays it would be called genocide. Cumberland himself advocated his own 'final solution" to the Highland problem: the transportation of whole 'clans such as the Camerons and almost all the tribes of the MacDonalds (excepting some of those in the Isles) and several other lesser clans' -- also excepting, of course, the Campbells, most of whom had fought on the Hanoverian side" (Magnusson, p. 623).
"Of the total of 3,471 Jacobite prisoners, 120 were executed: most by hanging, drawing and quartering, four by beheading because they were peers of the realm -- the privilege of rank. Of the remainder, more than six hundred died in prison; 936 were transported to the West Indies to be sold as slaves [which, at that time, meant that they would almost certainly be dead of yellow fever or the like within two years], 121 were banished 'outside our Dominions'; and 1,287 were released or exchanged" (Magnusson, p. 624).
"When all is said and done Cumberland and 'Hangman Hawley' [who at Culloden commanded the cavalry] marred their victory by the atrocities they permitted, and indeed encouraged, afterwards. Pillage, rape and murder were the order of the day, the innocent suffering with the guilty. An undistinguished military career lay ahead for [Cumberland], culminating in his defeat at Hastenbeck and the inglorious Convention of Klosterseven (1757). It is more charitable to remember him as the founder of the Ascot Race Meeting (1748)" (Young/Adair, p. 271).
There is to this day much dispute over who is to blame for Culloden, and for the Forty-Five. There is a strong school which argues that, since Lord George Murray was a sound tactical general, he must have been a strategic genius and anything that went wrong in 1745 was someone else's fault. So Young and Adair write,p, 256, "The Young Pretender... besides being himself no soldier, distrusted his ablest general, Lord George Murray, and chose to lean on his hare-brained Quartermaster-General, John William O'Sullivan."
Similarly, Keegan/Wheatcroft, p. 292, write that the Forty-Five "was doomed from the outset" (though they also say "the chance was there"); "Lord George Murray... the only commander of ability on the Jacobite side, argued in vain for a rapid descent on England before the Hanoverian forces before the Hanoverian forces could recover from the shock of a rising in the North. The victories -- Prestonpans and Falkirk -- were the work of Murray. It was Charles himself who insisted on attacking... at Culloden, when saner voices argued for a retreat into the Highlands and a war of attrition" (though how an outnumbered force is supposed to win a war of attrition is beyond me. Keegan/Wheatcroft, p. 227, also paper over the fact that Murray had been the voice of retreat at Derby).
McLynn-Charlie, pp. 249-250, also thinks the ultimate fault is Charles's. After the Night March, when Charles confronted Murray, Murray offered three choices: To retreat to Inverness and face a siege, to scatter and become guerrillas, or to accept battle on a different field south of the Nairn. Charles refused all three possibilities, and hence accepted battle at Culloden. McLynn-Charlie, p. 247, blames this on Charles's character:"The prince was never warned of the very real risk that [the night march] might miscarry. At this stage in his life, Charles was far too credulous and trusting toward his favourites, while being ludicrously suspicious of those not in the circle of initiates. The charm and affability of Charles Edward was the positive side of a mentality that was also distinguished by a marked anxiety to please those he considered his friends.... All these signs of a fragile identity were reinforced by a declining grip on reality."
It seems to me that this over-complexifies things: It's basically true, but the real problem was that Charles had taken a lot of advice from Lord George Murray, and it had resulted in the Jacobites being stuck up in the Highlands, so Charles was understandably very suspicious of *Murray's* advice.
Reid, pp. 139-140, however, makes the significant point that, had the Jacobite army tried at that point to head for Murray's preferred battlefield, Cumberland could have pitched into their rear and done even more than he did at Culloden. When the Night March failed, I think, the Jacobite cause was lost. What was needed was a better plan for the March -- specifically, an alternate plan for what to do if the March were detected. But even if Murray thought of such a thing, he probably didn't dare suggest it.
Kybett, of course, blames everything on Charles. Browning too says that Charles was simply not a good enough leader for his cause, and notes correctly that the Prince's Catholicism cost him support (Charles, who clearly had no strong religious feelings, would actually convert to Protestantism after the Forty-Five, but too late to do any good; McLynn-Charlie, p. 399; Wilkinson, p. 227), and blames him for leading the Jacobite army into England.
In a very broad sense, Browning's charge is true: If Charles had been a military genius *and* smart enough to talk around Lord George Murray when needed *and* had been able to convince the French to really support him, then the rebellion would have had a much better chance. But if he had been able to call lightning from heaven, it would have had a better chance, too -- and the one was almost as impossible as the other.
Consider the flip side: The 1745 rebellion came much nearer success than the 1715, even though the latter was conducted under conditions much more favorable to revolt: The Hanoverian dynasty was weaker in 1715, and the Jacobites far stronger. Why did the 1745 rebellion come as close as it did? Because of Prince Charles.
Oh, Charles certainly wasn't anyone's notion of a general. But he understood something that Lord George Murray completely failed to understand, which was that a forlorn hope of a rebellion could only succeed by being bold -- even flashy. Charles was good at flashy. Lord George had opposed the idea of going after London; he had been wrong, and as a result, the Jacobite army had been forced to retreat all the way to Culloden in the north of Scotland. In the end, Murray didn't want to fight at Culloden either, even though the Jacobites needed to do *something* to keep the rebellion alive, and all Murray did was see to it that the battle, which would probably have been lost even if everything had gone well, was *guaranteed* to be lost.
Ironically, the period after the debacle at Culloden was considered the Prince's finest hour. He of course spent almost half a year on the run before he finally boarded the L'Heureux on September 20, 1746 (old style) to sail for France (McLynn-Charlie, p. 307). The flight was the subject of many songs such as "Skye Boat Song (Over the Sea to Skye)." For the most famous incident of this period, the time he spent with Flora MacDonald, see "Flora MacDonald's Lament." But his escape to Skye did not end his escapades; he spent another three months "in the heather"; "Despite the huge bounty on his head, not a single Highlander betrayed his whereabouts" (Magnusson, p. 627).
His escape was the more amazing because the British, according to James, p. 220, had 15,000 troops in the Highlands searching for him. Of course, they were somewhat distracted by the fact that they were also trying to destroy the Highland way of life.
Although Jacobitism is not quite dead, and many hoped for another rebellion, it was the last rising on behalf of the Stuarts. It is likely that Charles visited England again (Magnusson, p. 628), but he never started another rising (Magnusson, p. 627).
When Charles arrived in France, he found himself as popular as a rock star today: "It is difficult now to appreciate the sensation his exploits both on campaign and in the heather had caused. 'He left France an adventurer and came back a hero,' was Bulkeley's comment. Without exaggeration, in October 1746 the prince was the most famous man in Europe" (McLynn-Charlie, p. 308).
But fame doesn't last forever. As long as the War of the Austrian Succession continued, Charles was a useful pawn for France. But the war ended in 1748. He was no longer any use to France -- and had gotten himself into a certain amount of trouble with women and with political intrigues. By the time the war ended, he had in fact already left for Spain. He would spend the next twenty years (until his father died in 1766) a wanderer, always scraping for cash, and never saw his father after he set out to lead the Forty-Five (Magnusson, p. 629).
And the Stuart family's famous ill luck was starting to re-emerge. James the Old Pretender's wife had left him only two children before dying of scurvy caused by her extreme asceticism (McLynn-Charlie, p. 45). The two were Charles and his younger brother Henry. And Henry turned out to be homosexual (McLynn-Charlie, p. 327; Kybett, pp. 297-298); he decided to take holy orders to avoid the idea of marriage, and rose to be a cardinal in 1747, while still in his twenties (Wilkinson, p. 227).
Charles was heterosexual but extremely clumsy with women (Wilkinson, p. 233; McLynn-Charlie, pp. 554-555, argues that his parents' marital problems and his mother's early death badly damaged his ability to understand the opposite sex. Magnusson, p. 528, notes his several affairs in his years in France, including several with married women, one of them a first cousin). In 1852 he summoned Clementina Walkinshaw (McLynn-Charlie, p. 422). "Their relationship lasted for nine tempestuous years, during which she bore him a daughter, Charlotte, whom Charles adored. He became insanely possessive over Clementina, and would beat her in his drunken rages. In 1760 she left him, taking Charlotte with her" (Magnusson, p. 629). The quarrels reportedly began a month after Charlotte was born; Wilkinson, p. 233. Charlotte was seven when Clementina took her from her father (Wilkinson, p. 234); she claiming that Charles was threatening her life (Cook, p. 423). She supposedly said that she would rather see Charlotte cut in pieces (as Solomon would have divided the child of the two prostitutes) than returned to Charles.
It made no dynastic difference. Marriage with Clementina never seemed to be part of Charles's plans; he wanted a royal wife (McLynn-Charlie, p. 327), and of course no king would waste his daughter on a pretender, and there were no available ruling queens for him to seduce. The Stuart line was on its way to extinction.
And it was an ugly end. In this time, not even Kybett has to distort facts to make Charles look bad; he did it all by himself. At first, he tried to get the courts of Europe to give him support for another invasion of Britain (Wilkinson, p. 226), with no success. He tried to convince his father to imprison Lord George Murray on the grounds that he was a traitor. When both these plans failed, Charles went to seed, and got drunk and (eventually) fat.
After his father died, Charles finally started worrying about producing an heir. He had almost certainly waited too long. His glittering reputation was gone, and the nations of the world no longer even pretended to hope for a Jacobite restoration. Even the Vatican had given in and (for practical purposes) acknowledged the Hanoverian dynasty (Kybett, p. 313; Cook, p. 424) -- the Vatican at this time, rather than recognize Charles as King Charles III, offered to recognize him as Prince of Wales! (McLynn-Charlie, p. 481). Every other country had long since accepted George III, and George II before him, as King of England.
But someone finally turned up a possible spouse in Louise of Stolberg, "young, fair, gay, penniless, it is true, but claiming the blood of Bruce in her veins and eager to become a 'Queen.' She was one of a quartette of fatherless daughters, and her mother, who had been left a widow at twenty-five in straightened circumstances, was willing enough to range one of her brood by presenting her to a titular King. Indeed, if Louise failed to suit, Charles might have a younger child for a bride" (Cook, p. 424). "[Louise] seems to have made the sacrifice very willingly. The marriage was first performed by proxy at Paris [Charles was there, Louisa wasn't]... and [she] was formally united to him on Good Friday 1772" (Wilkinson, p. 236). Charles called her his "Queen of Hearts" (Magnusson, p. 629), and he may even have cut back on his drinking for a while -- but not for long.
Charles was 51 at this time, and "Louise was young, and she took lovers -- first Alfieri, then Gehegan, an Irishman. Charles, his suspicions aroused, broke into her room one day, and there was a disgraceful scene" (Wilkinson, p. 236). She never produced a child, however; I seem to recall reading somewhere that she is suspected of having been sterile.
Having given up on Louise, Charles tried to have Charlotte legitimized (Wilkinson, p. 237), making her Duchess of Albany, but, really, no one cared much. His claim to the English throne, such as it was, would pass to his brother Henry.
Wilkinson, p. 225, sums up the truth and the legend this way. "The great romantic tradition of which this simple-minded young man of action was the unconscious founder still lived and flourished under the trampling boots of the southern invaders, and was to burst into bloom half a century later, with a riot of music and song, idealist tartans, and impossible Floras, and a whole new springtime of romance, which we may sneer at if we like as early nineteenth century sentimentalism, but which is really a hard, imperishable growth.... From this point of view -- indeed, from any point of view -- the later period of Prince Charlie's life does not greatly matter. It is a perfectly sound popular instinct which thinks of him always as a young man, ignoring those weary, wasted, insignificant years. There is little to be gained from the contemplation of a man of action who has no longer anything to do."
Compared to the rest of his family, he had a short life -- possibly the result of his alcoholism. By 1786, he was in poor health (McLynn-Charlie, p. 548). He had a stroke early in 1788, and died on January 30 of that year at the age of 67 (McLynn-Charlie, p. 549), with his daughter by his side and his brother Henry administering the last rites of the church that he had earlier scorned and that had cost him his chance for a crown. His father, by contrast, lived to be 78, and Cardinal York, the titular Henry IX, died in 1807 at 82 -- by which time he was actually being given a pension by the English government (Kybett, p. 314)! -- possibly in return for making over some of the Sobieski gems to become part of the English crown jewels. On the other hand, Charlotte outlived her father by only a little more than a year, dying in late 1789 of what McLynn-Charlie, p. 550, describes as liver cancer.
I have read, somewhere, that Charlotte had no children, and even Kybett, p. 304, says that Charles was "not aware" of the existence of any grandchildren. But Kybett, on that same page, says that Charlotte, in the period when her father would have nothing to do with her, became the mistress of a French bishop, and had three illegitimate children -- a daughter Algae, born 1780; a daughter Marie, born 1782, and a son Charles Edward, born 1783. It was shortly after the birth of the latter that Charles and Charlotte were reconciled. Magnusson, p. 629, claims however that Charlotte had married (presumably making the children legitimate), but that she left them behind when Charles summoned her.
The fate of these children seems to have been sad. Their father does not seem to have done anything for them; their grandmother Clementina Walkinshaw, herself quite poor, cared for them until she died in 1802 (Kybett, p. 312). In any case, they were clearly illegitimate. James the Old Pretender's claim to the throne lived only in Henry, and it died out when he died. Officially there is still a Catholic heir to the Stuarts out there (I seem to recall that it was the heir of one of the defunct Germany dynasties), but in practice the Jacobite threat, never very great, died with Charles in 1788.
Among the others mentioned in this song:
"Lochiel": Donald Cameron, Lochiel of Cameron (1695-1748, called the "Young Lochiel," even though he was middle-aged, because his father was in exile as a Jacobite), the first great chief to come to Charlie's support. He was wounded at Culloden, and, like Charles, would die in exile; the British would execute his brother.
Drummond: Probably the aforementioned Lord John Drummond, though it might be William MacGregor of Drummond (Bahaldy), like Lochiel early supporter of Charlie, since the others mentioned were among the prince's earliest supporters.
Lewis Gordon was responsible for raising most of the troops from the Aberdeenshire area. For a song about him, see "Lewie Gordon (Lewis Gordon)."
As noted above, the argument these three presented was, in a sense, sound: The Highlanders would have been depressed and would have deserted had the Jacobite army retreated. You wonder, though, if they weren't motivated partly by the fear of British retribution.... - BS, RBW
BibliographyLast updated in version 2.5
File: Ord293

Muirland Farmer, The


DESCRIPTION: "I am a gweed fairmer has acres o lan'," servants, a "mansion hoose," "A dainty we wifie," and two children. He describes the farm, the lake with wild ducks, the snug house, his church clothes, and his good luck at selling his barley crop.
AUTHOR: Andrew Scott (1757-1839) (source: Whitelaw)
EARLIEST DATE: 1845 (Whitelaw)
KEYWORDS: farming nonballad animal
FOUND IN: Britain(Scotland(Aber))
REFERENCES (3 citations):
Greig #122, p. 1, "The Muirland Farmer" (1 text)
GreigDuncan3 433, "The Muirland Farmer" (4 texts, 3 tunes)
ADDITIONAL: Alexander Whitelaw, A Book of Scottish Song (Glasgow, 1845), p. 94, "The Gude Farmer"
Roud #5949
CROSS-REFERENCES:
cf. "The Rock and the Wee Pickle Tow" (tune, per Whitelaw)
ALTERNATE TITLES:
The Farmer
The Sma' Farmer
The Aul' Farmer
NOTES: The Greig version and two of the GreigDuncan3 versions add verses not in Whitelaw. - BS
Last updated in version 2.4
File: GrD3433

Muirsheen Durkin


See Good bye Mursheen Durkin (File: OLcM036)

Mulb'ry Bush


See Here We Go Round the Mulberry Bush (File: Lins038)

Mulberry Disaster


DESCRIPTION: A storm-tossed ship is blown near Mulberry. The crew abandon ship. One of the boats overturns, drowning five of its seven passengers. The rest of the piece is devoted to mourning for the lost sailors
AUTHOR: unknown
EARLIEST DATE: 1939 (Flanders/Olney)
KEYWORDS: death sea storm wreck
HISTORICAL REFERENCES:
Dec 12, 1800 - date of the Mulberry Disaster (according to the song)
FOUND IN: US(NE)
REFERENCES (1 citation):
Flanders/Olney, pp. 114-117, "Mulberry Disaster" (1 text, 1 tune); cf. also the fragment about Calais Pond on page 119
ST FO114 (Partial)
Roud #4678
NOTES: For a song so long, and so specific as to place and date, this is surprisingly unspecific about the actual people involved -- a moniker song without the monikers! This makes it hard to determine actual historical details. - RBW
File: FO114

Mulcahey's Gone Away


See Mulcahy's Gone Away (File: Dean083)

Mulcahy's Gone Away


DESCRIPTION: "The hero of my humble song was once a mighty man, A shining light in his neighborhood, the chief of all his clan." Mulcahey, a politician, loses his office and disappears. His family laments as they seek for him
AUTHOR: unknown
EARLIEST DATE: 1922 (Dean)
KEYWORDS: family separation
FOUND IN: US(MW)
REFERENCES (1 citation):
Dean, p. 83, "Mulcahey's Gone Away" (1 text)
Roud #9570
CROSS-REFERENCES:
cf. "Mulcahy's Home Again" (character?)
cf. "Mulcahy's Sister Kate" (character?)
NOTES: Dean has three songs about Mulcahy/Mulcahey, and they present a bit of a conundrum -- and not just because he can't decide how to spell the name! None of them seem to appear in any other source. The feel of the three is very similar, so I suspect some sort of stage origin.
It appears, adding them up, that Mulcahy was a big man in some sort of Irish neighbourhood. Then he was given some sort of a patronage job, presumably for turning out a large Irish vote for a particular candidate. It is not clear whether he was fired or simply let go when another administration came in.
The Irish community in Minnesota is large enough that such a story might be possible here. But it frankly souns much more like New York City to me -- local bosses were much more important there. My out-of-the-blue speculation is that this might come from some sort of musical show telling, indirectly, of the fall of Boss Tweed. But that is a lot of speculation based on very little data. - RBW
File: Dean083

Mulcahy's Home Again


DESCRIPTION: "I come with news tonight, me boys, just listen for a while." The singer tells of his amazement that Mulcahy has returned home. The famous Mulcahy has had enough of politics and has decided to return to his roots
AUTHOR: unknown
EARLIEST DATE: 1922 (Dean)
KEYWORDS: reunion
FOUND IN: US(MW)
REFERENCES (1 citation):
Dean, p. 78, "Mulcahy's Home Again" (1 text)
Roud #9567
CROSS-REFERENCES:
cf. "Mulcahy's Sister Kate" (character?)
cf. "Mulcahy's Gone Away" (character?)
File: Dean078

Mulcahy's Sister Kate


DESCRIPTION: "You have heard me sing of a hero bold, Mulcahy was his name, And, faith, he had a sister, too, that was noted for her fame." Kate Mulcahy is tall, red-haired, and apparently unmarried at 28; she cooks at a boarding house
AUTHOR: unknown
EARLIEST DATE: 1922 (Dean)
KEYWORDS: cook sister
FOUND IN: US(MW)
REFERENCES (1 citation):
Dean, pp. 76-77, "Mulcahy's Sister Kate" (1 text)
Roud #9565
CROSS-REFERENCES:
cf. "Mulcahy's Home Again" (character?)
cf. "Mulcahy's Gone Away" (character?)
NOTES: As it stands in Dean, nothing much happens in this song, which seems to be about an old maid. Possibly the singer is courting her to get her money? But Dean's version has only two verses; I suspect a Stage Irish song; either Dean has forgotten some of the lyrics, or they made sense in the context of the drama.
For more on the story, see the notes to "Mulcahy's Gone Away." - RBW
File: Dean076B

Muldoon, the Solid Man


DESCRIPTION: "I am a man of great influence... I came when small from Donegal, in the Daniel Webster I crossed the sea." Hard work has brought the singer success. He promises the listeners he will "use you decent... I'm a solid man." He tells of his social sucess.
AUTHOR: unknown
EARLIEST DATE: 1922 (Dean)
KEYWORDS: emigration work
FOUND IN: US(MW)
REFERENCES (1 citation):
Dean, pp. 102-103, "Muldoon, the solid Man" (1 text)
Roud #3355
NOTES: Roud lumps this with "I'll Lay You Doon, Love," presumably on the basis of the chorus ("So come with me and I'll use you decent, I'll get you drunk and I'll fill your can...."). But that is a song of seduction, while this is a song telling of prosperity. They seem clearly separate to me, though there may be some cross-influence.
The song mentions General Grant. This require a date after 1862 (when Grant became a general and fought his first significant battles) and hints at a date before 1868 (when he was elected President).- RBW
File: Dean102

Mule


DESCRIPTION: "The mule he is the funniest sight; he's made of ears and dynamite." "Some folks don't treat mules with respect; they say he has no intellect." "The mule attends to his own biz; He don't look loaded, but he is."
AUTHOR: unknown
EARLIEST DATE: 1929 (Henry, from Annie E. Franklin)
KEYWORDS: humorous animal nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
MHenry-Appalachians, p. 225, "Mule" (1 text)
CROSS-REFERENCES:
cf. "O Tannenbaum (Oh Christmas Tree)" (tune) and refences there
cf. "The Mule, (Never Take the Hindshoe from a Mule)" (subject)
File: MHAp225

Mule Skinner Blues


DESCRIPTION: "Good morning, Captain, Good morning, shine... Do you need another mule skinner out on your new road line?" About the hard life on the road work gang, waiting for water, and dealing with a mule
AUTHOR: unknown
EARLIEST DATE: 1930 (recording, Jimmie Rodgers)
KEYWORDS: work loneliness animal floatingverses
FOUND IN: US
REFERENCES (3 citations):
Lomax-FSNA 152, "Mule Skinner Blues" (1 text, 1 tune, with one stanza of "T for Texas" thrown in for fun)
Silber-FSWB, p. 129, "Mule Skinner Blues" (1 text)
Jackson-DeadMan, pp. 67-70, "I Can Buckle a Wheeler" (2 texts, 2 tunes, both probably the same as one of the composite parts of Lomax's "Levee Camp Holler"; the "A" text also contains a large part of "Mule Skinner Blues")
Roud #3437
RECORDINGS:
Roy Acuff, "Mule Skinner Blues" (OKeh 05638, 1940)
Maddox Bros. & Rose, "New Muleskinner Blues" (4-Star 1240/4-Star 1288, n.d. but post-WWII)
Bill Monroe & His Blue Grass Boys, "Mule Skinner Blues" (Bluebird B-8568, 1940; RCA Victor 20-3163, 1948)
Bill Monroe & his Bluegrass Boys, "New Muleskinner Blues" (Decca 46222, 1950)
Sonny Osborne, "Mule Skinner Blues" (Kentucky 605, n.d.)
Jimmie Rodgers, "Mule Skinner Blues (Blue Yodel #8)" (Victor 23503, 1930; Bluebird B-6275, 1936; RCA Victor 20-6205 [as Jimmie Rodgers w. the Rainbow Ranch Boys], 1955)
Pete Seeger w. Jerry Silverman & Sonny Terry, "Muleskinner Blues" (on HootenannyTonight)
NOTES: A "skinner" is a teamster.
To the best of my knowledge, every known version of this goes back to Jimmie Rodgers ("Blue Yodel #8"). I doubt the song can truly be considered traditional. - RBW
To add to the fun, the Lomaxes tacked part of another Rodgers piece, "T for Texas," onto the end of this one. Given that neither song has much of a plot, it can be hard to separate the resulting hybrids. - PJS, RBW
One more bit of mixture: "Chinaman" Johnson's song "I Can Buckle a Wheeler," which seems to be mostly the same as the song the Lomaxes call "Levee Camp Holler," starts with a couple of verses of this. "Chinaman" sang the song more than thirty years after Rodgers recorded it, so the two could have simply been attracted together -- but the flip side is, who was worrying about mule behavior in 1965? I think we just have to call the whole thing a mess. - RBW
Last updated in version 2.4
File: LoF152

Mule Skinner Blues (II)


See T for Texas (Blue Yodel #1) (File: LoF152A)

Mule Skinner's Song


DESCRIPTION: "Oh, I drove three mules for George McVane, And I drove them three miles on a chain. Nigh one Jude and the middle one Jane, And the one on the stick she didn't have no name."
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: animal harvest work
FOUND IN: US
REFERENCES (1 citation):
Sandburg, p. 400, "Mule Skinner's Song" (1 fragment, 1 tune)
File: San400

Mule, The (Never Take the Hindshoe from a Mule)


DESCRIPTION: "A story come down from old Mathuslam... You'll make a great mistake... If you bother around the hind parts of a mule. So never tickle a mule when he's reposing; If you disturb his peaceful slumbers, you're a fool...." Thus the practical advice continues
AUTHOR: Sam Devere
EARLIEST DATE: 1882
KEYWORDS: animal humorous parody
FOUND IN: US(MA)
REFERENCES (2 citations):
FSCatskills 108, "The Mule" (1 text, 1 tune)
DT, MULESONG*
Roud #4601
CROSS-REFERENCES:
cf. "Never Take the Horseshoe from the Door" (of which this is a parody)
cf. "Mule" (subject)
NOTES: Written as a parody of the popular song "Never Take the Horseshoe from the Door" (by Edward Harrigan and Dave Braham). As the original was written in 1880, it didn't take long for the parodists to start. - RBW
Last updated in version 2.5
File: FSC108

Mules That Walked Our Fo'c'sle Deck, The


DESCRIPTION: "The mules that walked our fo'c'sle deck, They were two mules of fame; They sailed the Lakes for many a year." The singer describes the mules, the tasks they did, how they adapted to sailing, the messes they made, and says one of them should be mate
AUTHOR: unknown
EARLIEST DATE: before 1952 (collected from James Dix and others by Walton)
KEYWORDS: animal work sailor ship humorous
FOUND IN: Canada(Ont) US(MW)
REFERENCES (1 citation):
Walton/Grimm/Murdock, pp. 135-137, "The Mules That Walked Our Fo'c'sle Deck" (1 composite text)
NOTES: Many deep-sea sailing vessels carried animals aboard -- chickens on short voyages, perhaps even pigs and cattle for long. The idea was to have fresh meat. Great Lakes vessels, never far from shore, normally did not do this, so a good chunk of this song is devoted to complaints about the two mules' waste products.
According to Walton, many timber vessels carried mules aboard, to do the heavy lifting of loading and unloading logs. When this work was taken over by steam engines, they were called "donkey engines."
Walton's informant said that work on these "horseshit boats" was extremely wearying, so sailors rarely signed on for more than one trip. Hence it was quite possible (as in this song) that the mules would be more used to the work than the sailors.
Walton indicates no tune for this, but I can't help but suspect that it is the same melody as that used for "On Mules We Find Two Legs (Before/Behind)," which I seem to recall my father singing to the tune of "Auld Lang Syne." - RBW
Last updated in version 2.4
File: WGM135

Mullaghdoo


DESCRIPTION: The singer recalls how "Hugh Fulton, once my comrade dear, Pursuing fortune, left his home"; Hugh is now in Nova Scotia. The singer is lonely at home now that Hugh is far away. When he left, Hugh asked that they play Auld Lang Syne for Mullaghdoo
AUTHOR: unknown
EARLIEST DATE: 1923 (Sam Henry collection)
KEYWORDS: emigration separation
FOUND IN: Ireland
REFERENCES (2 citations):
SHenry H2, pp. 215-216, "" (1 text, 2 tunes -- Sam Henry's different transcriptions of the same original)
DT, MULLGDOO*
NOTES: An unusual emigration song, told by one of those left behind. - RBW
File: HHH002

Mullinabrone


DESCRIPTION: The singer sees two lovers saying goodbye. He is going to America; she fears he will forget her. At last she can stand it no longer; she buys passage to America. At first she cannot find him, but meets him eventually; they are married
AUTHOR: unknown
EARLIEST DATE: 1928 (Sam Henry collection)
KEYWORDS: love courting separation emigration reunion
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H242, p. 483-484, "Mullinabrone" (1 text, 1 tune)
Roud #2494
CROSS-REFERENCES:
cf. "You Lovers All" (plot)
cf. "My Father's Servant Boy" [Laws M11] (plot)
cf. "Erin's Flowery Vale (The Irish Girl's Lament)" [Laws O29] (lyrics)
NOTES: The lyrics of this song often overlap those of "Erin's Flowery Vale," and the first part of the plot is also the same. But this is somewhat less, um, flowery, and it also has a proper ending, which "Erin's Flowery Vale" (as defined by Laws) does not. There probably is kinship, but perhaps the most likely explanation is that both split off from the same roots; they aren't really the same song any longer. - RBW
File: HHH242

Mullnabeeny (Mill of Boyndie)


DESCRIPTION: "When I was young and in my prime, Guid-fegs, like me there wisna mony." The singer recalls his success at a young age: A good fee, fine clothes, and the attention of the ladies. He wishes he were back in the days when his old hat was new
AUTHOR: unknown
EARLIEST DATE: 1906 (GreigDuncan3)
KEYWORDS: farming age clothes
FOUND IN: Britain(Scotland)
REFERENCES (3 citations):
Greig #167, pp. 2-3, "Mullnabeeny" (1 text)
GreigDuncan3 441, "Mullnabeeny" (4 texts, 1 tune)
Ord, p. 249, "Mill of Boyndie (Mullnabeeny)" (1 text)
Roud #5576
CROSS-REFERENCES:
cf. "When This Old Hat Was New" (the concept of "When this old hat was new")
ALTERNATE TITLES:
Mill o' Beenie
When My Auld Hat Was New
NOTES: Ord explains that the name "Mullnabeeny" is local dialect for "Milne of Boyndie" -- yet calls his version "Mill of Boyndie." - RBW
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Mill of Boyndie (441) is at coordinate (h6-7,v6) on that map [near Banff, roughly 41 miles NNW of Aberdeen]. - BS
Last updated in version 2.4
File: Ord249

Mulroy Bay


DESCRIPTION: The singer thinks about the hills of home, where he spent his happy childhood. "I'll soon be coming back to the place, To the sweetheart that I met so many years ago" at Mulroy Bay.
AUTHOR: unknown
EARLIEST DATE: 1986 (McBride)
KEYWORDS: love home return reunion nonballad
FOUND IN: Ireland
REFERENCES (1 citation):
McBride 55, "Mulroy Bay" (1 text, 1 tune)
NOTES: Mulroy Bay is in Donegal. - BS
File: McB1055

Munro's Confession


See The Murder of Sarah Vail [Laws F9] (File: LF09)

Munro's Tragedy


See Donald Munroe [Laws J12] (File: LJ12)

Murder of Alan Beyne, The


DESCRIPTION: A young man is to be hanged for the murder of Alan Beyne. He repeatedly protests his innocence, but judge and jury condemned him. Just before the sentence is carried out, a rider rides up, and proves to be Beyne. The singer is saved
AUTHOR: unknown
EARLIEST DATE: 1935
KEYWORDS: execution punishment reprieve mother murder
FOUND IN: US(MW,So) Australia
REFERENCES (2 citations):
Meredith/Anderson, pp. 243-245, "The Murder of Alan Beyne" (1 text, 1 tune)
DT, ALANBANE*
Roud #2974
RECORDINGS:
Almeda Riddle, "Alan Bain" (on LomaxCD1707)
ALTERNATE TITLES:
Alan Bane
Alan Bain
NOTES: Said to be based on an actual event of the 1860s. - RBW
According to the notes in Lomax, W. K. McNeil says this originated in Australia. McNeil tends to be right a lot. - PJS
File: MA243

Murder of Alfreda Pike, The


DESCRIPTION: Out walking, Alfreda Pike, sixteen, is overtaken and her throat is cut. If the murderer is found he'll be lynched. Alfreda is buried at Harbour Grace.
AUTHOR: unknown
EARLIEST DATE: 1959 (Peacock)
KEYWORDS: murder burial
HISTORICAL REFERENCES:
Jan 5, 1870 - murder of Alfreda Pike in Harbour Grace by Constable Furey
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Peacock, pp. 821-822, "The Murder of Alfreda Pike" (1 text, 1 tune)
Roud #9810
NOTES: Constable Furey, who had been involved in the murder investigation, made a death-bed confession, more than 50 years later. Evidence of the confession was lost until revealed in a book by Jack Fitzgerald published in 1997. Source is an excerpt from The Hangman is Never Late by Jack Fitzgerald on the Creative Book Publishing site. Creative Book Publishing is in St. John's, Newfoundland - BS
File: Pea821

Murder of Ann O'Brien, The


See James MacDonald [Laws P38] (File: LP38)

Murder of Charles Stacey, The


DESCRIPTION: Charles Stacey goes out on a Sunday morning and meets three drunks -- one of whom had lost his girlfriend to Stacey. The three ruffians wait till Stacey and the girl return from church, then shoot him. Stacey shoots back at one, then dies and is buried
AUTHOR: unknown
EARLIEST DATE: 1935 (Randolph)
KEYWORDS: murder courting revenge burial
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 173, "The Murder of Charles Stacey" (1 text)
Roud #4119
NOTES: This song is item dF47 in Laws's Appendix II. - RBW
File: R173

Murder of Dennis Somers, The


See Murder of Young Somers (File: GrMa153)

Murder of F. C. Benwell, The [Laws E26]


DESCRIPTION: J. R. Birchell is condemned to die for murdering F. C. Benwell. He had tried to pretend innocence in the trial; the attempt failed. His wife bids him farewell, and he is hanged
AUTHOR: unknown
EARLIEST DATE: 1918
KEYWORDS: murder execution
FOUND IN: US(MW,Ro) Canada(Ont)
REFERENCES (5 citations):
Laws E26, "The Murder of F. C. Benwell"
LPound-ABS, 65, pp. 148-149, "The Death of Bendall" (1 text, joined with "Charles Guiteau")
Burt, p. 228-229, "(J. R. Birchell)" (1 text)
Spaeth-WeepMore, pp. 135-136, "The Murder of F. C. Benwell" (1 text)
DT 732, MURBENW*
Roud #2255
RECORDINGS:
Lamont Tilden, "The Murder of F. C. Benwell" (on Ontario1)
CROSS-REFERENCES:
cf. "Charles Guiteau" [Laws E11] (tune & meter) and references there
NOTES: According to Spaeth, "J. R. Birchell killed F. C. Benwell in the swamps near Blenheim, Ontario, and then wrote the account of his own execution...." As, however, no date is offered, and the same story is told about every "Charles Guiteau" variant, the reader is advised to take this with a grain of salt. - RBW
File: LE26

Murder of Grace Brown, The


See Grace Brown and Chester Gillette [Laws F7] (File: LF07)

Murder of James A. Garfield, The


See Charles Guiteau [Laws E11] (File: LE11)

Murder of John Codman, The


DESCRIPTION: "What sad and awful scenes are these Presented to your View." The crimes of Mark and Phillis, slaves who murdered their master, "appear as black as hell." The two are condemned for "poys'ning" their master, and are condemned to die
AUTHOR: unknown
EARLIEST DATE: 1958 (Burt)
KEYWORDS: slave murder poison punishment execution
HISTORICAL REFERENCES:
Sep 18, 1755 - Execution of the slaves Mark and Phillis for their role in the poisoning of their owner John Codman of Charlestown, Massachusetts. A third slave, Phoebe, was acquitted
FOUND IN: US
REFERENCES (1 citation):
Burt, pp. 154-155, (no title) (1 excerpted text)
File: Burt154

Murder of John Dugar, The


DESCRIPTION: John Dugar and Charles Robisher quarrel. Dugar murders Captain Charles. Dugar reaches Liverpool and tries to take ship, but is overtaken by a detective. He is tried and condemned.
AUTHOR: unknown
EARLIEST DATE: 1937 (Flanders/Olney)
KEYWORDS: murder escape trial punishment execution fight
FOUND IN: US(NE)
REFERENCES (1 citation):
Flanders/Olney, pp. 172-173, "The Murder of John Dugar" (1 text, 1 tune)
ST FO172 (Partial)
Roud #4681
NOTES: Helen Flanders's informant, W. B. Morton, believed that this murder took place in Digby, Nova Scotia, although his text (which is complete on the face of it but badly confused) seems to point to County Clare in Ireland - RBW
File: FO172

Murder of John Love, The


DESCRIPTION: Broadside. "Again the murderer's ruthless hand Has stained with blood our happy land!" "Three brothers bent on crimes and blood... Have murdered Love, their nearest friend." "The gallows now must end our days, And we must walk in unknown ways."
AUTHOR: unknown
EARLIEST DATE: 1958 (Burt)
KEYWORDS: murder punishment execution friend brother gallows-confession
HISTORICAL REFERENCES:
July 17, 1825 - Hanging of brothers Isaac, Israel, and Nelson Thayer for the murder of John Love, to whom they owed money
FOUND IN: US
REFERENCES (1 citation):
Burt, p. 77, (no title) (2 excerpts)
File: Burt077

Murder of Laura Foster, The [Laws F36]


DESCRIPTION: Laura Foster's fiance and his new sweetheart kill her and bury her. Her parents find the body, and it is agreed that she has been murdered. In the Brown texts, at least, the fate of the murderer is not mentioned
AUTHOR: Thomas Land?
EARLIEST DATE: 1947 (Brown)
KEYWORDS: murder corpse family
HISTORICAL REFERENCES:
1866 - Murder of Laura Foster by Thomas C. Dula (and his new sweetheart Ann Melton). Dula apparently killed Foster because he had contracted a venereal disease from her
May 1, 1868 - Dula is hanged for the murder.
FOUND IN: US(SE)
REFERENCES (2 citations):
Laws F36, "The Murder of Laura Foster"
BrownII 302, "The Murder of Laura Foster" (1 text plus mention of 3 more)
Roud #1935
RECORDINGS:
Sheila Clark, "The Ballad of Laura Foster" (on LegendTomDula)
CROSS-REFERENCES:
cf. "Tom Dooley" [Laws F36A] (plot)
cf. "Tom Dula's Lament" (subject)
NOTES: Laws does not name an author for this ballad, but the attribution to Thomas Land (a Confederate veteran) seems to have been well known to Brown's informants, and the poetry has the stilted feel of a composition which, at the time of collection, was still close to its composed origins.
For background to this song, see the notes to "Tom Dooley." - RBW
John Craig, the source for [Sheila] Clark's version, learned it from his great-grandmother, Zora Church Lee. He describes the ballad as having been "taken from a popular local account" written by Land. So it sounds like Land wrote the story in prose, which was then made into poetry by an unknown author. Clark's song retains the stilted feel Bob mentions. - PJS
File: LF36

Murder of Maria Marten, The


DESCRIPTION: William Corder has Maria Marten meet him at the red barn before they go to Ipswich to be married. He murders her and buries the body in the red barn. Her body is discovered by following her mother's dream. Corder is tried and sentenced to be hanged.
AUTHOR: unknown
EARLIEST DATE: before 1862 (broadside, Bodleian Harding B 14(239))
KEYWORDS: courting murder dream gallows-confessions mother
HISTORICAL REFERENCES:
Aug 11, 1828 - William Corder is executed for the May 1827 murder of Maria Marten (source: NLScotland commentary to broadside L.C.Fol.70(71b))
FOUND IN:
REFERENCES (1 citation):
DT, MARMARTN*
Roud #215
BROADSIDES:
Bodleian, Harding B 14(239), "Murder of Maria Marten, by William Corder" ("Come all you thoughtless young men a warning take by me"), E.M.A. Hodges (London), 1855-1861; also Firth c.17(110), Firth b.25(379), "Murder of Maria Marten by W. Corder"; Firth c.17(111), "Murder of Maria Martin by W. Corder"
NLScotland, L.C.Fol.70(71b), "The Murder of Maria Marten by W. Corder," unknown, c.1845
CROSS-REFERENCES:
cf. "Maria Marten" (subject)
NOTES: Description based on broadside Bodleian, Harding B 14(239). Roud assigne the same number to "Maria Marten"; the texts are clearly different and told from a different point of view. This is a gallows confession.
There is a sequel broadside -- Bodleian, Johnson Ballads 2416, "A copy of verses, on the execution of Wm. Corder, for the murder of Maria Marten, in the Red Barn, Polstead," unknown, no date -- in which he is executed August 11. The commentary to Broadside NLScotland L.C.Fol.70(71b) states that a "broadsheet published in London by James Catnach about this crime sold over one million copies."
Hall, notes to Voice03 for "Maria Marten": "The story captured the popular imagination through its additional representation in the melodrama, Murder In The Red Barn, played by countless amateur and touring companies."
Yates, Musical Traditions site Voice of the People suite "Notes - Volume 3" - 19.8.02: "[Marten's] three illegitimate children - to different fathers - and her possible criminal activities with Corder became overshadowed by the myth that grew up around her death. Indeed, research now suggests that her mother's 'supernatural dreams' were motivated not so much by psychic phenomena as by her own criminal knowledge and probable association with Corder."
A note for The Haunting of William Corder on the Alistair Ferguson site: "The true-life murder of Maria Marten, upon which John Latimer's famous [Victorian] melodrama 'Maria Marten; or The Murder in the Red Barn" is based, has been adapted several times over the years. This is my version of the story."
There are references at IMDB [Internet Movie DataBase site] to movies from 1902 (Maria Marten: or, The Murder at the Red Barn), and 1935 (Maria Marten, or The Murder in the Red Barn). - BS
The Digital Tradition lists this has been collected from one Joseph Taylor (initially in 1908), who sang a three-verse fragment to the tune of "The Star of the County Down"/"Dives and Lazarus." - RBW
File: BdTMoMM

Murder of Marian Parker, The


See Marian Parker (II) (File: LdF56)

Murder of Mary Tuplin, The


DESCRIPTION: June 1887. Mary leaves home "her lover for to see Down by the river Margaret." Her jealous lover shoots her "through her brain," ties a rope with a stone around her waist "and dashed her in the tide." Her body being found, Willy Millman is hanged.
AUTHOR: unknown
EARLIEST DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: execution murder trial
HISTORICAL REFERENCES:
Jun 28, 1887 - Murder of Mary Tuplin by William Millman
1888 - Execution of Millman
FOUND IN: Canada(Mar)
REFERENCES (1 citation):
Dibblee/Dibblee, pp. 71-72, "The Murder of Mary Tuplin" (1 text, 1 tune)
Roud #12463
CROSS-REFERENCES:
cf. "Prince Edward Island Murder" (subject)
cf. "The Millman Song" (subject)
cf. "The Millman and Tuplin Song" (subject)
NOTES: Roud has at least five different numbers for this event:
Roud #1837: Creighton-NovaScotia 140, "Prince Edward Island Murder" [Laws dF59]
Roud #4129: Doerflinger, pp. 285-286, "The Millman Song" (also Ives-DullCare, pp. 180-181, "The Millman Murder Trial") [LawsdF60]
Roud #9179: Ives-DullCare, pp. 46-47, "The Millman and Tuplin Song" (also Manny/Wilson 50, "Young Millman")
Roud #9552: Shea, pp. 174-179, "The Millman Tragedy"
Roud #12463: Dibblee/Dibblee pp. 72-73, "The Murder of Mary Tuplin" - BS
File: Dib071

Murder of McBriars, The


DESCRIPTION: McBriars, "master of an Orange Lodge," stops for whisky at a tavern and proclaims his Orange loyalty too loudly. He is killed "by Papish schemes" and "three villains" "He was an old and feeble man not able to resist" Thousands attend the funeral.
AUTHOR: unknown
EARLIEST DATE: c.1860 (Zimmermann)
KEYWORDS: murder funeral drink political
FOUND IN:
REFERENCES (2 citations):
Zimmermann 99, "The Murder of McBriars" (1 text, 1 tune)
OrangeLark 14, "The Murder of McBriars" (1 text, 1 tune)
NOTES: Zimmermann: "McBriars is said to have been killed in the early 1860's." - BS
File: Zimm099

Murder of Miss Wyatt, The


See Henry Green (The Murdered Wife) [Laws F14] (File: LF14)

Murder of Pearl Bryan, The (Pearl Bryan V)


DESCRIPTION: The Setters take on the Peal Bryan story: "A horrible crime was committed Soon was brought to light; For parents to look on their headless girl, What a sad and terrible sight." Jackson's insanity plea fails; he is to be executed; Walling's trial awaits
AUTHOR: adapted by James W. Day ("Jilson Setters")
EARLIEST DATE: 1939 (Thomas)
KEYWORDS: murder trial execution punishment
HISTORICAL REFERENCES:
Feb 1, 1896 - Discovery of the headless body of Pearl Bryan, killed along with her unborn child by Scott Jackson and Alonzo Walling, near Fort Thomas, Kentucky
Mar 20, 1897 - Execution of Jackson and Walling
FOUND IN: US(Ap)
REFERENCES (2 citations):
Thomas-Makin', pp. 131-135, "The Murder of Pearl Bryan" (1 text, 1 tune)
Burt, p. 32, (no title) (1 excerpt)
ST ThBa131 (Partial)
Roud #500
CROSS-REFERENCES:
cf. "The Jealous Lover (I), The (Florella, Floella) (Pearl Bryan II) (Nell Cropsey II) [Laws F1A, B, C]" [Laws F1], particularly the "B" subgroup of Pearl Bryan ballads
cf. "Pearl Bryan I" [Laws F2]
cf. "Pearl Bryan III" [Laws F3]
cf. "Pearl Bryan (IV)"
NOTES: Thomas's version is rather a curiosity, since she learned it from Jilson Setters decades after the murder but he never updated the song. There is no evidence that it ever circulated in tradition.
Roud lumps this with Laws F1(B). But while it's just possible that that song inspired Jilson Setters, this is not a version of the Laws ballad. But my guess is that the song was inspired by the piece which Burt excerpts, since both songs end with a stanza about Pearl and her head being reunited in heaven. - RBW
File: ThBa131

Murder of Sarah Vail, The [Laws F9]


DESCRIPTION: John Monroe, a married man with two children, seduces Sarah Vail, who bears him a child. He takes woman and child on a trip, murders them, and hides their bodies. When his crime is discovered, he is hanged
AUTHOR: unknown
EARLIEST DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: murder pregnancy children corpse
HISTORICAL REFERENCES:
Oct 31, 1868 - Murder of Sarah Vail and her child
Feb 1870 - Hanging of John Monroe
FOUND IN: US(NE) Canada(Mar)
REFERENCES (3 citations):
Laws F9, "The Murder of Sarah Vail"
Creighton-SNewBrunswick 89, "Munro's Confession" (1 text, 1 tune)
DT 760, SARAVAIL
Roud #2258
File: LF09

Murder of Susan Newham, The


DESCRIPTION: "Come friends and relations, I b id you adieu, The grace is now open to welcome me through." The singer admits, "I killed Susan Newham as you have heard tell," bids his friends not to mourn, and looks forward to seeing her in heaven
AUTHOR: unknown
EARLIEST DATE: 1921 (Burt)
KEYWORDS: murder execution reunion gallows-confession
FOUND IN: US
REFERENCES (1 citation):
Burt, p. 178, (no title) (1 text)
NOTES: According to Burt, J. B. Crane was a schoolteacher in Hangtown, California, who became enamored of his student Susan Newham. She rejected him, and he murdered her in 1854. Crane reportedly surrendered to the police, but was captured by vigilantes and hung. - RBW
File: Burt178

Murder of the Double-Dyed Informer James Carey, The


DESCRIPTION: "Kilmainham's blood is avenged" by the murder of James Carey on board the Melrose. "So traitors all beware I say, And innocent blood don't take away, For vengeful hands shall you repay"
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: betrayal murder revenge Africa
HISTORICAL REFERENCES:
The Phoenix Park murders (source: primarily Zimmermann, pp. 62, 63, 281-286.)
May 6, 1882 - Chief Secretary Lord Frederick Cavendish and the Under Secretary Thomas Henry Burke are murdered by a group calling themselves "The Invincible Society."
January 1883 - twenty seven men are arrested.
James Carey, one of the leaders in the murders, turns Queen's evidence.
Six men are condemned to death, four are executed (Joseph Brady is hanged May 14, 1883; Daniel Curley is hanged on May 18, 1883), others are "sentenced to penal servitude," and Carey is freed and goes to South Africa.
July 29, 1883 - Patrick O'Donnell kills Carey on board the "Melrose Castle" sailing from Cape Town to Durban.
Dec 1883 - Patrick O'Donnell is convicted of the murder of James Carey and executed in London (per Leach-Labrador)
FOUND IN:
REFERENCES (1 citation):
Zimmermann, p. 63, "A New Song on the Murder of the Double-Dyed Informer James Carey" (references only)
BROADSIDES:
Bodleian, Harding B 26(452), "A New Song on The Murder of the Double-Dyed Informer James Carey ("In a far off land, 'neath an African sun "), unknown, n.d.
CROSS-REFERENCES:
cf. "The Phoenix Park Tragedy" (subject: the Phoenix Park murders) and references there
NOTES: Per notes to broadside Bodleian Harding B 26(452): "Carey, James, 1845-1883 "
Zimmermann p. 62: "The Phoenix Park murders and their judicial sequels struck the popular imagination and were a gold-mine for ballad-writers: some thirty songs were issued on this subject, which was the last great cause to be so extensively commented upon in broadside ballads."
Zimmermann p. 63 notes that, in the chorus of this broadside, the executed men have become "those martyrs brave."
Broadside Bodleian Harding B 26(452) is the basis for the description.
Double-dyed: "Dyed twice; thoroughly or intensely colored; hence; firmly fixed in opinions or habits; as, a double-dyed villain." (Source: Webster's Revised Unabridged Dictionary (1913) at the Online Dictionary site) - BS
File: BrdMDDIJ

Murder of the Gibbons Children, The


See The Ashland Tragedy (III) [Laws F27] (File: LF27)

Murder of the King of Scots, The


See Earl Bothwell [Child 174] (File: C174)

Murder of Thomas Walsh, The


DESCRIPTION: "It's a sad and cruel tragedy I am going to relate, Happened near Willow City in North Dakota state." Harmless old Thomas Walsh is found dead. Sheriff Billy Pitts arrests William Ross, who is convicted and bids a sad farewell
AUTHOR: Thomas Cave?
EARLIEST DATE: 1958 (Burt)
KEYWORDS: murder trial execution punishment
HISTORICAL REFERENCES:
July 5, 1903 - Discovery of the murdered body of farmer Thomas Walsh
Mar 6, 1903 - William Ross executed (in Ohio) for the murder of Ross
FOUND IN: US
REFERENCES (1 citation):
Burt, pp. 82-83, (no title) (1 text)
File: Burt082

Murder of William Funston, The


DESCRIPTION: William Funston is murdered near Trillick. The Catholic Maguires are arrested for the crime. "Two purged Orangemen named Smith and Armstrong" are paid to swear against them. McGrory implicates Armstrong. The singer hopes they will be acquitted.
AUTHOR: unknown
EARLIEST DATE: 1973 (Morton-Maguire)
KEYWORDS: murder trial accusation lie political
FOUND IN: Ireland
REFERENCES (1 citation):
Morton-Maguire 52, pp. 147-148,175, "The Murder of William Funston" (1 text, 1 tune)
Roud #2935
NOTES: The song says the murder occurred near Trillick town on March 9, fair-day of Irvinestown, County Fermanagh. Morton-Maguire: "... such happenings are likely to take place when inter-religious tension is high in this country, so perhaps we can suggest sometime during the 1910s or 1920s as the possible date of this particular incident. At such times each side of the religious divide will tend to think the worst of those on the other side." Funston himself was, according to the song, an Orangeman. - BS
File: MoMa052

Murder of Young Somers


DESCRIPTION: "When the news it did come in, Sebastopol was taken, (there was rejoicing in the city, and drinking, and young Somers was murdered.)" Somers is knifed to death by accident; "(the man who stabbed Somers ... was after another man)"
AUTHOR: unknown
EARLIEST DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: fight war death drink
HISTORICAL REFERENCES:
Sep 9, 1855 - Fall of Sevastopol following an 11 month siege
FOUND IN: Canada(Newf)
REFERENCES (2 citations):
Greenleaf/Mansfield 153, "Murder of Young Somers" (1 fragment)
Peacock, pp. 823-824, "The Murder of Dennis Somers" (1 text, 1 tune)
Roud #17750
NOTES: Peacock believes the murder took place in St John's. - BS
File: GrMa153

Murder Song


DESCRIPTION: A rich lady asks poor Willie to marry. She gives him 15000 pounds for their passage to a country where he can be a gentleman. He throws her in the deep. A wave reveals the corpse. Good Friday her ghost testifies against him and he is sentenced to die
AUTHOR: unknown
EARLIEST DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: execution trial murder river gallows-confessions ghost
FOUND IN: Canada(Mar)
REFERENCES (1 citation):
Creighton-SNewBrunswick 90, "Murder Song" (1 text, 1 tune)
ST CrSNB090 (Partial)
Roud #2769
NOTES: Well, almost a gallows-confession. The last verse is truncated but has his parents standing by for the execution on April 29, but -- while the ballad starts with a hope that the listeners will pray for him -- he doesn't get to repeat that request at the end.
Creighton-SNewBrunswick: "The place name may be Lipper or Lifford; it was difficult to make out." I repeat that here because it may help connect this tale with some other ballad or some specific murder. - BS
My obvious conjecture would be "Liffey." But that doesn't really help -- though obviously a lot of Irish emigrated to America, so it could connect with the emigration theme. Nor does the April 29 date, though of course that could have been garbled. - RBW
File: CrSNB090

Murdered Boy, The


See The Twa Brothers [Child 49] (File: C049)

Murdered Brother, The


See Edward [Child 13] (File: C013)

Murdered by a Brother [Laws F12]


DESCRIPTION: A brother takes his sister sailing. He denounces her adulterous liaison and announces that he will be avenged. He has already drowned her lover; now he drowns her and sails back alone
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: murder adultery sea
FOUND IN: US(NE)
REFERENCES (2 citations):
Laws F12, "Murdered by a Brother"
DT 758, MURDBRO
Roud #1932
File: LF12

Murdered Girl, The


See The Wexford Girl [Laws P35] AND The Banks of the Ohio [Laws F5] AND The Jealous Lover [Laws F1] (File: LP35)

Murdered Pedlar, The


DESCRIPTION: "Vouchsafe thine aid, ye wondrous nine... A tragic scene transpired of late, The truth of which I will relate." "A Jewish pedlar was shot down, Ah, by a wretch called Warren Wood." "Hiram Williams was the peddlar's name." Wood is sentenced to hang
AUTHOR: unknown
EARLIEST DATE: 1958 (Burt)
KEYWORDS: murder execution punishment Jew
HISTORICAL REFERENCES:
Aug 19, 1853 - Warren Wood robs and attempts to murder Hiram Williams (Williams survived long enough to identify a photograph of Wood)
Jun 20, 1864- Wood is hanged for murder
FOUND IN: US
REFERENCES (1 citation):
Burt, pp. 79-80, "(The Murdered Pedlar)" (1 text)
File: Burt079

Murdered Wife or the Case of Henry G. Green, The


DESCRIPTION: "Come young and old attention give and lend a listening ear" as the singer tells of "a gay and sprightly youth who lived in Berlin Town." Henry Green becomes enamored of beautiful singer Mary Ann Wyatt, marries her, then murders her, and confesses
AUTHOR: unknown
EARLIEST DATE: 1937 (Bulletin of theFolk Song Society of the Northeast)
KEYWORDS: murder marriage execution poison
HISTORICAL REFERENCES:
1845 - Murder of Mary Ann Wyatt Green (February) and execution of Henry Green (September)
FOUND IN: US
REFERENCES (1 citation):
Burt, pp. 8-11, "The Murdered Wife or the Case of Henry G. Green" (1 text)
CROSS-REFERENCES:
cf. "Henry Green (The Murdered Wife)" [Laws F14] (subject, plot)
NOTES: This rather rare broadside on the Mary Wyatt/Henry Green story can be distinguished from the more common ballad "Henry Green (The Murdered Wife)" by the lines quoted in the description and by its length.
According to Burt, Mary Ann Wyatt was a performer in a troupe which staged temperance dramas. Her appearance so excited Henry Green that he joined the troupe to court her. They were married in February 1845.
The marriage was so sudden that Green felt compelled to publicize it with a sleighing party for his friends, at which a former love told him that she had once wished to marry him. Wyatt felt sick the next day, and Green went to get some medicine. He shoved more and more down her throat, and she died by poison.
Burt claims that there are seven different songs written about this story, but cites only this, parts of the Laws ballad, and a single stanza of a third (which might, however, be part of the Laws piece). - RBW
File: Burt008

Murphy in the Cupboard


DESCRIPTION: The singer loves Molly McClare. He finds her kitchen door open and hides in a cupboard. She returns kissing Murphy. When Murphy also has to hide in the cupboard he reveals he is Molly's husband. The singer locks Murphy in and leaves with the key.
AUTHOR: unknown
EARLIEST DATE: 1980 (Lehr/Best)
KEYWORDS: love humorous hiding husband wife
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Lehr/Best 81, "Murphy in the Cupboard" (1 text, 1 tune)
CROSS-REFERENCES:
cf. "The Boatsman and the Chest" [Laws Q8] (plot) and references there
File: LeBe081

Murrumbigdee Shearer, The


DESCRIPTION: "Come, all you jolly natives, and I'll relate to you Some of my observations -- adventures, too, a few." The singer tells of the stations he has visited to ask for work. Denied employment, he has stolen and even burned the place. He ends up in prison
AUTHOR: unknown
EARLIEST DATE: 1905 (Paterson, _Old Bush Songs_)
KEYWORDS: work hardtimes prison
FOUND IN: Australia
REFERENCES (1 citation):
Paterson/Fahey/Seal, pp. 192-193, "The Murrumbidgee Shearer" (1 text)
CROSS-REFERENCES:
cf. "The Maryborough Miner" (tune, theme)
File: PFS192

Murty Hynes


DESCRIPTION: Poor Bermingham is evicted from his farm for failure to pay rent. Murty Hines takes the farm but is persuaded by the Land League to give it up. The people celebrate. "Give three cheers for the Land League and nine for Murty Hines"
AUTHOR: T.D. Sullivan (1827-1914) (source: OLochlainn-More)
EARLIEST DATE: 1914 (OLochlainn-More)
KEYWORDS: poverty Ireland political
FOUND IN: Ireland
REFERENCES (1 citation):
OLochlainn-More 14, "Murty Hynes" (1 text, 1 tune)
Roud #9757
NOTES: Formed in 1879, the Irish tenant farmers' Land League fought evictions and spearheaded land reforms through Parliament. - PJS
For other songs and more information on the League, see "The Moneygran Pig Hunt" and "The Bold Tenant Farmer."
Sullivan is the author of a number of Irish patriotic poems, of which "God Save Ireland" is probably the best-known. - RBW
File: OLcM014

Mush a Doody


See The Jug of Punch (File: K278)

Music Alone Shall Live


DESCRIPTION: German: "Himmel und Erde mussen verghen, Aber die musici (x3) Bleiben bestehn." English: "All things shall perish from under the sky, Music alone shall live (x3), Never to die."
AUTHOR: unknown
EARLIEST DATE: 1973
KEYWORDS: nonballad music
FOUND IN:
REFERENCES (2 citations):
Silber-FSWB, p. 412, "Music Alone Shall Live" (1 text)
DT, MUSICALN*
NOTES: The English translation given here, be it noted, is not really equivalent to the German, which might better be rendered along the lines of "Heaven and earth must pass away, But music (x3) still shall remain." - RBW
File: FSWB412A

Musieu Bainjo


DESCRIPTION: Creole French. "Yoyez ce mulet la, Musieu Bainjo, Comme il est insolent. Chapeau sur cote, Musieu Bainjo. La canne a la main, Musieu Bainjo. Botte qui fait crin, crin, Musieu Bainjo."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: foreignlanguage clothes
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 113, "Musieu Bainjo" (1 text, 1 tune)
File: AWG113

Muskrat


See Rattlesnake (File: LoF083)

Musselburgh Field [Child 172]


DESCRIPTION: "Two goodly hosts" meet on Musselburgh Field. The Scots enter the battle confident, but are defeated heavily. The English narrator describes the contingents defeated
AUTHOR: unknown
EARLIEST DATE: before 1750 (Percy folio)
KEYWORDS: battle nobility
HISTORICAL REFERENCES:
Sep 10, 1547 - Battle of Pinkie (Pinkie Cleuch, Musselburgh). English armies defeat the Scots
FOUND IN: Britain
REFERENCES (1 citation):
Child 172 "Musselburgh Field" (1 text)
Roud #4003
NOTES: The song claims that the battle of Pinkie was fought in "the fourth yeere of King Edwards raigne" -- but in fact 1547 was the first year of the reign of Edward VI (reigned 1547-1553). Other such errors occur in the song (e.g. the battle is dated to the twelfth of December, not the tenth of September); apparently the piece (which surely originated as a broadside) went through several stages of imperfect tradition.
Pinkie was the final major ballad of the Anglo-Scottish border wars; by the time the Scots were fully recovered, Elizabeth was Queen of England and the Scottish monarchs were her heirs; James VI, in particular, was very careful not to offend Elizabeth.
Pinkie was the final battle of a long campaign between the English and Scots over the fate of the infant Queen Mary, who came to the throne at the age of eight days (1542) and instantly found herself a pawn in the contest between England and France.
In 1543, the English under Henry VIII pressured the Scots into negotiations, and the result was a draft treaty to wed Mary to Prince Edward (the future Edward VI). The Scottish parliament, however, rejected the treaty. There followed the so-called "Rough Wooing"; Henry sent in his armies in 1544 (burning Edinburgh) and 1545, but the latter was heavily defeated at Ancrum Moor.
A quiet period followed, with continued skirmishing but no big battles. That changed after Henry VIII died in 1547. Now, with Edward VI King of England, the desire to take over Scotland was even stronger.
The battle of Pinkie itself resulted when the English Lord Protector, the Duke of Somerset, let an English army in the direction of Edinborough. The Earl of Arran gathered a Scots army -- but, as was often the case, the Scottish army was not really a unified force, but a collection of individual armies; the English won an easy victory.
Pinkie scared the Scots, but did not convince them to marry their Queen to Edward; instead, they shipped her off to France the next year. - RBW
File: C172

Musselman


DESCRIPTION: "When the summer winds blow And the buttercups grow... Where the wild curlew flies, Jimmy's favorite lies, An honest and trustworthy horse." Describes the beloved horse Musselman, how it raced and how people greeted it, and its grave
AUTHOR: unknown
EARLIEST DATE: 1975
KEYWORDS: horse racing burial
FOUND IN: Australia
REFERENCES (1 citation):
Fahey-Eureka, pp. 222-223, "Musselman" (1 text, 1 tune)
File: FaE222

Must I Go Bound


DESCRIPTION: The singer laments, "Must I go bound and you go free." (S)he hears someone sing "that marriage was a pleasant thing," but "My marriage day soon turned to woe." The singer's spouse has scorned/abused the singer; the singer hopes for revenge
AUTHOR: unknown
EARLIEST DATE: 1928 (Sam Henry collection)
KEYWORDS: marriage abuse betrayal
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H218a/b, p. 386, "Must I Go Bound" (2 texts, 1 tune)
CROSS-REFERENCES:
cf. "The Butcher Boy" [Laws P24] and references there
cf. "My Blue-Eyed Boy" (lyrics, theme)
cf. "Died for Love (I)" (theme)
cf. "Yon Green Valley" (lyrics)
cf. "Love Has Brought Me To Despair" [Laws P25] (lyrics)
NOTES: This, like "My Blue-Eyed Boy," is so close to "The Butcher Boy" that I almost listed them as one song. But where "The Butcher Boy" is relatively coherent, this is little more than a lament composed of floating verses (e.g. from "Waly Waly") and the complaint "I heard (a shepherd//fair maid) sing That marriage was a pleasant thing, [but] My (marriage/wedding) day soon turned to woe." So I've listed them separately -- but there may well be intermediate versions.
For further discussion, see the notes to "The Butcher Boy." - RBW
File: HHH218

Must I Go to Mississippi?


DESCRIPTION: "Must I go to Mississippi? Must I go or must I stay? Must I go all broken hearted? Oh, my heart shall break in two." "Who will shoe your foot...."
AUTHOR: unknown
EARLIEST DATE: 1934 (Henry, collected from Mrs. Nathan Hicks)
KEYWORDS: travel floatingverses
FOUND IN: US(SE)
REFERENCES (1 citation):
MHenry-Appalachians, p. 24, "Must I Go To Mississippi?" (1 text, of three verses, of which the last two are "Who Will Shoe Your Pretty Little Foot?")
CROSS-REFERENCES:
cf. "Who Will Shoe Your Pretty Little Foot?" (lyrics)
NOTES: Although two-thirds of the Hicks version are from "Who Will Shoe Your Pretty Little Foot," the first verse is separate. I'm splitting the songs on the odd chance that the "Must I Go to Mississippi" verse is part of something else. Though it is unlikely to matter unless we find more text. - RBW
File: MHApp024

Must I Go to Old Virginia?


See East Virginia (Dark Hollow) (File: JRSF134)

Mustang Gray (The Maid of Monterey)


DESCRIPTION: "There was a brave old Texan, his name was Mustang Gray." When the Mexicans invaded Texas, he was taken prisoner. "He wore the yoke of bondage through the streets of Monteray. A senorita loved him...." and turned him loose
AUTHOR: unknown
EARLIEST DATE: 1908
KEYWORDS: love battle prisoner rescue
FOUND IN: US(MA,So)
REFERENCES (5 citations):
Thorp/Fife IX, pp. 104-111 (23-24), "Mustang Gray" (4 texts, 1 tune)
Fife-Cowboy/West 49, "Mustang Gray" (1 text, 1 tune)
Lomax-ABFS, pp. 395-396, "Mustang Gray" (1 text, 1 tune)
Saffel-CowboyP, pp. 190-191, "Mustang Gray" (1 text)
DT, MUSTGRAY*
Roud #4035
CROSS-REFERENCES:
cf. "The Turkish Lady" [Laws O26] (plot)
cf. "Young Beichan" [Child 53] (plot)
SAME TUNE:
The Dying Soldier Boy ("Upon Manassa's bloody plain a soldier boy lay dying" -- words by A. B. Cunningham) (War Songs and Poems of the Southern Confederacy, pp. 347-348)
NOTES: Thorp/Fife notes that this song takes two forms: "In Hewitt's original aria interest is focused on the senorita and her heroic deed. The texts most current in Western American oral tradition... bring the American soldier-cowboy into central focus...."
The piece seems to have drawn its title from the 1847 novel The Volunteer, or The Maid of Monterrey, by Ned Bluntine.
The song has been variously credited to John Hill Hewitt, Tom Grey, and James Lytle. Thorp/Fife considers Hewitt (a well-known composer) to be the most likely candidate.
As "Mustang Gray," this song is item dB28 in Laws's Appendix II. - RBW
File: FT09

Mustering Day


See The Mustering Song (File: FaE158)

Mustering Song, The


DESCRIPTION: The station owner gathers the crew for mustering day. The workers head out to gather the herd when the old man is thrown into a tree and dies. The next day, the singer sees the man's ghost in his usual place, smoking his usual clay (pipe)
AUTHOR: unknown
EARLIEST DATE: 1894 (The Queenslander)
KEYWORDS: ghost death horse boss Australia
FOUND IN: Australia
REFERENCES (3 citations):
Fahey-Eureka, pp. 158-159, "The Mustering Song" (1 text, 1 tune)
Manifold-PASB, pp. 80-81, "Mustering Day" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 226-227, "The Mustering Song" (1 text)
CROSS-REFERENCES:
cf. "The Drunken Sailor (Early in the Morning)" (tune & meter)
File: FaE158

Mutlah, The


DESCRIPTION: Fragment: "Our good ship she heeled over and sank upon her side, And left her chains and anchors all in the Eddy-tide Outside the sunken Cooneys, where the Mutlah went aground, All with her general cargo, she for Halifax was bound"
AUTHOR: unknown
EARLIEST DATE: 1947 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL REFERENCES:
Apr 16, 1877 - "The ... Mutlah ... went ashore at Glynn Point, Poulshone mear Courtown Captain Faraquar, one passenger and ten of fourteen crew were drowned.... the survivors described the captain as drunk...." (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 45)
FOUND IN: Ireland
REFERENCES (1 citation):
Ranson, p. 127, "The Mutlah" (1 text)
File: Ran127B

Muttonburn Stream, The


DESCRIPTION: "Muttonburn Stream, It's not marked on this world's map... A wee river in Ulster." It has wondrous qualities: "a wee dunt" in it makes washing clean, "it cures all diseases" including fatness or lean, a good place to fall after a drinking party.
AUTHOR: unknown
EARLIEST DATE: 1931 (recorded by Richard Hayward)
KEYWORDS: drink humorous nonballad talltale
FOUND IN: Ireland
REFERENCES (3 citations):
Morton-Ulster 10, "The Muttonburn Stream" (1 text, 1 tune)
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 6, "The Mutton Burn Stream" (text, music and reference to Decca F-2602 recorded Oct 4, 1931)
Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 81-82, "The Muttonburn Stream" (1 text, 1 tune)
Roud #2896
NOTES: Morton-Ulster: "The Muttonburn Stream is to be found near Carrickfergus."
"Castle Hyde" takes glorification of a locality to an extreme. "The Groves of Blarney" takes it to the next stage by parody. "The Muttonburn Stream" completes the transformation by making a tall tale.
The date and master id (GB-3353-1) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: MorU010

My Ain Aunty Jean


DESCRIPTION: The singer's late Aunty Jean was a big woman who had seen better days and begged for her living. She'd been wed once or twice. She was "brimfu' o' fun," read fortunes and was "a modest blackmailer." "Let us hope 'mang the blest is my ain Aunty Jean"
AUTHOR: John Murray (written c. 1860) (source: Greig)
EARLIEST DATE: 1908 (GreigDuncan4)
KEYWORDS: marriage death begging hardtimes
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
Greig #38, p. 2, "My Ain Aunty Jean"; Greig #41, p. 2, "My Ain Aunty Jean" (2 texts)
GreigDuncan4 741, "My Ain Aunty Jean" (2 texts, 1 tune)
Roud #5642
NOTES: Greig quotes the author in #41: "'Auntie Jean's suggested by the publication of Davidson's 'Uncle John.' [specifically, 'Uncle John's Fiddle']" - BS
Last updated in version 2.5
File: GrD4741

My Ain Countrie


See A North Country Maid (File: LK43B)

My Ain Dear Nell


DESCRIPTION: The singer remembers Nelly Brown and their youthful days together. "Ance mair then Nelly Brown I hae sung o' love and thee Tho' oceans wide between us row you're aye the same to me"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan6)
KEYWORDS: age love separation nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan6 1253, "My Ain Dear Nell" (1 text)
Roud #6789
File: GrD61253

My Ain Fireside


DESCRIPTION: The singer says it is time to go home to a wife he's afraid to face, but a drink and a song will sooth her and they'll go to bed "and I'll cuddle her in my airms ... and crack aboot the joys o' oor ain fireside." Here's to every man that will do the same.
AUTHOR: unknown
EARLIEST DATE: 1906 (GreigDuncan3)
KEYWORDS: sex drink music nonballad wife
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan3 553, "My Ain Fireside" (2 texts, 1 tune)
Roud #6028
BROADSIDES:
NLScotland, L.C.Fol.70(144b), "My Ain Fireside" ("Come, my lads, let us mount and go"), Muir [John Muir (Glasgow)?], no date
NOTES: Apparently broadside Bodleian, 2806 c.11(239), "My Ain Fireside" ("Come, my lads, let's mount and go"), unknown, no date is this song but I could not download and verify it. - BS
Last updated in version 2.4
File: GrD3553

My Ain Kate


DESCRIPTION: The singer/reciter is a linen draper clerk told by Kate she'll not leave him. He buys her a watch and chain. A policeman "put Her Majesty's braces upon her." He goes to her ninth trial for stealing her mistress's clothes. She is transported for life.
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan2)
KEYWORDS: courting theft transportation trial clothes recitation servant
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
Greig #47, p. 2, ("I'm nae awa' to bide awa'"); Greig #49, p. 2, ("I'm not going away to stay away") (2 fragments)
GreigDuncan2 257, "My Ain Kate" (5 texts, 1 tune)
Roud #5850
CROSS-REFERENCES:
cf. "Mormond Braese" (tune, according to GreigDuncan2)
ALTERNATE TITLES:
I'm Not Going Away
NOTES: The form is an introductory verse followed by spoken text interspersed with the chorus "I'm not going away to stay away, I'm not going away to leave you; I'm your own Kate, your darling Kate, That never will deceive you." At the end the singer, in spite of everything, is convinced by her "sly little wink" that she's not going away. - BS
Last updated in version 2.4
File: GrD2257

My Ain Kind Dearie


DESCRIPTION: The singer returns wet and weary from gathering seaweed. She says "my ain kind dearie O, Ye row me up, ye row me doon, ye row me owre fu' cheerie O"
AUTHOR: unknown
EARLIEST DATE: 1918 (GreigDuncan4)
KEYWORDS: love farming nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan4 734, "My Ain Kind Dearie" (1 text)
Roud #8559
NOTES: GreigDuncan4 refers to "a note by Peter Buchan on the gathering of seaweed for manuring the land." - BS
A quick Google search finds many, many hits extolling the virtues of seaweed as a fertilizer. Few of these seemed to be anything more than the usual sort of "if it's natural, it must be good, and we expect you to pay a lot for ot" sort of business. But seaweed in fact is a useful soil additive -- not because it's really very special but because cultivated soil generally loses its nitrogen and phosphorus over time, and seaweed is a useful source of organic forms of those two essential elements. Seaweed is also a good source of potassium, which can sometimes be in short supply in soil as well. - RBW
Last updated in version 2.5
File: GrD4734

My Ain Wife


DESCRIPTION: "I wadna gie my ain wife for ony wife I see." She is cheery, never shows anger, is good with the neighbors and loves the baby. "Tho' beauty be a fading flower, ... She ance was ca'd a bonnie lass, she's bonnie aye to me"
AUTHOR: Alexander Laing (source: Whistle-Binkie)
EARLIEST DATE: 830 (_The Edinburgh Literary Gazette_ v.II, according to Whitelaw)
KEYWORDS: love marriage nonballad baby wife
FOUND IN: Britain(Scotland(Aber))
REFERENCES (3 citations):
GreigDuncan4 747, "My Ain Wife" (1 text)
ADDITIONAL: Alexander Rodger, editor, Whistle-Binkie, Fifth Series (Glasgow, 1843), p. 94, "My Ain Wife"
Alexander Whitelaw, A Book of Scottish Song (Glasgow, 1845), p. 184, "My Ain Wife"
Roud #6127
File: GrD4747

My Army Cross Over


DESCRIPTION: ""My brother, tik keer (take care?) Satan, my army cross over" (x2). "Satan very busy, my army cross over." "Wash his face in ashes." "Put on the leather apron." "Jordan river rolling." "We'll cross the danger water."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 38, "My Army Cross Over" (2 texts, 2 tunes)
Roud #11992
File: AEG038

My Aul' Gudeman


DESCRIPTION: Dialog between a wife and her second husband. He says her first husband left her nothing, whereas now she has things: "tell me nae mair o' yer aul' gudeman." She compares her first husband in bed to her current feeble husband. "Alack, my aul' gudeman"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan7)
KEYWORDS: age marriage sex death dialog husband wife
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1305, "My Aul' Gudeman" (1 text)
Roud #7201
File: GrD71305

My Auld Breeks, air the Corn Clips


See Robin Tamson's Smiddy [Laws O12] (File: LO12)

My Aunt Jane


DESCRIPTION: "My Aunt Jane she took me in" and gave me tea from her shop. "She's awful smart" and bakes rings in an apple tart. She "has a bell on the door A white stone step and a clean swept floor, Candy apples, hard green pears, Conversation lozenges"
AUTHOR: unknown
EARLIEST DATE: 1978 (Hammond-Belfast)
KEYWORDS: food nonballad
FOUND IN: Ireland
REFERENCES (1 citation):
Hammond-Belfast, p. 12, "My Aunt Jane" (1 text, 1 tune)
NOTES: Hammond-Belfast: "Probably the best-loved of all Belfast songs." - BS
The practice of baking prizes (such as coins or rings) into cakes is well-attested, even if it is today remembered mostly because J. R. R. Tolkien mentioned it in Smith of Wooton Major, but it seems somewhat improbable to find it in the contest of a Belfast tea-shop; how did Aunt Jane afford such thing? - RBW
File: Hamm012

My Bark Canoe


DESCRIPTION: An Ojibway (Chippewa) song. The singer reports, "Through the night I keep awake, Upon the river I keep awake."
AUTHOR: unknown
EARLIEST DATE: 1909
KEYWORDS: Indians(Am.) nonballad river
FOUND IN: Canada(Ont)
REFERENCES (1 citation):
Fowke/Johnston, p. 34, "My Bark Canoe" (1 text, 1 tune)
Roud #4539
File: FJ034

My Beautiful Muff


DESCRIPTION: A young lady goes out in her muff, which is "my own, and I'll wear it, So don't you come near it, You'll spoil it, you'll tear it, My beautiful muff." A young man greets her and plies her with wine. She sleeps. Her muff is ruined. Young ladies are warned
AUTHOR: unknown
EARLIEST DATE: 1956
KEYWORDS: bawdy clothes seduction wine
FOUND IN: Australia
REFERENCES (1 citation):
Meredith/Anderson, pp. 247-248, "My Beautiful Muff" (1 text, 1 tune)
Roud #1402
BROADSIDES:
Bodleian, Harding B 26(51), "My Beautiful Muff" (unknown, n.d.)
File: MA247

My Beauty of Limerick


DESCRIPTION: Patrick is across the sea but thinks of his "beauty of Limerick" waiting at home. He promises "to go back to old Ireland when money I'd save." He sleeps with her ribbon under his pillow.
AUTHOR: unknown
EARLIEST DATE: 1940 (OLochlainn-More)
KEYWORDS: love separation Ireland nonballad money return
FOUND IN: Ireland
REFERENCES (1 citation):
OLochlainn-More 38, "My Beauty of Limerick" (1 text, 1 tune)
Roud #9752
File: OLcM038

My Blooming Highland Jane


See Highland Jane (File: HHH477)

My Blue-Eyed Boy


DESCRIPTION: Floating verses on the subject of lost love, usually borrowed from "The Butcher Boy" and/or a "Pretty Little Foot" variant. The wide and deep grave carved with a turtle dove may also be present. Identified by the line "Bring me back my blue-eyed boy"
AUTHOR: unknown
EARLIEST DATE: 1909 (Belden)
KEYWORDS: love beauty separation death suicide
FOUND IN: Britain(Scotland(Aber)) US(MW,So) Ireland
REFERENCES (9 citations):
Bronson 76, "The Lass of Roch Royal" (23 versions, of which #11 appears to belong here)
GreigDuncan6 1085, "My Love He Is a Sailor Bold" (1 text plus a single verse on p. 538, 1 tune)
Belden, pp. 478-480, "The Blue-Eyed Boy" (4 texts, though "D" is a fragment, probably of "Tavern in the Town" or "The Butcher Boy" or some such)
Randolph 759, "My Blue-Eyed Boy" (3 short texts, 1 tune)
BrownIII 257, "The Blue-Eyed Boy" (2 text, though the second is rather distantly related)
Brewster 85, "The Blue-Eyed Boy" (1 text)
LPound-ABS, 102, pp. 212-213, "My Blue-Eyed Boy" (1 text)
SHenry H482, pp. 391-392, "Bring Me Back the Boy I Love"; H692, p. 392, "Never Change the Old Love for the New" (2 texts, 2 tunes)
DT, BLUEYEBY
Roud #60
RECORDINGS:
Brier Hopper Brothers, "Bring Back My Blue-Eyed Boy" (Champion 16692, 1933)
Carter Family, "Bring Back My Blue-Eyed Boy to Me" (Victor V-40190, 1930; Montgomery Ward M-4741, c. 1935; Bluebird B-6271, 1936)
Gid Tanner & Riley Puckett, "Bring Back My Blue-Eyed Boy" (Columbia 15577-D, 1930; rec. 1929)
CROSS-REFERENCES:
cf. "The Butcher Boy" [Laws P24] and references there
cf. "Must I Go Bound" (lyrics, theme)
cf. "Died for Love (I)"
cf. "Love Has Brought Me to Despair" [Laws P25] (lyrics)
NOTES: This is so close to "The Butcher Boy" that I almost listed them as one song. But where "The Butcher Boy" is relatively coherent, this is little more than a lament composed of floating verses and the complaint "Bring me back my blue-eyed boy." So I've listed them separately -- but there *are* intermediate versions. Sandburg, for instance, has once (p. 324, "Go Bring Me Back My Blue-Eyed Boy," with the suicide theme intact, so I list it with "The Butcher Boy" -- but it has this chorus). -- RBW
Last updated in version 2.5
File: R759

My Body Rock 'Long Fever


DESCRIPTION: "Wai', my brother, true believe, better true be... Oh, my body rock 'long fever, O! with a pain in 'e head, I wish I been to the kingdom, to sit alongside o' my Lord." "By the help of the Lord we rise up again... An' we'll get to heaven at last."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, pp 44-45, "My Body Rock 'Long Fever" (1 text, 1 tune plus a variant)
Roud #11988
File: AWG044B

My Bonnie Irish Boy


See The Bonny Young Irish Boy [Laws P26] (File: LP26)

My Bonnie Laddie's a Writer o' Letters


DESCRIPTION: The singer says her bonnie laddie's "a writer o' letters And aye as he writes them he sends them to me"
AUTHOR: unknown
EARLIEST DATE: 1907 (GreigDuncan7)
KEYWORDS: courting nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1345, "My Bonnie Laddie's a Writer o' Letters" (1 short text, 1 tune)
Roud #7226
NOTES: The current description is based on the single GreigDuncan7 verse. - BS
Last updated in version 2.5
File: GrD71345

My Bonnie Laddie's Lang, Lang o' Growing


See A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)

My Bonnie Laddie's Young (But He's Growing Yet)


See A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)

My Bonnie Lies over the Ocean


DESCRIPTION: The singer laments that his bonnie is across the waves, and implores that someone "bring back my bonnie to me." He asks the winds specifically to carry her. (He dreams she is dead.) (He rejoices that the winds have blown his bonnie to him.)
AUTHOR: unknown
EARLIEST DATE: 1881 (Hills's "Student Songs")
KEYWORDS: love separation sea reunion
FOUND IN: US
REFERENCES (3 citations):
Silber-FSWB, p. 143, "My Bonnie Lies Over The Ocean" (1 text)
Fuld-WFM, p. 381, "My Bonnie Lies over the Ocean"
DT, MYBONNIE*
RECORDINGS:
Ella Fitzgerald, "My Bonnie Lies Over the Ocean" (Decca 28375, 1952)
Haydn Quartet, "Bring Back My Bonnie to Me" (Victor A-123, 1900)
Leake County Revelers, "My Bonnie Lies Over the Ocean" (Columbia 15227-D, 1928)
Ella Logan, "My Bonnie Lies Over the Ocean" (Brunswick 8196, 1938; Columbia 36313, 1941)
Mobile Strugglers, "My Bonnie Lies Over the Ocean" (on AmSkBa)
CROSS-REFERENCES:
cf. "My God, How the Money Rolls In" (tune)
cf. "The Cowboy's Dream" (tune)
cf. "Tom Twist" (tune)
cf. "The Prisoner's Song (I)" (tune)
cf. "Shine Your Buttons With Brasso" (tune)
cf. "Shaving Cream" (tune)
cf. "Bring Back My Johnny to Me"
SAME TUNE:
Tom Twist (File: FlBr171)
My Children Are Seven in Number (Greenway-AFP, p. 166; on PeteSeeger13, AmHist1)
Bring Back My Neighbors to Me (Pankake-PHCFSB, p. 119)
Yuck! Cats (Pankake-PHCFSB, p. 67)
Come Up, Dear Dinner, Come Up (Pankake-PHCFSB, p. 121)
My Body Has Tuberculosis (Pankake-PHCFSB, p. 131)
Zekey Looked into the Gas Tank (Pankake-PHCFSB, p. 133)
My Barney Lies Over the Ocean (Nora Bayes, Columbia A-2678, 1918; Louis Winsch, Pathe 22061, 1919; Ada Jones, OKeh 1218, 1919; Billy Murray, Victor 18530, 1919)
ALTERNATE TITLES:
My Bonnie
Bring Back My Bonnie to Me
NOTES: Fuld notes an 1882 printing of this song allegedly written by H. J. Fulmer (Charles E. Pratt). This text, however, disagrees with the 1881 printing, and Fuld suspects that Pratt is responsible only for the adaption.
The song obviously has spawned a number of parodies and borrowings. It itself, however, seems relatively constant, and the parodies are all recent. It thus seems likely that the song is fairly recent, and that most known versions derive from the 1881 printing.
It has been theorized that this is a derivative of the song we index as "Bring Back My Johnny to Me." The tunes aren't the same, but there are similarities, and a few lyrics also cross, as well as the theme. But there is no evidence of an intermediate form; it seems nearly certain that there was a deliberate rewrite somewhere along the line. - RBW
File: DTmybonn

My Bonnie Light Horseman


See The Bonnie Light Horseman (File: HHH122a)

My Bonnie Love is Young


See A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)

My Bonnie Love Johnny


DESCRIPTION: "My love he's bonny ... He's handsome, charming, sweet and young, An' his cheeks are like a cherry. O"
AUTHOR: unknown
EARLIEST DATE: 1907 (GreigDuncan5)
KEYWORDS: love nonballad beauty
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan5 940, "My Bonnie Love Johnny" (1 fragment, 1 tune)
Roud #6755
NOTES: The current description is based on the GreigDuncan5 fragment. - BS
Last updated in version 2.5
File: GrD5940

My Bonnie Meg o Noo, o Noo


DESCRIPTION: The singer asks Meg to sit down by him. Meg tells him to drop her hand and tells him he has ruffled her gown. He asks why she's in such a rush to run away "as ye war chased". He says he has told her mother every thing "that passed between us twa"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan7)
KEYWORDS: courting dialog
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1353, "My Bonnie Meg o Noo, o Noo" (1 text)
Roud #7231
File: GrD71353

My Bonnie Sailor Boy


See The Bonny Sailor Boy [Laws M22] (File: LM22)

My Bonnie Wee Hen


DESCRIPTION: The singer had a fine hen; it laid two eggs a day. But it went out to seek food and was killed. The owner will punish the killers; "I wasna half so sorry the night my husband died." She invites others to the funeral
AUTHOR: unknown
EARLIEST DATE: 1925 (Sam Henry collection)
KEYWORDS: chickens death burial
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H94, p.17 , "My Bonnie Wee Hen" (1 text, 1 tune)
Roud #9054
File: HHH094

My Bonny Black Bess (I) [Laws L8]


DESCRIPTION: Dick Turpin gives a detailed account of Black Bess's speed and beauty and the good use to which he put them. He once robbed a horseman and sped to town, arriving so quickly that he appeared to have an alibi when the horseman at last arrived in town
AUTHOR: unknown
EARLIEST DATE: 1915
KEYWORDS: robbery horse outlaw
HISTORICAL REFERENCES:
1735 - Dick Turpin comes to the attention of the authorities as a robber
April 1739 - Hanging of Dick Turpin (by then retired from highway robbery; he was captured after getting drunk and shooting the landlor'd cockerel)
FOUND IN: US(Ro,So)
REFERENCES (6 citations):
Laws L8, "My Bonny Black Bess I"
Randolph 167, "Bonnie Black Bess" (3 texts, 1 tune, but Laws assigns only Randolph's "C" text to this piece; the others belong with Laws L9)
Fife-Cowboy/West 7, "Bonny Black Bess" (2 texts, 1 tune; the "B" text is this piece while the "A" text is Laws L9)
LPound-ABS, 69, pp. 155-157, "My Bonny Black Bess" (1 text)
Friedman, p. 369, "My Bonny Black Bess" (1 text)
DT 569, BLCKBES3
Roud #1904
BROADSIDES:
Murray, Mu23-y1:027, "Poor Black Bess," James Lindsay Jr. (Glasgow), 19C
CROSS-REFERENCES:
cf. "My Bonnie Black Bess (II)" [Laws L9]
cf. "Dick Turpin and the Lawyer [Laws L10]" (subject)
NOTES: This is much the more literary of the Turpin/Black Bess songs; based on the evidence in Laws, I am not convinced it is actually a traditional song. The following stanza will demonstrate this point and serve to distinguish the piece from Laws L9:
Let the lover his mistress's beauty rehearse,
And laud her attractions in languishing verse;
Be it mine in rude strain but with truth to express
The love that I bear to my bonny Black Bess.
Peter Underwood reports that the hoofbeats of the ghost of Black Bess (presumably with Turpin aboard) have been heard at the "Woodfield" estate in Bedfordshire, where Turpin was said to have had a safe house.
Which just shows the power of folklore, since Black Bess apparently never existed (for this and the rest of Turpin's history, see the notes on "My Bonny Black Bess (II) (Poor Black Bess; Dick Turpin's Ride)" [Laws L9]).
The Murray broadside lists this as to the tune of "Poor Dog Tray." I would assume that's supposed to be "Old Dog Tray." Though the tune I know isn't even vaguely similar. - RBW
File: LL08

My Bonny Black Bess (II) (Poor Black Bess; Dick Turpin's Ride) [Laws L9]


DESCRIPTION: Dick Turpin bids farewell to the horse that served his so well, making his exploits possible and finally carrying him from London to York in a single day. Now the hounds are on his trail and he cannot escape; he shoots Bess and waits to die himself
AUTHOR: unknown
EARLIEST DATE: 1928 (Mackenzie)
KEYWORDS: robbery horse punishment outlaw
HISTORICAL REFERENCES:
1735 - Dick Turpin comes to the attention of the authorities as a robber
April 1739 - Hanging of Dick Turpin (by then retired from highway robbery; he was captured after getting drunk and shooting the landlor'd cockerel)
FOUND IN: US(MA,MW,SE,So) Canada(Mar)
REFERENCES (9 citations):
Laws L9, "My Bonny Black Bess"
Randolph 167, "Bonnie Black Bess" (3 texts, 1 tune, with the "A" fragment and "B" text belonging here; the "C" text is Laws L8)
BrownII 122, "My Bonnie Black Bess" (1 text)
Gardner/Chickering 130, "My Bonny Black Bess" (1 text text plus 1 fragment and an excerpt, 2 tunes)
Mackenzie 126, "Dick Turpin's Ride" (1 text)
Fife-Cowboy/West 7, "Bonny Black Bess" (2 texts, 1 tune; the "A" text is this piece while the "B" text is Laws L8)
Ohrlin-HBT 12, "Bonny Black Bess" (1 text, 1 tune)
DT 422, BLCKBESS* BLCKBES2 BONNBESS*
ADDITIONAL: _Sing Out_ magazine, Volume 25, #4 (1977), p, 9, "Bonnie Black Bess" (1 text, 1 tune, from James and Mary Atwood)
Roud #620
RECORDINGS:
Warde Ford, "My bonny black Bess" (AFS 4212 A1, 1939; in AMMEM/Cowell)
Lawrence Older, "Bonnie Black Bess" (on LOlder01)
BROADSIDES:
LOCSinging, sb30428b, "Poor Black Bess," H. De Marsan (New York), 1864-1878
Murray, Mu23-y1:027, "Poor Black Bess," James Lindsay Jun (Glasgow), 19C
CROSS-REFERENCES:
cf. "My Bonny Black Bess (I)" [Laws L8]
cf. "Dick Turpin and the Lawyer [Laws L10]" (subject)
SAME TUNE:
Poor Dog Tray (per broadsides LOCSinging sb30428b, Murray Mu23-y1:027)
ALTERNATE TITLES:
Bonnie Black Bess
NOTES: This is much the more popular of the Black Bess songs; to distinguish it from Laws L8, consider the following stanza:
When blindness did guide me, I left my abode;
When friends proved ungrateful, I took to the road.
For to plunder the wealthy and relieve my distress,
I bought you to aid me, my bonny Black Bess.
Although Dick Turpin was real, most of the exploits attributed to him are false. There was, almost certainly, no Black Bess, and the twelve hour race to York was not undertaken by Turpin. Logan reports that the feat was performed by one "Nevison or Nicks, who plundered a traveler at four o'clock in the morning on the slope at Gadshill, and was in the bowling-green at York... at a quarter before eight in the evening."
Brandon, p. 127, also mentions "a highwayman named Harris" making the trip to Yorkshire, although he mentions Nevison first.
Pringle has more details on this, devoting a whole chapter to "Who Rode to York?" (pp. 135-144). He notes that it was perfectly possible to cover the London-to-York distance (about 190 miles) in a day -- if one could change to fresh horses along the route (Pringle, pp. 141-142). The improbable element of "Turpin's Ride" is the idea of doing it on *one* horse.
Did such a journey happen? There are reports that it did. Daniel Defoe writes of a robber named Nicks (Nix?) who accomplished the feat in 1676 (Pringle, pp. 138-141). There is a 1668 report of a robber named "Swift Nicks," though it isn't known if it is the same guy.
The other fellow, Nevison, is historical, though there is a lot of uncertainty about him. His name was probably William (Pringle, p. 123), but this is not certain; it might have been John (Pringle, p. 141). He did most of his work in Yorkshire, and was executed in 1684 or 1685.
The link between Nevison and Nicks is tenuous. According to Brandon, p. 82, Nevison earned the nickname Nicks because he had ridden to York as fast as Old Nick. Right.
According to Pickering, p. 297, "Turpin never made such a ride," and Pringle, p. 135, says, "It is a good story; but, in the unequivocal words of Encyclopedia Britannica, 'pure fiction.'"
So how did this semi-legendary feat come to be associated with Turpin? As far as popular culture is concerned, there is no question but that the responsibility must be pinned on William Harrison Ainsworth (1805-1882), who made it a major element of his first major novel, Rookwood (1834). "There was," Pringle admits on p. 136, "no Turpin controversy. No one got up and defended Ainsworth's version."
Clearly Ainsworth's long account is mostly out of his own head, but it's thought that the seeds of the legend came to him from his family. Could they have gotten it from one of these songs? Or did these songs get it from Ainsworth? It is unlikely, now, that we will ever be able to answer that question. Some of the details of the song, however, do appear in Rookwood -- e.g. Ainsworth claimed that Bess leapt the Hornsey tollgate, perhaps inspiring the line "no toll bars could hold you." He also gave us a Turpin/Bess death scene -- though Turpin merely lingered as the horse died; he didn't shoot her.
The one part of the story that's true is that Turpin, late in his career, transferred from the London area to Yorkshire, though it was not at the very end of his life. The capsule biography which follows is mostly condensed from Pringle with some material from Brandon.
Turpin was born probably in 1705 (others say 1706), in Essex, the son of an innkeeper. Apprenticed to a butcher, he married and went into business around 1726. But several sheep turned up missing near his establishment in Waltham Abbey. Apparently forced out of the Guild of Butchers, he took to a life of open crime.
For a time, he was associated with a brutal group of poachers and robbers known as "Gregory's Gang"; large rewards were put on their heads in 1735, but Turpin escaped when the others were taken. He turned to highway robbery. He worked with various companions, the most noteworthy being Tom King (died 1737 -- possibly killed by Turpin himself as they struggled with people who were attempting to apprehend them).
Turpin by that year had a price of 200 pounds on his head. But he disappeared.
In fact he had moved to Yorkshire, and was calling himself John Palmer. He lived a relatively honest life -- but in October 1738, in a fit of mindless brutality, he shot his landlord's gamecock (hence, apparently, the ballad claim that he was taken for "shooting of a dunghill cock").
The charges need not have been fatal, but in a comedy of errors, a sample of his handwriting came to the attention of his old schoolteacher, who supposedly recognized it. Turpin was eventually convicted of horse-stealing and sentenced to hang.
The date of Turpin's hanging is uncertain; generally dated to April 7, 1739 (so, e.g., Pringle and Brandon), but the day may have been April 6 or April 10.
There is little evidence in the historical record of the sort of nobility of character found in many of the songs about him.
As Brumwell/Speck note on p. 394, "While undoubtedly a prolific and daring highwayman, Turpin was raised above the ranks of his fellows largely because he managed to evade the hangman's noose for longer than most. By the time of his execution in 1739, Dick Turpin was already celebrated in anecdotes and ballads that cast him in a Robin Hood role. He was subsequently creditred with other exploits -- notably the famous ride from London to York -- previously linked with other folk heroes. The reality of Turpin's life was less glamorous and more violent."
Underwood reports that the hoofbeats of the ghost of Black Bess (presumably with Turpin aboard) have been heard at the "Woodfield" estate at Aspley Guise in Bedfordshire (p. 18 and photo facing p. 225), where Turpin was said to have had a safe house.
The reign of Queen Anne (1702-1712) was considered the heyday of the English highwayman -- probably because the amount of travel was increasing, so there were more targets, but there was no effective national constabulary. Turpin of course came after that time; he was arguably a victim of the reforms that the previous banditry had inspired. - RBW
Broadside LOCSinging sb30428b: H. De Marsan dating per Studying Nineteenth-Century Popular Song by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
BibliographyLast updated in version 2.5
File: LL09

My Bonny Blooming Highland Jane


See Highland Jane (File: HHH477)

My Bonny Bon Boy


See Lord Randal [Child 12] (File: C012)

My Bonny Breeden


DESCRIPTION: "She was born 'mong the wild flowers that bloom in our valley, and like those same flowers she grew lovely and fair." The singer praises the beauty and grace of the girl, and prays that the powers may guard her
AUTHOR: Words: Andrew Doey
EARLIEST DATE: 1933 (Sam Henry collection)
KEYWORDS: love beauty nonballad
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H512, p. 225, "My Bonny Breeden" (1 text, 1 tune)
Roud #7973
File: HHH512

My Bonny Brown Jane


DESCRIPTION: The singer recalls courting a girl with a "false flattering tongue." He courts Jane, but another earns her love. He enlists in the army "to fight for my queen in a far country." Lonely at night, he prays "for her welfare; what can I do more?"
AUTHOR: unknown
EARLIEST DATE: 1935 (Sam Henry collection)
KEYWORDS: love rejection soldier floatingverses
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H613, p. 396, "My Bonny Brown Jane" (1 text, 1 tune)
Roud #7000
RECORDINGS:
Robert Cinnamond, "The Comely Young Dame" (on IRRCinnamond02)
CROSS-REFERENCES:
cf. "William and Nancy (II) (Courting Too Slow) [Laws P5]" (lyrics)
cf. "The False Bride (The Week Before Easter; I Once Loved a Lass)" (theme)
NOTES: This has many lyric similarities to "William and Nancy," and also a bit of "The False Bride." But the ending about enlisting as a soldier makes the song distinct. - RBW
File: HHH613

My Bonny Laboring Boy


See The Bonny Laboring Boy [Laws M14] (File: LM14)

My Bonny Lad


DESCRIPTION: "Ha' you seen owt of my bonny lad?... He's gone along wi' a stick in his hand/He's gone to row the keel-o" "Yes, I ha' seen your bonny lad; 'twas on the sea I spied him/His grave was green, but not wi' grass/And you'll never lay beside him"
AUTHOR: unknown
EARLIEST DATE: 1951 (recording, Isla Cameron)
KEYWORDS: navy separation death sailor
FOUND IN: Britain(England(North))
Roud #204
RECORDINGS:
Anne Briggs, "My Bonny Lad" (on Briggs2, Briggs3)
Isla Cameron, "My Bonny Lad" (on Lomax41, LomaxCD1741)
NOTES: This sounds like a fragment, but in fact the story is complete, although squeezed down to bare essentials. - PJS
File: RcMBL

My Bonny Light Horseman


See The Bonnie Light Horseman (File: HHH122a)

My Bonny Love Geordie Gordon


See Geordie Downie (File: Ord461)

My Bonny Wee Wifie and I


DESCRIPTION: The singer is "a warkman wi' a wife an' twa laddies," six chairs and a pendulum clock. Everything they do turns out so well since he's given up drink. He and his wife are so happy.
AUTHOR: unknown
EARLIEST DATE: 1874 (Poet's Box broadside "My Bonny Wee Wifie and I," according to GreigDuncan7)
KEYWORDS: marriage drink nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1272, "My Bonny Wee Wifie and I" (2 fragments, 1 tune)
Roud #7139
File: GrD71272

My Boy Billy


See Billy Boy (File: R104)

My Boy Willie


See Billy Boy (File: R104)

My Boyfriend Gave Me An Apple


DESCRIPTION: "And five o'clock is striking, Mother may I go out My true love is waiting for me without." He brings apples, pears, and six-pence that she "kiss him on the stairs." She rejects apples and pears and gives back sixpence after he kisses her on the stairs.
AUTHOR: unknown
EARLIEST DATE: 1978 (Hammond-Belfast)
KEYWORDS: playparty food money
FOUND IN: Ireland
REFERENCES (1 citation):
Hammond-Belfast, p. 11, "Five O'Clock is Striking" (1 text, 1 tune)
Roud #12986
CROSS-REFERENCES:
cf. "The Bells are Ringing (Eight O'Clock Bells)"
ALTERNATE TITLES:
Six O'Clock Bells Ringing
NOTES: Hammond-Belfast: "A skipping game." - BS
Last updated in version 2.5
File: Hamm011

My Cabin Home Among the Hills


DESCRIPTION: Singer tells of his cabin in the Virginia hills, where his "mammy" used to sing to him. His mother tells him she's going away "to another home way down in Tennessee." She promises to write, and to someday come home. She never does
AUTHOR: unknown (tune by Will S. Hays)
EARLIEST DATE: 1931 (recording, Asa Martin)
KEYWORDS: grief loneliness promise farewell home parting separation death slavery mother
FOUND IN: US(Ap)
Roud #17214
RECORDINGS:
Recordings: Asa Martin, "My Cabin Home Among the Hills" (Champion 16769, 1934; Champion 45067, 1935; rec. 1931; on KMM)
CROSS-REFERENCES:
cf. "The Little Old Log Cabin in the Lane" (tune) and references there
NOTES: I included both the keywords "death" and "slavery", because the song is ambiguous: it doesn't make clear whether the singer's mother has died or been sold. I'd bet on the latter, though. - PJS
The counter-argument being that she promised to write, and most slaves were illiterate. Many states, in fact, made it illegal to teach slaves to read and write (though some managed to learn anyway). - RBW
File: RcMCHAtH

My Cabin in the Hills


DESCRIPTION: "Oh! please just one peep At my cabin in the hills Where the pine trees sway And the hound dogs bay To the notes of the whippoorwill." The singer wants to see Ma knitting Pa's socks and Pa tending his gun, and recalls the sounds of home
AUTHOR: Robert Louis Stevens?
EARLIEST DATE: 1939 (Thomas)
KEYWORDS: home nonballad clothes hunting animal bird
FOUND IN: US(Ap)
REFERENCES (1 citation):
Thomas-Makin', pp. 173, (no title) (1 text)
NOTES: This is the sort of thing that you feel you ought to know from somewhere else. But that's just because it's based on so many "home" themes; I can't find its like elsewhere. - RBW
File: ThBa173

My Charming Coleraine Lass


DESCRIPTION: The singer sees a beautiful girl by the banks of the Bann. He asks her to come away with him. The sit by the river and talk. They set a wedding day and are married
AUTHOR: unknown
EARLIEST DATE: 1935 (Sam Henry collection)
KEYWORDS: love courting river beauty marriage
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H616, p. 464-463, "My Charming Coleraine Lass" (1 text, 1 tune)
Roud #9460
File: HHH616

My Charming Kate O'Neill


DESCRIPTION: "The first place that I saw my love, 'twas on a summer's day, She was going to her father's as I passed Red Bay." The singer, a young sea captain, praises her beauty but must go away, for "there's another young man, she intends his bride to be."
AUTHOR: unknown
EARLIEST DATE: 1938 (Sam Henry collection)
KEYWORDS: love rejection marriage sailor travel
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H767, pp. 370-371, "My Charming Kate O'Neill" (1 text, 1 tune)
Roud #6886
NOTES: The notes to Henry/Huntington/Herrmann list no other versions of this song, and I can't recall any myself. But there are many lines reminiscent of "The Lowlands of Holland," and the meter is also similar. Sam Henry reports that this is about an actual girl "who captivated the hearts of young Glensmen eighty years ago" (i.e. c. 1855-1860). One wonder if the composer didn't take some inspiration from "The Lowland of Holland." - RBW
File: HHH767

My Charming Lass from the County Mayo


DESCRIPTION: "The daughters of Erin are famed the world over, For wit and for beauty and charms of their own," but the singer loves one girl from Mayo above all others. He praises her beauty extravagantly
AUTHOR: unknown
EARLIEST DATE: 1922 (Dean)
KEYWORDS: beauty love
FOUND IN: US(MW)
REFERENCES (1 citation):
Dean, p. 115, "My Charming Lass from the County Mayo" (1 text)
Roud #9581
File: Dean115

My Cock, Lily-Cock


See I Had a Little Rooster (Farmyard Song) (File: R352)

My Crime Blues


DESCRIPTION: Singer is on trial for murder, soon to be sentenced, but pleads his innocence. He calls for his lover to come for his trial, so that when he is condemned she can wipe his tears away. The jury finds him guilty; the judge sentences him to the electric chair
AUTHOR: Almost certainly Ed Bell
EARLIEST DATE: 1930 (recording, Ed Bell)
KEYWORDS: grief loneliness accusation crime execution murder law punishment trial death lover judge
FOUND IN: US(SE)
RECORDINGS:
Barefoot Bill [Ed Bell] "My Crime Blues" (Columbia 14510-D, 1930; [1929]; on RoughWays1)
File: RcMyCrBl

My Dad's Dinner Pail


DESCRIPTION: "Preserve that old kettle so blackened and worn, It belonged to me Father before I was born." The singer recalls carrying the pail, and seeing his father; he is sure Father shared with those in need
AUTHOR: Words: Edward Harrigan (?) / Music: David Braham
EARLIEST DATE: 1883 (from the musical Cordelia's Aspirations)
KEYWORDS: nonballad food father
FOUND IN: US(MW) Canada
REFERENCES (2 citations):
Dean, p. 70, "My Dad's Dinner Pail" (1 text)
ADDITIONAL: Hazel Felleman, Best Loved Poems of the American People, p. 505, "My Dad's Dinner Pail" (1 text)
Roud #5257
NOTES: According to Sigmund Spaeth, A History of Popular Music in America, p. 191, "Harrigan, Hart, and Braham [produced] perhaps their best show, Cordelia's Aspirations, [in] November, 1883. In it the Mulligans were almost disrupted by the social climbing of Mrs. Mulligan, and Annie Yeamans, as Cordelia, had one of her greatest comedy scenes when she took a stiff drink under the impression it was poison. The best of the songs was My Dad's Dinner Pail...."
For background on Harrigan and Braham, see the notes to "Babies on Our Block." - RBW
File: Dean070A

My Daddy's a Delver o' Dykes


See My Father's a Hedger and Ditcher (Nobody Coming to Marry Me) (File: BrII185)

My Dame's Crane


DESCRIPTION: "My dame had a lame tame crane. My dame had a crane that was lame. Pary, Mistress Jane, man my dame's lame tame crane Fly and re-turn again?"
AUTHOR: unknown
EARLIEST DATE: 1962 (Baring-Gould-MotherGoose)
KEYWORDS: animal nonballad
FOUND IN: US
REFERENCES (3 citations):
Baring-Gould-MotherGoose #755, p. 284, "(My dame hath a lame tame crane)"
Pankake-PHCFSB, p. 233, "My Dame's Crane" (1 text)
DT, LAMECRN* LAMETAME*
Roud #13622
NOTES: Reported to have originated in England in the seventeenth century. - RBW
File: DTlamecr

My Dancing Day


DESCRIPTION: "Tomorrow shall be my dancing day, I would my true love did so chance To see the legend of my play To call my true love to my dance." The story of the life of Jesus is repeated, with each stage being a reason why the true love should come to the dance
AUTHOR: unknown
EARLIEST DATE: 1833 (Sandys)
KEYWORDS: religious Jesus dancing
FOUND IN:
REFERENCES (3 citations):
OBC 71, "My Dancing Day" (1 text, 2 tunes)
DT, DANCEDAY*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #90, "Tomorrow Shall Be My Dancing Day" (1 text)
NOTES: It would appear that this song is known only from Sandys (I've heard of broadside copies, but have yet to see one that predates Sandys). It is thus arguable that it is not a folk song, and should not be included.
There are, however, strong hints that it is much earlier than Sandys; the Oxford Book of Carols argues that it is from the sixteenth century or earlier, and Bradley in the Penguin Book of Carols thinks it medieval. The latter claim rests on pretty slender evidence (Bradley argues that the third line about seeing "the legend of my play" implies an origin in one of the mystery play cycles, and cites a claim from the New Oxford Book of Carols that it is resembles elements of Cornish play cycles of the fourteenth and fifteenth centuries).
The evidence that it is old is, however, very strong -- the language sounds as if it predates Sandys, and the mention of the Harrowing of Hell hints at a date prior to the Anglican reformation. The Oxford Book of Carols suggests that the original was secular (which seems not unlikely -- probably a dance song). This might well explain the mix of popular legend and learned theology ("Then I was born of a virgin pure, Of her I took fleshly substance" reminds me, at least, of the Christological controversies of the early church.)
The theme of calling one's love to a dance is probably from the secular source, but there are four New Testament uses of the Greek word orcheomai, "to dance": Matt. 11:17, 14:16, Mark 6:22, Luke 7:32. Two of these uses (Matt 14:6, Mark 6:22) refer to the daughter of Herodias dancing before Herod Antipas and clearly would not be the source for this imagery. But the other two refer to children or musicians calling out their friends/playmates to dance, making it a very relevant image for evangelism. (The English word "to dance" is also used in translations of Luke 15:25, in the partying at the return of the prodigal son. this is somewhat less relevant, since the Greek word is choros, the song/dance of the Greek chorus -- but a reader of the English Bible would not know that).
The individual verses of the song are more biblical; they also have strong ties to the creeds. In the references below, "NC" refers to the Nicene Creed (created by the church in stages starting at the Council of Nicaea in 325, though the final version had to await the Council of Chalcedon over a century later; Bettenson, pp. 24-26, with English translation of the creeds; Christie-Murray, pp. 47-50, 71) while "AC" is the "Apostle's Creed" (which is certainly not Apostolic; it seems to come mostly from the Roman church. Boer, p. 73, claims "it is called the Apostles' Creed because it faithfully set s forth the central teachings of the Apostles." But even he admits on pp. 75-76 that the first elements were used only around 200 C.E., and the final form he dates to the fifth century. Bettenson, pp. 23-24, is less an apoligist for the name; he says the elements of the Creed were first assembled by even later writers such as Marcellus and Rufinus, and reached its final form in the eighth century (Bettenson, pp. 23-24).
"Then I was born of a virgin pure": AC; Matthew 1:18-25. (Luke also says that Mary was a virgin at her marriage, but does not explicitly state the idea of the virgin birth. Of course, the phrase "virgin pure" is sometimes taken to refer to the Immaculate Conception, and the notion that Mary herself was born of some sort of parthenogenesis, but there is no Biblical hint of this; even the Catholic Church, while venerating Mary from a very early time, did not fully pronounce the doctrine of the Immaculate Conception until 1854; Christie-Murray, p.198)
"Of her I took fleshly substance": John 1:14; NC; cf. Gal. 4:4. Moderns rarely hear about this, but this was truly a key issue in some of the controversies of the early church; most Monophysite heresies made Jesus entirely human or entirely divine, with an illusory human body. The belief that he was a divine illusion is known as Docetism, from a Greek word meaning "appearance" or perhaps "display" (Clifton, p. 36). (In the more extreme Gnostic forms, Jesus had to have a phantom body because all matter is evil; Nigg, p. 78. Obviously a song which admits a pleasure such as dancing opposes this view on several levels.) The statement that Jesus became flesh explicitly denies Docetism. The use of the word "substance" might also be significant, since much of the controversy related to the Nicene Creed had to do with the use of the word "substance" (ousis) for Jesus; the word is non-Biblical (Christie-Murray, pp. 48-49; Qualben, p. 122), and there was dispute over whether Jesus was of "the same" substance or "like" substance with the Father. (A very small difference in Greek, involving only the addition of deletion of a single vowel.)
"In a manger laid and wrapped I was": Luke 2:7, 12, 16. There is no scriptural warrant for saying an ox and ass were present.
"Then afterward baptized I was, The Holy Ghost on me did glance": Matt. 3:16-17, Mark 1:9-11, Luke 3:22-23, John 1:29-34
"Into the desert I was led... The devil bad me make stones my bread": Matt. 4:1-11, Mark 1:12-13, Luke 4:1-13
"The Jews... loved darkness rather than light": not an explicit quotation, but compare John 12:44-46, Matt 6:23; the treatment of Jesus as light is common in the New Testament.
"For thirty pence Judas me sold": According to Matthew 26:15, 27:3-9, Judas sold Jesus for "thirty of silver" (so literally, hence modern renderings "thirty pieces of silver"). That would be a lot more than thirty pence in today's money, but early silver pennies might have a value roughly comparable to the price paid to Judas. This is perhaps more evidence that the song is early.
"Mark whom I kiss": Matt 26:48-49, Mark 14:44-45, Luke 22:47-48.
"Before Pilate the Jews me brought": AC; NC; Matt. 27:1-2, Mark 15:1, Luke 23:1, John 18:28fff. It was in fact the high priests, not the Jewish population as a whole, who handed Jesus over (so all four Gospels, though John uses the word "Jews" in fairly close proximity to the description of Jesus being handed over to the Romans)
"Where Barabbas had deliverance": Matt 27:16-26, Mark 15;7-15, Luke 23:18, John 18:40
"Then on a cross hanged I was": Too many references to list; see e.g. Mark 15:25; AC; NC
"Where a spear to my side did glance": John 19:34
"There issued forth both water and blood": John 19:34. (The word used is perhaps best translated "lance-head"; sometimes used as a medical instrument)
"Then down to Hell I took my way": The Harrowing of Hell is non-Biblical. There is, in fact, no real Biblical explanation of what Jesus was doing during the roughly 36 hours between his death and resurrection. The Harrowing is, however, mentioned in the Catholic texts of AC (the Methodists and some other denominations suppress this). This is not a definitive argument on whether the song is pre- or post-Reformation (Anglicanism, unlike most of the Reformed denominations, allows prayer for the dead and hence admits the possibility of Purgatory; Bainton, p. 202), but the whole business was de-emphasized; the mention of the Harrowing would be much more likely to come from a Catholic than an Anglican (and more likely from an Anglican than a Presbyterian or Lutheran).
"And rose again on the third day": Again too many references to list; cf. e.g. Mark 16:6; AC; NC
"Then up to Heaven I did ascend": Acts 1:9-11; AC; NC. - RBW
BibliographyLast updated in version 2.5
File: OBC071

My Dark-Haired Maid from Cornaig


See Mo Nighean donn a Cornaig (File: K019)

My Darling Blue-Eyed Mary


See Seventeen Come Sunday [Laws O17] (File: LO17)

My Darling Kate


See My Ain Kate (File: GrD2257)

My Darling Ploughman Boy


See The Bonny Sailor Boy [Laws M22] (File: LM22)

My Dear Highland Laddie


DESCRIPTION: The singer's lover fee'd with her father "when he row'd me in his plaidie And vow'd to be mine." Now he's left with the laird as a soldier. "The blae-berry banks Are now lonesome and dreary." She would leave everything for her Highland laddie.
AUTHOR: unknown
EARLIEST DATE: 1805 (Millar's _Paisley Repository no III_, according to Semple _The Poems and Songs and Correspondence of Robert Tannahill_, p. 221)
KEYWORDS: love separation farming nonballad soldier
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
GreigDuncan6 1120, "My Dear Hielan' Laddie" (1 fragment, 1 tune)
ADDITIONAL: Phillip A Ramsay, The Poetical Works of Robert Tannahill (London, preface 1838), pp. 30-31, "My Dear Hielan Laddie"
Roud #6841
BROADSIDES:
Bodleian, Harding B 25(1290), "My Dear Highland Laddaie [sic]" ("Blythe was the day"), unknown, no date
CROSS-REFERENCES:
cf. "Mor Nian a Ghibarlan" (tune, per Ramsay)
NOTES: GreigDuncan6 is a fragment; broadside Bodleian Harding B 25(1290) is the basis for the description.
From Peter A Hall, "Farm Life and the Farm Songs," pp. xxi-xxxi in GreigDuncan3: "The time between hirings was, in the mid nineteenth century North-East, predominantly six months ['terms'] and the hiring was generally called feeing." - BS
Last updated in version 2.5
File: GrD61120

My Dear Irish Boy


DESCRIPTION: "My Connor, his cheeks are as ruddy as morning...." The girl describes her love. But "The wars are all over, and lonely I've waited, I fear that some envious plot has been laid." Though hope is almost lost, she wanders to look for her "dear Irish boy"
AUTHOR: unknown
EARLIEST DATE: before 1863 (broadside, Bodleian Harding B 11(157))
KEYWORDS: love separation soldier rambling
FOUND IN: Ireland
REFERENCES (2 citations):
SHenry H142, p. 294, "My [The] Dear Irish Boy" (1 text, 1 tune)
O'Conor, p. 57, "The Dear Irish Boy" (1 text)
Roud #1555
BROADSIDES:
Bodleian, Harding B 11(157), "Dear Irish Boy," H. Such (London), 1849-1862; also Harding B 11(1219), Harding B 11(819), Harding B 11(2269), Firth c.26(168), 2806 b.11(185), Harding B 26(121), "[The] Dear Irish Boy"
LOCSinging, as101620, "The Dear Irish Boy," H. De Marsan (New York), 1861-1864
ALTERNATE TITLES:
The Dear Irish Maid
NOTES: Broadside LOCSinging as101620: H. De Marsan dating per Studying Nineteenth-Century Popular Song by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: HHH142

My Dear Old Comrade Soldiers


DESCRIPTION: "My dear old comrade soldier of this our native shore, I'm glad to have the honor of greeting you once more." The singer recalls the difficult careers of soldiers, hopes for pensions, and prays that God inspire current leaders
AUTHOR: unknown
EARLIEST DATE: 1939 (Thomas)
KEYWORDS: Civilwar soldier reunion nonballad
FOUND IN: US(Ap)
REFERENCES (1 citation):
Thomas-Makin', pp. 89-91, "My Dear Old Comrade Soldiers" (1 text, 1 tune)
NOTES: Civil War soldiers held reunions through the 1920s and even into the 1930s; this (not very good) piece presumably came out of one of those gatherings. - RBW
File: ThBa089

My Dear, I'm Bound for Canaday


See My Dear, I'm Bound for Canady (File: GrMa154)

My Dear, I'm Bound for Canady


DESCRIPTION: "My dear I'm bound for Canady; Love Sally we must part." Sally asks Willie to stay; "you'll find employment here" but he leaves St John's; he will marry her within three years. But the song ends "every honest decent young man Don't leave his girl behind"
AUTHOR: unknown
EARLIEST DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: love parting unemployment hardtimes Canada father mother betrayal
FOUND IN: Canada(Newf)
REFERENCES (3 citations):
Greenleaf/Mansfield 154, "My Dear, I'm Bound for Canady" (1 text)
Leach-Labrador 85, "Bound for Canada" (1 text, 1 tune)
Lehr/Best 82, "My Dear, I'm Bound for Canaday" (1 text, 2 tunes)
Roud #4411
NOTES: To understand this song, it is important to recall that Newfoundland did not become part of Canada until after World War II. - RBW
File: GrMa154

My Dearest Dear


DESCRIPTION: "My dearest dear, the times draws near When I and you must part, And no one knows the inner grief Of my poor aching heart." The (girl) wishes that they could stay together; (s)he promises to love (him) till (s)he dies, and begs that he write to her
AUTHOR: unknown
EARLIEST DATE: 1906 (Belden)
KEYWORDS: love separation lyric nonballad parting
FOUND IN: Britain(Scotland(Aber)) US(Ap,SE,So,SW)
REFERENCES (14 citations):
Bronson 76, "The Lass of Roch Royal" (23 versions, of which #18, #20, and #22 perhaps go here)
Belden, pp. 484-486, "Banishment" (1 text)
Randolph 18, "Oh Who Will Shoe My Foot?" (8 texts, 5 tunes; the "B," "D," "F," and "H" versions are of this sort) {F=Bronson's #18}; 760, "I Love You Well" (4 texts plus an excerpt, 1 tune)
Davis-Ballads 21, "The Lass of Roch Royal" (of the various texts in the appendices, at least "G" seems to belong here) {Bronson's #20}
Scarborough-SongCatcher, pp. 314-317, "The Time Has Come, My Dearest Dear" (2 texts; 1 tune on p. 440)
Brewster 90, "The True Lover's Farewell" (1 text, which despite the title appears closer to this song than that)
SharpAp 77, "My Dearest Dear" (1 text, 1 tune)
Sharp/Karpeles-80E 40, "My Dearest Dear" (1 text, 1 tune)
GreigDuncan8 1540, "Time's Drawing On, Love" (1 text, 1 tune)
Fuson, p. 112, "When You and I Must Part" (1 text)
Abrahams/Foss, pp. 52-53, "Time Draws Near" (1 text, 1 tune)
Lomax-FSNA 108, "Winter's Night" (1 text, 1 tune, beginning with lyrics from this song but with final verses more characteristic of "The Storms Are on the Ocean")
Sandburg, pp. 126-127, "The Lover's Lament" (1 text plus a fragment, 1 tune)
DT, (REDREDR2)
Roud #3601
CROSS-REFERENCES:
cf. "Who Will Shoe Your Pretty Little Foot" (floating lyrics) and references there
cf. "Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove)"
ALTERNATE TITLES:
A-Roving on a Winter's Night
NOTES: This is basically a lyric piece assembled from all sorts of floating materials. The first two lines are characteristic; what follows can come from almost anywhere. Doc Watson sings a version which combines parts of this song (notably the verse "A-roving on a winter's night") with portions of "My Love Is Like a Red, Red Rose" (see DT REDREDR2). - RBW
The one verse of GreigDuncan8, "Time's drawing on love, when you and I must part; There's none knows the sorrows of my poor wounded heart, For already I have suffered much and sighed many a tear, I wish I were to go with you, or you to tarry here" is very close to verses 1 and 2 of Brewster: "O to me the time draws nigh When you and I must part; But little do you think or know The grief of my poor heart.... Sure I am troubled for your sake Since you I loved too dear; I wish that I could go with you Or that you could stay here." - BS
Last updated in version 2.5
File: SKE40

My Dog and I


DESCRIPTION: "My dog and I hae learned a trade": "when it's late and there's none to spy," in winter and summer "my dog and I will catch some hare"; the geese "they'll no be caught, they fly so high"
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan2)
KEYWORDS: poaching bird animal dog
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan2 254, "My Dog and I" (1 text)
Roud #5848
File: GrD2254

My Doggie and I


DESCRIPTION: The singer mourns that, when he and his dog went to the well, his dog fell in and drowned. What will become of him? He can still spin a spangle thread "but bowf bow-ow my doggie's deid"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: grief death lament dog
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1660, "My Doggie and I" (1 text)
Roud #13045
File: GrD81660

My Emmet's No More


DESCRIPTION: "Despair in her wild eye, a daughter of Erin" played the harp and "sang Erin's woes and her Emmet no more." She accuses "tyrants and traitors" and the "proud titled villains" who cowered before him before they murdered him.
AUTHOR: unknown
EARLIEST DATE: 1901 (O'Conor) ; beginning 19C (Zimmermann)
KEYWORDS: rebellion execution patriotic Ireland separation love
HISTORICAL REFERENCES:
Sep 20, 1803 - Robert Emmet (1778-1803) is hanged
FOUND IN: Ireland
REFERENCES (3 citations):
O'Conor, p. 143, "My Emmet's No More" (1 text)
Zimmermann 25, "My Emmet's No More" (1 text, 1 tune)
Moylan 156, "My Emmet's No More" (1 text, 1 tune)
BROADSIDES:
Bodleian, Harding B 17(204b), "My Emmet's No More", unknown, n.d.; also 2806 b.10(16), "My Emmet's No More"
CROSS-REFERENCES:
cf. "Bold Robert Emmet" (subject) and references there
NOTES: For the sad background of this typically Irish story, see the notes to "Bold Robert Emmet." - RBW
File: OCon143A

My Fairey and My Forey


See Have You Any Bread and Wine (English Soldiers, Roman Soldiers) (File: Lins040)

My Faith Looks Up to Thee


DESCRIPTION: "My faith looks up to thee, Thou lamb of Calvary." "Oh let me from this day Be wholly thine." The singer asks for strength and guidance, and asks, "O bear me safe above."
AUTHOR: Words: Ray Palmer (1808-1887) / Music: Lowell Mason (1792-18720
EARLIEST DATE: 1947 (Methodist hymnal)
KEYWORDS: religious nonballad
FOUND IN:
REFERENCES (1 citation):
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 100-102, "My Faith Looks Up To Thee" (1 text, 1 tune)
Roud #14038
File: CJns0100

My Faither Was Hung for Sheep-Stealing


See The Cobbler (I) (File: R102)

My Fancy Dwells With Nancy Belle


See When Bucks a Hunting Go (File: GrD4727)

My Far Down Cailin Ban


DESCRIPTION: Sean meets a lass who invites him "'longside the Cailin Ban" in her cart. She invites him in to meet her father and have tea. Her father falls asleep. He slips his arm around her waist. He has travelled over Erin's Isle and has never seen such a beauty
AUTHOR: Shaun O'Nolan (1871-1945) (source: Munnelly/Deasy-Lenihan)
EARLIEST DATE: 1975 (Munnelly/Deasy-Lenihan)
KEYWORDS: courting Ireland father beauty
FOUND IN: Ireland
REFERENCES (1 citation):
Munnelly/Deasy-Lenihan 36, "My Far Down Cailin Ban" (1 text, 1 tune)
Roud #5231
NOTES: Munnelly/Deasy-Lenihan: The author was "described in his publicity as 'Shaun O'Nolan, The Wicklow Piper.' The protagonist is a piper named Sean going from Donegal to Tandagree. Munnelly/Deasy-Lenihan: "Irish geography does not seem to have been a strong point with him, for when he wrote that couple in the ass and cart jog along from Donegal to Tandragee in County Armagh he can hardly have been aware that the distance involved is over ninety miles!" - BS
File: RcMFDCBa

My Father and Mither Were Irish


See Pig in the Parlor (File: R522)

My Father Gaed Me Milk and Bread


DESCRIPTION: "Ma faither gies me milk an breid [or meat], Ma mither gies me claes, Tae sit aboot the fireside [or be someplace else] An knap fowk's taes"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: clothes food humorous nonballad father mother
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
GreigDuncan8 1620, "My Father Gaed Me Milk and Bread" (1 text)
ADDITIONAL: Robert Chambers (Edited by Norah and William Montgomerie), Traditional Scottish Nursery Rhymes (1990 selected from Popular Rhymes) #225, p. 123, ("Ma faither gies me milk an breid")
Roud #12984
NOTES: A joke on collectors? - RBW
Last updated in version 2.5
File: GrD81620

My Father Gave Me


DESCRIPTION: "My father gave me when he was able A bowl, a bottle, a dish and a ladle, A bowl sir my father gave me" up to "... Twelve bowls, twelve bottles, twelve dishes, twelve ladles, eleven bowls ...."
AUTHOR: unknown
EARLIEST DATE: 1961 (Peacock)
KEYWORDS: cumulative nonballad gift
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Peacock, p. 20, "My Father Gave Me" (1 text, 1 tune)
Roud #1505
ALTERNATE TITLES:
The Counting Song
A Bowl, a Bottle, a Dish and a Ladle
File: Pea020

My Father Gave Me a Lump of Gold (Seven Long Years)


DESCRIPTION: "My father dear, so far from here, has given me good advice, He told me to quit my rambling ways And settle down for life." The rest of the family gives equally good advice. Father gives a lump of gold, but it cannot save the son from hell. Etc.
AUTHOR: unknown
EARLIEST DATE: 1903 (Belden)
KEYWORDS: family father mother rambling loneliness poverty separation bequest lastwill
FOUND IN: US(Ap,SE,So)
REFERENCES (3 citations):
Belden, pp. 259-260, "Prentice's Drinking Song" (1 text)
Randolph 834, "My Father Gave Me a Lump of Gold" (1 text, 1 tune)
SharpAp 102, "Seven Long Years" (1 text, 1 tune)
Roud #3605
File: R834

My Father Gave Me an Acre of Ground


See The Elfin Knight [Child 2] (File: C002)

My Father Had an Acre of Land


DESCRIPTION: "My father had an acre of land, Hey ho, sing ivy, My father had an acre of land, With a bunch of green holly and ivy." He farmed it in impossible ways: "plowed it with a team of rats," "rolled it with a rolling pin," "thrashed it with a hazel twig"
AUTHOR: unknown
EARLIEST DATE: 1842
KEYWORDS: farming nonsense paradox
FOUND IN: Britain(England(All))
REFERENCES (3 citations):
Kennedy 300, "My Father Had an Acre of Land" (1 text, 1 tune)
Flanders-Ancient1, pp. 51-78, "The Elfin Knight' (12 texts plus 3 fragments, not all from New England; 8 tunes; mostly of Child #2, but the "N" text, which has no tune, appears to be this song)
Opie-Oxford2 158, "My father left me three acres of land" (1 text)
Roud #12
RECORDINGS:
Bob & Ron Copper, "My Father Had an Acre of Land" (on FSB4)
Charlie Potter, "Sing Ivy" (on Voice14)
Tony Wales, "Sing Ivy" (on TWales1)
CROSS-REFERENCES:
cf. "The Elfin Knight" [Child 2] (theme)
ALTERNATE TITLES:
The Team of Rats
Sing Ivy
Sing Ovy, Sing Ivy
NOTES: This song is sometimes listed as a variant of "The Elfin Knight" [Child 2], and in fact they share many ideas and some lyrics. However, the crucial element of "The Elfin Knight" is the dialog, whereas this is a song of impossible deeds. The should be kept separate. - RBW
File: K300

My Father He Died, But I Can't Tell You How


See The Swapping Boy (File: E093)

My Father Left Me Three Acres of Land


See My Father Had an Acre of Land (File: K300)

My Father Was a Farmer Good


See One and Twenty (File: GC096)

My Father Was a Gambler


See Hang Me, Oh Hang Me (Been All Around This World) (File: R146)

My Father Was Born in Killlarney


See Don't Run Down the Irish (My Father Was Born in Killlarney) (File: MCB224)

My Father, How Long?


DESCRIPTION: "My father, how long\ (x3) Poor sinner suffer here?" "And it won't be long (x3) Poor sinner suffer here." "We'll soon be free (x3), The Lord will call us home." "We'll walk the miry road." "We'll walk the golden streets." "We'll fight for liberty."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 93, "My Father, How Long?" (1 text, 1 tune)
Roud #12048
File: AWG093

My Father's a Hedger and Ditcher (Nobody Coming to Marry Me)


DESCRIPTION: "My father's a hedger and ditcher, my mother does nothing but spin, They say I'm a pretty young girl But the money comes slowly in." The girl laments, with variations on a theme, that "there's nobody coming to marry me, Nobody coming to woo."
AUTHOR: unknown
EARLIEST DATE: 1806 (broadside, Bodleian Harding B 10(39))
KEYWORDS: love courting oldmaid
FOUND IN: US(MW,SE) Britain(Scotland(Aber)) Ireland
REFERENCES (4 citations):
Ford-Vagabond, p. 189, "Naebody Comin' to Marry Me" (1 text)
GreigDuncan7 1385, "Naebody Comin' to Marry Me," GreigDuncan7 1386, "My Daddy's a Delver o' Dykes" (2 texts, 1 tune)
BrownII 185, "Nobody Coming to Marry Me" (1 text)
Gardner/Chickering 181, "Me Father Is a Lawyer in England" (2 short texts, 2 tunes, both very mixed; "A" has the first verse of "Me Father Is a Lawyer in England,"; the second is "Me father is a hedger and ditcher, and the third and the chorus are from "The Cobbler"; the "B" text is also clearly mixed though the elements are less clear)
Roud #846
RECORDINGS:
Mary Ann Carolan, "My Father's a Hedger and Ditcher" (on Voice20)
BROADSIDES:
Bodleian, Harding B 10(39), "Nobody Coming to Marry Me" ("Last night the dogs did bark"), Laurie and Whittle (London), 1806; also Harding B 25(1371)[many illegible words], "Nobody Coming to Marry Me"
NOTES: At first glance, the "Hedger and Ditcher" stanza (which is the first in Brown though not in Ford) seems unrelated to the rest, but it seems likely to be a reference to the girl's inadequate dowry. There is every likelihood that this is a stage song; most of the (rather unhelpful) references in Brown are to printed and popular versions.
Roud lists many more versions, but many are of what I would consider separate songs (e.g. "My Father's a Lawyer in England," which often goes with "My God How the Money Rolls In").
It's just possible that there is a link to British politics in here somewhere. In the years around 1910, the Liberal government of H. H. Asquith was trying to pass a variety of reforms, and had them vetoed by the House of Lords. This was understandable; Britain at the time was trying for social reforms *and* conducting a naval arms race against Germany, and it cost a great deal. The Liberals were proposing extreme tax increases (Smith, p. 481)
The Liberals, having been stymied again and again by the Lords, eventually tried to pass a law restricting the veto power of the Lords. Which, naturally, the Lords vetoed.
Asquith tried various tricks. He called a general election on the issue, and won it -- barely. He tried to persuade the King (originally Edward VII, then George V after Edward's death) to appoint, or at least threaten to appoint, enough liberal peers to override the overwhelming conservative majority (probably at least 75%; some put it at 90%) in the Lords (Longford, p. 148).
The Lords opposed to the reform measure were known as the "Ditchers," because they would die in the last ditch. Those willing to go along with the change were, for whatever reason, known as "Hedgers."
The acrimony was intense; Longford, p. 149, records that all pretense of genuine debate was halted: "The mood... was plain honest anger. The point was not to convince the opponent but to run him through."
In the end, the reform law was passed by the Lords, very grudgingly -- so grudgingly that the Lords took the almost unknown step of recording the Division of the House (Longford, p. 152). The large majority of the Lords did not attend (nothing unusual about that -- a quorum in the Lords was three peers, though the body had over 500 members). Over 100 Ditchers voted against. Fewer than 100 peers voluntarily voted for. 37 lords led by Lord Curzon, who opposed the bill, finally voted in favor -- better to lose the veto than dilute the Lords. The final vote was 131 to 114.
It had taken two years, and it brought down Unionist (conservative) leader Arthur Balfour, who had been strangely quiet the whole time -- a critic of the period might well have said he "does nothing but spin."
I don't really think the two are connected, but it *is* an interesting parallel. For more on the whole incident, see "Home Rule for Ireland" and "A Loyal Song Against Home Rule"; also Massie, pp. 640-662 -- the chapter entited "The Budget and the House of Lords." - RBW
The broadside Bodleian Harding B 10(39) notes: "(Intended as a Companion to the second appearance of Miss Bailey's Ghost, Just Published) Sung by Mrs Jordan, with Unbounded Applause at the Theatre Royal Drury Lane." That "No rest in the grave: or The second appearance of Miss Bailey's ghost" is a parody of "Nobody Coming to Marry Me" : "Nobody coming to bury me," etc. [the latter found in Bodleian Harding B 17(219a) - RBW] - BS
BibliographyLast updated in version 2.5
File: BrII185

My Father's Gone to View That Land


DESCRIPTION: "My father's gone to view that land, To view that land, to view that land, My father's gone to view that land, To sing that cheering song." "It takes a saint to view that land." "My (mother/brother/sister/children/neighbor)'s gone to view that land."
AUTHOR: unknown
EARLIEST DATE: 1931 (Fuson)
KEYWORDS: religious nonballad
FOUND IN: US(Ap)
REFERENCES (1 citation):
Fuson, p. 209, "Our Father's Gone to View That Land" (1 text)
ST Fus209 (Partial)
Roud #13937
File: Fus209

My Father's Gray Mare


See The Gray Mare [Laws P8] (File: LP08)

My Father's Old Sou'wester


DESCRIPTION: "My father's old sou'wester He wore in days gone by ... Those happy days of old." "When I was but a lad" my father wore his old hat wherever he went. When he died he said "Go take that old sou'wester hat And wear it for my sake"
AUTHOR: unknown
EARLIEST DATE: 1955 (Doyle)
KEYWORDS: death lastwill fishing sea hunting work nonballad father clothes
FOUND IN: Canada(Newf)
REFERENCES (4 citations):
Doyle3, pp. 42-43, "My Father's Old Sou'wester" (1 text, 1 tune)
Leach-Labrador 118, "Old Southwester" (1 text, 1 tune)
Blondahl, p. 57, "My Father's Old Sou' Wester" (1 text, 1 tune)
DT, SOUWESTR*
Roud #4422
File: Doyl3042

My Father's Servant Boy [Laws M11]


DESCRIPTION: The girl's father plans to have her marry a gentleman. She chooses instead to flee with her sweetheart. They find a captain who will bring them to America, and are supported by an Irishman till the boy can find a job. Despite poverty, the girl is happy
AUTHOR: unknown
EARLIEST DATE: 1927 (Sam Henry collection)
KEYWORDS: marriage emigration poverty
FOUND IN: Canada(Mar) Ireland
REFERENCES (5 citations):
Laws M11, "My Father's Servant Boy"
SHenry H198, pp. 481-482, "My Father's Servant Boy" (1 text, 1 tune)
MacSeegTrav 78, "My Father's Servant Boy" (1 text, 1 tune)
Mackenzie 39, "My Father's Servant Boy" (1 text)
DT 578, SERVNTBY
Roud #1910
RECORDINGS:
Maggie Murphy, "My Father's Serving Boy" (on IRHardySons)
BROADSIDES:
Bodleian, Johnson Ballads 238, "The Servant Boy" ("You lovers all both great and small attend unto my theme"), J. Catnach (London) , 1813-1838; also Firth c.18(207), Harding B 11(2595), Harding B 11(3453), Harding B 25(1752), Harding B 11(1471), "The Servant Boy"; Harding B 11(2998), "Answer to the Philadelphia Lass"
CROSS-REFERENCES:
cf. "You Lovers All" (plot, lyrics)
cf. "Mullinabrone" (plot)
NOTES: The broadside Bodleian Harding B 11(2998), "Answer to the Philadelphia Lass," W. and T. Fordyce (Newcastle), c.1840 is on the same sheet as "Philadelphia Lass" ("It was on a summer's morning, all in the month of May"), another title for "Mary in Search of Her Lover"; that packaging makes it seem, to me, unlikely that our ballad was ever known elsewhere as "Answer to ...." On the other hand "Philadelphia Lass" may have been in tradition by that title
[see: Bodleian, Harding B 11(4257), "Mary in Search of her Lover," W. and T. Fordyce (Newcastle) , 1832-1842; also Firth c.13(233), "Mary in Search of her Lover"; Harding B 11(2997), Harding B 11(2998), "[The] Philadelphia Lass" ] - BS
File: LM11

My Fine Sailor Boy


See The Sailor Boy (I) [Laws K12] (File: LK12)

My First and Last Courtship


See I Wish I Were Single Again (I - Male) (File: R365)

My Flora and I


See Sheepcrook and Black Dog (File: HHH030a)

My Flora and Me


See Sheepcrook and Black Dog (File: HHH030a)

My Foot Is in the Stirrup


DESCRIPTION: The singer tells Molly he is going to find a new girlfriend (in rather more coarse language), promising he will do his "plowing in some cleaner, greener land."
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: bawdy parting
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph-Legman I, p. 275, "My Foot Is in the Stirrup" (1 text, 1 tune)
CROSS-REFERENCES:
cf. "Oh Lily, Dear Lily"
cf. "Old Paint"
cf. "Sweet Willie"
cf. "The False Lover Won Back" [Child 218]
File: RL275

My Friends and Relations


DESCRIPTION: "My friends and relations they live in the nations,They know not where their cowboy has gone." The poor cowboy "might have lived long in this world... If my cruel friends could have left me alone." But now he wanders the world
AUTHOR: unknown
EARLIEST DATE: 1937 (Coolidge, "Texas Cowboys")
KEYWORDS: cowboy rambling exile separation family
FOUND IN: US
REFERENCES (1 citation):
Ohrlin-HBT 2, "My Friends and Relations" (1 text, 1 tune)
Roud #16240?
CROSS-REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter, floating lyrics) and references there
File: Ohr002

My Gallant Brigantine


See The Gallant Brigantine [Laws D25] (File: LD25)

My Generous Lover


DESCRIPTION: False Jimmy deceives an innocent young woman into yielding to him; she says, "My generous lover, you're welcome to me", but the generosity is all hers. She leaves her home; he leaves the country, telling her not to allow any other to love her; she regrets
AUTHOR: unknown
EARLIEST DATE: c. 1960 (recording, A. L. Lloyd)
KEYWORDS: hardheartedness seduction sex abandonment lover
FOUND IN: Britain(England)
REFERENCES (1 citation):
Huntington-Whalemen, pp. 225-227, "The First Time I Saw My Love" (1 text)
ST RcMGL (Full)
Roud #1996
RECORDINGS:
A. L. Lloyd, "My Generous Lover" (on Lloyd1)
ALTERNATE TITLES:
Pretty Peggy
NOTES: The alternate title "Pretty Peggy" should not be confused with "Pretty Peggy-O", a version of "Bonnie Lass of Fyvie". The young woman's name does not appear in this song. - PJS
Huntington's version of this (Roud #1996, for which he currently lists only this song) has a rather simplified plot, in which the man's faithlessness is not clear and the sexual element is very muted (I didn't see it until Paul's description brought it out). I tie the two versions together based on the key line "My generous lover, you're welcome to me."
Huntington says he has not seen any other versions in print, and I must admit that I haven't seen any either. Huntington is reminded of "Logie o Buchan," and I get the same feeling. But they are definitely separate songs.
A point of interpretation: I believe the key line "you're welcome to me" does not mean "let's do something dirty" but "you will always be welcome home to me, whatever my family thinks of you." - RBW
I don't agree; the context makes the offer explicitly sexual. Not something dirty; she's offering her heart and body in sexual love, and he proves unworthy of the offer. - PJS
File: RcMGL

My Gentle Colleen Bawn


DESCRIPTION: The singer courts Colleen Bawn for 16 months. He is rich and "her friends all kindly welcomed me" He loses his money and is told "They'd forced my own colleen to wed An old man for his gold" He asks why "in our own dear land ... They wed for money"
AUTHOR: unknown
EARLIEST DATE: 1965 (OLochlainn-More)
KEYWORDS: poverty courting marriage money
FOUND IN: Ireland
REFERENCES (1 citation):
OLochlainn-More 24, "My Gentle Colleen Bawn" (1 text, 1 tune)
Roud #4391
BROADSIDES:
Bodleian, 2806 c.7(21), "Tipperary Mans Courtship ," P. Brereton (Dublin), c.1867 ; also 2806 b.9(7), "For 16 Months I Courted Her"
LOCSinging, as113780, "Tipperary Mans Courtship," unknown, 19C; also as104070, "For 16 Months I Courted Her"
NOTES: Broadsides LOCSinging as113780 and Bodleian 2806 c.7(21) are duplicates, [as are] LOCSinging as104070 and Bodleian 2806 b.9(7). - BS
File: OLcM024

My Geordie O, My Geordie O


See Geordie [Child 209] (File: C209)

My Girl from Donegal


DESCRIPTION: The singer is setting out for America. He tells those around him of his parting from beautiful Aileen Oge, with whom none can compare. He wishes he could stay, but no money is to be had. When he becomes rich, he will marry Aileen
AUTHOR: unknown
EARLIEST DATE: 1923 (Sam Henry collection)
KEYWORDS: emigration love separation beauty
FOUND IN: Ireland
REFERENCES (1 citation):
SHenry H4, pp. 190-191, "My Girl from Donegal" (1 text, 1 tune)
Roud #13547
File: HHH004

My Girl's from USC


DESCRIPTION: Various stanzas about how the singer's girl, whose college or fraternity is usually identified, satisfies the singer. Example: "My girl's from USC, She fights for chastity, Fights ev'ryone but me, I love her so."
AUTHOR: unknown
EARLIEST DATE: 1960
KEYWORDS: courting sex bawdy
FOUND IN: US(SW)
REFERENCES (1 citation):
Cray, pp. 357-359, "My Girl's from USC" (2 texts, 1 tune)
Roud #10402
File: EM357

My God, How the Money Rolls In


DESCRIPTION: A quatrain ballad, "My God" describes the various illegal or dubious occupations of family members, e.g. "My sister she works in a (cathouse/laundry), My father makes synthetic gin, My mother she takes in washing, My God, how the money rolls in"
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: bawdy humorous family
FOUND IN: Australia Canada Britain(England,Scotland) Ireland US(Ap,MA,MW,NE,Ro,SE,So,SW) New Zealand
REFERENCES (6 citations):
Cray, pp. 107-109 (related songs to p. 114), "My God, How the Money Rolls In" (1 text, 1 tune)
Sandburg, p. 381, "My Sister She Works in a Laundry" (1 short text, 1 tune)
Lomax-FSNA 68, "Me Father's a Lawyer in England" (1 text, 1 tune -- seemingly a composite text with a different chorus and some floating verses, e.g. from "The Cobbler")
Gardner/Chickering 181, "Me Father Is a Lawyer in England" (2 short texts, 2 tunes, both very mixed; "A" has the first verse of "Me Father Is a Lawyer in England,"; the second is "Me father is a hedger and ditcher, and the third and the chorus are from "The Cobbler"; the "B" text is also clearly mixed though the elements are less clear)
Silber-FSWB, p. 31, "My God, How the Money Rolls In" (1 text)
DT, MYGODHOW MYGOD* (MONTSARG*)
Roud #10143
CROSS-REFERENCES:
cf. "My Bonnie Lies Over the Ocean" (tune) and references there
cf. "Please, Don't Burn Our Shithouse Down"
cf. "The Cobbler (I)"
cf. "Roll In My Sweet Baby's Arms" (words)
ALTERNATE TITLES:
The Poor Tailor's High Relations
NOTES: This is one of the most commonly found of bawdy songs, virtually ubiquitous in the English-speaking world. - EC
On the off chance you didn't know, the tune is "My Bonnie." And I've even heard clean versions.
It's possible that "Me Father's a Lawyer in England" is a separate song, or at least a separate subtext -- but the versions I've seen are mixed enough that splitting them based on a single key line seemed rather extreme. - RBW
File: EM107

My Good Old Man


DESCRIPTION: Wife asks husband where he is going. He says, grumpily,"Out" (or the like). She asks about supper. He: Eggs. She: How many? He: A bushel. She: They'll kill you. He: Then I'll haunt you. She: You can't haunt a haunt
AUTHOR: unknown
EARLIEST DATE: 1921 (Sharp)
KEYWORDS: dialog wife husband shrewishness hardtimes ghost
FOUND IN: US(Ap,So)
REFERENCES (9 citations):
Randolph 426, "The Best Old Feller in the World" (2 texts plus a fragment, 3 tunes)
Randolph/Cohen, pp. 325-327, "The Best Old Feller in the World" (1 text, 1 tune -- Randolph's 426A)
BrownII 191, "The Good Old Man" (2 texts)
SharpAp 230, "The Good Old Man" (2 texts, 2 tunes)
Ritchie-SingFam, pp. 12-14, "[My Good Old Man]" (1 text, 1 tune)
Asch/Dunson/Raim, p. 88 "Le Vieux Soulard Et Sa Femme (The Old Drunkard and His Wife)" (1 text, in French with English translation, 1 tune)
Silber-FSWB, p. 344, "Where Are You Going, My Good Old Man" (1 text)
Kennedy 64, "Yr Hen wr Mwyn [The Gentle Old Man]" (1 text in Welsh + translation, 1 tune)
DT, GDOLDMAN
Roud #240
RECORDINGS:
Cleoma Breaux & Joseph Falcon, "Le Vieux Soulard et sa Femme" [in Cajun French] (Columbia 14301D, 1928; on AAFM3)
CROSS-REFERENCES:
cf. "Tam Buie (Tam Bo, Magherafelt Hiring Fair)" (form)
NOTES: The plot of this song varies widely, as does the final line ("My good old man," "The meanest man in the world," "The best old fellow in the world," "Best Old Soul in the World"). But the format is constant: First the wife asks a long, involved question, e.g.
Where are you going, my good old man?
Where are you going, my honey, lovey dove?
Where are you going, my good old man?
Best old man in the world.
Then the man replies (spoken, not sung) in the shortest set of monosyllables possible.
The final element, about the ghost, disappears in many versions.
Kennedy's Welsh text doesn't look that much like the English versions to me, at least in terms of plot; it may be an analog rather than a version of the same song. But it's filed here rather than include it in a separate entry, which it does not deserve in an English-language index. - RBW
File: R426

My Good Ship Sails in Half-an-Hour


See I'm Leaving Tipperary (File: GrD81754)

My Good-Looking Man


DESCRIPTION: The singer warns other girls against good-looking men. When young, she saw a good-looking man and set about to marry him. Now she sees him with another woman. When he claims to have been in church, she beats him until he flees
AUTHOR: John Morgan ?
EARLIEST DATE: before 1845 (broadside, Bodleian Harding B 11(1368))
KEYWORDS: courting marriage infidelity abuse
FOUND IN: US(MA,MW) Canada(Newf,Ont) Ireland
REFERENCES (7 citations):
FSCatskills 42, "My Good-Looking Man" (1 text, 1 tune)
Gardner/Chickering 182, "My Good-Lookin' Man" (1 text)
Peacock, pp. 302-303, "My Good-Looking Man" (1 text, 1 tune)
Leach-Labrador 30, "Good Looking Man" (1 text, 1 tune)
Lehr/Best 83, "My Good Looking Man" (1 text, 1 tune)
O'Conor, p. 7, "My Good-Looking Man" (1 text)
DT, GOODLOOK*
Roud #3340
RECORDINGS:
Nonie Lynch, "My Good Looking Man" (on IRClare01)
BROADSIDES:
Bodleian, Harding B 11(1368), "The Good Looking Man," J. Pitts (London), 1819-1844
SAME TUNE:
Nice Young Girl (per broadside Bodleian Harding B 11(1368))
NOTES: Broadside Bodleian Harding B 11(1368) has the author as J. Morgan. - BS
File: FSC42

My Grandfather Died


See The Swapping Boy (File: E093)

My Grandfather Married a Quaker


DESCRIPTION: When Judy "sung like a peacock or starling" the singer introduces himself and offers himself as a husband "so hearty" she's not likely to find such again. "Your coldness puts me in a flame I'll marry you if you have money In spite of my family name"
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan4)
KEYWORDS: greed courting money humorous
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan4 820, "My Grandfather Married a Quaker" (1 text)
Roud #6214
NOTES: The singer claims to have been attracted by Judy's singing which reminds him of two very unmusical birds. He claims that "all meanality I do disdain" but, whatever that may mean, I'm not convinced.
The first verse of GreigDuncan4 is not required for the rest of the text but its sentiments float when it is necessary to establish a seedy environment:
My grandfather married a Quaker,
My uncle made hay wi' a fork,
My mither's a great grand brog maker
In the beautiful city called Cork.
My father sold mouse-traps and rabbits
Pigs, tressle and all other game
Would you know the sweet town he inhabits?
It's jolly Dungavin by name.
Croker reported almost exactly the first four lines of this text for "I Was the Boy for Bewitching Them." For other examples close to this see "My Father's a Hedger and Ditcher," and references there, and "My God, How the Money Rolls In." If the first verse just floated here then it's fair to ask what the title [for the rest] should be. - BS
Last updated in version 2.5
File: GrD4820

My Grandfather's Clock


See Grandfather's Clock (File: RJ19076)

My Grandfather's Cock


DESCRIPTION: An ode to Grandfather's amazing sexual equipment.
AUTHOR: unknown
EARLIEST DATE: 1963
KEYWORDS: death bawdy
FOUND IN: US(SW) Britain Australia
REFERENCES (2 citations):
Cray, pp. 270-271, "My Grandfather's Cock" (2 fragments)
DT, GRANDCCK*
File: EM270

My Grandma's Advice


See Grandma's Advice (File: R101)

My Grandmother


See Grandma's Advice (File: R101)

My Grandmother Lived on Yonder Green


See Grandma's Advice (File: R101)

My Grandmother Lived on Yonder Little Green


See Grandma's Advice (File: R101)

My Grandmother's Advice


See Grandma's Advice (File: R101)

My Grandmother's Chair


See Grandmother's Chair (File: R467)

My Gray Haired Irish Mother


DESCRIPTION: Barney thinks of his childhood in Ireland and how blessed him when he left. He imagines her sorrow: "Your old Irish mother is waiting for you And when friends and companions will turn and desert you There's a place Barney darling at the old home for you"
AUTHOR: unknown
EARLIEST DATE: 1929 (for USBallinsloeFair, according to site irishtune.info, Irish Traditional Music Tune Index: Alan Ng's Tunography, ref. Ng #2617)
KEYWORDS: homesickness separation Ireland nonballad mother home
FOUND IN:
RECORDINGS:
John McGettigan and his Irish Minstrels, "My Gray Haired Irish Mother" (on USBallinsloeFair)
CROSS-REFERENCES:
cf. "There's No One Like Mother to Me"
NOTES: "There's No One Like Mother to Me" and "My Gray Haired Irish Mother" are clearly related but clearly distinct. The question is: which is the original and which the derivative?
The tunes are closely related though the rests in "There's No One Like Mother To Me" are filled with text in "My Gray Haired Irish Mother."
The theme of both songs is: an expatriot remembers his childhood in a "cottage far over the sea" and recalls especially the mother that blessed him with tears on her cheeks.
"There's No One Like Mother to Me" has two verses and a chorus. "My Gray Haired Irish Mother" has five verses and no chorus.
Here is the first verse of "There's No One Like Mother to Me"
Sadly I'm thinking tonight
Thinking of days long gone by
Memories of childhood so bright
Come back like a dream with a sigh
I'm thinking of friends and of home
In that cottage far over the sea
Oh no matter where-ever I roam
There is no one like mother to me.
and the first two verses of "My Gray Haired Irish Mother"
How sadly I'm thinking tonight of my sire-land
Thinking of scenes and of days long gone by.
Memories of childhood so bright and so airy
Come rushing back to me with many's a sigh
I'm thinking of one whom I left far behind me
In that little thatched cottage far over the sea
Oh the one only cried Barney every noon and morning
Darling won't you come back to me.
The pattern is repeated in the remaining verse of "There's No One Like Mother to Me" and the third and fourth verses of "My Gray Haired Irish Mother."
We have sheet music dated 1885 for "There's No One Like Mother to Me" (LOCSheet sm1885 25967, by Gussie L Davis). The version recorded in 1936 by The Carter Family is almost identical to that original (source: Country Music Sources by Guthrie T Meade Jr, p. 324; the Bluegrass Lyrics site)
The John McGettigan recording of "My Gray Haired Irish Mother" in 1929 demonstrates that the songs co-existed. - BS
File: RcMGHIM

My Guid Kilmarnock Bonnet


See Big Kilmarnock Bonnet (File: RcBiGkBo)

My Handsome Gilderoy


See Gilderoy (File: RL040)

My Handsome Sailor Boy


DESCRIPTION: "As I roved out one evening down Water street I took my way." Mary Jane hopes to meet MacDonald, her true love, but is told he's gone to Halifax "for money." Her mother and father tell her to forget MacDonald but she will go to Halifax to be his bride.
AUTHOR: unknown
EARLIEST DATE: 1958 (Peacock)
KEYWORDS: courting separation sea father lover mother
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Peacock, pp. 566-567, "My Handsome Sailor Boy" (1 text, 1 tune)
ST Pea566 (Partial)
Roud #9795
NOTES: Peacock says "Despite the fact that Mary Jane roves down Water Street in St John's (or Halifax) and MacDonald lives in Halifax, this song does not seem to me to be of Canadian origin. It is probably a British song with Canadian referents." Water Street is hardly a street name found only in Halifax or St John's - BS
File: Pea566

My Happy Little Home in Arkansas


DESCRIPTION: "'Tis a pretty little cottage where the grass is ever green... Come and see me, neighbors, come today... 'Tis the finest country found, I will show you all around In my happy little home in Arkansas." Praises of the farming conditions in Arkansas
AUTHOR: unknown
EARLIEST DATE: 1904 (Stockard, History of Lawrence, Jackson, Independence, and Stone Counties, Arkansas)
KEYWORDS: home farming
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 868, "My Happy Little Home in Arkansas" (1 text)
Roud #7537
File: R868

My Harding County Home


DESCRIPTION: "Not so many years ago I left old Buffalo, The place that I have always loved the best.... I'm yearning today For my Harding County home out in the west. The singer recalls the beauties of home; "As I wander down Broadway," he hears a coyote call him home
AUTHOR: Tex Fletcher
EARLIEST DATE: 1948 (recording, Tex Fletcher)
KEYWORDS: home travel
FOUND IN: US(MW)
REFERENCES (1 citation):
Ohrlin-HBT 67, "My Harding County Home" (1 text, 1 tune)
RECORDINGS:
Tex Fletcher, "My Harding County Home" (Flint 1782, 1948)
NOTES: "Buffalo" here refers not to the city in New York State but to the county seat of Harding County, South Dakota.
Although this began life as a commercial recording, it does have some oral tradition behind it; the author's son tells me of a "kitchen table" recording he has of his father singing it.
The mention of the coyote, while hardly South Dakota-specific, is certainly fitting for the state; according to Robert F. Karolevitz, Challenge, the South Dakota Story, Brevet Press, 1974 (I use the eighth printing from 2004), p. v. "In the past, South Dakota has been semiofficially nicknamed for the coyote, the environmentally adaptable but not universally appreciated official state animal with inhabits all 67 counties." - RBW
Last updated in version 2.5
File: Ohr067

My He'rt It Is Sair


See The Deluded Lover (File: K150)

My Head is Sair, My Back's in Twa


DESCRIPTION: "My head is sair, my back's in twa, Gar him come, gar him come, My head is sair, my back's in twa, Gar Johnnie come and see me"
AUTHOR: unknown
EARLIEST DATE: 1917 (GreigDuncan6)
KEYWORDS: love nonballad separation
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan6 1101, "My Head is Sair, My Back's in Twa" (1 fragment)
Roud #6849
NOTES: The current description is all of the GreigDuncan6 fragment. - BS
Last updated in version 2.5
File: GrD61101

My Heart Is As Licht As a Feather


DESCRIPTION: The singer says her "heart is as licht as a feather." She will not "lat doon my heart" for any mud-splashing lad. "I'll never lie dead for them That winna lie sick for me."
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan6)
KEYWORDS: courting nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan6 1135, "My Heart Is As Licht As a Feather" (1 text)
Roud #6825
CROSS-REFERENCES:
cf. "Farewell He" (theme) and references there
File: GrD61136

My Heart It Never Was Afraid


DESCRIPTION: "My heart it never was afraid To go and meet my foe"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: fight
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1922, "My Heart It Never Was Afraid" (1 fragment)
Roud #15123
NOTES: The current description is all of the GreigDuncan8 fragment. - BS
Last updated in version 2.5
File: GrD81922

My Heart's in the Highlands


DESCRIPTION: The singer bids farewell to the highlands mountains, valleys, forests, and rivers, and recalls "chasing the wild deer and following the roe My heart's in the highlands where ever I go"
AUTHOR: Words: Robert Burns
EARLIEST DATE: 1790 (according to Kinsley, _Burns_)
KEYWORDS: homesickness farewell travel nonballad animal hunting
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
GreigDuncan3 521, "My Heart's in the Highlands" (1 text, 1 tune)
ADDITIONAL: James Kinsley, editor, _Burns: Complete Poems and Songs_ (shorter edition, Oxford, 1969) #418, pp. 418-419, "My heart's in the Highlands" (1 text, 1 tune, from 1790)
Roud #5878
CROSS-REFERENCES:
cf. "Failte na miosg" (tune, per Burns)
File: GrD3521

My Heart's Tonight in Texas [Laws B23]


DESCRIPTION: A rancher's daughter and her lover must part; the girl's father is sending her to England in hopes that she will marry a nobleman. Eventually an earl proposes to her, but she will marry none but her Texas Jack
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: separation love
FOUND IN: US(So)
REFERENCES (2 citations):
Laws B23, "My Heart's Tonight in Texas (By the Silvery Rio Grande; Texas Jack)"
DT 841, HRTEXAS*
Roud #635
ALTERNATE TITLES:
By the Silvery Rio Grande
Texas Jack
NOTES: A piece called "Down by the Silvery Rio Grande" was published in 1913 as by Dave Weisberg, R. F. Roden, and Charles Speidel. I have not seen it. - RBW
File: LB23
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