Edward

The Text is that given by Percy in the Reliques (1765), with the substitution of w for initial qu, and y for initial z, as in Young Waters (see p. 146). In the fourth edition of the Reliques Percy states that 'this curious song was transmitted to the editor by Sir David Dalrymple, Bart., late Lord Hailes.'

Percy's adoption of antique spelling in this ballad has caused some doubt to be thrown on its authenticity; but there is also a version Son Davie, given in his Minstrelsy by Motherwell, who, in referring to the version in the Reliques, said there was reason for believing that Lord Hailes 'made a few slight verbal improvements in the copy he transmitted, and altered the hero's name to Edward, a name which, by the bye, never occurs in a Scottish ballad except where allusion is made to an English king.'

The Story has a close parallel in Swedish, the form of the ballad remaining in dialogue.

Motherwell points out that the verses of which Edward consists generally form the conclusion of the ballad of The Twa Brothers, and also of certain versions of Lizie Wan; and is inclined to regard Edward as detached from one of those ballads. More probably the reverse is the case, that the story of Edward has been attached to the other ballads.

The present version of the ballad exhibits an unusual amplification of the refrain. The story is told in two lines of each eight-lined stanza; but the lyrical effect added by the elaborate refrain is almost unique.


EDWARD

    1.
    'Why dois your brand sae drap wi' bluid,
                        Edward, Edward?
    Why dois your brand sae drap wi' bluid,
            And why sae sad gang yee, O?'
    'O, I hae killed my hauke sae guid,
                        Mither, mither:
    O, I hae killed my hauke sae guid,
            And I had nae mair bot hee, O.'

    2.
    'Your haukis bluid was nevir sae reid,
                        Edward, Edward.
    Your haukis bluid was nevir sae reid,
            My deir son I tell thee, O.'
    'O, I hae killed my reid-roan steid,
                        Mither, mither:
    O, I hae killed my reid-roan steid,
            That erst was sae fair and frie, O.'

    3.
    'Your steid was auld, and ye hae gat mair,
                        Edward, Edward:
    Your steid was auld, and ye hae gat mair,
            Sum other dule ye drie, O.'
    'O, I hae killed my fadir deir,
                        Mither, mither:
    O, I hae killed my fadir deir,
            Alas! and wae is mee, O!'

    4.
    'And whatten penance wul ye drie for that,
                        Edward, Edward?
    And whatten penance will ye drie for that.
            My deir son, now tell me, O,
    'Ile set my feit in yonder boat,
                        Mither, mither:
    Ile set my feit in yonder boat,
            And Ile fare ovir the sea, O.'

    5.
    'And what wul ye doe wi' your towirs and your ha',
                        Edward, Edward?
    And what wul ye doe wi' your towirs and your ha',
            That were sae fair to see, O?'
    'Ile let thame stand tul they doun fa',
                        Mither, mither:
    Ile let thame stand tul they doun fa',
            For here nevir mair maun I bee, O.'

    6.
    'And what wul ye leive to your bairns and your wife,
                        Edward, Edward?
    And what wul ye leive to your bairns and your wife,
            Whan ye gang ovir the sea, O?'
    'The warldis room, late them beg thrae life,
                        Mither, mither:
    The warldis room, let them beg thrae life,
            For thame nevir mair wul I see, O.'

    7.
    'And what wul ye leive to your ain mither deir,
                        Edward, Edward?
    And what wul ye leive to your ain mither deir?
            My deir son, now tell me, O.'
    'The curse of hell frae me sall ye beir,
                        Mither, mither:
    The curse of hell frae me sall ye beir,
            Sic counseils ye gave to me, O.'

Frank Sidgwick

Frank Sidgwick was an English writer, publisher, and scholarly editor. He was instrumental in popularizing ballad and folklore studies in the early 20th century. Sidgwick co-founded the publishing company Sidgwick & Jackson, which became known for its contributions to literature and scholarship. Though not primarily known as a poet, his editorial and publishing efforts significantly impacted the literary culture of his time, emphasizing the academic study of traditional songs and verses.

Frank Sidgwick

Young Waters

Frank Sidgwick, Simple Poetry

Our Goodman

Frank Sidgwick, Simple Poetry

Fair Mary Of Wallington

Frank Sidgwick, Simple Poetry

Flodden Field

Frank Sidgwick, Simple Poetry

English

Suggested Poems

Explore a curated selection of verses that share themes, styles, and emotional resonance with the poem you've just read.

The Clerk's Twa Sons O' Owsenford, And The Wife Of Usher's Well

These two ballads must be considered together, as the last six verses (18-23) of The Clerk's Twa Sons, as here given, are a variant of The Wife of Usher's Well.


Texts.--The Clerk's Twa Sons is taken from Kinloch's MSS., in the handwriting of James Chambers, as it was sung to his grandmother by an old woman.

The Wife of Usher's Well is from Scott's Minstrelsy of the Scottish Border, and however incomplete, may well stand alone.


The Story has a fairly close parallel in the well-known German ballad, 'Das Schloss in Oesterreich'; and a ballad found both in Spain and Italy has resemblances to each. But in these two ballads, especially in The Wife of Usher's Well, the interest lies rather in the impressiveness of the verses than in the story.

Frank Sidgwick

The Knight And The Shepherd's Daughter

The Text is given here from Kinloch's MSS. He gives also three other versions and various fragments. The tale is also found amongst the Roxburghe Ballads, as The Beautifull Shepherdesse of Arcadia, in two broadsides printed about 1655 and 1680. This is the only English version extant. But earlier than any text of the ballad is a quotation from it in John Fletcher's The Pilgrim, iv. 2 (1621). The Scots versions, about a dozen in number, are far more lively than the broadside. Buchan printed two, of sixty and sixty-three stanzas respectively. Another text is delightfully inconsequent:--

    '"Some ca' me Jack, some ca' me John,
        Some ca' me Jing-ga-lee,
    But when I am in the queen's court
        Earl Hitchcock they ca' me."

    "Hitchcock, Hitchcock," Jo Janet she said,
        ...

Frank Sidgwick

Young Akin
The Text is taken from Buchan's Ballads of the North of Scotland, and, like nearly all Buchan's versions, exhibits traces of vulgar remoulding. This ballad in particular has lost much of the original features. Kinloch called his version Hynde Etin, Allingham his compilation Etin the Forester.

The Story is given in a far finer style in romantic Scandinavian ballads. Prior translated two of them, The Maid and the Dwarf-King, and Agnes and the Merman, both Danish. The Norse ballads on this subject, which may still be heard sung, are exceptionally beautiful. Child says, 'They should make an Englishman's heart wring for his loss.'

In the present version we may with some confidence attribute to Buchan the stanzas from 48 to the end, as well as 15 and 16. The preference is given to B...
Frank Sidgwick

Cospatrick
The Text is that of Scott's Minstrelsy (1802). It was 'taken down from the recitation of a lady' (his mother's sister, Miss Christian Rutherford), and collated with a copy in the Tytler-Brown MS. The ballad is also called Gil Brenton, Lord Dingwall, Bangwell, Bengwill, or Brangwill, Bothwell, etc.

The Story is a great favourite, not only in Scandinavian ballads, but also in all northern literature. The magical agency of bed, blankets, sheets, and sword, is elsewhere extended to a chair, a stepping-stone by the bedside (see the Boy and the Mantle, First Series, p. 119), or the Billie Blin (see Young Bekie, First Series, pp. 6, 7, and Willie's Lady, p. 19). The Norwegian tale of Aase and the Prince is known to English readers in Dasent's Annie the Goosegirl<...
Frank Sidgwick

Captain Wedderburn
The Text is from Kinloch's MSS., where it was written down from the recitation of Mary Barr: it is entitled 'The Earl of Rosslyn's Daughter.'

The Story is the converse of A Noble Riddle Wisely Expounded, in which the maid wins a husband by riddles; in the present one the captain out-riddles the maid. Similar tales are very popular in many lands, being found in Persia, Russia, Norway, Sweden, Denmark, Turkey, Lithuania, East Siberia, etc.

Most of the lady's riddles are found in an old English song, and its traditional derivatives. The song, which is given below, is found in Sloane MS. 2593, which contains other carols and ballads (see pp. 123-8)[A]. From this is derived the nursery song beginning--

'I had four brothers over the sea'

(with many variations:-- 'four sisters,' 'six l...
Frank Sidgwick

Jamie Douglas And Waly, Waly, Gin Love Be Bonny
The Text of the ballad is here given from Kinloch's MSS., where it is in the handwriting of John Hill Burton when a youth. The text of the song Waly, waly, I take from Ramsay's Tea-Table Miscellany. The song and the ballad have become inextricably confused, and the many variants of the former contain a greater or a smaller proportion of verses apparently taken from the latter.

The Story of the ballad as here told is nevertheless quite simple and straightforward. It is spoken in the first person by the daughter of the Earl of Mar. (She also says she is sister to the Duke of York, 7.4, a person often introduced into ballads.) Blacklaywood, the lady complains, has spoken calumniously of her to her lord, and she leaves him, saying farewell to her children, and taking her youngest son with her.

The bal...
Frank Sidgwick