The Laily Worm And The Machrel Of The Sea

The Text of this mutilated ballad is taken from the Skene MS., where it was written down from recitation in the North of Scotland about 1802.

The Story is of a double transformation of a sister and brother by a stepmother. Compare the story of The Marriage of Sir Gawaine (First Series, p. 108). Allison Gross should be compared closely with this ballad. The combing of hair seems to be a favourite method of expressing affection, not only in these ballads, but also in Scandinavian folklore. It is needless to take exception to the attribution either of hair to a worm, or of knees to a machrel: though we may note that in one version of Dives and Lazarus Dives 'has a place prepared in hell to sit on a serpent's knee.' However, it is probable that a part of the ballad, now lost, stated that the machrel (whatever it may be) reassumed human shape 'every Saturday at noon.'

THE LAILY WORM AND THE MACHREL OF THE SEA

1.
'I was but seven year auld
When my mither she did die;
My father married the ae warst woman
The warld did ever see.

2.
'For she has made me the laily worm,
That lies at the fit o' the tree,
An' my sister Masery she's made
The machrel of the sea.

3.
'An' every Saturday at noon
The machrel comes to me,
An' she takes my laily head
An' lays it on her knee,
She kaims it wi' a siller kaim,
An' washes 't in the sea.

4.
'Seven knights hae I slain,
Sin I lay at the fit of the tree,
An' ye war na my ain father,
The eight ane ye should be.'

5.
'Sing on your song, ye laily worm,
That ye did sing to me:'
'I never sung that song but what
I would sing it to thee.

6.
'I was but seven year auld,
When my mither she did die;
My father married the ae warst woman
The warld did ever see.

7.
'For she changed me to the laily worm,
That lies at the fit o' the tree,
And my sister Masery
To the machrel of the sea.

8.
'And every Saturday at noon
The machrel comes to me,
An' she takes my laily head
An' lays it on her knee,
An' kames it wi' a siller kame,
An' washes it i' the sea.

9.
'Seven knights hae I slain
Sin I lay at the fit o' the tree;
An' ye war na my ain father,
The eighth ane ye shoud be.'

10.
He sent for his lady,
As fast as send could he:
'Whar is my son that ye sent frae me,
And my daughter, Lady Masery?'

11.
'Your son is at our king's court,
Serving for meat an' fee,
An' your daughter's at our queen's court,
... ... ...'

12.
'Ye lie, ye ill woman,
Sae loud as I hear ye lie;
My son's the laily worm,
That lies at the fit o' the tree,
And my daughter, Lady Masery,
Is the machrel of the sea!'

13.
She has tane a siller wan',
An' gi'en him strokes three,
And he has started up the bravest knight
That ever your eyes did see.

14.
She has ta'en a small horn,
An' loud an' shrill blew she,
An' a' the fish came her untill
But the proud machrel of the sea:
'Ye shapeit me ance an unseemly shape,
An' ye's never mare shape me.'

15.
He has sent to the wood
For whins and for hawthorn,
An' he has ta'en that gay lady,
An' there he did her burn.

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

The Laird O' Logie

Frank Sidgwick, Simple Poetry

Clerk Colven

Frank Sidgwick, Simple Poetry

The Braes Of Yarrow

Frank Sidgwick, Simple Poetry

The Jolly Juggler

Frank Sidgwick, Simple Poetry

English

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Willie's Lady

The Text is from the lost Fraser-Tytler-Brown MS., this ballad luckily having been transcribed before the MS. disappeared. Mrs. Brown recited another and a fuller version to Jamieson.


The Story.--Willie's mother, a witch, displeased at her son's choice, maliciously arrests by witchcraft the birth of Willie's son. Willie's travailing wife sends him again and again to bribe the witch, who refuses cup, steed, and girdle. Here our version makes such abrupt transitions, that it will be well to explain what takes place. The Belly Blind or Billie Blin (see Young Bekie, First Series, pp. 6, 7) advises Willie to make a sham baby of wax, and invite his witch-mother to the christening. Willie does so (in stanzas lost between our 33 and 34); the witch, believing the wax-baby to be flesh and blood, betrays all her craft by aski...

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Clyde's Water

The Text is from the Skene MS., but I have omitted the three final lines, which do not make a complete stanza, and, when compared with Scott's 'Old Lady's' version, are obviously corrupt. The last verse should signify that the mothers of Willie and Meggie went up and down the bank saying, 'Clyde's water has done us wrong!'

The ballad is better known as Willie and May Margaret.


The Story.--Willie refuses his mother's request to stay at home, as he wishes to visit his true-love. The mother puts her malison, or curse, upon him, but he rides off. Clyde is roaring, but Willie says, 'Drown me as I come back, but spare me as I go,' which is Martial's

    'Parcite dum propero, mergite cum redeo,'

and occurs in other English broadsides. Meggie will not admit Willie, and he rides away. Meggie...

Frank Sidgwick

Clerk Colven

The Text.--This ballad was one of two transcribed from the now lost Tytler-Brown MS., and the transcript is given here. A considerable portion of the story is lost between stanzas 6 and 7.


The Story in its full form is found in a German poem of the twelfth or thirteenth century (Der Ritter von Stauffenberg) as well as in many Scandinavian ballads.

In the German tale, the fairy bound the knight to marry no one; on that condition she would come to him whenever he wished, if he were alone, and would bestow endless gifts upon him: if ever he did marry, he would die within three days. Eventually he was forced to marry, and died as he had been warned.

In seventy Scandinavian ballads, the story remains much the same. The hero's name is Oluf or Ole, or some modification of this, of which 'Colvill,' or...

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The Bonny Birdy

Text.--From the Jamieson-Brown MS. Jamieson, in printing this ballad, enlarged and rewrote much of it, making the burden part of the dialogue throughout.

The Story is much the same as that of Little Musgrave and Lady Barnard; but the ballad as a whole is worthy of comparison with the longer English ballad for the sake of its lyrical setting.


THE BONNY BIRDY

    1.
    There was a knight, in a summer's night,
        Was riding o'er the lee, (diddle)
    An' there he saw a bonny birdy,
        Was singing upon a tree. (diddle)

            O wow for day! (diddle)
            An' dear gin it were day! (diddle)
            Gin it were day, an' gin I were away,
            For I ha' na lang time to stay. (diddle)
...

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Allison Gross

The Text is that of the Jamieson-Brown MS.


The Story is one of the countless variations of the French 'Beauty and the Beast.' A modern Greek tale narrates that a nereid, enamoured of a youth, and by him scorned, turned him into a snake till he should find another love as fair as she.

The feature of this ballad is that the queen of the fairies should have power to undo the evil done by a witch.


ALLISON GROSS

    1.
    O Allison Gross, that lives in yon tow'r,
        The ugliest witch i' the north country,
    Has trysted me ae day up till her bow'r,
        An' monny fair speech she made to me.

    2.
    She stroaked my head, an' she kembed my hair,
        An' she set me down saftly on her knee;
    Says, 'Gin ye will be my lemman so t...

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The Gay Goshawk

The Text is from the Jamieson-Brown MS., on which version Scott drew partly for his ballad in the Minstrelsy. Mrs. Brown recited the ballad again to William Tytler in 1783, but the result is now lost, with most of the other Tytler-Brown versions.

The Story.--One point, the maid's feint of death to escape from her father to her lover, is the subject of a ballad very popular in France; a version entitled Belle Isambourg is printed in a collection called Airs de Cour, 1607. Feigning death to escape various threats is a common feature in many European ballads.

It is perhaps needless to remark that no goshawk sings sweetly, much less talks. In Buchan's version (of forty-nine stanzas) the goshawk is exchanged for a parrot.


THE GAY GOSHAWK

    1.
    'O well's me o' my g...

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