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errors have been corrected, and they are listed at the end of this book.




     Transylvania University Studies in English

     II




     A Syllabus of Kentucky Folk-Songs

     By

     HUBERT G. SHEARIN, A. M. Ph. D.
     Professor of English Philology in Transylvania University

     and

     JOSIAH H. COMBS, A. B.
     Editor of The Transylvanian

     Transylvania Printing Company
     Lexington, Kentucky
     1911




     TO

     R. M. S.




INTRODUCTION


This syllabus, or finding-list, is offered to lovers of folk-literature
in the hope that it may not be without interest and value to them for
purposes of comparison and identification. It includes 333 items,
exclusive of 114 variants, and embraces all popular songs that have so
far come to hand as having been "learned by ear instead of by eye," as
existing through oral transmission--song-ballads, love-songs,
number-songs, dance-songs, play-songs, child-songs, counting-out rimes,
lullabies, jigs, nonsense rimes, ditties, etc.

There is every reason to believe that many more such await the
collector; in fact, their number is constantly being increased even
today by the creation of new ones, by adaptation of the old, and even by
the absorption and consequent metamorphosis, of literary,
quasi-literary, or pseudo-literary types into the current of oral
tradition.

This collection, then, is by no means complete: means have not been
available for a systematic and scientific search for these folk-songs,
which have been gathered very casually during the past five years
through occasional travel, acquaintanceship, and correspondence in only
the twenty-one following counties: Fayette, Madison, Rowan, Elliott,
Carter, Boyd, Lawrence, Morgan, Johnson, Pike, Knott, Breathitt, Clay,
Laurel, Rockcastle, Garrard, Boyle, Anderson, Shelby, Henry, and
Owen--all lying in Central and Eastern Kentucky.

All of the material listed has thus been collected in this State, though
a variant of The Jew's Daughter, page 8, has come by chance from
Michigan, and another of The Pretty Mohee, page 12, was sent from
Georgia. The Cumberland Mountain region, in the eastern part of the
State, has naturally furnished the larger half of the material, because
of local conditions favorable to the propagation of folk-song. However,
sections of Kentucky lying farther to the westward are almost equally
prolific. The wide extension of the same ballad throughout the State
argues convincingly for the unity of the Kentucky stock--a fact which
may be confirmed in more ways than one.

The arrangement is as follows: The material in hand is loosely grouped
in eighteen sections, according to origin, chronology, content, or form.
Though logically at fault, because of the cross-division thus inevitably
entailed, this plan has seemed to be the best. No real confusion will
result to the user in consequence. In fact, no matter what system be
adopted, certain songs will belong equally well to two or more different
categories.

Under each of these eighteen main divisions the treatment of the
individual song-ballad is in general as follows: First, stands the
title, with variant titles in parentheses. Should this be unknown, a
caption coined by the editors is placed in brackets. Secondly, a Roman
numeral immediately follows the above to denote the number of versions,
if variants have been found. Thirdly, the prosodical character of the
song is roughly indicated by a combination of letters and numerals. Each
letter indicates a line; the variation in the letters indicates, in the
usual fashion, the rime-scheme of the stanza. Each numeral indicates the
number of stresses in the line (or lines) denoted by the letter (or
letters) immediately succeeding it. When a chorus, burden, or refrain is
present, the metrical scheme of this stands immediately after an "and,"
as, for example, in The Blue and the Gray, page 14. In the case of the
refrain, the letters used are independent of those immediately preceding
the "and," and denoting the rime-scheme of the stanza proper. Fourthly,
an Arabic numeral follows to indicate the number of stanzas in the song,
exclusive of the refrain, should one be present. If the number of
stanzas in a ballad is indeterminable, because its form is fragmentary,
or because its variant versions differ in length, this fact is indicated
by an appended ca (_circa_). Sixth, and last, is a synopsis, or other
attempt to give briefly such data as may serve to complete the
identification.

Illustration of the third item above may be helpful. Thus in Pretty
Polly, on page 7, 4aabb indicates a quatrain riming in couplets, with
four stresses in each line. In Jackaro, page 9, 3abcb indicates a
quatrain riming alternately, with three stressed syllables in each line.
In The King's Daughter, page 7, 4a3b4c3b indicates a quatrain, with only
the second and fourth lines riming and with four stresses in the first
and third lines and three stresses in the second and fourth. In Johnnie
Came from Sea, page 14, 6aa denotes a rimed couplet, with six stresses
in each line.

It has, naturally, been difficult at times to decide whether certain
stanzas should be counted as couplets, or as quatrains half as long. In
such cases, the air, or tune, and other data, often rather subtle, have
been employed in making decisions. The quatrain form has in uncertain
instances been given the benefit of the doubt. Even thus, certain minor
inconsistencies will perhaps be noted. It is hardly necessary to add
that assonance freely occurs in the place of rime, and as such it is
considered throughout.

All attempt to indicate the prevailing metrical unit, or foot, within
the line has been frankly given over. Iambs, dactyls, and their ilk
receive scant courtesy from the composer of folk-song, who without qualm
or quaver will stretch one syllable, or even an utter silence (caesura),
into the time of a complete bar; while in the next breath he will with
equal equanimity huddle a dozen syllables into the same period.
Consequently, this item, even if it could be indicated, would have scant
descriptive value.

It is a pleasant duty to acknowledge gratefully the assistance of those
who have transmitted to our hands many of the songs: Mesdames J. W.
Combs, W. T. Phillips, Jennie L. Combs, Richard Smith, Martha Smith,
Ruth Hackney, W. F. Hays, Ollie Huff, Robin Cornett, Lucy Banks, Sarah
Burton, Kittie Jordan, and Ruby Martin; Misses Martha Jent, Maud Dean,
Virginia Jordan, Jessie Green, Lizzie Cody, Margaret Combs, Barbara
Smith, Helena E. Rose, Sarah Burton, Sarah Hillman, Cordia Bramblett,
Nannie S. Graham, Myrtle Wheeler, Melissa Holbrook, Rosetta Wheeler,
Ruth Hackney, Ora McDavid, Jeannette McDavid; Messrs. Wm. W. Berry,
Chas. Hackney, S. B. Wheeler, R. L. Morgan, Enoch Wheeler, Thos. H.
Hackney, James Goodman, W. S. Wheeler, Harry M. Morgan, Henry Lester, T.
G. Wheeler, C. F. Bishop, and John C. Jones.

Especially helpful as collaborators have been Messrs. Winfred Cox, Emory
E. Wheeler, Roud Shaw, A. B. Johnston, C. E. Phillips, and H.
Williamson.

Kind words or letters of appreciation and, in some cases, of suggestion,
from the following have encouraged the preparation of this syllabus:
Professors Alexander S. Mackenzie, of the Kentucky State University;
Clarence C. Freeman, of Transylvania University; John A. Lomax, of the
University of Texas; Albert H. Tolman, of the University of Chicago;
John M. McBride, Jr., of the University of the South; George Lyman
Kittredge, of Harvard University; Henry M. Belden, of the University of
Missouri; and Katherine Jackson, formerly of Bryn Mawr College, who has
most generously given the use of her manuscript collection. None of the
shortcomings of this brochure, however, can be imputed to them in the
slightest degree.




SYLLABUS


I.

_The songs in this group are the survivors of English and Scottish
originals, found for the most part in the Child collection. Certain of
those given in sections II to XVIII below could doubtless, with due
effort, be identified in like manner._

THE KING'S DAUGHTER (SIX PRETTY FAIR MAIDS, PRETTY POLLY), iv, 4a3b4c3b,
9ca: Variants of Lady Isabel and the Elf Knight, Child, No. 4. By a
stratagem she drowns the lover just as he is about to drown her.

PRETTY POLLY, iv, 4aabb, 9ca: Parallel in general plot to the above,
save that she is led by the lover to an open grave and there slain. (Cf.
5, page 28.)

FAIR ELLENDER, 4a3b4c3b, 10: A variant of the Earl Brand cycle, Child,
No. 7.

LORD OF OLD COUNTRY, 4aa, with refrain as below, 10ca: A variant of The
Two Sisters, Child, No. 10.

     The miller was hung upon Fish-gate, Bosodown,
     The miller was hung upon Fish-gate,
     (These sons were sent to me)
     The miller was hung upon Fish-gate
     For drowning of my sister Kate!
     I'll be true, true to my true-love,
     If my love'll be true to me.

THE ROPE AND THE GALLOWS (LORD RANDAL), 4aa, 12ca: A variant of Lord
Randal, Child, No. 12.

EDWARD, 4a3b4c3b, 10: A variant of the Old World ballad of the same
name, Child, No. 13.

THE GREENWOOD SIDE (THREE LITTLE BABES), ii, 4a3b4c3b, 9: Variants of
The Cruel Mother, Child, No. 20.

LITTLE WILLIE, 4a3b4c3b, 5: A variant of The Two Brothers, Child, No.
49.

LORD BATEMAN (THE TURKISH LADY), ii, 4abcb, 17ca: Variants of Young
Beichan, Child, No. 53.

LOVING HENRY (SWEET WILLIAM AND FAIR ELLENDER), iii, 4a3b4c3b, 11ca:
Variants of Young Hunting, Child, No. 68.

LORD THOMAS AND FAIR ELLENDER, iii, 4a3b4c3b, 17ca: Variants of Lord
Thomas and Fair Elinor, Child, No. 73.

FAIR MARGARET AND SWEET WILLIAM, iv, 4a3b4c3b, 15ca: Variants of the Old
World ballad of the same name, Child, No. 74. (Published by Combs in
Jour. Am. Folklore, 23.381.)

LORD LOVELY, 4a3b4c3b, 9: A variant of Lord Lovel, Child, No. 75.

COLD WINTER'S NIGHT (BOSOM FRIEND, LOVER'S FAREWELL), vii, 4a3b4c3b,
9ca: Variants of The Lass of Loch Royal, Child, No. 76. (Published by
Shearin, Mod. Lang. Review, Oct., 1911, p. 514.)

LORD VANNER'S (DANIEL'S) WIFE, ii, 4a3b4c3b, 17ca: Variants of Little
Musgrave and Lady Barnard, Child, No. 81.

BARBARA ALLEN, vi, 4a3b4c3b, 11ca: Variants of Barbara Allen's Cruelty,
Child, No. 84.

THE BAILIFF'S DAUGHTER OF ISLINGTON, 4a3b4c3b, 12: A variant of the Old
World ballad of the same name, Child, No. 105.

THE JEW'S DAUGHTER, ii, 4a3b4c3b, 12ca: Variants of Sir Hugh, Child, No.
155. One of the Kentucky versions makes the murdered boy's mother go
seeking him switch in hand, to punish him for not returning home before
nightfall. (Communicated by Dr. Katherine Jackson.)

THE HOUSE CARPENTER, iii, 4a3b4c3b, 13ca: Variants of The Demon Lover,
Child, No. 243.

DANDOO: A fragmentary variant of The Wife Wrapt in Wether's Skin, Child,
No. 277, as follows:

     He put the sheepskin to his wife's back, Dandoo;
     He put the sheepskin to his wife's back,
     Clima cli clash to ma clingo,
     He put the sheepskin to his wife's back,
     And he made the old switch go whickity-whack,
     Then rarum scarum skimble arum
     Skitty-wink skatty-wink
     Clima cli clash to ma clingo.

THE GREEN WILLOW TREE, metre as below, 11: A variant of The Golden
Vanitee, Child, No. 286.

     There was a ship sailed for the North Amerikee,
     From down in the lonesome Lowlands low--
     There was a ship sailed for the North Amerikee,
     And she went by the name of the Green Willow Tree,
     And she sailed from the Lowlands low.

THE DRIVER BOY (YOUNG EDWIN), 4a3b4c3b, 12; The above adapted to a
recital of Emily's love for the mail-driver boy and of his untimely
murder.

PRETTY PEGGY O, metre as below, 6: A fine lilting lyric of the Captain's
love for his lass; his farewell; and his death. It begins:

     As we marched down to Fernario,
     As we marched down to Fernario,
     Our captain fell in love with a lady like a dove,
     And they called her by name Pretty Peggy, O.

(Cf. Child, No. 299, Trooper and Maid. Published by Shearin, Sewanee
Review, July, 1911, p. 326.)

LADY GAY, 4a3b4c3b, 9: An English woman sends her three children to
America. They die on board ship, their shades return to the mother at
Christmas and warn her against pride. (Cf. Child, No. 79, The Wife of
Usher's Well, and a close variant from North Carolina in Kittredge's
Edition, p. 170.)

JACKARO, iv, 3abcb, 17ca: The daughter of a London silk merchant loves
Jack, the sailor-boy, against her father's will. Disguised as a man, she
follows him to "the wars of Germany," finds him wounded on the
battle-field, and nurses him back to health; then they are married. (Cf.
Child, 1857 ed., iv, p. 328. The Merchant's Daughter of Bristow, 4abab,
65: Maudlin disguised as a seaman follows her lover to Padua; they are
married, and return to England.)

THE FAN, ii, 4abcb, 12: A sea-captain and a lieutenant woo a lady. To
test their love she throws her fan into a den of lions. The sea-captain
recovers it and wins her. (Published by Shearin, Mod. Lang. Notes, 26.
113; for British originals see Belden, Sewanee Review, April, 1911, p.
218, and Kittredge, Mod. Lang. Notes, 26. 168.)

THE APPRENTICE BOY, iii, 4abcb, 12ca: Like Keats's Isabella, the
daughter of a merchant in a post-town loves her father's apprentice. He
is slain by her brothers and his body hidden in a valley. His ghost
reveals the murderers, who, striving to flee, are lost at sea.
(Identified by Belden with an English version, The Constant Farmer's
Son, in The Sewanee Review, April, 1911, p. 222.)


II.

_The songs in this group are apparently of British origin. Material has
not been at hand to justify an attempt to establish their identity._

THE RICH MARGENT [MERCHANT], 2abcb, 12: Dinah, daughter of a rich London
merchant, loves Felix contrary to her father's wishes. Going into the
garden she drinks poison. Felix arrives and drains the rest of the
potion. Both are buried in one grave.

BENEATH THE ARCH OF LONDON BRIDGE, 4a3b4c3b and 4aaaa, 5ca: Here a man,
whose son has recently died, finds a waif. Struck by his resemblance to
his own heir, he adopts the orphan boy.

JACK WILSON, ii, 4a3b4c3b, 9: The confession of Jack Wilson, a Thames
boatman, awaiting execution in Newgate prison for robbery done in
Katherine Street, and his denunciation of the "false deluding girl" for
whose sake he had done the wrong.

THE OLD WOMAN OF LONDON, 3abcb, 6: She causes her husband to suck two
magic marrowbones, which blind him; then leading him to the river, she
essays to push him in to drown. But he steps aside, and she dies in his
stead. The refrain is:

     Sing tidri-i-odre-erdri-um,
     Sing fol-de-ri-o-day!

THE GOLDEN GLOVE, ii, 4aabb, 9: A mariner's daughter, about to be
married to a young squire of London, feigns illness, goes a-hunting on
the estate of her favored lover, a farmer, intentionally drops her
glove, and vows she will marry only the man who can return it. Of
course, the farmer is the lucky finder.

SHEARFIELD, 3abcb, 15: An apprentice in Sheffield recites his running
away to London, where he enters the service of an Irish Lady, who falls
in love with him. He, however, cares only for Polly Girl, her maid. His
jealous mistress, by a stratagem, causes him to be hanged for theft.

FAIR NOTAMON [NOTTINGHAM] TOWN, 4aabb, 7: An absurd recital, full of
obvious contradictions, of a countryman's visit to the city, where he
sees the royal progress:

     I called for a quart to drive gladness away
     To stifle the dust--it had rained the whole day.

LOVELY CAROLINE OF OLD EDINBORO (EDDINGSBURG TOWN), ii, 3abcb, 9: She
weds young Henry, "a Highland man," and goes with him to London.
Deserted by him, she wanders forlorn to a sea-cliff and plunges in, to
drown.

WHO'LL BE KING BUT CHARLIE?, metre as below, 3: A rally-song upon the
landing of Charles Stuart, The Young Pretender, at Mordart, in
Inverness-shire, July, 1745, beginning:

     There's news from Mordart came yestreen,
       Will soon yastremony (sic) ferly,
     For ships o'er all have just come in
       And landed royal Charlie.

(Published by Shearin, Sewanee Review, July, 1911, p. 323.)

CUBECK'S [CUPID'S] GARDEN, 3abcb, 16: The poet overhears a lady and her
father's apprentice a-courting in "Cubeck's Garden." The angry parent
banishes the lad, who goes to sea, is promoted, draws forty thousand
pounds in a lottery, returns and marries his fair love.

WILLIAM HALL, ii, 4abcb, 11ca: He is a young farmer of "Domesse-town"
and loves a "gay young lady" of "Pershelvy-town" against her parents'
wishes. Banished by them to sea, he returns, finds by a ruse that the
lady is yet faithful, and marries her.

ROSANNA, 4aabb, 6ca (fragmentary): Silimentary, the lover, bids Rosanna
farewell, and is later lost at sea; at the news she stabs herself with a
silver dagger.

MARY OF THE WILD MOOR, 3ab4c3b, 8: She, with her babe, returns one
winter night to her father's door to seek forgiveness and protection, is
rebuffed by him, and perishes in the snow.

BETSY BROWN, 4aabb, 8: John loves Betsy, the waiting-maid; his old
mother objects and packs her off across the sea. He dies of grief.

THE ROMISH LADY, 6aabb (or 3abcb), 12 (or 24): "Brought up in popery,"
she obtains a Bible and turns Protestant, is tried before the Pope, is
condemned, bids farewell to mother, father, and tormentors, and is
burned at the stake.


III.

_The songs of this group are connected more or less closely with
American colonial times. For most of them it is fair to infer a British
origin._

[TO AMERICA], ii, 4aabb, 8ca: An [English] sailor, bound for America to
serve his King, is forgotten by his sweetheart. Returning to her
father's hall, he finds her married, and vows to return to Charlestown,
where cannon-balls are flying.

THE SILK MERCHANT'S DAUGHTER, 2aa, 17: A London lad and his sweetheart
set sail for America. The ship springs a leak, the passengers drift in a
long-boat. Lot falls to the girl to be slain, her lover takes her place.
A passing ship carries them back to London, and they are married.

THE PRETTY MOHEE (MAUMEE), iii, 4aabb, 7: An Indian maid falls in love
with a young adventurer and wooes him. He tells her he must return to
his love across the sea. This he does, but dissatisfied returns to the
"pretty Mohee."

SWEET JANE. 4a3b4c3b, 12: Her lover sails for America "to dig the golden
ore," "loads up" his trunk with it, and after many trials reaches home,
across the main, and reclaims his bride.


IV.

_The songs of this group find their common bond in their reference to
Ireland, where some of them undoubtedly had their origin._

IRISH MOLLY O, 6aabb and 6aabb(?), 7: A Scotch laddie, MacDonald, falls
in love with "Irish Molly." Scorned by her parents, he wanders about,
signifying his intention to die for her, and suggests an appropriate
inscription for his tombstone. (See an Old World variant in Brooke and
Rolleston's Treasury of Irish Poetry, p. 15, Macmillan, 1905.)

WILLIAM RILEY, 6aabb, 7: Eloping with Polly Ann, he is brought back to
trial by her irate father, is defended by an aged lawyer, is
transported, and departs wearing the maiden's ring. (See an Old World
variant in the volume just named, p. 6.)

ROVING IRISH BOY, 4a3b4c3b, 12: He lands in Philadelphia and "makes a
hit" with the ladies. Then he visits "other parts"--among the Dutch of
Bucks County, he meets an inn-keeper's daughter, and leaves off
rambling.

THE WAXFORD GIRL, 4a3b4c3b, 6: A youth murders his sweetheart and throws
her into a stream. He tells his mother, who sees the blood on his
clothes, that his nose has been bleeding. He is haunted by the ghost of
the dead girl. (Cf. Lizzie Wan, Child, No. 51, and Miller-boy, page 28.)

PATTY ON THE CANAL, 3abcb and 3abcb, 9: Pat lands in "Sweet Philadelphy"
and soon "makes himself handy" on the canal, likewise among the girls,
whose mothers become anxious. He is a "Jackson man up to the handle."

MOLLY, 6aabb, 4: An Irish lad comes to America, courts Molly, but
against her parents' will. He goes to serve a foreign king for seven
years, returns, and finds that Molly has died of grief.

JOHNNIE CAME FROM SEA, 6aa, 10: Irish Johnnie escapes a shipwreck and
lands in America. Thinking him penniless, a landlord refuses him his
daughter's hand. Johnnie "draws out handfuls of gold" and departs, to
drink "good brandy."

IRISH GIRL, a fragment, as follows:

     So costly were the robes of silk
     The Irish girl did wear--
     Her hair was as black as a raven,
     Her eyes were black as a crow,
     Her cheeks were red as roses
     That in the garden grow.


V.

_The songs of this group are based upon incidents or events of the Civil
War._

BOUNTY JUMPERS, 3abcb, 9: Sam Downey, a soldier, "jumps his bounty," and
is apprehended in Baltimore. Refusing to return the money, he is shot by
the military authorities.

HIRAM HUBBERT, 3abcb, 9: Hiram Hubbert is taken by the Rebels in the
guerrilla warfare in the Cumberland Mountains, tried, tied to a tree and
shot. He leaves a last letter of farewell to his family.

THE GUERRILLA MAN, 3a3b4c3b, 5: A Southern soldier goes to Shelby
County, Ky., and falls in love with a "Rebel girl," who loves him in
spite of the opposition of her mother, and determines to follow him.

MURFREESBORO, 4a3b4c3b, 7: A Union soldier lies dying on the
battlefield. He sends to his mother and sweetheart a message recounting
his bravery.

BATTLE OF GETTYSBURG (THE TWO SOLDIERS), ii, 4a3b4c3b, 13: Two comrades
promise each other to bear messages, in the event of death to either of
them on the field--one to a sweetheart, the other to a mother.

THE BLUE AND THE GRAY, 4a3b4c3b4d3e4f4e and 4a3b4c3b3e4f3e, 2: A mother
has lost two sons in gray, at Appomattox and at Chickamauga. Her third
has just died in blue at Santiago.

ZOLLICOFFER: A fragment as follows:

     Old Zollicoffer's dead, and the last word he said
       Was, "I'm going back South; they're a-gaining."
     If he wants to save his soul, he had better keep his hole,
       Or we'll land him in the happy land of Canaan.

I'M GOING TO JOIN THE ARMY, 3abcb, 12: A volunteer's farewell to his
sweetheart as he leaves for Pensacola, her fears, and his promise to
return.

[COME ALL, YE SOUTHERN SOLDIERS], 3abcb, 8: A volunteer, aged sixteen,
from Eastern Tennessee, describes the march into Virginia and his
feelings at his first sight of the "Yankees."


VI.

_The songs of this group relate to the days of pioneer migration
Westward. The one exception is The Sailor's Request, placed here in
order to bring it into proximity with its later variant, The Dying
Cowboy._

ARKANSAS TRAVELLER (SANTFORD BARNES) ii, 4a3b4c3b, 14ca: A laborer's
humorous recital of his hard experiences in Arkansas. He leaves the
state, vowing that if he sees it again it will be "through a telescope
from hell to Arkansaw."

STARVING TO DEATH ON A GOVERNMENT CLAIM, 4aa and 4aabb, 20: "Ernest
Smith" recites humorously his hard experiences as claim-holder in Beaver
County, Oklahoma. He resolves to go to Kansas, marry, and "life on
corn-dodgers the rest of his life