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Broomfield Hill
The Broomfield Hill
[
Roud 34
; Child 43
; Ballad Index C043
; trad.]
This song was collected by Ralph Vaughan Williams in 1910 from Mrs Powell, Weobley, Herefordshire, and published in The Penguin Book of English Folk Songs. A.L. Lloyd recorded it in 1960 for his EP England & Her Folk Songs. Like all tracks from this EP it was reissued in 2003 on the CD England & Her Traditional Songs. Lloyd wrote in the album's sleeve notes:
A young man lays long odds with a girl that if she comes to him among the gorse, she won't return a maid. She takes up the bet, tricks him while he sleeps, and wins the stake. English folk singers had special affection for this ancient ballad of the resourceful girl who (as early versions of the song make clear) had either bewitched or drugged the importunate fellow into his deep sleep. Many versions of the ballad have been noted all over the English countryside; Sharp alone found at least a dozen. Our version was found by Vaughan Williams in Herefordshire.
This darker strain that Lloyd only hinted at at the very end of his version is obviously in Cyril Poacher's version called The Broomfield Wager which he sang at the Ship Inn, Blaxhall, Suffolk, in a recording by Peter Kennedy. It was included on the anthology The Child Ballads Volume 1 (The Folksongs of Britain Volume 4; Caedmon 1961; Topic 1968). He also sang this ballad in his home at Grove Farm, Blaxhall in a recording made by Tony Engle and Keith Summers in 1974. This was the title track of his 1975 Topic album The Broomfield Wager: Traditional Songs from Suffolk. Alan Lomax wrote in the booklet accompanying the Caedmon record:
Cyril Poacher is the heart and soul, as well as the master of ceremonies, of the Saturday night sing-songs at the Ship Inn, in the marshy land along the Suffolk Coast. He wears a sporty cap pulled down over his eyes winks knowingly at his audience, and calls for order like the chairman of a committee. Despite all outward signs of modernity, however, Cyril and his audience are linked, in fantasy, with the past of Britain. One of their favorite ballads deals sympathetically with Napoleon's son, but equally popular is this story out of European pre-history, in which a girl is required to go forth and defend her maidenhead by magic against a savage horseman, out of the ancient Aryan past. Yet Cyril is in perfect rapport with his crowd as he sings.
The oldest Child versions tell a longer story. The maid wagers with the knight that she can come alone into the fields and return home a virgin. She consults a witch and is told about the magical powers of broom flowers. She ventures forth, finds her knight asleep, strews the magic plants round him and thus returns safe home. In one Kentucky version the knight wakes ans says,
If my hawk had wakened me while I slept,
Of her I would have had my will,
Or the buzzards that fly high over the sky
Of her flesh would have had their fill.Thus a tale of pagan magic lived in the hills of the South. In this gentler English version the heroine hides in the bushes to watch her lover's reaction when he wakes, and the only trace of magic that remains is her nine-times challenging walk around her sleeping lover.
See: Coffin 57; Grieg 56; Guide 31.
George “Pop” Maynard's version called A Wager, a Wager is similar dark. It was recorded by Peter Kennedy for the BBC at Copthorne in 1956 and published in 1976 on Maynard's Topic album Ye Subjects of England: Traditional Songs from Sussex. The album sleeve notes commented:
Although mention is made of A Wager, a Wager (Child 43) in The Complaint of Scotland (1549) Pop's text is closer to that which the Birmingham printers Jackson & Son issued in the early 19th century.
Tim Hart & Maddy Prior's sang Maynard's version in 1968 on their first duo album Folk Songs of Old England Vol. 1. The record's sleeve notes commented:
From the singing of Pop Maynard comes this version of the well known Broomfield Hill or Broomfield Wager. Although less magical than most versions of the ballad the maid is clearly shown to be a witch, who by walking nine times around her suitor puts him into a deep sleep, thus winning the wager. The theme of a maid using artful or magical devices to maintain her virginity is recurrent throughout balladry.
Martin Carthy sang Broomfield Hill in 1965 on his eponymous first album, Martin Carthy. A live recording with Dave Swarbrick at the Folkus Folk Club in 1966 is available on Both Ears and the Tail. He recorded it again in 1971 for his album Landfall but with a number of small variations. Carthy commented in his first album's sleeve notes:
The use of broom in the old ballad Broomfield Hill to lull an over-enthusiastic suitor to sleep, is another example of the use of herbs. Broom collected on Twelfth Night was believed on the continent to be extremely potent against witches and spirits. The subject of the ballad is a wager between a knight and a maid, the stake being £500 against her virginity, but by use of the broom she outwits him and escapes. The song is widespread in England and Scotland and in some versions the knight eventually succeeds.
and in the Landfall sleeve notes:
The tunes for The Broomfield Hill and Brown Adam were written by myself, the former based on a Hebridean tune, which itself is a variant of the tune taken by Marjorie Kennedy Fraser to make the song known around the clubs as Kishmul's Gallery and the latter, as far as I know, not being based on any other tune, but for a song that I wanted to do for years.
Walter Pardon learned The Broomfield Hill from his uncle, Billy Gee (born 1863). He sang it in a recording made in his home in Knapton, Norfolk, by Mike Yates between 1975 and 1978. This was issued in 1982 on his Topic album A Country Life and in 1996 on the Topic anthology Hidden English: A Celebration of English Traditional Music. The first album's notes commented:
Tell me, broom wizard, tell me,
Teach me what to do,
To make my husband love me:
Tell me, broom wizard, do!So begins an obscure 13th century English folk poem. The magical properties of the broom plant—its flowers were supposed to have a narcotic perfume—have been known throughout Europe for centuries; and Professor Child gives examples from as far apart as Norway and Italy, Iceland and Germany. In longer versions of the tale, following the wager, the maid consults a witch who imparts her knowledge of the broom flower, thus allowing the girl to win the tryst—an element that is missing in the few sets that have been collected recently.
Gordon Hall (1932-2000) sang a very long version of Broomfield Hill (with 26 verses!) in a recording made by John Howson in the singer's home in Pease Pottage, Sussex on February 8, 1995. This track was published in the same year on the Veteran CD When the May Is All in Bloom (VT131CD). It was also included in 2007 on the CD accompanying The Folk Handbook.
Frankie Armstrong sang The Broomfield Hill in 1997 on her CD Till the Grass O'ergrew the Corn. Brian Pearson commented in the album's booklet:
The Broomfield Hill has been most often collected in the south west of England, but has also cropped up in Scotland and North America. The story is an old one and the indefatigable Child traces it through European medieval literature from Iceland to Italy. Over the years, the magical elements have leaked away and the woman's grasp of grammarie is now barely hinted at in most versions. The loquacious and irreverent horse, hound and hawk have survived better, probably for the comedy value of their dialogue. Most texts have a kind of summery, light-hearted quality about them, but just underneath is the darker strain of rape and murder. Frankie has collated a couple of texts and set them to the tune obtained by Gavin Greig from Mrs Margaret Gillespie.
June Tabor sang The Broomfield Wager in 2005 on her CD At the Wood's Heart. Her booklet notes commented:
Child No. 43 The Broomfield Hill: words largely from Alfred Williams Folk-Songs of the Upper Thames (1923), tune collected by Ralph Vaughan Williams from Mrs Ellen Powell of Westhope, near Canon Pyon, Herefordshire, 1910.
One of the great landscape plants and, as it flowers in May and June, of major romantic and erotic significance in European poetry, broom has many virtues, amorous, magical, scenic, medicinal and practical. It was one of those plants used by witches and powerful against witches, liked by other-world beings and useful to keep them away.
(Geoffrey Grigson, The Englishman's Flora (1958)
Malinky recorded Broomfield Hill for their 2009 CD Flower & Iron. This video shows them at Immaculata University Malvern, PA, on May 14, 2010:
Rachael McShane sang The Broomfield Wager in 2009 on her CD No Man's Fool and her band Bellowhead sang Broomfield Hill with an additional “Merry Month of May” chorus in 2010 on their CD Hedonism. This video shows Bellohead singing Broomfield Hill at Bristol Folk Festival 2011:
Jon Boden repeated it solo as the May 6, 2011 entry of his project A Folk Song a Day. He commented in the project's blog:
The story of the early morning tryst on top of a blossom-covered hill always seemed May morning-ish to me anyway, so when I found the “13 months” refrain in a fairly unremarkable Robin Hood ballad it seemed reasonable enough to marry the two together. The tune is Bogie's Bonnie Belle.
See also Jo Freya singing Broomfield Wager on Tanteeka's album A New Tradition, and John Roberts and Tony Barrand singing The Broomfield Wager on Dark Ships in the Forest.
Lyrics
| A.L. Lloyd sings Broomfield Hill | Walter Pardon sings Broomfield Hill | |
|---|---|---|
|
It's of a young squire who rode out one day, | ||
|
“A wager, a wager with you, my pretty maid, |
“A wager, a wager with you, pretty maid, | |
|
“A wager, a wager with you, kind sir, |
“A wager, a wager with you, kind sir, | |
|
Now when that she came to this merry green broom, |
And when she arrived down in yonder green broom | |
|
Then three time she went from the crown of his head, |
Then nine times did she go to the soles of his feet, | |
|
Then she took a gold ring from off of her hand, |
Then she took a gold ring from off of her hand | |
|
As soon as he awoke from his drowsy, drowsy sleep, |
And when he awoke from out of his sleep | |
|
Three times he called for his horse and his man, |
He called three times for his horse and his man, | |
|
“Three times did I call to you, master, me dear, |
“Oh master, I called unto you three times | |
|
“Oh, had I been awake when my true love was here, | ||
|
Farewell and adieu to her loved one in gloom, | ||
| Cyril Poacher sings The Broomfield Wager | Maddy Prior sings A Wager, a Wager | |
|
“O wager, o wager, o wager I'll lay you, |
“A wager, a wager, a wager I will lay, | |
|
And then did this young maid back on a bay hobby's back |
So they both jogged along unto yonder blooming tree, | |
|
Nine times did she walk round the crown of his head, |
Then nine times she walked the place all around, | |
|
And when she had done all she dare do, |
Then a ring from her finger she earnestly drew | |
|
He said, “If I had been awake instead of being asleep, |
“If I had been awake love, when I was fast asleep, | |
|
You hard-hearted young man, how could you say so? |
“Be cheerful, be cheerful and do not repine, | |
|
Nine times of this bell did I ring, master, | ||
| Martin Carthy sings Broomfield Hill | Bellowhead sing Broomfield Hill | |
|
Oh it's of a lord in the north country, | ||
|
“Oh I'll wager you five hundred pound, |
“A wager, a wager, | |
|
So there she sat in her mother's bower garden, |
And oh she cried and oh she sighed | |
|
“For if I go to the Broomfield Hill | ||
| ||
|
Then up and spake this witch woman, |
And up there spoke an old witch woman | |
|
“Oh when you get to the Broomfield Hill, |
“For when you get to the Broomfield Hill | |
|
“And pick the blossom from off the broom, |
“You take the blossom from off of the broom, (Chorus) | |
|
So she's away to the Broomfield Hill |
And when she got to the Broomfield Hill | |
|
And she's picked a blossom from off the broom, |
She's taken the blossom from off of the broom, | |
|
And she's pulled off her diamond ring |
She's taken the ring from off of her finger | |
|
And when he woke out of his sleep, |
(Chorus) | |
|
“Oh where were you, me gay goshawk? |
“Oh where were you, my good grey steed | |
|
“Oh I clapped with my wings, master, | ||
|
“And I stamped with my foot, master, |
“Oh I stamped with my feet, master, | |
|
“So haste ye, haste ye, me good white steed, |
“Oh haste, haste, my good grey steed | |
|
“Oh you need not waste your good white steed |
“Oh you need not break your good grey steed (Chorus) | |
| Gordon Hall sings Broomfield Hill | ||
|
“One wager, one wager, I will lay unto thee, “One wager, one wager, I will lay unto thee, There was a knight and a lady so bright The maiden sat at her mother's bower door, “For if I shall go to the bonny Broomfield Hill, Then up then spake an old witch-woman, “For when you reach the bonny Broomfield Hill, “Then take the blossom from off the green broom, “Then take the ring from off your soft white hand “One wager, one wager, I will lay unto thee, The knight jogged on to the bonny Broomfield Hill, Now when the maiden reached the bonny Broomfield Hill, Then took she the blossom from off the green bloom, Then three times she danced around the soles of his shoon, Then the ring from her finger she instanter withdrew, Now when the knight woke from out of his long sleep, “Oh where were ye, my milk white steed, “I stamped with my feet, master, “And where were you, my gay goshawk, “I flapped with my wings, master, “And where were ye, my addle-pated page, “I prodded and shook, master, “One wager, one wager, I did lay unto thee, “If I had been awake, when I was fast asleep, “You hard-hearted young man, how can you say so? “One wager, one wager, I did lay unto thee, | ||
Acknowledgements
Garry Gillard transcribed Martin Carthy's version of Broomfield Hill. Thanks to Kevin Sexton for sending me Gordon Hall's lyrics.
