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Sir John
The Outlandish Knight / Lady Isabel and the Elf Knight / Sir John
[
Roud 21
; Child 4
; Ballad Index C004
; trad.]
This song was collected by Ralph Vaughan Williams in 1908 from Mr Hilton, South Walsham, Norfolk, and published in The Penguin Book of English Folk Songs. A.L. Lloyd recorded a version shortened by four verses for his 1960 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:
Cecil Sharp believed this to be the widest circulated of all our folk ballads, “outlandish” here means coming from beyond the northern border—that is, Scotland. The story told is an ancient one of a beguiling lover who entices a whole sequence of girls to their deaths. Ballads on the same theme are known in Poland, Germany, Scandinavia, Holland, France; and perhaps the Bluebeard story is a first cousin to our song. Probably the lover was originally a malevolent water spirit who drowned the girls of his choice. If so, this supernatural element has become so vague as to be almost unnoticeable, as the ballad has passed from mouth to mouth. The rather humorous pay-off concerning the sly talking bird was detached from the ballad in Victorian times, and was made into a separate comic song, Tell-tale Polly, published in Charley Fox's Minstrel Companion (c. 1861), and is an example of the downward path taken by some of our grander specimens of folklore. Vaughan Williams obtained the tune of his version in South Walsham, Norfolk.
Shirley Collins sang The Outlandish Knight on her and her sister Dolly's 1970 album Love, Death & the Lady. Nic Jones recorded it in the same year for his first album, Ballads and Songs, and a year later for his eponymous album Nic Jones. He commented in his first album sleeve notes:
Three very common ballads are included in this record: Sir Patrick Spens, The Outlandish Knight and Little Musgrave. All three are well-known to anyone with a knowledge of balladry, as they are well represented in most ballad collections. … The melody for The Outlandish Knight is from Cecil Sharp's published collection of English Folk Songs.
and in the latter album notes:
This is a further version of a song that appeared on my first LP. I find that certain songs appeal to me on the strength of certain phrases or words that are enjoyable to sing due to their inherent lyrical quality. This is one of them.>
Martin Carthy sang this ballad with a few more verses on his album Shearwater and Norma Waterson on Waterson:Carthy's album A Dark Light. He commented in the former album's sleeve notes:
In the days before the Padstow May revels became the target of annual folk pilgrimage (however non-organised), I remember Cyril Tawney talking about the effect that the incessant beat of the big drum, used to accompany the Padstow May Song, had on revellers. These included local people, people from round about, tourists (plenty of them), and the inevitable gangs of Teds and leather boys, who went along the take the mickey. Invariably, the Teds and leather boys would end up partaking wild-eyed, with the most incredible dervish-like frenzy.
Come spring, a young woman's fancy burns too, and this feeling of the sap rising prevails upon my feeling towards The Outlandish Knight in general. Having been saved from death, bot not from a fate worse than death, by her own presence of mind, she is protected from parental wrath by the presence of mind of her self seeking, get-ahead pet parrot. There's a moral somewhere. The tune is my own.
and in the A Dark Light sleeve notes:
Norma learned Death and the Lady from [the Cecil Sharp collection]. It's a dark song here and she did what was second nature to the Watersons in their heyday, transforming the tune by altering just a couple of notes. Similarly, but this time rhythmically, she also tweaked (ever so slightly) the tune of The Outlandish Knight as found in The Penguin Book of English Folk Songs. This most mysterious of songs has haunted her for years ever since she heard it (with a different melody) from the great Shropshire singer, Fred Jordan. Mysterious in a different way is how it can be that so old and so widespread a song should, wherever it is found, display so very little variation as far as the words are concerned.
Fred Jordan's just mentioned version was recorded in 1974 and can be found on the anthology Hidden English: A Celebration of English Traditional Music. For further versions, see Jumbo Brightwell singing The False-Hearted Knight in a BBC recording from 1947 on the Alan Lomax Collection CD World Library of Folk and Primitive Music: England, and Steeleye Span's The Elf-Knight on their album Time.
John Spiers and Jon Boden recorded The Outlandish Knight with Martin Carthy's melody from Shearwater in 2003 for their duo album Bellow, and snag it with Bellowhead in 2006 on their CD Burlesque. And Jon Boden sang it unaccompanied as the May 3, 2011 entry of his project A Folk Song a Day. They commented in the first CD's notes:
The first of two songs [besides Brown Adam] on the album that owe their melody to the great Martin Carthy. A cautionary tale—remember girls if a strange bloke playing the trumpet jumps through your window in the middle of the night and asks you out on a date—just say no.
Pete Coe sang Outlandish Knight in 2004 on his CDIn Paper Houses. He commented in his liner notes:
I first heard Fred Jordan sing his version of this ballad in the '60s and I always asked him to sing it for me. This version was collected by Frank Kidson from Charles Lolley and I eventually got to sing it to Fred. There are related stories and versions of this tale found throughout Asia and Europe and the earliest illustration dates back to 300 BC.
Cara took a version of this ballad called False Sir John from B.H. Bronson's Traditional Tunes of the Child Ballads, changed the verses somewhat and wrote a new melody. They published it as Sir John on their CD In Colour.
Lyrics
| A.L. Lloyd sings The Outlandish Knight | Norma Waterson sings The Outlandish Knight |
|---|---|
|
An outlandish knight from the north lands came, |
Well, an outlandish knight from the northern lands came, |
|
“Go fetch me some of your father's gold, | |
|
She's fetched him some of her father's gold, | |
|
Well, she mounted on her lily-white horse, |
Then she's mounted on her milk-white steed, |
|
He says, “Unlight, unlight, my little Polly, |
“Light down, light down, my pretty fair maid, |
|
“Pull off, pull off your silken gown, | |
|
She said, “Go get a sickle to crop the thistle |
“Go get me a sickle to crop off the thistle |
|
So He got a sickle to crop the thistle |
He's got the sickle to crop off the thistle |
|
Sometimes he sank, sometimes he swam, | |
|
“Lie there, lie there, you false-hearted man, | |
|
Then she mounted on her lily-white horse, |
She's mounted on her milk-white steed, |
|
Now the parrot being in the window so high; |
But the parrot was up in his window so high; |
|
“Don't prittle, don't prattle, my pretty Polly, |
“Don't prittle, don't prattle, my pretty Polly, |
|
Now the master being in the bedroom so high, |
But her father was up in the bedroom so high, |
|
“There came an old cat on the top of my cage, |
“Oh, there came an old cat in my window high, |
| Martin Carthy sings The Outlandish Knight | Norma Waterson sings The Outlandish Knight |
|
Lady Margaret she sits in her bower sewing, |
Well, an outlandish knight from the northern lands came, |
|
“Oh would your lord would give to me rest, | |
|
Now the lady she had these words scarce spoken, | |
|
“Oh strange it is, oh strange, young woman, | |
|
“Go get you gold from your father's table, |
“Go fetch me some of your father's gold, |
|
She's fetched him some of her father's gold, | |
|
Now she's mounted her up on the black, black horse, |
Then she's mounted on her milk-white steed, |
|
“Light down, light down off your horse, ” he cries, |
“Light down, light down my pretty fair maid, |
|
“Take off, take off all your clothes,” he cries, |
“Pull off, pull off your silken gown, |
|
“Light down, light down off your horse,” she cries, |
“Go get me a sickle to crop off the thistle |
|
So he's lighted him down off his horse so high, |
He's got the sickle to crop off the thistle |
|
Sometimes he sank, sometimes he swam, |
Sometimes he sank, sometimes he swam, |
|
“Lie there, lie there, o you false young man, |
“Lie there, lie there, you false-hearted man, |
|
So she's mounted her up on the black, black horse, |
She's mounted on her milk-white steed, |
|
And a parrot sitting up at his window so high, |
But the parrot was up in his window so high; |
|
“Don't you prittle, don't you prattle, o my pretty Polly, |
“Don't prittle, don't prattle, my pretty Polly, |
|
And her father sitting up at his window so high, |
But her father was up in the bedroom so high, |
|
“Oh there come a cat to my window so high, |
“Oh, there came an old cat in my window high, |
| Shirley Collins sings The Outlandish Knight | Nic Jones sings The Outlandish Knight |
|
And he's followed her up, he's followed her down, | |
|
An outlandish knight from the north lands came, |
“Rise up, rise up, my pretty Polly, |
|
“Go fetch me some of your father's gold, |
“Go fetch you a bag of your father's gold, |
|
So she rode away on their milk-white steed, |
So she's lit upon her nimble-going brown |
|
“Unlight, unlight, my pretty little girl, |
“Light you down, light you down, my pretty Polly, |
|
“But first take off your gown of silk, |
“And pull off, pull off your fine gay clothes, |
|
“Turn around, turn around, you false young man, |
“Then you get a sickle and you cut down the nettles |
|
So as he turned himself around, |
So he's got a sickle and he's cut down the nettles |
|
“Lie there, lie there you false young man, |
“Lie there, lie there me false young man, |
|
So she mounted on the lily-white horse, |
So she's lit upon her nimble going brown, |
|
Now the parrot being up in the window so high, | |
|
“Don't prittle, don't prattle my pretty Polly, |
“Hush up, hush up me pretty Polly bird, |
|
Now her father being up in his bedroom so high, |
But then up and spoke a fine young man |
|
“There come an old cat on the top of my cage, |
“Oh there's two black cats at me cage and door, And he's followed her up, he's followed her down, |
Acknowledgements
Transcription from Martin Carthy's singing by Garry Gillard, with help from these Mudcatters. Transcription from Norma Waterson's singing by Roberto Campo
