British & other versions 6. The Bloody Miller; Berkshire Tragedy; Cruel Miller; Roud No: 263
Butcher Boy; Miller's Apprentice; Oxford Girl; 'Prentice Boy; Waxford Girl; Hang-ed I Shall Be
The cover page of an Edinburgh chapbook.
[Considering the large number of printed broadsides and chapbooks in England and Scotland in which Berkshire Tragedy or one of its reductions appear, the dozen or so complete English traditional versions and the twenty or so complete Scottish traditional versions represent a relatively small number of ballads collected. The total number of traditional versions attached to this page (or accessed below by the blue highlighted link under Contents) are forty-four. Two are from a former British colony in the South Atlantic Ocean named Tristan da Cunha.
Before the c.1700 Berkshire Tragedy broadside came a 1684 P. Brooksby broadside, The Bloody Miller, which, although it is a different song[1] modeled after an earlier broadside "William Grismond," has these similarities in common with The Berkshire Tragedy:
1. The ballad story is told in the first person as a "dying confession" from a repentant murderer.
2. A miller or a miller's apprentice seduces a girl and she becomes pregnant.
3. When his lover or one of her parents tries to persuade him to marry her, he lures her to a secluded place and murders her.
4. When accused, the murderer's blood runs from his nose or he claims the blood on his hands and clothes is from a nosebleed.
5. He eventually confesses his crime or his murder is revealed. He is found guilty and hung.
For these reasons and the possibility that The Berkshire Tragedy was fashioned in some way after the 1684 broadside, I've made The Bloody Miller my A version as the first of the "Miller" Sweetheart-Murder series. The Berkshire Tragedy has been dated as early as c.1700 by Ebsworth and the Bodleian Ballad Collection online, which is only about 16 years after "The Bloody Miller." Since both were printed in London, the possibility exists that the second miller murder featured in The Berkshire Tragedy, was created from "The Bloody Miller" using a similar story line[2]. Even if The Bloody Miller was the model, The Berkshire Tragedy represents a totally new creation with a different form and melody. Only a few lines of Bloody Miller scan to Berkshire and all the subsequent Berkshire reductions are related to Berkshire only and not the Bloody Miller even though the name "Bloody Miller" has also been used for variants of Berkshire[3].
A number of reproductions of the Berkshire broadside were made. In 1744 Robert Drummond of Edinburgh printed a broadside of The Berkshire Tragedy in Edinburgh for John Keed, that revealed the names of the murderer (John Mauge) and his victim (Anne Knite). Drummond's text however is the same with minor changes as earlier printings. Despite attempts to find proof that this was a real murder, none has been found. By 1793 another version was printed in an Edinburgh chapbook titled, "The tragical ballad of the miller of Whittingham Mill. Or, a warning to all young men and maidens." This new printing, known as "The Miller of Whittingham Mill," has 47 stanzas, 3 more than the standard long broadside. It is missing stanza 2, and has a different last line of 8. Additionally, it adds 4 new stanzas near the end:
42 The ruin of innocence let ne’er,
like mine your study be;
But when that Satan tempts you fore,
from his suggestions flie.
43 Likewise young women all take care,
how you your charms do yield,
By doing so too soon you lose,
your virtue and your shield.
44 When men do tempt you to this guilt,
remember with a sigh,
That horrid and most barbarous crime,
for which I now must die.
46 Me pardon for the bloody deed,
for which I’m doom’d to death,
And let my tears flow fast therefore,
e’er I resign my breath.
for which there are no corresponding stanzas. Because of the length of the Berkshire broadside and subsequent printings, a number of reductions were made. Four different reductions have been identified and are named: The Berkshire/Oxford Reduction (English/ American); The Lexington Reduction (United States), The Wexford Reduction (Irish/American) and The Butcher Boy Reduction (Scottish). Three printed reductions have been found: The Cruel Miller (English), The Wexford Tragedy (Irish/Scottish), and The Lexington Miller (United States). The following print, my Ca, from a chapbook was recently located (2016) and represents the earliest known reduction of the Wexford tradition:
Chapbook cover of Wexford Tragedy -1818
Ca, "The Wexford Tragedy Or, The False Lover" was printed in a Scottish chapbook in 1818 by [Yellich and] T. Johnston of Falkirk, Scotland. It is a reduction of 8 1/2 stanzas or divided 17 stanzas and appears: "The freemason's song; to which are added, The Wexford Tragedy Or, The False Lover and My Friend and Pitcher. Printed for Freemason[s], 1818." I give the text in full with divided stanzas and punctuation changes as found in printed versions of B:
THE FALSE LOVER. [Wexford Tragedy]
1. My parents rear'd me tenderly,
Endeavouring for me still,
And in the town of Wagan
They brought me to a mill.
2. Where there I spied a Wexford girl,
That had a black rolling eye,
And I offered to marry her
If she would with me lie.
3. In six months after this,
This maid grew big with child,
Marry me, dear Johnny,
As you did me beguile.
4. I promised to marry her,
As she was big with child:
But little did this fair maid know
Her life I would beguile.
5. I took her from her sister's door,
At 8 o'clock at night,
But little did this fair maid know,
I her bore a spite.
6. I invited her to take a walk
To the fields a little way,
That we might conclude a while
And appoint a wedding day.
7. But as we were discoursing
Satan did me surround
I pulled a stick out of the hedge,
And knock'd this fair maid down.
8. Down on bended knees she fell,
And for mercy she did cry;
I'm innocent, don't murder me,
For I'm not prepar'd to die.
9. He took her by the yellow hair
And dragged her along,
And threw her in the river,
That ran both deep and strong.
10. All in the blood of innocence
His hands and clothes were dy'd
He was stained with the purple gore
Of his intended bride.
11. Then returning to his mother's door,
At 12 o'clock at night
But little did his mother think
How he had spent the night.
12. Come tell me dear Johnny
What dy'd your hands and clothes?
The answer he made her was,
Bleeding at the nose.
13. He called for a candle
To light himself to bed,
And all the whole night over,
The damsel lay dead.
14. And all the whole night over,
Peace nor rest he could find,
For the burning flames of torment,
Before his breast did shine.
15 In three days after,
This fair maid she was miss'd,
He was taken up on suspicion,
And into jail was cast.
16. Her sister swore away his life,
Without either fear or doubt,
Her sister swore away his life,
Because he call'd her out.
17. In six weeks after that,
This fair maid was found,
Coming floating to her brother's door
That liv'd in Wexford town.
This establishes a print variant of the Wexford reduction which was missing until now. Notice the course rhymes, awkward verbs ("That we might conclude a while"- stanza 6) and the shift from 1st person in stanza 9-- which indicates that this was created not by a professional print writer but was more likely the capturing of tradition. I had already postulated the existence of this and other printed reductions before finding it in November, 2016 at Google Books. This has "The Girl/Maid I left behind Me" opening line as found in a number of versions including the New Brunswick Miramichi's "Wexford Lass," where the whole first stanza is borrowed. As an important printed variant of the Wexford reduction, it represents a capturing of tradition in 1818. Older reductions may still exist, since I estimate the first reductions were made in the 1700s. By it's traditional nature, it would have evolved from an earlier unknown Irish or possibly an English print. Even though printed in Scotland, this Wexford reduction is not from with the Scottish tradition but is rather--associated with that tradition. Steve Gardham of Hull, Yorkshire, an expert of broadsides and prints, comments: "Wexford is in Ireland and though it is clearly derived from Oxford the most likely progression is that the alteration to Wexford took place in Ireland. Having had a cursory look at the version I would say it's pretty certain it was taken from oral tradition."
The best known printed reductions were a number of nearly identical broadsides which appeared under the titles "The Cruel Miller," "The Cruel Miller, or, Love and Murder," "False-Hearted Miller," and "Bloody Miller" (not the same as A, also titled "Bloody Miller").
In English Dance and Song Volume 65 part 4, "The Bloody Miller" appears: "Although there were plenty of printings of this version there are sufficient textual differences between different printings to suggest that some at least had been taken from oral tradition, not least the range of different titles, The Cruel Miller (Pitts), False-Hearted Miller (Swindells), The Bloody Miller (Fordyce)[4]."
The Cruel Miller was an example of The Berkshire Reduction with changes in text --"Oxford town" to "Wexford Town" and also "black and rolling eye[s]"-- from The Wexford Reduction and other traditional sources. The traditional ballads from the UK were shorter again with full texts averaging between 10-14 stanzas. Here's a more detailed view of the four basic reductions that were sung before The Cruel Miller broadsides:
1) The Wexford Reduction was created presumably in Ireland by the late 1700s-- the original reduction is missing. This is corroborated by Laws who suggested in his 1957 American Balladry that Wexford was a missing print version (recomposed version) probably from Ireland. There are two early reductions, designated as "archaic," that show how the text of the original may have appeared. The Wexford "archaic" versions are: 1) the 1818 chapbook Wexford Tragedy (see above) and 2) "The Worcester Tragedy" collected in Newfoundland. Both have the marriage arrangement and pregnancy found in Berkshire and the Cruel Miller. A later reduction where the marriage and pregnancy have been removed is the "standard" Wexford reduction which became popular in North America and includes the Wexford Girl/Wexford Lass/Wexford Town/Wexford City titles and a variety of related titles including Waxford and Waxweed. The standard Wexford reduction is related to the Scottish Butcher Boy Reductions and has in common the 'handkerchief" stanza not found in any known prints. The Wexford ballads are found scattered throughout the US and Canada (New Brunswick) mainly from Irish emigrants. The ballads were brought to the coastal areas of Maritime Canada and New England but a few have been found in the US south. According to Peacock and others they are of Irish origin although this is not corroborated by traditional Irish versions which are few (three) and lack Wexford in the text.
2) The Lexington Reduction is an early US reduction best represented by the traditional Lexington Murder. The 1829 broadside, Lexington Miller, although created mostly from the original Berkshire broadside, has borrowed some text from a missing print version similar to Lexington Murder and Eddy C, an archaic traditional version. Titles include Lexington Murder, Lexington Girl, and Miller Boy.
3) The Butcher Boy Reduction (not Laws P24, Roud 409 which is the usual title) represents the Scottish tradition and includes all Butcher Boy variants. The current tradition dates back to the mid to late 1800s and is presumed to be based on a missing print version. There are several important changes-- the most obvious change is that a knife is used as the murder weapon instead of a stick or stake. The Butcher Boy has a stanza in common with the Wexford tradition-- the "handkerchief" stanza.
4) The Berkshire or Oxford Reduction is missing in England but two archaic versions were collected in the United States: 1) the 18 stanza Pollyanna Harmon version and 2) the fifteen stanza "Oxfordshire Lass," learned in Kentucky by Jason Ritchie. Both are based on the long 44 stanza Berkshire broadside and were once current in English and were presumed to have been brought to the Virginia colony during the Colonial Period. A more modern reduction with the marriage agreement changed and the pregnancy removed has been named the "Standard" Oxford Reduction. Usually titled "Oxford Girl" this reduction preserves "Oxford' and has been found mainly in the US south. It is English and also American.
The reductions were taken to North America and also after c. 1820 to Tristan da Cunha. The Lexington Reduction was recreated in America while the other three were brought over by UK emigrants. It's likely the early reductions would have to have been in oral circulation by the late 1700s and pre-date The Cruel Miller. In "Over the Threshold: Intimate Violence in Early America" by Christine Daniels, Michael V. Kennedy, they comment: "This ballad migrated from England to the colonial South during the eighteenth century." This statement, of course, is not backed up by any prima facie evidence. To show the ballad was in oral circulation in North America at that time, I offer the case of the handkerchief as found in the Scottish traditional versions titled, The Butcher Boy" (not related to ballad "The Butcher's Boy," which is Laws P24, Roud 409):
10. He asked her for a handkerchief,
To wrap around his head,
And also a candle,
To show him to his bed[5]. [John Argo, Aberdeenshire, 1952]
This handkerchief is also found in the Standard Wexford Reduction which was brought to the Maritime Canada, New England and Virginia colony (or Virginia after 1776) by Irish emigrants and from there into the New Brunswick, Michigan, North Carolina and the Appalachians. The age of the "handkerchief" stanza, estimated by the informants' ancestry in the isolated locations the stanza has been collected, indicates a date of the late 1700s. The handkerchief itself plays no role in the ballad story and was imported from other ballads[6].
The Scottish versions, titled uniformly "Butcher Boy" or "Butcher's Boy[7]," differ from their English counterparts which are closer to the broadside, The Cruel Miller. The Butcher Boy is one of the four traditional early ballad reductions derived from Berkshire (see also the main headnotes). The murderer in the Butcher Boy is identified as "Willie" or "Billy" and his victim is "Mary Ann," or "Rosie Ann," or "Mary Queen." No town or city is mentioned. The first stanza is improved "My parents gave me good learning/ Good learning they gave to me" and their boy is apprenticed to a butcher (butcher shop) instead of a miller. Willie agrees to marry Mary Ann if she lies with him. When she is with child, she (not her parent) demands that he marry her, he sometimes responds he is too young to marry (a bizarre role reversal). The implied sexual union "if you with me lie" and pregnancy are sometimes left out or sanitized. Willie goes to her mother's house instead of her sister's house (as in The Cruel Miller) to ask her to take a walk and talk about their wedding day. Willie stabs her with a knife (as in A, The Bloody Miller) instead of hitting her with a stick (C, Cruel Miller or traditional English versions). After the murder he goes to bed at his mother's house instead of his master's house (miller's house). After getting a candle, Willie takes a handkerchief and wraps it around his head (the handkerchief is not found in The Cruel Miller). He is not taken to jail. After her body is found (no location is named) he is taken to the gallows where he is hung. In the unique ending stanza, she is called a "flower in bloom" or she died "where the roses bloom" or similarly.
Only about a dozen complete traditional English versions have been recovered-- the first was a fragment collected by Baring-Gould about 1880[8]. Many of the traditional English ballads are similar to, or based on, The Cruel Miller broadsides. As stated earlier evidence of the first Berkshire Reduction was recovered[9] from the United States where two traditional versions were found that indicate the first reduction was sung in England by the late 1700s. This proves the ballad was being sung in England long before 1880 but was overlooked by collectors who considered it to be derived solely from print and therefore not traditional or worthy of being collected. Evidence of this early reduction is found in England in the title "Ferry Hinksey Town" sung by George Hicks of Arlington, Gloucestershire in 1916 and the adjective "tender," as in tender parents, which has prevailed in tradition despite the influence of the Cruel Miller broadsides.
The ballad was never popular in England, possibly because it's a ballad about the horrific murder of his pregnant lover, and only about a dozen full versions were collected-- most of them from the early 1900s to the 1970s. Still, it's odd that no trace of the traditional ballad was found until 1880. The complete English traditional versions average between 10-14 stanzas as compared to the Cruel Miller's 18 stanzas. Curiously, the agreement of marriage, "if she will with me lie" has been sanitized and the pregnancy removed. The motive for murder therefore has been taken away.
Although these English traditional ballads are similar to or reduced from the Cruel Miller, they also, in some versions, have borrowed stanzas from other related ballads. One related ballad from which this borrowing has occurred is "The Distressed Maid/ Dublin Tragedy/ Lily-White Hand" ballad (Roud 564 and 1414, Laws P18). For example, text from "The Distressed Maid" has been taken in two places and added to Phoebe Smith's "Oxford Girl." Travellers versions, in general, are more likely to have imported bits of texts from other ballads.
Several short ballads of the Distressed Maid/ Lily White Hand variety have been recorded from the same family and titled The Wexford Murder. The appropriate local title probably should be "Misfit Girl." The oldest recording is from Bill House, born in 1900 from Beaminster, Dorset, England, UK. The Item Notes are: Fragment, sung twice. from Mr Budlugh[?]. Roud Folk Song Index No. 1412. Laws Ballad No. P38. Performer notes: Retired hurdlemaker and thatcher. [Misfit Girl]
My lover was a misfit girl,
I found she used to stray
With other men it is enough
That she's no use to me.
I took her by the lily-white hand
I kissed both check and chin
I took her down by the river side
And there I tossed her in.
There goes my love my own true love,
Floating away by the tide,
Instead of her being some breathless corpse,
She ought to have been my bride.
It's also possible that the parallel "Cup of Poison" ballads (Roud 218, Laws P30) may have been derived from Berkshire. The similar titles "Oxford City/ Worcester City/ Newport Street" and opening lines of the "The Cup of Poison" ballads have caused confusion among some collectors and liner note writers who occasionally have made the wrong categorization.
Sharp titled all his versions "Miller's Apprentice" and he collected several complete versions as well as a number of melodies in the early 1900s (starting in 1903). Other early leading collectors, including George Gardiner, H.E. Hammond, E. J. Moeran and Alfred Williams, found complete versions as well. Besides "Miller's Apprentice" used by Sharp, other titles of these ballads were "Prentice Boy," "Hang-ed I Shall Be," "Ferry Hinksey Town," "Ekefield Town," and "Oxford Girl."
Because the English traditional versions were influenced by the Cruel Miller, it's important to note the differences between the shorter traditional versions and the 18 stanza broadside. These differences would be taken from the earlier unknown Berkshire Reduction and the resulting tradition. In the English traditional versions his parents reared him "tenderly" or they were "tender" and in one version she was "tender." It's found, for example, in David Marlow's opening: "My parents reared me tenderly/Good learning gave to me." "Tender" is not found in the Cruel Miller broadsides but it is found in the Berkshire Tragedy- it's source. The main difference is that the pregnancy is missing in the traditional English versions. The candle found in the Scottish versions and Cruel Miller is also missing (except for Phoebe Smith's version). The following five stanzas found in Cruel Miller are are missing or have been sanitized (the 2nd stanza below found in several English versions, now ends, "For I'm not prepared to die," removing the pregnancy) in the English tradition:
Till at length she proved with child by me and thus to me did say,
Ah Johnny do but marry me or else for love I die.
She on her bended knees did fall and aloud for mercy cried,
Saying Johnny dear don't murder me for I am big with child.
I then took up a candle to light myself to bed,
And all that blessed long night my own true love lay dead,
In two or three days after this fair maid she was miss'd,
I was taken on suspicion and into prison cast,
Her sister prosecuted me for my own awful doubt,
Her sister prosecuted me for taking of her out.
Additionally the "stick" that he takes out of the hedge has now become a "stake." He still drags her by her curly locks to a river and throws her in but following that two lines are sometimes interjected from the "Lily-White Hand/Distress Maid" songs: "She floated high, she floated low/She floated there I spied (see Phoebe Smith's version). In some English versions after the murder, instead of going to his master's house or his parent's house, he goes to his uncle's house.
Regardless of the similarities to The Cruel Miller, it seems that most of English traditional versions were developed independently since some textual material has been taken from the original Berkshire Tragedy reductions. The evidence follows that the Cruel Miller broadsides were rewritten from the Berkshire broadside and the Wexford Reduction- a reduction that was established in the late 1700s. The name "Wexford Town" as well as the "black (dark) and rolling eyes" as well as other details, have been taken from the Wexford Reduction by the composers of Cruel Miller. A similar reduction was established in Scotland about the same time with a number of specific changes as found in the "Butcher Boy" variants. It follows that the versions taken to America in the 1700s were from these reductions and were further varied (see also the Lexington Reduction in headnotes). The Wexford Reduction is unknown in Ireland as no print versions or versions of Wexford have been found. Aside from one stanza in 1837 and the 1818 Wexford chapbook version that shows the Irish Wexford tradition is old, but only two extant Irish traditional versions[10] have been collected and they are after 1950. The Irish tradition represented by Wexford has only been understood by the chapbook Wexford Tragedy, versions recovered in North America from Irish emigrants and two versions recovered from citizens of Tristan da Cunha.
For more details, please see the main headnotes.
R. Matteson 2016]
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Footnotes:
1. The structure and form are different. The Bloody Miller has three double lines with a chorus: "I for my transgression must dye" which is the same form as "William Grismond," who also murdered his pregnant lover.
2. Despite the 1744 Scottish broadside's claims that the murder was committed by John Mauge, who slew Ann Knite near Oxford, no evidence of this being a real murder has been forthcoming. The possibility exists that this murder was invented possibly from the horrific real murder detailed in "The Bloody Miller."
3. "The Bloody Miller" title has been applied to a print variant of the Cruel Miller as well as an archaic version from North Carolina.
4. English Dance and Song Volume 65 part 4; part of the Dungbeetle series written by Steve Gardham, available online.
5. From The Butcher Boy as sung by John Argo of Ellon, Aberdeenshire. Recorded by Hamish Henderson in 1952. John Argo heard this song from his mother while she was nursing his baby brother.
6. Steve Gardham commented that "It looks like this stanza has been affected by the many 'Distressed Maid/Lily-white Hand' versions (Roud 564). Again the candle bed stanza has also been affected by 'Rosemary lane' (Roud 269). In my opinion, this is where the wrapping the handkerchief comes from."
7. Findlater's version (transcribed from the 1961-1969 recordings) from Orkney is titled "The Wexford Girl" and is not part of the Scottish tradition but instead is similar to versions recovered in Maritime Canada.
8. "I Went to my True Love's House-," taken down from J. Woodrich, Thrushelton, c. 1880. Because parts of the text appear to have been alter by Baring-Gould, I am not using this as an authentic traditional version. However, I believe he collected it.
9. "Wittenham Girl" (my title) as sung by Pollanna Harmon of Tennessee, collected by Mellinger Henry in 1930.
10. The two traditional Irish texts are "Dublin City" as sung by by Mary Doran (tinker), Belfast, recorded and collected by Peter Kennedy in 1952 and "Town of Linsborough," as sung by Mary Delaney of Co. Tipperary around 1973. From Puck to Appleby (MTCD325-6), 2003: Songs and stories from Jim Carroll's and Pat Mackenzie's recordings of Irish Travellers in England.
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CONTENTS: (The texts may be accessed by clicking on the highlighted title below or on the titles attached to this page on left hand column- green border)
1) The Bloody Miller- (Lon) c.1683 P. Brooksby broadside
2) The Berkshire Trgedy- (Lon) c.1700 broadside Antiq
3) The Miller of Whittingham Mill- (Edin) 1793 Chapbook
4) The Cruel Miller, or, Love and Murder- (Lon) c1813 broadside
5) The Bloody Miller 2- (Liv) c. 1815 Thompson broadside
6) Wexford Tragedy- (Falkirk) 1818 chapbook; printed by Thomas Johnston
The Cruel Miller- (Lon) c. 1820 Pitts broadside
False-Hearted Miller- (Shields) 1821 Pollock broadside
My True Love's House- J. Woodrich (Devon) c.1880 Baring-Gould MS
Wexford Murder- Church (Bedf-Can) c.1900 Hamer
Prentice Boy- Hooper/White (Hamb) 1903 Sharp MS
I Courted Her- Emma Overd (Som) 1904 Sharp MS
Miller's Apprentice- William Spearing (Som) 1904 Sharp MS
Miller's Apprentice- unknown (Eng) c.1905 Sharp MS
Prentice Boy- Joseph Elliot (Dors) 1905 Hammond MS
The Prentice Boy- Mrs. Chalk (Hamp) 1906 Gardiner MS
Hanged I Must Be- David Marlow (Hamp) 1906 Gardiner MS
Butcher Boy- Sam Davidson (Aber) c1907 Greig D
Prentice Lad- Robert Giles (Hamp) 1907 Gardiner MS
Butcher's Boy- A. Fowlie (N.Deer) c1908 Greig B
Butcher's Boy- Cruickshank (N.Deer) c1908 Greig C
Butcher's Boy- Annie Shirer (Aber) c1908 Greig E
Butcher's Boy- Mrs. Willox (Aber) c1908 Greig G
Butcher Boy- unknown (Aber) c1909 Greig F
The Butcher Boy- Unknown (Aber) 1910 Greig FSNE
Butcher's Boy- Kate Mitchell (Aber) c1910 Greig A
Butcher Boy- Charles Fiddes Reid (Aber)1915 Porter REC
Ferry Hinksey Town- George Hicks (Glou) 1916 A. Williams
Hanged I Shall Be- Mr. Taylor (Nor) 1921 Moeran JFSS
Prentice Boy- Caroline Hughes (Dors) 1923 MacColl REC
Butcher Boy- Jean Robertson (Aber) 1931 Henderson REC
Maria Martini- Frances Repetto (TC) 1938 Munch A
Maria Martini- Lily Green (TC) c.1938 Munch B
Butcher's Boy- Will Mathieson(Aber) 1952 Henderson REC
Butcher Boy- John Argo (Aber) 1952 Henderson
Butcher Boy- Jimmy MacBeath (Ban) 1952 Henderson
Dublin City- Mary Doran (Belfast) 1952 Kennedy
Butcher's Boy- Elizabeth Stewart (Aber) c1955
Oxford Girl- Phoebe Smith (Suf) 1956 REC
Butcher's Boy- Andrew Robbie (Aber) 1960 Goldstein REC
Ekefield Town- Harry Cox (Nor) 1960 Plunkett
Butcher Boy- Jean Stewart (Aber) 1960 Goldstein
The Wexford Girl- Ethel Findlater (Ork) 1961 REC
Butcher Boy- Enoch Kent (Glas) 1962 REC
Butcher Boy- Adam Christie (Kinc) 1963 Henderson
Wexford Town- David Stacey (Essex) c. 1963 REC
Butcher Boy- Lizzie Higgins (Aber) 1970 Munro
Waxford Town- Mary Ann Haynes (Bright) 1972 Yates
Town of Linsborough- Mary Delaney (Tip) c.1973
He Pulled a Dagger- Amy Birch (Devon) c1974 REC
Butcher Boy- Stanley Robertson (Aber) 1974 Cooke
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Random notes;
Link to Tom Pettitt's : A Discursive Catalogue and Bibliography- The Berkshire Tragedy
https://www.academia.edu/19691399/Murdered_Sweetheart_Ballads_A_Discursive_Catalogue_and_Bibliography_--_The_Berkshire_Tragedy
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[Melodies- no text]
Miller's Apprentice: Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/10/1353)
Performer: Barnard, Elizabeth; Date: 10 Apr 1907; Place: England : Somerset : Bridgwater; Collector: Sharp, Cecil J
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Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/10/864)
Miller's Apprentice; Performer: Pike, Mrs. [Pike, Betsy]; Date: 11 Apr 1906; Place: England : Somerset : Somerton
Collector: Sharp, Cecil J.
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Cecil Sharp Manuscript Collection (at Clare College, Cambridge) (CJS2/10/1080)
Miller's Apprentice; Performer: Chapman, Jane; Date: 28 Aug 1906
Place: England : Somerset : West Harptree; Collector: Sharp, Cecil J.
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Fraser's Magazine for Town and Country, Volume 19, 1839 [version of the Cruel Miller or Love and Murder]
Many ballads follow; some supposed to be written from prison, others from Botany Bay; one from the gallows foot, too, entitled The Cruel Miller. He seduced a fair maid, and having " courted her for six long months, a little now and then, unwilling was to marry her, being so young a man." Things arrived, however, at such a pass, that marriage, or else shame, became inevitable, whereupon the cruel miller determined to make away with his mistress. There is some poetry in the manner in which the murder is described:—
"I went unto her sister's house, at ten o'clock at night.
And little did this fair maid think I owed her such a spite;
I ask'd her to take a walk all in those meadows gray,
And there to sit and talk awhile, and fix our wedding day.
I took a stick out of the hedge, and struck her to the ground,
And soon the blood of innocence came trickling from the wound.
She fell upon her bended knees, and did aloud for mercy cry.
Saying, 'John, my dear, don't murder me, for I'm not fit to die.'
I took her by her curly locks, and dragg'd her through the glen,
Until I came to a river's side, and then I threw her in.
Now with the blood of innocence, my hands and clothes were dy'd:
Instead of being a breathless corpse, she might have been my bride.
Arriving at my master's house at twelve o'clock at night,
My master rose and let me in, by striking of a light.
He asked me, and questioned me, what stained my hands and clothes ?
I made him an answer as I thought fit— by the bleeding of my nose.
I asked for a candle, to light myself to bed,
And all that long night my true love she lay dead;
And all that long night no comfort could I find,
For the burning flames of torments before my eyes did shine.
All in a few hours after my true love she was miss'd.
They took me on suspicion, and I to jail was sent;
Her sister persecuted was, for reason and for doubt,
Because that very evening we were a walking out.
All in a few days after, my true love she was found,
A floating by her brother's door, who lives in town;
Where the judges and the juries they did so both agree,
For murdering of my own love, that I must hanged be."
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April 2, 1794
Bury, Suffolk. This morning were executed, pursuant to their sentence, John and Nathan Nichols, father and son, for the wilful murder of Sarah Nichols, daughter to the one and sister to the other. The father and brother way-laid the helpless girl in the evening of the 14th of September last; the former drew a stake out of a hedge, and, giving it to his son, urged him with threats to commit the horrid deed; whereupon the boy, striking his sister on the head, knocked her down, and repeated his blows till he had deprived her of life: he afterwards, at his father's desire, went and tied one of her garters round her neck, and dragged her into a ditch, where she was found the next morning. Nathan Nichols was nineteen, and his unfortunate sister seventeen, years of age. On their arrival at the fatal tree, they both persisted in their innocence; and, notwithstanding the very ample confession of the boy, he then said his father was innocent, for all he knew, of the fact for which they were to suffer. The behaviour of the elder Nichols was very undaunted, declaring his innocence to the last moment. After hanging the usual time, the body of the elder Nichols was conveyed to Fakenham, to be hung in chains, and the younger one was taken for dissection at Bury. John Nichols was about sixty years of age, and had been many years employed as hedge carpenter to the Duke of Grafton.
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The Cruel Miller
My parents educated, good learning gave to me.
They bound me to a miller, with which I did agree;
Til I fell a-courting a pretty maid with a black and roving eye,
I told her I would marry her if she with me would lie.
I courted her for six long months a little now and then
I was ashamed to marry her, I being so young a man
Till at length she proved with child by me and aloud to me did cry
Saying, "Johnny dear come marry me or else for you I'll die."
I went unto her sister's house at eight o'clock at night
And little did this fair maid think I owed her much in spite
I asked her if she'd take a walk all in the meadows gay
And there to sit and talk a while about our wedding day
I took a stick out of the hedge and struck her to the ground
And soon the blood of innocence come raining from the wound
She on her bended knees did fall and loud for mercy cried
Saying, "Johnny dear don't murder me but think of our poor child."
I took her by her yellow locks and dragged her through the glen
Until I came to a river's side and there I threw her in
Now with the blood of innocence my hands and clothes were dyed
Instead of being a breathless corpse she might have been my bride.
Arriving at my master's house at twelve o'clock at night
My master rose and let me in by striking of a light
He asked me and questioned me what stained my hands and clothes
The answer that I had for him was the bleeding of my nose
I wishfully upon him looked but very little said
And snatched the candle from his hand and straight went to my bed
And all of that long night no comfort could I find
For the burning flames of torment before my eyes did shine
All in a few days after my true love she was missed
I was taken on suspicion and into prison cast
Her sister prosecuted me for reason and for doubt
Because that very evening we had been walking out
All in a few days after my true love she was found
A-floating by her brother's door who lives in Wexford town
Where the judge and the jury both quickly did agree
For murdering of my true love that hanged I'm to be
From Seeds of Love, Sedley
Compiled from several 19th Century broadsides.
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Publications, Volume 36 [Roxburghe; Ebsworth]
By Ballad Society
The Berkshire Tragedy; or, The Wittam Miller
This is a Berkshire variation of the tale (already reprinted, disjointedly, on pp. 68, 175) entitled, "The Oxfordshire Tragedy; or, The Virgin's Advice.' Therein the seducer who murders his victim is an Oxford Student of theology, but here he is a Miller of Wittam, probably Wittenham. Both ballads were sung to the same tune, and of date near 1700.
The girl's ruin having been compassed by the Wittam Miller and made known to her mother, he is urged to repair the crime by marrying her. This he is unwilling to do. Instead of it, he allures her by night from her sister's door, where she has found refuge. Regardless of entreaties for mercy he murders her, and drags the body to the river. On his return to the mill his disordered condition is observed by the miller's man, and remembered against him when the continued absence of the girl rouses suspicion. Her body is found, and a coroner's inquest brings against him a verdict of wilful murder. A second time arrested, he is imprisoned at Reading, but falsely declares himself to be innocent: he is tried, condemned to death, and at last admits his guilt.
[Roxburghe Collection, III, 802; Douce Coll., III, 1, verso.']
The Berkshire tragedy or the Wittam miller
With an Account of his Murdering his Sweetheart.
[To the Tune of, The Oxfordshire Tragedy, pp. 68, 175.]
Young Men and Maidens, all give ear, to what I shall relate;
0 mark you well, and you shall hear, of my unhappy fate:
Fear unto famous Oxford town, I first did draw my breath —
Oh! that I had been cast away, in an untimely death. [text, birth.
My tender parents brought me up, provided for me well,
And in the town of Wittenham then they placed me in a Mill.
By chance upon an Oxford Lass I cast a wanton eye,
And promis'd I would marry her, if she would with me lie.
But to the world I do declare, with sorrow, grief, and woe,
This folly brought us in a snare, and wrought our overthrow;
For the Damsel came to me, and said —" By you I am with child:
I hope, dear John, you 'll marry me, for you have me defil'd."
Soon after that her Mother came, as you shall understand,
And oftentimes did me persuade to wed her out of hand;
And thus perplex'd on every side, I could no comfort find:
So for to make away with her a thought came in my mind.
About a month from Christmas—oh, cursed be the day!—
The Devil then did me persuade, to take her life away.
I call'd her from her sister's door, at eight o'clock at night:
Poor creature! she did little dream I ow'd her any spite.
I told her, if she 'd walk with me aside a little way
We both together would agree about our Wedding-day.
Thus I deluded her again into a private place,
Then took a stick out of the hedge, and struck her in the face.
But she fell on her bended knee, and did for mercy cry,
"For heaven sake, don't murder me! I am not fit to die."
But I on her no pity took, but wounded her full sore,
Until her life away I took, which I can ne'er restore.
With many grievous shrieks and cries, she did resign her breath,
And in inhuman, barbarous sort I put my love to death.
And then I took her by the hair, to cover this foul sin,
And dragg'd her to the river side, and threw her body in.
Thus, in the blood of innocence my hands were deeply dy'd,
And shined in her purple gore, that should have been my Bride.
Then home unto my Mill I ran, but sorely was amaz'd;
My man he thought I had mischief done, and strangely on me gaz'd.
"Oh! what's the matter?" then said he, "you look as pale as death. [breath?
What makes you shake and tremble so, as tho' you 'd lost your
How came you by that blood upon your trembling hands and cloath[e]s?"
I presently to him reply'd, "By bleeding at the nose!"
I wistfully upon him look'd, but little to him said, [t. wish.
But snatch'd the candle from his hand, and went unto my bed;
Where I lay trembling all the night, for I could take no rest,
And perfect flames of hell did flash within my guilty breast.
Next day the damsel being miss'd, and no where to be found,
Then I was apprehended soon, and to the Assizes bound.
Her sister did against me swear, she reason had, no doubt,
That I had made away with her, because I call'd her out.
But Satan did me still perswade, I stiffly should deny;
Quoth he, "There is no witness can against thee testify."
Now when her Mother she did cry, I scofflngly did say,
"On purpose then to frighten me, she sent her child away."
I publish'd in 'The Post-Boy' then (my wickedness to blind),
"Five Guineas any one should have, that could her body find."
But Heaven had a watchful eye, and brought it so about
That, though I stiffly did deny, this murder would come out.
The very day before the Assize, her body it was found,
Floating before her Father's door, at Henley-Ferry Town.
So I the second time was seiz'd, to Oxford brought with speed,
And there examined again about the bloody deed.
Now the Coroner and jury both together did agree
That this damsel was made away, and murdered by me.
The Justice he perceiv'd the guilt, no longer would take bail,
But the next morning I was sent away to Reading Gaol.
When I was brought before the Judge, my man did testify
That blood upon my hands and cloath[e]s that night he did espy.
The Judge he told the jury then, "The circumstance is plain:
Look on the prisoner at the bar! He hath this creature slain!"
About the murder at the first the Jury did divide,
But when they brought their verdict, all of them "Guilty!" cry'd.
The Jailor took and bound me strait, as soon as I was cast;
And then within the prison strong he there did lay me fast.
With fetters strong then I was bound, and shin-bolted was I;
Yet I the murder would not own, but still did it deny.
My Father did on me prevail, my kindred all likewise,
To own the murder: which I did, to them, with watery eyes.
My Father he then did me blame, saying, "My Son, oh! why
Have you thus brought your self to shame, and all your family?"
"Father, I own the crime I did, I guilty am indeed;
Which cruel fact, I now confess, doth make my heart to bleed.
"The worst of deaths I do deserve, my crime it is so base,
For I no mercy shew'd to her; most wretched is my case.
Lord! grant me grace, while I do stay, that I may now repent,
Before I from this wicked world most shamefully am sent."
Young Men, take warning by my full: all filthy lust defy!
By giving way to wickedness, alas! this day I die.
Lord! wash my hateful sins away, which have been manifold;
Have mercy on me, I thee pray, and Christ receive my soul!
London: Printed and sold at Sympson's Printing-OflSce, in Stonecutter
Street, Fleet-Market.
[White-letter. Two cuts: girl lying dead; man hanging. Probably a reprint, originally of date circa 1700. Compare p. 629 and 'Oxfordshire Tragedy.' In the Roxburghe Collection broadside is no division into stanzas, but we run on the half-lines to save space. The next broadside ballad on the 'Rogueries of Millers' is dated 1718.]
Beside these Roxburghe Ballads, another murder is told in the ballad 'The Bloody Miller: being a true and just account of one Francis Cooper, of Hocstow, near Shrewsbury, who was a Miller's servant, and kept company with one Anne Nicols for the space of two years, who then proved to be with child by by him, and being urged by her father to marry her he most wickedly and barbarously murdered her, as you shall hear by the sequel. Tune Alack for my Love [I must die].'
the unidentified Where is my Love? not possibly the same as " Where is my Shepherd, my Love? heigho!" for which see 'Cupid's Victory over the Virgins' hearts,' in vol. iii, 554. For the tune of Alack !for my love I must die, see p. 120.
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[google books] The Berkshire Tragedy; Or, the Wittam Miller: with an Account of His Murdering His Sweetheart. [A Ballad.] 1720
John Mauge, a miller executed at reading for killing his sweetheart Anne Knite. Wittam is Wytham near Oxford, dated 1744
-----------------
[early version Sympsons Printing Office also version in Roxburghe]
The BERKSHIRE Tragedy,
OR THE
WITTAM MILLER,
With an Account of his Murdering his Sweetheart.
YOUNG men and maidens all give ear,
Unto what I shall now relate;
O mark you well, and you shall hear,
Of my unhappy fate:
Near unto famous Oxford town,
I first did draw my breath,
Oh! that I had been cast away,
In an un[t]imely birth.
My tender parents brought me up,
Provided for me well.
And in the town of Witt[a]m then,
They placd me in a mill.
By chance upon an Oxford lass,
I cast a wanton eye,
And promisd I would marry her,
If she would with me lie.
But to the world I do declare,
With sorrow, grief and woe,
This folly brought us in a snare,
And wrought our overthrow.
For the damsel came to me, and said,
By you I am with child:
I hope, dear John, you'll marry me,
For you have me defild.
Soon after that, her mother came,
As you shall understand,
And oftentimes did me persuade,
To wed her out of hand.
And thus perplexd on every side,
I could no comfort find,
So for to make away with her,
A thought came in my mind.
About a month from Christmas then,
Oh! cursed be the day,
The devil then did me persuade,
To take her life away.
I calld her from her sisters door,
At eight oclock at night,
Poor creature she did little dream,
I ow'd her any spite.
I told her, if she'd walk with me,
A side a little way,
We both together would agree,
About our wedding day.
Thus I deluded her again,
Into a private place,
Then took a stick out of the hedge,
And struck her in the face.
But she fell on her bended knee,
And did for mercy cry,
For heaven sake dont murder me,
I am not fit to die.
But I on her no pity took,
But wounded her full sore,
Until her Life away I took,
Which I can ne'er restore.
With many grievous shrieks and cries,
She did resign her breath,
And in inhuman barbarous sort,
I put my love to death.
And then I took her by the hair,
To cover this foul sin,
And draggd her to the river side,
And threw her Body in.
Thus in the blood of innocence,
My hands were deeply dyd,
And shined in her purple gore,
That should have been my bride.
Then home unto my mill I ran,
But sorely was amaz'd,
My man he thought I had mischief done,
And strangely on me gazd.
Oh! whats the matter then said he,
You look as pale as death,
What makes you shake and tremble so,
As though you had lost your breath.
How came you by that blood upon,
Your trembling hands and cloaths?
I presently to him replyd,
By bleeding at the nose.
I wishfully upon him lookd,
But little to him said,
But snatchd the candle from his hand,
And went unto my bed.
Where I lay trembling all the night,
For I could take no rest,
And perfect flames of hell did flash,
Within my guilty face.
Next day the damsel being missd,
And no where to be found;
Then I was apprehended soon,
And to the Assizes bound.
Her sister did against me swear,
She reason had no doubt,
That I had made away with her,
Because I calld her out.
But Satan did me still perswade,
I stiffly should deny,
Quoth he, there is no witness can,
Against thee testif[y].
Now when her mother she did cry,
I scoffingly did say,
On purpose then to frighten me,
She sent her child away.
I publishd in the post boy then,
My wickedness to blind,
Five Guineas any one should have,
That could her body find.
But Heaven had a watchful eye,
And brought it so about,
That though I stiffly did deny,
This murder would come out.
The very day before the assize,
Her body it was found,
Floating before her Fathers door,
At Henly Ferry Town.
So I the second time was seizd,
To Oxford brought with speed,
And there examined again,
About the bloody deed.
Now the coroner and jury both,
Together did agree,
That this damsel was made away,
And murdered by me.
The justice he perceiv'd the guilt,
No longer would take bail:
But the next morning I was sent,
Away to Reading Goal.
When I was brought before the judge,
My man did testify,
That blood upon my hands and cloaths,
That night he did espy.
The judge he told the jury then,
The circumstance is plain,
Look on the prisoner at the bar,
He hath this creature slain.
About the murder at the first,
The jury did divide,
But when they brought their verdict,
All of them guilty cryd.
The jailor took and bound me strait,
As soon as I was cast;
And then within the prison strong,
He there did lay me fast.
With fetters strong then I was bound,
And shin bolted was I,
Yet I the murder would not own,
But still did it deny.
My father did on me prevail,
My kindred all likewise,
To own the murder which I did,
To them with watery eyes.
My father he then did me blame,
Saying, my son, oh ! why,
Have you thus brought yourself to shame,
And all your family;
Father, I own the crime I did,
I guilty am indeed,
Which cruel fact I now confess,
Doth make my heart to bleed.
The worst of deaths I do deserve,
My crime it is so base,
For I, no mercy shewd to her,
Most wretched is my case.
Lord grant me grace while I do stay,
That I may now repent,
Before I from this wicked world,
Most shamefully am sent.
Young men take warning by my fall,
All filthy lust defy;
By giving way to wickedness,
Alas! this day I die.
Lord wash my hateful Sins away,
Which have been manifold,
Have mercy on me I thee pray,
And Christ receive my soul.
London: Printed and Sold at Sympsons Printing Office, in Stonecutter-street, Fleet Market
___________________________
The Bloody Miller
Being a true and just Account of one Francis Cooper of Hocstow near Shrewsbury, who was a Millers Servant, and kept company with one Anne Nicols for the space of two years, who then proved to be with Child by him, and being urged by her Father to marry her he most wickedly and barbarously murdered her, as you shall hear by the sequel
Tune, Alack for my Love I dye.
LET all pretending Lovers
take warning now by me,
Lest they (as I) procure their woe,
and work their misery:
For I my self have overthrown,
as you shall plainly see,
I for my transgression must dye.
I was a likely Country Youth,
and might have lived well,
But yet in sin and wickedness
mo[s]t Young-men did excell;
But mind what for my cruel deeds
to me at last befell:
I for my etc.
I was a Miller by my Trade,
it plainly doth appear,
Pretending love unto a Maid,
whose Father lived near,
But she for my acquaintance,
poor soule, did pay full dear:
I for my etc.
She was a fair and comely maid,
thought modest, grave, and wise,
And 'twas suppos'd all wickedness
did utterly despise
But my dissembling flattering tongue
did her poor Heart surprize:
I for my etc.
Tho' I was young and likely too,
I wanton was and wild,
And by my amorous carriage she
most strangely was beguil'd,
She did beleive my flattering tongue
till I got her with Child:
I to my etc.
At last she to her Father told
that she and done amiss,
Who seemed much astonished,
and wond[r]ed much at this;
But I false wretch, and Judas like,
betray'd her with a kiss:
I for my etc.
Her Father sent her to the Mill
to ask him her to marry;
Which he then seemed to refuse,
and told her she must tarry
but by my strange & treacherous tricks
I strangely did miscarry:
I for my etc.
There was another Maid beside
whom I kept company,
Which made me far more impudent
in my immodesty;
But my first Love I did forsake
and utterly deny:
I for my etc.
She told me I must marry her,
or for the Child provide;
Five pound I offer'd, which by her
was utterly deny'd;
She in the full conclusion
by me was mortified:
I for my etc.
One Sunday on an Evening tide
for her poor soule I sent
Who came to me immediately
not dreaming what I meant,
And so into a secret place
we sinful sinners went:
I for my etc.
There kissing and imbracing her,
my treachery appear'd,
I like a cruel bloody wretch,
whom she so little fear'd,
Did murther her in such a sort,
the like was never heard:
I for my etc.
From Ear to Ear I slit her mouth,
and stab'd her in the Head,
Till she poor soule did breathless lie
before her Butcher bled,
For which most cruel horrid fact
I now am punished:
And for my etc.
My bloody fact I still denied,
disown'd it till the last,
But when I saw for this my fact
just judgment on me past,
The blood in Court ran from my nose
yea; ran exceeding fast;
And for my etc.
So like a wretch my daies I end,
upon the Gallow-Tree,
And I do hope my punishment
will such a warning be,
That none may ever after this
commit such villany;
And for my transgression I die.
Printed for P. Brooksby in Pye-Corner.
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Expert Town, Expert Girl, Birkshire Tragedy, The Oxford Girl (Tragedy), Wexford Girl, Knowville Girl, Lexington Girl, The Cruel Miller, The Lexington Miller, In London's Fair City. In the US it's: Knoxville Girl, Waco Girl. (Ie, the murdering miller, a fatal beating with stick, explanation of the blood as "nose bleed.")
The New Lost City Ramblers Song Book (1964, Oak Productions): "is related to 'Pretty Polly', and verses are often interchanged. Although it originated in England, many American singers accept the song as being about a local murder in their own town; names and places are changed to fit this, yet the story remains the same. The Carter Family recorded it as 'Never Let the Devil Get the Upper Hand of You'..." NLC Ramblers version from the Blue Sky Boys, Bluebird B-7755B). In "Wexford Girl" from MacEdward Leach and the Songs of Atlantic Canada [Wexford Girl] he kills his own father to rob father for money to spend on girl. The oldest version would likely be "The Berkshire Tragedy or The Wittam Miller" an English broadside from about 1700.
Bruce Olson found "The bloody Miller" (see The Bloody Miller) The murderer was Francis Cooper, a Miller's Servant, of Hocstow near Shrewbury. He "kept company with one Anne Nicols for the space of two years, who then proved to be with Child by him, and being urged by her Father to marry her he most wickedly and barbarously murderd her." None other than Sam Pepys entered in his diary 10 days later that the event occurred Feb. 10, 1684, the Sabbath no less. I sing the Scottish version, "The Butcher Boy."
______________________________________
Having looked again at "Shepherd" Taylor's 1921 version referred to above, I think after all that it is the one used by the Albion Country Band; the tune is identical and the text not greatly different. Harry Cox's set of the song is similar textually, but sung to a quite different melody. Well, why not quote it all, then.
The Albion band (with Martin Carthy) sings this. The version including notes I post here comes from R. Palmer, Everyman's Book of English Country songs.
HANGÈD I SHALL BE
1. As I was bound apprentice, I was bound unto a mill.
I served my master truly for seven years or more.
2 Until I took up courting with a girl with a rolling eye,
I told that girl I'd marry her, if she would be my bride.
3 I asked her if she'd take a walk through the fields and meadows gay,
And there we told the tales of love and fixed the wedding day.
4 As we were a-walking, and talking of things that grew around,
I took a stick all out of the hedge and knocked that pretty maid down.
5 Down on her bended knees she fell and loud for mercy cried:
‘O, come spare the life of an innocent girl, for I am not fit to die.'
6 Then I took her by her curly locks and dragged her on the ground
Until I came to the river-side that flowed to Ekefield town.
7 That ran so long in distance, that ran so deep and wide,
And there I plunged that pretty fair maid that should have been my bride.
8 When I went home to my parents' house, about ten o'clock that night,
My mother she jumped out of bed, all for to light the light.
9 She asked me and she questioned me, 'What stains your hands and clothes?'
And the answer I gave back to her, 'I been bleeding at the nose.'
10. No rest, no rest, all that long night, no rest could I find,
For the sparks of fire and brimstone all round my head did shine.
11. And it was about two days after, this fair young maid was found
A-floating by the river-side that flows to Ekefield town.
12 The judges and the jurymen, on me they did agree,
For murdering of this pretty fair maid; so hangèd I shall be.
Ekefield town: does not exist; but this could be a garbled version of Hocstow, the original location.
Samuel Pepys, well known for his love of music and singing, assembled a large collection of street ballads, which includes 'The bloody Miller Being a true and just Account of one Francis Cooper of Hocstow near Shrewsbury, who was a Millers Servant, and kept company with one Anne Nicols for the space of two years, who then proved to be with Child by him, and being urged by her Father to marry her he most wickedly and barbarously murdered her, as you shall hear by the sequel.' This was the ancestor of a great family of songs on the same theme, widely known in Britain and America until recently, under such titles as 'The Cruel Miller' ,'The 'Prentice Boy', 'The Wexford Murder', 'The Berkshire Tragedy' and 'The Wittam Miller'. One motif which invariable appears is that of the guilty bloodstains, explained as a 'bleeding at the nose'. H. E. Rollins, the American ballad scholar, found a reference in a contemporary diary which authenticates and dates the original murder: 'I heard of a murther near Salop on Sabb. day y/e [an e printed above an y] 10. instant, a woman fathering a conception on a Milner was Kild by him in a feild, her Body lay there many dayes by reason of y/e Coroner's absence' The composer, E. J. Moeran, took down this version from a Norfolk man in I92I.
----------------
Olson
Wolfgang, where did your identification of the Pepys ballad with Laws P 35 come from? I thought than mine in the internet broadside index at ZN1624 was the original, but maybe not. Do we have any observers here who might know about Parish Registers in Hocstow, England and who might like to search them for Anne Nicols and Francis Cooper to see if they were real people? The ballad was printed late 1684 to 1696.
G. M. Laws, Jr., didn't know about the Pepys ballad, but did an extensive study of different versions, giving some 18th century texts in 'American Balladry from British Broadsides', pp 104-22, 1957.
The tune of the Pepys ballad was "Alack for my love I [must] die". This comes from "The Downfall of William Grismond..22 of March, 1650" (ZN1998). In Scots traditional versions he is called "William/Willie/Wully Graham/Gray" (elsewhere "Guiesman"), e.g., 'Grieg-Duncan Collection', II, #190 (only 1 copy with tune).
"Banks of the Ohio" and some other murder ballads were probably modeled on this. "Banks of the Ohio" seems to have been originally "The Banks of the Old Pee Dee" (or Peedee), but there's more than one river by this name in the U.S. There'a a Pee Dee river in South Carolina that flows into the Atlantic about two thirds of the way from Wilmington to Charleston. The town Pee Dee is a little east of Florence, SC.
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[From Ewan McLennan on The Last Bird To Sing, 2012 [cover of the Robertson version]
The Butcher's Boy
My parents gave me learning, good learning they gave to me
For they sent me to a butcher's shop a butcher boy to be
It's there I met sweet Mary Ann with a dark and a rovin' eye
And I promised I would marry her in the month of sweet July.
He went down to her mother's house 'tween the hours of eight and nine
And he asked her for to walk with him down by the foaming brine
Down by the foaming brine we'll go, down by the foaming brine
Now won't that be a pleasant walk, down by the foaming brine?
They walked it east and they walked it west and they walked it all alone
Till he took a knife from out his breast and he stabbed her to the ground
She fell upon one bended knee and for mercy she did cry
Now Billie dear, don't murder me, I'm not prepared to die
He took her by the lily-white hands and he dragged her through the broom
And with a mighty downward push he threw her body in.
He went back to his mother's house 'tween the hours of twelve and one
And little did his mother know what her only son had done
He asked her for a handkerchief to tie around his head
And he asked her for a candlelight to show him off to bed.
No sleep, no rest did the young man get, no rest he could not find
For he thought he saw the gates of hell approaching his bedside
And the murder it was soon found out and the gallows was his doom
For the murdering of sweet Mary Ann who lies where the roses bloom.
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WATERSON: CARTHY ~ FISHES & FINE YELLOW SAND TSCD542 [probably not traditional; rather an arrangement]
Fishes and Fine Yellow Sand Norma Waterson
Oxford Girl
My parents educated me,
while learning they did give.
They bound me to a 'prentice,
A miller for to be.
Then I fell in love with an Oxford girl
With a dark and roving eye.
And I promised her I would marry her
If she with me would lie.
I courted her for six long months
A little now and then
Till I thought it a shame to marry her,
Me being so young a man.
And I asked her for to take a walk
Down by some shady grove
And there we walked and we talked of love
And we set a wedding day.
But I pulled a little stick from off the hedge
And struck her to the ground
Until the blood of that innocent
Lay trickling all around
Down on her bended knees she'd fall
And tearfully she'd cry,
“Oh Jimmy dear, don't you murder me,
For I'm too young to die.”
So I went unto my master's house
About the hour of night.
And my master rose and he let me in
By the striking of a light.
Well he asked of me and he questioned me,
“What stains your hands and clothes?”
Well I quickly made for to answer,
“Just the bleeding of my nose.”
No rest nor peace that night I find,
I do in torment lie.
For the murder of my own true love
Now I am condemned to die.
Norma Watersons sang The Oxford Girl a much more straightforward murder story in 2005 on Waterson:Carthy's fifth album, Fishes & Fine Yellow Sand. Martin Carthy commented in the album notes:
With Liza's lead we sort of made up the melody for The Oxford Girl for Norma so sing from bits and pieces and personally I think that the result is rather good. In some sets of the song the words, towards the end, portray a full scale vision of the fires of hell at his bed foot, but it loses nothing by being ever so slightly more subdued.
---------------------
[Irish ballad not related ]
Cecilia Costello on "Old Fashioned Songs"
Musical Traditions Records MTCD363-4 Wexford Girl
---------------------------------
[Similar but different ballad confused (glass/cup of poison--Jealousy) with Oxford Girl:
8 - Oxford City (Laws P30, Roud 218)
(sung by Freda Palmer at her home in Witney, Oxfordshire. 1973)
It was of a girl in Oxford City,
The truth I now will tell to you.
All by a young man this maid was courting,
And he loved her as his life he gave.
She loved him too, but t'was at a distance,
She did not seem to be so fond.
He said, "My dear one, why can't we marry?
And then at once it would end all strife."
"Oh no, I am too young to marry,
Too young to incline on a marriage bed.
For when we are married then we are bound for ever,
And then at once all our joys are fled."
As she was dancing with some other,
This jealousy came to his mind.
All for to destroy his own true loved one,
This wicked young man he was inclined.
Some poison strong, which he had conceal-ed,
He mixed it in a glass of wine.
Then he gave it unto his own true-loved one,
And she drank it up most cheerfully.
But in a very few minutes after,
"Oh, take me home, my dear", said she,
"For the glass of liquor you lately gave me,
It makes me feel very ill indeed."
"Oh, I've been drinking the same before you,
And I've been taken as ill as you.
So in each others arms we will die together,
Young men be aware of such jealousy."
Versions of this song turn up all over the place. Harry Upton, for example, called his version Near Arundel Town, and, like Mrs Palmer, believed it to be a true story. At the beginning of the 20th century, Vaughan Williams found another singer using Mrs Palmer's tune for the song A Bold Young Farmer and he later incorporated this tune into his ballet for orchestra Old King Cole.
There are 105 entries in Roud and, more to the point, it's a song which has remained in the country repertoire right up to the present time, particularly amongst Gypsies and Travellers. It has numerous titles in addition to the ones mentioned above, including Down the Green Groves and Poison in a Glass of Wine, but whatever it may be called by the singer, the song would appear to stem from a broadside issued by John Pitts of London in the early 1800s.
Most versions are from England, but there are also four from Ireland, eight from Scotland, six from the USA, one from Canada, and one from Tristan da Cunha noted. Twenty sound recordings are known, but Sheila Stewart's Oxford Tragedy, Joseph Taylor's Worcester City and Louie Saunders' Young Maria (MTCD309-10 and a different version on TSCD666) are the only other ones available on CD
-------------------
The 'Prentice Boy [MS missing]
Roud Folksong Index (S227101)
First Line:
Source: H.E.D. Hammond MSS (VWML) D824
Performer: Russell, Mrs. Marina
Date: 1907 (Jan/Feb)
Place: England : Dorset : Upwey
Collector: Hammond, Henry
Roud No: 263
---------------------------------------------
The Wexford Murder
Roud Folksong Index (S225285)
First Line: My lover was a misfit girl
Source: Old House OHC 104 (`Gin Ale & Whiskey')
Performer: House, Bill
Date: 1985 (12 Apr)
Place: England : Dorset : Beaminster
Collector: Dow, Nick & Mally
Born near the Bull Ring in Birmingham, she was the youngest of 10 children of parents who left Ireland to escape famine. She is first recorded making screws in Digbeth, and later as a brass polisher in the Birmingham Workhouse Infirmary in Winson Green in 1901. She married Thomas Costello in 1904 and they had 8 children.
Costello was visited twice – in 1951 and 1954 – by folk music researcher Marie Slocombe of the BBC Sound Archive, who recorded 13 songs of hers. Charles Parker visited her in 1967 and recorded a series of interviews. These were combined on a record released in 1975.
--------------------------
English folk songs and music (Dorset)
Recording date: 1985-04-12
Is part of Nick and Mally Dow Collection
Recording locations: Beaminster, Dorset, England, UK
Performer: Norman House 1929
[The Wexford murder] Norman House 1929-
My lover was a misfit girl,
I found she used to stray
With one men it is not enough
That is no used to me
I took her by the lily- white hand
I kissed both check and chin
I took her down by the river side
And there I tossed her in.
There goes my love my twrated love,
Floating away by the tide,
Instead of her being some breathless corpse
She ought to have been my bride.
------------------------]
Roud Folk Song Index No. 1412. Laws Ballad No. P38.
[The Wexford murder] Bill House, 1900- (singer, male)Beaminster, Dorset, England, UK
Item notes: Fragment, sung twice. from Mr Budlugh [?]. Roud Folk Song Index No. 1412. Laws Ballad No. P38. Performer notes: Retired hurdlemaker and thatcher.
My lover was a misfit girl,
I found she used to stray
With other men it is enough
That she's no use to me.
I took her by the lily- white hand
I kissed both check and chin
I took her down by the river side
And there I tossed her in.
There goes my love my own true love,
Floating away by the tide,
Instead of her being some breathless beau [corpse]
She ought to have been my bride.
-------------------------------------------------
How Could I Marry
Roud Folksong Index (S345595)
First Line: As i walked out one bright summer's day
Source: Musical Traditions MTCD 356-7 ('King's Head Folk Club')
Performer: Smith, Jack
Date: 1969 (5 Nov)
Place: England : Surrey : Milford
----------------
The Bloody Miller
Roud Folksong Index (S138233)
First Line: My parents of me took much care, good learning gave to me
Source: Carnell, Ballads in the Charles Harding Firth Collection No.B112
----------------------
Miss Betty Wilster
Roud Folksong Index (S331860)
First Line: Now all you maidens who live upon earth
Source: Ella M. Leather MSS Collection (VWML): Scrapbook p.7: EML/1/11
Performer: Powell, Mrs.
Date: 1906 (Aug)
Place: England : Herefordshire (?)
Collector: Leather, Ella M. / Webb, Annie M.
---------------
Butcher's Boy [missing in collection]
Roud Folksong Index (S336862)
First Line: Arise up my Mary and come along with me
Source: Peter Hall Sound Collection (copy in School of Scottish Studies and Vaughan Williams Memorial Library)
Performer: Macdonald, Jessie
Date: 1960s - 1980s (?)
Place: Scotland
Collector: Hall, Peter
Roud No: 263