The Rich Irish Lady- Cruickshank (MO) 1920 Belden D
[Belden: Ballads and Songs; Collected by The Missouri Folk-Lore Society, 1940; Belden does not, to his credit, list these versions under Child 295. See his notes below.
This ballad is not to be confused with the popular ballad, Child No. 73 Lord Thomas and Fair Annet, which is commonly known in the US, and Canada as "The Brown Girl."
US and Canada versions are based on the hundreds of late 18th century English broadsides sometimes titled "The Sailor from Dover" or "Sally and her Truelove Billy."
Child's B version of 295, "The Brown, Brown Girl" collected by Rev. S. Baring-Gould, introduced stanzas from the "Sally and her Truelove Billy" songs. In his article "Folk Song Tradition, Revival and Re-Creation" Steve Gardham has shown that Baring-Gould's ballad is a re-creation of two ballads and not traditional.
To put it simply, the versions are not related to "The Brown Girl" but are part of the "The Sailor from Dover" and "Sally and her Truelove Billy" song group. In the US and Canada some common titles are "Pretty Sally," "Sally," and "A Rich Irish Lady." They have been put here following Bronson and others who have attached them to Child 295, not because they belong here.
R. Matteson 2014]
A Brave Irish Lady
This seems the most fitting title for American texts of this ballad, tho some collectors enter it as a form of Child 295, The Brown Girl. It is related, certainly, to that ballad, but is sufficiently distinct to be ranked as a separate song. In The Brown Girl it is the woman, not the man, that is hard-hearted; the story is put in her mouth; and there is no Irish lady. In fact the figure of the Irish lady is American; the British broadside, Christie's Scotch text, Sharp's from Somerset, even the Boston broadside (printed in B.BM 422-3) know nothing of her. The man's declaration that he will dance on her grave- which is probably what has most contributed to keep the song alive- goes back to Child's two versions of 295, and his suggestion that she has called him in as a doctor is at least implied in Child B, tho not fully developed till later. The peculiarly flat statement, with its false rhyme, that
'You can quit your intentions, and end your discourse,
For I will never have you unless I am forced
is apparently to be credited to the nineteenth century stall prints; it appears in both of them as printed in BBM, and maintains itself pretty well in American tradition. Only in American texts has the stanza from Death and the Lady (100EFS 52)
Now Sally is dead, lies cold in the clay,
Her rosy-red cheeks are all moldering away
crept in; it is found in TBV B, SharpK F H, FSS C D, and all the Missouri texts. The song has been reported since Child's time from Scotland (Christie II 240-1) and. Somerset (JFSS VIII 5-6), from Maine (BBM 478-25), Vermont (VFSB 244-6), Virginia (TBV 537-43, SharpK I 297,300-1, 303-4, SCSM 98), West Virginia (JAFI-, XXXII 502, FSS 366-70), Kentucky (SharpK I 299-300, 304), Tennessee (ETWVMB 119-20, FSSH 134-5), North Carolina (SharpK I 295-7,302-3), Georgia (SharpK I 298), Mississippi (FSM 128-30), and Kansas (JAFL XXVII 73-4). Tolman had a text from Indiana but did not print it because it was so much like that given by Barry in JAFL XXVII 73-4. It is listed as recorded in Tennessee but the text not given in SFLQ II 79.
D. 'The Rich Irish Lady.' Given to Miss Lowry by Earl Cruickshank of Columbus, Kansas, in 1920, as sung by his mother.
A rich Irish lady from London there came,
A beautiful damsel called Sally by name.
Her riches were more than the Queen could possess,
And her beauty was more than the gold at its best.
A rich merchant's clerk comes a-courting to her,
Whose income was more than ten thousand per year.
She thought of her riches and prized them so high
That on this poor young man she scarce cast an eye.
'O Sally, O Sally, O Sally,' said he,
'I'm afraid that your courtship and mine won't agree;
Unless that your hatred should turn into love,
I'm afraid that your beauty my ruin will prove.'
'I owe you no hatred, nor no other man,
But to say that I love you is more than I can;
So therefore I beg you leave off your discourse,
For I never shall have you unless I am forced.'
Now several long years have come and are past,
And the beautiful damsel fell sick at the last;
she was tangled in love and she could. not tell why,
So she sent for the young man whom she once did deny.
'Oh, am I the doctor you sent to come here,
Or am I the young man you love most sincere? '
'Yes, you are the doctor, can kill or can cure;
And the pain I lie under is hard' to endure.'
'O Sally, O Sally, O Sally,' said he,
'Oh, don't you remember when I courted thee
You laughed at my courtship and denied me with scorn?
And now I'll reward' you for what's past and' gone''
'For what's past and gone, love, forget and forgive,
And grant me some long years yet for to live.'
'No, that I won't, Sally, not while I have breath,
But I'll dance o'er your grave after your death.'
Then from off her fingers she pulled diamond rings three,
saying, 'Wear these, loving William, while you're dancing o'er me.
I freely forgive you although you don't me.
Ten thousand time over my folly I see.'
Now Sally is dead, as we may suppose,
She's left all her lovers for other girls' beaux; [1]
She's taken up her lodgings in the banks of cold clay,
And her red rosy cheeks are all mouldering away.
1 Also "beaus;"