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ERNEST SMALL/GRACE DEUTSCH
CULINARY HERBS
for
SHORT-SEASON
GARDENERS
The Herb Garden, Almonte, Ontario, Canada.
CULINARY HERBS
for
SHORT-SEASON
GARDENERS
Ernest Small • Grace Deutsch
Copyright © 2001 National Research Council of Canada & Ismant Associates Inc.
All rights reserved. No part of this publication may be reproduced in a retrieval system, or transmitted by any
means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of
the publishers.

Electronic ISBN 0-660-18600-4, Print International Standard Book Number: 0-660-17785-4 (NRC Research Press)
International Standard Book Number: 0-9688913-0-6 (Ismant Associates Inc.)
NRC No 42737
Printed on acid-free paper
National Library of Canada cataloguing in publication data
Small, Ernest, 1940-

Culinary herbs for short-season gardeners

Issued also in French under title : Herbes culinaires pour nos jardins de pays froid.
Includes bibliographical references.
Issued by the National Research Council of Canada.
ISBN 0-660-17785-4

1. Herb gardening. 2. Herb gardening—Canada. 3. Herbs. 4. Herb gardens. 5. Herb gardens—Canada.

I. Deutsch, Grace, 1947- II. National Research Council Canada. III. Title.

SB351.H5S5214 2001 635'.7 C2001-980115-7

For information to reproduce selections from this book, For special premium and promotional sales and
please contact: customized editions, please contact:
NRC Research Press Ismant Associates Inc.
Montreal Road, Building M-55 Attention: Sales Department
Ottawa, ON K1A 0R6 633 Huron Street
Canada Toronto, ON M5R 2R8
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www.monographs.nrc.ca www.ismantassociates.com

Design by Robert M. Forrest

Color Separations by National Research Council of Canada Reprographic Services
Printed and Bound in Canada by National Research Council of Canada Reprographic Services
 Contents
Acknowledgments viii
Disclaimer viii
Introduction 1
How to Use This Book 3
Interpreting a Plant Hardiness Zone Map 5
Making the Most of the Short Growing Season 7
Pick the Best Location for Light and Warmth 7
Full Sun Versus Full Sun/Partial Shade 8
Provide Wind Protection and Cold Air Drainage 8
Build Raised Beds for Warmth and Drainage 9
Choose the Right Species 10
Understanding Soil pH Levels 11
Container Herbs 11
Start Seedlings Indoors 12
Use Season Extenders 12
Greenhouses 13
Cold Frames 14
Hot Beds 14
Floating Row Covers, Cloches, and Water Jackets 14
Warm the Soil with Plastic Film 16
Growing and Caring for Your Herbs 17
Seeding Indoors 17
Last Spring Frost Date 17
Seeding Containers 19
Soil for Your Seeds and Seedlings 20
Sowing Your Seeds 20
Lighting Needs 21
Watering and Thinning 22
Transplanting Indoors 22
Hardening Off 23
Transplanting Outdoors 23
Seeding Outdoors 23
Preparing for Winter 23
First Fall Frost Date 25
Providing Frost Protection 25
Mulching and Wrapping Perennials for Winter Survival 25

v
 Culinary Herb Compendium 27
Agrimony 29
Angelica 32
Balm, lemon 35
Basil, sweet 38
Bergamot 41
Borage 45
Caraway 48
Catnip 51
Chamomile, German and Roman 54
Chervil 57
Chives and garlic chives 59
Cicely, sweet 63
Coriander 66
Cress, garden and upland 69
Dill 72
Fennel 75
Fenugreek 79
Garlic 82
Geraniums, scented 86
Hop 90
Horseradish 93
Hyssop 96
Hyssop, anise 99
Juniper 102
Lavender, English 105
Lovage 109
Marigold, pot 112
Marjoram, sweet 115
Mints 118
A Potpourri of Mint-Like Herbs 122
Calamint, large-flowered 122
Calamint, lesser 122
Korean mint 123
Mexican mint marigold 123
Mountain mint 123
Mustard, brown and white 124
Nasturtium and dwarf nasturtium 128
Oregano 131
Parsley 135
Poppy, Oriental 139
Rose, dog and Turkestan 142

vi
 Rosemary 147
Sage, garden 151
Savory, summer 155
Savory, winter 157
Sorrel, garden and French 159
Tarragon, French 163
Thyme, garden 166
Warm-Season Container Herbs to Overwinter Indoors 170
Bay laurel 170
Ginger 171
Lemon grass 171
Lemon verbena 172
Myrtle 173
Sources 174
Further Reading 178
Credits 180

A heavenly lesson in herb cultivation

vii
Acknowledgments
Our special thanks to Sharon and Gerry Channer of the Herb Garden, Almonte, Ontario, for the
use of several beautiful photographs; Debbie Luce of Herbs for All Seasons for the excellent
photograph of pot marigold; Eric Johnson (photographer), Barry Flahey (artist), Susan Rigby
(artist), and Brenda Brookes (technician and artist), all of Agriculture Canada, for preparing
additional superb illustrations; the Schamel First Bavarian Horseradish Delicatessen Factory,
Baiersdorf, Germany, for a wonderful photograph of horseradish; Marc Favreau, for excellent
suggestions that clarified the text; and the staff at NRC Research Press. Most of the drawings are
modified from masterpieces of botanical illustration produced in the 18th and 19th centuries that
are so valuable they are kept in secure collections generally unavailable for public viewing. We
trust our resurrection of their works would have pleased the artists.

Disclaimer
The information in this book has been carefully researched and all efforts have been made to
ensure accuracy. The traditional medical and folk uses and modern medicinal values of the
culinary herbs described here are given for informational purposes only. Medicinal use of herbs
should be carried out only under the care of a well-informed, qualified physician. Do not consume
or use medicinally any plant or herb unless it has been correctly identified. The authors and
publishers disclaim any liability in connection with the use of the information contained in this
book. Where trade names are used, no discrimination is intended and no endorsement by the
authors or publishers is implied.

viii
 To
Victor, Sara, Esther, Sharon, and Karen

ES

To
Jessica, “Queen of Basil,” Meara, “Precious Poppy,”
and Julia, “Princess Rose”

GD

ix
 Some fragrant, tasty herbal delights - pretty nasturtium flowers and herbal vinegars and liqueurs.

x
I NTRODUCTION
short-season gardener n. Optimist who grows plants in an area
with summers that are too short and winters that are too cold.
Before I met Ernie Small, I had never thought much about the basic problem inherent in growing
culinary herbs in my cool-climate garden. Most herbs are native to southern climates, so they
resent—at least a little, and sometimes a lot—being required to thrive in a place they find
downright chilly.
I should have known better. I grew up in semi-tropical Australia, and 30 years after I emigrated
to Southern Ontario, I am still grumbling about short summers and endless winters. I really
admire my gardening friends in places like windswept Montana, the frigid Adirondacks, and
bracing northern Alberta, who persist in creating an annual bounty of flowers, vegetables and
herbs. They have learned, often through hard-won experience, that many delectable herbs can
be coddled into ignoring their warm-climate origins. These resourceful gardeners exploit the
relatively short warm-weather season and encourage a wonderful array of herbs into prospering
in difficult, often harsh environments.
Dr. Small understands their enthusiasm and persistence. He was raised by immigrant parents in
the Ottawa Valley, a region known for its short searing summers and seemingly endless winters.
Ernie’s parents got their start in Canada peddling fruit and vegetables from a horse-drawn cart,
progressing to owning and operating grocery stores and restaurants. From a young age, Ernie was
“volunteered” to help out in the family enterprises, and so unwittingly acquired an appreciation
for food plants. But he had little real interest in plants of any kind until he casually took a
course in biology just as he was finishing his undergraduate general arts degree. Thanks to his
wonderfully inspirational teacher, he fell in love with botany.
Several decades later, Ernie is an international authority on agriculturally important plants.
Winner of the G. M. Cooley Award of the American Society of Plant Taxonomists, the Southern
California Botanists Prize, the Agriculture Canada Merit Award, and the prestigious Canadian
Botanical Association’s George Lawson Medal for lifetime contributions to botany, Ernie has
written over 200 scientific publications. He has also written 7 books, including Culinary Herbs,
the professional herb-grower’s bible.

1
Culinary Herbs for Short-Season Gardeners
As a botanist, Ernie is interested in all classes of plants. But the idea that some plants can be
beautiful and edible at the same time has always intrigued him, hence his particular interest in
culinary herbs. Great chefs know that food must be simultaneously attractive to the eye, palate,
and nose, and since herbs epitomize this combination of beauty, taste, and aroma, Ernie finds
them ideal subjects for botanical study.
By the way, never let anyone tell you that botany is boring: while collecting herbs in Turkey,
Israel, Greece, Spain, Italy, France, England, Russia and throughout North America, Ernie has
risked life and limb trying to get at plants that insist on growing on steep cliffs that sensible
mountain goats would not visit, had occasion to dodge snakes and/or scorpions, talked fast when
faced with suspicious locals pointing guns, and reassured gimlet-eyed police who were unaware
that he is also one of the world’s top authorities on Cannabis sativa, the marijuana plant.
I met Ernie by chance at a summer herb fair. Gardeners being approachable types, we got into a
lively discussion on the best basil to go with a freshly picked tomato. You know that evocative
smell that transfers from the tomato to your hands, the sweet-but-acid taste, the warmth of that
edible goodness … Is it ‘Mammoth’ (O. basilicum), one of the many “lettuce-leaved” cultivars,
or ‘Spicy Globe,’ that fragrant, delectable hybrid of American basil (O. americanum) that crowns
the tomato-lover’s moments of summer ecstasy? We could not agree, although we did concur
that basil was indeed “the king of herbs.” Ernie did admit to a certain prejudice … there wasn’t
a basil he didn’t like with the exception of holy basil, which he said was the worst herb he had
ever tasted. (He hastened to say that perhaps this judgment was unfair since holy basil suffers
by comparison to its wonderful relative.) As I knew nothing about holy basil and did not wish
to advertise my ignorance, I deftly steered the conversation to dill, a particular favorite of mine,
and then we parted.
My curiosity piqued about the infamous holy basil, I made for the book display area, determined
to do a little unobtrusive sleuthing. At the NRC Research Press stand I discovered a very large,
authoritative-looking work entitled Culinary Herbs. Surely I’d find all I needed to know on
holy basil in this hefty book? I was just thumbing through the index, when a familiar friendly
voice said: “I think holy basil is on page 419.”
From basil to books was not a great leap. I told Ernie that I was endlessly on the lookout for a
practical, easy-to-use book on what herbs to grow in our chilly climate, and how to grow them
successfully, short hot summers and long cold winters notwithstanding. True, there are lots of
books on how to grow herbs, but I don’t want to be tortured with lyrical descriptions on how to
grow chilli peppers and saffron crocus, when my own experiences tell me that nature and
climate will always conspire against me raising these plants through to harvest. While Ernie’s
big book Culinary Herbs was obviously the definitive book on the subject, its size and the
depth of the treatment of the 125 herb species it covers, meant it was just too hefty to be the
take-to-the-garden herb book I was looking for. Ernie wondered why I did not write the book I
wanted myself; I said I would, only if he would.
Timing, as they say, is everything. With his latest book Canadian Medicinal Crops, co-authored
with his colleague Dr. Paul Catling, just completed, I had found Ernie between projects.

2
 Introduction
Moreover, he had long wanted to write a book on herbs that would put his specialist’s knowledge
at the service of keen amateur herb growers. And being a dirt-under-the-nails gardener himself,
we found we were in total agreement that our book would not be for armchair gardeners, but
for that hardy breed who, like us, wants to experience the boundless satisfaction of growing and
harvesting herbs if not year-round, then as close to it as possible.
The resulting book, Culinary Herbs for Short-Season Gardeners, you hold in your hands. We
hope you turn to it constantly as you tend your northern herb garden. (Do not be afraid to get it
dirty. Like a favorite cookbook, it should testify to its usefulness by being not a little stained
and dog-eared.) As the story of this book’s conception indicates, gardeners like to share their
knowledge. In this spirit, we would welcome receiving information on successful (and not so
successful) strategies you have used in your own short-season herb garden. Please feel free to
write to us c/o Ismant Peony Press, 633 Huron Street, Toronto, ON Canada M5R 2R8.
Grace Deutsch

How to Use This Book

Whether you are a novice or an experienced short-season gardener, you will get maximum
benefit from this book if you take the time to read the sections that precede the “Culinary Herb
Compendium,” which starts on page 27.
Interpreting a Plant Hardiness Zone Map will help you determine which perennial herbs are
hardy enough to survive winters in your area.
Making the Most of the Short Growing Season is full of practical advice on how to get the
growing season for your herbs started early and how to keep it going late, despite the weather.
Growing and Caring for Your Herbs is a gardening primer for herb growers, covering indoor
and outdoor seeding, soil for seeds and seedlings, watering and thinning, lighting requirements,
transplanting indoors and outdoors, hardening off, spring and fall frost dates, preparing for winter,
and mulching and wrapping perennials for winter survival.
The Culinary Herb Compendium includes more than 50 species, featuring over 100 cultivars.
The herbs are arranged alphabetically by their common name. To avoid any confusion, each
herb’s botanical name is also included, along with the name of the plant family to which the
herb belongs. A square green icon clearly marked “Annual” offsets annuals from perennials. A
colored “Coldest Tolerated” zone box appears at the top of each perennial entry. The numbers
given in these boxes tie in to the plant hardiness zones shown on the climatic zone map on
page 6, as do the colors of the actual boxes. The boxes enable you to see instantly the coldest
zone in which the herb may be expected to overwinter outdoors successfully.
The individual herb listings include the following elements:
DESCRIPTION
Gives you full information on the herb’s origin; life cycle (annual, biennial, or perennial); size at
maturity; leaf shape, color, taste and fragrance; stem and root formation; flowering habit;
3
Culinary Herbs for Short-Season Gardeners
suitability for growing in pots or containers; which parts of the plant are edible; plus any
additionally desirable features, for example, if the flowers are very alluring to honeybees or
butterflies.
CULTIVATION NOTES
Everything you need to know about the plant’s soil, light, and moisture needs; how, when, and
where to seed; seed germination times; other propagation techniques; thinning, transplanting, and
spacing requirements; pest and disease problems; indoor growing instructions, where applicable;
outdoor overwintering survival strategies.
HARVESTING NOTES
Tells you when and how to harvest the different parts of the plant for maximum flavor, and how
best to preserve the herb for later use.
CULINARY USES
Provides an eye-opening range of culinary uses, both domestic and commercial, for the herb,
along with guidance on when it should be added in the cooking process. If the herb makes a
refreshing tea, brewing instructions are given.
CRAFT USES
Gives suggestions for enjoying the herb’s natural beauty.
MEDICINAL USES
Details the plant’s uses in traditional herbal medicine and its value, if any, in modern medicine
and pharmaceutical products. Also provides valuable nutritional information about the herb.
CAUTIONS
Offers information on existing known problems that susceptible individuals may experience
from consumption of or contact with the herb.
CULTIVARS AND RELATIVES
Gives a descriptive listing of other useful plants related to the herb, plus outstanding cultivars.
HERBAL TRIVIA
As humans have ascribed wondrous powers to herbs since antiquity, we have included in each
listing in the Compendium snippets of the myths, legends, and folklore that surround each herb.
We found these bits of herbal trivia fascinating, and hope you will, too.

4
I NTERPRETING A PLANT HARDINESS ZONE MAP
Whether you are a novice or an experienced short-season gardener, consulting a plant hardiness
zone map will help you to determine which perennial herbs are sufficiently hardy to survive
winters in your area.
The plant hardiness zone map for North America shown on page 6 is a modification of a widely
used climate-zone map prepared by the US Department of Agriculture. This map, which is
based on minimum winter temperatures, divides the United States and Canada into climate
zones, of which zones 1 through 10 are shown in the map. Each climate zone is divided from
the next by a difference of 5.6°C (10°F). Lower zone numbers indicate lower minimum winter
temperatures.
Each of the perennial herbs profiled in the “Culinary Herb Compendium” includes a reference to
the coldest zone tolerated by the plant. To find out whether a particular herb may be winter-
hardy enough for your location, look at the map to find your gardening area. Then match the
map color for your location to the map key to determine the hardiness zone you live in. Note,
however, that the hardiness zone listings are based on general temperature trends. Neither the
hardiness zone map nor the plant hardiness listings necessarily reflects the conditions peculiar
to your garden or your immediate area. You may find, for example, that you can grow a particular
herb a zone north of its stated maximum limit simply by varying its microclimate, that is, the
climate in the plant’s immediate vicinity.
Local factors, such as the amount of snow cover, can also alter the significance of minimum
winter temperatures. Snow cover decreases the extent that frost penetrates into the ground, so if
you live in an area with consistently heavy snow, your garden may be warmer, from a plant’s
perspective, than the hardiness zone map would indicate. Conversely, if you live in an area that
experiences mid-winter thaws that melt the snow cover, you may be warmer, but the range of
herbs you can grow will be more limited compared to those areas where snow stays all winter.
Finally, hardiness zones should not be considered to be sharp like political boundaries, as this
could lead to the absurd prediction that the south side of some gardens bisected by the map
lines could grow some herbs that could not be grown on the north side.

5
Culinary Herbs for Short-Season Gardeners
Given the limitations of hardiness zone maps, you may wonder why you should be especially
concerned about plant hardiness listings. While you can do much to help your outdoor herbs
survive the cold season, you can only compensate for minimum winter temperatures to a limited
extent. And while minimum winter temperature alone is probably not sufficient to predict a
plant’s hardiness limits, it remains the most important factor in determining whether a perennial
species will survive in a given region. So do treat plant hardiness listings as flexible guidelines,
but know that there simply is not a better predictive system at present.

Plant hardiness zone map for North America. Culinary Herbs for Short-Season Gardeners is aimed
primarily at gardeners cultivating herbs in zones 1–5.

6
M AKING THE MOST OF THE SHORT GROWING
SEASON
Cultivating culinary herbs in a northern climate is a challenge. The outdoor growing season is
short and intense, and climatic conditions—even in the summer months—are notoriously fickle.
The bad news is that you can’t do anything about the climate. The good news is that there is
much you can do to get the growing season for your herbs started early and to keep it going
late, despite the weather.
Pick the Best Location for Light and Warmth
Although many culinary herbs are Mediterranean and/or Asian natives, a number grow well in
cold-climate gardens, albeit as annuals rather than perennials, which they may well be in
warmer, long-season climates. (Annual herbs like dill, mustard, and coriander last only one
growing season and must be replanted each year. Perennials like fennel, lemon balm, and
Oriental poppy reappear in the spring after wintering outdoors.)
Light is crucial for most herbs. Whether grown as annuals or perennials, many herbs require a
minimum of 6 hours of direct sunlight daily in order to thrive. So when you’re deciding where to
grow your herbs, pick those locations that have maximum light potential. Sites with a southern
or southeastern aspect that catch the morning sun will be best for most culinary herbs, as these
exposures will provide your herbs with the greatest amount of light (and warmth) for the longest
period of time, from sunrise to mid-afternoon.
Meeting your herbs’ need for warmth is another consideration when choosing suitable garden
sites. Providing warmth is always important, but it’s especially so during spring when you’re
working feverishly to give young seedlings a good start on the season, and conversely, in fall,
when you’re counting on harvesting a late crop. House and garden walls made of brick retain
the day’s heat and radiate it at night, so making a herb garden in front of a wall ensures warmth
and has the added benefit of sheltering your plants from damaging winds. Plant shorter herbs at
the front of your bed, reserving the wall position for taller herbs like angelica or lovage that are
always in need of support. Alternatively, erecting a sturdy trellis in front of a sunny wall allows
climbing herbs like hops and certain types of nasturtiums to ramble at will, in the process helping
to soften the wall’s harsh contours.

7
Culinary Herbs for Short-Season Gardeners
Walkways and paths made of stone or brick also retain precious heat. Growing herbs beside a
garden path helps keep the plants warm and gives you easy access for harvesting herbs for fresh
use whenever you need them. Because herbs like garlic chives and sweet marjoram are both
fragrant and pretty, they make delightful borders as well. Other sources of warmth your garden
may have to offer include ornamental rocks and rock gardens.

Full Sun Versus Full Sun/Partial Shade

Different herbs have different light needs. The “Cultivation Notes” for each herb profiled
in the “Culinary Herb Compendium” will tell you what light conditions the plant requires.
• Full sun means the plant should be in a location where it can receive a minimum of
6 hours of direct sunlight each day and at least filtered light for the rest of the day.
(Filtered light is light that is screened by the leafy branches of nearby trees or
shrubs.)
• Full sun/partial shade means the plant should be in a location where it can receive
at least 4 hours of direct sunshine a day, but either tolerates or does best with
filtered sunshine or shade for the rest of the day.

Provide Wind Protection and Cold Air Drainage

Plants lose moisture to evaporation through their leaves, so herbs that are buffeted by harsh
winds will find the effects very drying indeed. Windbreaks can modify the damage caused by
drying cold winds. A good windbreak cuts down on the effect of the wind, but doesn’t block it
entirely. The standard solid upright wooden fence that encloses many backyard gardens makes a
poor windbreak as it only serves to channel the force of the wind in another direction, with
probably even greater force. A perforated fence, which is constructed by staggering the spaces
between each upright, does allow some of the wind to blow through, but it’s a more gentle wind
that reaches your plants. Perforated fences also promote ventilation, let more light into your
garden, and let cold air pass out. Existing hedges and shrubs can also act as windbreaks. You
can also buy readymade windbreak fences, or make less permanent structures by stretching
windbreak netting or burlap between poles.

Herbs will suffer if left to sit in pockets of cold air, particularly at night when frosts can occur
only in the pockets. Since cold air moves downward, you want to design your herb garden so
that it has a slight slope, assuming there is no natural slope on your land that you can take
advantage of. Sloping gardens promote cold air drainage; however, as the cold air will collect at
the bottom of the slope, be careful not to plant more tender herbs such as basil in this spot.
Sloping gardens may have the added benefit of providing pockets of warmth, as plants growing
higher up the slope block the flow of cold air reaching those plants situated immediately below.
The downside is that the blocked air may create a cold pocket just above the “protective” plants.

8
 Making the Most of the Short Growing Season

There are a number of techniques you can use to provide your herbs with adequate warmth. Try to situate
your garden where it will benefit from the maximum sunlight and, by extension, the maximum heat that
comes with a southern exposure. If your budget allows, an attached greenhouse with a southern exposure
is useful for starting herbs early in the season. As brick house walls and stone or brick walkways retain
heat, growing your herbs beside these structures provides the plants with warmth, even when the temper-
ature drops at night. Designing your garden so that it slopes away from the plantings beside the house
allows cold air to drain away at night. A perforated or picket fence makes an excellent barrier to the cool-
ing and drying effects of strong winds (shown here by the arrow), while still allowing ventilation for your
garden.

Build Raised Beds for Warmth and Drainage

Garden beds come in 2 basic kinds: those at ground level and those that are raised above
ground level. For the short-season gardener, raised beds have several advantages over ground-
level beds. Raised beds provide better drainage for your herbs than ground-level beds. Good
drainage is vital because even the hardiest herb won’t survive long in heavy, soggy soil, which
promotes the growth of those micro-organisms that cause root diseases. Well-drained soil helps
the plants’ roots to withstand the effects of heavy rains and snow runoff. The soil in raised beds
warms up more quickly in the spring than the soil in regular ground-level garden beds. This is
because the beds are situated above the ground and so are surrounded by air on all sides. The
wood, stone, or brick sides of the bed also act as heat retainers. Raised beds require less work
to look well tended because the growing area is contained, and as the beds can be built to suit
individual height requirements, you’ll find that working a raised bed is decidedly easier on your

9
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λειπει;
Σκλαβε, πεινας; σκλαβε, διψας; σκλαβε μου ῥουχα
θελεις;
Lakkyt þe eyþer gold or fe,
Or ony ryche wede?
Ουτε πεινω, ουτε διψω, ουτε ῥογα μου λειπει.
Μητε πεινω, μητε διψω, μητε και ῥουχα θελω.
Lakyt me neyþer gold ne fe,
Ne non ryche wede.

Tommaseo, III, 154; Passow, p. 330, No 449:

Tommaseo, III, 152; Zambelios, p. 678, No 103; Passow, No
448.
A Danish translation of the English ballad is printed in Dansk
Kirketidende for 1852, p. 254 (Grundtvig). Danish A is translated by
Dr Prior, I, 398.

Sloane MS., 2593, fol. 22 b, British Museum.

1
Seynt Steuene was a clerk in kyng Herowdes halle,
And seruyd him of bred and cloþ, as euery kyng
befalle.

2
Steuyn out of kechone cam, wyth boris hed on honde;
He saw a sterre was fayr and bryȝt ouer Bedlem
stonde.

3
He kyst adoun þe boris hed and went in to þe halle:
'I forsak þe, kyng Herowdes, and þi werkes alle.

4
'I forsak þe, kyng Herowdes, and þi werkes alle;
Þer is a chyld in Bedlem born is beter þan we alle.'

5
'Quat eylyt þe, Steuene? quat is þe befalle?
Lakkyt þe eyþer mete or drynk in kyng Herowdes
halle?'

6
'Lakit me neyþer mete ne drynk in kyng Herowdes
halle;
Þer is a chyld in Bedlem born is beter þan we alle.'

7
Quat eylyt þe, Steuyn? art þu wod, or þu gynnyst to
brede?
Lakkyt þe eyþer gold or fe, or ony ryche wede?'

8
'Lakyt me neyþer gold ne fe, ne non ryche wede;
Þer is a chyld in Bedlem born xal helpyn vs at our
nede.'

9
'Þat is al so soþ, Steuyn, al so soþ, iwys,
As þis capoun crowe xal þat lyp here in myn dysh.'

10
Þat word was not so sone seyd, þat word in þat halle,
 Þe capoun crew Cristus natus est! among þe lordes
alle.

11
Rysyt vp, myn turmentowres, be to and al be on,
And ledyt Steuyn out of þis town, and stonyt hym wyth
ston!'

12
Tokyn he Steuene, and stonyd hym in the way,
And þerfore is his euyn on Crystes owyn day.

12, 51. be falle.

31. a doun.
32, 41. for sak.
52. There is room only for the h at the end of the line.
91. also ... also ... I wys.
92. dych.
102. a mong.

FOOTNOTES:

[184] Everriculum fermenti veteris, seu residuæ in Danico orbe

cum paganismi tum papismi reliquiæ in apricum prolatæ. "Rogata
anus num vera esse crederet quæ canebat, respondit: Me illa in
dubium vocaturam averruncet Deus!" Grundtvig, II, 518.
[185] "Staffans-skede, lusus, vel, ut rectius dicam, licentia
puerorum agrestium, qui in Festo S. Stephani, equis vecti per
villas discurrunt, et cerevisiam in lagenis, ad hoc ipsum
præparatis, mendicando ostiatim colligunt:" a dissertation,
Upsala, 1734, cited by Bergström in his edition of Afzelius, II,
358, note 28. Skede is gallop, or run, Icelandic skeið (Bergström),
Norwegian skeid, skjei. Many copies of the Staffansvisa have
been collected: see Bergström's Afzelius, II, 356: and for a
description of the custom as practised among Swedes in Finland,
with links and lanterns, but no foals, Fagerlund, Anteckningar om
Korpo och Houtskärs Socknar, p. 39 ff. Something very similar
was known in Holstein: see Schütze, Holsteinsches Idioticon, III,
200, as quoted by Grundtvig, II, 521, note **. From Chambers'
Book of Days, II, 763 f, it appears that a custom, called a
Stephening, was still existing at the beginning of this century, of
the inhabitants of the parish of Drayton Beauchamp, Bucks,
paying a visit to the rector on December 26, and lightening his
stores of all the bread, cheese and ale they wanted. Chambers,
again, in his Popular Rhymes of Scotland, p. 168 f, gives a song
closely resembling the Staffansvisa, which was sung before every
house on New Year's eve, in Deerness, Orkney, with the same
object of stimulating hospitality. Similar practices are known in
the Scottish Highlands: see Campbell, Tales of the West
Highlands, III, 19, and Chambers, at p. 167 of the Popular
Rhymes.
[186] Stephen in all the ballads can be none other than the first
martyr, though Ihre, and other Swedes since his day, choose, for
their part, to understand a "Stephanum primum Helsingorum
apostolum," who certainly did not see the star in the east. The
peasantry in Helsingland, we are told, make their saints' day
December 26, too, and their St Stephen is a great patron of
horses. The misappropriation of the glories of the protomartyr is
somewhat transparent.
[187] Grundtvig, whom I chiefly follow here, II, 521-24. In a note
on page 521, supplemented at III, 883 e, Grundtvig has collected
much interesting evidence of December 26 being the great Horse
Day. J. W. Wolf, cited by Grundtvig, II, 524, had said previously:
"Nichts im leben des ersten christlichen blutzeugen erinnert auch
nur fern an pferde; trotzdem machte das volk ihn zum patron der
pferde, und setzte ihn also an die stelle des Fro, dem im Norden,
und nicht weniger bei uns, die pferde heilig waren." Beiträge zur
deutschen Mythologie, I, 124.
[188] Jean Baptiste Thiers, Traité des Superstitions, etc., 2d ed.,
Paris, 1697, as cited by Liebrecht, Gervasius von Tilbury, Otia
Imperialia, p. 233, No 169, condemns the belief, "qu'il vaut bien
mieux ...saigner des chevaux le jour de la fête de S. Estienne qu'à
tout autre jour." This may be one of the practices which Thiers
had learned of from his reading (see Liebrecht's preface, p. xvii
f), but might also have migrated from the east or north into
France. Superstitions, like new fashions, are always sure of a
hospitable reception, even though they impose a servitude.
[189] From a copy of this collection the story is given in Acta
Sanctorum, VI Julii, p. 50, § 202 ff.
[190] Vincent, as pointed out by Professor George Stephens,
knew of the miracle of the cock, and tells it at l. 25, c. 64, on the
authority of Pietro Damiani. Two Bolognese dining together, one
of them carved a cock and dressed it with pepper and sauce.
"Gossip," says the other, "you have 'fixed' that cock so that Peter
himself could not put him on his legs again." "Peter? No, not
Christ himself." At this the cock jumped up, in all his feathers,
clapped his wings, crow, and threw the sauce all over the
blasphemous pair, whereby they were smitten with leprosy.
[191] So, naturally, the Fornsvenskt Legendarium, I, 170, and the
Catalan Recull de Eximplis e Miracles, etc., Barcelona, 1880, I,
298.
[192] Opus de Tholosanorum gestis, fol. 49 verso, according to
Acta S., p. 46, of the volume last cited. Toulouse rivalled with
Compostella in the possession of relics of St James, and was
amply entitled to the honor of the miracle. Dr Andrew Borde, in
his First Book of the Introduction of Knowledge, says that an
ancient doctor of divinity at Compostella told him, "We have not
one hair nor bone of St. James; for St James the More and St
James the Less, St Bartholomew and St Philip, St Simon and
Jude, St Bernard and St George, with divers other saints, Carolus
Magnus brought them to Toulouse." Ed. Furnivall, p. 204 f. I do
not know where the splenetic old divine got his information, but
certainly from no source so trustworthy as the chronicle of Turpin.
Besides other places in France, the body, or at least the head, of
St James was claimed by churches in Italy, Germany, and the Low
Countries. But the author of an old Itinerary of the Pilgrims to
Compostella asserts that James the Greater is one of four saints
who never changed his burial-place. See Victor Le Clerc in Hist.
Litt. de la France, xxi, 283.
[193] See 'La grande Chanson des Pélerins de Saint-Jacques,' in
Socard, Noëls et Cantiques, etc., p. 76, last stanza, p. 80, third
stanza, p. 89, fifth stanza; the last == Romancero de
Champagne, I, 165, stanza 5.
[194] Southey follows Marineo in his Christmas Tale of "The
Pilgrim to Compostella."
[195] "Auch eine deutsche Jesuitenkomödie, Peregrinus
Compostellanus, Innsbruck, 1624, behandelt diesen Stoff. F.
Liebrecht, in Serapeum, 1864, S. 235."
[196] Vasari, V, 184, Milan, 1809; Crowe and Cavalcaselle, III,
124, II, 566 ff, ed. 1866; Mrs Jameson's Sacred and Legendary
Art, I, 241, ed. 1857. Professor N. Høyen indicated to Grundtvig
the picture of Pietro Antonio, and d'Ancona refers to Pisanello's.
[197] He denies the perpetual multiplication of the feathers, and
adds that the very gallows on which the pilgrim was hanged is
erected in the upper part of the church, where everybody can see
it. It is diverting to find Grossenhain, in Saxony, claiming the
miracle on the ground of a big cock in an altar picture in a chapel
of St James: Grässe, Sagenschatz des Königreichs Sachsen, 2d
ed., I, 80, No 82, from Chladenius, Materialien zu Grossenhayner
Stadtchronik, I, 2, Pirna, 1788; in verse by Ziehnert, Volkssagen,
p. 99, No 14, ed. 1851.
[198] For Luis de la Vega, see Acta Sanctorum, III Maii, p. 171 f,
§§ 6, 7, 8, VI Julii, p. 46, § 187. The Spanish and the Dutch ballad
give due glory to St James and the Virgin; French C to God and
St James. The Wendish ballad can hardly be expected to
celebrate St James, and refers the justification and saving of the
boy to the Virgin and the saints. French A has St Michas; B, God
and the Virgin.
Luis de la Vega, with what seems an excess of caution, says, p.
172, as above, § 8: appositique erant ad comedendum gallus et
gallina, assati nescio an elixi. Of boiled fowl we have not heard so
far. But we find in a song in Fletcher's play of 'The Spanish
Curate,' this stanza:

The stewd cock shall crow, cock-a-loodle-loo,

A loud cock-a-loodle shall he crow;
The duck and the drake shall swim in a lake
Of onions and claret below.

Act III, Sc. 2; Dyce, viii, 436.

In Father Merolla's Voyage to Congo, 1682, a reference to which I
owe to Liebrecht, there is a story of a stewed cock, which, on the
whole, justifies Luis de la Vega's scruple. This must have been
introduced into Africa by some missioner, and, when so
introduced, the miracle must have had an object, which it had
lost before the tale came to Father Merolla.
One of two parties at feud having marched upon the chief city of
his antagonist, and found all the inhabitants fled, the soldiers fell
to rifling the houses and killing all the living creatures they met,
to satisfy their hunger. "Amongst the rest they found a cock of a
larger size than ordinary, with a great ring of iron about one of his
legs, which occasioned one of the wisest among them to cry out,
Surely this cock must be bewitched, and it is not at all proper for
us to meddle with. To which the rest answered, Be it what it will,
we are resolved to eat it. For this end they immediately killed and
tore it to pieces after the manner of the negroes, and afterwards
put it into a pot to boil. When it was enough, they took it out into
a platter, and two, according to the custom, having said grace,
five of them sat down to it with great greediness. But before they
had touched a bit, to their great wonder and amazement, the
boiled pieces of the cock, though sodden, and near dissolved,
began to move about and unite into the form they were in before,
and, being so united, the restored cock immediately raised
himself up, and jumped out of the platter upon the ground,
where he walked about as well as when he was first taken.
Afterwards he leaped upon an adjoining wall, where he became
new feathered all of a sudden, and then took his flight to a tree
hard by, where fixing himself, he, after three claps of his wings,
made a most hideous noise, and then disappeared. Every one
may easily imagine what a terrible fright the spectators were in at
this sight, who, leaping with a thousand Ave Marias in their
mouths from the place where this had happened, were contented
to observe most of the particulars at a distance." It appears that
the brother of one of the two contending parties was said to have
had a very large cock, from whose crowing he took auguries, but
whether this was the same as the one restored to life is not
known. Churchill's Collection of Voyages and Travels, 1704, I,
682, Pinkerton's Collection, XVI, 229.
[199] La Chevalerie Ogier de Danemarche, par Raimbert de Paris,
Poëme du xii siècle, etc., II, 485, vv 11606-627.
[200] The gospel of Nicodemus was introduced into the French
and the Italian romance of Perceforest, but unfortunately this
"narratio ab inepto Græculo pessime interpolata" (Thilo) seems to
be lacking.
[201] Cursor Mundi, a Northumbrian poem of the 14th century, in
four versions, ed. by R. Morris, p. 912 f, vv 15961-998. This
passage was kindly pointed out to me by Professor George
Stephens.
[202] Rélation d'un Voyage fait au Levant par Monsieur De
Thévenot, Paris, 1665, I, 502. Cited by Thilo, p. xxxvii, and by
Victor Smith, Romania, II, 474, who adds: "Parmi les manuscrits
rapportés d'Éthiopie par M. d'Abbadie, il se trouve un volume dont
le titre a pour équivalent, Actes de la passion. Un chapitre de ce
volume, intitulé Le livre du coq, développe la légende indiquée
par Thévenot. Catalogue raisonné des manuscrits éthiopiens,
appartenant à M. A. T. d'Abbadie, in 4o, imp. impériale, Paris,
1859."
[203] "Ce couplet se débite en imitant successivement le chant
du coq, le mugissement du bœuf, le cri de la chèvre, le braiment
de l'âne, et le beuglement du veau." Bolza makes a similar
explanation with regard to the Italian colloquy.
 23
JUDAS
MS. B. 14, 39, of the thirteenth century, library of Trinity
College, Cambridge, as printed in Wright & Halliwell's
Reliquiæ Antiquæ, I, 144.
This legend, which has not been heretofore recognized as a ballad,
is, so far as is known, unique in several particulars. The common
tradition gives Judas an extraordinary domestic history,[204] but does
not endow him with a sister as perfidious as himself. Neither is his
selling his Master for thirty pieces accounted for elsewhere as it is
here, if it may be strictly said to be accounted for here.
A popular explanation, founded upon John xii, 3-6, and current for
six centuries and more, is that Judas, bearing the bag, was
accustomed to take tithes of all moneys that came into his hands,
and that he considered he had lost thirty pence on the precious
ointment which had not been sold for three hundred pence, and
took this way of indemnifying himself.
A Wendish ballad, Haupt und Schmaler, I, 276, No 284, has the
following story. Jesus besought hospitality for himself and his
disciples of a poor widow. She could give a lodging, but had no
bread. Jesus said he would care for that, and asked which of his
disciples would go and buy bread for thirty pieces of silver. Judas
offered himself eagerly, and went to the Jews' street to do his
errand. Jews were gaming, under a tub, and they challenged Judas
to play. The first time he won the stake, and the second. The third
time he lost everything. "Why so sad, Judas?" they say: "go sell your
Master for thirty pieces." We are to suppose Judas to have rejoined
his company. Jesus then asks who has sold him. John says, Is it I?
and Peter, and then Judas, to whom Jesus replies, Thou knowest
best. Judas, in remorse, runs to hang himself. The Lord bids him
turn, for his sin is forgiven. But Judas keeps on till he comes to a fir:
"Soft wood, thou fir, thou wilt not bear me." Further on, till he comes
to an aspen. "Hard wood, thou aspen, thou wilt bear me." So he
hanged himself on the aspen; and still the aspen shakes and
trembles for fear of the judgment day.
According to the ballads, then, Judas lost the thirty pieces at play, or
was robbed of them, with collusion of his sister. But his passionate
behavior in the English ballad, st. 9, goes beyond all apparent
occasion. Surely it was not for his tithe of the thirty pieces.
And why does he insist to Pilate on the very thirty pieces he had
lost, rejecting every other form of payment? The ballad-singer might
answer, So it was, and rest contented. Or perhaps he might have
heard, and might tell us by way of comment, that these pieces had
for long ages been destined to be "the price of him that was valued,
whom they of the children of Israel did value;" had been coined by
Abraham's father for Ninus, and been given by Terah to his son; had
passed through various hands to the Ishmaelites, had been paid by
them as the price of Joseph, and been repaid to Joseph by his
brethren for corn in Egypt; thence were transferred to Sheba, and in
the course of events were brought by the Queen of the South as an
offering to Solomon's temple; when the temple was despoiled by
Nebuchadnezzar, were given by him to the king of Godolia, and after
the kingdom of Godolia had been fused in that of Nubia, were
brought as his tribute to the infant Jesus by Melchior, king of the
same, etc.[205]
It is much to be regretted that the manuscript from which this piece
was taken has been for some years lost from Trinity College Library,
so that a collation of Wright's text has not been possible.

1
Hit wes upon a Scere-thorsday that ure loverd aros;
Ful milde were the wordes he spec to Judas.
2
'Judas, thou most to Jurselem, oure mete for to
bugge;
Thritti platen of selver thou bere up othi rugge.

3
'Thou comest fer ithe brode stret, fer ithe brode strete;
Summe of thine tunesmen ther thou meiht imete.'

4
. . . . . . .
Imette wid is soster, the swikele wimon.

5
'Judas, thou were wrthe me stende the wid ston,
For the false prophete that tou bilevest upon.'

6
'Be stille, leve soster, thin herte the tobreke!
Wiste min loverd Crist, ful wel he wolde be wreke.'

7
'Judas, go thou on the roc, heie upon the ston;
Lei thin heved imy barm, slep thou the anon.'

8
Sone so Judas of slepe was awake,
Thritti platen of selver from hym weren itake.

9
He drou hymselve bi the cop, that al it lavede a blode;
The Jewes out of Jurselem awenden he were wode.

10
Foret hym com the riche Jeu that heihte Pilatus:
'Wolte sulle thi loverd, that hette Jesus?'
 11
'I nul sulle my loverd [for] nones cunnes eihte,
Bote hit be for the thritti platen that he me bitaihte.'

12
'Wolte sulle thi lord Crist for enes cunnes golde?'
'Nay, bote hit be for the platen that he habben wolde.'

13
In him com ur lord Crist gon, as is postles seten at
mete:
'Wou sitte ye, postles, ant wi nule ye ete?

14
['Wou sitte ye, postles, ant wi nule ye ete?]
Ic am ibouht ant isold today for oure mete.'

15
Up stod him Judas: 'Lord, am I that ...?
'I nas never othe stude ther me the evel spec.'

16
Up him stod Peter, and spec wid al is mihte,
. . . . . . .

17
'Thau Pilatus him come wid ten hundred cnihtes,
Yet ic wolde, loverd, for thi love fihte.'

18
'Still thou be, Peter, wel I the icnowe;
Thou wolt fursake me thrien ar the coc him crowe.'

Not divided into stanzas in Reliquiæ Antiquæ.

32. meist.
101. heiste.
111. eiste.
112. bitaiste.
142. i-boust.
161. miste.
171. cnistes.
172. fiste.
In the absence of the original manuscript, I have thought
it better to change Wright's s in the above instances (3-
17) to h. In this substitution I follow Mätzner's
Altenglische Sprachproben, I, 114.

FOOTNOTES:

[204] Legenda Aurea, Grässe, 2d ed., p. 184 ff; Mone's Anzeiger,

VII, col. 532 f, and du Méril, Poésies populaires latines du Moyen
Age, p. 326 ff; Furnivall, Early English Poems and Lives of Saints,
p. 107 ff; Douhet, Dictionnaire des Légendes, col. 714 ff; Das alte
Passional, ed. K.A. Hahn, p. 312 ff; Bäckström, Svenska
Folkböcker, II, 198 ff; etc.
[205] See Fabricius, Codex Pseudepigraphus Veteris Testamenti,
II, 79; Godfrey of Viterbo (who derives his information from a lost
writing of the apostle Bartholomew) in his Pantheon, Pistorius,
German. Script., ed. Struve, II, 243, or E. du Méril, Poésies pop.
latines du Moyen Age, p. 321; Genesi de Scriptura, Biblioteca
Catalana, p. 20, etc.
 24
BONNIE ANNIE
A. 'Bonnie Annie,' Kinloch's Ancient Scottish Ballads, p.
123.
B. 'The High Banks o Yarrow,' Motherwell's MS., p. 652.
Had an old copy of this still pretty and touching, but much
disordered, ballad been saved, we should perhaps have had a story
like this. Bonnie Annie, having stolen her father's gold and her
mother's fee, and fled with her paramour (like the maid in No 4), the
ship in which she is sailing encounters a storm and cannot get on.
Annie is seized with the pangs of travail, and deplores the absence
of women (B 6, 7, A 9, 10; compare No 15, 21-26). The sailors say
there is somebody on board who is marked for death, or flying from
a just doom. They cast lots, and the lot falls on Annie,—a result
which strikes us as having more semblance of the "corrupted
currents of this world" than of a pure judgment of God. Annie,
conscious only of her own guilt, asks to be thrown overboard. Her
paramour offers great sums to the crew to save her, but their efforts
prove useless, and Annie again begs, or they now insist, that she
shall be cast into the sea with her babe. This done, the ship is able
to sail on; Annie floats to shore and is buried there.
The captain of the ship is the guilty man in A, in B a rich squire. A
may exhibit the original plot, but it is just as likely that the captain
was substituted for a passenger, under the influence of another
ballad, in which there is no Annie, but a ship-master stained with
many crimes, whom the lot points out as endangering or obstructing
the vessel. See 'Brown Robyn's Confession,' further on.
If the narrative in Jonah, i, is the ultimate source of this and similar
stories, it must be owned that the tradition has maintained its
principal traits in this ballad remarkably well. Jonah flies from the
presence of the Lord in a ship; the ship is overtaken by a tempest;
[206] the sailors cast lots to know who is the guilty cause, and the lot
falls on Jonah; he bids the sailors take him up and cast him into the
sea; nevertheless the men row hard to bring the ship to land, but
cannot succeed; they throw Jonah into the water, and the storm
ceases.[207]
Translated in Grundtvig's Engelske og skotske Folkeviser, p. 199, No
31.

A.
Kinloch's Ancient Scottish Ballads, p. 123.

1
There was a rich lord, and he lived in Forfar,
He had a fair lady, and one only dochter.

2
O she was fair, O dear, she was bonnie!
A ship's captain courted her to be his honey.

3
There cam a ship's captain out owre the sea sailing,
He courted this young thing till he got her wi bairn.

4
'Ye'll steal your father's gowd, and your mother's
money,
And I'll mak ye a lady in Ireland bonnie.'

5
She's stown her father's gowd, and her mother's
money,
But she was never a lady in Ireland bonnie.
 * * * * *

6
'There's fey fowk in our ship, she winna sail for me,
There's fey fowk in our ship, she winna sail for me.'

7
They've casten black bullets twice six and forty,
And ae the black bullet fell on bonnie Annie.

8
'Ye'll tak me in your arms twa, lo, lift me cannie,
Throw me out owre board, your ain dear Annie.'

9
He has tane her in his arms twa, lo, lifted her cannie,
He has laid her on a bed of down, his ain dear Annie.

10
'What can a woman do, love, I'll do for ye;'
'Muckle can a woman do, ye canna do for me.'

11
'Lay about, steer about, lay our ship cannie,
Do all ye can to save my dear Annie.'

12
'I've laid about, steerd about, laid about cannie,
But all I can do, she winna sail for me.

13
'Ye'll tak her in your arms twa, lo, lift her cannie,
And throw her out owre board, your ain dear Annie.'

14
He has tane her in his arms twa, lo, lifted her cannie,
He has thrown her out owre board, his ain dear Annie.
 15
As the ship sailed, bonnie Annie she swam,
And she was at Ireland as soon as them.

16
He made his love a coffin of the gowd sae yellow,
And buried his bonnie love doun in a sea valley.

B.
Motherwell's MS., p. 652. From the singing of a boy, Henry
French, Ayr.

1
Down in Dumbarton there wonnd a rich merchant,
Down in Dumbarton there wond a rich merchant,
And he had nae family but ae only dochter.
Sing fal lal de deedle, fal lal de deedle lair, O a day

2
There cam a rich squire, intending to woo her,
He wooed her until he had got her wi babie.

3
'Oh what shall I do! oh what shall come o me!
Baith father and mither will think naething o me.'

4
'Gae up to your father, bring down gowd and money,
And I'll take ye ower to a braw Irish ladie.'

5
She gade to her father, brought down gowd and
money,
And she's awa ower to a braw Irish ladie.
6
She hadna sailed far till the young thing cried
'Women!'
'What women can do, my dear, I'll do for you.'

7
'O haud your tongue, foolish man, dinna talk vainly,
For ye never kent what a woman driet for you.

8
'Gae wash your hands in the cauld spring water,
And dry them on a towel a' giltit wi silver.

9
'And tak me by the middle, and lift me up saftlie,
And throw me ower shipboard, baith me and my
babie.'

10
He took her by the middle, and lifted her saftly,
And threw her ower shipboard, baith her and her
babie.

11
Sometimes she did sink, sometimes she did float it,
Until that she cam to the high banks o Yarrow.

12
'O captain tak gowd, O sailors tak money,
And launch out your sma boat till I sail for my honey.'

13
'How can I tak gowd, how can I tak money?
My ship's on a sand bank, she winna sail for me.'

14
The captain took gowd, the sailors took money,
 And they launchd out their sma boat till he sailed for
his honey.

15
'Mak my love a coffin o the gowd sae yellow,
Whar the wood it is dear, and the planks they are
narrow,
And bury my love on the high banks o Yarrow.'

16
They made her a coffin o the gowd sae yellow,
And buried her deep on the high banks o Yarrow.

A.
Printed by Kinloch in four-line stanzas.
161. coffin off the Goats of Yerrow.
B.
16. Motherwell, Minstrelsy, p. xcix, 146, gives the stanza
thus:

They made his love a coffin of the gowd sae yellow,

They made his love a coffin of the gowd sae yellow,
And they buried her deep on the high banks of Yarrow.
Sing fal lal, de deedle, fal lal, de deedle lair, Oh a Day!

FOOTNOTES:

[206] Jonah is asleep below. This trait we find in several Norse

ballads: see 'Brown Robyn's Confession.'
[207] A singular episode in the life of Saint Mary Magdalen in the
Golden Legend, Grässe, c. xcvi, 2, p. 409 ff, indicates a belief that
even a dead body might prejudice the safety of a ship. The
princess of Marseilles, in the course of a storm, has given birth to
a boy and expired. The sailors demand that the body shall be
thrown into the sea (and apparently the boy, too), for, they say,
as long as it shall be with us, this thumping will not cease. They
presently see a hill, and think it better to put off the corpse, and
the boy, there, than that these should be devoured by sea-
monsters. Fear will fasten upon anything in such a case.
The Digby Mystery of Mary Magdalene has this scene, at p. 122
of the New Shakspere Society edition, ed. Furnivall.
 25
WILLIE'S LYKE-WAKE
A. 'Willie, Willie,' Kinloch's MSS, I, 53.
B. a. 'Blue Flowers and Yellow,' Buchan's Ballads of the
North of Scotland, I, 185. b. 'The Blue Flowers and the
Yellow,' Christie, Traditional Ballad Airs, I, 120.
C. Motherwell's MS., p. 187.
D. 'Amang the blue flowers and yellow,' Motherwell's
Minstrelsy, Appendix, p. xix, No XVII, one stanza.
This piece was first printed by Buchan, in 1828, and all the copies
which have been recovered are of about that date. The device of a
lover's feigning death as a means of winning a shy mistress enjoys a
considerable popularity in European ballads. Even more favorite is a
ballad in which the woman adopts this expedient, in order to escape
from the control of her relations: see 'The Gay Goshawk,' with which
will be given another form of the present story.
A Danish ballad answering to our Feigned Lyke-Wake is preserved,
as I am informed by Professor Grundtvig, in no less than fourteen
manuscripts, some of them of the 16th century, and is still living in
tradition. Five versions, as yet unprinted, A-E, have been furnished
me by the editor of the Ballads of Denmark.
A, from a manuscript of the sixteenth century. Young Herre Karl asks
his mother's rede how he may get the maid his heart is set upon.
She advises him to feign sickness, and be laid on his bier, no one to
know his counsel but the page who is to do his errands. The page
bids the lady to the wake that night. Little Kirstin asks her mother's
leave to keep wake over Karl. The wake is to be in the upper room
of Karl's house. The mother says, Be on your guard; he means to
cheat you; but Kirstin, neither listening to her mother nor asking her
father, goes to keep wake in the upper room. When she went in she
could not see the lights for her tears. She begged all the good
people to pray for Karl's soul, sat down by his head and made her
own prayer, and murmured, While thou livedst I loved thee. She
lifted the cloths, and there lay Karl wide awake and laughing. "All the
devils in hell receive thy soul!" she cried. "If thou livedst a hundred
years, thou shouldst never have my good will! "Karl proposed that
she should pass the night with him. "Why would you deceive me!"
Kirstin exclaimed. "Why did you not go to my father and betroth me
honorably?" Karl immediately rode to her father's to do this, and
they were married.
B. a, from MSS of 1610 and later, almost identical with b, 'Den
forstilte Vaagestue,' Levninger, Part II, 1784, p. 34, No 7.[208] This
version gives us some rather unnecessary previous history. Karl has
sued for Ingerlille three years, and had an ill answer. He follows her
to church one fine day, and, after mass, squeezes her fingers and
asks, Will you take pity on me? She replies, You must ask my father
and friends; and he, I have, and can get no good answer. If you will
give me your troth, we can see to that best ourselves. "Never," she
says. "Farewell, then; but Christ may change your mind." Karl meets
his mother on his way from church, who asks why he is so pale. He
tells her his plight, and is advised, as before, to use craft. The wake
is held on Karl's premises.[209] Ingerlille, in scarlet mantle, goes with
her maids. She avows her love, but adds that it was a fixed idea in
her mind that he would deceive her. She lifts up the white cloth that
covers the face. Karl laughs, and says, We were good friends before,
so are we still. Bear out the bier, and follow me to bed with the fair
maid. She hopes he will have respect for her honor. Karl reassures
her, leaves her with his mother, rides to Ingerlille's house, obtains
her parents' approbation, and buys wine for his wedding.
C, from manuscripts of the sixteenth century. Karl is given out for
dead, and his pages ride to the convent to ask that his body may be
laid in the cloister. The bier is borne in; the prioress comes to meet
it, with much respect. The pages go about bidding maids to the
wake. Ellin asks her mother if she may go. (This looks as if there had
originally been no convent in the ballad.) Her mother tells her to put
on red gold and be wary of Karl, he is so very tricky. When Ellin
owns her attachment, Karl whispers softly, Do not weep, but follow
me. Horses were ready at the portal—black horses all!
Karl sprang from the bier, took Ellin, and made for the door. The
nuns, who stood reading in the choir, thought it was an angel that
had translated her, and wished one would come for them. Karl, with
fifteen men who were in waiting, carried Ellin home, and drank his
bridal with her.
D, from recent oral tradition. As Karl lay in his bed, he said, How
shall I get the fair maid out of the convent? His foster-mother heard
him, and recommended him to feign death and bid the fair maid to
his wake. The maid asked her father's leave to go, but he said, Nay,
the moment you are inside the door he will seize you by the foot.
But when the page, who had first come in blue, comes back in
scarlet, she goes. She stands at Karl's head and says, I never shall
forget thee; at his feet, "I wished thee well;" at his side, "Thou wast
my dearest." Then she turns and bids everybody good-night, but
Karl seizes her, and calls to his friends to come drink his bridal. We
hear nothing of the convent after the first stanza.
E, from oral tradition of another quarter. Karl consults his mother
how he shall get little Kirstin out of the convent, and receives the
same counsel. A page is sent to the convent, and asks who will
come to the wake now Herr Karl is dead? Little Kirstin, without
application to the prioress, goes to her mother, who does not forbid
her, but warns her that Karl will capture her as sure as she goes into
the room.
 The maid has the door by the handle,
And is wishing them all good-night;
Young Karl, that lay a corpse on the bier,
Sprang up and held her tight.

'Why here's a board and benches,

And there's no dead body here;
This eve I'll drink my mead and wine,
All with my Kirstin dear.

'Why here's a board and beds too,

And here there's nobody dead;
To-morrow will I go to the priest,
All with my plighted maid.'

F, another copy from recent tradition, was published in 1875, in

Kristensen's Jyske Folkeviser, II, 213, No 62, 'Vaagestuen.' There is
no word of a convent here. The story is made very short. Kirsten's
mother says she will be fooled if she goes to the wake. The last
stanza, departing from all other copies, says that when Kirsten woke
in the morning Karl was off.
G. 'Klosterranet,' Levninger, I, 23, No 4 (1780), Danske Viser, IV,
261, No 212, a very second-rate ballad, may have the praise of
preserving consistency and conventual discipline. The young lady
does not slip out to see her mother without leave asked and had. It
is my persuasion that the convent, with its little jest about the poor
nuns, is a later invention, and that C is a blending of two different
stories. In G, Herr Morten betroths Proud Adeluds, who is more
virtuous than rich. His friends object; her friends do not want spirit,
and swear that she shall never be his. Morten's father sends him out
of the country, and Adeluds is put into a convent. After nine years
Morten returns, and, having rejected an advantageous match
proposed by his father, advises with his brother, Herr Nilaus, how to
get his true love out of the cloister. The brother's plan is that of the
mother and foster-mother in the other versions. Herr Nilaus
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