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05 Sep 25 - 09:29 AM (#4228085) Subject: Anna Gordon of Falkland Descendant Found From: GUEST,Kevin W. aka Reynard the Fox on Youtube Dear Mudcatters, While listening to 1920s field recordings of Child Ballads from the Frank C. Brown Collection of North Carolina Folklore I made a possibly interesting discovery. I'd like to talk about Mrs. Rebecca Gordon (Aunt Becky Gordon) of Cat's Head on Saluda Mountain, Henderson County, North Carolina, USA. She learned her songs from her mother, who was born and reared near Tuxedo, Henderson County. Mrs. Maude Minish Sutton noted songs from her in the early 1920s. And in 1928 Dr. Frank Clyde Brown made wax cylinder recordings of her. Aunt Becky Gordon was an extraordinary ballad singer. She must've been of Scottish ancestry. Perhaps I'm grasping at straws but I believe her to be a distant relative of Anna Gordon (Mrs. Brown) (1747–1810) of Falkland, Aberdeenshire, one of Scotland's most important traditional ballad sources in the 18th century. I know that the Gordon family migrated to the USA at some point. She sang "Fair Ellen (Child 63)", "House Carpenter (Child 243)", "Seven Sisters (Child 4)", "Edinboro (Child 10)", "Lord Thomas (Child 73)", "Willie Ransome (Child 13)", "Lily O (Child 11)", "The Prentice Boy (Roud 18)", "The Earl of Moray (Child 181)", "A Pretty Fair Maid (Roud 264)", "True Thomas (Child 37)", "Lord Lovel (Child 75)", "Old Love Song (Roud 459)" and "Lily White Robe (Roud 7137)" for the Frank C. Brown Collection. Four of Aunt Becky Gordon's rare ballads, Edinboro (Child 11), Fair Ellen (Child 63), True Thomas (Child 37) and Lily O (Child 11), which came from her mother, had been part of Anna Gordon's repertoire in very similar versions. The texts are worn by oral tradition and less complete, but comparing them side by side we see stanzas and expressions matching closely with Anna Gordon's texts. I'm perplexed at the fact that none of the scholars including Dr. Brown took notice of this, at least not as far as I'm aware of. I wish Aunt Becky Gordon had been interviewed and her song repertoire examined more closely, but the same can be said about nearly every traditional singer. I'd like to compare three of her songs stanza by stanza to show how closely they match Anna Gordon's texts. R = Rebecca Gordon A = Anna Gordon Edinboro / The Twa Sisters (Child 10B): R1. There were two sisters in a bower, Edinboro, Edinboro, There were two sisters in a bower, There came a boy to be their love. Edinboro town A1. There was twa sisters in a bowr, Edinburgh, Edinburgh There was twa sisters in a bowr, Stirling for ay There was twa sisters in a bowr, There came a knight to be their wooer. Bonny Saint Johnston stands upon Tay R2. He courted the oldest with a ring, But loved the youngest above everything. A2. He courted the eldest wi glove an ring, But he lovd the youngest above a' thing. R3. He courted the oldest to be his wife, But loved the youngest as his life. A3. He courted the eldest wi brotch an knife, But lovd the youngest as his life. R4. Upon one morning bright and clear The oldest called to her sister dear, A6. Upon a morning fair an clear, She cried upon her sister dear: R5. And took her down to the old mill stream And with her hands she pushed her in. No exact match, compressed down from A7, 8, 9 R6. 'Your rosy cheeks and yellow hair Have stole my love for evermore.' A15. 'Your cherry cheeks an yallow hair Gars me gae maiden for evermair.' R7. Sometimes she sunk, sometimes she swam. Till she came down to the old mill dam. A16. Sometimes she sank, an sometimes she swam, Till she came down yon bonny mill-dam. R8. The miller raised the flood gates up And pulled the drowned lady out. A19. The miller quickly drew the dam, An there he found a drownd woman. R9. You couldn't see her golden hair For jewels fine that were so rare. A20. You coudna see her yallow hair For gold and pearle that were so rare. R10. You couldn't see her fingers white For golden rings she wore on them. A22. You coudna see her fingers white, For gouden rings that was sae gryte. R11. He took three strands of her yellow hair And with them strung his fiddle rare. A25. He's taen three locks o her yallow hair, An wi them strung his harp sae fair. R12. The first tune that it did sing Was 'Farewell to my father king.' A26. The first tune he did play and sing, Was, 'Farewell to my father the king.' R13. The second tune that it did sing Was 'My sister Ellen drowned me.' A28. The lasten tune that he playd then, Was, 'Wae to my sister, fair Ellen.' Fair Ellen / Child Waters (Child 63B): R1. 'I warn you all, you maidens fair, That wear the red and brown. That you don't leave your father's house To run with boys from town. A1. 'I warn ye all, ye gay ladies, That wear scarlet an brown, That ye dinna leave your father's house, To follow young men frae town.' R2. 'For here am I, a maiden fair That once wore red and brown, And I did leave my father's house And foiler a man from town.' A2. 'O here am I, a lady gay, That wears scarlet an brown, Yet I will leave my father's house, An follow Lord John frae the town.' R3. He sprang upon his milk-white steed And fast away rode he; She dressed herself like a little foot-page And ran beside his knee A4. He's pitten on his cork-heeld shoone, An fast awa rade he; She's clade hersel in page array, An after him ran she. R4. Till they came to a deep river; It ran both swift and wide. 'Oh, can you swim,' her lover said. 'Or hang to the horse's side?' A5. Till they came till a wan water, An folks do ca it clyde; Then he's lookit oer his left shoulder, Says, Lady, can ye wide? R5. The first step in the water deep. It came up to her knee. 'Alas, alas,' the lady said, 'I fear you've drownded me. A7. But the firstin stap the lady stappit, The water came til her knee; 'Ohon, alas!' said the lady, 'This water's oer deep for me.' R6. 'Lie still, lie still, my baby dear, Don't work your mother woe; Your father rides on a milk-white steed And cares not for us two.' A10. 'Lye still, lye still, my ain dear babe, Ye work your mither wae; Your father rides on high horse-back, Cares little for us twae.' R7. When they reached the side of the deep river She mounted on a stone. He turned about his milk-white steed And took her on behind. A11. O about the midst o Clyden water There was a yeard-fast stane; He lightly turnd his horse about, An tooke her on him behin. R8. 'Oh, do you see that castle so high That shines so bright and free? There is a lady in that high castle That will part you and me.' A13. 'O see you nae yon castle, Ellen, That shines sae fair to see? There is a lady in it, Ellen, Will sunder you an me. R9. 'If there is a lady in that castle That will part you and I, The day I see her,' Ellen said, 'That day I surely die.' A14. 'There is a lady in that castle Will sunder you and I:' 'Betide me well, betide me wae, I sal go there an try.' R10. 'Oh, she shall eat the good wheat bread And you shall eat the corn. And you will set and curse the hour That ever you were born.' A17. 'O my horse sal eat the good white meal, An ye sal eat the corn; Then will ye curse the heavy hour That ever your love was born.' R11. Four and twenty gay ladies Welcomed him to the castle green, But the fairest lady of them all At the manger stood alone. A20. An four an twenty gay ladies Welcomd Lord John to the green, But a fairer lady than them a' At the manger stood alane. R12. When bells were rung and the table spread And the guests sat down to eat, Fair Ellen at the last table With the servants ate her meat. A21. Whan bells were rung, an mass was sung, Ar a' men boun to meat, Burd Ellen at a bye-table Amo the foot-men was set. R13. Then out and spoke his mother dear, And a wise woman was she: 'Where did you come up with that fair foot-page That looks so sad at thee? 24. But out it spake Lord John's mother, An a wise woman was she: 'Whare met ye wi that bonny boy, That looks sae sad on thee? R14. 'Sometimes his cheek shines rosy red, Sometimes it's pale and thin. He looks like a woman faint with love And caught in deadly sin.' A25. 'Sometimes his cheek is rosy red, An sometimes deadly wan; He's liker a woman big wi bairn, Than a young lord's serving man.' R15. 'It makes me laugh, my mother dear. To hear such words from thee. He is a lord's own younger son Who for love has followed me. A26. 'O it makes me laugh, my mother dear, Sic words to hear frae thee; He is a squire's ae dearest son, That for love has followd me. R16. 'Rise up, rise up, my little foot-page. And give my horse his hay.' 'Oh, that I will, my master dear. As fast as ever I may.' A27. 'Rise up, rise up, my bonny boy, Gi my horse corn an hay:' 'O that I will, my master dear, As quickly as I may.' R17. She took the hay in her soft white hands And ran from out the hall. And fast she went to the great stable And she did... A28. She's taen the hay under her arm, The corn intill her han, An she's gane to the great stable, As fast as eer she can. R18. His mother sat within her bower And pondered all alone, When in the silence of the night She heard fair Ellen moan. A31. Lord John'[s] mither intill her bowr Was sitting all alone, Whan, i the silence o the night, She heard fair Ellen's moan. R19. 'Get up, get up, my son,' she said, 'Go see how she does fare. For I do hear a woman mourn, And a babe a-crying, too.' A32. 'Won up, won up, my son,' she says, 'Go se how a' does fare; For I think I hear a woman's groans, An a bairn greeting sair.' R20. Oh, hastily he got him up, Into the barn went he. 'Be not afraid, fair Ellen,' he said, 'There's no one here but me.' A33. O hastily he gat him up, Stayd neither for hose nor shoone, An he's doen him to the stable-door, Wi the clear light o the moon. A34. He strack the door hard wi his foot, An sae has he wi his knee, An iron locks an iron bars Into the floor flung he: 'Be not afraid, Burd Ellen,' he says, 'Ther's nane come in but me.' R21. Up he picked his fair young son And gave to him some milk. And up he took fair Ellen then And dressed her in the silk. A35. Up he has taen his bonny young son, An gard wash him wi the milk; An up has he taen his fair lady, Gard row her in the silk. True Thomas / Thomas Rymer (Child 37A): R1. True Thomas lay on yonder hill And saw a lady gay, A lady that was bright and fair, Come riding down the way. A1. True Thomas lay oer yond grassy bank, And he beheld a ladie gay, A ladie that was brisk and bold, Come riding oer the fernie brae. R2. Her dress was of the grass-green silk, Her cloak was velvet fine, And her horse's bridle was silver gay And trimmed with gold so fine. A2. Her skirt was of the grass-green silk, Her mantel of the velvet fine, At ilka tett of her horse's mane Hung fifty silver bells and nine. R3. She turned her milk-white steed about And took him up behind; And when she spurred her horse's side They flew on like the wind. A6. She turned about her milk-white steed, And took True Thomas up behind, And aye wheneer her bridle rang, The steed flew swifter than the wind. R4. On they rode and on they rode Till they came to a garden green. 'Light down, light down, True Thomas, And pull that fruit for me.' A8. O they rade on, and further on, Until they came to a garden green: 'Light down, light down, ye ladie free, Some of that fruit let me pull to thee.' R5. He ate the fruit of that green tree. Laid his head on the lady's knee. 'Stay still, True Thomas,' the lady said, 'And I'll show you fairies three.' A11. When he had eaten and drunk his fill, 'Lay down your head upon my knee,' The lady sayd, 'ere we climb yon hill, And I will show you fairlies three. R6. He got him a coat of the velvet cloth And shoes of silver so gay. And seven long years were passed and gone Before he returned this way. A16. He has gotten a coat of the even cloth, And a pair of shoes of velvet green, And till seven years were past and gone True Thomas on earth was never seen. As we can see the texts can be matched stanza for stanza. I firmly believe that Aunt Becky Gordon was a distant 20th century relative of Anna Gordon of Falkland who lived in Scotland in the 18th century and was Prof. Francis James Child's most cherished ballad source and supplied many of his finest texts. And scholars failed to notice it. Nonetheless it is uplifting to think that some of the Gordon family ballads had been handed down for generations, well into the present age and crossed the Atlantic Ocean nearly unchanged. Sadly I was unable to find Mrs. Rebecca Gordon's birth date or her mother's name via online search. I did find the name Gordon in Tuxedo, Henderson County, where her mother was born, a Mr. Alvin Henry Gordon (1935–1974) is buried there. 8 of Dr. Frank C. Brown's 1928 wax cylinder recordings of Aunt Becky Gordon have survived and been made available for listening online. It is most regrettable that True Thomas (Child 37), Fair Ellen (Child 63) and Edinboro (Child 10) aren't among them as the tunes for those rare ballads have not been preserved. The recordings can be found here: https://repository.duke.edu/dc/brownfrankclyde?f%5Bcreator_ssim%5D%5B%5D=Gordon% And that's all from me for now. I hope I didn't break any rules by posting this. I'm sorry that my post got so long, but how else could I have shown how closely the ballad texts are related. Perhaps something useful can be gained out of this discovery. At the very least I think it is interesting to have 18th century and 20th century texts of the same ballads handed down within a family to compare. |
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05 Sep 25 - 01:36 PM (#4228104) Subject: RE: Anna Gordon of Falkland Descendant Found From: Steve Gardham Brilliant stuff, Reynard! I'm absolutely certain all here will welcome such an astounding discovery. I presume you are familiar with Sigi Rieuwerts' book on Anna Gordon. Also the recent book by Ruth Perry. I have Sigi's book but not Ruth's yet. I believe it's quite expensive. If you are correct the ballad comparisons will make a fascinating study. Someone like Tom Pettitt, Robert Waltz or James Brown would have a field day with this. Are you a member of Tradsong and The Ballad List? If not I recommend you post something similar there. |
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06 Sep 25 - 12:53 AM (#4228134) Subject: RE: Anna Gordon of Falkland Descendant Found From: GUEST,RA Very interesting indeed! Thanks for sharing your research. I should point out that Falkland is actually in Fife, not Aberdeenshire, although of course Anna Gordon's family did indeed move from the latter to the former to the latter part of Scotland. |
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06 Sep 25 - 11:54 AM (#4228145) Subject: RE: Anna Gordon of Falkland Descendant Found From: Robert B. Waltz I'd personally hope we could find a genealogy to prove this. :-) But if we accept it, it gives rise to a lot of questions. Just having a great informant as an ancestor doesn't always result in having great songs -- Derek Piotr talked to the grandchildren of Pearl Jacobs Borusky, who was a very important American informant, and they heard her sing but what they remembered was pretty zersungen. But the thing that I would really be interested in would be the songs that Anna Gordon herself remade. Did those get transmitted more or less than the others, and was there any change in their texts? These would be cases where there probably wouldn't be a print reference available. How does that affect transmission? Our knowledge of oral transmission is sorely limited because we so rarely have collected versions from both a source and the source's source. So this would be a case that gives us some genuinely useful information. |
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06 Sep 25 - 03:51 PM (#4228157) Subject: RE: Anna Gordon of Falkland Descendant Found From: Steve Gardham Tom Pettitt has done a lot of research into generational passing on of ballads, in Denmark. As for Anna Gordon remaking her ballads we are pretty certain she did this, but we don't know to what extent. Even Child refers to her remaking despite his praise for her ballads. I have been looking at the relationship between Lord Bateman and her Young Bicham/Bekie. There is a good case to be made for both of these deriving from the 18th century broadside Young Baker. Anna Gordon had 2 very different versions of this ballad, one very close to the broadside Young Baker and the other the likely source of all the Young Bekie versions found in Scotland. Of course once her ballads were published by Jamieson and Scott they were open to oral tradition and further broadside printing from that point onwards. |