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The Wife of Usher's Well - info, anyone?

 
 
ONLY NICE THINGS
12:59 / 13.02.03
Research has shown that ballads were produced by all of society
working as a team. They didn't just happen. There was no guesswork.
The people, then, knew what they wanted and they go it.
We see the results in works as diverse as "Windsor Forest" and "The Wife of Usher's Well".

Working as a team, they didn't just happen. There was no guesswork.
The horns of elfland swing past, and in a few seconds
We see the results in works as diverse as "Windsor Forest" and "The Wife of Usher's Well",
or, on a more modern note, in the finale of the Sibelius violin concerto.


Well, quite.

Ashberrypicking aside, does anyone (and Kit-Cat Club, I am looking squarely and firmly at you here) know anything more about the Wife of Usher's Well? It's from Lothian, I think, originally...wondering if there is any more detail available; it's given me an idea, is all.

P.S. Not sure if this shoudl go here or in "Music", but the chances of getting a response are, I suspect, rather better here, so stet.
 
 
Jack Fear
13:43 / 13.02.03
Basic plot: Mother sends her three sons "away over the sea": word soon comes to her that they have perished: some times later their ghosts appear to her. Deatils vary greatly: it is sometimes implied that the mother was a witch, or was somehow responsible for their deaths, and the ghosts sometimes hand down punishments on her, condemn her to Hell, et cetera.

This rather mild version is from The Oxford Book of Enghlish Verse, as edited by Arthur Quiller-Couch:


There lived a wife at Usher's well,
And a wealthy wife was she;
She had three stout and stalwart sons,
And sent them o'er the sea.

They hadna been a week from her,
A week but barely ane,
When word came to the carline wife
That her three sons were gane.

They hadna been a week from her,
A week but barely three,
When word came to the carline wife
That her sons she'd never see.

'I wish the wind may never cease.
Nor fashes in the flood,
Till my three sons come hame to me,
In earthly flesh and blood!'

It fell about the Martinmas,
When nights are lang and mirk,
The carline wife's three sons came hame,
And their hats were o' the birk.

It neither grew in syke nor ditch,
Nor yet in ony sheugh;
But at the gates o' Paradise
That birk grew fair eneugh.

'Blow up the fire, my maidens!
Bring water from the well!
For a' my house shall feast this night,
Since my three sons are well.'

And she has made to them a bed,
She 's made it large and wide;
And she 's ta'en her mantle her about,
Sat down at the bedside.

Up then crew the red, red cock,
And up and crew the gray;
The eldest to the youngest said.
''Tis time we were away.'

The cock he hadna craw'd but once,
And clapp'd his wings at a',
When the youngest to the eldest said,
'Brother, we must awa'.

'The cock doth craw, the day doth daw,
The channerin' worm doth chide;
Gin we be miss'd out o' our place,
A sair pain we maun bide.'

'Lie still, lie still but a little wee while,
Lie still but if we may;
Gin my mother should miss us when she wakes,
She'll go mad ere it be day.'

'Fare ye weel, my mother dear!
Fareweel to barn and byre!
And fare ye weel, the bonny lass
That kindles my mother's fire!'


There's a version in Child's English and Scottish Popular Ballads, too. Give me a minute...

In the meantimes, Google throws up a shedload of hits on the title...
 
 
Jack Fear
13:56 / 13.02.03
Here we go--the Child version, ballad #79, is essentially identical, but comes with this gloss:

This ballad is also known in the Appalachians as Lady Gay and The Miracle at Usher's Well. It first appears in print in Scott's Minstrelsy of the Scottish Border (1802). Scott collected this tune from West Lothian. ...

The story is that a mother loses her sons at sea. When she finds that they cannot be recovered, she goes mad. She then uses magic to compel their return, but they return as ghosts and must vanish with the morning.

In the version Lady Gay, the children are babes and the mother sends them to learn "grammaree" - or magic. The children die. Her magic calls them back but when they return they refuse the food and drink she offers them, telling her they want none of it and are resigned to Christ.


So, right about Lothian and Scott.

Child gives innumerable variations on nearly every ballad, in which the themes may be more or less explicit, and which may in turn be conflated with other ballads (in this case, The Unquiet Grave and/or The Cruel Mother are the likeliest suspects).

Any specific questions? I used to know a ton about this kind of stuff...
 
 
ONLY NICE THINGS
14:19 / 13.02.03
The lyrics and story I knew, although the version I know has "flashes in the flood", rather than "fashes", and the lines on the bark are different, which suggests it might be a North Country reworking, but thanks....(should have remembered your expertise on antique song) I'm wondering more about the surrounding folkore, whether the miracle is reported or described anywhere else, that sort of thing. Although if you have any of the more filiocidal versions, those would be very much appreciated.
 
 
Jack Fear
14:34 / 13.02.03
Ah... So, looking for historical events that served as source material for the ballad? Phew! That's some slippery prey, son: never an angle I chose to explore, frankly. I always just took the songs as fairy tales as a starting point, even when historical figures are referenced (King Henry, f'rinstance, or even bold Sir Patrick Spens...).

I'll see what I can find: the full text of Child may have the info you seek, but I've been so far unable to find it online (no surprise, really: it's ten fat volumes). In the meantime, have some Appalachian variants, complete with haunting field recordings of singers from Arkansas: by the time the song reached the States, it was quite divorced from any historical roots and had become entirely a folk tale (with a heavy evangelical Christian spin)...

There was this lettle Lady Gay
An' children she had three
Sent them off to th North Count-try
For t' learn their grammer-ree

Now, they'd been gone for about two weeks
I'm sure it was not three
When death, sweet death swept over th land
And took those babes away

An' what do you reckon that Mother will say
When she does hear the news
She'll cry aloud and wring 'er hands,
Where are my three little babes

T'was Christmas time, O th nights were cold
Th wind blew loud and cold
Those three little babes came flying down
All into their Mothers room

Now, her table was spread in th finest room
An' the finest cloth spread on
Sit there, sit there, my three little babes
Portake of bread and wine

We cannot eat your bread, dear Mother
We cannot drink your wine
For yonder stands our own dear Sav-iur
Waiting for our return

The bed was made in th' finest room
An' th finest sheets spread on
Lie there, lie there, my three little babes
Till in th morning soon

We cannot sleep in your bed, dear Mother
Till in th morning soon
For yonder stands our own dear Sav-iur
Waiting for our return

Then the elder said to the younger one,
T'will soon be time we're gone
For there He stands with 'is out stretched hands
He's waiting for our return

O, why do you grieve, our, Mother dear
Why do you, so weep
The tears you shed over our grave
Hath wet our winding sheet

Then they spread their wings an' away they flew
All in th morning soon
An' what do you think that Mother will say
When she wakes an' finds them gone
 
 
ONLY NICE THINGS
15:03 / 13.02.03
Not so much historical, more other folklore stuff, say local mythology like the stuff that has silted up around Beddgelert - from which, as you say, it is likely to have become divorced from by the time it goes transatlantic. Which is why KC-C is such a vital resource, although she appears to be sidetracked by her D.Phil, the knave.
 
 
Kit-Cat Club
23:17 / 13.02.03
Er, I fear I am unlikely to be a great deal of use to you. I'm not well up on Border folklore, and I'm not aware of any specific traditions relating to that ballad... what I would say, though, is that the tale may correspond to one of Katharine Briggs's folklore types and that that might be an avenue worth exploring (Folklore of the British Isles is in print, Routledge Classics imprint, slaver slaver) as well as Childs - though obviously it would only provide a taxonomical classification which isn't really what you're after. Worth bearing in mind that Northern European ballads tend to have more supernatural elements in them anyway, so it is probably an echo of an older tradition. I suspect, however, that that's a rather deep type lying under a Christianised story - Martinmas, after all, birch from the gates of Paradise, revenants - which has plenty of meaning in its own right. Speculations - is 'Usher's Well' a reference to the liminal state of passing from earth to Paradise? Holy wells, doorkeepers... dunno though. Sorry, Haus... at least I'll be able to check the Childs ref for you next week, I bet it's in the Upper Reading Room.
 
 
grant
17:49 / 14.02.03
Isn't there an Irish myth about a woman with a healing cauldron who brings her three sons back to life only to have them die again?

I might be squeezing some different stories together. I know that there's a story (one of Finn Mac Cool's tales?) with three dead brothers and a mourning mother, and I know a healing cauldron shows up in a few stories.

Searches show a potential link between Usher's Well and the tarn outside the House of Usher, and this page links the ballad with "The Barrin' o' the Door," which also has dead people floating around on Martinmas - Nov. 11, the closest day to Samhain, the day of the dead, when Pope Gregory shifted the calendar around by 12 days.

The words to "The Barrin' o' the Door" (along with a truly awful midi rendition) are here, but it's hard to see a connection. If the first is a Halloween ghost story, the second is a Halloween trick-or-treater story. Sort of.

This summary of the mythic war between the three brother-kings of the Danaan and the Milanesians (the Fair Folk and the People of the Land of the Dead) might be related. I don't see it directly, though.
 
 
grant
18:13 / 14.02.03
The footnotes to this version seem valuable, especially the one linking to this discussion here (chase the links on that one).

Ralph Vaughn Williams seems to have transcribed a version.

It may be related to The Clerks Twa Sons o' Owsenford as a sort of chapter two, but that doesn't shed any light on the origins at all.
 
 
grant
18:30 / 14.02.03
I tend to distrust sites with these sorts of graphics, but still: a Scottish folklore site has a transcription of an oral tale about the north wind, ice and snow being three brothers and a telling of Samhain as being the season when, for three days, the Sun-god Lugh dies and descends to the underworld. His replacement is powerless against the North Wind, the breath of "the Crone, Cailleach Bheare."

I'm assuming that once the three days are up, Lugh comes back and, just maybe, kills the North Wind and his two brothers, ice and snow... maybe sundering them from their Crone mother?

Wild speculation....

-----

This snippet also interested me:

Carthy's version of "Wife of Usher's Well" was unique in that he set the traditional lyrics to a Basque tune; it had a slow, yet magical sounding, pace. Carthy's detailed stories and song introductions are a highlight of his live shows, and his prologue to this song was no exception. "Usher's Well" is about a mother who mourns her dead sons too much -- her mourning slips past the usual year and a day limit, and they must return briefly to explain that they can't stay with her. Carthy mentioned an interesting anomaly in British law. A man who had been beaten had been kept alive on machines for three years. Because he died more than a year and a day after the incident, the men who'd beaten him couldn't be charged with murder.
 
 
ONLY NICE THINGS
19:37 / 14.02.03
The healing cauldron is (primarily) from the tale of the war between Wales and Ireland. Which we won, by the way. If it wasn't for us the English would all be speaking Urs. Oh yes.
 
 
Jack Fear
23:09 / 14.02.03
Instead of the King's Welsh...

...oh, wait...
 
  
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