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Overthinking Folk Songs: Geordie
Nov. 28th, 2011 03:38 pmHaving listened to Maddy Prior & June Tabor's album 'Silly Sisters' several times at work the other day, I found myself with their version of Geordie stuck in my head -- only, annoyingly, I couldn't remember all the words, so had just snippets. Thinking to exorcise it through fuller knowledge, I opened up a songbook, Rise Up Singing, that I knew to have a version of it, to scan the lyrics.
Now, I am no stranger to folk music; I'm well aware that there are about a bajillion versions of every song, especially older ones, and that they vary considerably in both words and music. This, however, was a broader divergence than I ever would have expected. The very story changes dramatically! The basic story of a man called Geordie being condemned, and then his wife coming to beg for his life is the same, but they diverge in almost evey other aspect. And I know they are supposedly the same song, as well, since the songbook lists the 'Silly Sisters' album as an example recording!
In Prior & Tabor's (which turned out to be this version, originally transcribed by Robert Burns), Geordie was a nobleman framed for the murder of another. His lady rides to court and is told his life will be spared if she collects a ginormous ransom, which she does, and so buys his freedom. In the Rise Up Singing version -- as in most other, especially English versions, it turns out -- Geordie is a poacher, and when his wife comes to beg for his freedom, she is turned away, and he dies. Talk about alternate endings!
A musician, identified only as 'Ian' in this Mudcat thread describes his own recording of the song as "an English song about a disproportionate punishment for a crime which evolved from a Scottish song about a frame-up". The Scottish versions do seem to generally pre-date the English ones (though they also seem to have become less common), and I guess changing the condemned man to reflect a common-ish crime in your area, for which the punishment is widely seen as vastly unjust, does make a sort of sense. As, given the former, does having him actually die rather than get ransomed at the last minute. But at this point, is it even still the same song? Could there have been some other English song (or several) that got morphed into this one because the tune was catchy and the story was distilled and familiar?
Oddly, this recording by Ewan MacColl seems to combine elements of several versions, but seems mostly drawn from this one, known as Gight's Ladye. Geordie's wife is still a noblewoman of some sort, but Geordie's crime is poaching. She isn't turned away out of hand, though, and goes through with the begging for ransom money as in the other Scottish versions. However, it seems to me that her success in this is left ambiguous while the narrator is distracted by telling the tale of her verbal harrassment by a bawdy lord. Though, granted, my impression of ambiguity could merely be from an inferior understanding of Scots; it's certainly not ambiguous in the 'Gight's Ladye' version given on Mudcat. But why this "Bog o' Gight" stuff? Well, a little googling proved illuminating: 'Bog-Of-Gight' is an old name for Gordon Castle, and the earliest historical event to be associated with this song/set of songs was the story of a George Gordon, who would have been lord of said castle at the time -- although the actual events of his life, at least as given on Wikipedia, don't quite line up with the song, and they CERTAINLY don't line up with the 'Gight's Ladye' version, though at a stretch they could be described by Burns' 'Geordie'.
So what is going on here? It seems unlikely that an earl -- who'd have his own hunting preserves, after all -- would be brought up for poaching. Yet the 'Gight's Ladye' version preserves an awful lot of specific names and places, far more than Burns' 'Geordie'. Could the crime have been changed to make the song more populist in one area, while in another the events were recorded more faithfully even as the names all dropped away? It's nearly impossible to tell. Though for those who feel like making minute comparisons between versions (woefully void of any information about where or when or how they were collected), it turns out Wiki has transcriptions of all of Child's collections.
Meanwhile, a few thoughts on the Burns/Child A version. In it, Geordie is framed (or blamed for the death, anyway, regardless of guilt), and his lady, upon receiving the news of his captivity, rushes to Edinburgh with all of her men. Later on, after she's made her tearful case to the king, but before the aged lord suggests a fine instead of death, we get this verse, which on first listen seems to break the pattern of the story considerably:
The Gordons cam and the Gordons ran,
And they were stark and steady;
And ay the word amang them a'
Was, Gordons keep you ready.
Then we see the king's advisor suggesting that a fine might be the wiser course of action. Because this lady brought a freaking army with her to "beg" for her dearie's life. Conclusion: the 'fairest flower o' woman-kind' is a lot more badass than you might expect.
Now, I am no stranger to folk music; I'm well aware that there are about a bajillion versions of every song, especially older ones, and that they vary considerably in both words and music. This, however, was a broader divergence than I ever would have expected. The very story changes dramatically! The basic story of a man called Geordie being condemned, and then his wife coming to beg for his life is the same, but they diverge in almost evey other aspect. And I know they are supposedly the same song, as well, since the songbook lists the 'Silly Sisters' album as an example recording!
In Prior & Tabor's (which turned out to be this version, originally transcribed by Robert Burns), Geordie was a nobleman framed for the murder of another. His lady rides to court and is told his life will be spared if she collects a ginormous ransom, which she does, and so buys his freedom. In the Rise Up Singing version -- as in most other, especially English versions, it turns out -- Geordie is a poacher, and when his wife comes to beg for his freedom, she is turned away, and he dies. Talk about alternate endings!
A musician, identified only as 'Ian' in this Mudcat thread describes his own recording of the song as "an English song about a disproportionate punishment for a crime which evolved from a Scottish song about a frame-up". The Scottish versions do seem to generally pre-date the English ones (though they also seem to have become less common), and I guess changing the condemned man to reflect a common-ish crime in your area, for which the punishment is widely seen as vastly unjust, does make a sort of sense. As, given the former, does having him actually die rather than get ransomed at the last minute. But at this point, is it even still the same song? Could there have been some other English song (or several) that got morphed into this one because the tune was catchy and the story was distilled and familiar?
Oddly, this recording by Ewan MacColl seems to combine elements of several versions, but seems mostly drawn from this one, known as Gight's Ladye. Geordie's wife is still a noblewoman of some sort, but Geordie's crime is poaching. She isn't turned away out of hand, though, and goes through with the begging for ransom money as in the other Scottish versions. However, it seems to me that her success in this is left ambiguous while the narrator is distracted by telling the tale of her verbal harrassment by a bawdy lord. Though, granted, my impression of ambiguity could merely be from an inferior understanding of Scots; it's certainly not ambiguous in the 'Gight's Ladye' version given on Mudcat. But why this "Bog o' Gight" stuff? Well, a little googling proved illuminating: 'Bog-Of-Gight' is an old name for Gordon Castle, and the earliest historical event to be associated with this song/set of songs was the story of a George Gordon, who would have been lord of said castle at the time -- although the actual events of his life, at least as given on Wikipedia, don't quite line up with the song, and they CERTAINLY don't line up with the 'Gight's Ladye' version, though at a stretch they could be described by Burns' 'Geordie'.
So what is going on here? It seems unlikely that an earl -- who'd have his own hunting preserves, after all -- would be brought up for poaching. Yet the 'Gight's Ladye' version preserves an awful lot of specific names and places, far more than Burns' 'Geordie'. Could the crime have been changed to make the song more populist in one area, while in another the events were recorded more faithfully even as the names all dropped away? It's nearly impossible to tell. Though for those who feel like making minute comparisons between versions (woefully void of any information about where or when or how they were collected), it turns out Wiki has transcriptions of all of Child's collections.
Meanwhile, a few thoughts on the Burns/Child A version. In it, Geordie is framed (or blamed for the death, anyway, regardless of guilt), and his lady, upon receiving the news of his captivity, rushes to Edinburgh with all of her men. Later on, after she's made her tearful case to the king, but before the aged lord suggests a fine instead of death, we get this verse, which on first listen seems to break the pattern of the story considerably:
The Gordons cam and the Gordons ran,
And they were stark and steady;
And ay the word amang them a'
Was, Gordons keep you ready.
Then we see the king's advisor suggesting that a fine might be the wiser course of action. Because this lady brought a freaking army with her to "beg" for her dearie's life. Conclusion: the 'fairest flower o' woman-kind' is a lot more badass than you might expect.
