The Ancient Ballads

Tam Lin

Tam Lin

by John Fitzsimmons | The American Folk Experience

Child Ballad #39
Marg’ret sat in her empty bower
Sewing her silken seam
And longed for the woods of Carterhough
Among the roses green (1)

Marg’ret watched from her lonely bower
Sewing her silken thread
And longed for the woods of Carterhough
Among the roses red (2)

She let the seam fall to the floor,
The needle to her toe
And off she’s gone to Carterhough
As fast as she could go (3)

She rolled her Kirtle to her knee;
She brode her yellow hair;
She ran on towards Carterhough,
Foe young Tam Lin was there. (4)

When she got to the woods of Carterhough
Tam Lin was at the well.
She found his good steed standing there,
Though away he was himself (5)

She hadn’t pulled a rose, a rose,
A rose but sure not two

When then appeared Tam Lin, and said,
“Fair girl what do you do?” (6)

“What makes you pull the rose, the rose?
What makes you climb the tree?
What makes you come to Carterhough
Without the ask of me? (7)

I’ll pull the flowers as I please;
I’ll climb on any tree.
There are roses, roses, roses here
And I need not ask of thee. (8)

He took by her milk-white hand
And by her grass green sleeve
He laid her down among the flowers,
Among the roses green (9)

He took by her milk-white hand—
And laid her down to bed;
He laid her down among the flowers
Among the roses red. (10)

Marg’ret back from Carterhough
Hid her secret shame
From four and twenty ladies fair
Who bade her avoid Tam Lin, (11)

There’s four and twenty ladies fair
Weaving threads of silk
And Marg’ret goes among them all,
Her face as pale as milk (12)

There’s four and twenty gentlemen
A playing on the grass
And Marg’ret goes among them all
As green as any glass. (13)

Now sternly spoke an auld grey knight:
“You bring the castle shame,”
And says, “Alas fair Marg’ret,
For this babe, we’ll all be blamed.” (14)

Hold your tongue you old-faced knight,
Some ill death may ye’ die.
I’ll father my boy with whom I will
But never you and I.” (15)

Then up and spoke her father clear;
Well-spoken meek and mild:
“Alas this day, my Marg’ret dear,
I fear you go with
child.” (16)

“And is it to a man of might
Or to a man of means
Or who among my gentlemen

Shall give the babe his name?” (17)

“Oh, father, if I go with child
This much to you I’ll tell
There’s none among your gentlemen

That I would treat so well. (18)

And, father, if I go with child
Then I must bear the blame;
There’s none among your gentlemen

Shall give the babe his name. (19)

The steed my lover rides upon
Is lighter than the wind,
With silver he is shod before,
With gold he’s shod behind. (20)

If he were to an earthly knight
As he’s an elfin grey,
I’d never give my own true love
For any lord you have. (21)

If he were to a gentleman
And not a wild shade,
I’d rock him all the winter’s night

And all the summer’s day” (22)

She let the seam fall to the floor,
The needle to her toe,
And off she’s gone to Carterhough
As fast as she could go (23)

She rolled her Kirtle to her knee
And brode her yellow hair,
And on she ran towards Carterhough
For she knew Tam Lin was there. (24)

She hadn’t pulled a rose, a rose,
A rose but sure not two,
When then appeared young Tam Lin
“Fair girl what do you do? (25)

What makes you pull the poison rose?
What makes you climb the tree?
To kill the bonny babe, the babe,
That we have got between?” (26)

“Oh I’ll pull the poison rose, Tamlin,
Oh, I will break the tree,
But I’ll not bear the little babe

That you have got with me. (27)

If our babe were to a gentleman
And not a wild shade,
I’d rock him all the winter’s night

And all the summer’s day” (28)

Marg’ret’s skin blushed rowan red
And she did feel great shame
And said, “If you are a gentleman
You will tell me now your name.” (29)

“First they called me Jack,” he said,
“Then called me John, the same,
But since I’ve lived in the Faerie’s Court
Tam Lin has been my name. (30)

So do not pluck the poison rose,
That has these pimples gray;
They would destroy our bonny babe,
That we’ve got in our play.” (31)

“Then tell me, Tamlin,” Marg’ret said,
“Pray tell as soon you can.
Were you ever at the good church door?
Are you a Christian man?” (32)

“Oh, I have been at the good church door,
And I am a Christian man.
I was born Roxbrough’s eldest son,
And heir of all this land. (33)

But it fell upon me once a day,
As a’ hunting I did ride,
As I rode east and west yon hill
There woe did me betide. (34)

O drowsy, drowsy I did ride!
She poured sleep upon me bones;
Then the Queen of Faeries pulled me down,
And took me as her own. (35)

Now pleasant is the fairy land,
Where I’m condemned to dwell;
I am fairy, lythe and limb,
Dear Marg’ret view me well. (36)

The Elfins is a pretty place,
In which I love to dwell,
But when seven years comes to end
The last here goes to hell. (37)

And as I am made of flesh and blood,
I’ll be the tithe they’ll pay to hell.
As I am made of flesh and blood
They’ll sacrifice myself. (38)

Now tonight, Marg’ret is Hallow’s Eve
The morn is Hallow’s day,
Then win me, win me, if you will,
or in this Elfin world I’ll stay. (39)

Tonight at the dark and midnight hour
the faerie folk will ride;
And if any maiden wins her man,
Then true she’ll be his bride.” (40)

“But how, Tam Lin, shall I see you clear,
How shall your true-love know,
Among so many Elfin knights,
With whom you’ll riding go?” (41)

“First let by the sleek black mare,
And then let by the brown;
Then grab me from the milk-white steed,
And pull me to the ground. (42)

My right hand will be gloved, lady,
My left hand will be bare,
and cocked up shall my bonnet be,
And combed down shall be my hair. (43)

But the Faerie Queen will not be pleased,
her rage will dark and swell;
She’ll try her magic to win me back
and now these to ye’ I tell: (44)

“She’ll turn me in your arms, Marg’ret
into a monstrous snake,
But hold me fast me fast; don’t let me go,
or me from you she’ll take. (45)

She’ll turn me in your arms, Marg’ret
into a bear so bold,
But hold me fast; don’t let me go,
As soon the babe we’ll know. (46)

She’ll turn me in your arms, Marg’ret
Into a lion fierce and wild,
But hold me fast; don’t let me go,
I’m the father of your child. (47)

She ‘ll turn me in your arms, Marg’ret,
Into red-hot rod of iron;
But hold me fast; don’t let me go,
I’ll ne’er do you harm. (48)

And last they’ll turn me in your arms
Into a burning gleed of coal,
Then sprinkle me with well water,
To save my dying soul. (49)

Then I’ll be your own true-love,
And I’ll turn a naked knight,
Then cover me with your green mantle,
And hide me out of sight.” (50)

Gloomy, gloomy, was the night,
And eerie was the path,
As Marg’ret, in her green mantle,
To Miles Cross came at last. (51)

At the midnight hour of Halloween
She heard the bridles ring.
And Marg’ret was as g1ad of that
As any earthly thing. (52)

And first went by the sleek black mare,
And then went by the brown;
But fast she leapt on the milk-white steed,
And pulled young Tam Lin down. (53)

Marg’ret held fast to Tamlin
As they laid there on the ground;
The Faerie Queen raised a cry,
“Who pulled young Tam Lin down?” (54)

She turned him to a monstrous snake
that coiled Marg’ret round,
But she held him fast and did not let go
As they rolled upon the ground (55)

She turned him to a bear so bold
Then to a lion wild,
But she held him fast and did not let go
The father of his child. (56)

She turned him into a red hot iron
Then to a glowing gleed of coal
Then dipped him in the well water,
The husband she would know. (57)

The Faerie Queen gave in at last
and once more Tam Lin changed:
She turned him to a naked man,
And in dear Marg’ret’s arms he lay. (58)

“Now I am your true-love,
A true and naked knight,
But cover me with your green mantle,
And hide me out of sight.” (59)

Upspake the Queen of Faeries,
Out of a bush of broom:
“She that’s borrowed young Tam Lin
Has now a stately groom.” (60)

Upspake the Queen of Faeries,
Out of a bush of rye:
“She’s taken away the bonniest knight
I’ve had in all my life.” (61)

“Had I known, Tam Lin,” she says,
“A lady would borrow thee,
I’d have pulled out your two blue eyes,
And put them in a tree.” (62)

“Had I known, Tam Lin,” she says,
“Before ye came from home,
I would have pulled out your heart of flesh,
And put in a heart of stone. (63)

Had I known on Hallow’s Eve
What I now know today,
I’d have sent you on your way to hell
Before you’d been won away.” (64)

There’s four and twenty maidens fair
and one of them did cry,
A Knight and Marg’ret on a milk-white steed
Together they do ride. (65)

There’s four and twenty gentlemen
playing on the grass:
One loudly cried that Roxbrough’s son
Is a’ coming home at last. (66)

Then up spoke Marg’ret’s father,
Spoken meek and mild,
“No happier man than me today
for my daughter with her child.” (67)

Come all you who long for Carterhough,
Who wear gold in your hair,
Heed my song of young Tam Lin
Before ye think of going there. (68)

Aye, I would wager many times
Five hundred merk or more:
A maiden goes to Carterhough,
A maiden is no more. (69)

If you have any more information to share about this song or helpful links, please post as a comment.

Thanks for stopping by the site!

~John Fitz

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I am indebted to the many friends who share my love of traditional songs and to the many scholars whose works are too many to include here. I am also incredibly grateful to the collector’s curators and collators of Wikipedia, Mudcat.org, MainlyNorfolk.info, and TheContemplator.com for their wise, thorough and informative contributions to the study of folk music. 

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Illustration by John D. Batten for Tamlane in More English Fairy Tales[1]

Tam (or Tamas) Lin (also called Tamlane, Tamlin, Tambling, Tomlin, Tam Lien, Tam-a-Line, Tam Lyn, or Tam Lane) is a character in a legendary ballad originating from the Scottish Borders. It is also associated with a reel of the same name, also known as the Glasgow Reel. The story revolves around the rescue of Tam Lin by his true love from the Queen of the Fairies. The motif of winning a person by holding him through all forms of transformation is found throughout Europe in folktales.[2][3]

The story has been adapted into numerous stories, songs and films.

It is listed as the 39th Child Ballad and number 35 in the Roud Folk Song Index.

Synopsis

Carterhaugh, near the confluence of the Yarrow Water and the Ettrick Water[4]

Most variants begin with the warning that Tam Lin collects either a possession or the virginity of any maiden who passes through the forest of Carterhaugh. When a young woman, usually called Janet or Margaret, goes to Carterhaugh and plucks a double rose, Tam appears and asks her why she has come without his leave and taken what is his. She states that she owns Carterhaugh because her father has given it to her.[5]

In most variants, Janet then goes home and discovers that she is pregnant; some variants pick up the story at this point. When asked about her condition, she declares that her baby's father is an elf whom she will not forsake. In some versions, she is informed of a herb that will induce abortion; in all the variants, when she returns to Carterhaugh and picks a plant, either the same roses as on her earlier visit or the herb, Tam reappears and challenges her action.[2]

She asks him whether he was ever human, either after that reappearance or, in some versions, immediately after their first meeting resulted in her pregnancy. Tam Lin reveals that, though he was once a mortal man, he was imprisoned in Caterhaugh by the Queen of Faeries after she kidnapped him by catching him when he fell from his horse.[6] He goes on to tell Janet that the fairies give one of their people as a teind (tithe) to Hell at midnight on every seventh Hallowe'en. He asks Janet for her help in freeing him, and receives her agreement; he then instructs her to come to the forest at the time of the tithe, during which he'll be in the company of numerous faerie knights -- he tells her that she'll recognize him by his white horse. Janet must pull him down from his horse, thus making her the one to "catch" him this time, and hold him tightly: he warns her that the fairies will attempt to make her drop him by turning him into all manner of beasts (see Proteus), but states that none of these forms will actually cause her harm. Tam Lin will eventually take the shape of burning coal; when this occurs, Janet is to throw him into a well, whereupon he will reappear as a naked mortal man whom Janet must hide. She does as she is asked and wins her knight; though her success angers the Queen of Faeries, the latter accepts her defeat.[2][5]

In different variations, Tam Lin is reportedly the grandson of the Laird of Roxburgh, the Laird of Foulis, the Earl of Forbes, or the Earl of Murray. His name also varies between versions (Tam Lin being the most common) as Tom Line, Tomlin, Young Tambling, Tam-a-line and Tamlane.[7][1]

Robert Burns' Tam Lin, printed in James Johnson's Scots Musical Museum (1796).

Early versions

The ballad dates to at least as early as 1549 (the publication date of The Complaynt of Scotland that mentions "The Tayl of the Ȝong Tamlene" ('The Tale of the Young Tamelene') among a long list of medieval romances).[2][8] Michael Drayton's narrative poem Nimphidia (1627) includes a character called Tomalin who is a vassal and kinsman of Oberon, King of the Fairies. Robert Burns wrote a version of Tam Lin based on older versions of the ballad, which was printed in James Johnson's Scots Musical Museum (1796).[9]

The story featured in several nineteenth century books of fairy tales under different titles:

  • "Elphin Irving, the Fairies' Cupbearer" in Traditional Tales of the English and Scottish Peasantry by Allan Cunningham (1822)[10]
  • "Wild Robin" in Little Prudy's Fairy Book by Sophie May (1866)[11]
  • "Tamlane" in More English Fairy Tales by Joseph Jacobs (1893)[1]

Francis James Child collected fourteen traditional variants in The English and Scottish Popular Ballads in the nineteenth century.[2] (Another Child ballad, Burd Ellen and Young Tamlane, has no connection with this ballad except for the similarity of the heroes' names.)

Motifs

Child took the threat to take out Tam Lin's eyes as a common folklore precaution against mortals who could see fairies, in the tales of fairy ointment. Joseph Jacobs interpreted it as rather a reversal of the usual practice; the Queen of Faeries would have kept him from seeing the human woman who rescued him.[1]

In some variants, "Hind Etin" has verses identical to this for the first meeting between the hero and the heroine.[2]: 340 

Field recordings

The ballad has been recorded several times from Scottish and Northern Irish people who learned it in the oral tradition. Eddie Butcher of Magilligan, County Londonderry knew a fragment of the ballad which can be heard via the Irish Traditional Music Archive,[12] and Paddy Tunney of Mollybreen, County Fermanagh sang a version to Hugh Shields in 1968.[13] In Scotland, Duncan Williamson of Auchtermuchty, Fifeshire,[14] William Whyte of Aberdeen[15] and Betsy Johnston of Glasgow[16] all had traditional versions recorded, the latter two by Hamish Henderson.

Following are some of the notable recordings of the ballad, including their artists, titles, albums, and years:

Artist Title Album Year
Frankie Armstrong "Tam Lin" I Heard a Woman Singing 1984
Anne Briggs "Young Tambling" Anne Briggs 1971
Current 93 "Tamlin" Tamlin 1994
Daniel Dutton "Tam Lin" Twelve Ballads 2006
Fairport Convention "Tam Lin" Liege & Lief 1969
Archie Fisher "Tam Lin" Big Bend Killing: The Appalachian Ballad Tradition 2017
Bob Hay "Tam Lin" Tam Lin and More Songs by Robert Burns 2006
The Imagined Village (Benjamin Zephaniah, Eliza Carthy, et al.) "Tam Lyn Retold" The Imagined Village 2007
Bill Jones "Tale of Tam Lin" Panchpuran 2001
Alastair McDonald "Tam Lin" Heroes & Legends of Scotland 2007
Mediæval Bæbes "Tam Lin" Mirabilis 2005
Anaïs Mitchell & Jefferson Hamer Tam Lin (Child 39)[17] Child Ballads 2013
Pete Morton "Tamlyn" Frivolous Love 1984
Mrs. Ackroyd Band "Tam Lin" Gnus & Roses 1995
Ian Page "Tam Lin" Folk Music of Scotland 2008
Pentangle "Tam Lin" The Time Has Come 2007
Steeleye Span "Tam Lin" Tonight's the Night, Live! 1992
Tempest "Tam Lin" Serrated Edge 1992
Tricky Pixie (Betsy Tinney, S. J. Tucker, Alexander James Adams) "Tam Lin" Mythcreants 2009
Mike Waterson "Tam Lyn" For Pence and Spicy Ale (reissue) 1993
Kathleen Yearwood "Tam Lin" Book of Hate 1994
Faun "Tamlin" Pagan 2022

Benjamin Zephaniah was awarded Best Original Song in the Hancocks 2008, Talkawhile Awards for Folk Music (as voted by members of Talkawhile.co.uk[18]) for Tam Lyn Retold. He collected the award at The Cambridge Folk Festival on 2 August 2008.[19]

Following are some of the notable instrumental recordings, including their artists, titles, albums, and years:

Artist Title Album Year
Davey Arthur (with Three Fingered Jack) "Tam Lin" (with 2 other reels) Bigger Than You Think 2010
Séamus Egan "Tamlin" (with 2 other reels) In Your Ear 1998
Elephant Revival "Tam Lin Set" It's Alive 2012
Tania Elizabeth "Tam Lynn's" This Side Up 2000
Fiddler's Green "Tam Lin" Wall of Folk 2011
Joe Jewell "Tam Lin" Bluebells of Scotland 1997
King Chiaullee "Tam Lin" (with 3 other reels) Reel: Ode 2003
Jeremy Kittel "Tamlin" Celtic Fiddle 2003
Catriona MacDonald & Ian Lowthian "Tam Lin" (with 2 other reels) Opus Blue 1993
Trent Wagler & The Steel Wheels "Tam Lin" Blue Heaven 2006

Adaptations

Thomas Canty's cover art for Tam Lin by Pamela Dean

Prose

Theatre

  • The Thyme of the Season by Duncan Pflaster (incorporates elements and allusions to the story)
  • Tamlane by Edwin Stiven[20]

Film

Novels

Comic books

  • Tam-Lin, a closet drama written by Elaine Lee and illustrated by Charles Vess, appears in The Book of Ballads and Sagas, Vess's collection of adaptations of traditional songs, mostly into comics form.[21]
  • In the Vertigo comic book, Fables, Tam Lin died in the defence of the last stronghold of the Fables against the forces of the Adversary. He is claimed to be the knight loved by the queen of the faeries, who had a reputation of a scoundrel, but gave up his chance of freedom to his page.
  • In the Vertigo comic book series, The Sandman by Neil Gaiman, the notion that Faerie pays a sacrificial tithe to Hell is mentioned in the storyline "Season of Mists".
  • In the Vertigo comic book series The Books of Magic, The Names of Magic, and The Books of Faerie, Tamlin is the father of the protagonist Timothy Hunter, potentially the greatest sorcerer in the world. In The Books of Faerie: The Widow's Tale, the story of Tamlin's romance with Queen Titania of Faerie is revealed.[22]

Other

  • The story was inserted in Cecilia Dart-Thornton's last book of the Bitterbynde trilogy, The Battle of Evernight.
  • In the mobile game Fate/Grand Order, Tam Lin are used to refer to Fairy Knights in the English Translation of the game.
  • In the Shin Megami Tensei series of video games, Tam Lin is a recurring demon that can often be recruited relatively early and is one of the very few demons whose design share an exact model with another demon – its brother model being another northern European mythological hero, Cu Chulainn.
  • This ballad was one of 25 traditional works included in Ballads Weird and Wonderful (1912) and illustrated by Vernon Hill.
  • The Rose,[23] The Knight,[24] and The Faery Host[25] are paintings by Stephanie Pui-Mun Law depicting various parts of the Tam Lin legend.
  • The Choose Your Own Adventure book Enchanted Kingdom has an ending in which the reader/player's character is rescued from the fairies by a girl whom the character has befriended, who has to hold onto the character through three transformations.
  • In Seanan McGuire's October Daye series, the poem is both spoken and referenced over the course of the series, and Janet is a character in some of the later books. The events of the poem occurred in universe.
  • Alastair White's fashion-opera WOAD adapts the ballad to explore the implications of multiverse theory.[26]

See also

References

  1. ^ a b c d Jacobs, Joseph; Batten, John D. (1894). "Tamlane". More English Fairy Tales (2nd ed.). London: David Nutt. pp. 159–62 & notes: 238. ISBN 0-370-01023-X.
  2. ^ a b c d e f Child, Francis James, ed. (1890). "Tam Lin". English and Scottish Popular Ballads. Vol. I Part 2. Boston: Houghton Mifflin and Company. pp. 335–358. Retrieved 19 November 2017.
  3. ^ "Tam Lin". The English and Scottish Popular Ballads. Internet Sacred Text Archive. 2011. Retrieved 19 November 2017.[permanent dead link]
  4. ^ Ayto, J.; Crofton, I; Cavill, P., eds. (2005). "Carterhaugh". Brewer's Britain and Ireland. Chambers Harrap.
  5. ^ a b Waltz, Robert B.; Engle, David G. (2012). "Tam Lin". Folklore The Traditional Ballad Index: An Annotated Bibliography of the Folk Songs of the English-Speaking World. California State University, Fresno. Archived from the original on 1 December 2017. Retrieved 19 November 2017.
  6. ^ Achland, A. (1997). "What is Tam Lin?". Tam Lin Baladry. Retrieved 20 November 2023.
  7. ^ Chope, R.P. (1911). "Tamlane". Ballads Weird and Wonderful. Ballantyne, Hanson & Co. pp. 53–60. Retrieved 19 November 2017.
  8. ^ The Complaynt of Scotland, c. vi., ed. J. A. H. Murray, E.E.T.S., p.68 (excerpted in: Ker, W. P. (1922). Epic and romance: essays on medieval literature. Macmillan. p. 389.)
  9. ^ "BBC - Robert Burns - Tam Lin". BBC. Retrieved 9 March 2021.
  10. ^ The full text of Elphin Irving, the Fairies' Cupbearer at Wikisource
  11. ^ The full text of Wild Robin at Wikisource
  12. ^ Archive, Irish Traditional Music (9 March 2021). "Saturday night is Halloween night, song / Eddie Butcher". ITMA. Archived from the original on 1 July 2021. Retrieved 9 March 2021.
  13. ^ "Saturday Night is Hallowe'en Night (Roud Folksong Index S251048)". The Vaughan Williams Memorial Library. Retrieved 9 March 2021.
  14. ^ "Tam Lin (Roud Folksong Index S336896)". The Vaughan Williams Memorial Library. Retrieved 9 March 2021.
  15. ^ "Tam Lin (Roud Folksong Index S332203)". The Vaughan Williams Memorial Library. Retrieved 9 March 2021.
  16. ^ "Tam Lin (Roud Folksong Index S162763)". The Vaughan Williams Memorial Library. Retrieved 9 March 2021.
  17. ^ Anaïs Mitchell & Jefferson Hamer (2013). "Tam Lin (Child 39)". Folk Alley Sessions. FreshGrass Foundation. Video on YouTube
  18. ^ "TalkAwhile UK Acoustic music forum". Talkawhile.co.uk. Retrieved 10 May 2011.
  19. ^ "Best Original Song". Talkawhile.co.uk. 3 August 2008. Retrieved 10 May 2011.
  20. ^ "Obituary: Charles Nowosielski, visionary director behind Theatre Alba". The Scotsman. 3 June 2020.
  21. ^ Gaiman, Neil; Yolan, Jane; McCrumb, Sharyn; Snyder, Midori; De Lint, Charles (2018). The Book of Ballads and Sagas. Illustrated by Charles Vess. Titan Comics. ISBN 978-1782763321.
  22. ^ Irvine, Alex (2008). "The Books of Faerie". In Dougall, Alastair (ed.). The Vertigo Encyclopedia. New York: Dorling Kindersley. pp. 36–37. ISBN 978-0-7566-4122-1. OCLC 213309015.
  23. ^ "The Rose". Shadowscapes.com. Archived from the original on 28 November 2010. Retrieved 11 May 2014.
  24. ^ "Stephanie Pui-Mun Law". Shadowscapes. Archived from the original on 16 July 2011. Retrieved 11 May 2014.
  25. ^ "The Faery Host". Shadowscapes.com. Archived from the original on 28 November 2010. Retrieved 11 May 2014.
  26. ^ "Alastair White: WOAD". Classical Music. Retrieved 29 April 2022.

    Source: Mainly Norfolk

     

    Tam Lin

    Roud 35 ; Child 39 ; G/D 2:330 ; Ballad Index C039 ; trad.]

    For much more information about this ballad than can be shown here, see Abigail Acland’s comprehensive Tam Lin web pages.

    This is a truly magical ballad. It was first mentioned in The Complaynt of Scotland in 1549 but no words were published until Herd put a fragment into hisAncient and Modern Scots Songs in 1769. It never seems to have been collected outside Scotland, though a possible relative of Tam’s, Brian O’Lynn (who may be a burlesqued son of the Irish god-mother Danu) crops up in comic songs in Ireland, Scotland and America, and the first printed version of Brian’s song in 1568, called him Tom a Lin.

    Janet is a puzzle; on the one hand she is clearly a virgin, by virtue of the gold she wears in her hair, and the threat in the first verse is like the warning to the maiden in the analogous Broomfield Wager. But like that maiden, she may have had magical powers herself to deal with the Fairy Queen, for more than half the convicted witches in Scotland in 1590 and 1697 were called Janet.

    Carterhaugh is near Selkirk in Scotland, and it is said the three rings where grass will not grow mark the spot where three containers of magic milk or water stood, into which, in one old version of the ballad, Janet dipped her protean lover to change him back to human shape.

    Betsy Johnson of Glasgow and Willie Whyte of Aberdeen sang Tam Lin in field recordings made by Hamish Henderson in 1956 on the anthology The Muckle Sangs (Scottish Tradition 5; Tangent 1975; Greentrax 1992).

    Eddie Butcher of Magilligan, Co. Londonderry, sang The Bride Stolen by Fairies (Tam Lin) on July 6, 1968 to Hugh Shields. This recording was included in 1975 on the Leader album of Folk Ballads from Donegal and Derry collected by Shields.

    Fairport Convention recorded Tam Lin with Sandy Denny singing on October 29, 1968. The band play rhythm games on this song, which is mainly in 3/4 time, with the odd bar of 4/4 appearing now and then. The recording originally appeared on Liege and Lief, and made later appearances on the double CD compilation Meet on the Ledge: The Classic Years 1967-1975, on the famous anthology The Electric Muse, and on the Sandy Denny compilationsWho Knows Where the Time Goes?The Best of Sandy Denny, and A Boxful of Treasures.

    An early version, taken at a quicker pace, was recorded by Fairport live on September 23, 1969 in in Studio 4, Maida Vale, for the Top Gear / John Peel radio show and broadcast on September 27, 1969 with a repeat on December 13, 1969. This version is much closer to the way the band would have performed the song live. For ten years, this recording was available on the 1992 semi-bootleg From Past Archives only, but then in 2002, it was suddenly reissued three (!) times: on Ashley Hutchings’ CD 5 from the Guv’nor series, on the Island CD re-release of Heyday and on the Fairport unConventioNal 4CD set.

    More live versions: Dave Swarbrick sang Tam Lin on Fairport’s Stockholm gig in 1971; this was included in the Dave Swarbrick anthology Swarb! in 2003. Tam Lin also appears on Fairport’s cassette The Boot: 1983 Fairport Reunion and, with the near-original lineup (Vikki Clayton replaces Sandy Denny), on their CD 25th Anniversary Concert. This video shows them at Cropredy 2007 in their original 1969 line-up with Chris While filling in for Sandy Denny:

    Dave and Tony Arthur sang Tam Lin in 1970 on their Trailer album Hearken to the Witches Rune.

    In 1971, Anne Briggs sang this ballad as Young Tambling unaccompanied on her first solo album Anne Briggs. This recording was reissued on her Fellside and Topic compilation CDs, Classic Anne Briggs and A Collection. A.L. Lloyd wrote in the original album’s sleeve notes:

    Better known through Child’s English and Scottish Popular Ballads as Tam Lin. It was thought to have disappeared from tradition but of recent years a number of versions, mostly fragmentary, have turned up among country singers, particularly Scottish travelling people. I cobbled this set together, in part from Child, in part from recent collection; the tune is derived from one used for this ballad by travellers. Many consider it the best of all English-language ballad stories.

    A.L. Lloyd sang Tamlyn (Young Tambling) live at the Top Lock Folk Club, Runcorn, on November 5, 1972. This recording is on his anthology Classic A.L. Lloyd and on the 2010 CD An Evening with A.L. Lloyd.

    Mike Waterson sang Tamlyn unaccompanied on his 1977 album Mike Waterson. It was added to the Watersons’ 1993 CD reissue of For Pence and Spicy Ale and in 2004 to the Watersons’ 4CD anthology Mighty River of Song. A.L. Lloyd commented in the original recording’s sleeve notes:

    We haven’t all that many fairy ballads, and this is by far the finest. It’s fairly venerable, it was already printed on a broadside in 1558, and it wasn’t new then. It seems to be uniquely Scottish, though there are international folk tales that come near its story; a Greek tale considerably more than two thousand years old tells how Peleus, wanting to marry the sea-nymph Thetis, lay in wait for her in a cave and seized here as she came riding in naked on a harnessed dolphin. She turned herself successively into fire, water, a lion, a snake, even to an ink-squirting cuttlefish, but Peleus “held her tight and feared not”, and in the end she gave in and the Olympian gods all came to the wedding. Tamlyn is a long ballad but the story moves swiftly. Mike says that he got his version “from A. L. Lloyd and Child”. So be it.

    Steeleye Span recorded Tam Lin live during their 1991 tour. This recording was released on their CD Tonight’s the Night… Live. Another live recording from St. David’s Hall, Cardiff on December 6, 1994 was included on the video 25 Live: The Classic Twenty Fifth Anniversary Tour Concert.

    A reel of this name, Tam Lin, which was written by Davey Arthur, can be found on Steeleye Span’s album Time.

    Frankie Armstrong’s several version of Tam Lin can be found on the 1976 LP Here’s a Health to the Man and the Maid, on her 1984 albums I Heard a Woman Singing and Tam Lin, and in 1997 on the Fellside anthology Ballads. Paul Adams commented in the latter album’s notes:

    Tam Lin has been Frankie’s tour-de-force for several years now. Her stunning performance here, full of passion and drama, clearly illustrates why she is a ballad singer par excellence. This is the classic “Elfland” ballad and contains a considerable amount of ancient folklore: Tam Lin is a human abducted by the elves and when he returns to the human world at the end the Elf Queen’s wish that she had “put out his eyes” is not borne out of vindictiveness, but because he has seen the secrets of Elfland and will take them to the human world.

    Frankie notes: “Given that I’ve sung this more than any other ballad, that it is the most requested and consistently touches me to the core, it’s strange that I find it difficult to know what to say about it. There are scholarly things that can be said—they are interesting but do not illuminate the story or its effect. At its heart there is a mystery and I have no desire to analyse this away—even were it possible—I simply know that its power lies somewhere in the glorious weaving of words, images, story and tune an in something magical about tales of transformation. This song has lived with me for thirty years now and inspired the song-cycle based on the themes and characters that I devised and recorded with Brian Person in the early eighties. Singing it still thrills me.”

    Kirsten Easdale sang Oh I Forbid You in 2002 on the anthology The Complete Songs of Robert Burns Volume 11.

    Geordie McIntyre sang Tam Lin in 2003 on Alison McMorland’s and his Tradition Bearers CD Ballad Tree.

    Benjamin Zephaniah and Eliza Carthy sang Tam Lyn Retold in 2007 on The Imagined Village.

    Jon Boden sang Tam Lin quite close to Anne Briggs’ version in October 2010 as the Halloween entry of his project A Folk Song a Day.

    James Findlay sang Tam Lin in 2011 on his Fellside CD Sport and Play.

    Anaïs Mitchell and Jefferson Hamer sang Tam Lin in 2013 oh their CD Child Ballads. This video shows them at Folk Alliance International in Toronto, Ontario, in February 2013:

    Lyrics

    Fairport Convention sing Tam Lin

    [The words are different from the original (Child) version but this is a very close approximation of the song as performed by Sandy Denny.]

    1. “I forbid you maidens all that wear gold in your hair
      To travel to Carterhaugh, for young Tam Lin is there
    2. None that go by Carterhaugh but they leave him a pledge
      Either their mantles of green or else their maidenhead”
    3. Janet tied her kirtle green a bit above her knee
      And she’s gone to Carterhaugh as fast as go can she
    4. She’d not pulled a double rose, a rose but only two
      When up then came young Tam Lin, says,“Lady, pull no more”
    5. “And why come you to Carterhaugh without command from me?”
      “I’ll come and go,” young Janet said, “and ask no leave of thee”
    6. Janet tied her kirtle green a bit above her knee
      And she’s gone to her father as fast as go can she
    7. Well, up then spoke her father dear and he spoke meek and mild
      “Oh, and alas, Janet,” he said, “I think you go with child”
    8. “Well, if that be so,” Janet said, “myself shall bear the blame
      There’s not a knight in all your hall shall get the baby’s name
    9. For if my love were an earthly knight, as he is an elfin grey
      I’d not change my own true love for any knight you have”
    10. So Janet tied her kirtle green a bit above her knee
      And she’s gone to Carterhaugh as fast as go can she
    11. “Oh, tell to me, Tam Lin,” she said, “why came you here to dwell?”
      “The Queen of Fairies caught me when from my horse I fell
    12. And at the end of seven years she pays a tithe to hell
      I so fair and full of flesh and fear it be myself
    13. But tonight is Halloween and the fairy folk ride
      Those that would let true love win at Mile’s Cross they must bide
    14. So first let pass the horses black and then let pass the brown
      Quickly run to the white steed and pull the rider down
    15. For I’ll ride on the white steed, the nearest to the town
      For I was an earthly knight, they give me that renown
    16. Oh, they will turn me in your arms to a newt or a snake
      But hold me tight and fear not, I am your baby’s father
    17. And they will turn me in your arms into a lion bold
      But hold me tight and fear not and you will love your child
    18. And they will turn me in your arms into a naked knight
      But cloak me in your mantle and keep me out of sight”
    19. In the middle of the night she heard the bridle ring
      She heeded what he did say and young Tam Lin did win
    20. Then up spoke the Fairy Queen, an angry queen was she
      Woe betide her ill-far’d face, an ill death may she die
    21. “Oh, had I known, Tam Lin,” she said, “what this night I did see
      I’d have looked him in the eyes and turned him to a tree”

    Dave & Toni Arthur sing Tam Lin

    1. Fair Margaret ran in the merry green wood
      And pulled a flower but one
      When at her side stood young Tam-a-Lin,
      Saying, “Margaret, leave it alone.
    2. “How dare you pull my flowers, madam?
      How dare you break my tree?
      How dare you run in these green woods
      Without the leave of me?”
    3. “Oh this green wood it is my own,
      My father gave it me.
      And I can pluck myself a flower
      Without the leave of thee.”
    4. He took her by the milk-white hand
      And by the grass-green sleeve
      And laid her low down on the flowers
      And asked of her no leave.
    5. And when he’d had his will of her
      Young Margaret she felt shame,
      Says, “If you are a gentleman
      Pray tell to me your name.”
    6. “Oh Tam-a-Lin is the name,” he said,
      “The Elf Queen gave to me.
      And long I’ve haunted these green woods
      All for your fair body.
    7. “So do not pluck that herb, Margaret,
      That herb that grows so grey,
      For that would kill the little babe
      That we’ve got in our play.
    8. ”When I was a boy just turned of nine
      My uncle sent for me
      To hunt and hawk and ride with him
      And keep him company.
    9. “Oh drowsy, drowsy as I was,
      Dead sleep upon me fell,
      And the Queen of Elfin she rode by
      And took me for herself.
    10. “Tonight it is good Hallowe’en,
      The Elfin court will ride.
      And they that would their true love win
      At the crossroads they must hide.
    11. “The second court that comes along
      Is clad in robes of green.
      It is the head court of them all
      For in it rides the Queen
    12. “And I upon a milk-white steed
      With a gold star in my crown,
      And I do ride beside the Queen
      And you must pull me down.
    13. “Then I will grow in your two arms
      Like a savage creature wild.
      But hold me fast, let me not go,
      I’m the father of your child.”
    14. She took her petticoats in her hand,
      Her mantle on her arm,
      Unto the crossroads she’s away
      As fast as she could run.
    15. The first court it came riding by,
      She heard the bridles ring.
      And the second court all dressed in green
      And Tam Lin like a king.
    16. She pulled him from his milk-white steed,
      He on the ground did lay.
      And the Elf Queen gave a shrieking cry,
      ”Young Tam-a-Lin’s away, my boys!
      Young Tam-a-Lin’s away!”
    17. And then they turned him in her arms
      To a wolf and to an adder.
      She held him fast in every shape
      To be her baby’s father.
    18. They shaped him in her arms at last
      A mother-naked man.
      She wrapped him in her mantle green
      And saw her true love won.
    19. Out then cried the Elfin Queen
      And an angry woman was she,
      Said, “You’ve stolen away the very best knight
      In all my company.
    20. “Oh had I known, Tam-a-Lin,” she says,
      “What now this night I see,
      I would have burned out your two grey eyes
      And put in two from a tree, Tam-a-Lin,
      And put in two from a tree.”

    Anne Briggs sings Young Tambling

    1. Lady Margaret, Lady Margaret, was sewing at her seam
      And she’s all dressed in black.
      And the thought come in her head to run in the wood
      to pull flowers to flower her hat, me boys,
      to pull flowers to flower her hat.
    2. So she hoisted up her petticoats a bit above the knee
      And so nimbly she’d run o’er the ground.
      And when she come in the merry greenwood,
      Well, she pulled them branches down, me boys,
      Well, she pulled them branches down.
    3. Suddenly she spied a fine young man,
      He’s standing by a tree.
      He says, “How dare you pull them branches down
      Without the leave of me, my dear,
      Without the leave of me?”
    4. Well, she says, “This little wood, oh, it is me very own,
      Me father gave it to me.
      I can pull these branches down
      Without the leave of thee, young man,
      Oh, without the leave of thee.”
    5. And he took her by the milk-white hand
      And by the grass-green sleeve,
      He pulled her down at the foot of a bush,
      And he never once asked her leave, me boys,
      No, he never once asked her leave.
    6. And when it was done she twist about
      To ask her true-love’s name.
      But she nothing heard and she nothing saw
      And all the woods grew dim, grew dim,
      And all the woods grew dim.
    7. There’s four and twenty ladies all in the land
      and they’re all playing at chess.
      Except it was the Lady Margaret
      And she’s green as any glass, me boys,
      Oh, she’s green as any glass.
    8. And there’s four and twenty ladies all in the land
      Grow as red as any rose.
      Except it was the Lady Margaret,
      She’s pale and wan, me boys,
      Oh, pale and wan she goes.
    9. Up then spoke the little servant girl,
      She lift her hand and smiled,
      Says, “I think my lady has loved too long
      And now she goes with child, me dears,
      Oh, and now she goes with child.”
    10. Up then spoke the second serving girl
      “Oh, ever and alas,” said she,
      “But I think I know a herb in the merry greenwood,
      It’ll twine thy baby from thee, madam,
      It’ll twine thy baby from thee.”
    11. So Lady Margaret she got her silver comb,
      Made haste to comb her hair,
      And then she’s away to the merry greenwood
      As fast as she can tear, me boys,
      Oh, as fast as she can tear.
    12. And she hadn’t pulled in the merry greenwood
      A herb but barely one
      When by her stood the young Tambling,
      He says, “Margaret, leave it alone,
      Oh Margaret, leave it alone.”
    13. “Why d’you pull that bitter little herb,
      The herb that grows so grey,
      For to destroy that fine young babe
      That we got in our play, my dear,
      That we got in our play?”
    14. “Well, come tell me now, young Tambling,” she says,
      “If an earthly man you be.”
      “I’ll tell you no lies,” says young Tambling,
      “I was christened as good as thee, me dear,
      I was christened as good as thee.”
    15. “But as I rode a-hunting on a bitter, bitter night,
      It was from my horse I fell,
      And the Queen of Elfland she caught me
      In yonder green hill to dwell, to dwell,
      Oh, in yonder green hill to dwell.”
    16. “But tonight is Halloween, lady,
      The Elven Court will ride.
      And if you would your true love win,
      By the mill bridge you must hide, me dear,
      By the mill bridge you must hide.”
    17. “And first will run the black horse and then will run the brown,
      And then race by the white.
      You hold him fast and you fear him not,
      For he’s the father of your child, my love,
      Oh, he’s the father of your child.”
    18. “They’ll turn me all in your arms, lady,
      Into many’s the beasts so wild.
      But you’ll hold on fast and you fear no ill,
      For it’s the father of your child, my love,
      It’s the father of your child.”
    19. So Lady Margaret she got her silver comb,
      She made haste to comb her hair.
      Then she’s away to the old mill-bridge
      As fast as she could tear, me boys,
      Oh, as fast as she could tear.
    20. And about the dead hour of the night
      She heard the bridles ring.
      And oh, me boys, it chilled her heart
      More than any earthly thing it did,
      More than any earthly thing.
    21. And first run the black horse and then run the brown
      And then race by the white.
      Well, she hold it fast and feared it not,
      For it’s the father of her child,
      Oh, it’s the father of her child.
    22. The thunder rolled across the sky,
      The stars blazed bright as day.
      The Queen of Elven gave a thrilling cry,
      “Young Tambling’s away, brave boys,
      Young Tambling’s away.”
    23. And the very first thing they turned him into
      Was a lion that runs so wild.
      But she held him fast, she feared him not,
      For he’s the father of her child, me boys,
      Oh, he’s father of her child.
    24. And the very next thing they turned him into,
      It was a loathsome snake.
      He says, “Hold me fast and fear me not,
      For I’m one of God’s own make, my love,
      Oh, I’m one one of God’s own make.”
    25. And again they changed him all in her arms
      To a red hot bar of iron.
      But she held it fast, she feared it not,
      And it did to her no harm, no harm,
      And it did to her no harm.
    26. And the very last thing they changed him into
      Was like any naked man.
      She flung her mantle over him,
      She cried, “Me love I’ve won, I’ve won,”
      Oh, she cried, “Me love I’ve won.”
    27. And the Queen of Elven she called from a bush,
      She’s red as any blood.
      “I should have tore out your eyes, Tambling,
      And put in two eyes of wood, of wood,
      And put in two eyes of wood.”

    Mike Waterson sings Tamlyn

    1. Come all you maids, and you very pretty maids
      And a warning take by me
      Don’t go down to the Chaser’s wood
      If a maid you want to return and return
      If a maid you want to return.
    2. Lady Margaret, Lady Margaret, she was sitting in her bower
      She was red as any rose
      But she longed to go the Chaser’s woods
      To pull them flowers that grows and grows
      Oh, to pull the flowers that grows
    3. And she taken out her silver comb
      Made in haste to comb her hair
      Then she away to the Chaser’s wood
      As fast as she could tear and could tear
      Aye, as fast as she could tear
    4. And she hadn’t pulled but the one red rose
      The rose that grows there in the green
      When a voice said, “Lady, how dare you pull a rose
      Without no leave of me, and of me,
      Aye, without no leave of me?”
    5. “This little wood,” she says “it is me very own
      Me father he given it to me.
      I will pull, pluck, break, I’ll bend the branch
      And I won’t ask leave of thee, and of thee,
      No I won’t ask leave of thee.”
    6. Oh, he’s taken her by the middle so small
      Down to where the grass it grows so green
      And what they’ve done, well I just couldn’t say
      Oh, the green grass grew between and between
      Aye, the green grass grew between
    7. Aye, he’s taken her by the lily-white hand
      Down to where the grass it grows so green
      And it’s what they done, well I just couldn’t say
      But he never once asked her leave, her leave
      No he never once asked her leave.
    8. It’s four and twenty ladies, they’re all sitting in the hall
      Playing at the chess
      All except for young Margaret
      She’s green as any grass, any grass,
      And she’s green as any grass.
    9. Aye, there’s four and twenty ladies, they’re all sitting in the hall
      All as red as the rose
      All except for young Margaret
      And pale and wan she goes, and she goes
      Aye, pale and wan she goes.
    10. Up there spake one of them little girls
      And on her face there was a smile
      She says, “I think my lady’s loved a little long
      And now she goes with child, and with child
      Aye, and now she goes with child.”
    11. Up there spake another of them girls
      A pretty little girl was she
      She says, “I know a herb growing in the Chaser’s woods
      As’ll twine the babe from thee, and from thee
      As’ll twine the babe from thee.”
    12. Lady Margaret, she picked up her silver comb
      Made in haste to comb her hair
      Then she away to the Chaser’s wood
      As fast as she could tear, and could tear
      Aye, as fast as she could tear.
    13. And she hadn’t pulled but the one bit of herb
      The herb that grows there in the loam
      When up there spake young Tam o’ the Lyn
      Saying, “Margaret, leave it alone
      Oh, sweetheart, Margaret, leave it alone.”
    14. “Why do you want that bitter, bitter herb
      The herb that grows so grey
      Except for to twine away the pretty little baby
      We got in our play, our play,
      Mark, we got in our play.”
    15. “Oh tell me this, young Tam-‘o-Lyn,” she says
      “If a mortal man you be.”
      “Well, I’ll tell you truth without a word of a lie
      I got christened as good as thee, as thee
      I got christened as good as thee.”
    16. “But as I rode out on a bitter, bitter day
      ‘Twas from me horse I fell
      And the Queen of the Elvens did take me
      In yonder greenwood for to dwell, and to dwell
      Aye, in yonder greenwood for to dwell.”
    17. “And it’s every seventh seventh year
      We pay a toll to hell
      And the last one here is the first to go.
      And I fear the toll, it’s meself, it’s meself
      Aye, I fear the toll’s meself.”
    18. “Oh, tonight it is the Halloween
      When the Elven Court shall ride
      If you would your true lover save
      By the old mill-bridge you must hide, you must hide
      By the old mill bridge you must hide.”
    19. “And it’s first there’ll come this black horse
      And it’s then there’ll come the brown
      And they’re both raced by the white
      You must throw your arms up around my neck
      And I will not you afright, and afright
      No, I will not you afright.”
    20. “And they’ll change me then, and it’s all in your arms
      Into many’s the beast so wild
      You must hold me tight, you must fear me not
      I’m the father of your child,
      Oh you know that I’m the father of your child.”
    21. And the woods grew dark, and the woods grew dim
      Tam o’ the Lyn was gone.
      She picked up her lily-white feet
      And to the mill-bridge run, now she run
      Aye, and to the mill-bridge run.
    22. She looked high, and she looked low
      She encompassed all around
      But she nothing saw, she nothing heard
      She heard no mortal sound, no sound
      No, she heard no mortal sound.
    23. Till about the dead hour of the night
      She heard them bridles ring
      It chilled her heart, it’s given her a start
      More than any mortal thing, any thing
      More than any mortal thing.
    24. Then it’s first there come this black horse,
      and it’s then there come the brown
      They both raced by the white
      And she’s thrown her arms up ’round his neck
      And he didn’t her afright, and afright
      No, he didn’t her afright.
    25. And the thunder roared across the sky
      And the stars they burned as bright as day
      And the Queen of the Elvens give a stunning ? cry,
      Saying, “Young Tam-a-Lyn is away, is away
      Aye, Young Tam-a-Lyn is away.”
    26. And they changed him then—it were all in her arms
      To a lion roaring so wild
      But she held him tight and she feared him not
      He was the father of her child, oh she knew he was
      The father of her child.
    27. Soon they changed him again—it were all in her arms
      To a big black hissing snake
      But she held him tight and she feared him not
      He was one of God’s own make, oh she knew that he
      Was one of God’s own make.
    28. And they changed him again—it were all in her arms
      To a big black dog to bite
      But she held him tight and she feared him not
      He didn’t her afright, and afright
      No, he didn’t her afright.
    29. So they changed him again—it were all in her arms
      To a white-hot bar of iron
      But she held him tight and she feared him not
      He’d done to her no harm, no harm
      No, he’d done to her no harm.
    30. Then they changed him again—it were all in her arms
      To a mother-naked man
      And she throwed her cloak up around his shoulders,
      Saying, “Tam o’ the Lyn, we’ve won, oh, we’ve won,”
      Saying, “Tam o’ the Lyn, we’ve won.”
    31. Then the Queen of the Elvens, how she cursed young Tambalyn
      Oh, well she cursed him good
      She said, “I should have torn out your eyes young Tam-a-Lyn
      I should have put in two eyes of wood, of wood
      I should have put in two eyes of wood.”
    32. “And it’s curses on you, Tam-a-Lyn,” she says
      “You once was my very own.
      And when you was, I should have torn out your heart
      And put in a heart of stone, cold stone
      I should have put in a heart of stone.”

    Steeleye Span’s Tam Lin

    1. Oh, I forbid you maidens all
      That wear gold in your hair
      To come or go by Carterhaugh
      For young Tam Lin is there.
    2. If you go by Carterhaugh
      You must leave him a ward:
      Either your rings or green mantle
      Or else your maidenhead.
    3. She’s away o’er gravel green
      And o’er the gravel brown;
      She’s away to Carterhaugh
      To flower herself a gown.
    4. She had not pulled a rosy rose,
      A rose but barely one,
      When by came this brisk young man,
      Says, “Lady, let alone.
    5. How dare you pull my rose, Madam?
      How dare you break my tree?
      How dare you come to Carterhaugh
      Without the leave of me?”
    6. “Well may I pull the rose,” she said,
      “Well may I break the tree.
      For Carterhaugh it my father’s,
      I’ll ask no leave of thee.”Oh, in Carterhaugh, in Carterhaugh
      Oh, in Carterhaugh, in Carterhaugh
    7. He’s taken her by the milk-white hand
      And there he’s laid her down,
      And there he asked no leave of her
      As she lay on the ground.
    8. “Oh tell me, tell me,” then she said,
      “Oh tell me who art thee?”
      “My name it is Tam Lin,” he said,
      “And this is my story:
    9. As it fell out upon a day,
      A-hunting I did ride;
      There came a wind out of the north
      And woe it did betide.
    10. And drowsy, drowsy as I was,
      The sleep upon me fell;
      The Queen of Fairies she was there,
      And took me to herself.Oh, in Carterhaugh, in Carterhaugh
      Oh, in Carterhaugh, in Carterhaugh
    11. At the end of every seven years
      They pay a tithe to Hell;
      And I’m so fain and full of flesh,
      I fear ‘t will be myself.
    12. Tonight it is good Halloween,
      The fairy court will ride;
      And if you would your true love win,
      At Mile’s Cross, you must bide.”Oh, in Carterhaugh, in Carterhaugh
      Oh, in Carterhaugh, in Carterhaugh
    13. Gloomy was the night
      And eerie was the way;
      This lady in her green mantle
      To Mile’s Cross she did go.
    14. With the holy water in her hand
      She cast the compass round;
      At twelve o’clock the fairy court
      Came riding o’er the bound.
    15. First came by the black steed
      And then came by the brown,
      Then Tam Lin on a milk-white steed
      With a gold star in his crown.
    16. She’s pulled him down into her arms
      And let the bridle fall;
      The Queen of Fairies she cried out,
      “Young Tam Lin is awa.”
    17. They’ve shaped him in her arms,
      An adder or a snake;
      She’s held him fast and feared him not
      To be her earthly mate.
    18. They’ve shaped him in her arms again
      To fire burning bold;
      She’s held him fast and feared him not
      Till he was iron cold.
    19. They’ve shaped him in her arms
      To a wood black dog so wild;
      She’s held him fast and feared him not,
      The father of her child.
    20. They’ve shaped him in her arms at last
      Into a naked man;
      She’s wrapped him in the green mantle
      And knew that she had him won.
    21. The Queen of Fairies she cried out,
      “Young Tam Lin is awa.
    22. Had I known, had I known, Tam Lin,
      Long before, long before you came from home,
      Had I known, I would have taken out your heart
      And put in a heart of stone.
    23. Had I known, had I known, Tam Lin,
      That a lady, a lady would steal thee,
      Had I known, I would have taken out your eyes
      And put in two from a tree.
    24. Had I known, had I known, Tam Lin,
      That I would lose, that I would lose the day,
      Had I known, I would have paid my tithe to hell
      Before you’d been won away.”

    Jon Boden sings Tam Lin

    1. Lady Margaret, Lady Margaret, was sewing of her seam
      And she’s all dressed in black.
      When a thought came to her head to go into the wood
      To pull flowers to flower her hat, my boys,
      To pull flowers to flower her hat.
    2. And she hoisted up her petticoat a bit above her knee
      And so nimbly she’s tripped o’er the plain.
      Until when she came in the merry greenwood,
      And she pulled those branches down,
      She has pulled those branches down.
    3. And suddenly she spied a fine young man,
      Stood underneath a tree.
      Saying, “How dare you pull those branches down
      Without the leave of me, lady,
      Without the leave of me?”
    4. Well, she says, “This little wood, it is my very own,
      My father gave it me.
      And I can pull those branches down
      Without the leave of thee, young man,
      Without the leave of thee.”
    5. Well, he’s taken her by the lily-white hand
      And by the grass-green sleeve,
      And he has laid her down at the foot of an oak,
      And he’s never once asked her leave, my boys,
      He has never once asked her leave.
    6. And when it was done she has turned herself about
      For to ask her true-love’s name.
      But she nothing saw and nothing heard
      And all the woods grew dim, my boys,
      And all the woods grew dim.
    7. Well there’s four and twenty ladies all playing at the ball
      Grown red as any rose.
      Excepting for Lady Margaret,
      As green as glass she goes, she goes,
      As green as glass she goes.
    8. Oh up and then spoke the first serving maid,
      She lifted her head and smiled,
      She said, “I think our lady has loved too long
      And now she goes with child, with child,
      And now she goes with child.”
    9. Oh up and then spoke the second serving maid,
      “Oh, ever and alas,” cried she,
      “But I think I know a herb in the merry greenwood,
      That’ll twine thy babe from thee, lady,
      That will twine thy babe from thee.”
    10. Lady Margaret’s taken out her silver comb,
      She’s made haste to comb her hair,
      And then she’s away to the merry greenwood
      As fast as she could tear, my boys,
      As fast as she could tear.
    11. But she hadn’t pulled a herb in the merry greenwood
      A herb but barely one
      When up and spoke Young Tambling,
      He says, “Margaret, leave it alone, alone,”
      He says, “Margaret, leave it alone.”
    12. “Oh how can you pull that bitter little herb,
      That herb that grows so grey,
      For to take away that young baby
      That we got in our play, lady,
      That we got in our play?”
    13. “Oh, tell me true, young Tambling,” she said,
      “If a mortal man you be.”
      “Well, I’ll tell you no lies, Lady Margaret,
      I was christened as same as thee, lady,
      I was christened as same as thee.”
    14. “But as I rode out on a cold and bitter night,
      From off my horse I fell,
      And the Queen of Elfland she took me
      Into yonder hill to dwell, to dwell,
      Into yonder hill to dwell.”
    15. “And this night it is the Hallowe’en
      And the Elven Court shall ride.
      And if you would your true love gain,
      By the old mill bridge you must bide, my love,
      By the old mill bridge you must bide.”
    16. “And first will run the black horse and then will run the brown,
      And then chase by the white.
      You must hold them fast and fear them not,
      And they will not you afright, my love,
      They will not you afright.”
    17. “And they will change me all in your arms
      Into many a beast so wild.
      You must hold me fast and fear me not,
      I’m the father of your child, you know,
      I am the father of your child.”
    18. Lady Margaret’s taken out her silver comb,
      She’s made haste to comb her hair.
      And then she’s away to the old mill bridge
      As fast as she could tear, my boys,
      As fast as she could tear.
    19. And in the dead hour of the night
      She’s heard the harness ring.
      And oh, my boys, it chilled her heart
      More than any a mortal thing it did,
      More than any a mortal thing.
    20. And first rode by the black horse and then rode by the brown,
      And then chased by the white.
      And she hold them fast and she feared them not,
      They did not her afright, my boys,
      They did not her afright.
    21. And the thunder rolled across the sky
      And the stars shone bright as day.
      And the Queen of Elfland she gave a thrilling cry,
      “Young Tam Lin is away, away!
      Young Tam Lin is away!”
    22. And then they have changed him all in her arms
      Into a lion that roars so wild.
      And she held him fast and she feared him not,
      He was the father of her child, she knew,
      He was the father of her child.
    23. And next they’ve changed him all in her arms
      Into a poisonous snake.
      But she held him fast and she feared him not,
      He was one of God’s own make, she knew,
      He was one of God’s own make.
    24. And next they have changed him all in her arms
      To a red hot bar of iron.
      But she held him fast and she feared him not,
      And he did to her no harm, my boys,
      He did to her no harm.
    25. And last they have changed him all in her arms
      ‘Twas into a naked man.
      And she threw her mantle over him,
      Crying, “Oh, my love I’ve won, I’ve won,”
      Crying, “Oh, my love I’ve won.”
    26. And up and then spoke the Queen of Elfin Land
      From the bush wherein she stood,
      Saying, “I should have taken out your eyes, Tam Lin,
      And put in two eyes of wood, of wood,
      And put in two eyes of wood.”

    Music Transcription

    Fairport Convention: Tam Lin

    Transcription by Dino Agate.

    This song is based on two parts: a little instrumental bridge (in 3/4 time, usually two measures long) and a verse (whose eight measures are 3/4 3/4 4/4 3/4 and again the same time progression); this “pattern” (bridge+verse) is repeated throughout the song (except for three instrumental solos).

    Bridges’ chords are Em and D, while guitar’s lines, although very alike, are almost all different, so I wrote the tablature for each. All these “bridges” could be useful to some bands; a single guitar player would probably repeat the first or second bridge or play the following to join chords and melody:

    E --0--------!-------------
    B --0--3--0--!-----0--2----
    G --0--------!--2----------
    D --2--------!--0----------
    A --2--------!-------------
    E --0--------!-------------
    

    The verse’s chord progression is very simple, but the guitar strummings are very peculiar. There are three kinds of guitar strummings and the main one is the following (related to the movement’s measures of the verse):

    1   2   3     1   2   3     1   2   3   4     1   2   3
    Em            D             G   Em            D
    

    The second strumming has the same accents as the first, but each chord is doubled (each strum is a quaver of the same movement) and it is played in verses 5 and 14:

    1   2   3     1   2   3     1   2   3   4     1   2   3
    Em/           D/            G/  Em/           D/
    

    Last strumming is played only in verse 18:

    1   2   3     1   2   3     1   2   3   4     1   2   3
    Em            D       D     G   Em      Em    D       D
    
    1   2   3     1   2   3     1   2   3   4     1   2   3
    Em      Em    D       D     G/  Em/           D/
    

    If the song is played with a guitar only, it will of course sound better if some more strumming is added to these main accents. In verses 12 and 13, a guitar plays a melody instead of playing chords (tablatures are under those verses).

    Three guitars are played on this song (as far as I can hear): a clean electric guitar on the left channel (the violin is on the left channel too, starting from the 6thverse), a distorted and an acoustic guitar on the right.

    The clean guitar (left) plays the following bridge (except where otherwise indicated):

    E ------------!-------------
    B ------------!-------------
    G ------------!-------------
    D ---2--0-----!-------------
    A ---------2--!--0----------
    E ------------!-----3--2----
    

    All right channel guitar’s bridges are shown after each verse.

    Besides this, the guitars play “sharp” or “loose” (I mean the strings are stopped soon after they’ve been strum or they vibrate until the other chord is played) or “stopped” (only the lower strings are strum, almost muted). As each guitar plays differently, I indicated the “mood” that mainly stands out in each verse.

    No panic, please. All you need to know to play this song is written above; the other details I wrote about are in the following lines.

    It is interesting to notice how arrangements turns delicate or hard according to the meaning of the verse’s words. H and P in the tablature are for hammer on and pull off.

    Intro (repeat twice)

    E--------------!-------------
    B--------------!-------------
    G--------------!-------------
    D---2--2P0-----!----------0--
    A-----------2--!--0--0H2-----
    E--------------!-------------
    

    1. “I forbid you maidens all that wear gold in your hair
    To travel to Carterhaugh for young Tam Lin is there.

    RHYTHM GUITAR SHARP

    Bridge as Intro

    2. None that go by Carterhaugh but they leave him a pledge
    Either their mantles of green or else their maidenhead.”

    SHARP

    E------------!-------------
    B---5--3-----!----------3--
    G---------4--!--2--2P4-----
    D------------!-------------
    A------------!-------------
    E------------!-------------
    

    3. Janet tied her kirtle green a bit above her knee
    And she’s gone to Carterhaugh as fast as go can she.

    LOOSE

    E------------!-------------
    B------------!-------------
    G---------0--!--2--2P0-----
    D---2--4-----!----------4--
    A------------!-------------
    E------------!-------------
    

    4. She’d not pulled a double rose, a rose but only two
    When up then came young Tam Lin says “Lady pull no more”

    STOPPED

    (muted notes):                        Left guitar bridge:
    
    E-----------------!----------------   E-----------!-----------
    B-----------------!----------------   B-----------!--------3--
    G-----------------!----------------   G-----------!--2--4-----
    D-----------------!----------------   D--2--4--5--!-----------
    A-----------------!----------------   A-----------!-----------
    E--0-0--0-0--0-0--!--0-0--0-0--0-0-   E-----------!-----------
    

    5. “And why come you to Carterhaugh without command from me?”
    “I’ll come and go,” young Janet said “And ask no leave of thee”.

    SHARP (double chords)

    Guitar solo – 16 measures in 3/4 time (rhythm guitar Em7 – EM6):

    E-------------!---------------!--------!---------------!---------------!
    B-------------!---------------!--------!---------------!---------------!
    G-------------!---------------!--------!--4--4P2--0H2--!--2P0----------!
    D--2--2P0-----!----------0H2--!--2--2--!---------------!-------4--0H2--!
    A----------2--!--0--0H2-------!--------!---------------!---------------!
    E-------------!---------------!--------!---------------!---------------!
    
    
    E---------!----0------------2P0--!--------------------!--------------------!
    B------3-3P2------3P2P0--2-------!--3--2H3P2P0--2-----!--------------------!
    G---------!----------------------!-----------------2--!--2--0--------------!
    D--2------!----------------------!--------------------!--------4--0--2--4--!
    A---------!----------------------!--------------------!--------------------!
    E---------!----------------------!--------------------!--------------------!
    
    
    E-----------!-----------------!--------------------!-----------!
    B-----------!-----------------!--------------------!-----------!
    G-----------!-----------------!--------------------!-----------!
    D-----------!-----------------!--------------------!-----------!
    A--2--2--0--!-----------------!-----0--2--0-----0--!--2--2--0--!
    E-----------!--3--0--0--0--2--!--3-----------3-----!-----------!
    
    
    E--------------------!-------------!-----------------!-------------!
    B--------------------!-------------!-----------------!-------------!
    G--------------------!-------------!-----------------!-------------!
    D-----------------0--!-------------!--0H2--2H4--2H4--!--2--0--0H2--!
    A--2--4--0--2--4-----!--2--0--0H2--!-----------------!-------------!
    E--------------------!-------------!-----------------!-------------!
    
    
    E-----------------!-------------!-------------!-------------!-------------!
    B-----------------!-------------!-------------!-------------!-------------!
    G-------2P0-------!-------------!-------------!-------------!-------------!
    D--2H4-------2H4--!--2--2P0-----!----------0--!--0H2--0-----!----------0--!
    A-----------------!----------2--!--0--0H2-----!----------2--!--0--0H2-----!
    E-----------------!-------------!-------------!-------------!-------------!
    

    6. Janet tied her kirtle green a bit above her knee
    And she’s gone to her father as fast as go can she.

    SHARP

    Bridge as Intro

    7. Well up then spoke her father dear and he spoke meek and mild
    “Oh and alas Janet” he said “I think you go with child.”

    SHARP

    E------------!-------------
    B---5--3-----!-------------
    G---------4--!--4P2--0-----
    D------------!----------4--
    A------------!-------------
    E------------!-------------
    

    8. “Well if that be so” Janet said “Myself shall bear the blame
    There’s not a knight in all your hall shall get the baby’s name.

    SHARP

    Bridge as Intro

    9. For if my love were an earthly knight as he is an elfin grey
    I’d not change my own true love for any knight you have.”

    LOOSE

    E--------------!-------------
    B--------------!-------------
    G------4--4P2--!--2P0--------
    D---2----------!-------4--0--
    A--------------!-------------
    E--------------!-------------
    

    (Violin solo – 12 measures in 3/4 time)

    E--------------!---------------!-------------!----------
    B--------------!---------------!-------------!----------
    G--------------!---------------!-------------!----------
    D---2--2P0-----!------------0--!--2--2P0-----!----------
    A-----------2--!--2H0--0H2-----!----------2--!--0-------
    E--------------!---------------!-------------!-----3--2-
    

    Left guitar bridge:

    E------------!-----------!-----------!------------
    B------------!-----------!-----------!--------3---
    G------------!-----------!-----------!--2--4------
    D---2--0-----!--------0--!--2--4--5--!------------
    A---------2--!--0--2-----!-----------!------------
    E------------!-----------!-----------!------------
    

    10. So Janet tied her kirtle green a bit above her knee
    And she’s gone to Carterhaugh as fast as go can she.

    LOOSE

    Bridge as 4-5. (Left guitar bridge: standard)

    11. “Oh tell to me Tam Lin” she said “Why came you here to dwell?”
    “The Queen of Fairies caught me when from my horse I fell

    STOPPED

    E-------------!---------------!
    B-------------!---------------!
    G-------------!---------------!
    D--2--2P0-----!----------0H2--!
    A----------2--!--0--0H2-------!
    E-------------!---------------!
    

    12. And at the end of seven years she pays a tithe to hell
    I so fair and full of flesh and feared it be myself

    SHARP

    Right guitar plays the following twice:

    E-----!-------------!-----------------!---------------!
    B-----!-------------!-----------------!---------------!
    G-----!-------------!-----------------!---------------!
    D-----!-------------!-----------------!-------0--2H4--!
    A--2--!--4H5--4--0--!--0H2--0H2--0H2--!--0H2----------!
    E-----!-------------!-----------------!---------------!
    

    Bridge as the last one

    13. But tonight is Halloween and the fairy folk ride,
    Those that would their true love win at Mile’s Cross they must bide.

    LOOSE

    Right guitar plays the same melody as last verse.

    Bridge as Intro

    14. First let pass the horses black and then let pass the brown
    Quickly run to the white steed and pull the rider down,

    SHARP (double chords)

    E------------------!-----------------
    B------------------!-----------------
    G------------------!-----------------
    D---2-2--2-2--2-2--!--2-2--2-2--2-2--
    A------------------!-----------------
    E------------------!-----------------
    

    15. For I’ll ride on the white steed, the nearest to the town
    For I was an earthly knight, they give me that renown.

    SHARP

    E--------------!-----------------
    B--------------!-----------------
    G---4--4P2--0--!-----2P0---------
    D--------------!--4-------4P2P0--
    A--------------!-----------------
    E--------------!-----------------
    

    16. Oh they will turn me in your arms to a newt or a snake
    But hold me tight and fear not, I am your baby’s father.

    LOOSE

    Right guitar doesn’t play this bridge

    17. And they will turn me in your arms into a lion bold
    But hold me tight and fear not and you will love your child,

    SHARP

    E---------------!----------------------
    B------3--------!--3--3P0--------------
    G---4-----4--4--!----------2P0---------
    D---------------!---------------4P2P0--
    A---------------!----------------------
    E---------------!----------------------
    

    18. And they will turn me in your arms into a naked knight
    But cloak me in your mantle and keep me out of sight”.

    STOPPED (other strumming)

    Bridge as 2-3

    (Guitar-violin solo – 16 measures in 3/4 time)

    Bridge as before verse 10

    Left guitar bridge:

    E------------!-----------!-----------!----------
    B------------!-----------!-----------!----------
    G------------!-----------!-----------!----------
    D---2--0-----!--------0--!--2--0-----!----------
    A---------2--!--0--2-----!--------2--!--0-------
    E------------!-----------!-----------!-----3--2-
    

    19. In the middle of the night she heard the bridle ring
    She heeded what he did say and young Tam Lin did win.

    SHARP

    Bridge: guitar strums on Em.

    Left guitar bridge:

    E------------!-----------
    B------------!-----------
    G------------!-----0--2--
    D---2--0-----!--4--------
    A---------2--!-----------
    E------------!-----------
    

    20. Then up spoke the Fairy Queen, an angry Queen was she
    “Woe betide her ill-fared face, an ill death may she die

    SHARP

    Bridge as Intro

    21. Oh had I known, Tam Lin” she said “What this night I did see
    I’d have looked him in the eyes and turned him to a tree.”

    LOOSE

    Ending

    E--------------!-------------!-----------!-------------!
    B--------------!-------------!-----------!-------------!
    G--------------!-------------!--------0--!--2--2P0-----!
    D---2--2P0-----!----------0--!--2--4-----!----------4--!
    A-----------2--!--0--0H2-----!-----------!-------------!
    E--------------!-------------!-----------!-------------!
    
    
    E----------------------!----------------------!
    B---3--3P0-------------!----------------------!
    G-----------2--0--2P0--!-----0-----------2P0--!
    D----------------------!--4-----0--2--4-------!
    A----------------------!----------------------!
    E----------------------!----------------------!
    
    
    E------------!----------------------!-----------!-----------!--0-
    B------------!----------------------!-----------!-----------!--0-
    G------------!----------------0--2--!-----------!-----------!--0-
    D---2--0-----!-------0--2--4--------!--2--0-----!--------0--!--2-
    A---------2--!--0P2-----------------!--------2--!--0--2-----!--2-
    E------------!----------------------!-----------!-----------!--0-
    

    Acknowledgements and Links

    Garry Gillard thanks Jesse Kirchner for the Mike Waterson transcription. Tamlyn’s name is spelt differently on this page in an attempt to represent the different ways Mike Waterson sings it on his recording, not out of carelessness (I hope).

    See also the Mudcat Café thread Tam Lyn: any ‘source singer’ recordings?.

    Performances, Workshops,
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    The American Folk Experience is dedicated to collecting and curating the most enduring songs from our musical heritage.  Every performance and workshop is a celebration and exploration of the timeless songs and stories that have shaped and formed the musical history of America. John Fitzsimmons has been singing and performing these gems of the past for the past forty years, and he brings a folksy warmth, humor and massive repertoire of songs to any occasion. 

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    You Are All a Bunch of Punks

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    This shift from fall to winterIs the cruelest month:Long days and nightsIn a blather of responsibility’s I hoist from a murky holeAnd sort and siftOn a messy desk. I pity my students who trembleMy red pen of vengeance;Who wait with fetid thoughtsFreighted by what they...

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    and I’ll buy the next round:
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    That’s all she wrote boys,
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           One good cigar is better than two bad cigars, or so it seems right now. It is a beautiful and stormy night--pouring rain and howling wind, and I thought a good smoke would be a fitting end to a busy and over-booked week. As it goes, I bought a couple of cheap...

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    Sometimes no.
    Sometimes it’s somehow somewhere in between.
    Sometimes it’s somewhere that no one has been–
    no, nobody, nowhere, no nothing can end.
    So don’t you let go and hope you’ll find it again.
    Don’t you ever let go–

    The English Soldier

    There is a soldier dressed in ancient English wool guarding the entrance to the inn. He is lucky for this cool night awaiting the pomp of the out of town wedding party. He is paid to be unmoved by the bride's stunning beauty or her train of lesser escorts. He will not...

    Weeds

      Somewhere locked in this choke of weeds spread like a mangy carpet is the hardened vine of Pipo’s Concord Grape he planted in an eager spring three years ago. Gasping for air and sun and water perhaps it has found some way to hide from my flailing hoe and the...

    China Journal: Part Two

    II The grass grows. The rain falls Nothing is done. Nothing is left undone ~Buddha   A day can be perfect. I have to believe this. Today was. Is. Is was a day in china. The sun breaking through today after yesterday’s typhoon. Lazy walk to the coffee shop....

    Nurture Passion

    How about we all take the bull by the horns and make this blog thing work! Your job this week is to do something with your blog that is powered by the passion that is in you. Passion is the one thing you have some control over. There are plenty of smarter, more...

    Once Burned. Twice Shy.

    Just because no one understands you,  it doesn’t mean you are an artist ~Bumper Sticker        I sometimes wonder why when you give a group of teenagers a video camera, the first impulse is to shoot something stupid. It’s as if there is some jackass switch...

    Practicing What I Preach

    It is not where you go. It is how you go. ~Fitz Is there any value in coming to the page this late at night after three hours of singing in a pub, just because I said I would? I expect you to go to the empty page and pry tired and stubborn thoughts and lay them on the...

    A New Beginning

     I guess if there is any constant in my life, it is new beginnings.  This blog--and this website--is another new beginning starting here late on a cold night on my back porch. I've been keeping a blog (in fact several blogs) since the first blogs made their way on to...

    Another Wednesday

            It is a good night for meatballs. The same meal we have cooked every Wednesday night for thirteen years and counting. Tonight is a beautiful and warm night of vacation week, so more than likely we will have a big crowd joining us—but we never know who. The...

    A New Hearth

    It has been a long time since I wrote a simple old "this is what I am going to do today" post. So this is what I am going to do today: [and trust me, it will have nothing--absolutely nothing--to do with school work:)] Before the true winter settles in, I am going to...

    The Snow

    has dropped a seamlessness before the plows and children can patch it back to a jagged and arbitrary quilting putting borders to design and impulse. I imagine myself falling everywhere softly, whispering, I am here, and I am here.

    New Ways

    Time for a change. Feeling it in a lot of ways. After months of steady workouts, I’ve been finding too many convenient ways to let the day slip by. Still feel better than I have in years, but the days seem to have got the best of me. Excuses, procrastination and...

    China Journal: Part One

    I           The dull staccato throb in light rain on a dark night. Unseen barges make their way up the QianTian River—concrete shores marked by the arch of the bridge, the spans of beam stretched on beam, the impeccable symmetry of the street-lights broken by a stream...

    The Gift Unclaimed

    I have an old lobster buoy Hanging dully from A wrought-iron basket hook— A rough cutaway Filled with suet, Clabbered in wire mesh. . I had imagined chickadees Squabbling with angry jays And occasional sparrows, finches— Maybe even cedar waxwings tired of scrounging...

    How do I know

    what I know? The sharp angles of this simple cottage perfected in every board sawn, shingle split and beam hewn into place goes together placed, splined, slid together, bound more by intuition than knowing.

    What a Picture Tells

    "Zou Ma Guan Hua" You can't ride a horse and smell the flowers ~Chinese Proverb Sometimes I love just browsing through old folders of pictures of my kids when they were just kids in every sense of the word. Just seeing the pictures is a visceral experience for me as I...

    Out of the Forge: March 30, 2017

    Every Thursday Night at The Colonial Inn On the Green, in Concord, Massachusetts This is my first attempt at trying to record a night at the inn, so please forgive my engineering errors as a producer. I simply used the Bose Tonematch into Garageband and called it good...

    The Shapes of Stories

    While I have always been a storyteller of sorts, I am not much of a writer of stories--but I have always been intrigued by the relative simplicity at the core design level of most books and movies. A lot of it is tied to my love for Joseph Campbell's work on the...

    Ghetto of Your Eye

    A Veteran's Day Remembrance I wrote this song back in the winter of 1989 in the dining car of a steam driven train, somewhere along the Trans-Siberian railway, after meeting a group of Russian soldiers fresh from battle in Afghanistan—that poor country that has been a...

    Canobie lake

    Going to Canobie Lake is always the turning point of the year for me. It is like some primal signal that It is time to turn away from the school year and towards the future.  Obviously, it is my hope that you learned some useful skills this year, but, more...

    The End Is the Beginning

    For the past twenty years this night has always been a bittersweet moment. I have never been hobbled by boredom or a lack of "things I love to do," so whatever supposed free time I have is rewarding in whatever I choose to do. The flip side is that I am teacher, and I...

    Redefining Literacy

     My life is the poem I could have writ, But I could not both live and utter it ~Henry David Thoreau    The common man goes to an orchard to taste the fruit. The rich man man learns how to plant his own orchard. The poet, however,  grows an even better fruit and gives...

    A Redemptive Moment

    I see the clock ticking towards 7:00. The kids are deep in their weekday world of homework, juggling soccer balls around the house, watching TV, but I am in my “got to rally” and get to the inn mode that happens very Thursday. Tonight I am tired. I’ll admit it, but...

    The Fallacy of Philanthropy

    There are thousand hacking at the branches of evil to one striking at the root. ~Henry David Thoreau     I just spent a long day deconstructing our backyard. EJ sold his alpacas, and so our fenced in pasture and barn can now return to its suburban origins as a shed...

    Contact John Fitzsimmons...and thanks!