I sink or I swim, oh I'll just be sinking A "Folk song" is usually the result of a complicated process and the input of the professional ballad writers and the professional Folklorists is often much greater than what the real "Folk" has contributed. Interestingly Sharp's methods were strikingly similar to those of the writers of "The Unfortunate Swain" and other broadsides. For reasons unknown to me the "false lover" in the stanza starting with "I wish I was in Dublin city" was replaced by "lawyers". 5, 1797, Vol. The first verse of "The Water Is Wide" also shows an interesting development. Instead the "ivy rock is black as ink". When the Folklorists started collecting they encountered these relics just around every corner. [Outro] "The Water Is Wide" is a much younger song that was - as already noted – first published under the very same title by Cecil Sharp and Charles Marson in 1906 in, A second variant of this song with some minor changes in the text and two additional verses was included in Cecil Sharp's. His text – with six of the nine original verses - is very close to the printed versions and one may assume that he or his source had learned the song from a broadside or chapbook (online available at FARNE). The first verse about "the ripest of apples" was most likely developed from or inspired by the verse starting with "If love is handsome [...]" in "I'm Often Drunk", the one borrowed from "Oh Waly, Waly". III. Oh no, I can't let you go He noted that it was "a fragment of a song frequently sung by the Newcastle pitmen". Lord Douglas and Lady Erskine were divorced in 1681 so the ballad of course must have been written after that date. A. Fuller Maitland's English County Songs (pp. James Catnach still listed this song in a catalogue published in 1832 (p. 4). There it apparently became not only the precursor of "Peggy Gordon" but also one of the sources for the songs of the type "Fair And Tender Ladies/Little Sparrow". In the allegro Catalogue this edition is dated as from "between 1780 and 1812". Oh, oh no, I see in your eyes A. Fuller Mailtland, Report of the Second Meeting of the Folk-Song Society, in: Journal of, John Glen, Early Scottish Melodies, Edinburgh 1900 (available at, George F. Graham, The Popular Songs of Scotland with Their Appropriate Melodies, 1856, new edition Edinburgh 1887 (available at, The Greig-Duncan Folk Song Collection, Vol. Already in the 1820s and early 1830s  a song called "Peggy Gordon" was published on American song-sheets: in New York and in Boston (available at the libraries of Brown University, RI and the New York Historical Society, here quoted from Mudcat Discussion Board, posted by user Taconicus on 23.12.2010): Here we find three verses known from the longer version of "I'm Often Drunk" including the one starting with "the seas are deep, and I cannot wade them [...]". ), English Folk Songs from the Southern Appalachians, Collected by Cecil Sharp, 1932, No. Some verses from these texts were then borrowed and included in "new" songs like "The Unfortunate Swain" and "I'm Often Drunk And Seldom Sober" that were published on popular broadside sheets during the second half of the 18th century and in the early 19th century. William Christie's Traditional Ballad Airs, Vol. But at least one verse was already known a hundred years earlier. One was "sent to the Editor [Christie] in 1850 by a native of Buchan", the other from an "old woman in Buckie [...] She died in the year 1866 at the age of nearly 80 years. My baby is the worst of me "Deep In Love", tune and 1 verse collected by George Gardiner in April 1909 from Thomas Bulbeck, Sussex, "Must I Go Bound? But the addition of this verse makes sense for another reason because it was also part of the broadside song "Wheel Of Fortune" that had been the major source for the British "Love It Is  Easin'/Pleasin'/Teasin'". And I don't wanna wait for my heart to break, but Ramsay's text was for example included on these two, The Covent Garden Syren; a collection of the most admired songs (, O waly waly up the bank : a popular Scotish [sic] melody ... / the symphonies & accompani ments composed by Alexr. More simple arrangements with only the bass were published by James Johnson in his Scots Musical Museum (Vol. "Forsaken Lover. Instead we get seven additional quatrains (here pp. It's in no way related to any of the others collected with this song. Two pieces published circa 1780 demonstrate this technique. It consists of the same four verses as the version from Newcastle published in, The third fragment (text B) was taken down from "Mary Sacherley [i. e. Sally Satterley], aged 75 [...] daughter of an old singing moor man", a "famous singer on Dartmoor". 179B, It seems that especially the verses associated with "Oh Waly, Waly" and related songs have been very popular among the producers of broadsides. But this was an exception to the rule and it seems that nearly everybody at that time learned the song directly or indirectly from Pete Seeger, either from live performances, from him personally, from the recording, or from any of the printed versions. They have reached us on different transmission routes, but their trip was very similar: first was the broadside with scattered verses from older songs, then the "Folk" that stored these texts in their memory for a couple of decades, then the Folklore collectors who saved these verses from oblivion by writing them down and publishing their findings in books and then at last the Folk Revival singers who used them for new "old" songs. It fit well into the song he was constructing and maybe he thought it was an otherwise lost part of an older oral variant of "Oh Waly, Waly". William Stenhouse in his notes to the 1839 edition of this collection reports that "the words and music of this were taken down from the singing of Mr. Charles Johnson", James Johnson's father, who claimed to have learned this piece "in his infancy, and he was then informed that it was very ancient". Frank Brown once noted that this song has "one of those Protean folk-lyrics whose identity is hard to fix because they shift from text to text, taking on new elements and dropping old ones from the general reservoir of the folk fancy" (Brown 1952, Vol. Another broadside with this song was published by "Evans Printer, Long-lane, London" (Harding B 17(136b)). Glasgow 1869 (available at, Frank Rutherford, The Collecting And Publishing Of Northumbrian Folk-Song, in: Archaeologia Aeliana, 4th Series, Vol. 1 (1876, p. 226) includes a song called "The Prickly Rose" that he had collated from two Scottish variants of "The Unfortunate Swain". But Novello & Co. registered the song in 1908 (renewed in 1936). Most interesting are the two stanzas that were apparently borrowed from "Oh Waly, Waly": the third with "I lean'd my back against an oak" and the sixth with "love is handsome and love is pretty". And I don't wanna wait for my heart to break, but Not at least it cannot be excluded that they were only later - sometime between 1701 and 1726 - added to the Scottish ballad. 141, p. 422). I got a fever and my fever's kind of breaking free Gather up the People 2. I got the feeling that my feelings got the best of me 2, 1788, Vol. Song, traditional words and music.