Uploaded July 2025 | Updated September 2026, 3 days ago
The Knicht o Archerdale / Proud Lady Margaret (Child No. 47) - Sung by Lizzie Higgins (Elizabeth Ann Youlden, 1929-1993) of Aberdeen, Aberdeenshire, Scotland. Daughter of settled Travellers, the famous Scottish traditional singer Jeannie Robertson and Donald "Donty" Higgins, an accomplished piper. Lizzie learned the song from her father, who in turn had it from his mother, Christine Stewart. Recorded by Stephanie Smith Perrin on August 6th, 1973.
00:00:00 Lizzie Explains The Ballad Story
00:04:54 Lizzie Sings Proud Lady Margaret
The original recording can be heard here:
tobarandualchais.co.uk/track/82311?l=en
And here:
tobarandualchais.co.uk/track/28731?l=en
Note by Kevin W.:
Lizzie's slow style of singing which she based on her father's and her uncle Isaac "Seely" Higgins' bagpipe playing is beautiful and highly demanding with lots of ornamentation, but it doesn't make it easy to follow the story of longer ballads. The same is true of Jeannie Robertson's singing which slowed down in her later years.
For more information on Lizzie Higgins the booklet notes to "In Memory of Lizzie Higgins 1929-1993" (2006) Musical Traditions MTCD337-8 are essential reading (and the album is well worth getting): mustrad.org.uk/articles/higgins.htm
An early performance of Lizzie's Proud Lady Margaret (Child 47). Recording quality isn't the best but the singing is beautiful and I wanted to share it here. Lizzie said this was her father's favourite song and that he was a great singer himself but overlooked by folklorists in the shadow of Jeannie Robertson's fame.
Lizzie said her father Donald "Donty" Higgins taught her the ballad in his last years and wanted her to share it with the world and that it was one Jeannie never learned from him.
Jeannie's nephew Stanley Robertson learned Proud Lady Margaret as a folk tale from an aunt of his, Margaret (Maggie) Stewart, of Banchory, Kincardineshire, whom he regarded as his adoptive grandmother:
youtu.be/f9tek7wY2yc
Can this really be a ballad that survived in Traveller tradition? Lizzie was adamant that she'd learned it from her father. The last time it was collected was twice in fragmentary form in Aberdeenshire around the turn of the 20th century by Gavin Greig from the prolific Mrs. Bell Robertson of New Pitsligo who knew hundreds of ballads but did not sing tunes and from a Mrs. Gordon of New Deer.
Lizzie's text resembles one published by Peter Buchan in "Ballads of the North of Scotland" in 1828 but also has verses not found in that text.
Buchan's text can be seen here:
http://71.174.62.16/Demo/LongerHarvest?Text=Child_d04702
Song transcription:
It was on a night, and an evening bright
When the dew begun tae fa,
Lady Margaret was walking up and doon,
Looking ower the castle wa.
She looked west, she looked east,
Tae see what she could spy,
When a gallant knight came in her sight
Unto her gates drew nigh.
"God mak ye safe an free, fair maid,
God mak ye safe an free."
"What is yer will wi me, Sir Knight,
Oh what's yer will wi me?"
"My will wi you is nae sma, lady,
My will wi you nae sma,
An syne there is nane your bower within,
You'll hae ma secrets aa."
"It's I am come tae this castle
Aa for the love of thee.
If you do not grant me love
All for your sake a'll dee."
"If you should dee for me, Sir Knight,
It is few for you will mean.
There's many a better has died for me
Wha's graves are growin green.
"What is the flooer, the ae first flooer
That grows on muir and dell?
What is the bird, the bonniest bird
That sings next the nightingale?
What is the colour, the bonniest colour
That king or queen can wale?
Oh what is the flooer, the ae first flooer
That grows on muir and dell?"
"The primrose is the ae first flooer
Tae grow on muir and dell.
The mavis is the next bird
Sings next the nightingale.
Yellow is the bonniest colour
That king or queen can wale.
The primrose is the ae first flooer
That grows on muir and dell.
"Ye hiv ower ill washen feet, Margaret,
An ye have ower ill washen hands.
Ye've too coarse o robes on your body,
An wi me ye winnae gang.
The worms are my bedfellows
The cauld clay is my sheet.
An the louder that the wind does howl
The sounder dae I sleep.
"My body is buried in Dunfermline
Sae far ayond the sea.
Nae peace or rest ony day I get
Aa for the pride of thee.
Lay up yer pride, Margaret," he said,
"Use it nae ony mair.
If you hae been far I hae been
Ye will repent it sair.
"Tae sit in Pirie's chair, Margaret,
It is the lowest seat o Hell.
If you do not amend your ways,
It's there that ye maun dwell."
Wi that he vanished frae her sicht
In the twinklin o her ee,
An naething mair the lady saw
But the gloomy clouds in the sky.
The Knicht o Archerdale / Proud Lady Margaret (Child No. 47) - Sung by Lizzie Higgins (Elizabeth Ann Youlden, 1929-1993) of Aberdeen, Aberdeenshire, Scotland. Daughter of settled Travellers, the famous Scottish traditional singer Jeannie Robertson and Donald "Donty" Higgins, an accomplished piper. Lizzie learned the song from her father, who in turn had it from his mother, Christine Stewart. Recorded by Stephanie Smith Perrin on August 6th, 1973.
00:00:00 Lizzie Explains The Ballad Story
00:04:54 Lizzie Sings Proud Lady Margaret
The original recording can be heard here:
tobarandualchais.co.uk/track/82311?l=en
And here:
tobarandualchais.co.uk/track/28731?l=en
Note by Kevin W.:
Lizzie's slow style of singing which she based on her father's and her uncle Isaac "Seely" Higgins' bagpipe playing is beautiful and highly demanding with lots of ornamentation, but it doesn't make it easy to follow the story of longer ballads. The same is true of Jeannie Robertson's singing which slowed down in her later years.
For more information on Lizzie Higgins the booklet notes to "In Memory of Lizzie Higgins 1929-1993" (2006) Musical Traditions MTCD337-8 are essential reading (and the album is well worth getting): mustrad.org.uk/articles/higgins.htm
An early performance of Lizzie's Proud Lady Margaret (Child 47). Recording quality isn't the best but the singing is beautiful and I wanted to share it here. Lizzie said this was her father's favourite song and that he was a great singer himself but overlooked by folklorists in the shadow of Jeannie Robertson's fame.
Lizzie said her father Donald "Donty" Higgins taught her the ballad in his last years and wanted her to share it with the world and that it was one Jeannie never learned from him.
Jeannie's nephew Stanley Robertson learned Proud Lady Margaret as a folk tale from an aunt of his, Margaret (Maggie) Stewart, of Banchory, Kincardineshire, whom he regarded as his adoptive grandmother:
youtu.be/f9tek7wY2yc
Can this really be a ballad that survived in Traveller tradition? Lizzie was adamant that she'd learned it from her father. The last time it was collected was twice in fragmentary form in Aberdeenshire around the turn of the 20th century by Gavin Greig from the prolific Mrs. Bell Robertson of New Pitsligo who knew hundreds of ballads but did not sing tunes and from a Mrs. Gordon of New Deer.
Lizzie's text resembles one published by Peter Buchan in "Ballads of the North of Scotland" in 1828 but also has verses not found in that text.
Buchan's text can be seen here:
http://71.174.62.16/Demo/LongerHarvest?Text=Child_d04702
Song transcription:
It was on a night, and an evening bright
When the dew begun tae fa,
Lady Margaret was walking up and doon,
Looking ower the castle wa.
She looked west, she looked east,
Tae see what she could spy,
When a gallant knight came in her sight
Unto her gates drew nigh.
"God mak ye safe an free, fair maid,
God mak ye safe an free."
"What is yer will wi me, Sir Knight,
Oh what's yer will wi me?"
"My will wi you is nae sma, lady,
My will wi you nae sma,
An syne there is nane your bower within,
You'll hae ma secrets aa."
"It's I am come tae this castle
Aa for the love of thee.
If you do not grant me love
All for your sake a'll dee."
"If you should dee for me, Sir Knight,
It is few for you will mean.
There's many a better has died for me
Wha's graves are growin green.
"What is the flooer, the ae first flooer
That grows on muir and dell?
What is the bird, the bonniest bird
That sings next the nightingale?
What is the colour, the bonniest colour
That king or queen can wale?
Oh what is the flooer, the ae first flooer
That grows on muir and dell?"
"The primrose is the ae first flooer
Tae grow on muir and dell.
The mavis is the next bird
Sings next the nightingale.
Yellow is the bonniest colour
That king or queen can wale.
The primrose is the ae first flooer
That grows on muir and dell.
"Ye hiv ower ill washen feet, Margaret,
An ye have ower ill washen hands.
Ye've too coarse o robes on your body,
An wi me ye winnae gang.
The worms are my bedfellows
The cauld clay is my sheet.
An the louder that the wind does howl
The sounder dae I sleep.
"My body is buried in Dunfermline
Sae far ayond the sea.
Nae peace or rest ony day I get
Aa for the pride of thee.
Lay up yer pride, Margaret," he said,
"Use it nae ony mair.
If you hae been far I hae been
Ye will repent it sair.
"Tae sit in Pirie's chair, Margaret,
It is the lowest seat o Hell.
If you do not amend your ways,
It's there that ye maun dwell."
Wi that he vanished frae her sicht
In the twinklin o her ee,
An naething mair the lady saw
But the gloomy clouds in the sky.

![Lady Nancy / Lady Diamond (Child 269) - Aunt Molly Jackson
Lady Nancy / Lady Daisy / Lady Dysie / Lady Eliza / Lady Diamond (Child No. 269) - Sung by Aunt Molly Jackson (Mary Magdalene Garland Stewart Jackson Stamos) (1880–1960) of Clay County, Kentucky. She learned songs from her great-grandmother, Nancy MacMahan, at an early age and was also known to write her own songs and arrange ballads from print. Recorded by Alan and Elizabeth Lomax in New York on May 27, 1939.
Note by Kevin W.:
Aunt Molly Jacksons Lady Nancy is a version of Lady Diamond (Child 269). She arranged it from print. Child 269 is rare in oral tradition and has never been found outside of Scotland.
Aunt Molly Jackson was known to arrange songs from a copy of Francis James Childs ballad books she was given by folklorist Tillman Cadle and his wife Mary Elizabeth Barnicle sometime before the Lomaxes recorded her. She made her own version of The Birth of Robin Hood (Child 102) because she liked and could identify with the Robin Hood character. She adapted it from Child 102, Version B, from Peter Buchans Ballads of the North of Scotland (1828). She sang many genuine folk songs that agree with other Kentucky versions, mind you, but the ones that havent been collected from other singers in America are likely to be her own creations which she was open to admit to Alan Lomax. She told him she composed the songs based on texts from a ballad book.
A traditional version of Child 269 can be heard here:
https://youtu.be/qoS3n3HBOX0
Lady Daisy, sung by Mary Stewart Robertson, a Traveller of New Deer, Aberdeenshire, Scotland for James Madison Carpenter in 1932. She learned the song from her mother.
Song transcription:
There was a king in olden times
A king of wealth and fame
He had one child, a beautiful girl
And Nancy was her name.
This king he had a kitchen boy
And William was his name
He fell in love with the Kings young daughter
And brought her body to shame.
When the nightingale sang in the tree
And the beasts lay down to rest
This kitchen boy lay between Lady Nancys [thighs]
And her head lay on her breast.
When he went into Lady Nancys room
They pulled her curtains down
Then they both did lay in Lady Nancys bed
To sport and play around.
Lady Nancy went out in the garden one day
To take a walk alone
Her father saw [by his lovely daughters form]
She walked in a [familiar] way.
Oh Nancy my child come tell me true
Who done this thing to thee
Was it some lord in London town
Or a baron of high degree?
It was no lord in London town
Or no baron of high degree
It was fair Willie your kitchen boy
Ive no cause to lie to thee.
For I love bonnie William hes all my heart
And I know that he loves me.
I shall kill this fair bonnie boy, he said
For doing this thing to thee
Oh do not kill my bonnie fair love
Before you first kill me.
Then the King took out his kitchen boy
And killed him on the plain
His hair was like the strands of gold
His eyes like crystal stream.
Farewell, farewell, Lady Nancy
Farewell, farewell, said he
Our love has caused us much pain
Farewell my love to thee.
Then the King cut out fair Williams heart
And put it in a cup of gold
Take that to Lady Nancys [room then]
For she is careless and bold.
[Spoken: For she is careless and bold?]
Then she washed her true loves heart with tears
That fell from her deep blue eyes
Then all the towns folk gathered all around
To hear her fearful moan/cries.
Oh fare you well my father the King
You destroyed my pride and joy
Since he died for me I shall die for him
This bonnie young kitchen boy.
I have made cruel the King he said
My child, your love to blame
For theres never been such a beautiful boy
As the boy that Ive just now slain.
There never has been such a fair young man
As the man Ive just now slain
There is nothing too cruel for a King to do
When madness turns his brain.
You should burn for this, my father the King
For taking my love from me
For he was the father of my unborn babe
You have destroyed all three.
For Im going to curse my painful heart
For Im going to curse my painful heart
Then my babe will die in me.
Then she stepped into her own bedroom
And quietly closed the door
Saying farewell my cruel old father, the King
My voice you should hear no more.
Then she picked up her own penknife
And pierced it through her heart
Saying go bury me in the arms of my own true love
Do not bury us apart.
Then the King called his servant men
And told them what to do
Bury Nancy and William breast to breast
And their baby tween the two.
[Spoken: Whered you learn that song? I learned it from the English Poems book about the Kings of England and things like that and I composed the song from the words, from the story.]
(The words in brackets I wasnt certain on) Lady Nancy / Lady Diamond (Child 269) - Aunt Molly Jackson](https://i.ytimg.com/vi/GgpAAIUD6ok/mqdefault.jpg)

![Clydes Water (Child 216) - Willie Edward
The Clattering of the Clyde Waters / The Clattering o Clyde Waters / Clydes Water / Clydes Waters / Willie and May Margaret / The Drowned Lovers / The Mothers Malison (Child No. 216) - Sung by Willie Edward of Craigellachie, Banffshire, Scotland. Recorded by Hamish Henderson for the School of Scottish Studies in 1952. From Scottish Tradition 5: The Muckle Sangs Classic Scots Ballads (1975) Tangent Records TNGM 119/D (2 LP, UK, 1975).
Lines Notes by Hamish Henderson:
Child printed only three versions of this noble ballad, which has been carried forward strongly into our own day by oral transmission; all three are of surpassing interest to anyone wishing to survey the influence of remaking of various sorts on our balladry. Childs A [...] is a magnificent example of supple and flexible ballad Scots. His C (Peter Buchan), which is by far the longest (29 verses) [is] in its own way a powerful piece of work. [...] Childs B is from Mrs. Brown of Falkland [...].
Gavin Greig published a version - Peter Buchan nearly word for word - in his column in The Buchan Advertiser, and this may well have helped to keep the ballad in circulation in some areas; however, both versions you can hear now depend on family and local tradition going back before Gavin was born.
John Strachan opens with the omen of ill fortune (nose bleeding) which is also to be found in Peter and the Buchanie, but his text is markedly different from theirs. It omits the motif of Willies mothers curse which has provided the name for one of the titles given to the ballad (The Mothers Malison) although it might be argued that the curse is implicit in her strongly expressed disapproval.
Willie Edwards version, a superbly enunciated example of auld style ballad Scots, gives us the second half of the ballad. He starts at the point where Willie appeals to Maggie to let him in, and Maggies mother (counterfeiting her daughters voice, like another cruel mother in The Lass of Roch Royal) turns him away. Again, the text is different from both Peter and The Buchan Observer [sic].
Both our versions have the episode of Willies brother standing on the river bank and telling him to turn to his high horse heid and learn how to swim. This episode, which is in Peter Buchans text but not in Mrs. Browns, is dismissed by Child as absurd. However, if we look at the structure of the ballad, we can see that it is not so absurd after all. The opening scene of Clydes Water is really a variant of a familiar folktale lead-in; Willie is offered his mothers warning (by implication with her blessing) but takes instead his much-prized horse, with her curse. It is therefore wholly in accordance with the techniques of oral composition that Willie, in extremis, should be reminded of his earlier trust in his ain horse heels. And why should it be his brother who gives him this reminder? To an audience of earlier days, the minds of all its members saturated with the elemental folk motifs which link ballads and tales, there would have been no mystery - and no absurdity - about this one either. There are several ballads in which a mothers curse is associated with the death of one brother and the survival of another; [e.g. The Twa Brithers].
Song transcription:
[ So sleep ye, Maggie, waukin, Maggie,
Rise, come lat me in
For my boots are fu o Clyde water,
An Im soakin tae the skin ] *
So who is that at my window,
So fain he would be in
Tis yer own true lover Willie dear,
Frae Scotland he has came
Tis I hae nae lover there-oot, she cried,
I hae nae lover but een
Its the ae true love that I dae hae
Was here late yestreen
Swell fare ye well then, false Maggie,
Since better canna be
Oh Ill awa the road I cam,
Nae mair come thee to see ...
His brother stands upon yonder banks,
Says, Fie man, will ye droon
So turn ye roon tyir high horse heid
An learn how to swim
Oh why could I turn to my high horse head
And learn how to swim
Its the deepest pot in a the Clyde,
An here that I maun droon
... Oh mother dear,
Come rede my drowsy dream
I dreamt sweet Willie was at my gates,
Naer yin wid lat him in
S lie still, lie still, my Maggie dear,
Lie still an tak your rest
Since your true love was at your gates,
Tis full three quarters past
But its Maggie rose, put on her clothes,
An to the Clyde she went
The first step noo that she took in,
It took her tae the knee
The next step noo that she took in,
It took her tae the chin
In the deepest pot in a the Clyde
She found her Willie in
So you have got a cruel mother,
And I have got another
But here we lie in Clyde water
Like sister and like brother
* This verse was provided in the booklet notes but is missing from the recording. Clydes Water (Child 216) - Willie Edward](https://i.ytimg.com/vi/H3IBry54Pqs/mqdefault.jpg)





![The Elfin Knight (Child 2) - Martha Johnstone
The Task / The Devil and the Maid / Blaw, Ye Winds, Blaw / The Elfin Knight (Child No. 2) - Sung by Mrs. Martha Peasie Johnstone (Martha Reid), a Traveller of Birnam, Perthshire, Scotland. She learned the song from her great-grandfather David Whyte from Aberdeenshire. Recorded by Hamish Henderson in February 1957 for the School of Scottish Studies.
Note by Kevin W.:
The interlaced refrain has almost disappeared from this version. It isnt explicitly mentioned in the text but after the song Martha explains that it is the devil who is giving the impossible tasks to a girl and then she gives him an impossible question in return and he does not get her. She called the song The Task.
Martha Johnstone learned the old songs from her grandparents and from older Travellers. Were indebted to her for sharing her songs with people and to Maurice Fleming and Hamish Henderson in the 1950s, Peter Shepheard in the 1960s and Linda Williamson in later years for visiting and recording her.
Martha told Linda Williamson how she tried to teach The Golden Vanity to her grandchildren, to get them interested in the old songs, but they had more interest in television than singing. Most singers, and especially Travellers felt regret at not being able to pass their songs on to a new generation. A song wasnt only a song, it was a living memory of their parents, their forebears. While singing there was a strong emotional connection with the person the song was learned from. When that person passed their memory lived on whenever the song was sung.
The original recording can be listened to here:
https://www.tobarandualchais.co.uk/track/21693?l=en
A biography of Martha Johnstone along with many further sound recordings can be found here:
https://www.tobarandualchais.co.uk/person/2719?l=en
Linda Williamsons thesis on Scottish Traveller singing can be read here, it is well worth your time if you are interested in Martha Johnstones song repertoire: https://era.ed.ac.uk/handle/1842/8223
Song transcription:
O make to me aye a Holland shirt,
Without either seam nor needle-work.
Youll wash it in to yon draw-well,
Where there never was water, nor one drap o dew fell,
An its ho, ho the windll blow.
O youll dry it owr yon thorn-haw bush,
Where there never was thorn since Adam was born,
An its ho, ho the windll blow.
Youll fetch to me two acres o land,
Between thon salt sea and yon salt sea strand.
Youll plou it up with the Divil taps horn,
An its ho, ho the windll blow.
Youll sow it oer with one grain o corn,
Youll ripen it up with one blink o sun,
[Youll cut it down with a pea-hens feather,] *
Youll stook it up by the sting of an ether [adder],
An its ho, ho the windll blow.
Youll yoke two sparrows in a match-box,
Youll cart it home to your own farmyard,
Ho, ho the windll blow.
For surely when you pit sich tasks on me,
Ill surely pit aye as hard on you:
How many strawberries grows on the salt sea?
And how many ships sails in the forest?
An its ho, ho the windll blow.
The two questions in the last verse are taken from The False Bride (Roud No. 154).
* This line was sung on other occasions but missed this time. The Elfin Knight (Child 2) - Martha Johnstone](https://i.ytimg.com/vi/JK-jtBmNahQ/mqdefault.jpg)
