Fair Margaret and Sweet William
As it fell out on a long summer’s day,Two lovers they sat on a hill:They sat together that long summer’s day,And could not talk their fill.
‘I see no harm by you, Margaret,Nor you see none by me;Before to-morrow eight o’clockA rich wedding shall you see.’
Fair Margaret sat in her bower-windowCombing her yellow hair,She saw Sweet William and his brown brideUnto the church draw near.
Then down she laid her ivory comb,And up she bound her hair;She went out from her bower aliveBut alive never more came there.
When day was gone, and night was come,And all men fast asleep,Came in the ghost of fair Margaret,And stood at William’s feet.
‘How like ye the lady, Sweet William,That lies in your arms asleep?God give you joy of your gay bride-bed,And me of my winding-sheet!’
When night was gone, and day was come,And all men waked from sleep,His lady said to Sweet William,‘My dear, I have cause to weep:
‘I dream’d a dream, Sweet William,That seldom comes to good:My bower was fill’d with wild-wood swine,And our bride-bed full of blood.’
He callèd up his merry men all,By one, by two, by three.Saying, ‘I’ll away to Fair Margaret’s bower,With the leave of my ladye.’
And when he came to Fair Margaret’s bowerHe knockèd at the ring;And who so ready as her seven brothersTo rise and let him in?
‘O, is she in the parlour?’ he said,‘Or is she in the hall?Or is she in the long chamberAmongst her merry maids all?’--
‘No, she’s not in the parlour,’ they said,‘Nor she’s not in the hall:But she is in the long chamber,Laid out against the wall.’--
He turnèd up the covering-sheet,And look’d upon the dead.‘Methinks her lips are pale and wan,She has lost her cherry red.’
With that bespake the seven brothers,Making a piteous moan:‘You may go kiss your jolly brown bride,And let our sister alone.’--
‘If I do kiss my jolly brown bride,I do but what is right;For I made no vow to your sister dear,By day nor yet by night.
‘Deal on, deal on, my merry men all,Deal on your cake and wine!For whatever is dealt at her funeral to-dayShall be dealt to-morrow at mine.’
Fair Margaret died on the over night,Sweet William died on the morrow:Fair Margaret died for pure, pure love,Sweet William died for sorrow.
Go with your right to Newcastle,And come with your left side home;There you will see these two loversLie printed on one stone.
Words in this poem
- shall v. i.
- To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]
- went n.
- Course; way; path; journey; direction.
- ghost n.
- The spirit; the soul of man. [OE. gast, gost, soul, spirit, AS. gast breath, spirit, soul; akin to OS. g spirit, soul, D. geest, G. geist, and prob. to E. gaze, ghastly.]
- amongst prep.
- Mixed or mingled; surrounded by. [OE. amongist, amonges, amonge, among, AS. onmang, ongemang, gemang, in a crowd or mixture. For the ending -st see Amidst. See Mingle.]
- methinks v.
- It seems to me; I think. See Me. [AS. þyncan to seem, me þynceedh, me þuhte, OE. me thinketh, me thoughte; akin to G. dünken to seem, denken to think, and E. think. See Me, and Think.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Fair Margaret and Sweet William is in the public domain. This text is taken from The Oxford Book of Ballads, Project Gutenberg ebook #44593; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Arthur Quiller-Couch, Fair Margaret and Sweet William, in The Oxford Book of Ballads (before 1800), text of Project Gutenberg ebook #44593, Laurel, https://laurelpoetry.com/poem/oxford-ballads/fair-margaret-and-sweet-william.html, id L08411.
Form and metre
Fair Margaret and Sweet William is 72 lines in 18 stanzas of 4 lines each. The metre is common measure, measured from the stress the words themselves fix (confidence 78%). 92% of its stressed syllables fall where the metre puts the beat. The lines average 7.7 syllables. 14 lines end on an unstressed syllable, a feminine ending. 12% of the lines run on without a stop at the line end.
See other poems in common measure.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 ABAB dayA · hillB · dayA · fillB
- 2 -A-A margaret · meA · o'clock · seeA
- 3 -A-A window · hairA · bride · nearA
- 4 -A-A comb · hairA · alive · thereA
- 5 --AA come · asleep · margaretA · feetA
- 7 ABAB comeA · sleepB · williamA · weepB
- 8 -A-A william · goodA · swine · bloodA
- 11 -A-A said · hallA · chamber · allA
- 12 -A-A said · hallA · chamber · wallA
- 13 -A-A sheet · deadA · wan · redA
- 14 -A-A brothers · moanA · bride · aloneA
- 15 -A-A bride · rightA · dear · nightA
- 16 -A-A all · wineA · day · mineA
- 17 -A-A night · morrowA · love · sorrowA
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against common measure. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| As it fell out on a long summer’s day, | 10 | ·······/˘· |
| Two lovers they sat on a hill: | 8 | ·/˘····· |
| They sat together that long summer’s day, | 10 | ··˘/˘··/˘· |
| And could not talk their fill. | 6 | ······ |
| ‘I see no harm by you, Margaret, | 9 | ······/˘˘ |
| Nor you see none by me; | 6 | ······ |
| Before to-morrow eight o’clock | 8 | ···/˘·˘/ |
| A rich wedding shall you see.’ | 7 | ··/˘··· |
| Fair Margaret sat in her bower-window | 9 | ·/˘···//˘ |
| Combing her yellow hair, | 6 | /˘·/˘· |
| She saw Sweet William and his brown bride | 9 | ···/˘···· |
| Unto the church draw near. | 6 | ······ |
| Then down she laid her ivory comb, | 8 | ·····/˘· |
| And up she bound her hair; | 6 | ······ |
| She went out from her bower alive | 8 | ·····/˘/ |
| But alive never more came there. | 8 | ·˘//˘··· |
| When day was gone, and night was come, | 8 | ········ |
| And all men fast asleep, | 6 | ····˘/ |
| Came in the ghost of fair Margaret, | 9 | ······/˘˘ |
| And stood at William’s feet. | 6 | ···/˘· |
| ‘How like ye the lady, Sweet William, | 9 | ····/˘·/˘ |
| That lies in your arms asleep? | 7 | ·····˘/ |
| God give you joy of your gay bride-bed, | 9 | ········· |
| And me of my winding-sheet!’ | 7 | ····/˘· |
| When night was gone, and day was come, | 8 | ········ |
| And all men waked from sleep, | 7 | ····˘·· |
| His lady said to Sweet William, | 8 | ·/˘···/˘ |
| ‘My dear, I have cause to weep: | 7 | ······· |
| ‘I dream’d a dream, Sweet William, | 7 | ·····/˘ |
| That seldom comes to good: | 6 | ·/˘··· |
| My bower was fill’d with wild-wood swine, | 8 | ·/······ |
| And our bride-bed full of blood.’ | 8 | ·/˘····· |
| He callèd up his merry men all, | 8 | ····/˘·· |
| By one, by two, by three. | 6 | ······ |
| Saying, ‘I’ll away to Fair Margaret’s bower, | 10 | /˘·˘/··/˘/ |
| With the leave of my ladye.’ | 7 | ······· |
| And when he came to Fair Margaret’s bower | 9 | ······/˘/ |
| He knockèd at the ring; | 5 | ····· |
| And who so ready as her seven brothers | 10 | ···/˘··//˘ |
| To rise and let him in? | 6 | ······ |
| ‘O, is she in the parlour?’ he said, | 9 | ·····/˘·· |
| ‘Or is she in the hall? | 6 | ······ |
| Or is she in the long chamber | 8 | ······/˘ |
| Amongst her merry maids all?’-- | 7 | ···/˘·· |
| ‘No, she’s not in the parlour,’ they said, | 9 | ·····/˘·· |
| ‘Nor she’s not in the hall: | 6 | ······ |
| But she is in the long chamber, | 8 | ······/˘ |
| Laid out against the wall.’-- | 6 | ······ |
| He turnèd up the covering-sheet, | 8 | ····/˘˘· |
| And look’d upon the dead. | 6 | ······ |
| ‘Methinks her lips are pale and wan, | 8 | ˘/······ |
| She has lost her cherry red.’ | 7 | ····/˘· |
| With that bespake the seven brothers, | 9 | ·····/˘/˘ |
| Making a piteous moan: | 7 | /˘·/˘˘· |
| ‘You may go kiss your jolly brown bride, | 9 | ·····/˘·· |
| And let our sister alone.’-- | 8 | ··/˘/˘˘/ |
| ‘If I do kiss my jolly brown bride, | 9 | ·····/˘·· |
| I do but what is right; | 6 | ······ |
| For I made no vow to your sister dear, | 10 | ·······/˘· |
| By day nor yet by night. | 6 | ······ |
| ‘Deal on, deal on, my merry men all, | 9 | ·····/˘·· |
| Deal on your cake and wine! | 6 | ······ |
| For whatever is dealt at her funeral to-day | 12 | ··/˘····/˘·· |
| Shall be dealt to-morrow at mine.’ | 8 | ····/˘·· |
| Fair Margaret died on the over night, | 8 | ·/˘····· |
| Sweet William died on the morrow: | 8 | ·/˘···/˘ |
| Fair Margaret died for pure, pure love, | 8 | ·/˘····· |
| Sweet William died for sorrow. | 7 | ·/˘··/˘ |
| Go with your right to Newcastle, | 8 | ·····/·˘ |
| And come with your left side home; | 7 | ······· |
| There you will see these two lovers | 8 | ······/˘ |
| Lie printed on one stone. | 6 | ·/˘··· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.