Hugh of Lincoln
A’ the boys of merry LincolnWere playing at the ba’,And by it came him sweet Sir Hugh,And he play’d o’er them a’.
He kick’d the ba’ with his right foot,And catch’d it wi’ his knee,And thro’-and-thro’ the Jew’s windowHe gar’d the bonny ba’ flee.
He’s doen him to the Jew’s castell,And walk’d it round about;And there he saw the Jew’s daughterAt the window looking out.
‘Throw down the ba’, ye Jew’s daughter,Throw down the ba’ to me!’--‘Never a bit,’ says the Jew’s daughter,‘Till up to me come ye.’--
‘How will I come up? How can I come up?How can I come up to thee?I winna come up, I darena come up,Without my play-feres three.’
She’s ta’en her to the Jew’s garden,Where the grass grew long and green,She’s pu’d an apple red and whiteTo wyle the pretty boy in.
She’s wyled him in through ae dark door,And sae has she through nine;She’s laid him on a dressing table,And stickit him like a swine.
And first came out the thick, thick blood,And syne came out the thin,And syne came out the bonny heart’s blood;There was no more within.
She’s row’d him in a cake o’ lead,Bade him lie still and sleep;She’s thrown him into Our Lady’s draw-well,Was fifty fathom deep.
When bells were rung, and mass was sung,And a’ the bairns came hame,Then every lady had hame her son,But Lady Helen had nane.
She’s ta’en her mantle her about,Her coffer by the hand,And she’s gone out to seek her son,And wander’d o’er the land.
She’s doen her to the Jew’s castellWhere a’ were fast asleep;Cries, ‘Bonnie Sir Hugh, O pretty Sir Hugh,I pray you to me speak!’
She near’d Our Lady’s deep draw-well,And fell down on her knee:‘Where’er ye be, my sweet Sir Hugh,I pray you speak to me!’--
‘O the lead is wondrous heavy, mother,The well is wondrous deep;The little penknife sticks in my throat,And I downa to ye speak.
‘Gae hame, gae hame, my mither dear,Prepare my winding sheet,And at the back o’ merry LincolnThe morn I will you meet.’
Now Lady Helen is gane hame,Made him a winding sheet,And at the back o’ merry LincolnThe dead corpse did her meet.
And a’ the bells o’ merry LincolnWithout men’s hands were rung;And a’ the books o’ merry LincolnWere read without man’s tongue;And never was such a burialSin’ Adam’s day begun.
Words in this poem
- bonny a.
- Handsome; beautiful; pretty; attractively lively and graceful. [OE. boni, prob. fr. F. bon, fem. bonne, good, fr. L. bonus good. See Bounty, and cf. Bonus, Boon.]
- stickit a.
- Stuck; spoiled in making. Stickit minister, a candidate for the clerical office who fails, disqualified by incompetency or immorality.
- syne adv.
- Afterwards; since; ago. R. of Brunne. [See Since.]
- bade
- A form of the pat tense of Bid.
- rung n.
- A floor timber in a ship. [OE. ronge, AS. hrung, a staff, rod, pole; akin to G. runge a short, thick piece of iron or wood, OD. ronghe a prop, support, Icel. röng a rib in a ship, Goth. H]
- wondrous adv.
- In a wonderful or surprising manner or degree; wonderfully. [OE. wonders, adv. (later also adj.). See Wonder, n., and cf. -wards.]
- penknife n.
- A small pocketknife; formerly, a knife used for making and mending quill pens. [Pen + knife.]
- morn n.
- The first part of the day; the morning; -- used chiefly in poetry. [OE. morwen, morgen, AS. morgen; akin to D. morgen, OS. morgan, G. morgen, Icel. morginn, morgunn, Sw. morgon, Dan. morgen, Goth. maúrgins. Cf. Morrow, Morning.]
- gane v. i.
- To yawn; to gape. [See Yawn.]
- corpse n.
- A human body in general, whether living or dead; -- sometimes contemptuosly. [OF. cors (sometimes written corps), F. corps, L. corpus; akin to AS. hrif womb. See Midriff, and cf. Corse, Corselet, Corps, Cuerpo.]
- burial n.
- A grave; a tomb; a place of sepulture. [OE. buriel, buriels, grave, tomb, AS. byrgels, fr. byrgan to bury, and akin to OS. burgisli sepulcher.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Hugh of Lincoln 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, Hugh of Lincoln, in The Oxford Book of Ballads (before 1800), text of Project Gutenberg ebook #44593, Laurel, https://laurelpoetry.com/poem/oxford-ballads/hugh-of-lincoln.html, id L08428.
Form and metre
Hugh of Lincoln is 70 lines in 17 stanzas. The metre is common measure, measured from the stress the words themselves fix (confidence 84%). 96% of its stressed syllables fall where the metre puts the beat. The lines average 7.4 syllables. 15 lines end on an unstressed syllable, a feminine ending. 14% 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.
- 2 -A-A foot · kneeA · window · fleeA
- 3 -A-A castell · aboutA · daughter · outA
- 4 ABAB daughterA · meB · daughterA · yeB
- 5 ABAB upA · theeB · upA · threeB
- 6 AA-A gardenA · greenA · white · inA
- 7 -A-A door · nineA · table · swineA
- 8 ABAB bloodA · thinB · bloodA · withinB
- 9 -A-A lead · sleepA · well · deepA
- 11 -A-A about · handA · son · landA
- 13 -A-A well · kneeA · hugh · meA
- 15 -A-A dear · sheetA · lincoln · meetA
- 16 -A-A hame · sheetA · lincoln · meetA
- 17 ABAB-A lincolnA · rungB · lincolnA · tongueB · burial · begunA
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 |
|---|---|---|
| A’ the boys of merry Lincoln | 8 | ····/˘/˘ |
| Were playing at the ba’, | 6 | ·/˘··· |
| And by it came him sweet Sir Hugh, | 8 | ········ |
| And he play’d o’er them a’. | 6 | ······ |
| He kick’d the ba’ with his right foot, | 8 | ········ |
| And catch’d it wi’ his knee, | 6 | ······ |
| And thro’-and-thro’ the Jew’s window | 8 | ······/˘ |
| He gar’d the bonny ba’ flee. | 8 | ·/˘·/˘·· |
| He’s doen him to the Jew’s castell, | 8 | ······/˘ |
| And walk’d it round about; | 6 | ······ |
| And there he saw the Jew’s daughter | 8 | ······/˘ |
| At the window looking out. | 7 | ··/˘/˘· |
| ‘Throw down the ba’, ye Jew’s daughter, | 8 | ······/˘ |
| Throw down the ba’ to me!’-- | 6 | ······ |
| ‘Never a bit,’ says the Jew’s daughter, | 9 | /˘·····/˘ |
| ‘Till up to me come ye.’-- | 6 | ······ |
| ‘How will I come up? How can I come up? | 10 | ·········· |
| How can I come up to thee? | 7 | ······· |
| I winna come up, I darena come up, | 11 | ··········· |
| Without my play-feres three.’ | 6 | ······ |
| She’s ta’en her to the Jew’s garden, | 8 | ······/˘ |
| Where the grass grew long and green, | 7 | ······· |
| She’s pu’d an apple red and white | 8 | ···/˘··· |
| To wyle the pretty boy in. | 7 | ···/˘·· |
| She’s wyled him in through ae dark door, | 8 | ········ |
| And sae has she through nine; | 6 | ······ |
| She’s laid him on a dressing table, | 9 | ·····/˘/˘ |
| And stickit him like a swine. | 7 | ·/˘···· |
| And first came out the thick, thick blood, | 8 | ········ |
| And syne came out the thin, | 6 | ······ |
| And syne came out the bonny heart’s blood; | 9 | ·····/˘·· |
| There was no more within. | 6 | ······ |
| She’s row’d him in a cake o’ lead, | 8 | ········ |
| Bade him lie still and sleep; | 6 | ······ |
| She’s thrown him into Our Lady’s draw-well, | 10 | ·····//˘·· |
| Was fifty fathom deep. | 6 | ·/˘/˘· |
| When bells were rung, and mass was sung, | 8 | ········ |
| And a’ the bairns came hame, | 6 | ······ |
| Then every lady had hame her son, | 9 | ·/˘/˘···· |
| But Lady Helen had nane. | 7 | ·/˘/˘·· |
| She’s ta’en her mantle her about, | 8 | ···/˘··· |
| Her coffer by the hand, | 6 | ·/˘··· |
| And she’s gone out to seek her son, | 8 | ········ |
| And wander’d o’er the land. | 6 | ·/˘··· |
| She’s doen her to the Jew’s castell | 8 | ······/˘ |
| Where a’ were fast asleep; | 6 | ····˘/ |
| Cries, ‘Bonnie Sir Hugh, O pretty Sir Hugh, | 10 | ·/˘···/˘·· |
| I pray you to me speak!’ | 6 | ······ |
| She near’d Our Lady’s deep draw-well, | 8 | ··//˘··· |
| And fell down on her knee: | 6 | ······ |
| ‘Where’er ye be, my sweet Sir Hugh, | 9 | ˘˘/······ |
| I pray you speak to me!’-- | 6 | ······ |
| ‘O the lead is wondrous heavy, mother, | 10 | ····/˘/˘/˘ |
| The well is wondrous deep; | 6 | ···/˘· |
| The little penknife sticks in my throat, | 9 | ·/˘/˘···· |
| And I downa to ye speak. | 7 | ······· |
| ‘Gae hame, gae hame, my mither dear, | 8 | ········ |
| Prepare my winding sheet, | 6 | ˘/·/˘· |
| And at the back o’ merry Lincoln | 9 | ·····/˘/˘ |
| The morn I will you meet.’ | 6 | ······ |
| Now Lady Helen is gane hame, | 8 | ·/˘/˘··· |
| Made him a winding sheet, | 6 | ···/˘· |
| And at the back o’ merry Lincoln | 9 | ·····/˘/˘ |
| The dead corpse did her meet. | 6 | ······ |
| And a’ the bells o’ merry Lincoln | 9 | ·····/˘/˘ |
| Without men’s hands were rung; | 6 | ······ |
| And a’ the books o’ merry Lincoln | 9 | ·····/˘/˘ |
| Were read without man’s tongue; | 6 | ······ |
| And never was such a burial | 9 | ·/˘···/˘˘ |
| Sin’ Adam’s day begun. | 6 | ·/˘·˘/ |
Notes from the edition 4
Arthur Quiller-Couch's notes to The Oxford Book of Ballads (1910; Project Gutenberg #44593).
- Stanza 3, line 1 doen = betaken.
- Stanza 5, line 4 play-feres = playfellows.
- Stanza 9, line 1 row’d = wrapped.
- Stanza 14, line 4 downa = cannot, have not the force to.
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.