May Colvin

Arthur Quiller-Couch (1863–1944) · before 1800

common measure · 76 lines · from The Oxford Book of Ballads

False Sir John a-wooing cameTo a maid of beauty fair;May Colvin was this lady’s name,Her father’s only heir.

He woo’d her but, he woo’d her ben,He woo’d her in the ha’;Until he got the lady’s consentTo mount and ride awa’.

‘Go fetch me some of your father’s gold,And some of your mother’s fee,And I’ll carry you into the north land,And there I’ll marry thee.’

She’s gane to her father’s coffersWhere all his money lay,And she’s taken the red, and she’s left the white,And so lightly she’s tripp’d away.

She’s gane to her father’s stableWhere all the steeds did stand,And she’s taken the best, and she’s left the warstThat was in her father’s land.

She’s mounted on a milk-white steed,And he on a dapple-grey,And on they rade to a lonesome part,A rock beside the sea.

‘Loup off the steed,’ says false Sir John,‘Your bridal bed you see;Seven ladies I have drownèd here,And the eight’ one you shall be.

‘Cast off, cast off your silks so fineAnd lay them on a stone,For they are too fine and costlyTo rot in the salt sea foam.

‘Cast off, cast off your silken stays,For and your broider’d shoon,For they are too fine and costlyTo rot in the salt sea foam.

‘Cast off, cast off your Holland smockThat’s border’d with the lawn,For it is too fine and costlyTo rot in the salt sea foam.’--

‘O turn about, thou false Sir John,And look to the leaf o’ the tree;For it never became a gentlemanA naked woman to see.’

He turn’d himself straight round aboutTo look to the leaf o’ the tree;She’s twined her arms about his waistAnd thrown him into the sea.

‘O hold a grip o’ me, May Colvín,For fear that I should drown;I’ll take you home to your father’s bowerAnd safe I’ll set you down.’

‘No help, no help, thou false Sir John,No help, no pity thee!For you lie not in a caulder bedThan you thought to lay me.’

She mounted on her milk-white steed,And led the dapple-grey,And she rode till she reach’d her father’s gate,At the breakin’ o’ the day.

Up then spake the pretty parrot,‘May Colvin, where have you been?What has become o’ false Sir JohnThat went with you yestreen?’--

‘O hold your tongue, my pretty parrot!Nor tell no tales o’ me;Your cage shall be made o’ the beaten goldAnd the spokes o’ ivorie.’

Up then spake her father dear,In the bed-chamber where he lay;‘What ails the pretty parrot,That prattles so long ere day?’--

‘There came a cat to my cage, master,I thought ’t would have worried me,And I was calling to May ColvínTo take the cat from me.’

Words in this poem

gane v. i.
To yawn; to gape. [See Yawn.]
steed n.
A horse, especially a spirited horse for state of war; -- used chiefly in poetry or stately prose. [OE. stede, AS. steda a stud-horse, war horse, fr. stod a stud of breeding steeds; akin to G. stute a mare, Icel. stedda, sto, a stud. *163. See Stud of horses.]
dapple n.
One of the spots on a dappled animal. [Cf. Icel. depill a spot, a dot, a dog with spots over the eyes, dapi a pool, and E. dimple.]
lonesome a.
Secluded from society; not frequented by human beings; solitary.
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,]
rode n.
Redness; complexion. [See Rud.]
went n.
Course; way; path; journey; direction.
yestreen n.
Yester-evening; yesternight; last night.

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

May Colvin 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, May Colvin, in The Oxford Book of Ballads (before 1800), text of Project Gutenberg ebook #44593, Laurel, https://laurelpoetry.com/poem/oxford-ballads/may-colvin.html, id L08359.

Form and metre

May Colvin is 76 lines in 19 stanzas of 4 lines each. The metre is common measure, measured from the stress the words themselves fix (confidence 83%). 98% of its stressed syllables fall where the metre puts the beat. The lines average 7.6 syllables. 10 lines end on an unstressed syllable, a feminine ending. 24% 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. 1 ABAB cameA · fairB · nameA · heirB
  2. 3 -A-A gold · feeA · land · theeA
  3. 4 -A-A coffers · layA · white · awayA
  4. 5 -A-A stable · standA · warst · landA
  5. 7 -A-A john · seeA · here · beA
  6. 11 ABAB johnA · treeB · gentlemanA · seeB
  7. 12 -A-A about · treeA · waist · seaA
  8. 13 -A-A colvín · drownA · bower · downA
  9. 14 -A-A john · theeA · bed · meA
  10. 15 -A-A steed · greyA · gate · dayA
  11. 16 -A-A parrot · beenA · john · yestreenA
  12. 18 -A-A dear · layA · parrot · dayA
  13. 19 -A-A master · meA · colvín · meA
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.

LineSyl.Stress
False Sir John a-wooing came7····/˘·
To a maid of beauty fair;7····/˘·
May Colvin was this lady’s name,8·/˘··/˘·
Her father’s only heir.6·/˘/˘·
He woo’d her but, he woo’d her ben,8········
He woo’d her in the ha’;6······
Until he got the lady’s consent9·····/˘˘/
To mount and ride awa’.6······
‘Go fetch me some of your father’s gold,9······/˘·
And some of your mother’s fee,7····/˘·
And I’ll carry you into the north land,10··/˘······
And there I’ll marry thee.’6···/˘·
She’s gane to her father’s coffers8····/˘/˘
Where all his money lay,6···/˘·
And she’s taken the red, and she’s left the white,11··/˘·······
And so lightly she’s tripp’d away.8··/˘··˘/
She’s gane to her father’s stable8····/˘/˘
Where all the steeds did stand,6······
And she’s taken the best, and she’s left the warst11··/˘·······
That was in her father’s land.7····/˘·
She’s mounted on a milk-white steed,8·/˘·····
And he on a dapple-grey,7····/˘·
And on they rade to a lonesome part,9······/˘·
A rock beside the sea.6··˘/··
‘Loup off the steed,’ says false Sir John,8········
‘Your bridal bed you see;6·/˘···
Seven ladies I have drownèd here,8/˘/˘····
And the eight’ one you shall be.7·······
‘Cast off, cast off your silks so fine8········
And lay them on a stone,6······
For they are too fine and costly8······/˘
To rot in the salt sea foam.7·······
‘Cast off, cast off your silken stays,8·····/˘·
For and your broider’d shoon,6······
For they are too fine and costly8······/˘
To rot in the salt sea foam.7·······
‘Cast off, cast off your Holland smock8·····/˘·
That’s border’d with the lawn,6·/˘···
For it is too fine and costly8······/˘
To rot in the salt sea foam.’--7·······
‘O turn about, thou false Sir John,8········
And look to the leaf o’ the tree;8········
For it never became a gentleman9··/˘/·/˘˘
A naked woman to see.’7·/˘/˘··
He turn’d himself straight round about8··˘/····
To look to the leaf o’ the tree;8········
She’s twined her arms about his waist8········
And thrown him into the sea.7·······
‘O hold a grip o’ me, May Colvín,9·········
For fear that I should drown;6······
I’ll take you home to your father’s bower9······/˘/
And safe I’ll set you down.’6······
‘No help, no help, thou false Sir John,8········
No help, no pity thee!6···/˘·
For you lie not in a caulder bed9······/˘·
Than you thought to lay me.’6······
She mounted on her milk-white steed,8·/˘·····
And led the dapple-grey,6···/˘·
And she rode till she reach’d her father’s gate,10·······/˘·
At the breakin’ o’ the day.7·······
Up then spake the pretty parrot,8····/˘/˘
‘May Colvin, where have you been?7·/˘····
What has become o’ false Sir John8··˘/····
That went with you yestreen?’--6······
‘O hold your tongue, my pretty parrot!9·····/˘/˘
Nor tell no tales o’ me;6······
Your cage shall be made o’ the beaten gold10·······/˘·
And the spokes o’ ivorie.’7·······
Up then spake her father dear,7····/˘·
In the bed-chamber where he lay;8···/˘···
‘What ails the pretty parrot,7···/˘/˘
That prattles so long ere day?’--7·/˘····
‘There came a cat to my cage, master,9·······/˘
I thought ’t would have worried me,8·····/˘·
And I was calling to May Colvín9···/˘····
To take the cat from me.’6······
Notes from the edition 2

Arthur Quiller-Couch's notes to The Oxford Book of Ballads (1910; Project Gutenberg #44593).

  1. Stanza 2, line 1 but, ben = both in the outer and inner rooms.
  2. Stanza 7, line 1 loup = leap.

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.

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