5.3.1: “Pretty Polly”
We will begin with a ballad from the tradition of the British Isles. Discussing ballads such as “Pretty Polly,” however, presents unique challenges. While each song from Beyonce’s Lemonade or Schubert’s The Lovely Maid of the Mill is a specific musical object that can be identified and described, such is not the case with traditional ballads.
This is because they belong to an oral tradition in which songs are passed down from generation to generation by word of mouth without reliance on written sources.
Oral tradition often works like an enormous game of telephone. Each time a new person learns the song, they make small changes to the text and/or music. These changes might be intentional or accidental. Some singers consciously decide to “improve” a melody or alter a few words of text, while others simply forget what they had originally been taught. At first, a song will still be recognizable, but over centuries and great distances it can acquire a text and melody that bear little relation to the original. In some cases, only a line of poetry or the name of a character betrays the link between two ballads that otherwise seem to have no connection.
This is the case with “Pretty Polly.” We will be examining two versions of the ballad as it was recorded by American folk artists in the 20th century. Even these contemporary versions are significantly different, although a listener can easily recognize that each is a recording of the same song. These variations, however, only scratch the surface.
British Antecedents
“Pretty Polly” is a modern descendent of a much older British ballad entitled “The Gosport Tragedy.” Like many ballads, “The Gosport Tragedy” narrated real-life happenings (although with a supernatural twist). Names and details
included in some versions of the ballad tie it to documented events that took place in 1726. Ballads were often used to commemorate tragedies, celebrate victories, eviscerate politicians, or spread the news of notorious crimes.”The Gosport Tragedy” falls into this last category, for it tells the story of a ship’s carpenter who murdered his pregnant girlfriend before himself perishing at sea. In the final stanzas of early versions, the spectre of the betrayed girl appears on board the ship to exact her revenge.
As such, “The Gosport Tragedy”—as well as its New World derivative, “Pretty Polly”— can be specifically categorized as a murder ballad . Just as television viewers today like watching shows about crime, so also regular folks of previous centuries enjoyed hearing about the salacious misdeeds of condemned criminals. As a result, the activities of notorious murderers provided fodder for countless ballads. Most murder ballads specifically tell of young women who lost their lives to deceitful lovers.
The purpose of these ballads was not only to thrill and horrify. They also served to instruct and warn. Mothers often sang ballads to their daughters, who received the message that they must withhold sexual favors from suitors until after marriage. The girls in the songs, after all, put their own lives at risk when they agreed to leave their homes for a young man who had not made a formal commitment. In this way, ballads provided entertainment while also enforcing social norms.
“The Gosport Tragedy” first appeared in print around 1760, but this should not be considered the “original” or “correct” version. One of the challenges facing those who wish to study the histories of traditional ballads is that there is never a preserved, authoritative work. While a particular ballad might have begun life as the creation of a specific individual, we almost never know the identity of that person. And, as described above, ballads begin to change immediately upon entering the oral tradition. Most scholars are more interested in examining the many versions of a ballad that proliferate throughout the repertoire than they are in identifying the most authentic version.
The story first told as “The Gosport Tragedy” has appeared under a variety of titles, including “The Cruel Ship’s Carpenter,” “Love and Murder,” “Polly’s Love,” “Molly the Betray’d” and “The Fog-bound Vessel.” Some versions have been published in print, while others have been collected by “ballad hunters,” who visit rural areas to record and preserve products of the oral tradition.
The version known as “Pretty Polly” emerged in the Appalachian region of the United States. Many immigrants from the British Isles—especially the impoverished Scotch-Irish, who came from a region on the border between England and Scotland—paid for their voyage to the New World by serving as indentured laborers in Pennsylvania. After repaying their debt, they headed into the mountainous regions where land could be obtained for little or no cost. These immigrants had few physical possessions, but they brought in their memories a rich tradition of song.
We will examine two versions of “Pretty Polly” as sung by the traditional Appalachian musicians Dock Boggs (1898-1971) and Jean Ritchie (1922-2015). Both grew up in the region, and both learned the song as children from older musicians in their families or communities. Although the two versions were recorded in the same year and share many elements in common, they also contain significant differences. These differences reveal the influence of oral tradition and provide insight into the values and practices of folk music culture.
Dock Boggs
Dock Boggs was born in the small town of Norton, Virginia, the youngest of ten children. Boggs grew up in a musical household: His father sang and several of his older siblings played the banjo. However, none of the children received a formal music education. Instead, they taught each other or sought guidance from other musicians in the community. Boggs began playing on his oldest brother’s banjo, and he learned “Pretty Polly”6 from his family. He developed a unique playing style based on his observation of African American banjo players at dances, and he sought out the guidance of other black musicians who worked in the area. As a child, however, he never imagined that he might pursue a career in music.
“Pretty Polly” Performance: Dock Boggs (1963)
This changed in the 1920s, when parallel technological developments—radio and field recording —fed a booming market for rural Southern music. Radio revealed the enormous demand for rural music, especially among those who had moved to northern cities in pursuit of industrial jobs. Many stations began broadcasting regular “barn dance” programs, which eventually provided work to musicians. At the same time, record companies began sending field representatives into rural Southern communities in pursuit of marketable sounds. Before the 1920s, commercial recordings could only be made in studios, most of which were located in New York City. Beginning in 1923, however, Southern musicians were recorded on site using portable equipment.
Boggs had gone to work in the coal mines at the age of twelve, although he continued to play for dances—a source of conflict with his wife, who saw music as a sinful pursuit. During the 1920s, however, he began to see the possibility of a different life. Instead of waiting for a local opportunity, he travelled north to make his first recordings. In 1927 he recorded eight songs for Brunswick in New York City, and in 1929 he recorded a further four songs for Lonesome Ace in Chicago. Just as Boggs glimpsed a professional music career on the horizon, however, the stock market crash of 1929 inaugurated the Great Depression. Doors closed and he returned to the mines.
Although Boggs did not abandon music altogether, hard times lead him to pawn his banjo in the late 1930s, and he did not perform at all for the next quarter century. He had left the coal mines in 1954, ending a 44 year career during which he had miraculously escaped serious injury. Boggs settled down to a quiet retirement. In 1963, however, his fortunes shifted yet again. Beginning in the previous decade, an enthusiasm for Appalachian folk music had swept northern college campuses as part of what is known as the folk revival . One of the leading figures in the revival, Mike Seeger, had heard and appreciated Boggs’s early recordings, and he set out to find him. Within weeks of their first meeting, Seeger had booked appearances for Boggs at all of the major folk festivals and begun to record his repertoire of songs. By the time he passed away, Boggs was firmly ensconced as a major figure in American folk music history.
“Pretty Polly” was among the songs that Boggs recorded in 1927, but for the purpose of sound quality we will examine his 1963 recording for Folkways records. Even these two performances by the same musician are quite different. Boggs does not sing the same set of verses in 1963 that he had sung in his youth, and his timing and inflection have also changed. This is probably not intentional. Folk musicians do not seek to replicate a single ideal performance, and they are prone to forget, discard, alter, and create verses.
Jean Ritchie
Although she was a generation younger, Jean Ritchie’s childhood was very similar to that of Boggs. She was the youngest of fourteen children born to a farming couple in Perry County, Kentucky. Her family carried on a rich tradition of ballad singing, and two of her older sisters were in fact recorded by the most famous Appalachian ballad hunter, Cecil Sharp, in 1917. Ritchie’s family believed strongly in education, and she graduated from the University of Kentucky with a degree in social work in 1946. She took a job in her field, but also pursued music seriously, making her first of many recordings in 1952. Ritchie benefited from the folk revival, which provided a large and interested audience for her music.
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“Pretty Polly” Performance: Jean Ritchie (1963) |
Ritchie was an accomplished ballad singer, but she is best remembered for her role in popularizing the instrument heard on this recording, the Appalachian dulcimer. The Appalachian dulcimer is a type of fretted zither , examples of which can be found in many traditions around the world. It is descended from a German instrument and was first built by immigrant craftspeople in Pennsylvania. The Appalachian dulcimer became popular in parts of the region because it is easy to build and play. The body is a simple box. Although the melody is only played on the highest string (or pair of strings), all of the strings are strummed at the same time. The dulcimer can be used to play simple tunes on its own or to accompany singing, although Ritchie in fact preferred to sing her ballads unaccompanied, as she had learned them.
Ritchie’s father played the Appalachian dulcimer, but because he valued the instrument so highly he forbade his children to touch it. Ritchie, however, could not resist, and she taught herself to play in secret. After she had demonstrated a gift for the instrument, her father conceded to teach her. This story is typical of instrumentalists in the Appalachian folk tradition. Children were almost never encouraged to begin playing an instrument or provided with formal instruction. Instead, those who were interested would figure out how to play independently by listening, watching, and experimenting.
Comparing Two Renditions of “Pretty Polly”
The first difference between the Boggs and Ritchie recordings is the instrumental accompaniment: banjo for Boggs, dulcimer for Ritchie. Both singers, however, provide their own accompaniment, which is typical of ballad performances (when they are accompanied at all). Boggs uses the banjo to provide rhythms while at the same time picking out the melody as he sings it. The dulcimer also provides rhythm, but Ritchie does not play the melody while she sings. Instead, she plays various countermelodies on the dulcimer that are distinct from but compliment the sung melody. Both performers provide instrumental interludes between some of the verses.
The melodies sung by Boggs and Ritchie, however, are not quite the same. Each follows the same general shape, starting low, moving to a higher range, and returning to the low range, and the beginnings are almost identical. There are differences, however, in pitch, rhythm, and general timing. The two singers start at the same tempo, but Boggs gets considerably faster as he goes.
We might also compare Boggs and Ritchie as singers. Both sing in a plain, straightforward style, almost as if they are speaking. Neither uses vibrato . They also don’t seem to put any particular effort into expressing the meaning of the text or creating an emotional effect. Instead, each simply sings the words, expecting the story to have an impact because of its dramatic contents, not because of the way in which those contents are communicated. All of this is typical of traditional Appalachian ballad singers.
The most obvious distinction between the recordings, perhaps, lies in the text. Boggs and Ritchie each start the song in quite a different way. Boggs begins with a first person recollection of courting Pretty Polly. This is reasonable, since he is a male singer, but also strange, since he reverts to the third person in the fourth verse. This is perhaps evidence that he learned several versions of the ballad over the years and combined verses from different sources. The first three verses in Ritchie’s version are also in the first person, but this is because she is giving voice to the characters in turn. Her last four verses describe the conclusion of the scene in third person and offer a moralizing final thought. (Other singers, such as David Lindley, have been known to change the end of the story, allowing Polly to turn the knife on her assailant and walk away alive.)
Although the two recordings are obviously of the same song, they have only four verses in common—and even those are not identical. Boggs sings four verses that Ritchie does not, while Ritchie’s final three verses were not sung by Boggs. This observation only applies to these specific recordings, of course. Both singers performed different sets of verses on different occasions, depending on either the setting or their ability to remember the words.
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“Pretty Polly” as sung by Dock Boggs (1963) |
“Pretty Polly” as sung by Jean Ritchie (1963) |
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Oh I used to be a rambler, I stayed around in town, I courted Pretty Polly, such beauty never been found. |
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Pretty Polly, Pretty Polly, oh yonder she stands, With rings on her fingers and lily- white hands |
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Pretty Polly, Pretty Polly come take a walk with me When we get married some pleasure to see |
Polly, Pretty Polly, come go along with me, Before we get married some pleasure to see. |
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He led her over hills and valleys so deep At last Pretty Polly, she began to weep |
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Oh Willie, oh Willie, I’m afraid of your way All minding to ramble and lead me astray |
Oh Willie, Oh Willie, I’m ‘fraid of your ways. I’m afraid you will lead my poor body astray. |
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Pretty Polly, Pretty Polly, you guessin’ ‘bout right, I dug on your grave two-thirds of lastnight |
Now Polly, Pretty Polly, you’re guessin’ about right. I dug on your grave the best part of last night. |
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She went on a piece farther and what did she spy? A new-dug grave and a spade lying by |
Oh she stepped a few steps farther, and what did she spy, But a new dug-in grave, and the spade lyin’ nigh. |
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She threw her arms around him and began for to weep At last Pretty Polly, sure fell asleep |
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Oh he stabbed her through the heart and her heart’s blood did flow, And into the grave Pretty Polly she did go. |
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Now he threw a little dirt over her and started for home, Leaving no-one behind but the wild birds to mourn. |
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It’s a debt to the devil for Willie must pay For killing Pretty Polly and running away. |