Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 okoe15(eebr20) 286–308 2004): (December 115 Folklore utr.Fl ui eias sNi oebr onsot onts much so not do out, points Rosenberg of study Neil the in as concern revivals, central a music dishonesty become Folk has flagrant were tradition” culture. of most accents in invention Nothing, “the the English (1983), way. perhaps fake that except in them 135). “inauthentic,” sing sung Within 1993, to values.” is (Posen songs expected and words, be even were rules could other “norms, singers noted, performances its because which he to in authentic, context adhered community, out social one change pointed a this if to 1976, itself authentic, in helped was writing revival considered This Posen, folk revival. Sheldon scholars the folksong many authenticity. that the 1970s, of and through notions 1960s folklore the folkloristic In to revivals. attracted music of were While context the products in 15). as especially off passed 1997, 1969). and are (Dorson authors coined (Bendix practices by tradition famously created folk authorial Dorson tradition materials of Richard for root, folklore; “fakelore” impersonal etymological inauthentic word been the produce an of has to Yet, share taken it forces 14). usually “author” because 1997, and authority, the no (Bendix by individual’s “authentic” made by hand’” no is which with own that re-made imbued opposite: one’s the hand, by meant usually discernable ‘made has folklore and in from “authentic” authority’ derives “Authentic folklore with reversal. in acts semantic authenticity remarkable ‘ of Greek a concept the out the points of she study studies, foundational Bendix’s Regina In Introduction Winick D. Stephen British a of Ballad and Afterlife Broadside Authenticity the Reynardine: in and Authorship Lloyd L. A. ARTICLE RESEARCH SN01-8Xpit 4981 nie0/3262;RuldeJunl;Tyo rni Ltd Francis 10.1080/0015587042000284275 & DOI: Taylor Journals; Routledge online/04/030286-23; © 1469-8315 print; 0015-587X ISSN 04TeFllr Society Folklore The 2004 nteps wnyyas olwn h oueb osamadRanger and Hobsbawm by volume the following years, twenty past the In fake, versus folk of dichotomy the undermined have folklorists Dorson, Since h otx ffllrsi ocrsaotatetct n uhrhp folklore authorship, and to authenticity in on about observations goes concerns and fakelore. paper evidence folkloristic and he The its of why placing scholar. context reasons authorship, and folksong the ballad that ballad, a the concealed L. authored have and A. have broadside might by might singer authored Lloyd not a text why were the a reasons ballad both suggest of this was descendants of rather versions who concerning but revival Lloyd, tradition, the folk that movement the evidence argues revival of It folksong products 1970s. and British new 1960s the the in of popular presents became which “Reynardine,” paper This Abstract Authentes ’ h el s wihcristeda enn f‘n who ‘one of meaning dual the carries “which us, tells she ,’” Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 rgtysie”Atx fti aldrcre n16 yteEgihgroup English the did by teeth following 1969 “his woman in us, example: recorded the tells an ballad narrator with as this the serve ends of will while, beauty. ballad Convention text trance her Fairport A by the a captivated shine.” is in versions, being brightly and though kisses to revival he mountains as professes and all he the Reynardine swoons others in almost she in versions stranger revives, In some she a In until magnetism. meets her animal woman his young by ensnared a Revival “Reynardine,” British In and Tradition British in a Reynardine process: a such just as and authorship. seen packaging the and be creation, authenticity context, can the between “Reynardine” theoretical Indeed, negotiation revival English participation interest. this the the our considerable in of In 397) to on dissemination 1994b, 23). admit takes (Roud we revival 1997, “Reynardine” once ballad a folk (Bendix English or of the authenticity process” party, of of vestiges negotiating resurrection negotiating negotiation a as the the be study materials to in can the folklore cease “we marginalises we essentialises suggests, it once she it that Yet, while past. in vanishing folklore counterproductive is of inauthentic their discipline the to from connection authentic authenticity their of oral ballads notion in from the see reject collected authenticity would would those others their entirely. still than Many while locate authentic communities, outlook. would respective less “authentic” theoretical as others remain are singers observer’s they tunes tradition, is revivalist which the and by to result really songs with authored extent are the individual The vary they but and forces. when may practices, revivalist 20), old, by musical are 1993, transformed behaviours Aesthetics, (Rosenberg expressive new. that them quite claim transform people as similar: traditions invent Ballad Broadside British a of Authorship and Authenticity edxsget htfllr’ itrcloinaintwr eaaigthe separating toward orientation historical folklore’s that suggests Bendix l ln h oeoeplain.” lonesome the along concealment All for seeking I’m train, I But Venus’s am in rake up “no Brought said, he no,” “Oh rake.” some are you fear opinion I own my in For forsake, civil company be My sir, “Kind said, She Reynardine. bold her sly, upon that gaze Did to smiled wine, he as blue, And red were as eyes lips her Her black, was hair Her Reynardine. with woman Converse young a overheard green, I so leaves the rambled Among I as evening One 287 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 288 i eso rmfamnaytxslandfo ok,filn totwith out it filling books, from of variety learned A texts constructed himself. actually fragmentary so Lloyd had from that Lloyd did suggests that he version unlikely textual, before is and his Cook, “Reynardine” it contextual Tom fact, both sing called In evidence, singer anyone 43). a heard 1980, from (DeNatale ever fieldwork Suffolk during Eastbridge, song of the collected Lloyd that eia esos napoern coal sa eoe o“Reynardine,” to devoted British essay all of scholarly source in pioneering Sedley’s the of evident apparently Stephen many a be was to DeNatale—citing will on In form, Douglas As it new versions. passed scholar. a and folksong in revival song a the revivalists A. and sang younger of who singer the influence Lloyd, a authoritative discussion, and both following authorial was the the who of Lloyd, result the L. be longer to Ireland. instead of or strongly appears Britain text featured in collected never tradition “Reynardine” pre-revival in late oral that Ireland any the however, the in in of suggests, tradition in ap- authors absence oral verses, and apparent verse the two composers The stray in than Irish [2] and a of 1940s. 1904, centuries, collection while works twentieth the (Merrick Grieg–Duncan the 333), early 1904 in the and 1983, in there nineteenth in Lyle and published appeared here and and words peared (Shuldham-Shaw 1889 without in Scotland tune Sussex from contrast, The oral down in to By [1] taken began Merrick from was there. versions 271–2). version Percy revival collected fragmentary included folk W. two-verse, the was not That by before 1994b). several Ireland “Reynardine” (Roud or recorded seen index, Britain be in have Folksong once I only Roud’s tradition and than to listed index, rather are according Roud printings print, and broadside the through twenty Britain in Approximately in primarily performance. that to disseminated oral reveals through was 1994b) inclined 1994a; “Reynardine” be (Roud singing Ireland indexes might British folksong 307). and pre-revival we p. broadside in Discography, recordings, common (see revival been Furey had of Eddie tradition. “Reynardine” number Roberts and that John the Clair, Fisher, Finbar conclude St from Archie and Isla Carthy, Convention, versions Barrand, Judging Martin similar Tabor, Fairport Tony recorded June Collins, have and Jansch, who Bert Shirley singers Briggs, revival including Anne Irish impressive, and British is of list The h rsneo Ryadn”i h eetie fs ayEgihrevivalists English many so of repertoires the in “Reynardine” of presence The Roud’s Steve of examination An this. for evidence little is there fact, In mine). transcription 1969; Convention (Fairport Reynardine bold mountains sly, the that over Did her led he shine, And brightly did him teeth followed His she dark and Sun Reynardine.” castle for my Inquire in be I’ll find, me For me for not look you’ll should Perhaps you chance by “If high.” you mountains guard the I’ll on gun All my with by, it’s it So pass not could me I enticed so beauty “Your h ed fLove of Seeds The 16,89)—states (1967, tpe .Winick D. Stephen Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 atrde ufl,hsyeddntigs a.Acrigt h traditional the to According in the far. Stradling so of Rod nothing by discussion yielded maintained Lloyd’s following discography of has the accuracy Suffolk, to the Eastbridge, relevant about of queries also source raises is a ballad. see, as LP Suffolk and Reynardine Cook shall a his Tom attributions, we invented to a source Sedley as notes to referred that that, sleeve collected already however, ascription he the had that unlikely, in Lloyd even Lloyd is or song, name; songs Cook It the that Tom of to tradition. a introduc- singer from sleeve-notes oral the it own it in from collected his got help he it Sedley an expert have in that how mention his might Furthermore, did, not for he clear songbook. does he Lloyd that not his thanks conjecture said is to Sedley only Sedley It tion as can that article. himself, Britain—as we suggest Lloyd 1980 and of to Suffolk—or from information his aware, part Eastbridge, that in am by of any DeNatale came I Cook in by Tom as repeated individual a far ascription other from as song any evidence, the from direct collected no actually be Evidence Lloyd to Contextual appears I: There “Reynardine” of Authorship it Lloyd’s considered make Establishing to Lloyd essence. only authentic that it its changed of suggests and idea folksong, his further to authentic conform of evidence better model The a “Reynardine” stanzas. broadside Ballad Broadside British a of Authorship and Authenticity o 96 4–3.Dv rhri oeseic stating: specific, more trait (Gam- is evidence a Arthur of Lloyd’s tinkerer,” Dave use and that 148–53). “selective” reassembler and written 1986, a documentation” mon has him “poor made with Gammon material combined Vic he the recently, of love More “unashamed 13–15). collected 1983, songs have within (Meredith and his to circles of revival claims origins in his both the scholarship. days, and about folksong these area songs claims suspicion English the with his Lloyd’s regarded from declara- Indeed, of widely Lloyd’s tradition. “Reynardine” are some of oral of of integrity from version sources even them or other the accuracy any about the find tions about questions to serious or raises singer Cook a Tom either ballad. No called encountered “Reynardine” 2002). have the March to or 17 or seems comm. Cook area Suffolk (pers. this Tom in in informant” called sung working or [‘Reynardine’] or singer researcher heard area, him any other never Walter. have by by Eastbridge and “I mentioned Syd interviewed the added, (Crutter), even been He Harry about Tom.” (Diddy), had no “Albert notes Cooks But Sedley’s informants: the following his his docu- and on by the doubt all Lloyd’s mentioned who casts that of also checked reported Summers, 1970s, outside Having and Summers Keith 1960s Cook attribution. the from Tom in Sedley music a evidence traditional Although of Suffolk negative 2004). mented did mention Lloyd (Stradling Furthermore, which no issued of writings. members is been Eastbridge, in there ever family have record, Cook well-known singer a was a there such of recordings arytoog erhfrifrainaotasne ae o okof Cook Tom named singer a about information for search thorough fairly A eiu usinn fLodsshlrhpbgnsotyatrhsdeath his after shortly began scholarship Lloyd’s of questioning Serious Eastbridge in singer any down track to possible proved not has it that fact The nls rnigSongs Drinking English uia Traditions Musical Lod1961)—an (Lloyd aaie no magazine, 289 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 290 oefo rltaiin ned ewsqieceri h rfc ohsbook, his to had preface ballad the the in Dialect that clear quite Cumberland claimed was the never that he 1803, in Indeed, “Jenny’s clear poet. in Ballads tradition. entitled and relatively oral original poem antiquarian now from the a Cumberland come is wrote a adapting it who Anderson, Workington by Robert addition, Anderson, in himself by In him song written for [4] the Complaint,” looked created lived. some actually he Lloyd although called claimed researchers, he Lloyd song later where a by Lloyd with located effort, him be that contacted 133). Huxtable from 1952, T. (Lloyd resulted the J. Collier” industry that named an Recruited under book through man “The industrial the 1951, colliers a miners’ In In to that of publicised film. [3] claimed examples he newsreel song.” sought which and politi- contest, he folk magazine was a Board, “industrial running Party, the Coal by has of Communist National In songs British hands idea the article. the of this the Lloyd’s of auspices in to in member “Reynardine” committed a fate ballad Lloyd, cally whose the 1950s, of 3503), and discussion 1940s the no. my claim 1994b, for to resonances (Roud desire Collier” on Lloyd’s Recruited honesty) that his (or consensus memory his general overcame occasions. fairly folksongs some for a tradition is of authenticity there short, In eolcinwsas alyi htisac.Frhroe esest have to “folksong” seems ideological he an his produce Furthermore, then to “Reynardine,” instance. order in of that text base literary in oral a was faulty the adapted he previously If about also misleading. assertion was intentionally not Sedley’s recollection if of incorrect, fash- source are he least the at findings, songs his some models. about supplement literary the To of needed but position. out and changes, songs himself ideological such folk some his industrial make ioned to bolster would attracted Lloyd to was and 1986, why he them well, (Palmer enough: say as is song” clear spurious not seem the culture a Huxtable does reasons remade industrial only Palmer brilliantly) to of not [6] (and instance it 135–6). is “silently spurious Lloyd Collier” of a that Recruited but ascription concluded “The folksong, Lloyd’s that of out that example [5] pointed it. concluded He of Palmer untenable. publication culture. Roy Lloyd’s miners’ after have of Collier,” to long product appear it until a not that does tradition nor known collection, “a oral sense, Anderson’s have the contained in accepted therefore, others entered it any must, some that unlike in He poem, noting “folksong” 133). This book, a 1952, (Lloyd not Anderson’s 1828, (Anderson song was of the stream” the aware during favourite of was his “composed version” of himself and banks life Lloyd the from vi). on copied rambles were solitary they author’s that explaining volume, ly’ li shgl upc,hwvr ieTmCo,Hxal ol not could Huxtable Cook, Tom Like however. suspect, highly is claim Lloyd’s “The called Lloyd song a involves this of example prominent most The more sounds which song,” note. 12). the was specific 1999, Day,” sang very Year’s (Arthur Grenfell a New actor” from on Beens,” vaudeville NSW, Has teamster “a Cowra, the “a in than of hospital to “authentic” “One in publication actor, of on Vaudeville case a changed the from unverifiable in this changed, and heard and “I out credited, crossed places names and informants’ dates manuscripts [Lloyd’s] in finds One fPle,Gmo n rhraergt ly’ ulse recollections published Lloyd’s right, are Arthur and Gammon Palmer, If Recruited “The of history life the about evidence available the Assessing hth a h uhro h om nthe in poems the of author the was he that , tpe .Winick D. Stephen Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 eei h rgno h snaddr”fruai h eia “Reynardine.” of revival version Campbell’s the remade in turn, formula in Hughes, dark” there. and end “sun not does the story of the origin But the is Here stanzas: new two plus fragment original Hughes’s contains “Reynardine” fox.” of a Singer of fae Mountainy shape “a The was the Reynardine into that turns claim who woman’s Ireland old in the recounted further Hughes as responded Hughes to “Rinordine.” Mac- request called a song 1907, [Seosamh sent a In Belden follows: about history. Campbell M. earlier information refined complex H. for song’s further Joseph named looking the was this folklorist of understand by it American some To that revisit an 44–5). poem to and 1980, need ballad, (DeNatale we shown a Hughes the argument, has Herbert of in friend DeNatale fragment Campbell’s the shine.” a by originated of brightly his on genealogy based did line the for Cathmhaoil] teeth evidence is this textual argument there “his direct First, line that convincing of ballad. the the pieces a containing from of major stanza authorship three “Reynardine” constitute Lloyd’s are revival to there can the pointing Luckily, warns books it. created proverb of Lloyd in scholarly authorship that the published absence,” evidence of versions positive evidence Only not is us. evidence of Evidence “Absence Textual II: Authorship of Lloyd’s author Establishing the actually so Lloyd Lloyd L. “Reynardine”? which Recruited A. of “Reynardine,” the was “The version of whether words, Huxtable’s own version ask other T. his revival to In J. the reasonable popularised. created behind is brilliantly apparently also it that was context, tinkering Collier” this of In sort industry. same mining the about Ballad Broadside British a of Authorship and Authenticity nprdb i redstl ffiis apelepne ntefamn in fragment the on expanded Campbell fairies, of tale friend’s his by Inspired h ar enrie(apel[aCtmai]10,11). 1909, [MacCathmhaoil] (Campbell Reynardine harbours, fairy he The where not know wind: They like blows, run horn beagles gay The the dark and Sun Reynardine. sweet leman, my his Did for me wine: took as He red were me— eyes courted His he dark and Sun 33). 1908, (Hughes Reynardine castle: for my Enquire in be I’ll find, For me me, age, not for of you’ll look years Perhaps you eighty nearly chance Kilmacrenan was by of woman She If old ballad. lines: an this four Donegal, of in only fragment holiday remember a a could evidently on and was was I what when me 1904, sang of summer the In oko rgnlper ulse n10.Hsversion His 1909. in published poetry original of book a , oe n Queries and Notes 291 ¨ry Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 292 lsoeadtoa verse: additional one plus yia eia es,nti n r-eia eso f“enrie”that “Reynardine,” namely: of stanzas, version these is pre-revival to there any debt that in a is not misses owes verse, DeNatale analysis circulation, revival DeNatale’s version? oral What typical 45). revival Campbell. “entered 1980, and the it (DeNatale Hughes book, into version” Cook’s Hughes’s get Tom of stanza as strength dark” emerging the eventually and on “sun that speculates the did How revival the outset the of at quoted verse Convention final Fairport article: group the a present the by Campbell, and the obvious one of from verse the the came as recognised second such four also stanza versions, Hughes’s only has the DeNatale knew between that Hughes. source similarity concludes of his correspondent DeNatale that and song. year friend the previous the of explicitly lines stated had Hughes work, 1909 own His song. the et opoueanwsn iheeet faltrevrin.Oewould One versions. three all of elements authors with Irish song broadside obscure new existing the a relatively with interacted produce and and to tradition in different oral text, To on the not two based entered lines. DeNa- verses have both but by that would to of imagine damaging versions to written Hughes’s, have contain is would “Reynardine” in all This one texts hypothesis text. occurs revival DeNatale’s maintain broadside the shine” because any hypothesis, brightly in tale’s occurs did Neither this “eyes Campbell’s. from while derived lips be Hughes’s; her to as blue, appears red were therefore, were eyes version, eyes revival “her “his The to line stanza. wine.” expanded the as and in red changed evident as simply is was descriptions this two wine”: the of relation The quatrain: Campbell’s to indebted is this Clearly, i ysetRyadn Cmbl Mcahhol 99 11). 1909, [MacCathmhaoil] (Campbell Reynardine sweet leman, my his Did for me wine: took as He red were me— eyes courted His he dark and Sun 1969). Convention (Fairport Reynardine bold her sly, upon that gaze Did to smiled wine, he as blue, And red were as eyes lips her Her black, was hair Her from stanzas aforementioned the given credible scarcely is this show, will I As 1969). Convention (Fairport Reynardine bold mountains, sly, the that over Did her led he shine, And brightly did him, teeth followed His she dark and Sun 4–6). 1, vol. 1909, (Hughes Reynardine sweet mountains, my the Did o’er me took shine; He brightly did him, eyes followed His I dark and Sun infiaty ee srda ie cusi apelslns u o in not but lines, Campbell’s in occurs wine” as red as “eyes Significantly, rs onr Songs, Country Irish nldshsoiia fragment original his includes tpe .Winick D. Stephen another also Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 45 dy13,123 edn14,288;Bese 91 7–;Randolph 171–2; 1941, Brewster 1939, 268–88; Chappell published 108–9; 1940, been 1931, Belden has This Thomas 192–3; that view. 165–6; song 1939, of 1925, the point Eddy of woman’s Combs 84–5; version the 271–2; collected from 1904, were orally seemingly (Merrick every is that in which song true end, the holds the of at verse versions ye” printed in analogue Lloyd. without to parts available only the as be to and I seems lines as the stanza or evening stanzas, first “One second and often the first is the of line of half half first second first whose the half leaves ballad, first The This the broadside rambled.” and Campbell. the Hughes, from from from derived derived are two four stanza and three of stanzas see, can we As 1908 the to allude song combined the and in to notes versions “Reynardine” sleeve printed his about candidate; three likely exchange a all is across Lloyd by them. Eastbridge, came in researcher once, experienced only collected was song this that Lloyd. accept to need further Ballad Broadside British a of Authorship and Authenticity w eydfeetvrin ftesn uighscre.Teerirversion earlier The album career. the his on during Songs 1950s, song Love late the English the of association. in versions by appeared Campbell’s different find very to two able been have would and version, Hughes’s otvrin ftebla aeRyadn h artrutla“come-all- a until narrator the Reynardine make ballad the of versions Most an that is explanation plausible more A indeed. far-fetched seems This i hssybl Reynardine bold her sly upon this look Did to smiled he And Reynardine with woman converse young a overheard I mine). transcription 1956?; (Lloyd Reynardine bold mountain, sly the this over Did her led he shine, And brightly did him, eyes followed His she dark and Sun Reynardine castle, for my Enquire in be me, I’ll find, for But me look not you you’ll chance Perhaps by if said He Reynardine bold her, sly upon this look Did to smiled wine, he as blue, And red were as eyes mouth her Her black, was hair Her Reynardine with woman Conversing young a overheard fine, I so leaves the rambled Among I as evening One h eodpeeo eta vdnei htLodsn n eodda least at recorded and sang Lloyd that is evidence textual of piece second The h eti sfollows: as is text The . oe n Queries and Notes h og e n te Traditional other and Dew Foggy The ly,teeoe knew therefore, Lloyd, . 293 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 294 rgtysie”wihi dnia oHge’ et oee,Lodslater version, That Lloyd’s LP, texts. Lloyd’s broadside However, Reynardine’s from on text. has derived appeared verses definitely which Hughes’s additional most several to with song along identical the is of recording which shine,” brightly o oti h ie“i et i rgtysie”btrte “his rather but shine,” brightly did teeth “his half-stanzas line unique the the contain diverse for the not connect accounts to song. Lloyd it by coherent written a than Finally, been rather into have Lloyd tradition. must scraps It by they sense. oral is earlier; version grammatical out and of pointed this makes that Campbell (from that product suggesting way from This opening for a a stanzas case broadside in protagonists. the first-person perspective) strengthens first-person the the also girl’s the the with of (from meld view) Hughes meeting to of point attempt the on. Reynardine’s so careful the witnesses and from a him,” who told suggests followed are narrator “I one contrast, me,” third-person the texts by courted songster seen, versions, “he the have view: Campbell’s and and of I and 222–3), Gardener point broadsides 1964, Hughes’s girl’s (Huntington the 102–3; [7] of all well. aware 1963, to as am Mackenzie I addition text in 112–3; manuscript 96–7), 1961, 1967, Creighton Chickering 379–80; 1946, Pa,tl om orname.” your me to tell him, “Pray, asked she modestly again, And to twice come or she once Till but kissed hadn’t They high. mountain there the arms on his All into fell she dye, And former their lip lost ruby They and cheek cherry Her men.” judge’s the from concealment All for searching I’m train, rake But Venus’s no in am up I Brought dear, “My said, He rake.” a are you fear opinion I good my to For forsake, company civil my be And man, “young said, She Reynardine. bold her, sly, upon the look Did to wine, smiled as he red blue, And as were mouth eyes her her And black, was hair Her Reynardine. with woman Conversing young a overheard I thyme, springing the rambled Among I as evening One did version original Lloyd’s quatrains, aforementioned the from see can we As a of view of point the from told one only the is then, version, revival The is Person First sa follows: as is , teeth hnn brightly, shining tpe .Winick D. Stephen eyes did Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 aeasmdta rgswoeti leent,bto ohte17 Pand LP 1971 may the both DeNatale on 33). but 1999, note, 1971; whole sleeve (Briggs this the are original” wrote version quote this Briggs Irish to of that derived an tune neglects and assumed from song he “words have the me the But that for by of 45). states versions which adapted 1980, version note, Campbell’s direct (DeNatale Briggs’s the and Lloyd’s from song” Anne sentence Hughes’s confirming “Irish that of by an notes use Lloyd, from his DeNatale for and purpose. his “Reynardine” ballad that [9] of the sang own. lines of Cook his borrowed authorship of Tom and ballad a ballads refurbished that folk or by new influenced a was the create who took to apparently poet verse Lloyd a Collier”: of Recruited “The work and “Reynardine” of version lines added Lloyd later that and appears versions, it literary Thus, Irish additional from versions. the of mostly and ballad broadsides. the text length, tradition from resembles broadside in first closely oral doubled from his (which song created all such text the the other broadside between were appear; of any the sometime to verses of with significantly, began part elements stanza versions) song [8] single oral the ever 1966, a changed and only was Lloyd 1956 shares or when this it collected Later, and since orally Lloyd’s version. that Campbell slim, any First, from is likelihood to derived revealed. “Reynardine” relation mostly The are scant lines instead bears things Hughes. containing 1950s four version, the versions broadside from two version Lloyd’s original comparing On Ballad Broadside British a of Authorship and Authenticity termni okbla nmdr rs”(as17,13.Uigawr like work as a Using work 113). Lloyd’s Housman’s 1972, fit (Laws to would dress” refers modern then, in Laws Housman’s, springing ballad ballads; folk was the “Bredon Housman traditional romantic “among poem Hughes, “the by and well-known line, Campbell influenced Housman’s Anderson, second E. Like heavily His 28). A. 1938, creations. from (Housman song taken Hill” apparently his is in versions thyme,” poets in such all known ubiquitous just almost of practically Lloyd’s. that have from means is we ultimately which as line song, derive was, This the to shine” numerous of appear creation. brightly are versions Lloyd’s did there highly revival Although British teeth certainly is version. “his almost seen, second line Lloyd’s seen, have the on we “teeth.” differences, part as word in small the least song—which, without at the version, based him earlier the given Even been himself. had have Lloyd by Cook would made improbable—it Tom certainly almost a was and if song, the of arrangement h hr n nlpeeo eta vdnewl,Itik a ors n claim any rest to lay think, I will, evidence textual of piece final and third The occurred shine” brightly did teeth “his to change the Second, i hssy odRyadn Lod16;tasrpinmine). transcription 1966; (Lloyd Reynardine bold mountain, sly, the this over Did her led shine, he did And bright so him teeth followed His she night and Day Reynardine castle, for my Inquire in be me I’ll find, for But me look not you you’ll chance Perhaps by if says He orh nLodsscn eso,h otne h rcieo sn h work the using of practice the continued he version, second Lloyd’s in Fourth, was it that show will text Convention Fairport the of perusal simple a Third, ou operandi modus paeti ohtefirst the both in apparent after ly’ first Lloyd’s 295 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 rtn,eiigadrlac nltrr uhr htpoue i “Reynardine.” his produced of surreptitious that ballads of authors kind mistrusted literary on the who reliance in Lloyd, and engage editing that writing, nonetheless paradoxical should is authorship, the It professional Lloyd broadsides? Britain. on that From in one printed was [10] circulation repertoire, of it broadside oral broadsides. revive; accident the of to in on an out song pieces natural folkloric is fallen mind, authentically a had them few his was the “Reynardine” of to of then, one record view, was, of the first It point than Lloyd scholar’s our rather writers. words, tradition other that professional oral In the history of of 28). that products work 1967, song, authentic folk (Lloyd were individual of songs press” pieces includes these street-paper ‘classical’ that Lloyd the the felt tradition, old. by characterising the issued ballads, in were broadside deep were thought lying praiseworthy “songs he such stock as of broadside ones them group the particularly a among songs in praise, were “Reynardine” his there Child, literate” earned with very as that always Yet, not broadside 28). literary—if toward 1967, “turgidly disparaging (Lloyd example, generally for is them, Lloyd calling place. ballads, tradition” first oral the ballads, in from “Reynardine” latter broadside “printed the vii). towards those of 1, especially attitude vol. most his worthy, ambivalent 1860, in calling be dis- (Child more Nevertheless, and to famously 466). a former, some 1900, considering the showed Child (Child counterparts, collect Child James worthless” broadside to work, and their work Francis despicable life’s and muse. “thoroughly anony- his ballads” were common it “popular theory, making true to the this between to than scholars of according importance tinguished for less ballads, products practice far authentic printers most mous of standard broadside The was conceptions with songs. originated older it respective that variance. when their ballads at accord studies, scholar” were in a personality ballad precisely Lloyd’s with teenth-century of is odds facets at it two romantic these and “a that 132), beauti- as authenticity Shepard personality of what 1986, Leslie conceptions and Lloyd’s conflicting folksong. did, (Shepherd up the he to in as summed approach lie it Lloyd’s fully answers change troubled The he changes? that did his why authenticity questions of song, effects new the the “Reynardine,” revive were revival Lloyd “Reynardine” the did of why created Mystery arise: Lloyd song. the that new established and a Having Lloyd create L. to A. versions Authenticity: other Negotiating of Hughes’s elements with adding starting and involved base, a certainly as almost version adaptation Lloyd’s versions. 296 et ulse:abodieb el fCr Ru 94) single-verse a 1994a), (Roud Cork of Healy by original Joyce’s broadside Irish in fragment an a from published: it In texts adapted Lloyd.” had L. finally himself A. Lloyd 33). he “Reynardine,” by 1999, song: of “written 1971; the version marked (Briggs of 1971 Briggs’s genesis are to the notes notes stated song his in the words, re-issue, other CD 1999 the h etovosqeto s h i ly o ipysn h aldas ballad the sing simply not Lloyd did why is: question obvious next The resurrect to Lloyd led that position aesthetic and ideological similar a was It nine- in common authenticity of view a to subscribed Lloyd in scholar The ttetm ly ea ikrn ih“enrie”teewr orIrish four were there “Reynardine,” with tinkering began Lloyd time the At nin rs Music Irish Ancient 17,2) n uhssadCampbell’s and Hughes’s and 21), (1873, tpe .Winick D. Stephen Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 otsrnl nhsapoc oeoi og,o hc oi ewoeeffu- wrote he topic which on songs, erotic were Lloyd’s to itself, In out of approach community came life. folk his This of sively: suggested. the in text banalities record of strongly historical the and the most particular over than characters, rewarding folk-song glossed prone emotionally was of this that more he lives imagination that the sense the together the mind, of in romantic leaps put a to was Lloyd to romantic. personality—the Lloyd prompted “Reynardine”? then, What, Ballad Broadside British a of Authorship and Authenticity etosaspraua xlnto o h ald rfrigt interpret most DeNatale, to to preferring According outlaw. ballad, an the possibly and for recluse a explanation as supernatural Reynardine a mentions h data enriei uentrlbig as h omnso the on comments who Laws, in being. supernatural times a several is Reynardine song that idea certainly the should This fox.” roots, fairy-fox. “little morphological a perhaps its from or was which, “fox-like,” who Reynardine name, woman mean that Reynardine’s had old of claimed The essence sense mortal? stanza protagonist’s makes or a Lloyd the supernatural time note, Hughes character the the 1908 gave by Was Hughes’s century dispute. since half in Ever a been true for ballad. an a brewing the impart been be found had to song that it nature a needed Reynardine’s that romantic the concerned is Lloyd was authenticity folk, thrill. scholar experiential anonymous aesthetic emotion, the the and of Lloyd 13–14). imagination expression if 1997, to Thus, (Bendix down given …” running paramount. instance romantic chills for the a performances, experience: of For musical quality during a spine … character- romantics as one’s Bendix’s among “authenticity In and is authenticity.” movement this “experiential approach isation term Romantic another might romanticisation. the by we prompted in what song’s was generally: both the action common This of authenticity song. to example the remade one completely is include he to reconstruction failure his Lloyd’s precisely and in in Renwick, song verse and Lloyd’s the Gammon that puts describe by Reynardine,” in outlined to meeting broadsides, categories of “Reynardine” word the “beware of consequences warns very verse girl light that closing the with The which uses 238). sex songs Gammon 1982, happy (Gammon and the of 235). approach romanticised, that world 1982, (Gammon peasant highly stating girls Lloyd’s is for point, 1980). that function” this (Renwick warning suggest women or on Both of “educative Renwick an advantage perform with take often the to agrees of trying many generally men that Gammon about shows are experiences, sexual songs tragic erotic against warn songs traditional h nwrt hsqeto,Iblee isi h te ae fLloyd’s of facet other the in lies believe, I question, this to answer The o h otpr,hwvr okogshlr aebe nnhsatcabout unenthusiastic been have scholars folksong however, part, most the For about mystery a was “Reynardine” about Lloyd thrilled what see, will we As however; verse, one of removal the than further much went changes Lloyd’s which in ways 185). thirteen 1967, catalogues (Lloyd which […] Renwick, conso- songs. integrated by intimate folk analysis exists this an erotic an does relation the contrast, living Nowhere closest in By […] than people the humans. clearer and country and show sexualised beasts nature a virginity is seeds, of of to of nance nature realities fertility the all belongs of the whom acceptance pregnancy, between and for … joy and life clean its passion deeply-communal with … desire, soil the and of folklore erotic The mrcnBlar rmBiihBroadsides British from Balladry American 15) never (1957), 297 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 298 90 o.2 atA 4–0 an n hmsn18) ntentst h LP the to notes the In 1987). and Thompson and brutal Aarne the 446–50; of to Person and A, versions than Furthermore, First part “Reynardine” English 2, this supernatural. between vol. of do connection the 1970, Fox to a to Mr reason imply he connections bestial good to song other possible the liked teaching no character’s Lloyd and seems this singing the broad- used There when stress actually most but “Reynardine.” Lloyd writings, on it “Rinordine.” academic High” called is his Mountains name in “The academic title latter standard called outlaw its is hero, and the itself outlaw sides, ballad of any The for symbol being name Reynardine. appropriate fitting is a perfectly he [12] is a conceptual mortal. “Reynardine” and the is or sense in tricky, this supernatural Thus fox is in wits. the their and he by trickster, folksongs, characteristics: live of and major hunted, world are two (ibid too, has Fox” Outlaws, (ibid the hunted. fox “Reynard Away” the 190), Hark Reynard no. such Ho, 1994a, folksongs (Roud English-language “Tally character- Reynard” In fox-like powers. “Bold have supernatural may as Reynardine having which direction” plausible without in ways istics another other many are is there the [11] Ryan” versions, 184). the in “Reynold believe 1975, from and Black Black transition and Ryan,” and derived Holloway a (Holloway difficult. “Randal have be possibility imagine was not that could need name to it Dyne,” asserts original ‘Rinordine’ But difficult DeNatale 48). “Ryner or 1980, sources. is Rine.” (DeNatale Dine,” broadside Rine’ “Randal it or “Rinor or ‘Randal oral ‘Reynardine,’ “Rinordine,” Rhin” from ‘Ranordine,’ “Randal “Ranordine,” texts “while even the is foxes, or of to he name most “Rynadine,” connection no The obvious in often, only for name. appear song’s with More folklorists the actually character his is some the not of which connected by name, does basis informant this form Hughes’s However, the standard fox. that on a the except certainly reason, assumption as is good taken an There very been such being. has supernatural make a “Reynardine” to as reason of conceived no was “Reynardine” that umr fti usin eaaents“otsnesaprnl tahno admirable attach his apparently (ibid In singers song” person. “most the ordinary notes to DeNatale an to significance gener- question, Reynardine supernatural in nature informants this consider their currency supernatural of they asked a some summary have that ascribe had who find Those not song ally 45). do the 1980, also (DeNatale where Reynardine tradition, America, oral North twentieth-century in working collectors oeta h M.Fx aeili setal xrnos hti sapparently is it that extraneous, essentially is material Fox” “Mr. the that Note ly eeteessest aeecuae h dao supernatural a of idea the encouraged have to seems nevertheless Lloyd corrupted are others the all and name, “real” the is “Reynardine” if Even texts early from evidence sound no also is there aside, informant Hughes’s ulw n aestisdt nEiaehstm.Ohr eiv h tr sodrand older is story 1966). (Lloyd the lover Irish believe lycanthropic and Others supernatural, lady time. a English dread be Elizabeth’s The an to in fox” blood. between date “little of Some affair its the song. tubs love this Reynardine, set and within tales a consider broods have folk bones concerns unease in and of similar it figure A full outlaw, disquieting animal. thought cupboard or a have man a is is commentators with Fox he Mr. whether lover is hero. witty uncertainty crafty elegant a an for […], name vulpine A Reynardine: ly wrote: Lloyd , . o 12 n Jh el (ibid Peel” “John and 1182) no. , h obrBridegroom Robber The . ). A 5)(Briggs 955) (AT tpe .Winick D. Stephen . o 1239), no. , . o 2349), no. , Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 h og hs rdtn ly’ eesnual akn nmsey as mystery, in of Library: Wood lacking by Bodleian printed singularly Oxford’s one, at this were housed Consider 43). and Lloyd’s 1980, Liverpool (DeNatale predating out points interpretation. Those he DeNatale an But song. select killer. than the serial rather ballad’s or mystery” the the lover, for “preserve supernatural possibilities to outlaw, interpretive prefers man, four least ordinary at protagonist: acknowledges here Lloyd 1950s: the from note sleeve his song’s in the clear for perfectly made arguing is words, This other essence. song’s in is, song the He leaves Lloyd interpretation. outlaw,” “Irish other ambiguity. either an the interpretation mortal, to presenting mere supernatural also a open a by is suggest Reynardine Meanwhile, to that Reynardine. view, and protagonist, mood ballad uneasy the for an set to introduced Ballad Broadside British a of Authorship and Authenticity ly’ eiefrmseymgtwl aedie i ocet i eso of version his create to him driven have well might mystery for desire Lloyd’s the located romantic the Lloyd that mystery, this ambiguity, this in was It esr o utngtwlig n hnbdcompany, bad shun me, and by walking, take night warning quit a you maids Rynadine. sure fair is Be pretty name find, you my you’ll all history there Come ancient castle in my name. wrote forest, your Well yonder me again, in to herself down tell to Go and came civil she be twice, high. sir or mountains kind once the said her on And kissed all Firmadie, had there, of I arms lass When my the in cheeks, fainted cherry gaze. She and did lips she ruby me Her upon amaze, amber, in as all overthrow. bright stood my as she prove eyes thing and With young me know, little ruin parents pretty they’ll your This do let you don’t if creature For pretty high. my mountains destroy, said the would I on they all life company, your my know of did name. train, keeping they judge’s Venus’ For parents the in my in up if all brought Oh! concealment, I’m for rake, seeking no rake. I’m am some I are he you Said fear I forsake, opinion, company my my is civil, clear. it be so here, For sir, shines you kind beauty meet said your to She mountains glad lonesome I’m high. these creature mountains On pretty the my on said all by, I her, her guard pass I’ll not gun could high, my I mountains with me, the So enticed on so all Pimroy, beauty daughter below Her farmer’s miles a two met rambles I my in evening One the preserves (Lloyd and things lips unspeakable its at to hint fingers and tune its skeletons dramatic puts of and It full text say. An was Fox not enigmatic smile? 1956?). bedroom Mr. does the dreadful foxy whose song letting the gentleman his The he mystery, elegant Is eye, blood? lover? the of glittering supernatural folk-tale, buckets some his English or charm, maybe, the outlaw irresistible in an his or man, with ordinary Reynardine, was Who 299 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 300 i nedcnie ytr h otesnilcaatrsi f“Reynardine.” of characteristic essential most the mystery consider indeed the did impart no craved. to mediation and he desire progressive shine that a a all in by mystery be steps motivated could of final readings, teeth sense Lloyd’s supernatural his as concerns. and and conceal- seen natural outlaw mundane be for between bold rather can sly, seeking supernatural changes Reynardine a These “I’m of giving just bite. be line men,” idea could subtly judge’s the the same he he the imported Thus, against the from shine,” he subtly At all brightly texts, work ment, 1966). did broadside that “his From teeth (Lloyd factors line powers. “his undercurrents Campbell’s introduced own changing lycanthropic he by his time, ballad’s this: to the achieve shine” to enhanced brightly ambigu- way more did perfect “Reynardine” a eyes make found to order He in ous. quality lycanthropic this while has intensify So between. obviously [15] in Campbell’s it. somewhere and stating falls elements, actually supernatural Lloyd’s than his few more, rather in has [14] adjectives resemblance stanza lycanthropy these protagonist’s Kennedy Hughes’s implying of the 63; fox, strengthen use to 1923, a Lloyd’s serves Williams to 139). thus (see 1979, “Reynardine” folksongs Black of more in version and even therefore is fox Holloway describe and “bold” the 551; to while song characterise 1975, used them, generally the to about adjective folksongs used of an in often is versions frequently “Sly” occurs revival teeth, Lloyd. and to by in foxes, reference added sources, only the been like have present his 11), 1956?); must 33) is 1909, (Lloyd from 1908, Reynardine” formulation [MacCathmhaoil] bold (Hughes change this (Campbell sly, Reynardine” Reynardine” “the other significant sweet has fairy no Lloyd’s “my one “the but has Campbell’s make text magnetism, and Hughes’s does animal where has Lloyd however: stranger ambiguous quality. The disquieting, bestial supernatural. a than create her. human to on hold quest conclusion mesmeric the his some but in has end, he Lloyd the song. that by helped feeling gone elements the is version, These intensifies girl version, with text the broadside Hughes’s Hughes’s ends the over in of In had Hughes’s Thus, Reynardine stranger, of mountain. own. “come- power the seductive kind typical over any his a the Reynardine a following suggest against with for girl eyes, girls ends the basis shining warning broadside his verse the the and where all-ye” girl, as Furthermore, the power. it any seducing hypnotic there in chose is ease Lloyd version Reynardine’s neither that In eyes, reason fairy. red nature. a has protagonist’s Reynardine as the powers. which recognised surrounding supernatural in is mystery of with version, and fears real being version Campbell’s ease, and a of law, with broadside true the of escapes typical from is attributes hides opposite the this gun, The parents—hardly a in girl’s carries supernatural Rynadine the Here tangibly [13] nothing “Reynardine.” is There ly’ leent rmte15spoie vdneta i oatcside romantic his that evidence provides 1950s the from note sleeve Lloyd’s to decided obviously Lloyd 1966, before sometime song the revised he When more Reynardine makes text, Hughes’s like ballad, the of version first Lloyd’s this for probably is it and ambiguity, inherent with text only the is Hughes’s [1273]) Library die, (Bodleian you high. day mountains the the until on rue all to Rynadine sure meeting are of you Beware don’t you if For tpe .Winick D. Stephen Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 otyo en eie,t obigtgte i rttx rmpesby poems from broadside adding text was by first text ballad that his emending the together to 1950s, that cobbling the to deciding in Hughes revived, of from and stage Campbell being “Reynardine,” Every on of engaged. with himself based worthy Lloyd understand “Reynardine” interaction which to in attempt of Lloyd’s an authenticity authenticity is of analysis negotiations the foregoing the the denying mediations, or authorial Lloyd’s and affirming Briggs than Lloyd, Rather (Discography, it” I do Conclusion and to abominable, myself is folk-song 1966). but a Armstrong anyone re-writing the trust in of 54); practice wouldn’t 1997, “the (Bendix Williams: authenticity” Vaughan for search to notes the of sleeve of paradoxes time. creation practical the “the a of ballad so some the was And least authorship. compose deny at that should … to did him he intervention, required he that authenticity authorial required scholarly authentic. external authenticity most himself, of the emotional was internal, mark authorship, text professional If the than least rather then, nature scholar, the spontaneous the Lloyd had authenticity. To song’s scholars. that the nineteenth-century other renegotiate Cook, and to Tom did Child trying from he If “Reynardine” again it. collected once about had was lied he probably Lloyd that completely he aspects then Sedley that fascinating almost Stephen fact most the tell was the is indeed of then, authenticity, One “Reynardine,” authenticity. internal Lloyd’s external of romantic’s scholar’s the the of devoid with 54). filled 1997, did while (Bendix Lloyd tales indicated, to versions already their have oral words, edited the other from Grimms eliminated the in been “restore that had or, to collected, that beauty” latter, qualities they the essential original increase aesthetic be their to to tale’s was believed the to It of authentic- tales] 54). authenticity” “external 1997, “internal [the the (Bendix the content two: and emotional words in Bendix and a peasant’s authenticity texts. the displayed but divided satisfying of informants, Grimms Grimm emotionally ity” peasant the produce brothers of to that lips The extensively suggests the folklore. products from the folktales of edited collected history they the tension: similar his in in text. uncommon served, in authentic interventions been emotionally authorial lost preserve an his been to sense, create necessary had this to was In mystery mind, ballad. mediation this own the means authorial of Since By that the essence down. mystery. believed in the written his essence Lloyd of that was authentic tradition, texts, song’s trait but it the oral other time ballad, aesthetic of the the the part and locates by of of Lloyd emotional tradition quality subtlety product the linguistic essential a of this an of out be is dropped to [16] mystery” had quality. song “the it mysterious that the particularly a hints believed has wording Lloyd’s Lloyd to that prior text Given extant no “ Yet for ed). song the compliments He Ballad Broadside British a of Authorship and Authenticity ohscei,Lodrcgie hthseiigebde htBni calls Bendix what embodied editing his that recognised Lloyd credit, his To from authenticity of notions inherited scholar the Lloyd earlier, suggested I As I As differed. Lloyd and Grimms the however, regard, important another In not has it but fanciful, sound may romantic and scholar between tension This h idi h Bush the in Bird The preserving not eqoe i etradclaoao Ralph collaborator and mentor his quoted he , olc Ryadn”oal.Tu i song, his Thus orally. “Reynardine” collect h ytr”(ly 96;iaisadd- italics 1956?; (Lloyd mystery” the preserve htthey what 301 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 fterapa rmtemseiu lmnsLodhmefitoue.Lloyd’s introduced. much melodra- himself derive and Lloyd and these, elements bland of mysterious is is all the tale to from meanwhile, Hughes’s superior appeal text, are and their versions broadside pretentious, of revival experi- The is various satisfying The fairy vague. improvement emotionally matic. an red-eyed very more is a and song a of his short creating that story versions, believe Campbell’s I available ence. place, other first the the In on ways. two in success to try he did that latter Lloyd claim the 1952 especially, leave Lloyd’s to despite years example, and later For writings, collected embellishment. academic in of his free But from relatively activities unethical. revival 136). as his 1993, separate actions (Posen revival his in the reject widely of circulated thus folksong it changes, authentic as considerable an community, underwent revival and as community folk acting argument, the that the this “refurbished” within locate of to tradition might needs 156). According Lloyd’s oral the Posen, community. 1977, met like to about song connection (Niles scholars, the its argument other Lin,” tradition in Still similar authenticity the “Tam 256). song’s Burns to a by 1997, of that text (Armstrong adding makes pleasing arguing text ballads aesthetically and creation, Armstrong an A from, creating text’s does, Frankie Child omitting that singer from, in folk the good hand selecting opinion a about a the as of much illegitimate” had as is acted Burns example, “nothing text authenticity Robert for the is Niles, song’s although John the reject there content. locates emotional might who that and Lloyd, aesthetic Dorson, with its like agree in might scholars, Others this Some “fakelore.” of whole perspective. part Lloyd’s to formed theoretical central orally, was song and another, notes, the or sleeve collected type his one have project. in of to songs Authenticity, resulting claiming negotiation. the to interpreting on to perhaps 1960s, the in stanzas 302 n coal ok ob sacrt spsil.Smlry h ogh called there. in mentioned he “Rinordine” is song title Eastbridge, the standard of Similarly, its Cook possible. given import- England as is most in arena his accurate Song revival the book, as the that in be in book wished to it “Reynardine” he 1967 work, mentioned and scholarly folksong, never his ant industrial he in oral genre, of was songs example it the that industrial in fact songs on the England despite favourite chapter and his true, ninety-five-page of it were one culture clearly miners’ of piece fascinating atta hta mrvn h uue abtta apn ohave to happens that gambit a this future, In the century. the falsify a to improving attempt of at an and part less shot [17] was well better Sedley, succeeded. a the been leading deceive than for did having a he tradition its past if “Reynardine” oral despite lie, Lloyd’s English making movement, context, in folksongs revival brilliantly, make dead folksong succeeded to truly the was he of goal integrity. this whose ballad academic of revivalist In rules unrepentant by an popular. bound instead scholar a was himself He considered have to not ly’ eoitoso uhniiy nfc,cnrbtdt Reynardine’s to contributed fact, in authenticity, of negotiations Lloyd’s to some lead might dishonesty occasional Lloyd’s of fact troubling more The one’s on dependent entirely is authenticity song’s the on position scholarly A nhsdaig ihrvvlsslk ely nteohrhn,Lodappears Lloyd hand, other the on Sedley, like revivalists with dealings his In epoal mte h ogpeieybcuei a o genuine a not was it because precisely song the omitted probably He . h erie Collier Recruited The n oeo ly’ acflcnetost rFx rt Tom to or Fox, Mr to connections fanciful Lloyd’s of none and , rmJ .Hxal,wihwudmk ta it make would which Huxtable, T. J. from tpe .Winick D. Stephen okSn in Song Folk Folk Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 ogi tl ug n fh ol edti ae hoiigo i motives, his on theorising paper his this way Reynardine’s? read the as hear could brightly could he as Lloyd as if shine if mysterious teeth wonder: and and his to sung, tricky tempting would sleeve as still is just the is It appearing in authorship hero. song ultimately and innuendoes ballad eye, mysteries, authenticity and own his of own hints his in minefield sly twinkle his the a his negotiate his preserved with to and With managed 132). Lloyd song, all, 1986, Lloyd the (Shepard After authored, notes, enigma” of self. an lovingly emendations authorial of “something so bold Lloyd’s friends of he his to reflection song remaining pleasant the a showing like one this ideologies concerns, but well, own success, their artistic of an reflections only found fears. not revivalists it and which made in mystery mirror song’s a the preserving Clearly, and (Roberts mansion” creative forest a his for opt theory: to politics, outlaw” Irish away “Irish in the seduced interested of “dismembering Brothers, has adaptation Furey Fox, The he Mr 1977). with (Tabor girls Barrand implication” Reynardine werewolf young the compare the [her] Barrand the of “for and because horror Roberts Chaney,” the Lon [19] 1976). outweigh mysterious than belief. mystery a rather folk and is Flynn sings Reynardine supernatural romance “Errol that He rural man, interpretation of wolves). ordinary the selects expression but involve Tabor authentic actually June the an contrast, examples (despite as By his foxes thus, about of song, feelings both belief people’s the rural the that of that fact reflection suggests a inconvenient and was supernatural, figures as such character in the interprets thus Carthy sleeve his In revival. 1970s states: interpreta- and Carthy 1960s possible supernatural Martin the outlaw, four “Reynardine,” in Irish it. all current to man, to of were that (ordinary note appreciation killer) able 1950s reveals serial their the notes are and to in lover, sleeve crucial Lloyd People by is revival listeners. suggested which folk tions way, and of own singers perusal their A the in many fit song specific to of the the “Reynardine” appealing, interpret ideologies enabled created has and he emphasised, song Lloyd repertoires [18] the which of merits. ambiguity, power of artistic emotional trait capti- own the a was its only produced on Not tradition, partly oral popular of became effects which impersonal song, the vating not vision, authorial Ballad Broadside British a of Authorship and Authenticity ial,Lodsvrino Ryadn”oeae saohrsr fmro as mirror of sort another as operates “Reynardine” of version Lloyd’s Finally, effects. secondary had authenticity internal for search Lloyd’s Furthermore, ee ac i,s hysra h tr bu hth sawrwl.Wiehdn from hiding While 1972). werewolf. Furey a and is (Furey he girl that young can about a They story seduces redcoats. the the and from spread meets run the they he on them so man him, young a catch about never song traditional a] is [Reynardine 1969). by famous (Carthy made film was are on form Werewolf there debased the and very Red as a powers, (Little appearances in magical way theme many evil have the same some Jr.’s to but The in Chaney them believed related). nature Lon threatening one of was and is pattern He people Hood the to […] Riding appearing in out. foxes place of man its stories has odd many him the around seems everything fox person country the To 303 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 304 7 ereSgro rt TeMutiso oeo”o h oe f“enrie”I “Reynardine.” of model the on Pomeroy” LP The of Mountains [8] “The wrote Sigerson George [7] to sent reportedly manuscript the whether wondering point, similar a made Gregson Keith [6] Several claims. these confirm 1994b) 1994a; home (Roud own databases his Folksong in and (1985, him Broadside for Roud’s Harker looking despite and Huxtable [5] (1999), locating in Arthur succeeded (1986), never Adams Shepard Paul see Lloyd, [4] on details biographical For [3] from 1941 in collected was “Reynardine” of stanzas with from English those in and song “Reynardine” of fragmentary texts A songster and [2] broadside on information detailed For for [1] Bendix Regina and Notes Atkinson David texts Renwick, Russell, and Ian DeV. Douglas, comments Malcolm Roger references, Summers, Keith Adams, late the Paul Stradling, Rod to Thanks Acknowledgements 1]Ms rasdsgv te otterfre y”rte hn“h aso imde”The Firmadie.” of lass “the than rather dye” former their fox. lost a “they Hood give Robin broadsides made Most and [13] this, understood Disney Walt [12] older three and “Reynardine” name the He between 2003). relationships Lloyd’s June is possible however, 6 of us, concerns comm. Consideration What (pers. [11] unlikely. seems Hill” assumption “Bredon Lloyd’s stated, of have I use As the [10] out pointed Douglas Malcolm [9] aletdt o ly’ usqetcags h LP The changes. subsequent Lloyd’s for date earliest osdrta ifrn og though. song, different a that must consider it 338). case 1983, the that in contained (Gregson that it Recruited Lloyd mentioning if by “The not that done into politely out been recent,” reworked pointed probably have He already is original. reworking was Anderson’s “the vanished) contained original, it since whether has or (which Collier,” revival Huxtable borrowed by often Lloyd who Jordan, Fred Collier” Recruited folksinger “The for it. intervention; evidence sang (ibid Lloyd’s such material, Bell” no after “Barbary is and There long 1365) tradition. until no singing 1994b, the (Roud entered Gray” 2521), 2003). no. “Sally comm. including songs, (pers. Anderson’s lived of also Huxtable claimed Lloyd where Workington of town unpub- is text the as although This been 231–53). revival, 1994b). also (Roud the sure. has 1973 from be “Reynardine” in learned to Cash mother. been hard Andy her have is from to from it Ireland, likely lished 1880s in is the times version recent in last more it in heard once had collected She 109–10). 744, Ma (1980). DeNatale see tradition, oral American North ua iiaiyo h w ie satnaiigidcto feryoa transmission. oral early of indication tantalising a is lines two the of similarity aural IX, vol. (Balteau outlaw and and 1800) rebel (Vulpius French outlaw sixteenth-century literary (Dobson a a Hood fruitful: of 960). of Robin alias name 1961, prove with the the might associated was is Renaudie” outlaw Rinaldini” emerged, “Rinaldo “La ballad ballad 90), a 1997, for the Taylor name and when traditional outlawry a is with “Reynoldyn” associated book. his already in names, articulated clearly is which song, the about belief Boyes. Georgina from reference the obtained ieNı ´ire Chinne ´ h og Dew Foggy The ie(6yas,Ansal onyKry rln ( Ireland Kerry, County Annascaul, years), (76 ´ide sudtdbtms efo h ae15s rps 96a the as 1956 propose I 1950s. late the from be must but undated is is Person First rs okoeCollection Folklore Irish a eesdi 1966. in released was tpe .Winick D. Stephen vol. , . , Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 —.“aldPer. In Poetry.” “Ballad ———. ed. James, Francis Child, rwtr alG Mr nin ald n Songs.” and Ballads Indiana “More G. Paul Brewster, apel oeh[aCtmai,Seosamh]. [MacCathmhaoil, Joseph Campbell, M. Katharine Briggs, hpel oi . ed. W., Louis Chappell, olinLibrary. Bodleian an,AtiadSihThompson. Stith and Antti Aarne, Bert much Too me. Cited convinced References never … ‘Reynardine “ said: he 2002, revival both In in 1970s. widely the shared in be least would At they by [19] that worse; suspect I been but have opinions, personal could are songs These his [18] of some for but sources mysterious, about as claims qualify could doubtful train” Lloyd’s Venus’s [17] in up animal “brought line to broadside refer obscure the The from to meaning [16] of it resonances borrows use song new I Lloyd’s which Lloyd in reference, like of mode but This werewolves, [15] to refers strictly Lycanthropy [14] Ballad Broadside British a of Authorship and Authenticity rhr ae A .Lodi Australia.” in Lloyd L. “A. Dave. Arthur, In Ballads.” Child Singing “On Frankie. Armstrong, Robert. Anderson, edx Regina. Bendix, ed. M., H. Belden, Pre M. and Barroux, M. J., Balteau, edn .M ‘iodn, rs Song.” Irish “‘Rinordine,’ M. H. Belden, e ok li ono n o,1900. Son, and Johnson Alvin York: New 1860. 1939. Press, n ea al 1970. Paul, Kegan and 169–90. o heea.295.Br:PtrLn,1997. Lang, Peter Bern: 249–58. Cheeseman. Tom Sanderson Thomas by Peasantry, Cumberland the 1828. of Customs and Manners 1961. published First 1987. Fennica, Scientarium Academia Helsinki: nvriyo isui 1940. Missouri, of University eozye Ane et Letouzey ly! Hno n al20,126). 2002, Wall and (Hinton Lloyd!” to claim circles. laid scholarly falsely and have could he collected, actually had he mystery!” songs the royalties. written “preserving had for he praised claiming he version 1950s the from it to omitted referred Lloyd Kristeva Julia what precisely is songs, folk of as signification of system pre-existing transformation. intertextuality nSac fAuthenticity of Search In ,1933–. ´, olinBla Catalogue Ballad Bodleian ald n og olce yteMsor okLr Society Folk-Lore Missouri the by Collected Songs and Ballads ald nteCmeln ilc,Wt oe n lsayada sa nthe on Essay an and Glossary a and Notes With Dialect, Cumberland the in Ballads Kitv 90 15). 1980, (Kristeva itoayo rts okTls atA okNarratives Folk A. Part Folk-Tales. British of Dictionary A oksnso onk n h Albemarle the and Roanoke of Folk-songs nls n ctihBallads Scottish and English ono’ e nvra Cyclopaedia Universal New Johnson’s h ye fteFolktale the of Types The vs,ed. ´vost, aio:Uiest fWsosnPes 1997. Press, Wisconsin of University Madison: . oe n Queries and Notes adn 5[23.Ofr:Bdei Library. Bodleain Oxford: [1273]. 25 B Harding . ot&Branch & Root itonied igaheFrancaise Biographie de Dictionnaire h onan Singer Mountainy The o.1 otn ite rw n Company, and Brown Little, Boston: 1. vol. . ald noBooks into Ballads otenFllr Quarterly Folklore Southern omnctos14 t printing. 4th 184. Communications F F . 19) 10–13. (1999): 1 0S II(97:468. (1907): VIII S. 10 ognon .Vr. h Ballad The Virg.: W. Morgantown, . d ostrJhsn o .464–8. 1. vol Johnson. Rossiter ed. , uln ane,1909. Maunsel, Dublin: . d irdRewrsand Rieuwerts Sigrid ed. , alse .K Snowden, K. H. Carlisle: . ouba Missouri: Columbia, . odn Routledge London: . o.1.Paris: 1–. Vol. . ,n.3(1941): 3 no. 5, 305 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 utntn ae ed. Gale, Huntington, osa,A E. A. Housman, ed. ———, ed. Black, Joan and John, Holloway, oc,P . ed. W., P. Joyce, ed. Song.” ———, Irish ‘Rinordine,’ “ Herbert. Hughes, ed. Ranger, Terence and E., Hobsbawm, ly,A L. A. Lloyd, ———. ed. Peter, Kennedy, akni,WlimRy ed. Roy, William Mackenzie, itn ra n ef Wall. Geoff and Brian Hinton, Dave. Harker, rgo,Kih TeCmeln ad nAnvrayReflection.” Anniversary An Bard: Cumberland “The Keith. Gregson, ed. Chickering, Geraldine and Emelyn, and England Gardner, in Song Folk of Aspects Some of Reconsideration A History: and Lloyd L. “A. 1600–1850.” ———. England, in Society and Sex, “Song, Vic. Gammon, ed. O., Mary Eddy, ———. Malcolm. G. Laws, Julia. Kristeva, osn ihr .“Fakelore.” M. Richard Dorson, ed. Taylor, J. and B., R. Dobson, 306 riho,Hln ed. Helen, Creighton, ed. Josiah, Combs, eaae oga.“‘enrie:ABodieBla fSeduction.” of Ballad Broadside A ‘Reynardine’: “ Douglas. DeNatale, rs,1975. Press, Press. University Cambridge etrSetrPbihn,2002. Publishing, Skelter Helter soits 1963. Associates, 1972. Press, University 1957. Society, Folklore 1873. Mennzies, Marshall/John ens pnUiest rs,1985. Press, University Open Keynes: 333–67. (1983): en. okoeAscae,1967. Associates, Folklore Penns.: 1986. In Press, Writings.” Academic Other Sheffield His of Some 208–45. e ok oubaUiest rs,1980. Press, University Columbia York: New luetrhr:Sto ulsig 1997. Publishing, Sutton Gloucestershire: 40–51. (1980): 1925. okSn nEngland in Song Folk h rts ieayBla:ASuyi otcImitation Poetic in Study A Ballad: Literary British The rs onr Songs Country Irish ae nls rasd ald,Vlm 2 Volume Ballads, Broadside English Later oeAlY odMiners Bold Ye All Come eiei agae eitcApoc oLtrtr n Art and Literature to Approach Semiotic A Language: in Desire aeog h auatr fBiih“okog 70t h rsn Day Present the to 1700 “Folksong” British of Manufacture The Fakesong: hosieLad Shropshire A nin rs Music Irish Ancient okSnsd iidsEtats-Unis des Midi du Folk-Songs ald n og rmOhio from Songs and Ballads okog fBianadIreland and Britain of Folksongs mrcnBlar rmBiihBroadsides British From Balladry American aiieFl Songs Folk Maritime og h hlmnSang Whalemen the Songs e ok nentoa ulses 1967. Publishers, International York: New . ald n e og rmNv Scotia Nova from Songs Sea and Ballads os odn osyadHwe,1909. Hawkes, and Boosey London: vols. 4 . slyHthns h u’o n h ieo Folk-Rock of Rise the and Guv’nor The Hutchings: Ashley ye fRbnHo:A nrdcint h nls Outlaw English the to Introduction An Hood: Robin of Rymes etcrf fu Zeitschrift e ok h eiaeCu,1938. Club, Heritage The York: New . ae nls rasd Ballads Broadside English Later ulnLno/dnug:MGahnadGill/Simpkin, and McGlashan Dublin/London/Edinburgh: . igr ogadScholar and Song Singer, odn arneadWsat 1952. Wishart, and Lawrence London: . oot:ResnPes 1961. Press, Ryerson Toronto: . h neto fTradition of Invention The rVolkskunde ¨r oe n Queries and Notes ar,Ms. ar ulses 1964. Publishers, Barre Mass.: Barre, . e ok .J uutn 1939. Augustin, J. J. York: New . ald n og fSuhr Michigan Southern of Songs and Ballads e ok cimr 1975. Schirmer, York: New . ai:LsPessUiestie eFrance, de Universitaires Presses Les Paris: . odn oteg n ea al 1979. Paul, Kegan and Routledge London: . 5n.1(99:56–64. (1969): 1 no. 65 d a usl.176.Sheffield: 147–65. Russell. Ian ed. , 0S X(98:33. (1908): IX S. 10 hldlha en. American Penns.: Philadelphia, . okMscJournal Music Folk icl:Uiest fNebraska of University Lincoln: . abnae otenIllinois Southern Carbondale: . abig n e York: New and Cambridge . abr,Pns:Folklore Penns.: Hatboro, . okMscJournal Music Folk etr Folklore Western d enS Roudiez. S. Leon ed. , tpe .Winick D. Stephen ,n.3(1982): 3 no. 4, Hatboro, . London: . 9 o 1 no. 39, Stroud, . Milton . ,n.4 no. 4, Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 oe,I hlo.“nFl etvl n ices usin fAtetct nteFolksong the in Authenticity of Questions Kitchens: and Festivals Folk “On Sheldon. I. Posen, In Song.” Industrial and Lloyd L. “A. Roy. Palmer, oebr,Ni .Itouto to Introduction V. Neil Rosenberg, deV. Roger Renwick, ed. Vance, Randolph, —,An rgs n rni Armstrong. Frankie and Briggs, Anne ———, ———. ———. oet,Jh,adTn Barrand. Tony and John, Roberts, L. A. Lloyd, ie,Jh .“ rdtoa aldadIsMs:TmLn”In Lin.” Tam Mask: Its and Ballad Traditional “A Lloyd.” D. L. John A. Songs.” Niles, of “Sussex Percy. Depreciation W. A Merrick, Controversy: Lloyd “The ed. John, Ballad Meredith, Broadside British a of Authorship and Authenticity ———. Steve. Roud, ely tpe,ed. Stephen, Sedley, ue,Fna,adEdeFurey. Eddie and Finbar, Furey, Archie. Fisher, ash Bert. Jansch, hpr,Lsi.“.L ly:AProa iw”In View.” Personal A Lloyd: L. “A. Leslie. Shepard, hlhmSa,Ptik n ml ye ed. Lyle, Emily and Patrick, Shuldham-Shaw, aty atn n aeSwarbrick. Dave and Martin, Carthy, ———. Anne. Briggs, Discography Jean. Thomas, Discography.” Music “Traditional Rod. Stradling, arotConvention. Graham. Fairport Davy and Shirley, Collins, eia. In Revival.” 1986. Press, Academic Sheffield Sheffield: 1977. Washington, of University Seattle: 147–59. Conroy. Patricia enyvnaPes 1980. Press, Pennsylvania 1946. in published First 3–11. 1976). (1979): (written 3 1993 no. Press, 2, Illinois of University Urbana: odt (1956?). date no Greenhide Self-published. 1993. Press, Illinois of University Urbana: 1–26. Rosenberg. 2–3 hfed hfedAaei rs,1986. Press, Academic Sheffield Sheffield: 125–33. Sing INTERNET. http://www.mustrad.org.uk/discos/tradisco.htm; 2004]. 1983. Press, University Aberdeen erdeen: hcg:W .Hted 1931. Hatfield, W. W. Chicago: . okSn Index Song Folk is Person First Songs Drinking English Collection A ,n.3(93:13–15. (1983): 3 no. 4, h og e n te rdtoa nls oeSongs Love English Traditional Other and Dew Foggy The oeayLane Rosemary rasd Index Broadside neBriggs Anne ei’ ite:BigSoiso h etcyMuti epe odWt h og They Songs the With Told People, Mountain Kentucky the of Stories Being Ditties: Devil’s rnfrigTaiin okMscRvvl Examined Revivals Music Folk Tradition: Transforming rheFisher Archie oi 218 1966. 12T118. Topic . oi SD0.1999. TSCD504. Topic . h ed fLove of Seeds The nls okPer:SrcueadMeaning and Structure Poetry: Folk English ig Lief & Liege zr Folksongs Ozark DRM[ie ue20] aefil,Es usx 94.Self-published. 1994b. Sussex. East Maresfield, 2004]. June 5 [cited ROM CD oi 227 1971. 12T207. Topic . rnalni AD908O 1971. 900784O. TACD Transatlantic . etcMscCC07 1968. CMCD007. Music Celtic . oi SD9.1961. TSCD496. Topic . DRM[ie 0My20] aefil,Es usx 1994a. Sussex. East Maresfield, 2004]. May 20 [cited ROM CD sadIC21 1969. IMCD291. Island . h ann fteDay the of Dawning The rnfrigTaiin okMscRvvl Examined Revivals Music Folk Tradition: Transforming akSisi h Forest the in Ships Dark ora fteFl-ogSociety Folk-Song the of Journal okRos e Routes New Roots, Folk ouba is:TeSaeHsoia oit fMissouri, of Society Historical State The Miss.: Columbia, . odn se ui,1967. Music, Essex London: . rneHeathen Prince h idi h Bush the in Bird The h re–ucnFlsn Collection Folksong Grieg–Duncan The uia Traditions Musical igr ogadScholar and Song Singer, oi SD4.1969. TSCD344. Topic . igr ogadScholar and Song Singer, anRcrs 1972. Records. Dawn . okLgc C6.1977. DC-65. Folk-Legacy . oi SD1.1965. TSCD819. Topic . hldlha en. nvriyof University Penns.: Philadelphia, . d elV oebr.127–36. Rosenberg. V. Neil ed. , ald n aldResearch Ballad and Ballads oi 215 1966. 12T135. Topic . ,n.5(94:268–76. (1904): 5 no. 1, niemgzn ctd8June 8 [cited magazine online rdto eod TLP1016. Records Tradition . d a usl.133–47. Russell. Ian ed. , aaaFl Bulletin Folk Canada d a Russell. Ian ed. , tigbr and Stringybark o.2 Ab- 2. vol. . d elV. Neil ed. , ed. , 307 Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 upu,CrsinAugust. Christian Vulpius, 308 rdaeo h rgam nFllr n okiea h nvriyo enyvna n nadjunct magazine a music an is folk and He the Pennsylvania, USA. to of N.J., editor University Camden, contributing the a in at also Center is Folklife Folklife He and Valley programme. Folklore Delaware that in the in programme instructor of the director of is graduate Winick D. Stephen Note Biographical ed. Alfred, Williams, June. Tabor, Isla. Clair, St h oacs n oeitsLbay 1800. Library, Novelist’s and Romancist The isadGraces and Airs udr&Mayhem & Murder oksnso h pe Thames Upper the of Folk-songs iad iadn,Cpano adti aeo h atCentury Last the of Tale A Banditti: of Captain Rinaldini, Rinaldo oi 2S9.1976. 12TS298. Topic . ihadCasc EC53 2000. REHCD533. Classics Highland . odn ukot [1923]. Duckworth London: . tpe .Winick D. Stephen it Linen. Dirty London: .