ROUD 85: The Lochmaben Harper
AKA: The Blind Harper, Wanton Brown, The Auld Harper, Silly Poor Harper, The Blind Harper of Lochmaben, The Jolly Harper, The Harpin' Mannie
As with the previous ballad, this is another story that involves horse theft, although the blind harper who outwits King Henry uses the clever ruse (devised by the harper’s wife) of tying his own horse to the King’s fine “wanton brown” mare. While the King and his courtiers are distracted by the magically soporific musical entertainment, the horse returns to its foal at the harpist’s house, taking the King’s mare with it. And, crucially, the theft remains undetected; all versions of this border klepto-ballad end with the harpist succeeding in his mission without consequences, and even being paid for his services as a musician.
There are some interesting themes that diverge from the previous border ballads. For example, this is one of the few instances that includes an element of the supernatural, with the protagonist’s magical somnolent harp playing a major role in the subterfuge. For other examples of this that have been found in the border region, see Tam Lin, Thomas the Rhymer and The Twa Corbies.
Another unusual aspect of this ballad is the fact that the harpist’s disability is used as a positive attribute. His blindness (as well as the fact that the harpist’s horse has also apparently been stolen) renders him above suspicion for the theft.
The Magical Harp trope
The harp as a magical instrument pops up a few times in folklore and song, especially as a means of subduing or enchanting people - this would make sense due to the harp’s gentle, mellifluous tones being more suited to sedation, rather than something like the bagpipes, for example. Other instances of this include:
The Cruel Sister (or the Twa Sisters) - In this Scots version of Roud 8 (a gruesome popular ballad often known by other names such as The Bows of London in England or The Wind and Rain in the US) the murdered sister’s body is made into a magical harp that sings the song of her untimely death.
King Orfeo - This ballad is a Celtic adaptation of the Greek myth of Orpheus. King Orfeo’s wife is kidnapped by fairies, and he ventures into the fairy world to rescue her, armed only with his harp. His playing enchants the fairy court, moving the fairy king enough to release his wife.
The Harp of Dagda - In Irish mythology, the Dagda, a powerful deity, owns an enchanted harp called Uaithne or An Cláirseach. This harp has the power to control emotions, moving listeners to joy, sorrow, or sleep. It’s said that in battle, the harp could summon the seasons. After the Fomorians (an opposing race) steal it, the Dagda plays it to call it back, using its magical sounds to freeze his enemies.
Harpans kraft - A well-known Scandinavian folk ballad with versions across Sweden, Norway, and Denmark. It tells the tale of a harper who wields the magical power of his harp to achieve a daring rescue.
Music
An interesting playlist with some big names, mainly under the title “The Blind Harper”. I couldn’t find any source recordings, although we know it was being sung out in the early 20th century, thanks to the Greig-Duncan collection (see Sources, below). The earliest album recording I could find (thanks of course to the indispensable Mainly Norfolk) was from Nic Jones in 1978, although he played on a John Peel session in 1972, so it had been in his repertoire for a while.
I also found this live video from 1976 of the great Andy Irvine performing this version, with Donal Lunny and Paul Brady. I asked Andy where he got it from and he confirmed it was from Nic Jones. He also recorded it in 1978.
Most of the present day recordings follow the Nic Jones template (with anglicised and abbreviated lyrics, and a melody based loosely on all three existent tunes found in the 19th century), but in 1990, Martin Carthy went a different way with his version of “The Lochmaben Harper”, to the tune of a Scottish air.
Most other versions use the Nic Jones tune above. For example, this wonderful rendition from Hungarian-born Fruzsina Rakoczy.
She has produced only one album since 2020 - based on the joyful interpretation of this ballad alone, I would love to hear more from her, so if we all buy the album from Bandcamp, perhaps she might be persuaded to grace us with some more music.
Another version comes unexpectedly from Russia - not a country we expect to find Irish-influenced anglophone traditional song. But the Russian folk collective Mervent deliver on all fronts.
Finally, I have mentioned the album “Macmath: The Silent Page” before, all the way back in Roud 63: Johnnie Scott. This Scottish folk collective have taken Scots ballads without music and returned them to life in some beautiful recordings. Here’s a clip of their version of The Lochmaben Harper, to a tune that bears more than a passing resemblance to some of the tunes for Roud 84: Hughie Graham.
As I said before, it’s an exceptionally well crafted album, which can and should be purchased here.
Rare find
In 2001, Irish singer Denny Bartley recorded Nic Jones’ version of this song, and released it on his “Midnight Feast” album. It’s now a little hard to come by, but I found an elusive second hand copy. Here’s a clip.
As usual, the full version can be found after the paywall.
Sources
Roud Index entries for The Lochmaben Harper
The first official publication of this ballad comes in 1802, in Walter Scott’s “Minstrelsy of the Scottish Border”. He gives no account of his source, instead using his notes as a means of criticising the amassing of land by large private estates, ending small farming tenancies, and lamenting the loss of tradition and culture that this would surely cause. Which is all very noble of course, but he clearly wasn’t thinking of future folk scholars when he made this editorial decision.
One year later, James Johnson publishes his account in his Scots Musical Museum, with reference to Robert Burns Glenriddell manuscript (c1794), pointing out the amendments made by Scott. Ironic really, that Scott should tamper with tradition in this way, considering his notes on the ballad.
Early in the 20th century, Gaving Greig and James Bruce Duncan collected nearly 2000 songs from Northeast Scotland, giving us the invaluable resource we now know as the Greig Duncan Collection. The largest contributor was Aberdeenshire housekeeper Bell Robertson, who had a version of this ballad that she called “The Harpin’ Mannie”. It’s an interesting abbreviated version in which the harpist simply rides off with the horses while the court is under the spell of his playing, and leaves out the ruse of tying the horses together.
Greig notes: "Differs very considerably from 'The Jolly Harper' in Dixon's Scottish Traditional Versions of Ancient Ballads (Percy Society - 1846) taken from P. Buchan 's folio MSS I in British Museum ) … It had a lively tune that pleased the little folks. Sandy was very fond of it. I recited it to Mr Greig with the tune in my mind and he was pleased because it gave him an idea what it was like and he would know if he got one like it." (Robertson, letters to Du11ca11, 19 August 1915) "I am glad you sent the ballad not that I can throw much light on it but it gives me an oportunity of telling you that it has been a problem to me ever since I began to take notice of these things. The was no ballad that I heard so often for the reason that my brother Sandy always cried Sing and when asked What will I sing? he said 'The Little Harpin Mannie'. Well I asked mother and she said that the harper stole the brown and rode off then the groom mounted the mare and rode after. But that did not satisfy me. I could not get it to fit. And I think 'full' is a mistake for 'foal' which might easily have been made. Of course it had been the way mother got it but that is no guarantee that it is correct . I cannot see the sense of the gartersunless to tie the one animal to the other but why does he say he lost his steed's foal in England and now his mare in Scotland? Ought it not to have been the other way? It seems hopelessly entangled but I have given it complete as far as I got it. I may say I always thought 'foal' was the proper word even before I heard any other verson." ( Robertson, letters to Duncan, 19 September 1916) " 'The Harpin Mannie ' was one of mother's nursery songs. I remember Sandy say Sing Mannie and when she said Fat'II aw sing? he said 'The Harpin Mannie'. I never heard her say where she got it but I am sure she learned it when young. I never heard anyone else sing it." (Robertson, Ballad Notes, 4.11)
Draft pages, audio guide and full version of the rare find
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