Steve Roud

Richly illustrated, this is a magnificent guide to London’s folklore and legends, from the “Man in Grey” who haunts Drury Lane’s Theatre Royal to the Blind Beggar of Bethnal Green via the true stories behind Sweeney Todd and Spring-Heeled Jack. From the Hardcover edition.

The Legends and Traditions of the World's Most Vibrant City

London Lore

"Monumental history of the English folk song" -- Guardian In Victorian times, England was famously dubbed the land without music - but one of the great musical discoveries of the early twentieth century was that England had a vital heritage of folk song and music which was easily good enough to stand comparison with those of other parts of Britain and overseas. Cecil Sharp, Ralph Vaughan Williams, Percy Grainger, and a number of other enthusiasts gathered a huge harvest of songs and tunes which we can study and enjoy at our leisure. But after over a century of collection and discussion, publication and performance, there are still many things we don't know about traditional song - Where did the songs come from? Who sang them, where, when and why? What part did singing play in the lives of the communities in which the songs thrived? More importantly, have the pioneer collectors' restricted definitions and narrow focus hindered or helped our understanding? This is the first book for many years to investigate the wider social history of traditional song in England, and draws on a wide range of sources to answer these questions and many more.

Folk Song in England

Drawing extensively on literary sources from medieval times to the present, this survey not only explains what people have believed and why, but when superstitions arose, which parts of the country adopted them, how they evolved and what people today believe. Originally published: 2003.

The Penguin Guide to the Superstitions of Britain and Ireland

Julia Bishop

One of the Spectator's Books of the Year 2012 'Farewell and adieu to you fair Spanish ladies Farewell and adieu to you ladies of Spain For we've received orders for to sail for old England But we hope in a short while to see you again' One of the great English popular art forms, the folk song can be painful, satirical, erotic, dramatic, rueful or funny. They have thrived when sung on a whim to a handful of friends in a pub; they have bewitched generations of English composers who have set them for everything from solo violin to full orchestra; they are sung in concerts, festivals, weddings, funerals and with nobody to hear but the singer. This magical new collection brings together all the classic folk songs as well as many lesser-known discoveries, complete with music and annotations on their original sources and meaning. Published in cooperation with the English Folk Dance and Song Society, it is a worthy successor to Ralph Vaughan Williams and A.L.Lloyd's original Penguin Book of English Folk Songs. 'Her keen eye did glitter like the bright stars by night The robe she was wearing was costly and white Her bare neck was shaded with her long raven hair And they called her pretty Susan, the pride of Kildare' In association with EFDSS, the English Folk Dance and Song Society

The New Penguin Book of English Folk Songs

David Atkinson

In recent years, the assumption that traditional songs originated from a primarily oral tradition has been challenged by research into ’street literature’ - that is, the cheap printed broadsides and chapbooks that poured from the presses of jobbing printers from the late sixteenth century until the beginning of the twentieth. Not only are some traditional singers known to have learned songs from printed sources, but most of the songs were composed by professional writers and reached the populace in printed form. Street Ballads in Nineteenth-Century Britain, Ireland, and North America engages with the long-running debate over the origin of traditional songs by examining street literature’s interaction with, and influence on, oral traditions.

The Interface between Print and Oral Traditions

Street Ballads in Nineteenth-Century Britain, Ireland, and North America

From conkers to marbles, from British Bulldog to tag, not forgetting 'one potato, two potato' and 'eeny, meeny, miny, mo', The Lore of the Playground looks at the games children have enjoyed, the rhymes they have chanted and the rituals and traditions they have observed over the past hundred years and more. Each generation, it emerges, has had its own favourites - hoops and tops in the 1930s, clapping games more recently. Some pastimes, such as skipping, have proved remarkably resilient, their complicated rules carefully handed down from one class to the next. Many are now the stuff of distant memory. And some traditions have proved to be strongly regional, loved by children in one part of the country, unknown to those elsewhere. All are brilliantly and meticulously recorded by Steve Roud, who has drawn on interviews with hundreds of people aged from 8 to 80 to create a fascinating picture of all our childhoods.

The Children's World - Then and Now

The Lore of the Playground

Are black cats lucky or unlucky? What should you do when you hear the first cuckoo? Since when have people believed that it's unlucky to shoot an albatross? Why does breaking a mirror lead to misfortune? This fascinating collection answers these and many other questions about the world of superstitions and forms an endlessly browsable guide to a subject that continues to obsess and intrigue.

Peter Harrop

This broad-based collection of essays is an introduction both to the concerns of contemporary folklore scholarship and to the variety of forms that folk performance has taken throughout English history. Combining case studies of specific folk practices with discussion of the various different lenses through which they have been viewed since becoming the subject of concerted study in Victorian times, this book builds on the latest work in an ever-growing body of contemporary folklore scholarship. Many of the contributing scholars are also practicing performers and bring experience and understanding of performance to their analyses and critiques. Chapters range across the spectrum of folk song, music, drama and dance, but maintain a focus on the key defining characteristics of folk performance – custom and tradition – in a full range of performances, from carol singing and sword dancing to playground rhymes and mummers' plays. As well as being an essential reference for folklorists and scholars of traditional performance and local history, this is a valuable resource for readers in all disciplines of dance, drama, song and music whose work coincides with English folk traditions.

The Routledge Companion to English Folk Performance

'The English Year' is a month-by-month, day-by-day guide to all the customs and festivals of England, from the national celebrations to herald the New Year down to small local traditions such as duck racing in Oxfordshire.

The English Year

Jacqueline Simpson

This dictionary is part of the Oxford Reference Collection: using sustainable print-on-demand technology to make the acclaimed backlist of the Oxford Reference programme perennially available in hardback format. An engrossing guide to English folklore and traditions, with over 1,250 entries. Folklore is connected to virtually every aspect of life, part of the country, age group, and occupation. From the bizarre to the seemingly mundane, it is as much a feature of the modern technological age as of the ancient world. BL Oral and Performance genres-Cheese rolling, Morris dancing, Well-dressingEL BL Superstitions-Charms, Rainbows, WishbonesEL BL Characters-Cinderella, Father Christmas, Robin Hood, Dick WhittingtonEL BL Supernatural Beliefs-Devil's hoofprints, Fairy rings, Frog showersEL BL Calendar Customs-April Fool's Day, Helston Furry Day, Valentine's DayEL

A Dictionary of English Folklore

In Victorian times, England was famously dubbed the land without music - but one of the great musical discoveries of the early twentieth century was that England had a vital heritage of folk song and music which was easily good enough to stand comparison with those of other parts of Britain and overseas. Cecil Sharp, Ralph Vaughan Williams, Percy Grainger, and a number of other enthusiasts gathered a huge harvest of songs and tunes which we can study and enjoy at our leisure. But after over a century of collection and discussion, publication and performance, there are still many things we don't know about traditional song - Where did the songs come from? Who sang them, where, when and why? What part did singing play in the lives of the communities in which the songs thrived? More importantly, have the pioneer collectors' restricted definitions and narrow focus hindered or helped our understanding? This is the first book for many years to investigate the wider social history of traditional song in England, and draws on a wide range of sources to answer these questions and many more.

One hundred years of children's games, rhymes and traditions

In every country across Europe, at some point or other during the last five hundred years, cheap printed materials were the staple diet of ordinary people, providing a rich array of entertainment, education, and information. They came in various forms, but were usually variations on the theme of single sheets or simple booklets, and they were carried far and wide in pedlars’ packs and sold in the streets, at fairs and markets and wherever crowds gathered, as well as in backstreet shops. Their content was as broad as can be imagined: news and scandal, crimes and last-dying confessions of murderers, divinations, instructional works, wonder stories, miracles, folktales and legends, love stories, celebrations of national victories and lamentations for the good old days. They were often couched in the form of poetry or song, and included pictures in the form of woodcuts and engravings to add to their appeal. In every country across Europe, governments and local and religious authorities tried at times to suppress or control these cheap printed materials. Sometimes, too, the authorities would adopt the format of cheap print to spread their own moral and conformist messages. The educated elites almost always treated cheap print with disdain, but the people continued to buy these items in their tens of thousands, and the printers knew exactly what they wanted. Neglected and reviled for centuries, cheap print shines a light on the culture and lives of ordinary people. This is the first volume to take a pan-European perspective, with each chapter detailing the experience of a particular country or region, offering the reader the opportunity to progress from the particular to a continent-wide overview. This combination of the ubiquity of the materials and overarching themes with the variations wrought by local circumstances can be summed up in the phrase always the same, but everywhere different.

European Perspectives on Popular Literature

Cheap Print and the People

In which part of North London were wild beasts once thought to roam the sewers? Why did 1920s working-class Londoners wear necklaces of blue beads? Who was the original inspiration for the 'pearly king' costume? And did Spring-heeled Jack, scourge of Victorian London, ever really exist? Exploring everything from local superstitions and ghost stories to annual customs, this is an enchanting guide to the ancient legends and deep-rooted beliefs that can be found the length and breadth of the city.

The legends and traditions of the world's most vibrant city

For centuries, street literature was the main cheap reading material of the working classes: broadsides, chapbooks, songsters, prints, engravings, and other forms of print produced specifically to suit their taste and cheap enough for even the poor to buy. Starting in the sixteenth century, but at its chaotic and flamboyant peak in the nineteenth, street literature was on sale everywhere – in urban streets and alleyways, at country fairs and markets, at major sporting events and holiday gatherings, and under the gallows at public executions. For this very reason, it was often despised and denigrated by the educated classes, but remained enduringly popular with the ordinary people. Anything and everything was grist to the printers’ mill, if it would sell. A penny could buy you a celebrity scandal, a report of a gruesome murder, the last dying speech of a condemned criminal, wonder tales, riddles and conundrums, a moral tale of religious danger and redemption, a comic tale of drunken husbands and shrewish wives, a temperance tract or an ode to beer, a satire on dandies, an alphabet or “reed-a-ma-daisy” (reading made easy) to teach your children, an illustrated chapbook of nursery rhymes, or the adventures of Robin Hood and Jack the Giant Killer. Street literature long held its own by catering directly for the ordinary people, at a price they could afford, but, by the end of the Victorian era, it was in terminal decline and was rapidly being replaced by a host of new printed materials in the shape of cheap newspapers and magazines, penny dreadful novels, music hall songbooks, and so on, all aimed squarely at the burgeoning mass market. Fascinating today for the unique light it shines on the lives of the ordinary people of the age, street literature has long been neglected as a historical resource, and this collection of essays is the first general book on the trade for over forty years.

Producers, Sellers, Consumers

Street Literature of the Long Nineteenth Century

How do children play nowadays? What rhymes do they sing? What games do they play? Anyone who works with children will happily tell you that 'children don't play the way they used to', but what does that really mean? Drawing on the results of the first major survey into children's play in fifty years, The Lore of the Playground explores children's modern day behaviour and puts it into a historical context. From skipping to tag, from marbles to conkers and from 'eeny meeny miny mo' to 'one potato, two potato', The Lore of the Playground will present a fascinating insight into everyone's childhood.

Steve Roud

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