Long Lankin

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There has been a bargain struck between the owner of the castle and the devil himself, whose help was sought and provided, in return for a sacrifice, which was not made. When the lord returned home, he discovered how his attempt to cheat the stranger had ended in the deaths of his own wife and child. The most recent study of the ballad is that of Gammon and Stallybrass.

For the demand is to uphold the patriarchal household even though that very household is founded upon the dissolution of another patriarchal household. The structuralist approach they use suggests that the drama of the song is, as it were, embedded in the culture; that what freight the ballad carried in previous ages is still now carried, because of the continued patriarchal social base. Though it is a commonplace that ballads were passed on by women rather than men, it is astounding to think that this particular ballad was thus transmitted. What might a woman possibly see or hear in such a song?

Why would a song speaking so strongly to the vulnerability of women and children be so widely remembered? Devoid of humour, gallantry, and love, it seems to speak to the worst fears of women, and to offer them, not safety or rescue but inexorable death, of themselves and of their babies. The inexorability of the murders provides the clue.

To a child, whose minimal life experiences offer few referents, this is an ideal landscape through which to make sense of the world. To recapitulate the story from the point of view of a child listener: it is nighttime. You are in bed, yet a terrifying force you do not recognize or understand attacks you. It comes from the dark outside.

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Your father is away and cannot help or protect you. Your mother is upstairs and does not respond to your cries. The person whose job it is to look after you has betrayed you. And how does the ballad help deal with these fears? Firstly, in typical ballad style, it simply states the facts, and lets the listeners draw what conclusion they may.

The conclusions drawn will change over time, but the ballad is thus still relevant.

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It encourages divergent, rather than convergent, reflection or thinking. Third, and most importantly, the ballad deals with the fears by projecting the anger at the absent ones onto two strangers, Lamkin a good name for a stuffed toy, perhaps? In some versions, notably Mrs.

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The child wants to hear it, because in hearing it, it can rehearse and play through again the pain of abandonment, and can begin to strategize how it can live by itself, how it can be separated from its mother. Why would a mother or a mother-substitute want to sing the song, which so cruelly denounces her as a weak and uncaring caregiver?

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We remember that for every listener there is a singer. To recapitulate the story from the point of view of the mother: it is nighttime. You are in bed, and you are woken by the cries of your baby, downstairs. Your husband, before he left, warned you of danger. You are in his house, without friends close by. The nurse, who is not your friend, cannot or will not help you. You are gripped by your own inadequacies as a mother.

You feel helpless: if the nurse does not know what to do for a crying baby, what can you do? You are friendless in a cold, dark house. You are frightened to come down the stairs in the dark.

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She is helpless to protect herself against Lamkin and thus becomes his victim. She is also helpless to protect her baby from being killed, and thus becomes a perpetrator. The prelude to both murders — and the emotional centre of the ballad — is abandonment. The lady has been abandoned by her lord and the baby has been abandoned by its mother.

What arises from these fierce emotions are two responses — rage in the baby and guilt in the mother. Feelings of inadequacy and guilt are part of childrearing. Perhaps women who are not good enough deserve to be punished. Even when the baby cries in extreme terror and pain, she is reluctant to come down. Not only that: in a full half of the versions examined, she offers her daughter Betsy as a substitute for her. The song thus functions for the mother in much the same way as for the child: it brings the fears in this case, abandonment, helplessness and guilt into consciousness and allows them to be met and perhaps overcome.

The abandonment of the child by the parent — the first and likely most painful abandonment — can arouse feelings of rage in the child. Singers and listeners can feel rage without guilt against Lamkin and the nurse and revel in their deaths at the end of the ballad. Its meaning, for it has only one, lies entirely on the surface. A mason is unpaid — he exacts vengeance on the family of his oppressor. What could be simpler? But if we ask ourselves what were the effects of the loss of the motive the opening verse or verses we can only say that they have improved the ballad, giving it a darker flavour and taking away any simplistic moral.

With a rational explanation, the crime in the ballad becomes explicable and preventable pay your mason , and thus loses much of its potency.

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It is the presence of the unknown that increases trepidation and fear. If it is important that the song have a motive, is it conceivable that the motive could have been forgotten without the song itself falling into desuetude? What can be said of Gilchrist can a fortiori be said of Niles a deal with the devil , Leach abduction by the fairies , Barry leprosy cure and Leader good foundations for a castle.

The song is transformed; what was once open-ended, divergent, and capable of many meanings, now becomes convergent, rational, and causative Why? The ballad now makes rational sense, but it is not the same ballad; and we have had to predicate all sorts of multiplicities, none of them necessary.

But the stronger argument might be that whatever the truth of these theories, none of them is explanatory — none of them, that is, explains why the ballad maintained its popularity over the centuries.

Lamkin, “The Terror of Countless Nurseries”

It has spoken to these generations because everyone has experienced these things. Come down, my fair lady, and rock him in your lap. Come down, my fair lady, all by the light of one. Here's blood in the kitchen. Here's blood in the hall Here's blood in the parlour where my lady did fall. Her maiden looked out from the turret so high And she saw her master from London riding by.

This poem is the first page of the novel and effectively works to introduce the history of Lankin and the manor associated with him. I find the rhyme and the occasion of darkness in the setting of the poem to add great time detail to the piece. With the quick rhyme scheme it is discerned that the events unfold rather quickly, while the presence of no light in the manor suggest a more primitive time and the final hours of the day as well as the life of the lady of the home.

The poem in truth has no meaning of philosophical proportions, but it does reflect the Irish culture it originates from. This group of people are known for their superstitious ways and their fear of the unknown.

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