Lyrics
– It’s Molly, lovely Molly, will you come with me
Till we visit our friends before married we’ll be?
Her cheeks they did blush like a red rose in June,
– And to wed with you, William, I’m afraid it’s full soon.
2
Through lonesome shades and valleys we wandered along
Till at length lovely Molly began to think long,
– I doubt, dearest William, you’re leading me astray
And all for one purpose: my innocent life betray.
3
– Oh, it’s Molly, lovely Molly, what makes you thing so?
I dote on your beauty, you very well know,
I dote on your beauty whatever betide
And there’s no other fair maid will lie by my side.
4
Through lonesome shades and valleys we wandered along
Till at length lovely Molly began to think long,
I doubt, dearest William, you’re leading me astray
And all for one purpose: my innocent life betray.
5
– Come on, lovely Molly, there’s no time to stand,
With that then young William took a penknife in his hand;
He pierced her poor heart till her red blood did flow
And into this grave her poor body did throw.
6
He happed her up carefully and made his way home
He left no one to mourn but the small birds alone
And straight unto Bedford young Willie made his way,
His ship lies at Plymouth just ready for sea.
7
One night the captain in his cabin lay,
A voice did come to him and this it did say,
– Your ship out of Plymouth she never will go
Till I have revenge on this sad overthrow.
8
Young William being a sailor of cour – (spoken) God’s curse on him! – ’n bold
It happened one night as he strode by the hold
A beautiful damsel to him did appear
And she had in her arms a baby so dear.
9
Young William being ad – dis – like (?) her he strove to embrace
When he saw the picture of her bonny face,
It’s Molly, lovely Molly, where now shall I run
For to hide my poor body? my soul is undone.
10
For to hid my poor body? my soul is ensnared
For the murder of this fair maid and her baby so dear.
For she opened her eyes and she gazed at him so wild
And then she instantly (spoken) tumbled him into the tide.
Notes
‘The Gosport tragedy’, dating from at least 1750, was one of a group of similar murder ballads and was itself the object of considerable variation. Long ‘Garland’ texts gave way to more singable versions among which Charlie’s, like many, dispenses with a circumstantial opening, while introducing on the other hand unusual repetition in v. 1–4 which seems modelled on old ballad style. The manner in which Charlie’s William is disposed of is milder than in most versions. Conclusions are especially diverse, and our Notes do not attempt to identify distinct forms of the thematic complex of broadly related texts.