This statement is entirely true: “It’s what is left out of the song that keeps us coming back for answers.”
This image, and the accompanying lyrics, are superb examples of this.
Lyric Of The Week: Traditional, “Barbara Allen”
The first known reference to this mysteriously captivating folk ballad dates back to 1666, in an entry by the famed English diarist Samuel Pepys. Pepys called it a “Scotch song”, and it flourished throughout the United Kingdom in that era until it was brought to the U.S. by immigrants. As the population of the America slowly spread westward, the song went with it, as noted by famed musicologist Alan Lomax in his book The Folk Songs Of North America. “This ballad, if no other, travelled west with every wagon,” Lomax wrote. “As someone remarked, they sang ‘Barbara Allen’ in Texas ‘before the pale faces were thick enough to make the Indians consider a massacre worthwhile.”
What transpires in “Barbara Allen” is simple enough on the surface. Yet since the lyrics provide little exposition or back story, the reasons for the behavior of the main participants are enigmatic. The song tells the story of young William who, as he lies on his deathbed, calls out for Barbara. She takes her time getting to his side, only to treat him coldly due to a social foul he committed against her at a tavern. On her journey home, she hears the “death bell knellin” and, knowing it tolls for William’s death, suddenly regrets her hardness and knows she will soon die of grief for him.
Harsh stuff, right? Maybe too harsh, even for audiences who were used to Shakespeare’s plays and their numerous deaths. As such, a variant on the song quickly arose that included a leavening epilogue whereby the lovers are buried side-by-side. From William’s grave grows a rose, from Barbara’s a briar, and the two flowers eventually intertwine, providing the deceased pair eternal unison.
It’s whats left out of the song that keeps us coming back for answers. If all William did was drink a toast to the wrong ladies, surely he didn’t deserve treatment so nasty from a girl he truly loved. Or was this single incident indicative of his wayward behavior as a whole? And what changed in Barbara’s mind and heart from the time she left him to when she heard that bell? In that short journey, she transformed from hard-hearted to sympathetic without any middle ground spent in consideration of all that had transpired.
This sort of unexplainable behavior from characters was also emblematic of Shakespeare (think King Lear or Hamlet), so maybe the original writer had that kind of strangeness in mind. It makes the song more psychologically realistic, since we all tend to do things when guided by passion or spite that defy logic and reason.
The murkiness of the motives and the beauty of the melody is an irresistible combination. As such, many legendary contemporary artists have found the song irresistible. Dylan, for one, not only covered “Barbara Allen” at various times in his career, but he also used Barbara’s home base of “Scarlet Town” as a jumping-off point for an equally mysterious song on 2012’s Tempest.
While there have been many powerful and moving renditions of “Barbara Allen”, Art Garfunkel may have given the definitive modern reading on his 1973 solo album Angel Clare. Whatever lesson you take from the song, whether it’s that even a moment of taking the one you love for granted can come back to haunt you, or that life is too short for petty grievances, you’ll likely be mesmerized by the mercy Garfunkel’s ethereal vocal grants these two lovers. It’s just too bad they didn’t show each other that same kind of mercy until it was far too late.
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