The Demon Lover (The House Carpenter)
Well Met, Well Met

âThe Demon Loverâ from âBallads Weird and Wonderfulâ (Vernon Hill, 1912)
What lengths will a singer go to in changing the songâs âfactsâ to keep closer to the songâs âtruthâ? Â While I generally believe that neither facts nor truth are completely relative, in the search to express meaning in a song, the truth is something that we often meet half way. Â More relevantly, the truth is something that art approaches through metaphor and indirection. Itâs clearly a collaborative project, both between the artist and the song and among artists and interpretersâand the truth is often more emotional truth than it is factual truth, to whatever extent the facts are relevant in the song. Â Many voices find a power in a songâs narrative, and keep working at honing the song to capture that essential power. Â Child Ballad 243, âThe Demon Loverâ or âHouse Carpenterâ gives us an excellent example of this kind of collaborative project, using and endlessly revising a story to drill down to a core truth.
This may only be the first of a few weeks, occasionally distributed over the months ahead, on this song. Â As with âTwo Sisters,â there is probably more to it than one week, and certainly one blogger, can unearth. Â A number of existing on-line resources provide a bibliographical take on the song, so it wonât be my aim to fully reprise them hereâif I can help myself.
My hope today is to outline the framework of Child 243, and then to discuss the song as a murder ballad. Â As weâll discover, itâs not an entirely neat fit, but it is at least a worthwhile comparison. Â What I mainly hope to do is provide you with a set of issues and themes to consider, rather than doing a complete archaeological excavation of the song in all its varietyâagain, if I can help myself. Â There are many people digging through the strata on this âsite.â
In the end, I think weâll see that at least one branch of the song is a murder ballad, while all of the branches touch on themes that resonate deeply with categories of emotional truth and moral judgment that we find in some of our other musical tales. Â Whether or not we classify the song as a murder ballad is probably less important than demonstrating that this song has some pretty powerful currents within itâcurrents that appealed to 17th and 18th century audiences, and currents that appeal to 21st century audiences. Â That is, as I intend to draw out over a few posts, this song is enduring and powerful because it taps into something rather elemental in human experience. Â The best initial evidence of this is that artists keep working at refining this song and keeping it a going concern.
Here are two versions to get you acquainted with the song weâre talking about. Â The first is a performance of âThe Demon Lover,â the more British variant:
The second is Tony Riceâs recording of âHouse Carpenter,â the more American variant of Child 243:
âHouse Carpenterâ by Tony Rice (Spotify)
Where to Begin?

Carl Sandburgâs albums at Connemara, Carl Sandburg Home National Historic Site (photo by K. Bigger)
Poet and folklorist Carl Sandburg says âThe House Carpenter,â the version he includes in The American Songbag, âis among the hoary and tarnished keepsakes of the ballad world.â  The song was old by the time it got into his hands; perhaps not as old as some we have explored along the way, but still quite old.  Judging by Sandburgâs lyrics, the original ballad had been well winnowed already.
Laurence Price receives the credit for the original song, published as a broadside in 1657, and entitled âJames Harris (The Daemon Lover).â Â It bears the somewhat more descriptive subtitle of:
âA Warning for Married Women, being an example of Mrs Jane Reynolds (a West-country woman), born near Plymouth, who, having plighted her troth to a Seaman, was afterwards married to a Carpenter, and at last carried away by a Spirit, the manner how shall be presently recited.â
Broadside, indeed. Â As you will shortly see, both the title and the song got considerably shorter. Â Jon Boden accounts for some of the songâs history on his page about the song. Â You can read Priceâs lyrics here.
Priceâs original runs 32 verses. Â It tells of the plighted troth of âJane Renaldsâ and her first true love, James Harris. Â The two secretly vow to marry, but on the day they are to wed, James is pressed into service on the sea. Â Jane remains faithful to him for three years, after which she receives word of his death. Â Another year passes, and she marries a carpenter and has a family. Â Seven years after his departure, a Spirit returns, claiming to be James. He lures Jane away from her settled life with her husband (who happens to be away from home at the time) and her children. Â She goes away with him, never to be seen again. Â Her husband returns to find her gone, and in madness and desperation hangs himself. Â The children are thus made orphans.

Francis J. Child (source: Wikipedia)
The versions collected by Francis James Child include Priceâs as version A, and show both the variety introduced to the story and the honing of the song that occurred over the intervening two centuries between Priceâs origination and Childâs collection.   By the time Sandburg includes the song in his book, we hear neither the names of the characters involved nor the fate of the abandoned husband and children.  Whether and how long Jane was faithful to her vows to James is unmentioned.  âHoary and tarnishedâ in some respects, but more to the point, the action and the crucial elements of the narrative are compressed.  All of the versions weâll listen to will be roughly half the length, at most, of Priceâs original.  The original story is shaggy and detailed.  The shorter versions spruce up the verses a bit and manipulate the story; hoping, I suppose, to accomplish something similar to Priceâs artistic goal, but without all of Priceâs details.
The Demon Lover and the House Carpenter
British and Irish versions tend to favor âThe Demon Loverâ as the title of choice, and American versions generally favor âHouse Carpenter.â Some British artists pick up âHouse Carpenter,â but these are often explicitly sourced to American artists.  All modern versions essentially agree on the core elements of the story, however much they each stray from the original.  The song as we have it today reliably dispenses with the initial courtship of James Harris and Jane Reynolds, his being pressed into shipâs service, and any details of the carpenterâs demise at the end of the song.
Depending on the goals of the singer, the remaining details are tweaked in the story. Â There are some variables. Â These include:
- The length of the separation of the lovers. If it is specified, it is either seven years, as in the Price original, or âthree-fourths of a long, long year.â
- The number of children born to the carpenterâs wife
- Whether the carpenterâs wife requires her old true lover to demonstrate his ability to support her
- Whether the carpenterâs wife puts on a display of finery as she departs
- Whether the lover who lures her away is a demon who kills her through supernatural means. If he is not, her demise is depicted as accidental/natural.
Sometimes these options appear to be mixed and matched, unrelated to other elements or who is singing the song where. Â Other options tend to correlate strongly with each other or other factors. Â For one, basically all the Old World versions (regardless of which title they choose) invoke a supernatural agent; the lover reveals himself to be a demon. Â In essentially all of the New World versions, there is no demon. Â The only view of the supernatural, if any, is that our heroine views the hills of Heaven and of Hell, and learns which way she will go.
For some examples, weâll turn first to a few recordings that capture the song in an authentic ballad style or with old-time accompaniment. Â Here is A.L. Lloydâs performance of âThe Demon Loverâ:
Listen here on YouTube (Lyrics)
In Lloydâs version, the demon responds to âJaneâsâ weeping by explaining that heâll take her to the bottom of the sea.  He then transforms in size and crushes the ship single-handedly.  One fascinating element of Lloydâs version, as youâll soon see, is that is one of the relatively very few versions of the song that makes no reference to children.  (Rosalie Sorrelsâs version of âHouse Carpenterâ is another.  Sorrelsâs version is also the only recording Iâve found so far that makes any reference at all to the fate of the carpenter.  Her concluding verse ends with a curse upon the sailor âfor the robbing of the house carpenter and the taking away of his life.â  Itâs not a clear or explicit reference and comes across as some kind of vestigial tail/tale from an earlier point in the evolution of the ballad.)

Clarence âTomâ Ashley c. 1960 (uncredited photo from Southern Folklife Collection at UNC)
For old-time versions of âHouse Carpenter,â Â we should turn first to Clarence âTomâ Ashley, whose recording appeared on Harry Smithâs Anthology of American Folk Music. Â The Anthology was an incredibly influential source for a vast number of artists and audiences in the mid-twentieth century, and therefore Ashleyâs version has to be seen as one that advanced the balladâs popularity in wider and wider circles.
Initially recorded either in 1928 or 1930 (depending on your source) and released by Columbia Records, Ashley accompanies himself on 5-string banjo. Â Smithâs summary of the song and liner notes get some things right and some things wrong:
âWIFE AND MOTHER FOLLOWS CARPENTER TO SEA; MOURNS BABE AS SHIP GOES DOWNâ
âChild (No. 243 James Harris-The Demon Lover) gives 6 versions of this ballad (all Scottish) from oral tradition and two broadside printings, one which, âBâ (from The Ramblerâs Garland, 1785) is very similar to the American texts. Â The supernatural theme of the early versions has disappeared almost completely in America.â
âHouse Carpenterâ by Clarence Ashley (Spotify)
(This link provides the lyrics to Ashleyâs version, and also includes an amusing anecdote of how Ashley appeared to convince the recording executive from Columbia that this song belonged to a distinct genre of âlassy makin'â tunes.  You can also use the link to hear Ashleyâs performance through an mp3 file at the Internet Archive.)
Ashleyâs version also demonstrates another correlation among our variablesâspecifically the first two. Â If the length of the âtrue lovers'â separation is âthree-fourths of a long, long year,â she has only one child. Â This tie happens only in American versions of the song. Â In versions where the time is not specified (American or Old World), or is specified as seven (Old World only), there may be two or three children. Â The implication here has to be that the baby is either Harrisâs, or that she was faithful to her vow to him for no more than a moment before wedding the house carpenter. Â Both of these choices are significant departures from the original narrative.
Of the versions Iâve reviewed, only U.S.-based (or sourced) versions of âHouse Carpenterâ make the time of separation three-fourths of a year.  The one U.K.-based exception I can find is Peter Bellamyâs, but Bellamy clearly credited the American Watson Family version as his source.
 (Lyrics in the âclearly creditedâ link above.)
We should step back at this point and take a look at a few things, including how Child 243 functions similarly to some of the murder ballads weâve discussed. Â As weâve noted, murder ballads can function as warnings to young, single women not to meet handsome strangers by river banks and other similar activities (see, for example, âOmie Wiseâ). Â Laurence Priceâs original âJames Harris (or the Demon Lover)â is a comparable kind of warning, but in this case for married women.
The other thing to pay attention to is that crafters and refiners of the more abbreviated versions of the song develop other ways of advancing the songâs lessons, but in other contexts and more modern settings.  Iâm going to spend some time in the next couple posts thinking through exactly what that lesson might be, both for audiences of the past and the present.  For our present purposes, we should pay attention to the fact that the shorter period of separation between the two âtrue loversâ in the âHouse Carpenterâ variant  is just one of several ways the song and its singers invite the listener to judge songâs protagonist morally.
The new song accomplishes part of its work of moral warning, then, through characterizing still more of âJane Reynoldsâsâ actions as blameworthy. Â Itâs not just her errors in judgment, but flaws in her character. Remember, in the original ballad, she receives actual word of Harrisâs death after being faithful to her vow to him for three years, and that itâs been seven years since he was seen or heard from. Â She goes at least as far as anyone would deem humanly reasonable. Â British and Celtic versions generally stick with this seven year time frame. Â And, when âHarrisâ does appear, they make clear that heâs a demon in disguise. Â In many of the American versions of âHouse Carpenter,â though, he arrives after a time short enough to have allowed him to be the father of the one baby she abandons.
Letâs add one more factor to the mix before closing things down for today. Â As multiple sources state, the American versions remove the supernatural from the song. Â Weâll get to some of the examples in the next post, but itâs fair to say that the farthest the American versions stray from a completely realistic telling of the story is that they tell the story of the doomed womanâs sense of impending and final judgmentâgazing upon the hills of heaven and hell, and knowing where she will be going.
Doug Wallinâs version of âHouse Carpenterâ probably goes to the greatest lengths of any of the versions I have heard to diminish any sympathy we might have for our victim, highlighting her vanity and her pride in addition to the sins of faithlessness and abandonment. Â Before departing, she demands extensive proof that her old true lover has the means to support her. Â As in many other versions, she dresses up and parades out of town as she departs with the old true love. And, finally, Wallinâs version shows us our protagonist gazing upon the hills of heaven and hell, knowing where she will wind up. A significant part of her dying confession is that she is âtoo rich and costly to die in the salt, salt sea.â
Murder, Warning, and Moral Judgment
Even without going to the extent Wallin does, there really isnât meaningful sense in which you can say that in the American versions our decedent is anything but a victim of her own bad judgment and a maritime accident. Â Nobody kills her. Â In the original and the supernaturally-based European variants, the demon kills herâa supernatural murder, perhaps, along the lines of âThe Deilâs Awaâ with the Exciseman.â Â Depending on your reading of the role of the supernatural in these songs, this may be a distinction without a difference, but it definitely implies a different sense of moral agency.
Strangely, the only people we definitively know die in Priceâs original are James Harris (whom the Spirit impersonates) and the carpenter.  Jane Reynolds is merely missing and reasonably presumed dead.  The original, therefore, accomplishes its work primarily through the destruction that Janeâs choice wreaks on others.  She is a somewhat more sympathetic character, having done her level best to be faithful.  (Weâll see in another post, perhaps, why that might be a good idea.)  The more contemporary versions, both âThe Demon Loverâ and âHouse Carpenterâ focus on the destruction it wreaks on Jane.  In the former, she is deceived by a supernatural trickster, in the latter, she meets her doom because of a leaky ship and her own bad judgmentânatural causes, in more ways than one.
Next up
Having gone this far to set the stage, and account for the principal actors in this fascinating bit of folk process, my next few posts will explore some excellent performances not only of this song, but of its legitimate âheirs.â Â Along the way, Iâll spend a little time trying to draw out exactly why Child 243Â continues to resonate. Â I think it has to do not only with some enduring constants of the human experience, but also with ways that modern developments have given us reasons to listen to what it has to say.
My next post will present some of the more compelling recordings of the song, along both its main streams and address the question of why some things remain the same in all the versions, regardless of which of the above kind of variables they introduce.  Next, Iâll take a look Bob Dylanâs take on âHouse Carpenter,â and how it serves as an artistic launching point for a significant segment of his work.  Finally, weâll give a listen to some of the âheirsâ of âThe Demon Lover,â drawing some contrasts with how these songs function relative to the themes introduced by their musical forebear.
Stay tuned. Â I think weâll be going a few interesting places, and I promise not to wreck the ship.
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