A broadside ballad by this name was registered at the London Stationer's Company in September 1580,[1] by Richard Jones, as "A Newe Northen Dittye of ye Ladye Greene Sleves".[2] Six more ballads followed in less than a year, one on the same day, 3 September 1580 ("Ye Ladie Greene Sleeves answere to Donkyn hir frende" by Edward White), then on 15 and 18 September (by Henry Carr and again by White), 14 December (Richard Jones again), 13 February 1581 (Wiliam Elderton), and August 1581 (White's third contribution, "Greene Sleeves is worne awaie, Yellow Sleeves Comme to decaie, Blacke Sleeves I holde in despite, But White Sleeves is my delighte").[3] It then appears in the surviving A Handful of Pleasant Delights (1584) as A New Courtly Sonnet of the Lady Green Sleeves. To the new tune of Green Sleeves.
It is a common myth that Greensleeves was written by King Henry VIII. However, Henry did not write Greensleeves[4][5][6] as the piece is based on an Italian style of composition that did not reach England until after his death.
A possible interpretation of the lyrics is that Lady Green Sleeves was a promiscuous young woman, perhaps even a prostitute.[7] At the time, the word "green" had sexual connotations, most notably in the phrase "a green gown", a reference to the grass stains on a woman's dress from engaging in sexual intercourse outdoors.[8]
An alternative explanation is that Lady Green Sleeves was, through her costume, incorrectly assumed to be sexually promiscuous. Her "discourteous" rejection of the singer's advances supports the contention that she is not.[8]
In Nevill Coghill's translation of The Canterbury Tales,[9] he explains that "green [for Chaucer's age] was the colour of lightness in love. This is echoed in 'Greensleeves is my delight' and elsewhere."
Alternative lyrics
Christmas and New Year texts were associated with the tune from as early as 1686, and by the 19th century almost every printed collection of Christmas carols included some version of words and music together, most of them ending with the refrain "On Christmas Day in the morning".[10] One of the most popular of these is "What Child Is This?", written in 1865 by William Chatterton Dix.[11]
Early literary references
In Shakespeare's The Merry Wives of Windsor (written c. 1597; first published in 1602), the character Mistress Ford refers twice to "the tune of 'Greensleeves'", and Falstaff later exclaims:
Let the sky rain potatoes! Let it thunder to the tune of 'Greensleeves'!
These allusions indicate the song was already well known at that time.
"Greensleeves" can have a ground either of the form called a romanesca; or its slight variant, the passamezzo antico; or the passamezzo antico in its verses and the romanesca in its reprise; or of the Andalusian progression in its verses and the romanesca or passamezzo antico in its reprise. The romanesca originated in Spain[12] and is composed of a sequence of four chords with a simple, repeating bass, which provide the groundwork for variations and improvisation.
The tune was used (as "My Lady Greensleeves") as the slow march of the London Trained Bands in the 16th and 17th centuries. Later the 7th (City of London) Battalion London Regiment, which claimed descent from the Yellow Regiment of London Trained Bands, adopted the tune as its quick march during World War I, replacing "Austria" (to the same tune as the Imperial Austria Anthem), which had been used until then.[13]
The 17th century English ballad, Old England Grown New is a version of "Greensleeves", also sometimes known as 'The Blacksmith' after another broadside ballad of the time.[15]
Ralph Vaughan Williams incorporated Greensleeves as the song Alas, My Love, You Do Me Wrong for Mistress Ford in Act III of his 1928 opera Sir John in Love. Its contrasting middle section is founded on another folk tune: Lovely Joan. In 1934 the song was arranged for strings and harp, with Vaughan Williams's blessing, by Ralph Greaves (1889–1966); this is the familiar Fantasia on Greensleeves.[16][17][18][19]
Instrumental versions of "Greensleeves" were used in the long-running original Lassie television series, both in a seven-part 1966 story[26] and as the show's theme song for its last three seasons (1970–73).[27]
Canadian singer-songwriter Leonard Cohen includes an adaptation of the song, titled "Leaving Green Sleeves" in his 1974 album New Skin for the Old Ceremony, in which the chord progression and lyrical content of the first two verses are retained.[28]
The melody of "Greensleeves" is used repeatedly as a motif in SIX, a musical about the wives of Henry VIII.[29]
^ abFrank Kidson, English Folk-Song and Dance. READ BOOKS, 2008, p.26. ISBN1-4437-7289-5
^ abJohn M. Ward, "'And Who But Ladie Greensleeues?'", in The Well Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance: Essays in Honour of F. W. Sternfeld, edited by John Caldwell, Edward Olleson, and Susan Wollenberg, 181–211 (Oxford:Clarendon Press; New York: Oxford University Press, 1990): 181. ISBN0-19-316124-9.
^Hyder Edward Rollins, An Analytical Index to the Ballad-Entries (1557–1709) in the Registers of the Company of Stationers of London (Chapel Hill: University of North Carolina Press, 1924): nos, 1892, 1390, 1051, 1049, 1742, 2276, 1050. Cited in John M. Ward, "'And Who But Ladie Greensleeues?'", in The Well Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance: Essays in Honour of F. W. Sternfeld, edited by John Caldwell, Edward Olleson, and Susan Wollenberg, 181–211 (Oxford:Clarendon Press; New York: Oxford University Press, 1990): 181–82. ISBN0-19-316124-9.
^Meg Lota Brown and Kari Boyd McBride, Women's Roles in the Renaissance (Westport, CT: Greenwood Press, 2005), 101. ISBN0-313-32210-4
^ abVance Randolph"Unprintable" Ozark Folksongs and Folklore, Volume I, Folksongs and Music, page 47, University of Arkansas Press, 1992, ISBN1-55728-231-5
^John M. Ward, "'And Who But Ladie Greensleeues?'", in The Well Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance: Essays in Honour of F. W. Sternfeld, edited by John Caldwell, Edward Olleson, and Susan Wollenberg, 181–211 (Oxford:Clarendon Press; New York: Oxford University Press, 1990): 193. ISBN0-19-316124-9.
^C. Digby Planck, The Shiny Seventh: History of the 7th (City of London) Battalion London Regiment, London: Old Comrades' Association, 1946/Uckfield: Naval & Military Press, 2002, ISBN1-84342-366-9, pp. 219–20.
^Ralph Vaughan Williams, Fantasia on Greensleeves, arranged from the opera Sir John in Love for string orchestra and harp (or pianoforte) with one or two optional flutes by Ralph Greaves, Oxford Orchestral Series no. 102 (London: Oxford University Press, 1934).
^Hugh Ottaway and Alain Frogley, "Vaughan Williams, Ralph", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
^Michael Kennedy, "Fantasia on 'Greensleeves'", The Oxford Dictionary of Music, second edition, revised; associate editor, Joyce Bourne (Oxford and New York: Oxford University Press, 2006) ISBN978-0-19-861459-3.
