Sir Patrick Spens
Traditional · The English and Scottish Popular Ballads
Drinking the blude-reid wine:
"O whar will I get guid sailor,
To sail this schip of mine?"
Up and spak an eldern knicht,
Sat at the kings richt kne:
"Sir Patrick Spence is the best sailor
That sails upon the se."
The king has written a braid letter,
And signd it wi his hand,
And sent it to Sir Patrick Spence,
Was walking on the sand.
The first line that Sir Patrick red,
A loud lauch lauched he;
The next line that Sir Patrick red,
The teir blinded his ee.
"O wha is this has don this deid,
This ill deid don to me,
To send me out this time o' the yeir,
To sail upon the se!
Mak haste, mak haste, my mirry men all,
Our guid schip sails the morne:"
"O say na sae, my master deir,
For I feir a deadlie storme.
Late late yestreen I saw the new moone,
Wi the auld moone in hir arme,
And I feir, I feir, my deir master,
That we will cum to harme."
O our Scots nables wer richt laith
To weet their cork-heild schoone;
Bot lang owre a' the play wer playd,
Their hats they swam aboone.
O lang, lang may their ladies sit,
Wi thair fans into their hand,
Or eir they se Sir Patrick Spence
Cum sailing to the land.
O lang, lang may the ladies stand,
Wi thair gold kems in their hair,
Waiting for thair ain deir lords,
For they'll se thame na mair.
Haf owre, haf owre to Aberdour,
It's fiftie fadom deip,
And thair lies guid Sir Patrick Spence,
Wi the Scots lords at his feit.
About Sir Patrick Spens
"Sir Patrick Spens" finds Traditional in a pop-minded frame, where a clear central idea and emotional directness carry the song. The song works best when its main melodic and rhythmic ideas are allowed to speak plainly, without being crowded by unnecessary decoration. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. That restraint gives the performance room to breathe and makes the emotional color feel earned rather than imposed. For listeners returning to Traditional, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. It is a track for focused listening, especially when the details around the main idea begin to reveal their own quiet pull. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout.