Sir Patrick Spens
By Scottish Anonymous
The king sits in Dunfermline town,
Drinking the blood‑red wine;
“*O where shall I get a skilful skipper*
To sail this ship or mine?”Then up and spake an elder knight,
Sat at the king’s right knee:
“Sir Patrick Spens is the best sailor
That ever sailed the sea.”The king has written a broad letter,
And sealed it with his hand,
And sent it to Sir Patrick Spens,
Who was walking on the strand.“To Norway, to Norway,
To Norway o’er the foam;
The king’s daughter of Norway,
’Tis thou must fetch her home.”The first line that Sir Patrick read,
A loud laugh laughed he;
The next line that Sir Patrick read,
The tear blinded his eye.“O who is this has done this deed,
Has told the king of me,
To send us out at this time of the year,
To sail upon the sea?”“Be it wind, be it wet, be it hail, be it sleet,
Our ship must sail the foam;
The king’s daughter of Norway,
’Tis we must fetch her home.”They hoisted their sails on Monday morn,
With all the speed they may;
And they have landed in Norway
Upon a Wednesday.They had not been a week, a week,
In Norway but two,
When that the lords of Norway
Began aloud to say, –“Ye Scottishmen spend all our king’s gold,
And all our queen’s fee.”
“Ye lie, ye lie, ye liars loud!
So loud I hear ye lie.”“For I brought as much of the white money
As gained my men and me,
And a half‑fou of the good red gold
Out o’er the sea with me.”“Make ready, make ready, my merry men all,
Our good ship sails the morn.”
“Now, ever alack, my master dear
I fear a deadly storm.”“I saw the new moon late yestreen
With the old moon in her arm;
And if we go to sea, master,
I fear we’ll come to harm.”They had not sailed a league, a league,
A league but barely three,
When the lift grew dark, and the wind blew loud,
And grew the sea.The anchors brake and the top‑masts lap,
It was such a deadly storm;
And the waves came o’er the broken ship
Till all her sides were torn.“O where will I get a good sailor
Will take my helm in hand,
Till I get up to the tall top‑mast
To see if I can spy land?”“O here am I, a sailor good,
Will take the helm in hand,
Till you go up to the tall top‑mast,
But I fear you’ll ne’er spy land.”He had not gone a step, a step,
A step but barely one,
When a bolt flew out of the good ship’s side,
And the salt sea came in.“Go fetch a web of the silken cloth,
Another of the twine,
And wip them into our good ship’s side,
And let not the sea come in.”They fetched a web of the silken cloth,
Another of the twine,
And they wipped them into the good ship’s side,
But still the sea came in.O loth, both, were our good Scots lords
To wet their cork‑heeled shoe,
But long ere all the play was played
They wet their hats above.And many was the feather‑bed
That fluttered on the foam;
And many was the good lord’s son
That never more came home.The ladies wrang their fingers white,
The maidens tore their hair,
All for the sake of their true loves,
For them they’ll see nae more.O lang, lang may the maidens sit
With their gold combs in their hair,
All waiting for their own dear loves,
For them they’ll see nae more.O forty miles of Aberdeen,
’Tis fifty fathoms deep;
And there lies good Sir Patrick Spens,
With the Scots lords at his feet.
Summary of Sir Patrick Spens
- Popularity of “Sir Patrick Spens” – The ballad “Sir Patrick Spens” is a renowned piece of Scottish folklore, collected by Thomas Percy in 1765 and later published in his work *Reliques of Ancient English Poetry*. It remains a cornerstone of the Child Ballads collection and continues to be appreciated worldwide.
- “Sir Patrick Spens” as a Representative of Chivalry and Tragedy – The ballad opens with the Scottish king in Dunfermline seeking a skilled sailor. When Sir Patrick Spens is recommended, he is tasked with retrieving the Norwegian princess. He initially laughs at the request, deeming the timing poor. He departs on Monday and swiftly reaches Norway. Upon arrival, he is accused by the Norwegian lords of depleting their royal treasury. Despite his protests and explanation that he is bringing wealth back to Scotland, he prepares for the return voyage. Ignoring ominous warnings, Sir Patrick Spens and his crew are caught in a violent storm and perish, sinking off the coast of Aberdeen.
- Major Themes in “Sir Patrick Spens” – Key themes include duty, obedience, and the often tragic consequences of fulfilling one’s role. Sir Patrick Spens embodies chivalry through his willingness to serve his king, even when facing a perilous task and foreseeing danger. His loyalty and obedience ultimately lead to his demise and the loss of his crew. The ballad also highlights the power of fate and the unforgiving nature of the sea.
Analysis of Literary Devices Used in Sir Patrick Spens
Literary devices are the tools writers employ to create impact and meaning in their work. Understanding these devices enhances our appreciation of the poem’s artistry.
- Assonance – The repetition of vowel sounds within words. Notice the long “o” sound in “To Norway, to Norway, To Norway o’er the foam.” This creates a musical quality and emphasizes the journey.
- Alliteration – The repetition of consonant sounds at the beginning of words. An example is the repetition of the “l” sound in “loud laugh laughed.” This adds emphasis and rhythm.
- Consonance – The repetition of consonant sounds within or at the end of words. See the “s” and “l” sounds in “When a bolt flew out of the good ship’s side.” This creates subtle musicality and draws attention to the phrase.
- Enjambment – The continuation of a sentence or phrase from one line of poetry to the next without punctuation. This creates a sense of momentum and flow. For example:
O lang, lang may the maidens sit
With their gold combs in their hair,
All waiting for their own dear loves,
For them they’ll see nae more. - Imagery – The use of vivid language to create mental pictures. Examples include “O lang, lang may the maidens sit” which evokes a scene of sorrowful waiting, and “O forty miles of Aberdeen” which paints a stark image of the shipwreck’s location.
- Metaphor – An implied comparison between two unlike things. While the ballad does not rely heavily on extended metaphor, the sea itself functions metaphorically as a force of fate and destruction.
- Personification – Giving human qualities to inanimate objects. The sea is often described as if it has agency and emotion, for example, “And grew the sea.”
- Rhetorical Question – A question asked for effect, not requiring an answer. The initial question, “O where shall I get a skilful skipper,” sets the scene and introduces the problem.
- Simile – A comparison using “like” or “as.” The line “For I brought as much of the white money / As gained my men and me” uses “as” to compare the amount of money brought back.
- Symbolism – The use of objects or ideas to represent something else. The ship can be seen as a symbol of Scotland and its people, while the storm symbolizes the challenges and dangers they face.
Analysis of Poetic Devices Used in Sir Patrick Spens
Poetic devices are the techniques poets use to craft rhythm, sound, and meaning. These elements contribute to the overall artistry and impact of the poem.
- Diction – The poet’s choice of words. “Sir Patrick Spens” employs archaic diction (“skaely,” “ow’r”) which contributes to the ballad’s traditional feel and emphasizes its historical setting.
- Quatrain – A stanza consisting of four lines. The poem is structured entirely in quatrains, creating a consistent and predictable rhythm.
- Rhyme Scheme – The pattern of rhymes at the end of each line. “Sir Patrick Spens” follows an ABCB rhyme scheme, which is common in ballads and contributes to its musicality.
- Stanza – A group of lines forming a unit in a poem. There are twenty‑five stanzas, each contributing to the narrative progression.
Quotes to be Used
These verses from “Sir Patrick Spens” resonate with contemporary concerns about environmental warnings and ignoring signs of danger.
I saw the new moon late yestreen
With the old moon in her arm;
And if we go to sea, master,
I fear we’ll come to harm.