Loreena writes in the CD-booklet about this song (compare the introduction to the CD):
July 1993, Stratford:
Some friends have offered that I set Alfred Noyes' poem "The Highwayman" to music. This dramatic, tragic narrative, rich with the imagery of 18th century rural England, could be fun to work on at Real World, where the surrounding landscape seems to exude that very atmosphere.April 1996, Real World Studios:
I come across a local touris map which confirms that there was indeed a highwayman in the area a mere two hundred years ago! It's easy to imagine the sound of horses galloping down a moonlit lane, or on the ridge visible from the studio.
A live version appears on Live in Paris and Toronto (1999).
The full poem, including the "missing verses", comes from
Joshua Jay Lehto, who posted it
on The Old Ways mailing list -- see
Loreena McKennitt on the Web
about this mailing list.
One correction is made to the first of the missing verses, verse III
of Part One, thanks to Matt Garnham: the 3rd line of that verse as I
received it read "..., his mouth like mouldy hay", but it should be "hair"
instead of "mouth" -- which does make it more logical. I do not have a
printed version of the poem to check it, though.
Some remarks and notes
Loreena has chosen to leave out three verses -- those given in italics above -- to shorten the song. Although this is of course Loreena's good right, I think she should not have left out the first of these three, the one about Tim.
In a poem I often skip the poetry and I go for the story. When I read Loreena's lyrics it was unclear to me why suddenly "King George's men came marching, up to the old inn-door" (first verse of Part Two). After reading the missing verse about Tim it was clear to me that Tim had warned them. Tim had overheard The Highwayman and Bess, standing in the darkness on the inn-yard. He loves Bess but she loves him not, and out of jealousy -- if I can't have her, then neither shall he -- Tim betrays The Highwayman to King George's men. In this sense I think the verse about Tim is essential to the poem.
Some people on The Old Ways mailing list speculated about Tim, who listened "dumb as a dog" to The Highwayman and Bess, that he was mute or mentally disabled. I don't think so because King George's men could literally cite what The Highwayman said to Bess (third verse of Part Two) and someone must have told them. No, Tim must have been able to speak and when standing in the dark inn-yard he just kept himself very quite in order to hear every word.
Rod Clark writes he remembers his English Literature instructor saying that the phrase regarding the Tim the Ostler listening "Dumb as a dog" was the authors poetic license to describe Tim in a derogatory manner. Being compared to a dog was and still is considered by many to be an insulting comparison. So is his description of Tim's hair as mouldy hay quite possibly meaning Tim either had dirty blonde hair or light brown hair.
The last part of the verse -- the words the Highwayman spoke to Bess -- can also refer to Bess remembering the words in a kind of flashback, since she expects her lover to die shortly because of the threat by King George's men. [Thanks to Marcio Luis Teixeira for pointing this out to me.] In a way this is also indicated by the punctuation of the lines: "...and they kissed her." ends with a period, and the words before that are between double quotes, whereas the citation of the Highwayman's words is between single quotes. I guess, after thinking about this again, that it is Bess who remembers what the Highwayman -- who will be a dead man shortly -- said. There is, however, no reason to assume that Tim was dumb!
By the way, the poem as given on a page now gone from the web had: "She heard the doomed man say-", where the "doomed man" would of course be the Highwayman. But this seems to be an error: it should be "dead man". Not only because Loreena's CD-booklet has "dead man" (and I think I hear her sing "dead man", not "doomed man"). But also the poem sent by Joshua Jay Lehto to The Old Ways mailing list has "dead man", and "dead man" is also used in the poem as printed in the book A Treasury Of The World's Best Loved Poems by Avenel Books [thanks to Andy for this info].
Elaine Braley notes that in verse VIII of Part Two the third line should read Not till the dawn he heard it, and slowly blanched to hear rather than ... his face grew gray to hear. But the latter is what Loreena sings, what is written in the CD-booklet and what I read on the webpages one finds searching for the poem on the Web, for example this web page and this web page and this web page [the latter website has a nice way of presenting the poem: verse by verse against a dark moon-lit background]. So all in all I think I will keep the line as it is.
As for the music Loreena wrote for this song: the beginning and the end are very good, the middle part (some 5 minutes) is dull in the sense of: not much variation, not much inspiration. At this point, Loreena did a much better job with Alfred Lord Tennysons "Lady of Shalott" on The visit, I think.
Mha Atma Khalsa writes that Phil Och wrote music and recorded the song in the 1960's, and that it is very good (although he left out more of the poem).
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