Origins and Development
The earliest known archetype of this song seems to be in the German collection of songs Bergliederbüchlein (c 1700). It is set as a dialogue between a woman named Liese, and an unnamed man.
|
|
In later German sources the song is reproduced under the title of Heinrich und Liese and credited as a folk song from Hesse. In the 19th century it was sung as a commercium song and printed in the 1858 Kommersbuch. The renowned song collection Deutscher Liederhort (3 volumes, 1856–1894) edited by Ludwig Erk and Franz Magnus Böhme includes the song, relating it also to the Flemish song Mooy Bernardyn ("Wat doet gy in het groene veld ?"). The German song became even more widespread when it was included in the famous Wandervogel songbook Der Zupfgeigenhansl in 1909.
In George Korson's "Pennsylvania Songs and Legends" (1949) there is a song
|
|
This was collected in 1940, and is earlier than any known English-language version. This suggests that it might be a traditional "Pennsylvania Dutch" (i.e. German) song. Ed McCurdy recorded it in 1958 on "Children's Songs". Harry Belafonte recorded it with Odetta in 1960. It was in the UK charts in 1961. In his book "Where Have All the Flowers Gone" (1993), Pete Seeger refers to it as an originally German song, "Lieber Heinrich". "Songs Along the Mahantongo: Pennsylvania Dutch Folksongs" (1951), by Boyer, Buffington, & Yoder, has a version
|
|
These German-American versions all have Henry as the stupid questioner, and Lisa as the common-sense woman.
Read more about this topic: There's A Hole In My Bucket
Famous quotes containing the words origins and, origins and/or development:
“Lucretius
Sings his great theory of natural origins and of wise conduct; Plato
smiling carves dreams, bright cells
Of incorruptible wax to hive the Greek honey.”
—Robinson Jeffers (1887–1962)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“On fields all drenched with blood he made his record in war, abstained from lawless violence when left on the plantation, and received his freedom in peace with moderation. But he holds in this Republic the position of an alien race among a people impatient of a rival. And in the eyes of some it seems that no valor redeems him, no social advancement nor individual development wipes off the ban which clings to him.”
—Frances Ellen Watkins Harper (1825–1911)