Folklore of Essex
Page 1
FOLKLORE
of
ESSEX
FOLKLORE
of
ESSEX
SYLVIA KENT
Cover image: Will Kemp dancing his way from London to Norwich, 1599
Frontispiece: The Mayflower Morris men, with Billericay’s Town Crier. Jim Shrubb, 2005
First published 2005
This edition first published 2009
Reprinted 2013
The History Press
The Mill, Brimscombe Port
Stroud, Gloucestershire, GL5 2QG
www.thehistorypress.co.uk
This ebook edition first published in 2013
All rights reserved
© Sylvia Kent, 2005, 2009, 2013
The right of Sylvia Kent to be identified as the Author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.
This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.
EPUB ISBN 978 0 7524 9988 8
Original typesetting by The History Press
CONTENTS
Acknowledgements
Introduction
one
Essex Traditions
two
Witch Country
three
Calendar Customs
four
Cures and Remedies
five
Food Lore
six
Curiosities
seven
Phenomena
eight
Telling Tales
nine
County Sounds
ten
Music and Movement
eleven
Legendary Folk
Bibliography
ACKNOWLEDGEMENTS
I am grateful to the many people who have helped me in gathering material and kindly given me permission to use photographs and text, in particular: Norman Gunby; Beryl Masters; Elli Constantatou and Lloyd Simpson at Essex County Council; Chris Brewster, curator of the Cater Museum; the staff at the Great Dunmow, Saffron Walden and Colchester Castle Museums; Robyn Bechelet, editor of Essex Countryside and Life; Sue Cubbin, Martin Astell and staff at the Essex Record Office; librarians in the Billericay, Brentwood, Shenfield, Chelmsford and Colchester Libraries; Malcolm Taylor at the English Folk Dance and Song Society; staff at the Folklore Society; Peter Owen; Sheila Bailey; Ken Marsh; Oliver Rowe at the Ford Motor Co.; David Occomore; Tony Kendall; John New and the Essex Folk Association; Revd Keith Lovell; the Essex Storytellers; John Daldry; Michael Ballard and the Maldon Lions Club; Laurie Ford; Merilyn Baldwin; the Colchester Mayoral Office; David Higgleton; and the many other people who have contributed their precious tales of Essex past.
Thanks also to John Murray, publishers of John Betjeman’s collected poems, for the quotation from ‘A Few Late Chrysanthemums’.
Special thanks are due to Frances Clamp for her generous help. Also to Mary and Martin Bray; Margaret and Colin Powell; Eve and Bob Gladstone; Shirley and Tony Tolliday; and Liz and Don Wallace. My thanks and love to Peter, Sally, Jenny and Barnaby. Every effort has been made to trace the ownership of photographs and to check that the information given in this book is correct. My apologies for any errors or omissions.
INTRODUCTION
A Heritage of County Folklore
Much of history is lore; much lore is history. Often, there is no certainty about which is which or where one ends and the other takes up the tale.
Alan Bignell
Many books have been written about historical Essex, extolling the virtues of the county’s famous people, its contrasting countryside and its coasts that have endured invasions of Romans, Saxons, Vikings and Normans. However, very little space has been given to the folklore and customs of our large county.
What is folklore? The Oxford English Dictionary defines folklore as the ‘traditional beliefs, customs, songs and stories, preserved in oral tradition among people; the branch of knowledge that deals with these. Popular fantasy or belief’. Other reference sources widen the genre to include witchcraft, food, folk dance, astrology, magic, superstitions, herbal remedies, mythology, legends and ghost stories. Possibly no one phrase can do justice to this overarching subject.
To some, folklore conjures up simple but colourful images of morris men dancing on the village green. Others think of the May queen and her retinue resplendent at the school fête during May Day revels. Folklore is not necessarily a relic of the past; like history, it is always with us. Even the most sophisticated modern bride will ensure good luck by having something old, new, borrowed and blue for her trip down the aisle, and the old custom of giving a newborn baby a piece of silver is still recognised in parts of Essex. There has been a resurgence during the last few years in the traditional use of plants as healing remedies, as handed down by our grandparents. Essex still commemorates major religious Church events such as Christmas, Easter, Pentecost (Whitsuntide) and other calendar festivals. Urban myths are increasing, more so with the advent of the Internet. Workplace superstitions still prevail, despite the sophistication and technology that abounds. Amid modern attitudes, ancient superstitions such as carrying lucky charms, not walking under ladders or just being extra careful on Friday the 13th still influence many people, and old wives’ tales are as popular as ever.
The county’s dragon tales from ancient times come under the folkloric umbrella and sit alongside rather more modern legends. It is interesting to study the background to the Battle of Maldon, when Byrhtnoth and his warriors defended our Essex shores against the Vikings in AD 991.
Visitors driving into Essex from any direction will immediately recognise the distinctive sign defining our county boundary. The silver seaxes on a red background are repeated in miniature on other town and village signs. I am indebted to Revd Keith Lovell for allowing me to use some illustrations from his History Through Essex Town and Village Signs series. The seaxes prominently displayed on our county coat of arms were officially granted by the College of Arms on 15 July 1932 and are described as:
The coat of arms of Essex County Council.
Galleywood village sign.
Gules [red], three Seaxes fessewise [side by side, in lengthwise] in pale [down centre of shield] argent [silver], pomels and hilts or [gold], points to the sinister [to the shield carrier’s left], and cutting edges upwards.
These weapons are woven into our folkloric history and were probably in use from the early days of the Saxon conquest. No one can say why Essex adopted the seaxes for its symbol, which was in use long before the official grant was made. Some writers suggest that the weapons were chosen because they are a pun on the name of the county, which was called Eastseaxe in the Anglo-Saxon Chronicle.
Essex has been home to some of the world’s leading musicians, writers, painters and inventors, and numerous other distinguished people. There seems to be truth in the old philosophy that in places where the great have dwelt, something impalpable lingers in the dust, so mention is made of some of the legendary folk connected with our county. Old King Cole, of nursery rhyme fame, is there, alongside that brave queen of the Iceni tribe, Boudica, who annihilated the Romans at Colchester in AD 61. Also included are John Ray of Black Notley (1627-1705), who produced the world’s first flora of the British Isles; Dr Thomas Barnado (1845-1905), the benefactor who found
ed the Barkingside refuge for deprived and orphaned children; and Guglielmo Marconi, the physicist and inventor who brought the magic of wireless to the world from the small village of Writtle, near Chelmsford.
Feering village sign.
Every region has its own special folklore but that of Essex is particularly rich in its traditions, tales and legends. One of its admirers, the late Sir John Betjeman, expressed his enjoyment of our countryside in his lovely poem, ‘A Few Late Chrysanthemums’, written in 1954:
The deepest Essex few explore
Where steepest thatch is sunk in flowers
And out of elm and sycamore
Rise flinty fifteenth-century towers.
ONE
ESSEX TRADITIONS
The Dunmow Flitch
He that repents him not of his marriage in a year and a day either sleeping or waking, may lawfully go to Dunmow and fetch a gammon of bacon.
Sir William Dugdale
For more than 900 years, the people of Great Dunmow have been wedded to the tradition of celebrating one of Britain’s oldest folk ceremonies – the Flitch Trials. Brave couples put their marriage on trial and enter the witness box, claiming that they have ‘not wished themselves unwed for a year and a day’. The couple who convince the counsel and jury – which consists of six maidens and six bachelors from Dunmow – of their love can claim the coveted flitch of bacon. The word ‘flitch’ comes from the Old English flicce and means ‘a salted and cured side of bacon’.
The origin of the Dunmow Flitch Trials remains obscure. There are several versions of the flitch tale; the one which is most often quoted was created in 1854 by the writer William Harrison Ainsworth in his book The Flitch of Bacon and his poem ‘The Custom of Dunmow’, which describes how Sir Reginald FitzWalter (sometimes referred to as Robert) and his wife, disguised as humble folk, present themselves at Little Dunmow Priory, asking for the prior’s blessing on their year-old marriage. Reginald says:
In peasant guise my love I won
Nor knew she whom she wedded;
In peasant cot our truth we tried,
And no disunion dreaded,
Twelve months’ assurance proves our faith
On firmest base is stead.
So impressed is the prior that he orders the convent cook to present a flitch of bacon to the lovers. The couple then reveal their identity and give lands to the priory on condition that a flitch should be given to any couple who are prepared to make an oath that they had not repented of their marriage for a whole year.
The earliest mention of the Dunmow Flitch tradition occurs in William Langland’s The Vision of Piers Plowman. Langland was alive during the period 1330-1400. Geoffrey Chaucer also mentioned the tradition in a matter-of-fact way in his Prologue to the Wife of Bath’s Tale:
The bacoun was nat fet for hem, I trowe,
That som men han in Essex at Dunmowe.
There are other literary mentions, including an eighteenth-century ballad opera by Henry Bate, which was produced in 1778 at the Haymarket Theatre under the title of The Flitch of Bacon. One of the songs from the opera describes the winning of the flitch:
Since a year and a day
Have in love roll’d away
And an oath of that love has been taken,
On the sharp pointed stones,
With your bare marrow bones,
You have won our fam’d Priory bacon.
Recorded instances of successful claimants of the flitch are few and far between – the first four were in 1445, 1467, 1510 and 1701. The 1701 occasion was the first time that wives were mentioned as having a part to play and also the first time that a formally constituted jury heard the case. After 1751, the custom appears to have lapsed until William Harrison Ainsworth’s book, The Flitch of Bacon, published in 1854, gave the event tremendous publicity. This resulted in the revival of the Flitch Trials the following year and they have continued to the present time.
The modern version of the pageant is staged every leap year and attracts worldwide television and radio coverage. Included in the 2004 ‘court’ were Judge Michael Chapman, Leading Counsel Claire Rayner OBE, Daniel Pitt, Mary Bard, Chris Hancock QC and Junior Counsel Dave Monk from BBC Essex. The Court Chaplain was Revd Canon David Ainge.
Talberds Ley is where it all happens, with a large marquee to accommodate the crowds who come to listen to the couples talking of their marriages and being subjected to cross-questioning from a bewigged counsel for the bacon and another arguing for the couple. The Flitch Judge presides over the trial to make sure there is fair play. The jury listens carefully to what has been said and then leaves the marquee to decide on the verdict.
Afterwards, the winning couple (although there are usually several couples) are carried from the trials in an ancient chair. The procession, led by men carrying the flitch of bacon, makes its way to the old town hall in Market Place. There, the couple are required to kneel and repeat the flitch oath first used in 1751:
You shall swear by the Custom of Confession
That you ne’er made Nuptial Transgression
Since you were married Man and Wife
By Household Brawls or Contentious Strife
Or otherwise in Bed or at Board
Offended each other in Deed or in Word
Or since the Parish Clerk said Amen
Wished yourselves unmarried Agen
Or in Twelve Month and a day
Repented not in thought any way
But continued true and in desire
As when you joined hands in Holy Quire
If to these Conditions without all fear
Of your own Accord you will freely Swear
A Gammon of Bacon you shall receive
And bear it hence with Love and good Leave
For this is our Custom at Dunmow well known
Though the Sport be ours, the Bacon’s your own
The famous chair that carries the winning couple in celebration is kept in the Great Dunmow Museum between Flitch Trials. One of the first Flitch Chairs, made from part of a thirteenth-century stall, is kept at St Mary’s church in nearby Little Dunmow.
The Fairlop Fair
To Hainault Forest Queen Anne she did ride
And beheld the beautiful oak by her side
And after viewing it from the bottom to the top
She said to her court ‘It is a Fair-lop’
Hainault Forest, once a regular haunt of highwaymen, became famous in the eighteenth century for an entirely different reason: a large fair which was attended by thousands of people at the height of its popularity. The fair was founded by a successful, if slightly eccentric, ship’s pump and block maker from Wapping, Daniel Day, known to his friends as Good Day, reflecting the man’s amiable disposition. When collecting rents from tenants who lived in some of his cottages in the Barkingside area, Day decided to treat both his tenants and employees to a picnic – a beanfeast – in the woods. The finest ale, bacon and beans were distributed from the hollow trunk of possibly England’s largest oak tree, its trunk measuring 36ft in girth and its seventeen branches extending 300ft in circumference.
Dunmow Flitch. Two sets of claimants with counsel, 1897.
Dunmow Flitch. Mr and Mrs Baalham, one of the winning couples, 2004.
Dunmow Flitch. Claire Rayner OBE, one of court’s counsel.
Dunmow Flitch. Counsel Daniel Pitt and Dave Monk.
Dunmow Flitch. The flitch of bacon.
Dunmow Flitch. The jury of six maidens and six bachelors.
Dunmow Flitch. One of the chair carriers.
Dunmow Flitch. 1857 poster advertising the trials.
Setting out early from the East End on the first Friday in July one year in the early 1700s, Day had made arrangements for the food and ale to be laid out under the old oak. The picnic was a wonderful success and Day decided to repeat it the following July. What had originally started as a private event gradually grew to be an annual festival on the calendar, attracting not only Day’s staf
f and tenants but also the general public. The fair grew in popularity, apparently without causing Day any resentment. In fact, he seemed to enjoy the unexpected expansion.
Day had always had a strong aversion to land travel and chose to travel on water whenever possible. This idiosyncrasy was incorporated into the procession that preceded the fair, which consisted of fully rigged model ships mounted on carriage frames covered with bright awnings, each drawn by six horses with outriders and postillions dressed in blue and gold. The boats were cut out of one piece of fir and each seated thirty or forty ‘sailors’. They were called the Fairlop boats. The day of the fair often proved wet, giving rise to a local proverb: ‘On Fairlop Friday it will be sure to rain, if only nine drops’.
Vehicles of all kinds followed and musicians escorted the parade. The fair became such a tradition that even Queen Anne, accompanied by her court retinue, paid a visit one summer. When, during one picnic, a branch fell from the old oak, Day saw this as a bad omen and had a carpenter turn the branch into a coffin which he tested for his size and comfort. He died, aged eighty-four, on 19 October 1767, requesting that his body be conveyed to his Barking grave by water, as in life he had met with a number of accidents while travelling over land.
The fair continued after Day’s death, and so popular did it become that in 1839, according to missionaries of the Religious Tract Society, there were many sporting events, sideshows, gaming tables and heavy drinking. By this time, the fair had become a three-day event lasting from Friday to Sunday. The following year, there were thousands of revellers in the forest. It is believed that Charles Dickens, as a contemporary journalist, wrote a feature describing the fair in the Morning Post in 1854.