| On Ilkla Mooar Baht 'at | |
| English Title: | "On Ilkley Moor without a hat" |
| Prefix: | Unofficial regional |
| Country: | Yorkshire |
| Author: | Unknown |
| Lyrics Date: | 1850s–1870s |
| Composer: | Thomas Clark[1] |
| Music Date: | 1805 |
"On Ilkla Mooar Baht 'at" (Standard English: On Ilkley Moor without a hat)[2] is a folk song from Yorkshire, England. It is sung in the Yorkshire dialect, and is considered the unofficial anthem of Yorkshire.[3] It is sung to the hymn tune "Cranbrook", composed by Thomas Clark in 1805; while according to Andrew Gant, the words were composed by members of Halifax Church Choir "some 50 years after Clark wrote his melody", on an outing to Ilkley Moor near Ilkley, West Yorkshire.[4] [5] It is classified as numbers 2143 and 19808 in the Roud Folk Song Index.
The song tells of a lover courting the object of his affections, Mary Jane, on Ilkley Moor without a hat (baht 'at). The singer chides the lover for his lack of headwear – for in the cold winds of Ilkley Moor this will mean his death from exposure. This will in turn result in his burial, the eating of his corpse by worms, the eating of the worms by ducks and finally the eating of the ducks by the singers.
In The Yorkshire Dictionary (Arnold Kellett, 2002) it was said the song (i.e., the lyrics) probably originated from the Halifax area, based on the dialect which is not common to all areas of Yorkshire.
The title is seen in various transcriptions of the dialect, but is most commonly On Ilkla Mooar [or Moor] baht 'at, i.e. "On Ilkley Moor without [wearing] thy (your) hat". Dr. Arnold Kellett reports the traditional belief that the song "came into being as a result of an incident that took place during a ramble and picnic on the moor. It is further generally believed that the ramblers were all on a chapel choir outing, from one of the towns in the industrial West Riding".
The first published version of the words appeared in 1916, when it was described as "a dialect song which, for at least two generations past, has been sung in all parts of the West Riding of Yorkshire".[6] Arnold Kellett judged that the song "could well have originated in the early years of the second half of the [19th] century, and not as late as 1877".[7]
It is sung to the Methodist hymn tune "Cranbrook" (composed by Canterbury-based shoemaker Thomas Clark in 1805); this was published by him in 1805 in "A Sett of Psalm & Hymn Tunes with some Select Pieces and an Anthem", setting the words of Philip Doddridge's "Grace! 'Tis a Charming Sound".[8] It was later used as a tune for "While Shepherds Watched Their Flocks By Night"), but the "Ilkla Moor" song became so popular that the origin of the music as a hymn tune has been almost forgotten in the United Kingdom. It is still used for the traditional words "While Shepherds Watched" in some churches including Leeds Parish Church and St Aidan's Church in Manor Parish, Sheffield, but no longer widely recognised as a hymn or carol tune in the United Kingdom.
Cranbrook continues in use as a hymn tune in the United States, where it was not adopted as the tune of a popular secular song and is customarily used with the lyrics of Philip Doddridge's "Grace! 'Tis a Charming Sound".[9] [10]
EFDSS director Douglas Kennedy collected a version in 1917 from a performer in Ilkley named Wilfred Hall, which was later printed in his son Peter Kennedy's book Folksongs of Britain & Ireland (1975).[11]
Several audio recordings have been made of traditional versions. Ken Stubbs recorded Albert Gartside of Delph in the West Riding singing the song in 1964,[12] whilst Fred Hamer recorded William Bleasdale singing a version in the village of Chipping in Lancashire some time in the 1950s or 60s.[13] The American folklorist Helen Hartness Flanders recorded a version in her hometown of Springfield, Vermont[14] and another in Naushon Isle, Massachusetts[15] in the 1940s, suggesting that the song had made its way to North America with immigrants from Yorkshire.
The lyrics consist of a sequence of similar verses, each consisting of seven lines, with one mutable element: while the first, third and fourth lines are the same in each verse, they change with each following verse. In these lines, the words on the last two beats are repeated in the first and third lines, but not in the fourth line. The other lines do not change; all verses feature the same second, fifth, sixth and seventh lines, "On Ilkla Mooar baht 'at".
| Lyrics in Yorkshire dialect | Lyrics with spelling, but not grammar, standardised | Interpretation in Standard English | |
| Wheear es-ta bin sin Ah saw thee, Ah saw thee? | Where has thou been since I saw thee, I saw thee? | Where have you been since I saw you, I saw you? | |
| On Ilkla Mooar baht 'at | On Ilkley Moor but hat | On Ilkley Moor without a hat | |
| Wheear es-ta bin sin Ah saw thee, Ah saw thee? Wheear es-ta tha bin sin Ah saw thee? | Where has thou been since I saw thee, I saw thee? Where hast thou been since I saw thee? | Where have you been since I saw you, I saw you? Where have you been since I saw you? | |
| On Ilkla Mooar baht 'at On Ilkla Mooar baht 'at On Ilkla Mooar baht 'at | On Ilkley Moor but hat On Ilkley Moor but hat On Ilkley Moor but hat | On Ilkley Moor without a hat On Ilkley Moor without a hat On Ilkley Moor without a hat | |
| Tha's been a-cooartin' Mary Jane | Thou has been a-courting Mary Jane | You've been courting Mary Jane | |
| Tha's bahn to ketch thi deeath o' cowd | Thou is bound to catch thy death of cold | You're bound to catch your death of cold | |
| Then we s'll 'e to bury thee | Then we shall have to bury thee | Then we will have to bury you | |
| Then t'wurrums'll come an' eyt thee up | Then the worms will come and eat thee up | Then the worms will come and eat you up | |
| Then t'ducks'll come an' eyt up t'wurrums | Then the ducks will come and eat up the worms | Then the ducks will come and eat up the worms | |
| Then we s'll come an' eyt up t'ducks | Then we shall come and eat up the ducks | Then we will come and eat up the ducks | |
| Then we s'll all 'e etten thee | Then we shall all have eaten thee | Then we will all have eaten you | |
| That's wheear we get us ooan back | That's where we get us own back | That's where we get our own back |
The lyrics include many features of the Yorkshire dialect such as definite article reduction, H-dropping, and traditional second-person singular pronouns.
Many sources[16] [17] give the first line as "Wheear wor-ta bahn when Ah saw thee?" (Where were you going when I saw you), though "Wheear es-ta bin sin Ah saw thee" is the more common version nowadays.
Some singers add the responses "without tha trousers on" after the fourth line of each verse, and "where the ducks play football" after the seventh. Other variations include "where the nuns play rugby", "where the sheep fly backwards", "where the ducks fly backwards", "where the ducks wear trousers", "an' they've all got spots", and "where they've all got clogs on".
Also in some recitals, after the first two lines of "On Ilkla Mooar baht 'at" it is followed by a "Where's that?". Another variant adds "Howzat?" after the first line and "Not out!" after the second. In Leeds the line immediately before the chorus is often ended with "And we all got wet". In the United States, "Then we will go and eat up the ducks" is often followed by a shouted "Up the Ducks!"
There are also alternative endings, where verse nine states: "There is a moral to this tale", and is followed by a chorus of "Don't go without your hat / Don't go without your hat / On Ilkey moor baht 'at" (which is sung commonly within West Yorkshire), or "Don't go a courtin' Mary Jane" (another variation known in the Scouting movement). Alternatively, verse nine is sung as "There is a moral to this tale", and verse ten as "When courtin' always wear a hat".