The haunting refrain of Scarborough Fair may be a simple linguistic accident

Music · Published 3 October 2026 Swipe more like this →

In short: The famous lyrics parsley, sage, rosemary, and thyme might not be ancient botanical wisdom. They could be a corruption of a much simpler phrase, grows merry in time. This traditional ballad, once a series of impossible tasks between lovers, has evolved through centuries of folk transmission and modern pop appropriation.

Scarborough Fair is a traditional Northern English ballad, known as Child Ballad #2, which centers on a former lover setting impossible tasks for their partner. Its roots are linked to the Scottish ballad The Elfin Knight, which dates back to at least 1670. While the song is now synonymous with the Yorkshire town of Scarborough, older versions often featured different locations, such as Wittingham Fair, or lacked a specific place name entirely. The iconic refrain that defines the song today likely emerged in the 19th century, potentially evolving from a mishearing of the phrase grows merry in time.

The melody most recognized today was collected in 1947 by Ewan MacColl from Mark Anderson, a retired lead miner from County Durham. This specific arrangement gained global fame through Simon & Garfunkel, who learned it from British folk singer Martin Carthy in 1965. Their 1966 recording, titled Scarborough Fair/Canticle, layered the traditional ballad with an anti-war song titled The Side of a Hill. The duo credited themselves as the sole authors, a decision that caused a long-standing rift with Carthy, who believed the traditional source should have been acknowledged. The conflict was not resolved until a joint performance in 2000.

Beyond the folk revival, the ballad has been adapted across an extraordinary range of genres. It has been interpreted by artists as diverse as the progressive rock band Brainbox, the death-doom metal group My Dying Bride, and pop singer Sarah Brightman. Bob Dylan also famously borrowed the melody and lyrical elements for his song Girl from the North Country in 1963. Whether performed as a ghost story, a jazz-samba fusion, or a punk anthem, the song remains a malleable vessel for artists, proving that its core structure of impossible demands remains as compelling today as it was in the 17th century.

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