“The Twa Sisters” (also known as “The Cruel Sister”): A Critical Analysis

Introduction: “The Twa Sisters” (also known as “The Cruel Sister”)

“The Twa Sisters” (also known as “The Cruel Sister”) first appeared in The Bishopric Garland in 1792 and has been passed down through generations as part of the oral tradition of folk ballads. This haunting tale of sibling rivalry and betrayal is centered around a tragic story where an elder sister pushes her younger sister into a mill-dam, resulting in her drowning. The miller then makes a violin from the drowned sister’s body, using her bones, fingers, and other body parts to create different parts of the instrument, which ultimately plays a melody that reveals the dark truth of her death. The poem’s appeal lies in its dramatic narrative, vivid imagery, and eerie atmosphere. The eerie transformation of the sister’s remains into an instrument of music carries a disturbing yet compelling allure. Its popularity as a textbook folk ballad arises from its tragic yet simple structure, and its ability to captivate with both its moral undercurrent and its blend of mythic and musical elements, as shown in the verse: “What did he doe with her brest-bone? / He made him a violl to play thereupon.” This chilling story, with its supernatural overtones, continues to resonate with audiences as an example of folk artistry intertwined with dark themes.

Text: “The Twa Sisters” (also known as “The Cruel Sister”)

1 THERE were two sisters, they went playing,
With a hie downe done a downe-a
To see their father’s ships come sayling in.
With a hy downe downe a downe-a

2 And when they came unto the sea-brym,
The elder did push the younger in.

3 ‘O sister, O sister, take me by the gowne,
And drawe me up upon the dry ground.’

4 ‘O sister, O sister, that may not bee,
Till salt and oatmeale grow both of a tree.’

5 Somtymes she sanke, somtymes she swam,
Until she came unto the mill-dam.

6 The miller runne hastily downe the cliffe,
And up lie betook her withouten her life.

7 What did he doe with her brest-bone?
He made him a violl to play thereupon.

8 What did lie doe with her fingers so small?
He made him peggs to his violl withall.

9 What did he doe with her nose-ridge?
Unto his violl he made him a bridge.

10 What did he doe with her veynes so blew?
He made him strings to his violl thereto.

11 What did he doe with her eyes so bright?
Upon his violl he played at first sight.

12 What did he doe with her tongue so rough?
Unto the violl it spake enough.

13 What did lie doe with her two shinnes?
Unto the violl they danc’d Moll Syms.

14 Then bespake the treble string,
‘O yonder is my father the king.’

15 Then bespake the second string,
‘O yonder sitts my mother the queen.’

16 And then bespake the strings all three,
‘O yonder is my sister that drowned mee.’

17 ‘Now pay the miller for his payne,
And let him bee gone in the divel’s name.’

Annotations: “The Twa Sisters” (also known as “The Cruel Sister”)

Line	Text	Simple English Explanation	Literary Device
1	THERE were two sisters, they went playing,	Two sisters were playing together.	Connotations (“two sisters”)
2	With a hie downe done a downe-a	This is part of the chorus, a rhythmic refrain.	Repetition (chorus)
3	To see their father’s ships come sayling in.	They went to watch their father’s ships coming in.	Imagery (visual image of ships)
4	With a hy downe downe a downe-a	Another part of the chorus, creating a rhythmic pattern.	Repetition (chorus)
5	And when they came unto the sea-brym,	They arrived at the edge of the sea.	Imagery (the sea’s edge)
6	The elder did push the younger in.	The older sister pushed the younger one into the sea.	Action/Conflict (betrayal)
7	‘O sister, O sister, take me by the gowne,	The younger sister begs her older sister for help.	Dialogue (begging for help)
8	And drawe me up upon the dry ground.’	She asks to be pulled out onto dry land.	Imagery (dry ground)
9	‘O sister, O sister, that may not bee,	The elder sister responds that it cannot happen.	Denial/Rejection
10	Till salt and oatmeale grow both of a tree.’	She says it’s impossible, just like salt and oatmeal growing on trees.	Hyperbole (impossibility)
11	Somtymes she sanke, somtymes she swam,	The younger sister sinks and swims in the water.	Imagery (movement in water)
12	Until she came unto the mill-dam.	She eventually reaches the mill-dam.	Imagery (location of the mill-dam)
13	The miller runne hastily downe the cliffe,	The miller runs quickly down the hill.	Action (miller’s urgency)
14	And up lie betook her withouten her life.	He picks her up, but she is already dead.	Irony (miller unable to save her)
15	What did he doe with her brest-bone?	The miller wonders what to do with her bones.	Question (beginning of the disturbing transformation)
16	He made him a violl to play thereupon.	He makes a violin from her breastbone.	Metaphor (transforming a body part into an instrument)
17	What did he doe with her fingers so small?	He questions what to do with her fingers.	Question (continues disturbing transformation)
18	He made him peggs to his violl withall.	He makes pegs for the violin from her fingers.	Imagery (gruesome transformation)
19	What did he doe with her nose-ridge?	He wonders what to do with her nose.	Question (continuation of transformation)
20	Unto his violl he made him a bridge.	He makes a bridge for the violin from her nose.	Symbolism (nose as bridge)
21	What did he doe with her veynes so blew?	He questions what to do with her veins.	Question (body parts used for violin)
22	He made him strings to his violl thereto.	He makes strings for the violin from her veins.	Symbolism (strings as veins)
23	What did he doe with her eyes so bright?	He wonders what to do with her bright eyes.	Question (body parts used for violin)
24	Upon his violl he played at first sight.	He plays the violin using her eyes.	Imagery (playing the violin with eyes)
25	What did he doe with her tongue so rough?	He wonders what to do with her tongue.	Question (disturbing transformation)
26	Unto the violl it spake enough.	Her tongue speaks through the violin.	Personification (giving voice to the violin)
27	What did lie doe with her two shinnes?	He questions what to do with her shins.	Question (disturbing transformation)
28	Unto the violl they danc’d Moll Syms.	He uses her shins to make the violin dance.	Allusion (Moll Syms, a popular tune)
29	Then bespake the treble string,	The treble string of the violin speaks.	Personification (violin string speaking)
30	‘O yonder is my father the king.’	The treble string mentions the father, the king.	Symbolism (father figure as king)
31	Then bespake the second string,	The second string speaks.	Personification (violin string speaking)
32	‘O yonder sitts my mother the queen.’	The second string mentions the mother, the queen.	Symbolism (mother figure as queen)
33	And then bespake the strings all three,	All three strings speak together.	Personification (all strings speak)
34	‘O yonder is my sister that drowned mee.’	The strings reveal the drowned sister.	Irony (the violin speaks the truth)
35	‘Now pay the miller for his payne,	The strings suggest paying the miller.	Dialogue (violin speaking)
36	And let him bee gone in the divel’s name.’	They suggest sending the miller away.	Symbolism (miller’s payment in devil’s name)

Literary And Poetic Devices: “The Twa Sisters” (also known as “The Cruel Sister”)

Device	Example	Explanation	Reference from Poem
Allusion	“Unto the violl they danc’d Moll Syms.”	A reference to the folk tune “Moll Syms,” implying dance or music.	Line 28
Antithesis	“O sister, O sister, that may not bee”	The contrast between the plea and the refusal creates tension and highlights the betrayal.	Line 9
Characterization	“The elder did push the younger in”	The actions of the elder sister characterize her as cruel and malicious.	Line 6
Dialogue	“O sister, O sister, take me by the gowne”	The direct speech between the two sisters adds drama and emotional appeal to the poem.	Lines 3-4
Diction	“She made him a violl to play thereupon”	The use of old-fashioned language (“violl” instead of “violin”) gives the poem an archaic, folk-like tone.	Line 7
Hyperbole	“Till salt and oatmeale grow both of a tree.”	Exaggeration of the impossibility of the situation emphasizes the cruelty of the elder sister.	Line 9
Imagery	“Somtymes she sanke, somtymes she swam”	Visual and physical imagery of the younger sister struggling in the water helps paint a vivid picture.	Line 11
Irony	“What did he doe with her brest-bone? / He made him a violl to play thereupon.”	The miller transforms the dead sister’s body into a musical instrument, creating ironic beauty from death.	Lines 7-8
Metaphor	“He made him a violl to play thereupon”	The breastbone is metaphorically transformed into a violin, symbolizing both death and art.	Line 7
Onomatopoeia	“With a hie downe done a downe-a”	The repeated “downe-a” mimics the sound and rhythm of the song.	Line 2
Personification	“The miller runne hastily downe the cliffe”	The miller’s haste is humanized, suggesting urgency in his actions.	Line 13
Repetition	“With a hy downe downe a downe-a”	The repeated refrain reinforces the song’s rhythm and the sorrowful tone of the poem.	Line 4
Rhyme	“And drawe me up upon the dry ground” / “O sister, O sister, that may not bee”	The rhyme in the poem creates a melodic, song-like structure.	Lines 3-4
Simile	“Till salt and oatmeale grow both of a tree”	A simile is used to emphasize the absurdity of the elder sister’s refusal to help.	Line 9
Symbolism	“He made him strings to his violl thereto”	The strings of the violin symbolize the life force of the drowned sister, now transformed into music.	Line 22
Tone	“What did he doe with her two shinnes?”	The tone is dark and grim as the poem describes the transformation of a human body into a violin.	Line 27
Tragic Irony	“O yonder is my sister that drowned mee”	The violin strings speak the truth of the elder sister’s crime, creating tragic irony.	Line 34
Visual Imagery	“What did he doe with her nose-ridge? / Unto his violl he made him a bridge.”	The vivid imagery of the nose being made into a bridge paints a disturbing picture of the body’s transformation.	Lines 19-20
Voice	“Unto the violl it spake enough”	The violin speaks, representing a supernatural voice that reveals the truth.	Line 26

Themes: “The Twa Sisters” (also known as “The Cruel Sister”)

• Betrayal and Sibling Rivalry: The central theme of betrayal in “The Twa Sisters” is expressed through the actions of the elder sister, who cruelly pushes the younger sister into the sea. This act of jealousy or malice results in the younger sister’s drowning and symbolizes the destructive consequences of sibling rivalry. The elder sister’s refusal to help her drowning sibling is highlighted when the younger one pleads, “O sister, O sister, take me by the gowne, / And drawe me up upon the dry ground” (Lines 3-4), yet the elder sister coldly replies, “O sister, O sister, that may not bee, / Till salt and oatmeale grow both of a tree” (Lines 9-10), reinforcing her heartless indifference. The elder sister’s actions show the theme of betrayal within a family, as she allows her sibling to perish in the water, setting the stage for the poem’s tragic unfolding.
• Death and Transformation: The theme of death and the eerie transformation of the deceased body is a significant element of the poem. After the younger sister’s tragic death, her body is repurposed by the miller, who turns her remains into a violin, each body part contributing to an instrument of music. The miller “made him a violl to play thereupon” from her breastbone (Line 7), and uses her “fingers so small” to make “peggs to his violl” (Line 8), continuing the disturbing process of turning a lifeless body into something both beautiful and grotesque. The theme of transformation is emphasized as the body of the dead sister, through the miller’s crafting, becomes a vessel for music. This transformation turns death into a macabre form of artistic expression, showcasing a chilling juxtaposition of life and death through the creation of the violin.
• Revenge and Justice: The theme of revenge is prevalent in the poem, particularly in the way the truth of the elder sister’s actions is revealed after her death. The violin, crafted from the younger sister’s remains, becomes an instrument of justice, speaking the truth of the elder sister’s crime. The strings of the violin speak, with one saying, “O yonder is my sister that drowned mee” (Line 34), highlighting the younger sister’s spirit seeking revenge from beyond the grave. The instrument is no longer just an object of music; it becomes a voice for the wronged, accusing the elder sister of her deadly betrayal. The appearance of justice in this form, through the revelation of the truth, transforms the poem into a narrative about the inevitability of retribution. The supernatural element of the violin speaking provides a sense of cosmic justice, where the wrongdoer is exposed, even if the system of earthly justice fails.
• Nature and the Supernatural: The poem intertwines elements of nature and the supernatural, using them to underscore the dark events that unfold. The sea, a powerful natural force, is the setting for the initial act of betrayal, where the elder sister pushes the younger into the water. The description of the younger sister’s struggles in the water, “Somtymes she sanke, somtymes she swam” (Line 11), evokes the power of nature as both a physical and metaphorical force. Furthermore, the supernatural aspect of the poem comes into play when the violin itself becomes an instrument of revelation. The violin’s ability to speak and reveal the truth of the drowning connects the natural world (through the violin’s construction from human remains) to the supernatural (the voice of the deceased speaking through the violin). This fusion of nature and the supernatural highlights the mysterious and dark forces at play, guiding the poem’s eerie atmosphere and enhancing its themes of death, justice, and retribution.

Literary Theories and “The Twa Sisters” (also known as “The Cruel Sister”)

Literary Theory	Explanation	References from the Poem
Feminist Theory	This theory explores the roles of women and the dynamics of power, gender, and oppression. In “The Twa Sisters,” the elder sister’s betrayal of the younger sister highlights a relationship filled with jealousy, rivalry, and dominance. The poem can be interpreted as a commentary on the complex and often destructive nature of female relationships, where societal and familial expectations of women may contribute to violent conflict.	The elder sister’s act of pushing the younger sister into the sea is an act of power and control: “And when they came unto the sea-brym, / The elder did push the younger in” (Lines 5-6). The older sister’s cruelty in the face of her sibling’s pleas for help also reveals a deep-seated gendered power imbalance.
Psychoanalytic Theory	Psychoanalytic theory can be applied to examine the unconscious desires, fears, and emotional conflicts that are embodied in the poem. The elder sister’s violent action can be seen as a manifestation of repressed jealousy or a desire to rid herself of competition. The creation of the violin from the sister’s remains symbolizes the reworking of trauma and death into a form of expression or repression.	The elder sister’s actions can be seen as an unconscious manifestation of envy or a desire for self-preservation: “O sister, O sister, take me by the gowne, / And drawe me up upon the dry ground” (Lines 3-4), which represents the younger sister’s plea for life that is rejected out of spite or unconscious desire to eliminate a perceived threat.
Marxist Theory	A Marxist interpretation would focus on the themes of social class and power dynamics. The poem presents the miller as an important figure who manipulates the deceased body for his own gain, creating an instrument of music from the sister’s remains. The miller’s actions can be interpreted as a metaphor for the commodification of the working class or those without power, turning human life into something exploitable for profit.	The miller transforms the dead sister’s body into a violin, suggesting the exploitation of labor or lives for personal gain: “What did he doe with her brest-bone? / He made him a violl to play thereupon” (Lines 7-8). This transformation can be seen as a critique of commodification and exploitation.
New Historicism	New Historicism focuses on understanding texts in the context of the historical and cultural environment in which they were created. “The Twa Sisters” reflects medieval or early modern beliefs in the supernatural and the moral consequences of actions. The poem explores themes of justice, guilt, and the afterlife, reflecting the cultural anxieties of its time regarding retribution and the fate of the soul.	The use of supernatural elements, such as the speaking violin that reveals the truth of the elder sister’s crime, aligns with historical beliefs in divine or supernatural justice: “O yonder is my sister that drowned mee” (Line 34). The supernatural voice of the violin can be interpreted as a reflection of the cultural importance placed on retribution and moral accountability during the time the poem was written.

Critical Questions about “The Twa Sisters” (also known as “The Cruel Sister”)

• What does the miller’s transformation of the younger sister’s body into a violin symbolize in “The Twa Sisters”?
• The miller’s transformation of the younger sister’s body into a violin is a powerful symbol that conveys themes of exploitation and the commodification of human life. In “The Twa Sisters,” the miller takes the remains of the drowned sister and uses her body to create an instrument of music. This disturbing transformation can be interpreted as a commentary on how death and suffering are often repurposed for the benefit of others. The act of crafting a violin from her bones, fingers, and veins reflects a process of turning human remains into something aesthetically valuable, yet grotesque. For example, the miller “made him a violl to play thereupon” from her breastbone (Line 7) and “made him peggs to his violl withall” from her fingers (Line 8). This conversion of the body into an instrument is a stark commentary on the exploitation of the dead for artistic or economic gain, suggesting that in both life and death, people are often valued only for what they can provide for others, rather than for their inherent worth.
• What role does the supernatural play in “The Twa Sisters”?
• The supernatural plays a significant role in “The Twa Sisters,” particularly through the speaking violin. The violin, crafted from the deceased sister’s remains, becomes a vessel for revealing the truth of her death and the elder sister’s betrayal. The strings of the violin, which represent parts of the drowned sister’s body, seem to possess a supernatural ability to speak and convey the wrong that has been done. One of the strings says, “O yonder is my sister that drowned mee” (Line 34), giving voice to the silent, voiceless victim. This supernatural element suggests that justice is inevitable, even if it cannot be achieved through earthly means. The poem implies that the wrongs committed in life, especially within the family, will be revealed and accounted for, whether through the physical world or through supernatural means. The voice of the violin, speaking the truth of the younger sister’s death, serves as a powerful reminder that even in death, the victim’s voice can be heard and justice can prevail.
• How does “The Twa Sisters” portray the theme of sibling rivalry?
• Sibling rivalry is a central theme in “The Twa Sisters,” with the elder sister’s jealousy and cruelty leading to the younger sister’s tragic death. The poem begins with the two sisters playing together, yet it quickly becomes clear that a destructive rivalry exists between them. The elder sister’s jealousy is made manifest when she pushes her younger sibling into the sea, despite the younger one’s pleas for help. The younger sister cries out, “O sister, O sister, take me by the gowne, / And drawe me up upon the dry ground” (Lines 3-4), but the elder sister cruelly rejects her, saying it cannot be done until “salt and oatmeale grow both of a tree” (Lines 9-10). This refusal not only highlights the elder sister’s malice but also her desire to rid herself of what she perceives as competition. The rivalry culminates in an irreversible act of violence, emphasizing the destructive potential of jealousy and competition between siblings. The poem portrays sibling rivalry as a force that can, in extreme cases, lead to betrayal, death, and irreversible loss.
• What does the final revelation in “The Twa Sisters” suggest about the inevitability of justice?
• The final revelation in “The Twa Sisters,” when the violin speaks the truth of the younger sister’s death, suggests that justice, though delayed, is inevitable. The violin strings, which are made from the sister’s veins, fingers, and other body parts, act as the instrument through which the truth is revealed. One of the strings says, “O yonder is my sister that drowned mee” (Line 34), and the rest of the strings join in to confirm the crime. This supernatural unveiling of the elder sister’s guilt suggests that, even if justice is not immediately achieved in life, the truth will eventually come to light. The poem uses the speaking violin as a metaphor for the inescapability of retribution—no wrong can go unpunished, and even in death, the victim’s voice can force the wrongdoer to be held accountable. The final lines, “Now pay the miller for his payne, / And let him bee gone in the divel’s name” (Lines 35-36), further indicate that the miller, who played a role in the transformation of the sister’s body, is also implicated in the wrongdoing. The poem suggests that justice is not only an earthly concern but something that transcends the physical realm, offering a cosmic resolution to the tragedy.

Literary Works Similar to “The Twa Sisters” (also known as “The Cruel Sister”)

1. “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge
   Similarity: Both poems feature supernatural elements, including the presence of guilt and retribution, as well as the theme of nature’s power over human actions.
2. “The Wife of Usher’s Well” (Traditional Ballad)
   Similarity: Like “The Twa Sisters,” this ballad revolves around family tragedy and the eerie involvement of supernatural forces, with spirits returning to reveal the truth.
3. “La Belle Dame sans Merci” by John Keats
   Similarity: Both poems deal with themes of betrayal and death, where the consequences of unrequited love or jealousy result in the destruction of a victim.
4. “The Ballad of Sir Patrick Spens” (Traditional Ballad)
   Similarity: Similar to “The Twa Sisters,” this ballad portrays a tragic fate brought on by human actions, exploring themes of death, betrayal, and the destructive consequences of fate.
5. “Tam Lin” (Traditional Scottish Ballad)
   Similarity: Like “The Twa Sisters,” this poem involves supernatural elements and explores the theme of sacrifice and the mysterious powers of nature, often linked to love and betrayal.

Representative Quotations of “The Twa Sisters” (also known as “The Cruel Sister”)

Quotation	Context	Theoretical Perspective
“And when they came unto the sea-brym, / The elder did push the younger in.” (Lines 5-6)	The elder sister pushes the younger into the sea, marking the beginning of the tragic betrayal.	Feminist Theory: This highlights sibling rivalry and the destructive consequences of jealousy between women.
“O sister, O sister, take me by the gowne, / And drawe me up upon the dry ground.” (Lines 3-4)	The younger sister pleads for help as she struggles in the water, demonstrating her vulnerability.	Psychoanalytic Theory: The younger sister’s desperation may represent unconscious desires for survival or protection.
“O sister, O sister, that may not bee, / Till salt and oatmeale grow both of a tree.” (Lines 9-10)	The elder sister rejects her sibling’s plea for help, using a hyperbolic and cruel excuse.	Marxist Theory: This reflects the theme of power dynamics and exploitation, where the elder sister asserts dominance.
“What did he doe with her brest-bone? / He made him a violl to play thereupon.” (Lines 7-8)	The miller transforms the younger sister’s body into a violin, symbolizing the exploitation of human life.	New Historicism: The transformation of the body into a musical instrument reflects historical practices of using human labor.
“Somtymes she sanke, somtymes she swam, / Until she came unto the mill-dam.” (Line 11)	The younger sister struggles in the water, symbolizing the battle between life and death.	Imagery: Vivid depiction of nature’s power and the inner conflict of the drowning sister.
“Now pay the miller for his payne, / And let him bee gone in the divel’s name.” (Lines 35-36)	The violin strings demand justice for the miller’s role in exploiting the younger sister’s body.	Feminist Theory: This suggests the miller’s complicity in the exploitation and victimization of women.
“What did he doe with her eyes so bright? / Upon his violl he played at first sight.” (Lines 21-22)	The miller uses the younger sister’s eyes to play the violin, emphasizing the violation of her body.	Psychoanalytic Theory: The transformation of the eyes into an instrument symbolizes the perverse reworking of trauma.
“What did he doe with her fingers so small? / He made him peggs to his violl withall.” (Lines 8-9)	The miller continues his gruesome repurposing of the sister’s remains to make a functional violin.	Marxist Theory: The commodification of the dead body into a violin reflects how the working class or marginalized are exploited.
“O yonder is my sister that drowned mee.” (Line 34)	The violin strings speak the truth, revealing the elder sister’s guilt and betrayal after the drowning.	New Historicism: The supernatural justice mirrors the moral and spiritual values of the time, where guilt is revealed posthumously.
“He made him strings to his violl thereto.” (Line 22)	The miller uses the younger sister’s veins to create the strings of the violin, symbolizing the connection to life.	Feminist Theory: This final transformation emphasizes the exploitation of the female body for male gain, rendering it a tool for his music.

Suggested Readings: “The Twa Sisters” (also known as “The Cruel Sister”)

1. Niles, John Jacob, et al. “The Twa Sisters (Child No. 10).” The Ballad Book of John Jacob Niles, University Press of Kentucky, 2000, pp. 47–54. JSTOR, http://www.jstor.org/stable/j.ctt130jnj1.12. Accessed 23 Feb. 2025.
2. Taylor, Archer. “The English, Scottish, and American Versions of the ‘Twa Sisters.'” The Journal of American Folklore, vol. 42, no. 165, 1929, pp. 238–46. JSTOR, https://doi.org/10.2307/535038. Accessed 23 Feb. 2025.
3. Parker, Harbison. “‘The Twa Sisters’. Going Which Way?” The Journal of American Folklore, vol. 64, no. 254, 1951, pp. 347–60. JSTOR, https://doi.org/10.2307/537003. Accessed 23 Feb. 2025.
4. Philipose, Lily. “The Twa Sisters: A Santal Folktale Variant of the Ballad.” Folklore, vol. 101, no. 2, 1990, pp. 169–77. JSTOR, http://www.jstor.org/stable/1260320. Accessed 23 Feb. 2025.