crucial points: when relating the return of the former lover and the lovers’ confrontation after they board the ship. In doing so, the ballad preserves and focuses on its "emotional core". Scottish and American traditions "A Warning for Married Women" and "The Distressed Ship Carpenter" seem to have inspired the Scottish and American traditions of the ballad, respectively. The Scottish versions collected by Child (designated as versions C-G) share a number of elements with Child 243 A not present in Child 243 B – among them a direct reference to former vows and the name of the sailor – but what distinguishes them most is the character of a lover, who regains his supernatural nature. What is especially characteristic of these versions is the introduction of a daemonic presence; in "The Daemon Lover" (Child 243 E, F, G) James Harris is no longer a ghost or a mortal man, but instead is revealed to be a cloven-footed devil. It is generally agreed that copies collected in America (usually titled "The House Carpenter") were derived from "The Distressed Ship Carpenter". There are a number of similarities between these versions – such as the absence of former vows and supernatural elements characteristic of "A Warning" and Scottish versions – and the story presented in them remains essentially the same. Some elements taken from the Scottish tradition are present in American variants, for example "hills of heaven, hills of hell" line from Child 243 E, but the influence of "The Distressed Ship Carpenter" is prevalent. The most notable differences when compared to the English and Scottish traditions are their setting (i.e. "the banks of Italy" become "the banks of old Tennessee") and more emphasis being put on the relationship between the mother and the child and their subsequent parting. The American history of the ballad in printed form dates back to the 1850s. Two verses that were printed in Philadelphia (1858; Child included them in his anthology), along with a broadside printed by Andrews of New York (ca. 1857; reissued by De Marsan in 1860) are the earliest known examples of the ballad in the United States, although the oral tradition had already existed there before they were published and it played a predominant role in the spread of the ballad in America. Tune and metre Referring to broadsides that were already in circulation for the tune was a common habit and so