CHAPTER II
BALLAD GROWTH AND BALLAD HISTORY

Clown– What hast here? ballads?

Mopsa– Pray now, buy some: I love a ballad in print, a' life; for then we are sure they are true. —

Winter's Tale.

There is probably not a verse, there is scarcely a line, in the existing body of Scottish ballad poetry that can be traced with certainty further back than the sixteenth century. Many of them chronicle events that took place in the seventeenth century, and there are a few that deal with even later history. It may seem a bold thing, therefore, to claim for these traditional tales in verse the much more venerable antiquity implied in what has been said in the previous chapter. If we were to be guided by the accessible literary and historical data, or even by the language of the ballads themselves, we should be disposed to believe that the productive period of ballad-making was confined within two or at most three hundred years.

It would be more than rash, however, to imagine that ballads did not live and grow and spread in the obscure but fertile ground of the popular fancy and the popular memory, because they did not crop up in the contemporary printed literature, and were overlooked by the dry-as-dust chroniclers of the time. Nor is it a paradox to say that a ballad may be older, by ages, than the hero and the deeds that it seems to celebrate. Like thistledown it has the property of floating from place to place, and even from kingdom to kingdom and from epoch to epoch, changing names and circumstances to suit the locality, and attaching itself to outstanding figures and fresh events without changing its essential spirit and character. The more formal Muses despised these rude and unlettered rhymes – when they noticed them at all it was in a disdainful or patronising spirit – and this holds true of the eighteenth century almost as much as of the sixteenth. It is not that ballad poetry was dumb, but that history was deaf and blind to its beauties.

Nor is any adverse judgment as to the antiquity of the Scottish ballad to be drawn from the comparative modernity of the style and language. The presence of archaisms in a ballad that claims to have been handed down by oral repetition from a remote period is, on the contrary, a thing to raise suspicion as to its genuineness. The ballad, as has been said, is a living and growing organism; or at least it is this until it has been committed to print. However deep into the mould of the past its roots run down, its language and idioms should not be much older than the popular speech of the time when it has been gathered into the collector's budget. It is like a plant that, while remaining the same at the heart and root, is constantly casting the old, and putting out fresh, leaves.

Thus the very words and phrases that were intended to give an antique air to Hardyknut stamped it as an imitation; these clumsy and artificial patches were not the true mosses of age. The ballad of true lineage, partly from its simplicity of thought and structure, partly from being kept in immediate contact with the lips and the hearts of the people, is as readily 'understanded of the general' to-day as when it was first sung.

It has been noted, for instance, that our ballads preserve fewer reminiscences of the time when alliteration shared importance with rhyme or took its place in the metrical system. The bulk of them are supposed to come hither from the early sixteenth century, from the reigns of James IV. and James V.; and in that period of Scottish literature alliteration not only blossomed but often overran and smothered the court poetry of the day. Alliterative lines and verses appear frequently in the ballads, but always with good taste, often with exquisite effect. What phrases are more familiar, more infused with the magic of the ballad-spirit, than the 'wan water,' the 'bent sae brown,' the 'lee licht o' the mune'? When the knight rides forth to see his true love, he mounts on his 'berry brown steed,' and 'fares o'er dale and down,' until he comes to the castle wa', where the lady sits 'sewing her silken seam.' He kisses her 'cheek and chin,' and she 'kilts her green kirtle,' and follows him; but not so fast as to outrun fate. In the oldest set of The Battle of Otterburn, alliteration asserts itself:

'The rae full reckless there sche runnes
To make the game and glee.'

It is but seldom that the balladist avails himself so freely of the 'artful aid' of this device as in Johnie o' Braidislee, the vigorous hunting lay that was a favourite with Carlyle's mother:

'Won up, won up, my good grey dogs,
Won up and be unboun';
For we maun awa' to Bride's braid wood,
To ding the dun deer doun, doun,
To ding the dun deer doun.'

The words that have had the best chance of coming down to us intact on the stream of ballad-verse, or with only such marks of attrition and wear as might be caused by time and a rough channel, are those to which the popular mind of a later day has been unable to attach any definite meaning; for instance, certain names of places and houses, titles and functions, snatches of refrains, phrases reminiscent of otherwise forgotten primæval or mediæval customs and the like. These remain bedded like fossils in the more recent deposits, and form a curious study, for those who have time to enter into it, in the archæology and palæontology of the ballad. Childe Rowland, Hynde Horn, Kempion, furnish us with words, drawn from the language of Gothic and Norman chivalry, that must have dropped out of the common speech long before the ballads began to be regularly collected and printed. They recall the gentleness and courtesy, as well as the courage, that were supposed to be attributes of the 'most perfect goodly knight' – attributes in which, sooth to say, the typical knight of the Scottish ballad is not always a pattern. Kempion– 'Kaempe' or Champion Owayne – is supposed to perpetuate the name of 'Owain-ap-Urien, King of Reged,' celebrated by Taliessin and the other early Welsh bards. And this is by no means the only instance in which ballads appear to have distilled the spirit and blended names and stories out of both Celtic and Teutonic legend. Thus Glasgerion, which in the best-known Scottish version has become Glenkindie, has been translated as Glas-keraint– Geraint, the Blue Bard – an Orpheus among the Brythons, whose chief legendary sites, according to Mr. Skene, Professor Rhys, and other authorities, are to be sought in Scotland and its borderlands. The fame of this harper, who, like Glenkindie, could 'wile the fish from the flood,' came down to the times of Chaucer and Gavin Douglas, and was by them passed on; the former mentions him in his House of Fame along with Chiron and Orion,

'And other Harpers many one,
With the Briton, Glasgerion.'

It is not too much to conjecture that it was remembered also in popular poetry; and these and other classical writers of the Middle Ages, who despised not the common folk and their ways, no doubt drank deeply of knowledge and inspiration from the clear and hidden well of English poetry and romance even then existing in ballad lore. In fact, it seems as probable that the prose and metrical romances of chivalry have been derived from the folk-songs they resemble, as that the ballads have been borrowed from the romances; perhaps both owe their descent to a common and forgotten ancestor.

Is it too much to believe that in our older ballads we hear the echoes of the voices – it may be the very words – of the old bards, the harpers and the minstrels, who sang in the ears of princes and people as far back as history can carry us? We know, by experience of other lands and races, from Samoa to Sicily, that are still in their earlier or later ballad-age, that the making of ballads is almost as old as the making of war or of love – that it long precedes letters, to say nothing of the printed page. It comes as natural for men to sing of the pangs of passion, or of the joys of victory, as to kiss or to fight. For untold generations the harps twanged in the hall, and the song of battle and the song of sorrow found eager listeners. All the while, the same tales, though perhaps in ruder and simpler guise, met with as warm a welcome in road and field and at country merrymaking. Trouvere and wandering minstrel, gleeman and eke gleemaiden, passed from place to place and from land to land repeating, altering, adapting the old stock of heroic or lovelorn ditties, or inventing new ones. They were a law unto themselves in other matters than metres; and had their own guilds, their own courts, and their own kings. The names of all but a few that chance, more than anything else, has preserved, have perished. But time may have been more tender than we know to their thoughts and words, or to their words and music, where these have been fitly wedded together. It may have saved for us some thrilling image as old as the time of the scalds, some scrap of melody which Ossian or Llywarch Hen but improved and handed on. The law of the conservation of force holds good in the world of poetry as well as in the physical world; and all that is dispersed and forgotten in ancient song is not lost. It is fused into the general stock of the nation's ideas and memories; and the richest and purest relics of it are perhaps to be sought in the Scottish ballads.

The chroniclers who set down, often at inordinate and wearisome length, what was said and done in court or council or monastery did not wholly overlook the 'gospel of green fields' sung by the contemporary minstrels. But their notices are provokingly vague and unsatisfactory; no happy thought ever seems to have occurred to any monkish penman that he might earn more gratitude from posterity by collecting ballad verses than by copying the Legends of the Saints – so little can we guess what will be deemed of value by future ages. But in Scotland, as elsewhere, we have reason to believe that every event that deeply moved the popular mind gave rise to its crop of ballads, either freshly invented or worked up out of the old ballad stock. So sharply were incidents connected with the departure of a Scottish Princess, daughter of King Alexander III., to be the bride of Eric of Norway, imprinted on people's minds that, according to Motherwell's calculation, the ballad of Sir Patrick Spens preserves the very days of the week when the expedition set sail and made the land:

'They hoisted their sails on a Mononday morn,
Wi' a' the speed they may,
And they have landed in Norawa'
Upon a Wodensday.'

But this has the fault of proving too much. The last virtue that the ballad can claim is that of accuracy. With every desire to find proof and confirmation in the very calendar of the antiquity of this glorious old rhyme, one is disposed to suspect these dates to be a lucky hit; in fact, no sounder evidence than the correct enumeration of the daughters of George, fourth Earl of Huntly, in the old Aberdeenshire ballad:

'The Lord o' Gordon had three daughters,
Elizabeth, Margaret, and Jean,'

which has led some Northern commentators to assume that its heroine was that Lady Jane Gordon whom Bothwell wronged and divorced, and who afterwards managed to console herself by marrying an Earl of Sutherland and a Lord Ogilvy of Boyne. The tragedy of the death of 'Alexander our King,' and the unnumbered woes that came in its train, was, as we know, celebrated in rhymes of which some scant salvage has come down to us; and the feats of William Wallace and the victories of the Bruce were rewarded by the maidens singing and the harpers harping in their praise. This we learn from a surer source than the ballads of the Wallace and Bruce Cycle that have been preserved, and that are neither the best of their kind nor of unquestioned authenticity. Blind Harry was himself of the ancient guild of the Minstrels, and gathered his materials at a date when the 'gude Sir William Wallace' was nearer his day than Prince Charlie is to our own. His poem is nothing other than floating ballads and traditional tales strung into epic form after the manner in which Pausanias is supposed to have pieced together the Iliad; indeed John Major, who in his childhood was contemporary with the Minstrel, tells us that he wrote down these 'native rhymes' and 'all that passed current among the people in his day,' and afterwards 'used to recite his tales in the households of the nobles, and thereby get the food and clothing that he deserved.'

Then nothing could yield more convincing proof of the prevalence and popularity of the ballad in Scotland in the period of Chaucer – and nothing also could be more tantalising to the ballad-hunter – than Barbour's remark in his Brus, that it is needless for him to rehearse the tale of Sir John Soulis's victory over the English on the shores of Esk:

'For quha sa likis, thai may heir
Yong women, quhen they will play
Sing it emang thame ilka day.'

The 'young women,' and likewise the old – bless them for it! – have always taken a foremost part in the singing and preservation of our old ballads, and even in the composing of them. Bannockburn set their quick brains working and their tongues wagging tunefully, in praise of their own heroes and in scorn of the English 'loons.' Aytoun quotes from the contemporary St. Alban's Chronicle a stanza of a song, which (says the old writer) 'the maydens in that countree made on Kyng Edward; and in this manere they sang: